Journal articles on the topic 'Classroom music teachers'
To see the other types of publications on this topic, follow the link: Classroom music teachers.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Classroom music teachers.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Gilbert, Ross G. "Task Organisation and Management in Secondary Music Classrooms." British Journal of Music Education 5, no. 2 (July 1988): 165–72. http://dx.doi.org/10.1017/s0265051700006501.
Full textAbstract:
Recent research and theory in the area of classroom management indicates that there is a relationship between the task organisation of the classroom and teacher management behaviours. That is, classroom settings such as seatwork and recitation are related to different kinds of pupil behaviour and different kinds of teacher response. A review of related literature and a study of music student teachers in secondary classrooms indicates that music teachers spend considerably more time in recitation-type settings than do teachers of other subjects and are thus required to be more constantly alert and more authoritarian in their behaviour. The implications of these data for teachers, teacher educators and administrations are discussed.
2
Kang, Sangmi, and Hyesoo Yoo. "American preservice elementary teachers’ self-reported learning outcomes from participating in Korean percussion lessons in a music-methods course." Research Studies in Music Education 41, no. 3 (January 10, 2019): 327–42. http://dx.doi.org/10.1177/1321103x18806084.
Full textAbstract:
The purpose of this study was to examine American preservice classroom teachers’ self-reported learning outcomes after partaking in a weekly Korean percussion ensemble in an elementary music-methods course. The preservice classroom teachers rehearsed a Korean percussion ensemble piece ( Samulnori) as their course routine for half of the semester. Participants’ open-ended essays and semi-structured interviews were analyzed to determine their learning outcomes. Based on Abril’s (2006) three world music learning outcome categories (musical, cultural, and other) as initial codes, the emergent coding process was adopted. Through the data analysis, four themes emerged that illustrated preservice classroom teachers’ learning outcomes: (a) Cultural Awareness: Difference, (b) Music Fundamentals: Overlap with Traditional Course Content, (c) Bonding Experience: Community, and (d) Teacher Education: A Well-Rounded Teacher. Based on the results, possible implications for teaching culturally diverse musics to preservice classroom teachers in music-methods courses were discussed.
3
Hansen, Dee, and Leslie A. Imse. "Student-Centered Classrooms." Music Educators Journal 103, no. 2 (December 2016): 20–26. http://dx.doi.org/10.1177/0027432116671785.
Full textAbstract:
Music teacher evaluations traditionally examine how teachers develop student music-learning objectives, assess cognitive and performance skills, and direct classroom learning experiences and behavior. A convergence of past and current educational ideas and directives is changing how teachers are evaluated on their use of student-centered instructional approaches in the music classroom. These are classrooms facilitated rather than directed by the teacher in which students regularly communicate, collaborate, self-reflect, problem solve, and peer-evaluate about their learning. The authors trace the influence of three important initiatives that, among others, contributed to the implementation of student-centered learning in music classrooms: Arts PROPEL, Comprehensive Musicianship, and 21st Century Skills. The article also explores relationships between these entities, the National Music Standards, and teacher evaluation and provides an innovative model of teacher evaluation.
4
Ghozali, Imam. "Professional Competence of Teachers in Learning Music at Elementary Schools in Pontianak." Harmonia: Journal of Arts Research and Education 20, no. 1 (June 9, 2020): 84–94. http://dx.doi.org/10.15294/harmonia.v20i1.24932.
Full textAbstract:
Learning the art of music that has characteristics, special characters, and is carried out within an integrative thematic frame in elementary schools, needs to be supported by the professional competence of classroom teachers. The purpose of this study was to determine the professional competence of classroom teachers in learning music in elementary schools. This paper is the result of interpretive descriptive research with the main data source of classroom teachers, while the source of supporting data are students and principals. Data collection techniques are done by tests, observations, and interviews. The data collection process is carried out starting before the learning stage until the learning evaluation process. Based on the results of the study showed that: (1) the average mastery of classroom teachers to the knowledge of music theory needed in learning has only reached 45%; (2) the average teacher mastery of musical basic competencies has only reached 42.5%; and (3) the average teacher mastery of musical instrument playing skills competencies needed in learning has only reached 33.75%. The results of tests conducted on the teachers turned out to be relevant to the data obtained during the implementation of learning. It was proven that learning material in the form of musical knowledge such as music symbols, time bars, and various tempos is only taught by one class teacher. The practice of singing traditional songs is not supported by the teacher’s ability to give examples of reading song notation in accordance with the demands of the teacher’s handbook. Practical learning material for playing musical instruments is also only implemented by one classroom teacher. The implementation of music art learning in which most of the time allocation is filled with singing songs that are mastered (memorized) by the teacher. This shows that the classroom teacher in the implementation of music art learning has not been supported by adequate professional competence.
5
Kallio, Alexis Anja. "Popular “problems”: Deviantization and teachers’ curation of popular music." International Journal of Music Education 35, no. 3 (August 2017): 319–32. http://dx.doi.org/10.1177/0255761417725262.
Full textAbstract:
Despite many music classrooms welcoming popular musics in striving towards an inclusive and democratic education, there has been relatively little research into teachers’ decisions regarding which popular musics are included and which are excluded from classroom activities. This is of particular interest taking into account arguments that the norms and values associated with some popular musics or songs exist in conflict with the ideals and ideologies of formal schooling. Through interviews with five Finnish music teachers, this article explores the identification and navigation of “problematic” popular musics in school contexts. Teachers noted that four musical features: lyrics, imagery, musical mood and emotional affect, influenced their constructions of popular musics and their repertoire selections for students. This study suggests that popular repertoire decisions are ethically, ideologically, and politically loaded, and that welcoming students’ own musics does not necessarily result in a more inclusive, democratic classroom culture.
6
Gee, Jennifer Potter. "Elementary General Music Teachers’ Preparation in Classroom Management." Journal of Music Teacher Education 31, no. 2 (December 7, 2021): 55–67. http://dx.doi.org/10.1177/10570837211062183.
Full textAbstract:
The purpose of this study was to examine elementary general music teachers’ classroom management preparation within music teacher education programs. Participants ( N = 341) were active elementary general music teachers as identified by the National Association for Music Education (NAfME). Descriptive data included frequencies, percentages, and cross-tabulations. The most frequently reported sources of classroom management preparation were mentoring from a licensed teacher and supervised fieldwork, while creating classroom rules and expectations and teaching procedures were the most frequent examples of within-course content. Participants were most satisfied with their preparation received through licensed teacher mentoring and supervised fieldwork. Implications for music teacher educators are presented.
7
Rauduvaite, Asta, and Yanran Li. "TEACHER'S MUSIC ACTIVITIES IN THE CLASSROOM AS A PREREQUISITE FOR IMPROVEMENT OF MUSIC EDUCATION." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 25, 2018): 395. http://dx.doi.org/10.17770/sie2018vol1.3219.
Full textAbstract:
The relevance of the research is realized through the search for the music teacher’s activities that help to improve the process of music education while fostering the learner’s aesthetic and meaningful relationship to music. The object of the research is a music teacher’s activity of teaching music in general education school. The aim of the research is to analyse the improvement opportunities of a music teacher’s activity during music lessons in seventh-eighth grades in general education schools. The methods of the research include the analysis of scientific literature and documents of education; semi-structured interviews with music teachers; a written survey; quantitative and qualitative data analysis. According to the collected data, a variety of musical activities helps to develop learners’ inborn musical abilities, provide a favourable learning environment with an opportunity to develop the learners’ musicianship and presuppose their transferable skills. In this context, teachers’ active and creative musical involvement helps the learner to experience more positive emotions. Such a personal involvement and cooperation serve as a major condition for the improvement of the teachers’ musical activity. An inappropriate choice of the activities can lead to dissatisfaction and be the main reason for failure. The teachers’ participation in musical activities could encompass a number of music modes, which could create a more attractive and productive activity in the lesson: a teacher – a performer – a listener – a facilitator – a leader.
8
March, Hunter C. "Music Workshops for Classroom Teachers." Design For Arts in Education 89, no. 3 (February 1988): 26–27. http://dx.doi.org/10.1080/07320973.1988.9938144.
Full text
9
Baker, Valerie A. "Teachers’ Perceptions on Current Piano Use in the Elementary General Music Classroom." Update: Applications of Research in Music Education 35, no. 2 (August 1, 2016): 23–29. http://dx.doi.org/10.1177/8755123315598558.
Full textAbstract:
The purpose of this study was to identify teacher opinion of piano use, the amount of piano use, and current purposes for pianos in elementary general music classrooms. A geographically diverse sample of general music teachers ( N = 189) completed a piano use survey. The data indicated that teachers felt piano was an important part of elementary music and that the piano should be used for accompaniment more than any other purpose. Pianos were most commonly used on a weekly basis. Teachers who began piano lessons at a younger age also tended to use more piano in their classrooms. Qualitative statements made about piano use were positive and enthusiastic. This study provides direction for future research in the investigation of relationships between amount of piano use and teacher variables, and the amount of a cappella singing in the elementary classroom.
10
He, Siyuan, Sixian He, and Xin Gao. "Innovative Practice of Multimusic Performance Culture Education of Core Literacy in Multimedia Environment." Journal of Environmental and Public Health 2022 (July 30, 2022): 1–9. http://dx.doi.org/10.1155/2022/9440849.
Full textAbstract:
Under the framework of disciplinary knowledge integrating technology, the multimedia teaching application of music performance attracts a major opportunity for reflection and reconstruction. The purpose of this study is to explore the laws and experiences of music performance teachers’ multimedia teaching applications under the framework of subject teaching knowledge integrating technology. Through the research to understand the classroom multimedia teaching application of music performance teachers, according to the research results, relevant strategies are put forward for the application of music performance teachers’ classroom multimedia teaching, in order to effectively improve the classroom teaching effect of music performance teachers. This research mainly uses the classroom observation method and data statistical analysis method and takes 100 music video lessons of the National Educational Resources Public Service Platform as the survey object. A total of 100 teachers were observed and scored in the classroom through the compiled multimedia teaching observation table for music performance teachers, and then the data was analyzed to draw conclusions. The conclusions of this study are as follows: The multimedia application behaviors of the teachers of the excellent courses are different from those of the teachers of the daily classes. The two types of teachers have differences in the effectiveness of multimedia teaching application of music performance, and the scores of the practical application of information technology are uneven. The overall score of multimedia teaching applications of excellent course teachers is higher than that of daily course teachers, and the classroom teaching effect is better. In this regard, based on the observation and assessment of the effectiveness of multimedia teaching applications by two types of teachers, this paper puts forward some suggestions for music performance teachers to improve the effectiveness of multimedia teaching applications in classrooms from the aspect of teachers themselves and educational functions. It is hoped that it can provide some theoretical basis and practical materials for the personal and professional development of music performance teachers.
11
Valdebenito, Karla, and Alejandro Almonacid-Fierro. "Teachers’ conceptions of music teaching: A systematic literature review 2010-2020." International Journal of Evaluation and Research in Education (IJERE) 11, no. 4 (December 1, 2022): 1950. http://dx.doi.org/10.11591/ijere.v11i4.22950.
Full textAbstract:
This article provides an overview of research in music education between 2010 and 2020 and affords a systematic review of literature related to the experiences of teachers in teaching music in the classroom. The literature reports that music teaching depends mostly on the teacher, who must employ teaching-learning strategies according to the initial training received and the different educational contexts of professional practice. The article has the objective of analyzing the teaching practices that teachers deploy in the regular classroom of primary and secondary education. Bibliographic information was collected from the Web of Science, Scopus, and EBSCO databases. The inclusion of studies was based on having the elements of the search strategy and the selection process through inclusion criteria according to the stated objective. There were 21 selected articles. The results indicate that musical interventions by teachers in the classroom depends on some factors: i) Socioeconomic context of the educational institution; ii) Educational policies, initial teacher training; and iii) Insufficient support for this discipline. The conclusion according to the teachers’ perceptions indicate that music teaching depends on the purposes of the educational institution, the professional development of the teacher, and the teacher's preparation in the management of musical content and teaching skills.
12
Shovkatjonovich, Ziyayev Sardor. "CHARACTERISTICS OF THE STRUCTURE OF MUSIC CULTURE COURSES." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 03, no. 04 (April 1, 2022): 62–66. http://dx.doi.org/10.37547/pedagogics-crjp-03-04-14.
Full textAbstract:
This article describes in detail the organization of music culture lessons by teachers, methods of effective organization of students in the classroom, methods used by the teacher in the classroom, methods and structure of music culture formation in the minds of students in music lessons.
13
Rajan, Rekha S. "Preschool Teachers’ Use of Music in the Classroom: A Survey of Park District Preschool Programs." Journal of Music Teacher Education 27, no. 1 (July 4, 2017): 89–102. http://dx.doi.org/10.1177/1057083717716687.
Full textAbstract:
The purpose of this study was to explore how preschool teachers use music and identify the types of music activities available to children in their classrooms. Preschool teachers ( N = 178) at park district programs throughout a large state in the American Midwest responded to an online questionnaire. Although teachers acknowledged using music every day, examples of music activities were primarily teacher-directed such as singing along to CDs or following music cues. Teachers also used music to build academic connections and to engage children during transitions. Teachers valued music as important to their teaching practice and for its contribution to children’s learning and development, but cited limited resources, a self-reported lack of music ability, and an absence of knowledge of the standards for music education, as inhibiting their use of child-centered music activities. Implications for teacher preparation and professional development course work in early childhood and music teacher education are discussed.
14
Smith, Audrey G., Mary J. Sandage, David D. Pascoe, Laura W. Plexico, Italo R. Lima, and Guanqun Cao. "Elementary School Teachers' Vocal Dose: Muscle Bioenergetics and Training Implications." Journal of Speech, Language, and Hearing Research 60, no. 7 (July 12, 2017): 1831–42. http://dx.doi.org/10.1044/2016_jslhr-s-16-0193.
Full textAbstract:
PurposeTranslating exercise-science methodology for determination of muscle bioenergetics, we hypothesized that the temporal voice-use patterns for classroom and music teachers would indicate a reliance on the immediate energy system for laryngeal skeletal-muscle metabolism. It was hypothesized that the music-teacher group would produce longer voiced segments than the classroom teachers.MethodUsing a between- and within-group multivariate analysis-of-variance design (5 classroom teachers; 7 music teachers), we analyzed fundamental-frequency data—collected via an ambulatory phonation monitor—for length (seconds) of voiced and nonvoiced intervals. Data were collected for 7.5 hr during the workday, over the course of several workdays for each teacher.ResultsDescriptive analyses of voiced and nonvoiced intervals indicated that over 99% of voiced segments for both groups were no longer than 3.15 s, supporting the hypothesis of reliance on the immediate energy system for muscle bioenergetics. Significant differences were identified between and within the classroom- and music-teacher groups, with the music-teacher group producing longer voiced segments overall.ConclusionsKnowledge of probable intrinsic laryngeal skeletal-muscle bioenergetics requirements could inform new interdisciplinary considerations for voice habilitation and rehabilitation.
15
Malin, Sue A. "Classroom Teachers: Elementary to Music Education." Music Educators Journal 75, no. 3 (November 1988): 30–33. http://dx.doi.org/10.2307/3398074.
Full text
16
Propst, Tonya Gray. "The Relationship between the Undergraduate Music Methods Class Curriculum and the Use of Music in the Classrooms of In-Service Elementary Teachers." Journal of Research in Music Education 51, no. 4 (December 2003): 316–29. http://dx.doi.org/10.2307/3345658.
Full textAbstract:
The purpose of this study was to determine which experiences in undergraduate elementary music methods curricula were the strongest predictors of the amount of time elementary classroom teachers used music weekly in their classrooms. A discriminant analysis procedure was used to determine whether the variable clusters considered simultaneously were significant predictors of the amount of time elementary classroom teachers ( n = 297) use music in their classrooms. Of the three variable cluster groupings, two were found to contribute uniquely to the definition of the discriminant function. More than 42% of the subjects were correctly classified as to the amount of time they used music in their classroom by simultaneously considering Variable Cluster 1 (participating in folk dances, singing games, movements; integrating music with academic subjects; creating songs, rhythms, movements) and Variable Cluster 3 (developing call charts; teaching lessons on musical concepts; practicing solfege; reading music notation; playing musical recordings as background music; identifying names of instruments in the orchestra).
17
Garvis, Susanne. "Beginning generalist teacher self-efficacy for music compared with maths and English." British Journal of Music Education 30, no. 1 (November 26, 2012): 85–101. http://dx.doi.org/10.1017/s0265051712000411.
Full textAbstract:
In 2008, 201 beginning generalist teachers throughout Queensland, Australia, responded to a questionnaire intended to create a snapshot of current self-efficacy beliefs towards teaching music. Beginning teachers were asked to rank their perceived level of teacher self-efficacy for music, English and maths. Results were analysed through a series of repeated measures ANOVAs to compare the mean scores for statistical difference. Findings suggest that generalist beginning teacher self-efficacy for music declines as years of teaching experience increase, while teacher self-efficacy for English and maths increases during this period. Results provide key insights for teacher educators, school administrators and policy makers into the likelihood of long-term music teaching in the generalist classroom. Greater support is required to reverse the documented snapshot of low teacher self-efficacy for music education in Queensland generalist teacher classrooms.
18
Chadwick, Sheelagh. "Working towards educational transformation through action research with Botswana's music teachers." British Journal of Music Education 32, no. 3 (November 2015): 247–58. http://dx.doi.org/10.1017/s0265051715000327.
Full textAbstract:
Contrary to government policy, schooling in Botswana remains largely teacher-centred, with music teaching being no exception. However, other possibilities for classroom dynamics arise under the pressure of practical examinations and when some students have better instrumental facility than their teachers. This article describes initial explorations into action research with music teachers in Botswana and outlines the possibilities and potential for change – both in teachers’ views of their work, and for approaches that bring students’ knowledge and skills to the forefront of music classrooms. Researcher mistakes and learning are also explored, demonstrating the need for ongoing critical reflection and adaptation in this complex setting.
19
Caldarella, Paul, Leslie Williams, Krystine A. Jolstead, and Howard P. Wills. "Managing Student Behavior in an Elementary School Music Classroom: A Study of Class-Wide Function-Related Intervention Teams." Update: Applications of Research in Music Education 35, no. 3 (January 8, 2016): 23–30. http://dx.doi.org/10.1177/8755123315626229.
Full textAbstract:
Classroom management is a common concern for teachers. Music teachers in particular experience unique behavior challenges because of large class sizes, uncommon pacing requirements, and performance-based outcomes. Positive behavior support is an evidence-based framework for preventing or eliminating challenging behaviors by teaching and reinforcing appropriate social skills. Class-Wide Function-Related Intervention Teams (CW-FIT), a specific positive behavior support intervention involving social skills instruction, positive reinforcement, and group contingencies, has proven effective in elementary schools but has not been evaluated specifically in music classrooms. The present study sought to investigate the effectiveness of CW-FIT in increasing on-task behavior and teacher praise-to-reprimand ratios in a sixth-grade music classroom. A single-subject reversal (ABAB) design was used. Results indicated that student on-task behavior increased when CW-FIT was implemented. Teacher praise-to-reprimand ratios also improved. Results suggest the teacher and the students found CW-FIT valuable and enjoyable. Study limitations and implications are addressed.
20
Wagoner, Cynthia L. "Integrating Literacy within the Performance Classroom." Music Educators Journal 106, no. 4 (June 2020): 24–29. http://dx.doi.org/10.1177/0027432120917746.
Full textAbstract:
Music teachers may be tasked with documenting ways in which broader literacy skills have been embedded in music teaching. As a result, musical goals might seem to take a secondary role in support of broader language-literacy skills. Enhancing music literacy should be the goal of well-designed integration. The suggestions here provide music teachers with short, targeted integration to more complex, multimodal approaches that connect assignments with music-specific outcomes. Music teachers can add broader literacy goals to their pedagogical repertoire for the large-ensemble classroom.
21
Shouldice, Heather Nelson. "“Everybody has something”: One teacher’s beliefs about musical ability and their connection to teaching practice and classroom culture." Research Studies in Music Education 41, no. 2 (June 27, 2018): 189–205. http://dx.doi.org/10.1177/1321103x18773109.
Full textAbstract:
The purpose of this case study was to explore one elementary music teacher’s beliefs about the nature of musical ability and the ways in which these beliefs relate to actions and lived experiences in the classroom. Data included extensive classroom observations documented through fieldnotes and video footage, semi-structured interviews, teacher journal entries, teaching artifacts, and researcher memos. Three themes emerged from the data: (a) enabling success for all; (b) power of the learning environment; and (c) encouraging lifelong engagement with music. The findings of this study suggest that music educators’ beliefs about students’ musical abilities relate to their actions in the music classroom, their interactions with students, and their beliefs about the purpose of music education. Music educators should reflect on their beliefs, the ways in which they relate to teaching practice, and the impact they may have on students’ musical achievement and musical identity development. Additionally, music teacher educators should consider the role they might play in helping pre-service as well as in-service music teachers examine and possibly reshape their beliefs about music teaching and learning.
22
Zhang, Yiyue. "Walking a mile in their shoes: Developing pre-service music teachers’ empathy for ELL students." International Journal of Music Education 35, no. 3 (May 2, 2016): 425–34. http://dx.doi.org/10.1177/0255761416647191.
Full textAbstract:
In recent decades, music educators have become increasingly aware of the English Language Learner (ELL) population due to mainstreaming and inclusion policies. Meanwhile, the need for adequately preparing pre-service music teachers has become a focal point for music teacher preparation programs in the United States. In this article, I will 1) discuss the importance of developing pre-service music teachers’ empathy for ELL students; 2) offer suggestions for developing empathic pre-service music teachers; and 3) describe how a classroom cultural immersion experience can help pre-service music teachers to develop their empathy as well as increase their awareness of effective teaching strategies for ELL students. Through a short-term classroom cultural immersion experience, pre-service music teachers in the U.S. learned what it was like to be an ELL; as a result of their experience, they became more culturally and linguistically responsive. They deepened their level of empathy for ELLs, and expanded their knowledge base of techniques for effective music teaching.
23
Smith, Gareth Dylan. "Groove and Percussion in the Music Classroom." Music Educators Journal 109, no. 1 (September 2022): 22–28. http://dx.doi.org/10.1177/00274321221110228.
Full textAbstract:
In this article, I explain how percussion and groove are at the core of many musics created and enjoyed today, yet they can be overlooked in music teaching and learning. A pervasive culture of pitched-instrument prejudice makes it difficult to take rhythm and groove seriously, although these can be at the core of meaningful music-making experiences in schools. I provide an original, flexible composition for nonpitched percussion, with easy-to-follow instructions and video demonstration. The article invites teachers to consider embracing an engaging, Afrological approach to making music that emphasizes feel and groove.
24
Cain, Tim. "Too hard, too soft or just about right: paradigms in music teachers’ action research." British Journal of Music Education 29, no. 3 (September 27, 2012): 409–25. http://dx.doi.org/10.1017/s0265051712000290.
Full textAbstract:
This article considers some paradigms of educational research, and their relation to teachers’ action research in their classrooms or studios. The positivist/scientific paradigm and the interpretive/naturalist paradigm are examined, with reference to two cases of music teachers’ action research studies. These studies are found to be flawed because the paradigms underpinning them are inappropriate for classroom-based action research. The critical theory approach is also discussed but only briefly, because no instances of music teachers’ action research in this paradigm have been found. The participatory paradigm is explained, with reference to a third case of music teachers’ action research. The article argues that, for teachers’ classroom-based action research, this paradigm is more appropriate than others. It suggests that music teachers’ action research in the participatory paradigm: (a) includes self-study, (b) involves students, (c) considers the influence of context, (d) involves more than one turn of the action research cycle, and (e) engages with, and contributes to, the development of theory.
25
Friesen Wiens, Kim. "The Discerning Process of Song Selection." Alberta Academic Review 5, no. 1 (September 2, 2022): 7. http://dx.doi.org/10.29173/aar139.
Full textAbstract:
Songs that were once considered standard repertoire in elementary music programs across Canada are now being identified as including derogatory, misogynistic, and/or harmful texts. While there has been research and findings compiled on the text of songs (Bailey, 2020; Ellingsen, 2019; Kelly-McHale, 2018; McDougle, 2021), this is still a relatively new field, particularly regarding how information about texts of songs is shared with teachers. How can existing music education programs provide learning opportunities around repertoire selection for both in-service and preservice teachers? The Orff Level Certificate Program of Carl Orff Canada works with both preservice and in-service music teachers. The Orff program occurs on a yearly basis, with approximately 25 teacher educators and 250 teachers enrolled across the country. With the majority of elementary educators being “white, middle class, female, heterosexual teachers” (Holden & Kitchen, 2019, p. 27), there is a need to acknowledge the social hierarchy present in the classroom, that is, the power and privilege held by music educators. By working with music teachers to think critically about what musics to include, Orff Level Teacher Educators can provide the tools for music educators to “shape a curriculum and a pedagogy that purposefully places classroom musics alongside students’ own musics, experiences and interests (Hess, 2017, p. 71). In March 2021, an online survey, including a combination of multiple-choice and open-ended questions was sent to 25 Orff Level Teacher Educators in Canada. Responses were received from 17 teacher educators. The following questions guided the investigation: (a) How are songs selected for inclusion in the program? (b) Have there been changes to the repertoire list over the last five years? If so, what is driving these changes? (c) How do teacher educators see their selection process of repertoire impacting teachers’ choices of repertoire? Using thematic analysis, I analyzed the responses looking for common themes. These findings have served as a foundation for dialogue with Orff Teacher Educators. The next phase of the study will begin in spring 2022 where I will be interviewing three to five participants to further clarify findings from the survey portion of the research.
References
Bailey, P. (2020, April 27). Reclaiming kumbaya!
https://www.decolonizingthemusicroom.com/reclaiming-kumbaya
Ellingsen, A. (2019, October 30). Jump Jim Joe.
https://www.decolonizingthemusicroom.com/jump-jim-joe
Hess, J. (2017). Equity in Music Education: Why equity and social justice in music education?
Music Educators Journal, 104(1), 71–73. https://doi.org/10.1177/0027432117714737
Holden, M., & Kitchen, J. (2019). Equitable admissions in Canadian teacher education: Where
we are now, and where we might go. In J. Mueller, & J. Nickel, (Eds.) Globalization and
diversity in education: What does it mean for Canadian teacher education? (23-60).
Canadian Association for Teacher Education.
Kelly-McHale, J. (2018). Equity in music education: Exclusionary practices in music
education. Music Educators Journal, 104(3), 60–62.
https://doi.org/10.1177/0027432117744755
26
Springer, D. Gregory, and Lori F. Gooding. "Preservice Music Teachers’ Attitudes Toward Popular Music in the Music Classroom." Update: Applications of Research in Music Education 32, no. 1 (September 24, 2013): 25–33. http://dx.doi.org/10.1177/8755123313502349.
Full text
27
Koops, Lisa Huisman. "Classroom Management for Early Childhood Music Settings." General Music Today 31, no. 3 (February 3, 2018): 82–86. http://dx.doi.org/10.1177/1048371318756997.
Full textAbstract:
Classroom management is a common concern for preservice teachers and can be a key to success for in-service teachers. In this article, I discuss six strategies for classroom management: design and lead engaging music activities, employ music-rich transitions, balance familiarity and novelty, plan for success, communicate clear expectations, and practice mindfulness. For each strategy, I share examples and considerations drawn from early childhood music classes from a variety of settings. Music teachers often teach many levels of students, and it is important to calibrate our classroom management style to our learner’s developmental level.
28
Gerber, Linda, and Peggy D. Bennett. "On Preparing Classroom Teachers to Teach Music." Journal of Music Teacher Education 1, no. 2 (January 1992): 22–27. http://dx.doi.org/10.1177/105708379200100206.
Full text
29
Edwards, Kay, and Dav d. Dendler. "Mentoring Student Teachers in the Music Classroom." Music Educators Journal 93, no. 5 (May 2007): 44–50. http://dx.doi.org/10.1177/002743210709300516.
Full text
30
Liu, Chiao-Wei. "Sustaining Cultures in the Music Classroom." General Music Today 33, no. 3 (March 10, 2020): 58–60. http://dx.doi.org/10.1177/1048371320911010.
Full textAbstract:
Cultural diversity is not a new concept in the field of music education. Yet minoritized groups continue to face systematic discrimination. Given the shifting cultural realities, how we as music teachers move beyond recognizing diversity but sustain the various cultural and linguistic ways of being of our students becomes a crucial question. I explore the concept, culturally sustaining pedagogy, as coined by H. Samy Alim and Django Paris and offer some pedagogical approaches for music teachers to consider in this column.
31
Cao, Xia. "An Investigation on the Effectiveness of Creating a Music Classroom Teaching Environment Based on Psychological Expectations." Journal of Environmental and Public Health 2022 (July 15, 2022): 1–9. http://dx.doi.org/10.1155/2022/8951587.
Full textAbstract:
With the revision and improvement of the new curriculum standards, quality education puts forward new requirements for the music classroom in the school education stage. In classroom teaching, it is necessary to confirm the dominant position of students, create an experiential classroom environment, and cultivate students’ innovative spirit and practical ability. In the practice of music teaching in the information environment, how to build an effective classroom teaching model has become the focus and core direction of teaching reform. Creating a harmonious music classroom is the call of the times and the requirement of the new curriculum reform. This paper mainly discusses from several aspects, such as creating a good learning environment, establishing a relaxed and harmonious relationship between teachers and students, and innovating teaching methods and novel teaching links. In the research and practice, it mainly explores music classroom teaching and puts forward suggestions for music classroom teaching reform from the perspective of creating teaching situations, integrating resources, and developing flipped classrooms, aiming to improve the effect of music classroom teaching and provide students with active and effective music teaching guidance.
32
Verney, John P. "The Integrated Instrumental Teacher: Learning to Play Through Performance, Listening and Composition." British Journal of Music Education 8, no. 3 (November 1991): 245–69. http://dx.doi.org/10.1017/s0265051700008500.
Full textAbstract:
This article is written to show that composition can become an integral part of an instrumental teacher's methodology. Current musical education in schools in England and Wales is trying to give children a broad understanding of what music can contribute to the lives of all - listeners and performers. The starting point for this is composition. If instrumental teachers can introduce children to this discipline along with the disciplines of instrumental technique and a love of performing, we can create true, well-balanced musicians.Through this approach it is possible that we can develop an integrated music curriculum that joins together the expertise of the classroom music teacher and the instrumental teacher, with resulting benefits to children, who can then see that music is not divided between the creative classroom and the re-creative instrumental and performing worlds.
33
Hou, Zongchen, Chulan Xue, and Ruicong Ma. "Research of public and private junior high schools’ music teachers’ classroom teaching decision-making under China’s music curriculum standards." SHS Web of Conferences 157 (2023): 01015. http://dx.doi.org/10.1051/shsconf/202315701015.
Full textAbstract:
In the 11th anniversary of the issuance of Compulsory Education Music Curriculum Standards, this study aims to investigate the application of new curriculum standards in the teaching decision-making of junior middle school music teachers in China by means of questionnaire survey and semi-structured interview. A total of 54 public middle school music teachers and 46 private middle school music teachers responded to the survey within three months. Through the t-test of SPSSAU, the results show that junior high school music teachers apply the curriculum standards in different degrees in teaching decision-making. Public and private junior middle school music teachers have different application of music curriculum standards, and private schools do not pay enough attention to music curriculum standards. In a word, to strengthen the teacher decision-making level; Truly implement the aesthetic education goal of “Music Curriculum Standards”.
34
Laubenthal, Jennifer. "Assessment in the Private Studio Setting: Supporting Student Learning, Providing Effective Instruction, and Building Faculty-Student Interaction." Music Educators Journal 104, no. 3 (March 2018): 54–59. http://dx.doi.org/10.1177/0027432117745139.
Full textAbstract:
A significant amount of literature exists about how to design and implement an effective assessment process for students in a music program, specifically in the classroom setting. This article suggests a framework for incorporating individualized assessment in the private-lesson setting based on effective classroom assessment practices. Many in-service music teachers also teach privately. Applying their knowledge of classroom-based assessments and effective teaching strategies to the private-lesson setting can support student learning, provide effective instruction, and build faculty and student interaction. The private teacher plays a significant role in the education of music students. All music instructors—applied and classroom—should prioritize high-quality instruction, provide formative feedback to students, demonstrate teacher effectiveness to their employer (students, parents, or music educators), and use self-reflection to improve their instruction.
35
Sapon-Shevin, Mara. "Strategies and Resources for Creating LGBTQ-Inclusive Classrooms." Teachers College Record: The Voice of Scholarship in Education 121, no. 13 (April 2019): 1–22. http://dx.doi.org/10.1177/016146811912101306.
Full textAbstract:
This chapter focuses on the necessity of strategies for challenging heteronormativity in teacher education classrooms and K–12 classrooms. The chapter explores the silence about this topic that prevents teachers at all levels from engaging in open and effective discussion about how to organize schooling so that is supportive of students who are LGBTQ. It details specific strategies for combating discriminatory practices in school classrooms and teacher education programs and the emotions of teachers accompanying these; these strategies include the use of literature, film, music, and activities. The importance of addressing bullying as a systemic and structural issue rather than as a classroom-management or disciplinary concern is detailed.
36
Hamilton, Sandra, and Jennifer Vannatta-Hall. "Popular music in preservice music education: Preparedness, confidence and implementation." Journal of Popular Music Education 4, no. 1 (March 1, 2020): 41–60. http://dx.doi.org/10.1386/jpme_00013_1.
Full textAbstract:
This study examined popular music in preservice music teacher training programmes in the United States. The researchers explored types of courses and programmes offered in undergraduate music education programmes to prepare future music teachers to teach popular music. Quantitative data revealed trends in the inclusion of popular music within undergraduate music education programmes, determined music teacher educators’ perceptions of their students’ attitudes towards using popular music in the general music classroom, and examined the types of popular music pedagogy needed for preservice music educators. Qualitative data ascertained perceived confidence levels of graduates to utilize popular music. Results revealed that western classical music is the focus for the majority of music educators’ undergraduate degree programmes and that often music teacher preparation programmes ignore popular music study. Bridging the gap between western classical and popular music would help prepare teachers to include and value all types of music in K-12 music education.
37
Yoo, Hyesoo, and Sangmi Kang. "Instructional Approaches to Teaching a Korean Percussion Ensemble (Samulnori) to Preservice Music Teachers and Preservice Classroom Teachers: An Action Research Study." Journal of Music Teacher Education 28, no. 1 (May 28, 2018): 70–82. http://dx.doi.org/10.1177/1057083718777317.
Full textAbstract:
The purpose of this practical action research study was to explore how preservice music teachers, preservice classroom teachers, and a methods course instructor responded to the experience of rehearsing a Korean percussion ensemble piece. Seven preservice music teachers and nine preservice classroom teachers rehearsed Samulnori for 20 minutes per week for 8 weeks. Data sources included reflective narratives produced by the instructor and participants, observation field notes, and participant interviews. Through each step in the action research process, across multiple cycles of instruction and reflection, the teaching approach was altered to better fit participants’ needs and interests in the two groups. While preservice music teachers valued authentic music demonstrations and the hands-on process of learning to perform Samulnori in a polished and accurate manner, preservice classroom teachers required more detailed verbal explanations in addition to music demonstrations and showed interest in learning about the historical and cultural background of Samulnori.
38
Angel-Alvarado, Rolando, Olga Belletich, and Miguel R. Wilhelmi. "Exploring motivation in music teachers: the case of three primary schools in Spain." British Journal of Music Education 37, no. 3 (August 27, 2020): 196–206. http://dx.doi.org/10.1017/s0265051720000145.
Full textAbstract:
AbstractMusic teachers enjoy carrying out teaching tasks; indeed, such pleasure may be perceived even when authoritarian pedagogical methods are applied. In this study, we will explore music teacher motivation in classroom settings, collecting data from three educators through psychological scales, lesson observations and personal interviews. Results indicate that teacher motivation in classroom settings is affected by five internal and five external factors. Therefore, the study allows concluding that teacher motivation is also satisfied or thwarted by ideas that school members have about music education. Some practical implications are suggested.
39
Pellegrino, Kristen. "Examining the Intersections of Music Making and Teaching for Four String Teachers." Journal of Research in Music Education 62, no. 2 (May 20, 2014): 128–47. http://dx.doi.org/10.1177/0022429414530433.
Full textAbstract:
The purpose of this phenomenological case study was to examine the intersections of music making and teaching for four string teachers. Data included background surveys, three interviews per participant, videotaped classroom observations (jointly viewed during the second interview), and a focus group interview that included music making. Findings revealed that the meanings participants attributed to their past music-making experiences mirrored their beliefs about why their students make music and informed their content knowledge. Music making outside the classroom had personal and professional benefits; participants described music making as something that provided renewed excitement and inspiration, increased compassion toward students as musical learners, was a catalyst for solving pedagogical problems, and maintained their ability to model for their students. Participants’ music making inside the classroom helped them to be more present in their teaching. They also used music making to inspire their students and themselves, to bring students’ attention to the teacher and the music, to gain credibility, to model technique and musicality, and to create a culture based on the love of making music.
40
Bolden, Benjamin. "Teaching composing in secondary school: a case study analysis." British Journal of Music Education 26, no. 2 (June 3, 2009): 137–52. http://dx.doi.org/10.1017/s0265051709008407.
Full textAbstract:
This article reports a case study of an experienced teacher of composing working with secondary school students in a large urban centre in Ontario, Canada. Results suggest authentic assignments connect student composing to the ‘real world’, and so have meaning and life beyond the music classroom. Teachers can facilitate the development of theoretical music knowledge by supporting and enhancing the experiential learning that students accomplish on their own, through composing. Offering suggestions for change to compositions-in-progress, and cultivating a classroom ethos where students exchange this service amongst themselves, serves to enhance composing potential. By helping students infuse their work with personal knowledge, experiences, and interests, teachers can increase students’ meaningful involvement in classroom composing.
41
Johnson, Daniel C., and Ann Marie Stanley. "A Pilot Project Exploring Rural Classroom Music Teachers’ Perceptions and Practices via an Online Professional Development Course." Journal of Music Teacher Education 30, no. 3 (April 22, 2021): 99–114. http://dx.doi.org/10.1177/10570837211008658.
Full textAbstract:
Music teachers in urban, suburban, and rural communities face a multitude of challenges and opportunities. To identify and examine specific experiences that may be unique to rural general music teachers, we recruited six teacher-participants to complete a 5-week online professional development (PD) course for this exploratory study. We created a teacher-led approach for this PD, implementing topics and solutions generated by the participants. Using qualitative content analysis, we found two categories of themes in the online discussion posts that either connected or disconnected our participants with other music teachers on their general music context or their geographic setting. Although participants clearly articulated the influences of setting and place-based pedagogy, we found shared issues related to general music that transcended location. Implications for future PD include the importance of online delivery methods and developing PD differentiated by teaching contexts and geographic settings.
42
Knapp, David H., Bryan Powell, and Gareth Dylan Smith. "National Profile of Teacher Perceptions of Teaching and Learning in Modern Band Programs in the United States." Bulletin of the Council for Research in Music Education, no. 231 (January 1, 2022): 77–92. http://dx.doi.org/10.5406/21627223.231.05.
Full textAbstract:
Abstract Following more than half a century of resistance to popular music in the classroom, modern band programs have proliferated in the United States since the early 2000s. Supported in part by the music education nonprofit Little Kids Rock (LKR), proponents of modern band aim to engage more students in school music and to support creative, student-centered music-making. The present study examined responses to the 2019 LKR end-of-year teacher survey and found that program participation has grown substantially in recent years, but is concentrated in a few urban areas. Teachers perceived that modern band expanded access to music education by engaging more students while also making themselves more committed to the teaching profession. With respect to student learning, teachers perceived that modern band allowed for nonmusical outcomes, including academic motivation and the creation of classroom social bonds. To a lesser extent, teachers perceived that students achieved creative outcomes, such as composition and improvisation.
43
Pino, Ángela, Carla Rodríguez-Rossell, and Laia Viladot Vallverdú. "'How can I include them?': Teaching pupils with visual impairment in the inclusive music classroom." Didacticae: Revista de Investigación en Didácticas Específicas, no. 12 (October 14, 2022): 124–37. http://dx.doi.org/10.1344/did.2022.12.124-137.
Full textAbstract:
In most cases, music teachers lack specific strategies to give an appropriate response to the educational needs of students with visual impairments. Taking into account the need to find new approaches that are helpful for music teachers to go through the many challenges of inclusion, this article explores the potential that active music methods may have in the inclusive music education of students with visual disabilities. This exploratory study uses qualitative content analysis in combination with a case study method, intending to contrast the resources found in three active music methods (Ward’s, Dalcroze’s, and Suzuki’s) with the real experience of a music teacher. Results include ten resources which promote learning for all students along with the description of how the teacher used them in real life, examples and guidelines to be applied in the music classroom. Conclusions show that the pedagogies analyzed offer a wide range of opportunities for multi-sensory learning through the resources presented -which can also be transferred to other music pedagogies-, and confirm that active music methods facilitate inclusion in environments where students with visual disabilities are present.
44
Wiggins, Jackie, and Karen Bodoin. "Painting a Big Soup: Teaching and Learning in a Second-Grade General Music Classroom." Journal of Research in Music Education 46, no. 2 (July 1998): 281–302. http://dx.doi.org/10.2307/3345629.
Full textAbstract:
Through collaboration, a music teacher and a researcher attempted to learn more about the teaching/learning processes in one second-grade general music classroom. While some components of the teaching/learning processes that occurred in this music classroom were identified through tins qualitative study, the most important findings were those that emerged during the collaborative process of analysis and interpretation of data. Through active participation in the analysis process, the teacher came to understand the impact of the emergent issues on the teaching and learning in her own classroom and, as a result, made some concerted efforts to change her teaching. Her reactions point to the importance of providing teachers with opportunities to examine their own work and to consider how issues related to teaching and learning processes manifest themselves in their work. They also suggest that unless teachers have these opportunities, discussions of issues related to their teaching may be meaningless to them.
45
Majerus, Claire, and Donald M. Taylor. "Elementary Music Teachers’ Experiences Training and Collaborating With Paraprofessionals." Update: Applications of Research in Music Education 39, no. 1 (June 19, 2020): 27–37. http://dx.doi.org/10.1177/8755123320935635.
Full textAbstract:
The purpose of this study was to investigate elementary music teachers’ perceptions of paraprofessional participation in the classroom and to examine the extent to which instructors provided preparation for their paraprofessional colleagues. Five hundred and four members of the National Association for Music Education completed a 32-item survey utilizing a 3-point Likert-type scale ( strongly agree = 3, neither agree nor disagree = 2, strongly disagree = 1). Music teachers indicated that they need help with behavioral reinforcements and transitions in the classroom (e.g., entering, exiting, and moving between activities). They also needed paraprofessionals to adapt music activities for students spontaneously during class, but they provided little to no guidance or training for their colleagues. Out of 504 participants, only 8 (1.6%) indicated any kind of regular meetings with paraprofessionals and special education teachers outside the music classroom to discuss goals and strategies.
46
Doherty, Brian. "Technology in the classroom and music teachers’ self-efficacy." Journal of Music, Technology & Education 14, no. 2 (December 1, 2021): 141–55. http://dx.doi.org/10.1386/jmte_00038_1.
Full textAbstract:
This quantitative study examined the self-efficacy of music teachers in each of the technological, pedagogical and technological knowledge domains with a particular focus on their technological self-efficacy. M-TPACK questionnaire was used as its measurement tool and was sent to members of the National Association for Music Education in the United States. Overall, 475 respondents reported high levels of self-efficacy when implementing technology in their instruction. This study also revealed that music educators were discovering technology and learning to use it mostly on their own time and outside school hours. Results further validated the factor structure of Bauer’s M-TPACK survey as it pertains to music teachers for the questions measuring individual TPACK domains.
47
O’Donnell, Patrick S., and Linda L. Dunlap. "Teacher acceptability of progressive muscle relaxation in the classroom for the treatment of test anxiety." Journal of Psychologists and Counsellors in Schools 29, no. 2 (April 10, 2019): 151–65. http://dx.doi.org/10.1017/jgc.2019.1.
Full textAbstract:
AbstractTest anxiety is experienced by 10–40% of students. The physical symptoms associated with test anxiety may be more likely to be exhibited by elementary students. Progressive muscle relaxation (PMR) has been demonstrated to reduce physical symptoms of anxiety and could be used in the classroom, but teacher acceptability of PMR for test anxiety has not been assessed. This study used a vignette format to survey 404 first through fifth grade teachers on their acceptability of classroom-based PMR as an intervention for test anxiety. Good levels of acceptability were found for implementation with a school psychologist or counsellor, CD player, or digital music player. Special education teachers reported slightly lower levels of acceptability for using PMR in the digital music player scenario. With good levels of teacher acceptability of PMR to address test anxiety, school psychologists and counsellors may be more likely to recommend the use of PMR in classrooms. Implications for implementation of PMR to reduce test anxiety, study limitations, and suggestions for future research are discussed.
48
Almqvist, Cecilia Ferm. "Thinking, being, teaching and learning with Spotify: Aspects of existential and essential musical bildung through listening in the classroom." Journal of Music, Technology and Education 12, no. 3 (December 1, 2019): 279–96. http://dx.doi.org/10.1386/jmte_00011_1.
Full textAbstract:
Streaming media seems to have become a natural part in teachers’ professional life. Streamed music, primarily distributed by the company Spotify, sounds in most music and dance classrooms, not least in Swedish schools. Hence, the concepts of digitalization and listening are accentuated within the area of music education. Within the frames of a larger border-crossing research project financed by Wallenbergstiftelsen ‐ ‘Evolving bildung in the nexus of streaming services, art and users: Spotify as a case’, which aims to explore the meaning and function of streaming media as a facilitator of bildung, using Spotify as a case ‐ this presentation takes two interviews regarding Spotify use as a starting point. One music teacher and one dance teacher, among sixteen participants, were interviewed about their use of Spotify. The aim with the specific analysis was to describe the phenomenon of bildung regionalized to relational school settings, where streamed music, teachers and students come together in intended learning situations. The interviews were stimulated by the teachers’ own Spotify interfaces, and documented by the virtual communication tool Zoom. They were transcribed and analysed in a phenomenological narrative manner. The narrative is shaped as a dialogue between the two teachers, to make similarities and differences regarding relations with Spotify in the classroom setting visible. The result shows aspects of existential and essential bildung through listening taking place as being, thinking and acting with Spotify in the spirit of Heidegger.
49
Sekalegga, Lawrence Branco. "An analysis of four instructional strategies used by secondary school music teachers in Uganda." International Journal of Music Education 40, no. 2 (October 29, 2021): 276–87. http://dx.doi.org/10.1177/02557614211050985.
Full textAbstract:
This paper provides an analysis of how secondary school music teachers (N = 10) in Uganda apply instructional strategies (peer teaching, practical music-making, modeling, and feedback) in their music lessons. Analysis was undertaken to establish if there were any similarities or differences amongst the urban, suburban, and rural music teachers and between experienced and inexperienced teachers in ways they employed instructional strategies. Data were gathered through videotaped classroom observations and analyzed via SCRIBE (Simple Computer Recording Interface for Behavioral Evaluation). Results showed that practical music-making was the most observed strategy while negative feedback (disapprovals) was the least observed strategy. Experienced teachers provided more feedback in form of approval and engaged their students more in practical music-making activities. Results from the study are discussed in terms of implications for improved teacher preparation. The strategies discussed in this study should be encouraged through teacher professional development, and through greater emphasis in teacher preparation courses.
50
Koops, Lisa Huisman, and Ken Wendt. "Listening Lessons in the Early Childhood Music Classroom." General Music Today 32, no. 3 (March 2, 2019): 26–28. http://dx.doi.org/10.1177/1048371319832883.
Full textAbstract:
In this column, we encourage early childhood music teachers to include music listening lessons in their teaching. We suggest five guiding principles for music listening lessons: selecting varied repertoire, using high-quality recordings and playback, communicating with families and teachers, incorporating movement, and considering the broader importance of repertoire selections. We conclude by sharing four listening lesson ideas. Detailed information is provided on considerations for speakers to use in the classroom.