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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 & 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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Keith, Karin, Chih-che Tai, Laura Robertson, and Renee Rice Moran. "Waves, Sounds, & Music." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/997.
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Deignan, Ryan P. "K-12 music teacher-to-teacher collaboration in Iowa : an exploratory pilot study." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5928.
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The purpose of this study was to measure the quantity, quality, and types of collaboration amongst K-12 music teachers in the state of Iowa. Survey responses (N = 97) were analyzed and grouped according to teacher characteristics. This sample of music educators reported the least collaboration on post-instruction, evaluative activity, such as reviewing assessments, data collection and analysis, and peer-observation. Respondents rated other parts of the collaborative process, such as group dialogue, decision-making, and action-taking, more highly. Teachers with a higher level of education reported more collaboration than less educated counterparts, while band teachers reported lower levels of collaboration quality compared to their choral and general music peers. Respondents also indicated that collaboration tends to increase with job continuity, but declines somewhat after teachers reach 25 years in the same school. Middle school teachers indicated the highest levels of collaboration, while K-12 teachers reported the lowest. Further, those teaching in larger schools recorded higher levels of collaboration than their smaller school colleagues. These results suggest that this group of K-12 music teachers in Iowa engage in moderate levels of collaborative activity overall and moderate to low levels of evaluative activity. Demographic results also reveal strengths and weaknesses of various subgroups’ collaborative habits. Researchers have found that high quality teacher collaboration improves teaching and learning outcomes. These results have implications for administrators providing professional development, preservice teacher educators, professional organizations, and current practitioners in the field who desire to implement more and higher quality collaboration for the purpose of instructional improvement.
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Cullen, Danielle M. "EXPLORING ELEMENTARY GENERAL MUSIC TEACHERS’ REFLECTIVE STRATEGIES WITHIN A TEACHER COLLABORATION GROUP: AN INSTRUMENTAL CASE STUDY." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/522804.
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Music EducationPh.D.
The purpose of this instrumental case study was to describe the ways two elementary general music teachers participating in a teacher collaboration group (TCG) used reflective strategies in their classrooms. The following questions initially framed the case: When these two teachers engaged in reflective strategies, (1) What did they notice about their students’ performance and their own teaching practices? (2) What did they describe as the benefits and challenges of incorporating reflective strategies? and (3) What insights did they articulate as a result of their participation in a TCG? I (student investigator) invited two purposefully sampled elementary general music teachers to participate in a TCG focused on incorporating reflective strategies. In my interactions with the two teachers, I served three roles: researcher, facilitator, and colleague. The theoretical lens for this research was professional learning through collaboration. As researcher, I embraced the required tasks for this research, including studying existing literature, obtaining the necessary approvals, devising data collection tools, analyzing the data and drawing conclusions based on the data. Since I chose to conduct the research in the school district where I currently teach, I needed to be mindful of my professional relationships with all 10 of my elementary general music teacher colleagues, since the two of my elementary general music teacher colleagues participated in the TCG. Throughout the study I strove to maintain balance between my roles of researcher, facilitator and colleague as I drew on my review of research and practice literature on reflective strategies to make decisions throughout this research. To reduce over rapport during the study, I continually examined my motives for all choices, and sought to be mindful of how each choice affected research design, TCG agendas, and my colleagues’ professional responsibilities. I strove to identify sources of tensions relative to each of my roles, and remain as neutral as possible to each role during data analysis. The two teachers engaged in member checks, and I invited a critical friend with experience in qualitative research to serve as an auditor of the data. Based on my research on reflective strategies, I offered participants four reflective strategies, from which they chose one, to incorporate with a fourth grade general music class of their choice. Over seven months, the participants documented in their professional reflective journals what they noticed about their students and themselves while engaged in reflective strategies. The participants studied reflective practice independently and collaboratively. The participants completed two solo interviews and attended five group meetings. Data sources for this study were transcripts of TCG meetings and interviews, researcher’s field notes, participants’ professional reflective journals, and artifacts of student work shared with parent consent and student assent: video recorded teaching examples and students’ written classwork, both of which participants shared during TCG meetings. I studied the transcripts and professional reflective journals for emerging patterns and themes. Three themes emerged: Noticings About Students and Self, Learning About Students and Self, and Changing Attitudes and Beliefs about Teaching and Learning. The overarching theme, Sharing Experiences, served as the catalyst for participant noticing, learning, and changing. The participants reported that the use of reflective strategies designed for their elementary general music students informed their instruction and decision-making processes, and provided insights to their students’ levels of understanding. Additionally, the participants reported learning the value of reflection, both for themselves and for their students. The participants also reported that participating in the TCG as a form of collaborative professional development alleviated feelings of isolation and provided an opportunity for teachers to learn from one another in a professional environment. The research presented in this study has implications for teachers and administrators. Because of the benefits associated with engaging students in reflective strategies, teachers should consider how to include reflective opportunities appropriately as part of their instruction. Further, administrators should consider providing collaborative professional development opportunities for teachers of any subject area or grade level. The two elementary general music teachers in this research described gaining valuable insights regarding music teaching and learning by incorporating reflective strategies. Further, they valued the professional development in the form of the TCG, which developed over time and offered them an opportunity to reflect as partners who generated collective knowledge with each other as supportive peers, all while individually growing as teachers. Suggestions for future research include researching a curricular approach to implementing reflective strategies with PreKindergarten through 5th grade elementary general music students, reflective strategies elementary musical ensembles, investigating how reflective strategies relate to different approaches for teaching elementary general music, and exploring teacher collaboration groups consisting of music teachers from various grade levels or music teaching disciplines.
Temple University--Theses
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Davila, Giovanna Adelia. "A Graduate Course on Inclusion: Four Elementary/General Music Educators' Perceived Attitudes and Applications in the Classroom." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4959.
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The purpose of this study was to examine four elementary/general music educators (EGME) enrolled in a music and special education graduate course, on their attitudes toward teaching children with disabilities and how they applied knowledge gained from the course in their classrooms. Data collection began on the first class session, February 9th, 2013, and ended on May 30th, 2013, after the final interview. Data included (a) my field notes of the two class sessions and journal entries throughout the study, (b) documents including e-mail correspondence between the participants and myself, participants' school district's state report cards, and the participants' survey data, (c) participants' gallery walk assignments, (d) participants' journals, and (e) participants' interview transcripts.
In this qualitative study, data analysis began while collecting data. I read and reread each document and assigned codes to phrases or sections of the data, with the codes coming directly from the text under review. Individual themes included Dylan's confirmation of what he knew, Ashley's willingness to ask for advice, Veronica's need to build rapport and her recently developed awareness of children with disabilities, and how Ginger's perspective on teaching children with disabilities over her teaching career had evolved and her use of an individual approach to behavior management. Themes represented in more than one participants' data included Ashley's and Ginger's theme of continuing to grow; Dylan's, Veronica's, and Ginger's theme on their worries and concerns for their students with disabilities; and all four EGMEs had the theme beneficial/enlightening to their teaching based on the knowledge gained from the graduate course.
All four participants indicated that they gained more knowledge about children with disabilities in this specific music education graduate course than they did during their undergraduate studies. Each participant had specific goals and objectives when enrolling in the graduate course that aligned with past research, confirming that music educators want to learn more about practical strategies in the classroom, to acquire more information on managing behaviors--especially with children with emotional/behavioral disorder, and to work more effectively with paraprofessionals in the classroom. All four participants thought they left the graduate course with more tools in their toolbox, and Ginger and Veronica reported that they felt affirmed in their current teaching strategies.
This study demonstrates how four EGMEs had positive attitudes toward teaching children with disabilities and how the graduate course gave them specific strategies and skills to help improve their music instruction for children with disabilities. Recommendations included: (a) more research on professional development for music educators, (b) more professional development on inclusion for music educators, (c) more training for preservice music educators on teaching children with disabilities, and (d) follow-up research studies.
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Pelletier, Christina L. "The Learning Communities of Exemplary Mid-Career Elementary General Music Teachers." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365004386.
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Cole, Mark Remsen. "An Examination of Cooperating Teachers' Observations of Their Student Teachers in the Areas of Personal, Teaching, and Musical Skills in the Elementary Classroom." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5001.
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The purpose of this descriptive study was to examine the observations of elementary school music teachers regarding the level of preparation of their most recent student teachers at the beginning of their student teaching experience. Twenty-seven elementary music teachers participated in a survey rating the preparedness of their student teacher in the areas of personal, teaching, and musical skills, and provided free-response feedback concerning the skills and abilities they observed as strong and weak. These responses were compared to the 1997 research completed by David Teachout, where preservice teachers and experienced teachers were asked to list what they felt were the forty most important skills necessary for success in regard to new music teachers. The results of the survey found a shift in emphasis in personal skills toward skills related to relationship quality with the students. Teaching skills surrounding Classroom Management were considered important but were the weaker of the demonstrated abilities. Musical skills showed the closest alignment between what was considered essential and demonstrated strength. Additional skills, both strong and weak were noted, and implications for the music teacher curriculum was discussed.
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Venesile, Christopher John. "The Acquisition of Pedagogical Content Knowledge By Vocal Jazz Educators." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1278521556.
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Hill, Betty J. "Evaluation and Games That Music Teachers Play: A Case Study of a Peer Review Program." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574681400815453.
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Heyworth, John Nathan. "A study on the impact of a music looping technology intervention upon pre-service generalist teachers’ self-efficacy to teach music in primary schools." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2144.
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In Australia, in the current climate of economic rationalism in which there has been an increasing emphasis on literacy and numeracy, funding for specialised subjects like music has been reducing. As a result, generalist classroom teachers are being given more responsibility for delivering effective music education in primary schools. However, the time dedicated to training pre-service teachers in music education in tertiary institutions has diminished. Further, time constraints involved in building pre-service knowledge and skills in teaching music may impact many pre-service teachers’ beliefs about their ability to teach music.
Within these constraints, digital technology may provide a key to improving pre-service teacher training in music education in universities, resulting in better quality delivery of music in schools. This study investigates the potential of digital looping technology to build generalist pre-service teachers’ knowledge of and efficacy for teaching music in primary schools. The study involved three stages of investigation: Stage One: an experimental and control intervention involving measuring the self-efficacy of pre-service teachers before and after they completed one unit of study incorporating looping technology; Stage Two: video analysis in a practicum setting; and Stage three: participant self-reflections following the practicum to investigate the transferability of pre-service teachers’ self-efficacy from university-based learning to classroom practice. Based upon the study, this thesis makes a number of recommendations for future practice in terms of generalist pre-service teacher training, as well as recommendations for future research.
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Carvalho, Isamara Alves. "Saberes docentes dos instrumentistas professores: diálogo entre ensinar e avaliar num curso de performance em instrumento musical." Universidade Federal de São Carlos, 2004. https://repositorio.ufscar.br/handle/ufscar/2688.
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Previous issue date: 2004-11-22The present research had as general objective knowing and discussing how professors of musical instruments, who teach children, report their teaching learning process according to two central axles: teaching and evaluating. In the first part we prioritize a theoretical explanation of the references and the methodology chosen for the development of this research. The first chapter presents some categories of teaching knowledgement starting with the references of TARDIF (2002) and MIZUKAMI (1996, 1999, 2001 and 2002), among others, show the authors who had endorsed our reflections on education and musical education focused in the teachlearning process and the democratization of the access, and on evaluation as learning aiding. We brought the concepts of diagnostic evaluation (LUCKESI, 1998)and armed loveliness (FREIRE, 1998, 1999, 2001a, 2001b and 2002, and LUCKESI, 1998). The second and last chapter of the first part describes the covered stages for the accomplishment of the present research. A qualitative research was chosen andwe carry through interviews in a half-structuralized characteristic, where ten professors of instrument had participated. Later, in the second part, we began the presentation and discussion (dialogue) of the results acquired in the interviews. It was possible to discuss different situations, dilemmas and reflections presented by the professors interviewed about the reality of the teach-learning process of the musical instrument lessons for children in a music school. The final dialogue shows some contributions of this research in the scope of the instrumentists teaching development and magnifying the academic production that focuses on the music schools professors.
A presente pesquisa teve como objetivo geral conhecer e discutir como os professores de instrumento musical, que lecionam para crianças, relatam seu processo de aprendizagem para a docência a partir de dois eixos centrais: ensinar e avaliar. Na primeira parte priorizamos uma explanação teórica dos referenciais e do percurso metodológico escolhido para o desenvolvimento desta. No primeiro capítulo apresentamos algumas categorizações de saberes docentes partindo do referencial de TARDIF (2002) e MIZUKAMI (1996, 1999, 2001 e 2002), entre outros, mostramos os autores que respaldaram nossas reflexões sobre educação e educação musical focadas no processo ensino-aprendizagem e na democratização do acesso, e sobre avaliação como favorecimento da aprendizagem. Trouxemos os conceitos de avaliação diagnóstica (LUCKESI, 1998) e amorosidade armada (FREIRE, 1998, 1999, 2001a, 2001b e 2002, e LUCKESI, 1998). O segundo e último capítulo da primeira parte descreve as etapas percorridas para a realização da presente pesquisa. Optamos pela pesquisa qualitativa e realizamos entrevistas de caráter semi-estruturado, em que participaram dez professores de instrumento. Posteriormente, na segunda parte, iniciamos a apresentação e discussão (diálogo) dos resultados apresentados nas entrevistas. Foi possível discutir diversas situações, dilemas e reflexões apresentados pelos professores entrevistados sobre a realidade do processo ensino-aprendizagem das aulas de instrumento musical para crianças numa escola de música. O diálogo final aponta algumas contribuições desta pesquisa no âmbito do desenvolvimento docente dos instrumentistas e no âmbito da ampliação de produção acadêmica que enfoque os docentes de escolas de música.
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Viapiana, Ezequiel Carvalho. "Indícios do desenvolvimento profissional de uma professora de música iniciante : um estudo sobre os gestos profissionais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/171276.
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Esta dissertação teve como objetivo geral investigar os indíícios do desenvolvimento profissional na atuaçaão de uma professora de muísica iniciante por meio dos gestos profissionais. Como objetivos especííficos, buscou: identificar e caracterizar os gestos profissionais na atuaçaão da professora de muísica iniciante; e compreender o processo de transformaçaão dos gestos do trabalho ou ofíício (sentidos) em gestos profissionais (elementos) singulares e contextuais na atuaçaão da professora de muísica iniciante. Para alcançar esses objetivos, foi adotado como referencial teoírico o conceito de funçaão e profissionalidade docente de Maria do Ceíu Roldaão, que defende a funçaão de ensinar como elemento fundante da profissionalidade, e o modelo de atuaçaão profissional de Anne Jorro, que apresenta os gestos do trabalho ou ofíício, como caracterizadores socialmente construíídos da profissaão docente, e os gestos profissionais, como um alargamento dos gestos do trabalho ou ofíício para uma perspectiva particular e contextual. Por meio desses conceitos, foi desenvolvido um estudo de caso instrumental, com observaçaão e gravaçaão audiovisual de sete aulas de Paloma, a professora escolhida para participar da pesquisa, e oito entrevistas de estimulaçaão de recordaçaão. Os dados coletados passaram por procedimentos de transcriçaão, codificaçaão, categorizaçaão e interpretaçaão, para, entaão, serem explicitados os indíícios de desenvolvimento profissional de Paloma. Como resultado, saão explicitadas as dimensoães (açoães) transformadoras da atuaçaão de Paloma, passando de um sentido para um elemento de atuaçaão, sendo os gestos profissionais expressos por meio dos gestos da linguagem, da encenaçaão do conhecimento, do ajuste na açaão e da eítica. O processo de transformaçaão dos gestos do trabalho ou ofíício em gestos profissionais se daí a partir da experieência adquirida pela professora no contexto de atuaçaão e eí impulsionado pela realizaçaão de treês açoães: flexibilizaçaão de pressupostos anteriores, viveência no ambiente de trabalho e reflexaão sobre a praítica. A conclusaão propoãe o entendimento do desenvolvimento profissional como o processo de aprender a ensinar com duas perspectivas em relaçaão aà atuaçaão docente em sala de aula: a perspectiva interna, que foi descrita como constataçaão desta pesquisa, e a perspectiva externa, que diz respeito a polííticas puíblicas educacionais e aàs condiçoães de trabalho a elas relacionadas.This MA dissertation aimed at to investigate signs of the professional development in the performance of a beginning music teacher through her professional gestures. More specifically, it aimed at to identify and to characterize the professional gestures in the performance of the beginning music teacher; and to understand how the gestures of work or métier (senses) are transformed into singular and contextual professional gestures (elements) in the performance of the beginning music teacher. The theoretical framework was constituted by the concept of function and teaching professionality, by Maria do Ceíu Roldaão, who claims teaching function is a founding element of professionality, and by the model of professional performance, by Anne Jorro, who presents the gestures of the work or métier, as socially constructed characterizers of the teaching profession, and professional gestures, as an extension of work or métier gestures to a particular and contextual perspective. An instrumental case study was carried out, with data being collected through observation and audiovisual recording of seven classes of Paloma, the music teacher that engaged in the research, and eight recall stimulation interviews. Data collected underwent procedures of transcription, codification, categorization and interpretation, so that the signs of professional development of Paloma could be explained. Results make explicit the transformative dimensions (actions) of Paloma's performance, moving from a meaning to a performance element, being the professional gestures expressed through the gestures of language, the gestures of staging the knowledge, the gestures of adjustment in action and the gestures of ethics. The process of transforming gestures of work or métier into professional gestures is based on the experience acquired by the teacher in the context of her work and is driven by three actions: flexibilization of previous assumptions, living in the work environment and reflection on her practice. The conclusion proposes the understanding of the professional development as the process of learning to teach with two perspectives related to the teaching performance in the classroom: the internal perspective, which was described through the findings of this research, and the external perspective, which concerns educational policies and teachers´ working conditions related to these policies.
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Higginson, Kelsey. "Distraction, Enjoyment, and Motivation During an Indoor Cycling Unit of High School Physical Education." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/5700.
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With the increased rate of overweight and obese youth in the United States many people began looking for ways to increase youth exercise quality and habits; one such way was by using an external distraction during exercise to increase personal motives toward exercise. This study involved 81 high school aged students enrolled in a required physical education class. Students rode an indoor cycling bike for 20 minutes while wearing a heart rate monitor. They were told to maintain a heart rate between their 70 and 79% maximum heart rate. Every 5 minutes students were asked to rate how hard they thought they were working, using a modified rating of perceived exertion scale, and how much they were enjoying the activity. At the end of each day, students were asked if they would continue to cycle if given the option. The first two days had no distraction, days 3 and 4 had class selected music playing, and days 5 and 6 had a class selected movie showing at the front of the room. There is no significant difference in heart rate or rating of perceived exertion between no distraction and adding music, but when a movie is played, both heart rate and rating of perceived exertion decrease significantly. However, a similar decrease in heart rate and rating of perceived exertion is also seen in the control group on the same days of data collection. Including a distraction while exercising has no significant effect on enjoyment of the activity or intention to persist in the activity. Females have significantly higher intrinsic motivation levels throughout the course of data collection, and males' intrinsic motivation significantly declines with each progressive condition. As the decline in heart rate and rating of perceived exertion is seen in both control and treatment groups the decline is possibly influenced by unaccounted for factors such as hard bike seats, boredom, or teacher pedagogy. These factors could potentially account for the decrease in intrinsic motivation during the last two days of data collection.
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Mullins, William D. "A survey of piano teachers whose students have ADHD: Their training, experiences, and best practices." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500597748529337.
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White, Jason C. "Addressing the Poor Professional Outcomes of Undergraduate Arts Students." University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1365886713.
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Chrapačienė, Natalija. "Muzikos pedagogų kvalifikacijos bei profesinių kompetencijų plėtojimo tendencijos tęstiniame mokyme." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090828_132245-71741.
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Darbe analizuojami klausimai, kurie susiję su muzikos pedagogų rengimu, nagrinėjama jų profesinė kompetencija bei jos tobulinimo ypatumai.
Mokytojų rengimo problema itin aktuali, nes ne tik švietimo reformos eigos sėkmė, bet ir tolesnė mūsų kultūros raida didžia dalimi priklauso nuo tinkamai paruošto pedagogo. Pagrindinė Lietuvos šiandieninės švietimo politikos kryptis – profesinio tobulėjimo skatinimas – atvėrė plačias galimybes pačių mokytojų profesiniam tobulėjimui.
Siekiant atskleisti muzikos mokytojų požiūrį į profesinį tobulinimąsi buvo atliktas tyrimas, kurį sudarė tęstinė muzikos pedagogų apklausa raštu bei muzikos ir menų mokyklų vadovų kokybinis tyrimas. Pirmojo tyrimo etapo metu apklausta 109 muzikos mokytojai, antrajame tyrimo etape buvo siekiama apklausti kuo daugiau respondentų, dalyvavusių pirmajame tyrimo etape (91muzikos pedagogas).
Tyrimo objektas – muzikos pedagogų kvalifikacijos bei profesinių kompetencijų plėtojimas. Darbo uždaviniai:
1) išnagrinėti muzikos pedagogų profesinio rengimo etapus;
2) išanalizuoti šiandieninius reikalavimus muzikos mokytojo kompetencijoms;
3) atskleisti muzikos mokytojų kvalifikacijos tobulinimo formas;
4) ištirti muzikos mokytojų požiūrį į kvalifikacijos tobulinimą, kaip savo profesinės veiklos sudedamąją dalį;
5) išnagrinėti profesinio tobulinimosi motyvaciją skatinančius ir ribojančius veiksnius;
6) nustatyti muzikos bei menų mokyklų vadovų požiūrį į muzikos pedagogų kvalifikacijos plėtojimo galimybes.
Tęstinio tyrimo... [toliau žr. visą tekstą]In this work the issues related to preparation of music educators have been analyzed and also the peculiarities of their professional competences and their improvement has been investigated. The problem of the preparation of teachers has been a relevant one, as not only the success of education reform course, but also the further development of our culture is mostly based on the relevant preparation of teachers. The main direction of present educational policies in Lithuania is the encouragement of professional improvement; ant is has presented wide possibilities of the professional improvement of teachers. In order to reveal the attitude of music teachers towards their professional improvement, the research has been carried out, which consisted of continuous written survey of music teachers and also the qualitative research of art school directors. In the first stage of this research 109 music teachers have been questioned, while in the second part of the research the attempts have been made to question more respondents, who had already participated in the first stage of the survey (i.e. 91 music teachers). The object of the research – the development of qualification and competences of music teachers. The following tasks have been made: 1) to review the peculiarities of professional preparation of music teachers; 2) to analyze the current requirements for the competences of music teachers; 3) to reveal the qualification improvement forms among music teachers; 4) to... [to full text]
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Wilton, N., Huili Hong, J. Temaj, Karin Keith, and Edward J. Dwyer. "Encouraging Literacy Through Musical Experiences." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/988.
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Gaulke, Tamar Genz. "O desenvolvimento profissional de professores de música da educação básica : um estudo a partir de narrativas autobiográficas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/165447.
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Esta pesquisa teve como objetivo geral compreender como ocorre o processo de desenvolvimento profissional do professor de música a partir da sua relação com a escola de educação básica. A visão conceitual de lugar de Tuan e de Lévy e Lussault, de desenvolvimento profissional de Nóvoa e de construção biográfica de Delory-Momberger, bem como a pesquisa autobiográfica e as narrativas, constituem o referencial teóricometodológico desta pesquisa. O estudo foi realizado por meio de entrevistas narrativas com quatro professores licenciados, experientes e atuantes em escolas de educação básica de Porto Alegre, RS. A análise dos dados foi construída a partir de macrotemas que emergiram dos dados das entrevistas: do trabalho na escola de educação básica; da relação com os sujeitos escolares – o outro; da autoformação. Esses macrotemas são como marcas perceptíveis no processo de desenvolvimento profissional do professor de música. A análise indica que o desenvolvimento profissional de cada professor é único e pessoal, já que constituído por meio das experiências. O outro, o eu e a construção do eu com o outro – o lugar, são os eixos que sustentam o desenvolvimento profissional dos professores. É na alteridade que o professor se desenvolve. Portanto, se reconhecer na experiência na e com a escola é condição do desenvolvimento profissional do professor de música, sendo a experiência com o lugar o que constitui a toca. A toca é um lugar interno de formação, que, ao amalgamar formação pessoal e profissional, se torna lugar promotor do desenvolvimento profissional. Essa dinâmica do processo de desenvolvimento profissional se dá a partir da constituição da toca (ethos), da sua morada, em que os professores constroem lugar em si mesmos, constituindo-se biograficamente a partir da escola (lugar). A presente pesquisa procura dar maior visibilidade às relações do professor com a escola como base do desenvolvimento profissional do professor, pensando a escola não como um pano de fundo, mas na complexidade de sua dimensão espacial, tendo em vista compreender o processo em que se alia a formação com a atuação e fornecer pistas para pensar a formação de professores em cursos de licenciatura em música.This research had as general objective to understand how the professional development process of music teacher occurs from its relation with the school of basic education. The conceptual view of place of Tuan and Lévy and Lussault, of professional development of Nóvoa and of biographical construction of Delory-Momberger, as well as autobiographical research and narratives constitute the theoretical-methodological reference of this research. The study was carried out through narrative interviews with four licensed teachers, which are experienced and active in basic education schools in Porto Alegre, RS. The analysis of the data was based on the macro-themes that emerged from the interview data: the work in the basic education school; the relationship with the school subjects - the other; the self-training. These macro themes are perceptible marks in the professional development process of the music teacher. The analysis indicates that the professional development of each teacher is unique and personal, since it is constituted through experiences. The other, the self and the construction of the self with the other - the place, are the axes that sustain the professional development of the teachers. It is in alterity that the teacher develops him/herself. Therefore, to recognize oneself in the experience at and with the school, there is a condition for the professional development of music teacher. This experience with the place is the toca. The toca is an internal place of formation, which, by amalgamating personal and professional formation becomes a promoter of professional development. These dynamics of the process of professional development comes from the constitution of the toca (ethos), of its dwelling, in which the teachers construct place in themselves, being constituted biographically from the school (place). The present research seeks to give greater visibility to the relations between the teacher and the school as a basis for the professional development of the teacher, thinking of the school not as a background, but of the complexity of its spatial dimension, as a way to understand the process in which it allies the training with the acting and providing clues to think about the training of teachers in undergraduate music courses.
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Xie, Wei. "Improving Piano Teaching at International Schools in a Suburban District of Beijing." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6708.
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The quality of piano education in international schools in China has been affected by an increasing number of piano students and piano teachers experiencing heavy teaching loads. The research questions in this qualitative case study included both teachers' and parents' perceptions of the quality of teaching and learning in piano classes at multicultural international schools in a suburban district of Beijing. The 4 principles of the Suzuki method provided the conceptual framework for the study. Data were collected through interviews with 10 experienced piano teachers, 10 selected parents of K-12 piano students, and observations of 3 group piano classes, 8 individual lessons, and 3 student recitals. All data were coded and analyzed using the Suzuki principles of character, use of the mother tongue, parental involvement, and positive environment. Findings indicated that school leaders, teachers, parents, and students need to understand each party's expectations to build and maintain a healthy relationship and positive learning environment as promoted by the principles of the Suzuki method. A professional development program, Piano Teaching in a Beijing Suburb: 21st Century Effective Piano Teaching, was created to engage and support local piano teachers' needs and to improve their understanding of various eastern and western teaching approaches, traditional and functional piano teaching, and effective teaching strategies to better prepare them for teaching in diverse classrooms. Implementation of the project might affect social change and benefit the local international community by providing a professional development model for all piano teachers to help international piano students during their transitional years in China.
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Machado, Daniela Dotto. "Indicadores educacionais de desenvolvimento profissional da docência em música nos anos finais do ensino fundamental." Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/2347.
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Previous issue date: 2014-02-27This dissertation aims at investigating educational indicators of professional development in teaching through the participation of novice and experienced music teachers in the late years of elementary school in a continuing education distance program. The study is based on the notions of educational indicators and educational indicators of professional development in teaching proposed by Reali (2009) and Reali et al. (2004), in Shulman s theory on teachers professional knowledge base and the pedagogical reasoning process (1986; 1987; 2005) as well as on teachers professional experience based on Tardif (2012). In this qualitative study, the constructive-collaborative method of intervention-research was used, in which the teachers narratives concerning their education and professional practice were considered. Music teachers continuing distance education was developed from April to December 2011 on the UFSCar Teachers Portal. Tools of software packages Moodle and Skype were used for data collection in the study. After completing the program, thirteen (13) music teachers in the late years of elementary school were selected and constituted the study sample. In its results, the investigation found eleven (11) educational indicators of professional development in music teaching. As regards novice teachers, it was observed that they tend to not master all the necessary knowledge for teaching; show greater difficulties in planning activities and defining contents to be taught; tend to master and use some technologies applied to musical reproduction and practice in music teaching. Concerning the experienced teachers, it was observed that, in atypical situations of professional practice, they show difficulties in mastering music content, in choosing contents to be taught and in planning lessons; are concerned about getting to know students and their involvement with music better; seek for information on songs of students interest, even if their treatment does not exclusively take place in class; show to be more secure in defining the music contents to be taught; are concerned about students broader development and not only about their learning music content; show to have greater access to and greater knowledge of music teaching materials; tend to show tranquility when coping with situations that arise unexpectedly; and are constantly learning.
Esta tese objetiva investigar indicadores educacionais de desenvolvimento profissional da docência por meio da participação de professores de Música, iniciantes e experientes, dos anos finais do Ensino Fundamental em um curso de formação continuada a distância. A pesquisa se fundamenta nas noções de indicadores educacionais e indicadores educacionais de desenvolvimento profissional da docência propostas por Reali (2009) e Reali et al. (2004), na teoria sobre a base de conhecimento para o ensino e do processo de raciocínio pedagógico de Shulman (1986; 1987; 2005), e, ainda, no tempo de experiência profissional docente com base em Tardif (2012). Nesta pesquisa qualitativa, o método construtivo-colaborativo de pesquisa-intervenção foi empregado, no qual as narrativas de formação e atuação profissional dos docentes foram consideradas. A formação continuada à distância de professores de Música foi desenvolvida de abril a dezembro de 2011 junto ao Portal dos Professores da UFSCar. Para a coleta dos dados da pesquisa foram utilizadas as ferramentas dos softwares Moodle e do skype. Após a realização do curso, treze (13) professores de Música dos anos finais do Ensino Fundamental foram selecionados e constituíram a amostra da pesquisa. Em seus resultados, a investigação constatou onze (11) indicadores educacionais de desenvolvimento profissional da docência em Música. Com relação aos professores iniciantes a pesquisa verificou que esses: tendem a não dominar todos os conhecimentos necessários ao ensino; apresentam maiores dificuldades no planejamento das atividades e na definição dos conteúdos a serem ensinados; tendem a dominar e empregar algumas tecnologias aplicadas à reprodução e ao fazer musical no ensino de Música. Quanto aos professores experientes, a investigação averiguou que: em situações atípicas de atuação profissional, apresentam dificuldades no domínio de conteúdos da Música, na escolha de conteúdos a serem ensinados e no planejamento das atividades das aulas; preocupam-se em conhecer mais os alunos e seus envolvimentos com a música; procuram por informações sobre as músicas de interesse dos alunos, mesmo que o tratamento das mesmas não aconteça com exclusividade nas aulas; demonstram maior segurança na definição dos conteúdos de Música a serem ensinados; preocupam-se com o desenvolvimento mais amplo dos alunos e não apenas com as aprendizagens dos conteúdos de Música; demonstram possuir maior acesso e conhecimentos dos materiais didáticos da Música; tendem a apresentar maior tranquilidade no enfrentamento de situações que surgem inesperadamente; e, estão sempre aprendendo.
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Slawsky, Melissa Maccarelli. "Transitioning from Student to Teacher in the Master-Apprentice Model of Piano Pedagogy: An Exploratory Study of Challenges, Solutions, Resources, Reflections, and Suggestions for the Future." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3352.
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While many music educators learn how to teach through teacher training programs, the standard mode of transmission in which piano teachers learn to teach applied piano is through proficiency of the instrument under the guidance of a master teacher. This tacit development of pedagogical knowledge occurs through the master-apprentice model of pedagogy. The purposes of this study were (a) to explore how piano teachers learn how to teach from, and independent of, piano pedagogy coursework, overcome challenges, and continue to add to their pedagogy knowledge, and (b) to explore topics that would be most useful in a piano pedagogy course or program. This exploratory research design consisted of a series of semi-structured interviews. Piano teachers of varying ages, educational levels, and years of teaching experience (N = 12) were interviewed as to their experiences as students, autonomous transition into the teaching role, and the informal or formal learning opportunities which contributed to their development as piano teachers. Upon reflecting on their experiences in higher education compared to their professional lives as piano teachers, interviewees were asked to make suggestions for the future of piano pedagogy and the piano curriculum in general.
In analyzing the data, 11 major themes emerged in the interview transcripts which revealed aspects of the interviewees' transition into the teaching role and development as piano teachers: (1) piano teachers were autonomously resourceful when transitioning into the teaching role, (2) experiential learning (i.e., learning by doing, gaining experience, and trial-and-error), (3) piano teachers evoke memories (of former teachers, materials played, and experiences as students) in transitioning into the teaching role, (4) piano teachers emulate former teachers + a mix of elements in developing their teaching style, (5) overcoming challenges and seeking out resources, (6) formal learning experiences (including piano pedagogy coursework), (7) partnership of learning and teaching (apprenticeship and cognitive apprenticeship), (8) support in the field (including the role of professional activities), (9) teaching confidence, (10) reflective practice, and (11) reflections and suggestions for the future.
The pianists interviewed experienced an autonomous transition into the teaching role as they received no formal teacher-training and very little guidance when beginning to teach. Although the master-apprentice model is often attributed as the primary means in which piano teaching is disseminated, experiential learning (e.g., learning by doing, gaining experience, and trial-and-error) factored just as prominently into the pianists' transition into the teaching role and early development as piano teachers. Additionally, apprenticeship (i.e., guided teaching) and cognitive apprenticeship (i.e., formal learning combined with authentic hands-on teaching experiences) were two facilitative modes of learning to teach experienced by some of the interviewees. The pianists interviewed demonstrated incredible personal initiative in navigating their autonomous transition into the teaching role and development as piano teachers (e.g., teaching style, teaching confidence, teaching identity, and reflective practice) by deriving meaning through the process of overcoming challenges, seeking out resources and support in the field, monitoring and correcting their own performance, and finding measures to continually refine their teaching.
The importance of pedagogical coursework and increased teacher-training experiences in the higher education setting were emphasized by all piano teachers interviewed, especially when combined with opportunities to observe expert piano teaching and gain authentic hands-on teaching experiences. Similarly, some piano teachers described teaching while pursuing their degree(s) as a means of learning from an academic and career standpoint, as they could immediately apply what they were learning to their own teaching. Piano teachers emphasized the need for business skills for running a successful studio, performance skills beyond the traditional classical repertoire, functional skills to make a viable living (e.g., accompanying, improvisation, harmonizing melodies, and playing for church services), as well as techniques, materials, and special considerations for teaching across the entire lifespan (i.e., "cradle to grave") for a wider variety of learners (e.g., beginning, intermediate, advanced, pre-school age through mature adult, and those with special needs).
This exploratory study provided a detailed perspective as to the induction experiences of the piano teacher. It is proposed that further exploration into the pianist's transition into the teaching role could inform the development and restructuring of pedagogical coursework and a wealth of pedagogical materials for practitioners in the field as well as the framework for piano teacher training.
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Buchmann, Letícia Taís. "A CONSTRUÇÃO DA DOCÊNCIA EM MÚSICA NO ESTÁGIO SUPERVISIONADO: UM ESTUDO NA UFSM." Universidade Federal de Santa Maria, 2008. http://repositorio.ufsm.br/handle/1/6833.
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This thesis was carried out following the research line Education and Arts of the Postgraduate Education Program at the Federal University of Santa Maria (UFSM),
Brazil, and it is one of the works originated in the research group FAPEM (Qualification, Action and Research in Musical Education), registered at the Brazilian research support agency CNPq. This work aims at investigating music teaching
development in the supervised pre-service teacher training of the Music Course Licentiate s degree at UFSM, from the point of view of a group of six trainees. In order to do so, we sought to understand the trainees conception of training and its relation to primary and secondary education. Besides taking into account the laws related to the theme, our theoretical references included authors from the fields of
Education (such as ALARCÃO; TAVARES, 1987; GARCIA, 1999; PIMENTA; LIMA, 2004) and Musical Education (such as MATEIRO, 2002a, 2002b; MATTANA, 2005; BEINEKE; BELLOCHIO, 2007) whose research works focus on teachers
professional development and supervised pre-service teacher training. The adopted methodological approach was qualitative, including semi-structured interviews,
memory stimulus interviews and video recordings of the trainees classes. Criteria for selecting participants were the trainees interest and availability as well as the
researcher s availability for going to the schools at the time the trainees were teaching in order to film them. Data were analyzed following their organization into two categories: (1) conceptions of training, including the supervisor s role, and (2)
teaching practice at school, considering that the training was carried out in pairs, its relation to primary and secondary education and the trainees experiences. Based on
our interpretation and dialogue with the references concerning teaching development in supervised pre-service teacher training, it was possible to reach some conclusions
about music teachers professional development. Thus, we believe this research may contribute relevant data to the teaching profession. We pointed out the sharing of
actions by the trainees and their supervisor s mediation, as well as problems and considerations regarding teaching development during training and its relation to music teachers professional development.Esta dissertação foi desenvolvida na Linha de Pesquisa Educação e Artes, do Programa de Pós-Graduação em Educação da Universidade Federal de Santa Maria e está vinculada ao grupo CNPq/Fapem: Formação, Ação e Pesquisa em Educação Musical. O objetivo da pesquisa foi investigar a construção da docência em Música no estágio supervisionado do Curso de Música Licenciatura Plena da UFSM, a partir do ponto de vista de um grupo de seis estagiários. Para tanto procurou-se conhecer as concepções dos estagiários sobre o estágio supervisionado e entender sua relação com o ensino na Educação Básica. Além de considerar a legislação vigente sobre os temas, os referenciais teóricos estudados incluem autores dos campos da Educação (como ALARCÃO; TAVARES, 1987; GARCIA, 1999; PIMENTA; LIMA, 2004) e da Educação Musical (como MATEIRO, 2002a, 2002b; MATTANA, 2005; BEINEKE; BELLOCHIO, 2007), cujas pesquisas focalizam a formação inicial de professores e o estágio supervisionado. A abordagem metodológica adotada foi a qualitativa, com a realização de entrevistas semi-estruturadas e de estimulação de memória e gravações em vídeo de aulas dos estagiários. A seleção dos participantes ocorreu pelo critério de interesse e disponibilidade em participar da pesquisa e também pela possibilidade de a pesquisadora ir à escola de Educação Básica nos horários das aulas desses estagiários para realizar as filmagens. A análise dos dados foi realizada a partir da organização de duas categorias: (1) concepções de estágio, incluindo a função desempenhada pela orientação, e (2) a atividade docente na escola, destacando a realização do estágio em duplas e a relação com o ensino na Educação Básica com foco nas experiências dos estagiários. A partir da interpretação e diálogo com os referenciais sobre a construção da docência no estágio supervisionado foi possível tecer considerações sobre o processo formativo de professores de Música. Nesse viés, acredita-se que esta pesquisa possa contribuir com dados relevantes sobre o estágio na construção da docência, ressaltando-se o compartilhamento das ações dos estagiários e a mediação da orientação. Enfatizam-se também problematizações e reflexões sobre a construção da docência durante o estágio e sua relação com a formação de professores de Música.
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Domenech, Mauro [UNESP]. "Música de câmara na formação do músico profissional: aspectos pedagógicos, escolha e adaptação de seu repertório." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/157182.
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Este trabalho discute a música de câmara na formação do músico profissional, seus aspectos pedagógicos, a escolha e adaptação de seu repertório. Apresenta a prática da música de câmara como parte fundamental na formação do músico (instrumentista/cantor), com suas peculiaridades e características na educação musical, especialmente em relação à interpretação musical, às práticas de conjunto e à preparação para a performance. A metodologia consistiu em um estudo de caso de uma instituição de ensino profissionalizante representativa nacionalmente, situada na cidade de São Paulo, a Escola Municipal de Música de São Paulo – EMMSP, onde o pesquisador é professor de música de câmara. Envolveu coleta de dados de fontes disponíveis online e publicações, com aplicação do método teórico-reflexivo, implicando em revisão de literatura e estudo da estrutura pedagógica relacionada à disciplina música de câmara. O trabalho está organizado em três partes. Na primeira, apresenta-se uma revisão de literatura, discutindo o estado atual da questão no meio acadêmico. Na segunda, parte discute-se a função pedagógica da música de câmara enquanto disciplina na escola de formação profissional e faz-se uma proposta de metodologia para esta disciplina. Na terceira, discute-se a escolha e adaptação do repertório didaticamente orientado à disciplina, a disponibilidade de partituras e aplicabilidade da transcrição na adequação deste repertório em função da realidade cotidiana do professor.
This work discusses chamber music in the development of the professional musician, its pedagogical aspects and the choice and adaptation of its repertoire. The study presents the practice of chamber music as a fundamental part in the musician’s training (instrumentalist/singer) as well as its peculiarities and characteristics in musical education, especially as relative to musical interpretation, group practice and the preparation for performance. The methodology consists of a case study of a representative vocational training institution, located in the city of São Paulo, the Municipal School of Music of São Paulo – EMMSP, where the author of this study is a chamber music teacher. The research involved the collection of data from online sources and printed material, with application of the theoretical-reflexive method involving literature review and study of the pedagogical structure as related to the chamber music class. The work is organized in three parts. The first presents a literature review and a discussion of the state of the art in the academic environment. The second discusses the pedagogical function of chamber music as a discipline in the curriculum of the school and the proposed methodology in the class. The third discusses the choice and adaptation of the repertoire for use in the class, the availability of scores and the applicability of transcription for use in the daily routine of the teacher.
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LIU, CHEN-CHUN, and 劉辰君. "The Study of Professional Development for Beginning Music Teachers." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/52810645376795972690.
Full textAbstract:
碩士國立屏東大學
教育行政研究所
105
The earlier system of teachers, small countries received the complete curriculum of teacher education. The chin and mathematics main subjects of teaching is quite familiar, but for art, music and other subjects not specialization. Furthermore, the music majors in college, only the main branch pipe music very professional. The actual teaching time to time have to face the non-music subjects for newly appointed music teacher is bound to cause some of the effects. The qualitative research methods are to study in-depth interviews, respondents totaling 5. 5 respondents were newly appointed music teacher, the interview process to explore the impact of beginning for professional development of music teachers. The empirical results show that newly appointed music teacher biggest problem is lack of teaching experience comparison. Professional capacity must be strengthened by teaching others the way to observe experienced teachers in the classroom. In addition, can share with the same beginning teachers to discuss teaching experiences with each other, by multivariate pipeline absorb more teaching mode can strengthen their own their own learning. Senior teachers inject a booster, they can effectively assist beginning music teachers into the teaching and learning environment in order to enhance the effectiveness of teaching. This study provides contribution beginning music teachers for teaching research, from a strange environment. The help of experienced teachers as soon as possible and achieve professional development for teaching students to produce results.
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"An Investigation of the Perceptions of Music Teachers Related to Interactions with Peers in Online Professional Development Courses." Doctoral diss., 2015. http://hdl.handle.net/2286/R.I.29613.
Full textAbstract:
abstract: The purpose of this study was to investigate the experiences and opinions of Arizona music teachers related to interactions with peers in formal online professional development (OPD) courses approved for recertification of their teacher credential. The target population (N = 584) was current music teachers in K-12 schools who are members of the 2014 Arizona Music Educators Association. Ultimately 279 respondents completed a researcher-constructed online survey (response rate = 48%).
The survey instrument explored four primary research questions; (1) Do music teachers in Arizona participate in formal OPD related to recertification of their teacher credential? (2) Do music teachers in Arizona who participate in OPD courses interact with their peers during OPD? (3) What is the nature of self-reported peer interactions among Arizona music teachers who participate in OPD courses? (4) What are Arizona music teachers' opinions regarding peer interaction in OPD courses?
Almost half of the 279 respondents participated in OPD courses for their recertification. Some participated in music-specific OPD courses such as online music classes, webinars, or online degree programs. Many respondents considered OPD courses to be effective because of convenience, location, time savings, and flexibility. Most who took online classes participated in multiple OPD courses.
Of the respondents who took OPD courses, nearly two-thirds indicated that they interacted with peers during those courses. Most of these respondents reported that required interactions were effective. Some benefits were sharing ideas and acquiring information from others. Participants preferred asynchronous interaction with peers to synchronous interaction. Factors that may have prevented these music teachers from interacting in OPD courses were superficial level message content in discussion boards or low participation from peers. Teachers also reported using informal online interactions in social networks not related to recertification hours.
Findings from this study may help improve teacher interactions with peers in OPD courses. This study may serve to influence instructors in OPD courses, administrators, policy-makers, and online course developers to improve OPD by integrating peer interactions into online courses for music teachers. Additional research on many aspects of OPD for music teachers is needed to improve educational practice.Dissertation/Thesis
Doctoral Dissertation Music Education 2015
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Parsons, Joshua Ryan. "Peer-led professional development in musical creativity through improvisation for music teachers." Thesis, 2017. https://hdl.handle.net/2144/26420.
Full textAbstract:
General creativity and, more specifically, creative thinking in music are valuable qualities that should be fostered in music education for personal, professional, and societal reasons. In order for band directors to successfully integrate musical creativity into their classroom curriculum and serve as resources for other content area teachers implementing 21st Century Skills (Partnership for 21st Century Skills, 2017), it is imperative that they are personally capable and comfortable with the very activities and methods they would employ with their students. In this action research study, a group of five band directors with similar conservatory-influenced undergraduate backgrounds volunteered to participate in peer-led, non-formal professional development in the area of musical improvisation.
Due to the common traditional attributes of such institutions of higher education, many future educators are trained to reproduce performance practices of Western art music in place of, and to the exclusion of, following individual musical curiosities and creative impulses (Small, 1998). A general lack of improvisation and jazz experiences in pre-service teacher education (Pignato, 2010) has left many with an inability to engage in genuinely creative experiences with their students and on their own.
Using Dewey’s vision of democracy in education, the basic framework of “we learn together, we learn by doing,” shaped the way in which the teacher-led professional development took place. Each participant had a unique voice within the process, which helped build collegiality, a stronger sense of self, and broaden the base of experience and knowledge.
Data were collected through focus group interviews, participant journals, exit slips, and video-recordings of the improvisation sessions. The goal for this study was to discover the implications of peer-led professional development, have a substantial effect on the comfort and ability of the participants to improvise with their professional peers, and ultimately provide pedagogical tools that will transfer to the classroom and yield a variety of opportunities for student improvisation. Findings suggest that the use of free improvisation as an entry point to improvised music in general is a successful path to overcome various impediments such as anxiety and lack of familiarity with a specific musical idiom.
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Huang, Yu-hsuan, and 黃玉萱. "The Research of the Development of Professional Classical Music Publishing in Taiwan." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/59751185409368541344.
Full textAbstract:
碩士南華大學
出版與文化事業管理研究所
98
Taiwan, in essence, is a society organization of cultural hybrid resulted from diversified culture molded under a succession of varied racial rulings. Hence, this accounts for its diversified and melting-pot format characteristics in displaying types either in traditional arts and literatures, cultural thoughts, living customs and even musical arts as well. The focal points for this research rest upon the theme that under the premise of various educational system reforms and the impacts from society music atmosphere changes, the professional classical music publishers managed to evolve in the course of industrial development during past decades. And how they adapted themselves along the trending changes so as to transform its respective structural formats is also important. Thus, it is feasible to retain the stabilized publisher types and formats even the publisher market here in Taiwan is still depressed as of now. This research adopted the quality research approach. First of all, according to demand from the nature and structure for this research subject, it selected senior music teachers and musicians as its first phase primary research subjects. As for information collection, there are systematic collections and objective assessment as well as related information for the already occurred incidents. And through interview, this research managed to understand the actual scenarios. Hence, this research primarily bases on factual information gathering and supplemented with historical structural analysis. Lastly, there were cross-reference analysis and exploration conducted for all collected factual information, literatures and documentations, interview and survey information. And from these, summaries and findings are acquired as result. Since the era of regaining the lost territory from Japanese occupation here in Taiwan, it does not matter whether the profile is music education, classical music development status, publishing environment or society environment, the western classical music does have profound relevance as well as casting impact towards the music publishing business in Taiwan. And this research will summarize the above mentioned four factors to discuss the integral course of development for professional publishers of classical music here in Taiwan.
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KAI-SHUAN, WANG, and 王凱璇. "A Survey Research on Music Teacher's Professional Development of Taipei Elementary School." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/41765355558242788301.
Full textAbstract:
碩士臺北市立教育大學
音樂學系教學碩士學位班
98
The main purpose of this study was to investigate the current status of elementary teachers’ further education and the possible modes for the future. Based on the purpose, a survey was made for music teachers in Taipei city on the attitude toward further education, the needs for the courses of that, and the problems encountered during the session of that. According to the result, this study will provide a mode of further education for elementary music teachers and may be applied as reference in the future. This research is based on the exploration of the relevant literature which is also the basis of designs for the tools of the study to establish the theories and the structure of the research. It was carried out by adapting the method of general survey, through which on-the-job teachers of music in 142 grade schools in Taipei were chosen as the primary group. The survey tool, the questionnaire, entitled: “Taipei City's elementary school music teacher professional development survey” there were 395 copies sent out, 299 returned. The return rate was 75.6%, and the total of valid questionnaire was 296. The rate of valid questionnaire was 98.9%. Effective sampling data is based on the analysis of the following methods: number of distribution, percentage, average, standard deviation, T-test, and one way ANOVA and so on.According to the result of this study, the conclusions can be drawn as following: 1. The attitude of the elementary teachers in arts and humanities domain in Taipei city towards further education: The top five are：(1)to learn to apply (2)to make up for the lack of the past (3)to fulfill the idea of lifelong learning and to improve educational quality (4)to match up to the contemporary educational ethos(5)in order to understand due to the current teaching methods students. 2. Taipei City's elementary school music teachers and education status of the current mode of learning demand : (1) the status of the investigation part of the study: A. Taipei City's public elementary school music teacher in the past to participate in training activities, forming different reasons, to "voluntary" the highest proportion. B. Taipei City's public elementary school music teacher in the past to participate in training activities, the most common shape of reasons, "voluntary participation" have the highest proportion. C. The past two years, Taipei City's elementary school music teacher training activities undertaken by different sort, to participate in the "short-term training school" have the highest proportion. D. Taipei City's elementary school music teachers, the most popular sort of different learning activities, including the "short-term training in schools," the highest proportion.E. Taipei City's elementary school music teacher's time now to study different sort, its ranking as follows: Wednesday afternoon, winter and summer, as long as there spare times can, on Saturdays and Sundays, weekday evening. (2) needs some training mode: A. Taipei City's public elementary school music teacher in the future to study patterns of activity, the sort order is: engage in learning activities to a specific location, use the Internet to non-synchronous learning, synchronous learning using network the use of digital TV teaching education, the use of radio studies. B. Taipei City's public elementary school music teacher, on the domestic education of teachers should be set up different views on implementing agencies, which in the order of: Teacher in-service training units, special schools, teacher education, counseling stations nationwide teacher training, teacher training distance school. 3.Taipei City's public elementary school music teacher education content on demand, top five ranking are: A. To enhance student's appreciation of teaching skills. B.Teaching method of using different teaching skills. C. Combination of art and technology, media, teaching skills. D. To enhance student use of information technology and ways to collect, classify art of teaching information skills. E. For the "Arts and Humanities" course design. 4. Taipei City's public elementary music teacher in public education on the current difficulties faced by order: A. In the family can not be a balance between care and education. B. The usual heavy workload. C. Training locations too far, to increase the traffic to and from the time of teachers. D. Learning site inaccessible. E. Physically can not load. Finally, this research is based on the conclusions, educational administrators, the arts are related to the Educational Center, elementary school music teacher, teacher training institutions and the four follow-up research, make recommendations.
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Lee, Yi-Hui, and 李伊慧. "Discovering the professional development for group music class teacher： A narrative case study." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/ghatrd.
Full text
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Landley, Lisa Aldin. "Arts Integration Professional Development: the Higher Order Thinking (HOT) Schools approach." Thesis, 2017. https://hdl.handle.net/2144/20878.
Full textAbstract:
The arts have the power to expand cognitive potential through the development of higher order thinking skills, the use of the imagination, forms of self-expression and pathways to self-knowledge. When teachers are educated to integrate the arts in their classrooms, the result is transformation of the learning environment. In this qualitative case study I examined teacher experience in the Higher Order Thinking (HOT) Schools Arts Integration (AI) Professional Development (PD) program. While my research was informed primarily from the perspectives of arts specialist teachers, classroom teachers, and teaching artists, it also includes the voices of other stakeholders in the HOT educational community including administrators, HOT program directors, and parents. I obtained data through questionnaires, interviews, and observations in which I documented teacher experience during various forms of HOT AI PD and their implementation in the classroom.
Teachers reported professional growth and described how HOT AI PD had transformed their teaching practice. This was accomplished through experiential and ongoing PD that teachers found inspiring and relevant to their teaching. The various forms of PD included a weeklong residential summer institute with professional teaching artists and various presenters, weekend mini-institutes to reinforce the summer institute content and to share best practices, administrator PD, and various one-day events on different topics. The HOT Schools program is a supportive network providing help and guidance throughout the school year.
Emergent themes were related to teacher benefits, student benefits, PD strategies, and how the HOT program builds community. Teachers expressed satisfaction with hands-on PD strategies focused on student-centered learning, with emphasis on process rather than product, encouraging deep learning through the arts. Participants’ narratives highlighted the effectiveness of PD strategies utilizing teachers as instructors for their peers, and collaborative residencies with professional teaching artists in the schools.
Teachers enjoyed enhanced collegiality resulting from collaborative work when creating arts-integrated curricula, and arts specialists teachers appreciated the respect they received from classroom teachers who recognized the value of the arts as modes of inquiry. Teachers demonstrated enthusiasm for the program and expressed how they had experienced professional renewal and satisfaction in their teaching as a result of their participation in HOT AI PD.
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Mishkit, Bruce David. "Investigating the process of learning jazz pedagogy and improvisation through an eight-week professional development workshop." Thesis, 2019. https://hdl.handle.net/2144/35744.
Full textAbstract:
Music teachers often have life and educational experiences which lead them to identify with a specific role and community of individuals with common interests—for instance, band director, choral director, or orchestra director. But if teachers lack experience and identification with jazz improvisation, and their teaching positions require them to teach a jazz ensemble, how do they find membership in a community of jazz improvisers and educators? To what extent do the borders of the jazz community of practice intersect with those of other music communities of practice? Moreover, who are the brokers that facilitate movement between different music communities of practice?
Viewed through the lens of Lave and Wenger’s (1991) concept of legitimate peripheral participation, in this qualitative multiple case study, I investigated three instrumental music teachers as they became more adept both at improvising and at teaching jazz improvisation. As the research suggested, the process of learning is not merely about acquiring information; it is also about changing a music teacher’s practice, resulting in his or her increased confidence as an improvising musician within a community of practice.
Pre- and post-study visits to the participants’ respective schools, participants’ enrollment in an eight-week jazz improvisation workshop (jazz community of practice), and their subsequent attendance at a one-week summer jazz residency generated this study’s data, which took the form of recorded video, audio observations, and interviews. The qualitative research analysis program NVivo facilitated several cycles of coding, categorizing, and sub-categorizing data. The following themes developed from the data analysis: finding time to practice; motivation; past experiences; confidence; and piano skills.
The findings of this study suggest that creating a community of practice, mentored by a professional in the field of study, and lasting for an extended length of time, creates an effective situated learning environment that enhances professional development. To varying degrees, each participant incorporated information, concepts, and techniques from the workshops and summer jazz residency into their school curriculum, and became more confident teachers of jazz improvisation.
As important as professional development is for inservice music teachers, a well- rounded undergraduate music curriculum, which includes jazz pedagogy, may help preservice music teachers become better trained inservice music teachers.
Future researchers might consider studying extended music teacher professional development workshops as well as research student learning as a result of teachers participating in those workshops.
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McGee, Isaiah Rodriques Thomas André J. "The origin and historical development of prominent professional black choirs in the United States." Diss., 2007. http://etd.lib.fsu.edu/theses/available/etd-11132007-010920/.
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Dissertation (Ph.D.) Florida State University, 2007.Advisor: André J. Thomas, Florida State University, College of Music. Title and description from dissertation home page (viewed 3-26-2008). Document formatted into pages; contains 200 pages. Includes biographical sketch. Includes bibliographical references.
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LIAO, YING-TING, and 廖盈婷. "A Study of Piano Teachers’ Beliefs, Professional Development and Teaching Practice in University Music Departments." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/f8x99c.
Full textAbstract:
碩士國立屏東大學
音樂學系碩士班
107
This study tries to describe the work of piano teachers who teach in university music departments. The focus is on three elements: the teachers beliefs, their professional development, and teaching practice, and would explore the co-relation among them. It is conducted in multiple-case research method, with semi-structured interviews on six piano teachers who teach in individual classes in university music departments. The findings are: 1. The belief, attitude and teaching method of a piano teacher is greatly influenced by his own learning experience. Through the experience accumulation of his teaching, he then examines, retrospects, and modifies the belief he establishes, and eventually he would develop his own teaching theory. 2. In term of belief, a teachers function is in two aspects, one is as an inspirer and instructor, the other, a listener and advisor; in practise, other than sharing his own experience and viewpoint, a teacher demonstrates, inquires, encourages the pupil to listen to music or attend recitals. 3. A piano teachers beliefs realizes in how he arranged his course planning and teaching, which is also in two dimensions, one is on his planning of the course content, and the other is applying his teaching tactic; in practice he would focus on building pupils fundamental techniques and the comprehension of the music piece. He would also enquire, guide, assay through his teaching process. 4. On dealing with individual difference among students, the belief of a piano teacher enables him to encounter the reality in two directions, one is understanding his pupils before the class begins, and the other being teaching students in accordance with their individual aptitude, in practice he would interview them face to face so as to decide on adequate pieces for each pupil. 5. The belief of a piano teacher is definitely crucial in how he establishes the relationship with students which would be in two ways, one being to build a mutual understanding, and the other, mutual trust; in practice that means friendly and cozy conversations between teacher and pupil in class, caring about students daily life, offer them timely encouragement but maintain the monitoring, and correct them with an earnest heart. 6. On working on his professional development, a piano teacher usually works with other musicians. He also gives recitals, listens to concerts often. And he reads extensively. 7. A piano teacher works on his professional development, because he wants to uphold his art, skill and professionalism, and wishes himself to be a better being; he also expects himself to be a better teacher who could offer more help to the students. 8. Eventually the three elements, namely the teachers beliefs, his professional development and his teaching practice, would interwind in one direction, corelated with each other closely. Based on the study, the researcher suggests the following for future studies: (1) we could explore on relative subjects; (2) the study subects could be on different phases of piano teachers career development, or on instrument teachers; (3) among variable methods such as descriptive study, case study, group interview, classroom observation or questionaire, use the one that would thoroughly portrait the main theme; (4) use questionaire, scale, or document reference would help to increase the studys validity; (5) it would be interesting and challenging if further related area could be appoached through the skeleton of the study outline; (6) it would be wise to probe into study result from all possible dimensions or aspects.
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Chien, Hsiao-ying, and 簡曉瑩. "The Role Perception and Professional Development Needs of Directors of Music Ensembles at Elementary Schools In Kaohsiung." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/33444902523113220611.
Full textAbstract:
碩士國立臺南大學
音樂教育學系碩士班
92
The purpose of this study is to investigate “the role perception and professional development needs of directors of chorals and music ensembles at elementary schools in Kaohsiung”. The researcher collected related literature and deliberated the latest developmental environment to construct the aspects and contents of role perception and professional development needs for music ensembles directors. Based on the aspects and contents, the researcher also developed a questionnaire to realize and compare the difference among these directors in Kaohsiung City and Kaohsiung County with different background-factors. The qualitative data were collected separately through the constructed-interviews.110 directors were proportional stratified sampling, and the ratio of the return questionnaires was 85 percent by using the statistics software “SPSS 10.0”.. These collected data were calculated by the following method:(i) average (ii) percentage (iii) Pearson product-moment correlation (iv) One-Way ANOVA, from the combinations of sampling survey, formal interviews and literatures ,formed the following conclusions:. 1. The aspects of the role of music directors at primary schools can be divided into six parts, which are:(i) organizer and trainer(ii)director of competition (iii)conductor(iv) manager and communicator(v) administer and consultant(vi) personal characteristic, separately. 2. The correlation coefficient between ideal and actual role of the music directors at Kaohsiung area’s primary school is positive. 3. Over ninety percent of the music directors at Kaohsiung, the ideal and actual role perception are inconsistency, which means the percentage of coincidence, is apparently low. 4. Among the aspects of ideal role, the coincident degree reaches the highest in “manager and communicator” and “administer and consultant”. However the degree in “music competition’ is the lowest. 5. The aspects of the needs of professional development can be divided into “professional competency to lead ensembles” and “professional growth and research enhancement to lead ensembles”. 6. Among the aspects of the professional development, the needs reach the highest in “know more materials of ensemble practice”, “the way of administration management for ensembles”, “communication with other experts”, “share experience with other music directors”. 7. Not only agree with the importance of professional development, the music directors also think the more practical way of which is to learn from the experience of leading ensembles. 8. The difference of music directors’ ideal role perception depends on the variables of parents supporting organizations, sex, and academic background; and actual role perception depends on the variables of school area, types of ensemble or chorals, parents supporting organizations, and academic background; and the professional development needs for the music directors at Kaohsiung area’s primary school are different for the parents supporting organization and academic background. 9. The ideal/real role perception and the professional development vary obviously from the factors “parents supporting organizations” and “academic background” among the music directors. The difference among the aspects of role perception is largest for the music directors whose seniority under eight years; besides, the degree of needs for them is also highest in the professional development. Besides, relative suggestions on relevant education unions, schools, and music directors have also been raised, based on the conclusion of the study.
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Sung, Wang-Ju, and 宋汪儒. "A Study on the Status and Needs of Primary School Music Teachers’ Professional Development in Taichung City." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/85533822260822769588.
Full textAbstract:
碩士中臺科技大學
文教事業經營研究所
103
The purpose of this study was to research the status and needs of primary school music teachers’ professional development in Taichung City. A questionnaire survey was administered in this study. 217 copies of questionnaire were distributed to music teachers through the stratified sampling in 119 primary schools. All data was analyzed by statistical methods such as Descriptive Statistics, t-test, one-way ANOVA, and Pearson product-moment correlation. The findings were concluded as follows according to the research results: 1. The circumstances of professional growth of music teachers appeared between occasional participation and often participation. 2. There were significant differences in professional development status of music teachers according to four background variables such as current positions. 3. The needs for professional growth appeared between general demands and high demands. 4. There were significant differences in professional development needs of music teachers according to three background variables such as years of working experience. 5. There was a remarkably positive correlation between teachers’ professional development status and teachers’ professional development needs. Finally, based on the above findings, some concrete suggestions and recommendations were offered to educational administrative organization, primary schools, primary school music teachers and future researchers.
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Hsu, Chih-Wei, and 許芷葳. "Design and Implementation Effects of the Professional Development Program of Information Technology Integrated into Instruction for Music Teachers." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/gwhyz7.
Full textAbstract:
碩士國立臺南大學
音樂學系碩士班
102
This study aims at discussing the design and implementation effects of the professional development program focusing on information technology integrated into instruction for music teachers. Quasi experimental research and document analysis are adopted to explore the implementation of the professional development program which integrates the information technology into instruction for music teachers as well as to find out the learning conditions of the subjects participating in this study. Moreover, the teaching plans integrating information technology into instruction designed by the subjects of the study are examined so as to explore the use of IT-related materials and the approaches of integrating information technology into instruction. Finally, an analysis is made on the teaching plans of the subjects; and the results obtained from the analysis serve as the basis for further discussing the information literacy of the subjects who integrate information technology into music education. According to the results and discussions of this study, the conclusions are as follows: 1. The professional development programs for music teachers should be designed from the perspective of users and combine with discussions or examples demonstrating substantial teaching applications. Such design will be beneficial to promoting teachers’ willingness for on-site applications. 2. Cultivators’ effective demonstrations and guidance can promote and facilitate effective applications of software in classrooms at elementary schools and high schools. 3. Teachers mostly adopt a comprehensive teaching model while designing a program which integrates information technology into music instruction. They do not purely focus on music activities but integrate various music elements to achieve effective teaching in a classroom. 4. The courses relating to music creation designed by music teachers present the greatest diversity of information literacy. Teachers introduce complete and concrete instruction in music creation from a variety of appreciation perspectives. 5. Internet resources and self-prepared materials are interchangeably applied as teaching materials in a classroom when teachers integrate information technology into music instruction. Among self-prepared materials, presentation software is most commonly used. There is still some room for further improvement regarding the application of music-related software.
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Chen, Yu-Chia, and 陳育嘉. "An Interview Study on Novice Music Teachers’ Professional Development in Obtaining Full-time Positions in Taiwan’s Elementary Schools." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/u2b533.
Full textAbstract:
碩士國立清華大學
音樂學系所
106
This study explored the professional development of some novice music teachers in elementary schools in Taiwan during their pre-service trainings, teacher certification process, and job hunting. It attempted to illuminate how these well trained teachers have managed to overcome each and every challenge on their way to a full-time position in an elementary school, offering a clearer and deeper understanding in the connections among these teachers’ backgrounds, efforts, and outcomes, while revealing these teachers’ current situations and future plans on their teaching jobs. Adopting a qualitative research method, the present study interviewed five music teachers who has officially obtained their full-time positions in Taiwan’s elementary schools. These interviewees gave their responses to the questions composed and edited by the researcher in her interview guideline called “The Pre-service Training and Job Application Process of Music Teachers in Elementary Schools” as research instrument. Data collected from observations and interviews were further analyzed. The research results made the following conclusions. First of all, prospective teachers are advised to have a better management and take a greater variety of courses in their pre-service training programs in order to increase their ability to obtain a teacher certificate. Also, experiences as substitute teachers are helpful to their job hunting. Besides, potential teachers should find their own ways in studying for the written test of their job search, while seeking professional assistance and advice in simulating the job interviews and teaching demos. In addition, teacher prospects would increase their chance of full-time employment if they choose to apply for the positions of their own major subjects or fields. Finally, determination, perseverance and family support are also key to a successful job application. In terms of suggestions and implications, the study advised that, for teacher education providers, education credit program courses should not clash with teacher trainees’ professional domain courses in time slots. More required fundamental courses about education should be offered, while professional courses related to music be expanded, such as music therapy, music classes for the elderly, music and technology, etc., in order to increase the diversity and opportunities of teacher trainees’ learning and job hunting. For education-related government administrations, it is suggested that a nationwide, one-shot exam for hiring new music teachers is preferable, and that both the written test and the interview and/or the teaching demo should also focus mainly on music.
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XIAO, SONG-ZHU, and 蕭頌主. "A Study on the Music Learning Process and Professional Development of the Arts Talents in Taiwan Military System." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/buqt99.
Full textAbstract:
碩士國立屏東大學
音樂學系碩士班
107
This is an observation on Taiwan Military’s music and art talent officers, namely their learning process and professional development and its correlation between. The officers have been trained in the undergraduate arts department in Taiwan's military academies and are expected to serve in the military after they complete the training. Employing the case study method of qualitative research, six cases are recorded through semi-structured interview surveys, in which all interviewees are graduated from Taiwan’s military academies and now serve in music and arts sectors of Taiwan national defense force. The results are: 1. The interviewees, in their undergraduate years, usually participate in music groups and communities on campus, and in orchestras or bands outside the campus. 2. The interviewees, after starting their career life and professional practice, mostly continue further professional studies to construct the value and indispensability of their posts, because they begin to sense the insufficiency of their specialty or that their professional capability does not completely suit the requirement of their jobs. 3. The future professional development planning of the interviewees includes: pursuing Ph.D. or master’s degree, excelling in a second foreign language, producing music and art creations regularly, interacting with professional groups, accumulating personal social networks, enhancing in the ability of program design and activity planning. 4. The motive of which the interviewees enrolled and studied in the arts department of military academies mainly combines financial consideration, vocational planning, and the counseling of their parents; they foresaw the future as experiencing a particular professional life in their professional development, realizing the importance of grasping the challenge and opportunity, and later, applying similar mentality and attitude formed from the learning spirit of undergraduate study in military schools to their assigned positions while enjoying their new posts. 5. The interviewees all enjoyed a diligent learning attitude in their undergraduate training; they vigorously faced the challenges in their studies, and later, in their professional development, exercised the belief and strategy learned from their study in military schools. 6. Throughout their undergraduate learning process, all the basic capabilities the interviewees acquired in their undergraduate training now become a useful knowledge base and foundation of their professional development. Their professional ability in undergraduate days now help to progress their professional development, while their university teachers’ encouragement leaves profound effects. The interviewees also exercise the management method of military academy training in their present posts and functions.
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"Sustainable Change in a Teaching Career: A Self-Study of an Evolving Music Educator’s Journey." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.63026.
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abstract: The purpose of the study is to examine how professional growth is sustained over time through exploring a teacher’s narrative of personal and professional growth. The central question of this dissertation is: What creates sustainable and continuous positive professional change and growth in a teacher’s professional life? In this study, I discuss my journey towards understanding my practice while teaching a collegiate course and the implications of my journey for continual professional and personal growth. I used self-study methods to interrogate the personal, professional, and contextual experiences that shaped my thinking about teaching, learning, and my practice. The process of reflection was prompted by various data sources, including journal entries, storytelling, memory work, an experience matrix, concept-mapping, and education-related life histories. This self-study also includes action research projects that I conducted while teaching a college course over seven semesters. Data for action research projects included student reflective writing, observations of their learning, video recordings of group project meetings, and student value-creation stories.
Through reflection on how my personal, professional, and contextual knowledge of teaching developed, I examine how the values I held, the inquiries I undertook, and the communities in which I engaged affected my learning about teaching and shaped both my continuing professional development and who I am becoming as a teacher. Values that emerged in my teaching practice included: creating a student-friendly learning atmosphere, building a learning community, and being a reflective learner. Change agency functioned as a teacher lens and impacted student learning. I also analyzed patterns between my instructional plans, actions, and learning experiences in multiple professional communities. Professional and personal development relied not only on formal learning but was also promoted by informal learning opportunities and a personal learning process.
Findings suggest that teachers’ attempts to engage with external resources and awareness of their personal orientations as internal resources appear essential for sustainable change in teaching practice. Teacher professional growth requires exercising positive personal qualities, such as confidence, compassion, and courage, as well as resilience as an educator and a lifelong learner. Teacher reflection and self-study play a pivotal role in enabling teachers to sustain professional growth.Dissertation/Thesis
Doctoral Dissertation Music Education 2020
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"Theoretical Underpinnings of Music Therapists’ Decisions to (Not) Pursue Doctoral Study: A Framework for a Professional Development Seminar to Promote the Pursuit of Doctoral MT Education." Master's thesis, 2020. http://hdl.handle.net/2286/R.I.57350.
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abstract: Despite a substantial increase of Masters of Music Therapy degree recipients between 2002 (Cohen et. al, 2002) and 2017 (American Music Therapy Association, 2017), these numbers are not paralleled among recipients of PhD degrees with music therapy emphases. Additionally, it is notable that the Master’s Level Entry (MLE) Subcommittee Report (2017) notes “lack of doctoral programs and/or doctoral level music therapy faculty needed to sustain graduate level music therapy education programs” (p.18) as a deterrent to the move to Master's-Level Entry within the music therapy milieu. This underscores the importance of doctorate-level music therapists to the profession. Could increasing the prevalence of doctorate-level music therapists help to promote advanced studies in music therapy, and in turn augment the status of music therapy education and training? The purpose of this project was to examine advanced-level music therapists’ perceived catalysts and barriers to pursuing a doctoral degree in music therapy. Incorporating the Social Cognitive Career Theory (Lent et. al, 1994) as the underlying framework, qualitative data was garnered via semi-structured interviews with advanced-practicing music therapists located in the southwestern United States. A thematic qualitative data analysis was conducted, whereby parent codes reflected key constructs of the theoretical lens and child codes were developed inductively. Interviewees highlighted advantages of pursuing a PhD including: professional status, educational growth, and opportunities to educate others. Likewise, they identified pertinent barriers pertaining to finances, narrow job market, and dominance of research foci over clinical skills. In light of these findings, a framework for a hypothetical, Southwest-based professional development seminar was developed and embedded into the SCCT context. The hypothetical program encompassed key objectives to educate participants about the key processes, benefits and drawbacks of pursuing the music therapy doctorate, and aimed to help participants develop penchants toward the pursuit of doctorate degrees. The nine modules featured discussions and interactive learning techniques, in addition to proffering individualized mentoring from music therapy doctorate recipients as a key mainstay of the program. Modules addressed the following topics: Introductions and testimonials; PhD application and funding processes; Clinical skills; Work/life/school balance; Faculty responsibilities (research, teaching and service); Mock interview/audition; and Mentorship presentations.Dissertation/Thesis
Masters Thesis Music Therapy 2020
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Robbins, Catherine Elizabeth. "Revealing Our Commonessence: A Collaborative Self-study Involving Choral Music Educators." Thesis, 2012. http://hdl.handle.net/1807/32320.
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The purpose of this qualitative study was to better understand how five choral music educators’ life experiences, prior knowledge, attitudes, values, beliefs, and understandings surrounding the formation of their musical selves have come to shape their professional practice. A secondary purpose of this research was to examine institutional context and governing ideologies of the choral music discipline. The study involved five choral music educators—including the researcher—of various ages, genders, and cultural backgrounds from Winnipeg, Manitoba.
This research is grounded in what Beattie (1995) terms the dialectical and collaborative nature of narrative inquiry, but also looks to reflexive inquiry and life history methodologies (Cole & Knowles, 2000), as well as the practice of collective biography (Davies & Gannon, 2006) to shape its methodological framework. As such, autobiographical forms of self-study research are reconceptualized as collaborative self-study. Data collection methods included journal writing, personal in-depth interviews, and participant observation. In particular, regular focus group sessions, which included peer interviewing, played a central role throughout the research process. This forum allowed participants to share their musical life histories and interrogate each others’ narratives, thereby triggering musical memories and exposing the interconnectivity of musical pasts to current professional practice.
Data is re-presented in rich narratives which trace the path of each participant’s musical life history in interaction with theory and relevant literature. Numerous themes, sub-themes, tensions, and epiphanal episodes (Denzin, 1994) are illuminated. Moreover, connections between participants’ experiences and resultant ways of knowing are exposed, and we are confronted with “the unexpectedness of universality” (Hofstadter, 2007, p. 242). Thus, our commonessence is revealed. Participant chapters are followed by a postlude featuring the researcher’s personal narratives, an examination of researcher voice, and questions regarding the practice of choral music education that have surfaced through reflexive analysis of the data. This research strives to be a model for personal professional development among choral music educators, and provides a template for future purposeful discussion in the choral discipline.