Relevant bibliographies by topics / Music professional development

Academic literature on the topic 'Music professional development'

Author: Grafiati
Published: 10 December 2022
Last updated: 19 February 2023

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Journal articles on the topic "Music professional development"

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Stanley, Ann Marie, Alden Snell, and Scott Edgar. "Collaboration as Effective Music Professional Development." Journal of Music Teacher Education 24, no. 1 (September 26, 2013): 76–88. http://dx.doi.org/10.1177/1057083713502731.

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Sharavtseren, Tserenjigmed. "Factors, obstacles, mechanism and development directions for the professional music education in Mongolia." Problems of Modern Education (Problemy Sovremennogo Obrazovaniya), no. 4, 2020 (2020): 225–38. http://dx.doi.org/10.31862/2218-8711-2020-4-225-238.

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The article presents the results of the study of training music art professionals and music teachers in Mongolia. The comparative analysis of music education in Germany, Sweden, Israel, China, Japan and Russia is conducted. Prospective measures of development of professional music education in Mongolia are suggested. Factors, obstacles, mechanism and directions of development of the Mongolian State Conservatory – the first Mongolian academic higher education institution for training professional musicians – have been identified. The mechanism of the development of professional music education in Mongolia is the concept of the Mongolian State Conservatory. The concept includes goals, main and additional tasks, the scheme of interaction with the authorities and social partners, the model and scheme of education, the management system, financial basis and stages of organization of the conservatory.
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Shelepnytska-Govorun, Natalia. "PERIODIZATION OF VOCAL CULTURE DEVELOPMENT OF MUSIC ART SPECIALISTS IN EUROPE." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 49–52. http://dx.doi.org/10.36550/2415-7988-2021-1-195-49-52.

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The article shows the periods of vocal development culture of music specialists in Europe. The article considered preconditions for the development of vocal culture of music art specialists in Europe. The table «Evolution of the development of vocal culture of music professionals in Europe during different stages» is presented in the article. It shows a brief description of the epoch and period. The article gave in more detail the features of formation of vocal culture of musical art specialists are determined, and also their characteristic in the European countries, such as: Italy, Germany, Great Britain, France, Austria, Poland. The emphasis of vocal culture, one of the most important components of the professional culture of music artists, is due to the specifics of his vocal and pedagogical activities, which is aimed at forming a personality capable of reproducing and enriching the culture of society in the future. The culture of future specialists in the art of music has undergone certain periods in the process of socio-cultural development. It, as a phenomenon of pedagogical practice, has always existed, but had different social and professional purposes depending on the influence of various factors: the political situation; moral relations that developed in society; dominant religion; type of education. Of course, knowledge of the origins, knowledge of the periods of origin and development of musical art, which took place over the centuries, is important for understanding both the current challenges of vocal culture and to determine its further development. It should be noted that the curricula of European countries provide broad training of music professionals, expanding the sector of music specialties, including training: choir directors, specialists in individual vocal technique, vocal ensembles, choral singing, dominated by the practical orientation of professional education. Thus, the analysis of literary scientific sources on the formation of vocal culture of music artists shows that each stage was a unique and significant contribution to the formation of such culture in Europe. It should be noted that the curricula of European countries provide broad training of music professionals, expanding the sector of music specialties, including training: choir directors, specialists in individual vocal technique, vocal ensembles, choral singing, dominated by the practical orientation of professional education. Thus, the analysis of literary scientific sources on the formation of vocal culture of music artists shows that each stage was a unique and significant contribution to the formation of such culture in Europe.
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Moonjoo Seog. "Music Teacher Standards Review for Music Teacher`s Professional Development." Journal of Future Music Education 1, no. 2 (December 2016): 23–37. http://dx.doi.org/10.36223/jnafme.2016.1.2.002.

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Conway, Colleen M., Shannan Hibbard, Dan Albert, and Ryan Hourigan. "Voices of Music Teachers Regarding Professional Development." Arts Education Policy Review 107, no. 1 (September 2005): 11–14. http://dx.doi.org/10.3200/aepr.107.1.11-14.

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Pinzino, Mary Ellen. "Online Professional Development for Early Childhood Music." Perspectives: Journal of the Early Childhood Music & Movement Association 5, no. 1 (June 1, 2010): 9–13. http://dx.doi.org/10.1386/ijmec_0140_1.

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Koner, Karen, and John Eros. "Professional Development for the Experienced Music Educator: A Review of Recent Literature." Update: Applications of Research in Music Education 37, no. 3 (November 18, 2018): 12–19. http://dx.doi.org/10.1177/8755123318812426.

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There is a rich body of literature on professional development in music education, including research that has examined the professional development needs of experienced music teachers specifically. In fact, music teachers’ professional development needs may be affected by their degree of experience in the profession. The purpose of this literature review is to examine scholarship during the period 2007 to 2017 about the professional development needs of experienced K–12 music educators. Initial examination of literature in this area shows two emerging themes, including changing needs throughout the career and informal interactions among music educators, being highly effective.
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Koknova, T. A. "The influence of "MUSIC" model on the development of foreign language communicative competence of prospective foreign language teachers in the process of professional training." Bulletin of Luhansk Taras Shevchenko National University, no. 7 (345) (2021): 195–205. http://dx.doi.org/10.12958/2227-2844-2021-7(345)-195-205.

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The methodological influence of B. Jones’ model “MUSIC” on the process of professional competence development in prospective foreign language teachers in the process of professional training is studied in the article. The definitions of “educational environment” and “educational space” are considered; it is concluded that the process of professional training of prospective teachers of foreign languages should be aimed at the development of their professional competence. In the course of the research it is established that the five-level model “MUSIC” of B. Jones, which is presented from the author's point of view, can help to optimize the impact of the environment on the process of professional competence development in the course of professional training of prospective foreign language teachers. At the first level, it is suggested to provide extended powers to prospective teachers of foreign languages in order to exercise their self-control over the process of developing thier professional competence during professional training. At the second level, it is necessary to make sure that prospective foreign language teachers recognize the importance of the material offered to them for mastering for their future professional development. At the third level, prospective foreign language teachers must be clearly aware that the success of their learning also depends on the right strategies. The fourth level is closely related to the sincere interest of prospective professionals in acquiring professional qualities. At the fifth level, it is essential to take care of students, to take into account the environmental factors that may affect the level of their professional development. It is concluded that in the focus of professional competence development of prospective foreign language teachers it is vital to create such an environment that would promote friendly relations between prospective professionals and the faculty staff, as it will have a positive effect on the quality of training of prospective foreign language teachers.
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Bauer, William I., Sam Reese, and Peter A. McAllister. "Transforming Music Teaching via Technology: The Role of Professional Development." Journal of Research in Music Education 51, no. 4 (December 2003): 289–301. http://dx.doi.org/10.2307/3345656.

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The purpose of this study was to determine if 1-week technology workshops can be an effective means for the professional development of music teachers in using technology for instruction. The results indicate that three indicators of effectiveness—teacher knowledge, teacher comfort, and frequency of teacher use—can he significantly improved in these settings. Participants ( N = 63) were music teachers enrolled in summer music technology workshops. At the beginning of the workshops, participants completed a questionnaire designed to provide demographic information and assess their knowledge of music technology, degree of comfort with music technology, and the frequency with which they used music technology in their teaching. Following an intensive weeklong workshop dealing with strategies for teaching music to K—12 students using music technology, participants completed a second questionnaire that was parallel to the first. Participants completed another similar questionnaire 9 to 10 months after the workshop. Significant differences were found between the pre-and. postworkshop questionnaires, between the preworkshop and follow-up questionnaires, and, between the postworkshop and follow-up questionnaires in all three areas. There was also a moderate correlation ( r = .43, p = .00) between participants' frequency of technological use and the degree to which they reported their access to technological resources.
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Shaw, Julia T. "Urban Music Educators’ Perceived Professional Growth in a Context-Specific Professional Development Program." Journal of Research in Music Education 67, no. 4 (December 2, 2019): 440–64. http://dx.doi.org/10.1177/0022429419889295.

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This collective case study examined the perceived impact of a context-specific professional development program, the Urban Music Education Institute, on urban music educators’ professional growth. The year-long program, which focused on culturally responsive pedagogy (CRP), featured workshops presented by nationally recognized clinicians complemented by a collaborative teacher study group (CTSG). Portraits of individual educators’ growth trajectories illuminate the multifaceted and idiosyncratic nature of teachers’ professional growth. Teacher profiles further illustrate complexities inherent in the nonlinear process of learning to practice CRP. Cross-case themes included teachers’ desire for “permission” to teach in contextually specific ways, sociopolitical dimensions of urban teaching as a focus for professional learning, and ways that cultural Whiteness influenced participants’ processes of learning to practice CRP. The CTSG emerged as a key element contributing toward the program’s context specificity. Participants used this group as a site for negotiating tensions associated with culturally responsive and socially just teaching in the company of colleagues with shared understanding of urban contexts. Implications for professional development aligned with urban music educators’ discipline- and context-specific learning needs are discussed based on the findings.
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Dissertations / Theses on the topic "Music professional development"

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Meadows, Julie. "Music Teachers' Perceptions of Targeted Professional Development." ScholarWorks, 2017. https://scholarworks.waldenu.edu/dissertations/3459.

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The fundamental purpose of teacher professional development programs is to improve instructional effectiveness and increase student learning. However, the target district offered no programs that focused on helping teachers develop strategies to meet state standards in music education. The purpose of this qualitative case study was to investigate elementary and middle school music educators' perceptions regarding the need for targeted professional development programs. Self-determination theory served as the foundation for this study. Research questions concerned participants' views of the impact of district professional development programs on their competency in enhancing students' musical skills and their decision-making and connectedness with other music education teachers. Participants included a unique purposeful sampling of 9 music educators. Data from individual questionnaire interviews, a focus group, and a reflective field journal were analyzed for key themes. These themes were relevant professional development, limited access to resources, and lack of time for music professional development. Participants perceived that effective professional development provided music educators with sufficient time to plan, network, and collaborate with one another and incorporated relevant resources. Based on these findings, a professional development workshop was designed to help music educators in developing a professional learning team. Targeted professional development programs, such as the one developed in this study, may help music educators increase student achievement, which may potentially result in positive social change.
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Kuebel, Christa. "PREPARATION, CONTINUING EDUCATION, AND PROFESSIONAL DEVELOPMENT OF INSTRUMENTAL MUSIC MAJORS TEACHING ELEMENTARY GENERAL MUSIC." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1491408733327604.

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Gruenhagen, Lisa Marie. "Investigating professional development : early childhood music teacher learning in a community of practice /." Digitized version, 2007. http://hdl.handle.net/1802/5630.

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Simmons, Marcy Thurmond. "Teachers' Perceptions of the Influence of Professional Development on Music Integration." ScholarWorks, 2015. https://scholarworks.waldenu.edu/dissertations/1938.

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International Baccalaureate (IB) schools are focused on a school-wide approach to developing inquiring students who are motivated to succeed. The problem explored in this case study was based on a local IB elementary school's response to a reform model to integrate music into other content areas. The curriculum lacked an interdisciplinary approach to music education even though teachers had participated in some professional development (PD) to help them integrate music into content areas. The purpose of this study was to investigate the perceptions of elementary teachers regarding the influence of professional development on music integration at the IB elementary school. Maslow's theory of human motivation was the conceptual framework. The research questions focused on participants' perceptions of music integration, curriculum, and PD. A case study design was used to capture the perceptions of 10 Kindergarten and 1st grade teacher participants through a questionnaire, individual interviews, and a focus group. Emergent themes were identified from the data, and findings were validated through triangulation and member checking. The key results were that teachers' desire to implement music integration increased after PD and they recognized the benefits of fostering the whole child and encouraging creative thinkers associated with using music integration as an instructional practice. A PD project that included customized curriculum content was developed to assist teachers with the integration of music to enhance school curriculum. Positive social change might be realized as teachers become more prepared, confident, and consistent in music integration and are able to enhance students' creative thinking and foster development of the whole child in the classroom.
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Boyle, Kerry. "Understanding the development of professional identity in instrumental teachers." Thesis, Canterbury Christ Church University, 2018. http://create.canterbury.ac.uk/17595/.

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This study provides new insights concerning the development of professional identity in instrumental teachers working in a range of professional contexts in the UK. The analysis shows the extent to which musicians are embedded in the culture of instrumental music education, suggesting that aspects of the field, including high levels of autonomy, are more closely related to professional identity than notions of hierarchy and status. The understandings of instrumental teachers’ lives and identities revealed in this research could be used to inform and enhance existing approaches to careers in music and contribute to career preparation in undergraduate music students. Using an explanatory sequential research design to combine data from a national survey of instrumental teachers with findings from individual case study interviews and one focus group, the research prioritises the lived experience of participants in generating understanding of professional lives and identities in this context. An analysis using Bourdieu’s notions of habitus, field and capital examines the ways in which individuals negotiate the field of instrumental music education, revealing a complex and nuanced approach to professional identity developed through practical experience in this context. Instrumental teaching in the UK is characterised by a lack of regulation and curriculum, where individuals are able to teach with no training or qualification (Swanwick 1994, Woodford 2002). The literature suggests conflict in instrumental teacher identity where individuals prefer to identify as musicians or performers rather than teachers, attributing these choices to the lower professional status of instrumental teaching in the hierarchy of professional roles in music (Mills 2004b, Roberts 2007). This research however suggests that expressions of identity in this context relate to specific meanings associated with the role and identity of professional musician for individuals involved in portfolio careers involving teaching and highlights the need to revise existing notions of the professional musician to acknowledge contemporary careers in music.
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Leung, Bo Wah School of Music &amp Music Education UNSW. "Creative Music Making in Hong Kong Secondary Schools: The Present Situation and Professional Development of Music Teachers." Awarded by:University of New South Wales. School of Music and Music Education, 2002. http://handle.unsw.edu.au/1959.4/18665.

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Present research provides strong support for the use of creative activities in school music programmes based on evidence that learning music is more effective when students are exposed to authentic, experiential learning activities, rather than verbal descriptions and explanations by the teacher. Based on this background the purpose of this study was to address the need to train music teachers with the confidence and skills necessary to incorporate creative music making in their classroom teaching. The study was divided into two phases. Phase I included a questionnaire survey that investigated the current situation of music teaching in Hong Kong secondary schools. To extend this survey three composers and three curriculum planners were invited to participate in semi-structured interviews in order to survey their opinions and suggestions on creative music making. Based on the literature review and findings from Phase I, Phase II focused on the design of a teacher education programme that would prepare teachers to undertake creative activities in their classroom music teaching. The programme was trialled twice with two groups of in-service music teachers studying at the Hong Kong Institute of Education. The trainees were asked to design their own creative projects that were taught during a four-week Teaching Practice session. Findings reveal that the most effective creative projects possessed a logical teaching sequence, addressed students???? musical preferences, and integrated listening and performing activities with the creative task. Findings suggest that Hong Kong music teachers should adopt the techniques proposed in this study when designing and implementing their teaching programmes in order to nurture the musical creativity of their students. Music teacher education programmes in Hong Kong should also consider revising their modules so that they provide more balance between theory and practice, and integrate subject-based knowledge with pedagogical skills. A major conclusion of the study is that music teaching in Hong Kong secondary schools would benefited from a balance between creating, performing and listening activities where teachers apply a student-centred approach to expose their students to active, experiential and reflective learning environments in which creative musical expression is fostered at all levels of student development.
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West, Raymond Owen. "Secondary School Choral Teachers' Perceptions of Quality Professional Development." ScholarWorks, 2015. http://scholarworks.waldenu.edu/dissertations/1728.

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Quality professional development is essential to enhance and sustain teacher efficacy. In a Southeastern school district, content-based, job-embedded professional development was not practiced or available for secondary school choral teachers. The purpose of this research was to discover the perceptions that choral teachers possess about what constitutes quality professional development. Guided by Bruner's constructivist approach, Knowles' concept of andragogy, and DuFour's professional development practices, this study examined the connection between these 3 ideas and supplied the foundation for the development of a professional development program. Using a case study design, data were collected through interviews and lesson plan documents from 9 secondary school choral teachers. The data were coded by hand and analyzed using an inductive approach. The key results were that the secondary school choral teachers desire quality professional development, characterized by content-based subject matter and collaborative delivery methods. A project of customized content-based choral music was constructed using teacher collaboration and mentoring as critical components of the delivery system. This study has implications for positive social change by providing professional development that addresses the needs and desires of the educators and increases their knowledge and skills. The project can perform as a prototype for professional development in other academic disciplines.
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Kierman, Pamela Elizabeth. "Community brass : its role in music education and the development of professional musicians in the Western Cape." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2593.

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Thesis (MMus (Music))--University of Stellenbosch, 2009.
Community music is at the innermost heart of any music society, yet its generally informal training structures have rendered it somehow second-class in the general view. South Africa‟s formal education structures have tended to favour the elite at the cost of those who are historically deprived, a pattern which developed centuries before the advent of legal Apartheid. This lack of official favour may be the source of the intensity of community music development in the Western Cape, a locus of cultural and ethnic diversity remarkable even in South Africa. Brass instruments, with their inherent portability and relative affordability, have been at the heart of much church music in the past two hundred years. For the Salvationists, the brass band has long been the „peripatetic organ‟ for use at services indoors or outdoors. For the German-related churches, the Posaunenchor, now a brass choir, fulfils many of the same functions. These and other informal structures like them tend to reproduce themselves by means of „apprenticeship‟ of novitiate players to experienced bandsmen. A substantial number of church-trained players have become professional in the context of military bands in the Cape and elsewhere in South Africa. Some have, with more formal training, become symphonic instrumentalists of considerable rank in South Africa. This dissertation sets out to describe the milieu from which brass-players have emerged when formal instrumental instruction has been unavailable to them. It describes past and current efforts to bolster and upgrade brass training for youth, and the ways in which this couples with social upliftment for youth. Perhaps most importantly, it furnishes information and tools for South Africa to join fully with international efforts to research the phenomena of community music and to better understand their significance.
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Lenzo, Terri Brown. "Online Professional Development in Preschool Settings: Music Education Training for Early Childhood Generalists." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1416315624.

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West, Justin J. "A Grounded Theory of Music Teacher Large Scale Conference Professional Development Implementation: Processes of Convergence." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248474/.

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The purpose of this study was to understand the process of music teacher large-scale conference professional development (PD) implementation (i.e., the integration of conference-derived learnings into classroom practice). The context of this investigation was two national music conferences, the Midwest Clinic and the National Association for Music Education National In-Service Conference, and one state music conference, the Texas Music Educators Association Clinic/Convention. Using purposive maximum variation sampling, active music teachers (n = 32) who each attended one of these conferences were recruited. Data collection occurred in a series of three participant interview phases, staggered according to which conference participants attended and when each conference was held. Twenty-eight participants were interviewed twice, and four participants were interviewed once, yielding a total of 60 interview transcripts, which were then openly, axially, and selectively coded in accordance to grounded theory method. The principal finding, the cycle of music teacher large scale conference professional development implementation (C-MTPDI), revealed an implementation process in three phases. First, the consideration phase (before/during conference) entailed needs assessment, direct engagement, change articulation, and, for some participants, deterrent factors/contingencies. Second, the realization phase (immediate post-conference) included translation, integration, and recalibration. Third, and finally, the decision phase (3-5 weeks post-conference) included evaluation. The core category, or main theme of the research, was seeking convergence: relevance, practicability, and impact. Contextual conditions included PD worldview and PD policy environment. Avenues for future scholarship include clarifying differences in design and effectiveness among and within music-specific PD models, more fully understanding the status of large-scale conference PD in music education and its effect on practice, and theorizing PD implementation in non-conference contexts. Practical implications include developing new theory-aligned PD policies, putting into place more robust infrastructures of implementation support for large-scale conference attendees, addressing PD funding inequities between teachers in music and non-music disciplines, and helping practitioners to newly conceive "one-off" PD events (e.g., large-scale conferences) as sustainable investments in long-range professional growth.
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Books on the topic "Music professional development"

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Nadolinskaya, Tat'yana, Lyudmila Rapackaya, and Igor' Krasil'nikov. Music education technologies. ru: INFRA-M Academic Publishing LLC., 2022. http://dx.doi.org/10.12737/1171998.

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The textbook reveals the theoretical foundations of the use of music education technologies in secondary schools. The ways of implementing technologies in various types of musical activity are described and characterized, the main methods of diagnosing the musical development of schoolchildren are revealed, the ways of interaction of musical and theatrical pedagogy in regular and extracurricular activities are revealed, the multifunctional nature of the professional activity of a teacher-musician based on the use of integrated theatrical technologies is shown. The manual includes six chapters, including a workshop on the development of pedagogical game technology, methodological developments of integrated music lessons. It is addressed to undergraduate students studying in the areas of training 44.03.01 "Pedagogical education" (profile 44.03.01.07 "Music") and 44.03.05 "Pedagogical education (with two training profiles)" (profiles: 44.03.05.28 "Preschool education and music", 44.03.05.39 "Music and additional education (teacher-organizer)").
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Siksimova, Marina, Ol'ga Begicheva, and Svetlana Mozgot. Solfeggio and music theory: a practical course. ru: INFRA-M Academic Publishing LLC., 2023. http://dx.doi.org/10.12737/1971854.

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The textbook combines all the main types and forms of practical work in the disciplines of the musical and theoretical cycle, as well as the main topics on musical literacy and music theory, forms of control papers (exam papers), which, as a rule, are presented in such publications separately, without following an integrated approach. The forms of planning and methods of implementation of independent work of students are elaborated and presented in detail. The proposed principle of systematic learning helps in the practical development of disciplines, contributes to the acquisition of the necessary professional knowledge, skills and abilities. It is intended for use in the classroom work of students of performing and theoretical departments of music colleges, as well as advanced students of the senior classes of SSMSH, DMSh and DSHI. It can be used for independent work of students of various specialties of secondary vocational education institutions and areas of higher education: 53.02.03 "Instrumental performance (by types of instruments)", 53.03.03 "Vocal art", 53.03.04 "The Art of folk singing", as well as for preparing applicants for entrance exams.
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Lum, Chee-Hoo, and Siew Ling Chua. Teaching Living Legends: Professional Development and Lessons for the 21st Century Music Educator. Springer, 2016.

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Lum, Chee-Hoo, and Siew Ling Chua. Teaching Living Legends: Professional Development and Lessons for the 21st Century Music Educator. Springer London, Limited, 2016.

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Lum, Chee-Hoo, and Siew Ling Chua. Teaching Living Legends: Professional Development and Lessons for the 21st Century Music Educator. Springer, 2016.

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Edwards, Jane. Training, Education, and Professional Issues in Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.49.

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Becoming a practitioner in music therapy occurs at multiple levels. At an individual level the student’s processes and learning are part of thisbecoming. At an interpersonal level the interactions between students as a group and in collaboration with their educators, fieldwork supervisors, and clients shape and frame the development of professional competencies. At the wider systemic level the values and processes of training are influenced by the provider institution, usually a university, and the management and department in which the music therapy training programme is housed. This systemic level also includes the external regulator such as state or national accreditation structures and the requirements of the relevant professional body. This chapter presents how the profession of music therapy has considered aspects of professionalism, professional practice, and accreditation.
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Nöcker-Ribaupierre, Monika. Recognition of Music Therapy in Europe. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.17.

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The development of formal systems of professional recognition for music therapy within Europe has taken many decades and is still not complete. The European Music Therapy Confederation (EMTC) was established in 1990 with a primary goal being the pursuit of recognition for the profession. This ambition is complicated by the fact that there are so many associations across Europe and not all are in the EMTC. In this chapter the quest for formal professional recognition is outlined. The process by which some countries have achieved recognition, that is in Latvia, UK, and Netherlands, is presented.
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Tang, Pan-hang. IT-assisted Music Composition Education in Hong Kong Primary Schools: Recommendations for curriculum design and teacher professional development. Scholars' Press, 2014.

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Ansdell, Gary, and Brynjulf Stige. Community Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.6.

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This chapter provides an overview of the wide and complex territory of Community Music Therapy, orientating readers to the key events, arguments, and practices of this international movement. Characterizing CoMT as a “social movement” helps explain the particular pattern of its emergence and development, and the varying reactions to it. This also indicates how the movement critically refracts dimensions of the practice, discipline, and profession of international music therapy more generally in its late-modern phase—showing how it is adapting to the demands and opportunities of globalization, cultural plurality, economic crisis, and the restructuring and revisioning of health and social care services. In its short history CoMT has functioned variously as an inspiration for broader and more flexible practice, as a critique of traditional theory, as a platform for exploring fresh interdisciplinary theory, and as an instigator of inter-professional dialogue and dispute.
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Edwards, Jane. Conceptualizing Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.32.

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New students of music therapy soon find that the most common inquiry about their field of study is “What is music therapy?” They may also be asked questions such as “Does that work?” Even experienced practitioners in the field can find these questions annoyingly routine in meeting new colleagues. In answering these questions, providing a definition of music therapy is important. There are multiple constructs through which the functions and capacities of music therapy can be usefully discussed. Five of these areas are elaborated in theOxford Handbook of Music Therapy; music therapy contexts and populations across the lifespan, music therapy models and approaches, music therapy methods, music therapy research, and music therapy training and professional issues. This chapter elaborates these areas and discusses the contribution to the development of music therapy in each of these sectors of inquiry and practice.
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Book chapters on the topic "Music professional development"

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Feldman, Evan, and Ari Contzius. "Special TopicsLeadership, Mentors, and Professional Development." In Instrumental Music Education, 438–46. Third edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429028700-29.

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Burnard, Pamela. "Educating Professional Musicians." In Leadership and Musician Development in Higher Music Education, 62–80. New York ; London : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9780429503924-6.

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Mitchell, Annie. "A professional development program to facilitate group music performance teaching." In Teaching and Evaluating Music Performance at University, 101–15. [1.] | New York : Routledge, 2020. | Series: ISME global perspectives: Routledge, 2020. http://dx.doi.org/10.4324/9780429328077-7.

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Smilde, Rineke. "Engaging with New Audiences." In Forum Musikvermittlung - Perspektiven aus Forschung und Praxis, 151–68. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839456811-012.

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In this article, research into musicians' engagement with new audiences in the field of music and healthcare is explored from the angle of musicians' biographical learning processes. Two examples are discussed, a research into 'Music and Dementia' and 'Meaningful Music in Healthcare', which is on music in hospital contexts. In both examples musicians' biographical learning in these practices is explored as a development into their professional performance. Lastly, the article discusses what everything learnt means for a more holistic approach of learning and teaching in higher music education, where the idea of engaging with new audiences is often marginalised.
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Reynolds, Alison M. "Elementary General Music Teachers and Professional Development: Kindling the Spark, Fanning the Flame, and Keeping an Eye on the Fire." In Narrative Soundings: An Anthology of Narrative Inquiry in Music Education, 275–86. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-0699-6_15.

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Lagerlöf, Pernilla. "Interprofessional Dialogue and the Importance of Contextualising Children’s Participation: A Collaboration Between Different Disciplines Around New Technology." In Methodology for Research with Early Childhood Education and Care Professionals, 121–31. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-14583-4_8.

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AbstractThe MIROR Project (2010–2013) was a large-scale international research project financed by the EU, involving various researchers from six countries. It dealt with the development of an adaptive system (artificial intelligence, AI) for music learning and teaching in the context of early childhood music education. The project was based on a spiral design approach, involving coupled interactions between the technical partners and the research partners (from the disciplines of psychology and pedagogy/education). It raised methodological challenges concerning how the experiments and technology were designed, as they did not relate to Swedish preschool tradition, which will serve here as the contextualised case from which more general issues will be discussed. Different ethical issues were also faced in regard to how the research was planned, and stemming from the fact that there were commercial interests involved.
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Moebius, Stephan. "Ups and Downs of Sociology in Germany: 1968–1990." In Sociology in Germany, 85–122. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71866-4_4.

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AbstractIn the 1960s, Germany was strongly marked by changes in cultural values and social concepts of order, by new developments in art, music, and film, as well as suburbanization; also, as in many other countries, in 1968 there were massive student protests in Germany. The student movement brought sociology into the limelight. The Frankfurt School and the more Marxist Marburg School in particular became closely connected with the student movement. As a subject of study, sociology gained enormously in importance, which was connected with the growing need for social reflection in all areas of life. A characteristic feature of sociology in this period was an increasing differentiation into specialized subfields. The number of academic positions for sociologists and the number of students increased, partly as a result of the founding of new universities and of reforms in higher education policy. The increasing number of non-university research institutions complemented sociological research at the universities. This expansion, which coincided with a highly visible public sociology, also led to counter-movements: Conservative sociologists criticized the growing social influence of sociology and propagated an “anti-sociology.” As far as empirical social research is concerned, quantitative research had become more professional; interpretative social research had slowly developed, reinforced by the increasing reception of symbolic interactionism. The “planning euphoria” of the 1960s and 1970s weakened, and many looked at 1968 with disappointment and some even turned away from sociology. There were debates, such as that between representatives of Critical Theory and systems theory (the “Habermas-Luhmann debate”) and the debate on “theory comparison,” and controversies regarding “postmodernism.” The 1980s was the great time for sociological theory in Germany. Also, a further increase in the differentiation and pluralization of the sociological field could be observed.
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Bauer, William I. "Productivity and Professional Development." In Music Learning Today, 165–84. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197503706.003.0008.

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There are numerous ways in which technology can improve the productivity of music educators, helping to make administrative and organizational tasks more efficient and effective. This chapter describes a variety of technological tools that can be used to facilitate overall organization, communication, public relations and advocacy, the creation and acquisition of instructional support materials, data management, travel, and maintenance of financial records, all of which are typical responsibilities of music teachers. Technology can also be useful for continuing professional development. From informal Personal Learning Networks to formalized graduate degree programs, technology can empower music educators with personalized, sustained, flexible, and social professional learning opportunities. Taken together, these approaches to professional development can help music educators continually develop and refine their TPACK, facilitating an ongoing upward spiral of the knowledge and skills necessary for music learning today.
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Bauer, William I. "Productivity and Professional Development." In Music Learning Today, 167–87. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199890590.003.0008.

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"Professional development and music education." In Debates in Music Teaching, 258–74. Routledge, 2012. http://dx.doi.org/10.4324/9780203117446-28.

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Conference papers on the topic "Music professional development"

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Aleshina, Erzhena Stalevna. "Scientific and methodological activities of the modern music teacher." In Сollection of articles. Publishing house Sreda, 2019. http://dx.doi.org/10.31483/r-33155.

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This article reveals the role of methodological work and scientific and methodological activities in the professional and personal development of a music teacher and the improvement of his social status. The professional and pedagogical activity of a modern music teacher is viewed as a complex structure, where scientific and methodological activity is given a special place. The author raises the problem of developing the methodological competence of a music teacher, emphasizing the importance of special training in the field of scientific and pedagogical research and the conditions necessary to enhance its scientific and methodological potential.
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Bautista, Alfredo. "Hong Kong Kindergarten Teachers' Professional Development Needs in Music Education: Does Teaching Experience Matter?" In 2022 AERA Annual Meeting. Washington DC: AERA, 2022. http://dx.doi.org/10.3102/1890305.

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Tsareva, Evgenya, and Maria Chikhacheva. "The Formation of Professional Music Education in the System of Academic Traditions in Yeniseisk Province." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.2.

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Shriki, Atara, and Ilana Lavy. "QUALIFYING MATHEMATICS TEACHERS TO DESIGN INTERDISCIPLINARY LEARNING ACTIVITIES OF MATHEMATICS AND MUSIC." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end099.

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"Interdisciplinary learning of mathematics and arts is often acknowledged as supporting the development of students' problem-solving skills, encouraging student involvement in learning, and fostering students' creativity. However, for teachers to acknowledge the benefits of interdisciplinary learning of mathematics and arts, and express willingness to apply it in their classrooms, they must first experience such learning for themselves. To that end, they have to take part in dedicated training courses. The study described in this paper followed the experience of twenty-seven elementary school mathematics teachers who participated in an annual professional development program that took place once every two weeks and was designed to qualify them to implement an interdisciplinary approach to teaching mathematics and arts. The course included four interdisciplinary modules: math-music, math-painting, math-photography, and math-dance. None of the teachers had prior knowledge of interdisciplinary teaching and learning. The mathematical topic chosen was fractions, as this topic entails numerous difficulties of various kinds both for the teachers and the students. In what follows we focus on the teachers' experience with module no. 1, math-music. Before we explicitly exposed the teachers to the rationale of interdisciplinary learning of mathematics and music, they were asked to design learning activities that integrate fractions and music. No specific instructions were given, as we aimed at allowing the teachers to examine their initial perceptions and interpretations regarding interdisciplinarity, and then adapting the contents of the professional development program to the teachers' early perceptions and knowledge. After completing the design of the activities, the teachers presented them, explained their considerations, and provided mutual feedback. They also rated the extent to which interdisciplinarity was expressed in the activity, according to criteria they had developed themselves. The study indicated that teachers who knew how to play a certain musical instrument and read notes produced more mathematically significant content. Moreover, activities based on considerations relating only to common student mistakes in performing arithmetic operations in fractions did not lead to the design of activities characterized as having a high extent of interdisciplinarity. In case the considerations included general mathematical knowledge and knowledge of the mathematics curriculum, the extent of integration increased. Following these findings, the professional development program focused on deepening the teachers' mathematical knowledge and musical knowledge relevant to the subject of fractions. This approach has proven to be effective in terms of teachers' ability to produce meaningful interdisciplinary math-music activities, thus indicating the feasibility of teacher training for implementing an interdisciplinary approach."
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Vukićević, Nataša, and Katarina Stanojević. "Creative Ability of Students as a Precondition for the Successful Development of Children’s Musical Creativity in Teaching Music in Lower Grades of Primary School." In PROFESSIONAL COMPETENCES FOR TEACHING IN THE 21ST CENTURY. Faculty of Education in Jagodina, 2020. http://dx.doi.org/10.46793/pctja.19.222v.

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Galaguzova, M. A., L. V. Shkolyar, and T. A. Nezhinskaya. "Didactic Support of the Professional Skills Development of the Bachelors in the Area of Music and Digital Technologies." In International Scientific Conference “Digitalization of Education: History, Trends and Prospects” (DETP 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200509.042.

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Кушнір, К. В., І. М. Кравченко, and Л. В. Щербакова. "ДИСТАНЦІЙНА ФОРМА НАВЧАННЯ СТУДЕНТІВ ЗВО В СУЧАСНИХ УМОВАХ МИСТЕЦЬКОЇ ОСВІТИ В ПЕРІОД ПАНДЕМІЇ." In Proceedings of the XXV International Scientific and Practical Conference. RS Global Sp. z O.O., 2021. http://dx.doi.org/10.31435/rsglobal_conf/25012021/7353.

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The article highlights the current state of distance education, considers its advantages and disadvantages, and analyzes the main factors that inhibit the introduction of full-fledged distance learning of art education during the pandemic. The main problems faced by university teachers in organizing distance learning are clarified. Prospects for the introduction of distance education in the Free Economic Zone of Ukraine have been studied. The main role in the implementation of distance learning is played by modern computer technologies, which in combination with the latest educational media technologies become effective means of developing professional and critical thinking of students. Right now, society is more interested than ever in informatization and computerization of all spheres of activity, including art. Therefore, the computer is an indispensable assistant to teachers and students in mastering information flows, modeling and illustrating processes, phenomena, objects and events. High-quality mastery of music and computer technology, orients the future art teacher to the school of tomorrow and gives him a certain "margin of advance" for highly professional activities. The article considers the ways of application of innovative and music-computer technologies in the study of art disciplines, as well as the forms of their implementation, which are aimed at improving the quality of training of future professionals. The main priorities for the development of modern art education in Ukraine and the prospects of distance learning for the higher education system of Ukraine during the pandemic are identified.
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Araújo, João, Rogerio Constante, Flávio Luiz Schiavoni, and Octávio Deluchi. "Harmonia: a MuseScore's plugin to teach music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10447.

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Information and Communication Technologies (ICTs) have been characterized as a very effective resource for promoting innovation in the way of teaching and learning. In relation to the musical area, computer software of musical notation, like MuseScore, has been more and more used for the musical compositions and to teach and learn music writing, musical arrangement, composition and counterpoint. MuseScore is a free software that can easily be applied to academic purposes, such as universities, for teaching students in music fields and can also be used in the professional life of students who have graduated from courses that use it. In addition, it allows the implementation of plugins for various purposes, such as the analysis of scores in relation to various preset parameters. In this context, this work aims to present the development of the Harmonia, an open source plugin for MuseScore focused on teaching musical analysis and automatic verification of scores based in harmony predefined rules.
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LIU, Hui-Min, and Bin YU. "Integration of Music Education and Business Professional Education-Based on a Comparative Analysis between U.S. Colleges and Chinese Colleges." In Proceedings of the 4th Annual International Conference on Social Science and Contemporary Humanity Development (SSCHD 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/sschd-18.2019.49.

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Чэнь, Янань. "SOME PROBLEMS OF CHINESE PROFESSIONAL PIANO EDUCATION ON THE EXAMPLE OF ALL 3 CATEGORIES OF CHINESE UNIVERSITIES." In Научные исследования в современном мире. Теория и практика: сборник избранных статей Всероссийской (национальной) научно-практической конференции (Санкт-Петербург, Октябрь 2021). Crossref, 2021. http://dx.doi.org/10.37539/nitp321.2021.69.44.005.

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В статье с целью выявления комплекса проблем, ограничивающих дальнейшее развитие китайского пианизма, предложен анализ китайских музыкальных вузов, готовящих профессиональных пианистов. Делается вывод о наличии общих для всех 3-х категорий вузов проблем, не смотря на различие целей и средств обучения будущих специалистов. In order to find a set of problems limiting the further development of Chinese pianism, the article offers an analysis of Chinese music universities that train professional pianists. It is concluded that there are problems common to all 3 categories of universities, despite the difference in goals and means of training future specialists.
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Reports on the topic "Music professional development"

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Kiv, Arnold E., Vladyslav V. Bilous, Dmytro M. Bodnenko, Dmytro V. Horbatovskyi, Oksana S. Lytvyn, and Volodymyr V. Proshkin. The development and use of mobile app AR Physics in physics teaching at the university. [б. в.], July 2021. http://dx.doi.org/10.31812/123456789/4629.

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This paper outlines the importance of using Augmented Reality (AR) in physics education at the university as a valuable tool for visualization and increasing the attention and motivation of students to study, solving educational problems related to future professional activities, improving the interaction of teachers and students. Provided an analysis of the types of AR technology and software for developing AR apps. The sequences of actions for developing the mobile application AR Physics in the study of topics: “Direct electronic current”, “Fundamentals of the theory of electronic circuits”. The software tools for mobile application development (Android Studio, SDK, NDK, Google Sceneform, 3Ds MAX, Core Animation, Asset Media Recorder, Ashampoo Music Studio, Google Translate Plugin) are described. The bank of 3D models of elements of electrical circuits (sources of current, consumers, measuring devices, conductors) is created. Because of the students’ and teachers’ surveys, the advantages and disadvantages of using AR in the teaching process are discussed. Mann-Whitney U-test proved the effectiveness of the use of AR for laboratory works in physics by students majoring in “Mathematics”, “Computer Science”, and “Cybersecurity”.
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