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Journal articles on the topic 'Music professional development'

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Author: Grafiati

Published: 10 December 2022

Last updated: 19 February 2023

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1

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

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2

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

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The article presents the results of the study of training music art professionals and music teachers in Mongolia. The comparative analysis of music education in Germany, Sweden, Israel, China, Japan and Russia is conducted. Prospective measures of development of professional music education in Mongolia are suggested. Factors, obstacles, mechanism and directions of development of the Mongolian State Conservatory – the first Mongolian academic higher education institution for training professional musicians – have been identified. The mechanism of the development of professional music education in Mongolia is the concept of the Mongolian State Conservatory. The concept includes goals, main and additional tasks, the scheme of interaction with the authorities and social partners, the model and scheme of education, the management system, financial basis and stages of organization of the conservatory.

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3

Shelepnytska-Govorun, Natalia. "PERIODIZATION OF VOCAL CULTURE DEVELOPMENT OF MUSIC ART SPECIALISTS IN EUROPE." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 49–52. http://dx.doi.org/10.36550/2415-7988-2021-1-195-49-52.

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The article shows the periods of vocal development culture of music specialists in Europe. The article considered preconditions for the development of vocal culture of music art specialists in Europe. The table «Evolution of the development of vocal culture of music professionals in Europe during different stages» is presented in the article. It shows a brief description of the epoch and period. The article gave in more detail the features of formation of vocal culture of musical art specialists are determined, and also their characteristic in the European countries, such as: Italy, Germany, Great Britain, France, Austria, Poland. The emphasis of vocal culture, one of the most important components of the professional culture of music artists, is due to the specifics of his vocal and pedagogical activities, which is aimed at forming a personality capable of reproducing and enriching the culture of society in the future. The culture of future specialists in the art of music has undergone certain periods in the process of socio-cultural development. It, as a phenomenon of pedagogical practice, has always existed, but had different social and professional purposes depending on the influence of various factors: the political situation; moral relations that developed in society; dominant religion; type of education. Of course, knowledge of the origins, knowledge of the periods of origin and development of musical art, which took place over the centuries, is important for understanding both the current challenges of vocal culture and to determine its further development. It should be noted that the curricula of European countries provide broad training of music professionals, expanding the sector of music specialties, including training: choir directors, specialists in individual vocal technique, vocal ensembles, choral singing, dominated by the practical orientation of professional education. Thus, the analysis of literary scientific sources on the formation of vocal culture of music artists shows that each stage was a unique and significant contribution to the formation of such culture in Europe. It should be noted that the curricula of European countries provide broad training of music professionals, expanding the sector of music specialties, including training: choir directors, specialists in individual vocal technique, vocal ensembles, choral singing, dominated by the practical orientation of professional education. Thus, the analysis of literary scientific sources on the formation of vocal culture of music artists shows that each stage was a unique and significant contribution to the formation of such culture in Europe.

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4

Moonjoo Seog. "Music Teacher Standards Review for Music Teacher`s Professional Development." Journal of Future Music Education 1, no. 2 (December 2016): 23–37. http://dx.doi.org/10.36223/jnafme.2016.1.2.002.

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5

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

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6

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

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7

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

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There is a rich body of literature on professional development in music education, including research that has examined the professional development needs of experienced music teachers specifically. In fact, music teachers’ professional development needs may be affected by their degree of experience in the profession. The purpose of this literature review is to examine scholarship during the period 2007 to 2017 about the professional development needs of experienced K–12 music educators. Initial examination of literature in this area shows two emerging themes, including changing needs throughout the career and informal interactions among music educators, being highly effective.

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8

Koknova, T. A. "The influence of "MUSIC" model on the development of foreign language communicative competence of prospective foreign language teachers in the process of professional training." Bulletin of Luhansk Taras Shevchenko National University, no. 7 (345) (2021): 195–205. http://dx.doi.org/10.12958/2227-2844-2021-7(345)-195-205.

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The methodological influence of B. Jones’ model “MUSIC” on the process of professional competence development in prospective foreign language teachers in the process of professional training is studied in the article. The definitions of “educational environment” and “educational space” are considered; it is concluded that the process of professional training of prospective teachers of foreign languages should be aimed at the development of their professional competence. In the course of the research it is established that the five-level model “MUSIC” of B. Jones, which is presented from the author's point of view, can help to optimize the impact of the environment on the process of professional competence development in the course of professional training of prospective foreign language teachers. At the first level, it is suggested to provide extended powers to prospective teachers of foreign languages in order to exercise their self-control over the process of developing thier professional competence during professional training. At the second level, it is necessary to make sure that prospective foreign language teachers recognize the importance of the material offered to them for mastering for their future professional development. At the third level, prospective foreign language teachers must be clearly aware that the success of their learning also depends on the right strategies. The fourth level is closely related to the sincere interest of prospective professionals in acquiring professional qualities. At the fifth level, it is essential to take care of students, to take into account the environmental factors that may affect the level of their professional development. It is concluded that in the focus of professional competence development of prospective foreign language teachers it is vital to create such an environment that would promote friendly relations between prospective professionals and the faculty staff, as it will have a positive effect on the quality of training of prospective foreign language teachers.

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9

Bauer, William I., Sam Reese, and Peter A. McAllister. "Transforming Music Teaching via Technology: The Role of Professional Development." Journal of Research in Music Education 51, no. 4 (December 2003): 289–301. http://dx.doi.org/10.2307/3345656.

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The purpose of this study was to determine if 1-week technology workshops can be an effective means for the professional development of music teachers in using technology for instruction. The results indicate that three indicators of effectiveness—teacher knowledge, teacher comfort, and frequency of teacher use—can he significantly improved in these settings. Participants ( N = 63) were music teachers enrolled in summer music technology workshops. At the beginning of the workshops, participants completed a questionnaire designed to provide demographic information and assess their knowledge of music technology, degree of comfort with music technology, and the frequency with which they used music technology in their teaching. Following an intensive weeklong workshop dealing with strategies for teaching music to K—12 students using music technology, participants completed a second questionnaire that was parallel to the first. Participants completed another similar questionnaire 9 to 10 months after the workshop. Significant differences were found between the pre-and. postworkshop questionnaires, between the preworkshop and follow-up questionnaires, and, between the postworkshop and follow-up questionnaires in all three areas. There was also a moderate correlation ( r = .43, p = .00) between participants' frequency of technological use and the degree to which they reported their access to technological resources.

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10

Shaw, Julia T. "Urban Music Educators’ Perceived Professional Growth in a Context-Specific Professional Development Program." Journal of Research in Music Education 67, no. 4 (December 2, 2019): 440–64. http://dx.doi.org/10.1177/0022429419889295.

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

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11

Yuexin, Duan. "Professional Development of Music Teacher in China: Practice and Challenges." Journal of Education, Teaching and Social Studies 3, no. 3 (October 27, 2021): p44. http://dx.doi.org/10.22158/jetss.v3n3p44.

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Since 2001, national basic education curriculum reforms have been instituting to meet the demands of quality-oriented education in China. Due to this nationwide reform proposed to cultivate students’ moral, intellectual, physical and aesthetic development, music education which is a vital component of aesthetic education has received considerable critical attention from Chinese government. In the last two decades, the argument of significance of teachers’ professional development (PD) in curriculum reform has led a growing trend towards practice aimed to promote PD of music teachers in China. This paper presents an analysis of challenges the music teacher PD practice has met. Based on the discussion, it must be suggested that policymakers, school principals, PD program providers should increase attention to the effectiveness of music teacher PD programs and take available measures. This paper contributes to ongoing discussions about factors to be considered in designing PD programs for music teachers in countries or societies under the influence of Confucian culture. Potential areas of further work include exploring the factors restricting the effectiveness of music teacher PD programs in China and the framework of high-quality PD program for music teachers in the context of Confucian culture.

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12

Muhammad Mahmoud KHALIL, Inayat. "PROFESSIONAL DEVELOPMENT FOR PREPARING A MUSIC EDUCATION TEACHER." International Journal of Education and Learning Research 1, no. 2 (December 1, 2018): 17–20. http://dx.doi.org/10.21608/ijelr.2018.180390.

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13

Ka-won Lee. "Professional Development School Model in Music Teacher Education." 이화음악논집 18, no. 1 (June 2014): 59–81. http://dx.doi.org/10.17254/jemri.2014.18.1.003.

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14

Henry, Warren. "Music Teacher Education and the Professional Development School." Journal of Music Teacher Education 10, no. 2 (January 2001): 23–28. http://dx.doi.org/10.1177/10570837010100020105.

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15

Ester, Don. "Society for Music Teacher Education as Professional Development." Journal of Music Teacher Education 17, no. 1 (September 2007): 3–4. http://dx.doi.org/10.1177/10570837070170010101.

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16

Bauer, William I. "Research on Professional Development for Experienced Music Teachers." Journal of Music Teacher Education 17, no. 1 (September 2007): 12–21. http://dx.doi.org/10.1177/10570837070170010105.

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17

Myers, David E. "Professional Growth, Development Programs: Essential for Music Educators." NASSP Bulletin 76, no. 544 (May 1992): 69–74. http://dx.doi.org/10.1177/019263659207654414.

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18

Angeline, Vincent R. "Motivation, Professional Development, and the Experienced Music Teacher." Music Educators Journal 101, no. 1 (August 25, 2014): 50–55. http://dx.doi.org/10.1177/0027432114534449.

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19

Ageykina-Starchenko, Tetiana, and Natalia Chorna. "IMPLEMENTATION OF PEDAGOGICAL CONDITIONS OF FORMATION OF READYNESS FOR PROFESSIONAL SELF-DEVELOPMENT OF FUTURE TEACHERS OF MUSICAL ART." Problems of Modern Teacher Training, no. 1(23) (April 29, 2021): 51–58. http://dx.doi.org/10.31499/2307-4914.1(23).2021.232757.

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The article highlights the problem of implementation of pedagogical conditions for the formation of readiness for professional self-development of future music teachers.It defines readiness for professional self-development of future music teachers as a professionally important quality of a studentʼs personality.The article establishes pedagogical conditions that ensure the efficient process of formation of readiness for professional self-development of the future music teachers. They are strengthening of motivational foundation of professional self-development of students based on acmeological positions; implementation of competence approach to professional training of future music teachers based on pedagogical innovation; enrichment of creative potential of students in the process of involving in artistic and educational activities.The article substantiates experimentally tested methods of introducing pedagogical conditions for the formation of readiness for professional self-development of future music teachers, which include the value-motivational stage (development of the motivational component of readiness for professional self-development of students), cognitive-activity stage (formation of competence for professional self-development of future music teachers), creative stage (creation of conditions for maximum creative self-realization).It proves that the implementation of the proposed methods of implementation of educational conditions for the formation of readiness for professional self-development will significantly improve the quality of training of future music teachers. This conclusion is based on the comparison of the results of the control and experimental groups, as well as on the processing and generalization of the results. Keywords: pedagogical conditions, formation, realization, professional self-development, future teachers of musical art, approaches, methods, level of readiness.

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20

Bjelobrk-Babić, Ozrenka, Merima Čaušević, and Dragan Partalo. "Specifics of Professional Training of Teachers for Teaching Music Culture." Društvene i humanističke studije (Online) 6, no. 4(17) (December 22, 2021): 355–72. http://dx.doi.org/10.51558/2490-3647.2021.6.4.355.

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Professional training is part of the professional development and lifelong learning process of an individual. The teacher in the classroom has very complex tasks and great responsibility in the upbringing and education of future generations in every society, and lifelong professional development is especially important. Therefore, the research aims to determine the level of teachers' self-assessment of professional development for teaching music culture, ie in the field of music theory and pedagogy. A sample of 365 teachers from the territory of Bosnia and Herzegovina used the Likert-type scale, within which the respondents expressed their assessments of the forms, areas, and reasons for professional development for teaching music culture. The research results indicate that teachers highly prefer various forms of professional development. They express the need for professional development in the fields of playing and creativity, and the most pronounced reasons for professional development are the need to maintain musical competencies that are lost over time. Based on the research findings, the authors give recommendations regarding possible directions and ways of professional development of teachers in the field of music theory and pedagogy, ie. for teaching music culture.

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21

Zhao, Xian, Zhenjie Guo, and Shanqin Liu. "Exploring Key Competencies and Professional Development of Music Teachers in Primary Schools in the Era of Artificial Intelligence." Scientific Programming 2021 (December 23, 2021): 1–9. http://dx.doi.org/10.1155/2021/5097003.

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Artificial intelligence (AI) has introduced new era elements to the connotation of key competencies and professional development of music teachers in primary schools. The education management department in the AI era has flawed systems for the professional development of music teachers in primary schools. To assist music teachers in primary schools fulfill the development needs of the development of the times and enhance the quality of music education in primary schools, the status and income of music teachers in primary schools warrant improvement, and the system should be upgraded to promote the implementation of key competencies. Moreover, the related system construction of music teachers in primary schools should be reinforced by rationally arranging teachers, workload and creating a teacher learning community, in order to guide schools to provide a suitable environment for teachers, key competencies and professional development. Furthermore, methods like strengthening teachers, awareness of independent development and augmenting professional identity should be adopted to prompt teachers to comprehensively enhance their key competencies and professional development.

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22

Hammel, Alice M. "Professional Development Research in General Education." Journal of Music Teacher Education 17, no. 1 (September 2007): 22–32. http://dx.doi.org/10.1177/10570837070170010106.

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23

Gallo, Donna J. "Professional Development Quality in U.S. Music Education: An Analysis of the 2011–2012 Schools and Staffing Survey." Journal of Research in Music Education 66, no. 2 (April 3, 2018): 168–89. http://dx.doi.org/10.1177/0022429418764453.

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The purpose of this study was to compare differences in the quality of professional development between U.S. music educators and teachers of other disciplines. Data were drawn from the 2011–2012 Schools and Staffing Survey. Factors such as types of professional development, quantity of activities, and levels of satisfaction were analyzed through a series of multiple regressions to determine the relationships between professional development quality for teachers of music and non-music disciplines. Results indicated that music educators were significantly less likely to collaborate with other educators on issues of instruction and engaged in significantly less technology-related professional activity; however, music educators reported significantly higher levels of satisfaction with content-specific professional activity and engaged in significantly more content-specific activity than some higher-stakes disciplines. In light of educational policies and trends, the common assumption that music educators are generally less supported within their schools does not hold true. Implications of this study include the need for music educators to participate in more collaborative forms of professional development. This study also suggests that all educators should receive more time spent in professional learning congruent to the level of engagement espoused by research literature.

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Kastner. "Exploring Informal Music Learning in a Professional Development Community of Music Teachers." Bulletin of the Council for Research in Music Education, no. 202 (2014): 71. http://dx.doi.org/10.5406/bulcouresmusedu.202.0071.

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Pellegrino, Kristen. "Exploring the Benefits of Music-Making as Professional Development for Music Teachers." Arts Education Policy Review 112, no. 2 (January 31, 2011): 79–88. http://dx.doi.org/10.1080/10632913.2011.546694.

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Bogunovic, Blanka, Jelena Dubljevic, and Nina Buden. "Music education and musicians: Expectations, course and outcomes." Zbornik Instituta za pedagoska istrazivanja 44, no. 2 (2012): 402–23. http://dx.doi.org/10.2298/zipi1202402b.

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Considering the long-term talent development, from the moment of its recognition to the moment when an adult is confronted with the necessity of integration in the professional music and life streams, we wonder whether education satisfies the needs of talents and provides, in the long run, the necessary knowledge and skills. The aim of this research was to investigate: (1) the initial motivation for learning music and expectations from music education; (2) the course of development of young musicians (the degree of self-actualisation, developmental perspectives, evaluation of music education) and (3) outcomes of music education and development of the professional career. The sample (N=487) consisted of five subsamples: music kindergarten pupils, students of primary music schools, students of secondary music schools, university students of music and teachers at music schools and universities. The paper analyses psychological, educational and professional aspects of education of musically gifted pupils and students, as well as music teachers in five successive age groups. The results indicate that with an increase in age there is a considerable increase in the variety and scope of expectations and a higher aspiration towards personal, educational and professional lifelong improvement, while, at the same time, there is a considerable decrease in the level of fulfilment of expectations and the level of assessment of self-actualisation. This is indicative of a continuously present feeling of ?hidden underachievement? in the group of (relatively) successful young musicians and professionals. Analysis of respondents? answers points out to the existence of still traditional system of music education, which lacks flexibility and innovation and fails to provide a sufficient level of transferable knowledge and skills. The findings point out to a whole cluster of controversies demanding further reconsideration and (re)designing of the curriculum of (high) music education.

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Battersby, Sharyn L. "Reimagining Music Teacher Collaboration: The Culture of Professional Learning Communities as Professional Development Within Schools and Districts." General Music Today 33, no. 1 (April 8, 2019): 15–23. http://dx.doi.org/10.1177/1048371319840653.

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Music educators are continually seeking new ways to better their practice and improve student learning. Professional learning communities are a type of collaborative community that when administered successfully provide a forum for music educators to become active participants in both their own learning and that of their students. While the notion of professional learning communities has been around since the 1990s, they have received renewed attention more recently due to the adaptation and implementation of Danielson’s popular Framework for Teaching, which has been implemented in many school districts across the country. Teachers facing the challenge of reshaping the culture of their music programs and seeing their initiative sustained will devise elements that will become embedded in that (school) culture. Supportive and shared leadership, shared values and vision, and collective learning are just some of the attributes that can contribute to student learning and the professional development of music teachers.

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Sysoieva, Svetlana, Natalia Ovcharenko, and Olga Chebotarenko. "Future music and art educators' professional development: theoretical and technological issues." Ukrainian Journal of Educational Studies and Information Technology 9, no. 3 (September 30, 2021): 18–33. http://dx.doi.org/10.32919/uesit.2021.03.02.

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The focus of the article is on how to better prepare aspiring music and art teachers for teaching inclusively to young children, which is the real challenge facing current art education. Its objective is to provide the findings of theoretical research into the therapeutic and developmental benefits of music, as well as to offer technology support for future music art instructors' professional development in support of inclusive education for kids. The study's central idea was defined as "professional training of future music and art teachers for inclusive education," which is seen as an educational process intended to ensure students' readiness to provide a system of educational services to people with special educational needs in their future professional activity. This involves mastering one's inclusively oriented musical and pedagogical knowledge, skills, and personal qualities. The results of the most recent research in the fields of art and music-pedagogical theory regarding the harmonizing and music-therapeutic influence of music on the personality of a child in need of educational inclusion were used to improve the professional training of future music art teachers for children's inclusive learning; criteria of musical works selection for children with psycho-physiological disabilities have been identified; there was developed and substantiated. The innovative content of children's instruction, which consists of a specially chosen vocal repertoire, lesson and extracurricular forms of training, and particular teaching methods for students with special educational needs are all part of the developmentally and correctively oriented singing training techniques.

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Teplova, Natalia. "Formation of the activity-related component in the professional culture of the future teacher by means of Russian sacred music." St. Tikhons' University Review. Series IV. Pedagogy. Psychology 67 (December 30, 2022): 74–82. http://dx.doi.org/10.15382/sturiv202267.74-82.

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The author raises the actual problem of the development of the professional culture of the personality of the future music teacher. The article considers the component structure of the professional culture of the personality of the future music teacher. The author analyzed a large amount of research in the field of the component structure of the professional culture of the individual, the activity sphere of pedagogical activity, and the professional training of a music teacher in a pedagogical university. The activity component, along with the motivational-value and cognitive components, stands out as one of the priorities in the structure of the professional culture of the personality of the future music teacher. It is emphasized that the formation of the activity component occupies one of the important places in the development of the professional culture of the personality of the future music teacher.The author emphasizes the importance of the chosen means influencing the process of formation of the professional culture of the future teacher. Attention is focused on the special educational potential of Russian sacred music and the inadequacy of its use in the professional training of a future music teacher.The activity component includes performing and research activities of students. The component is aimed at acquiring professional skills in the performance of Russian sacred music, the ability to analyze works of Russian sacred music in the process of performing or listening to it, as well as involving students in research activities.The article presents the results of a study of the activity component of the development of the professional culture of a future music teacher by means of Russian sacred music. The author reveals the features of the study of Russian sacred music within the framework of the author's courses, demonstrates the results of his work to increase the level of the activity component of the professional culture of the students' personality. In the course of analyzing the results of the study, the author was able to determine the level of development of the professional culture of the personality of student musicians by means of Russian sacred music.

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Lasauskiene, Jolanta. "(RE)CONSTRUCTION OF STUDENT MUSIC TEACHER IDENTITY." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 1 (May 25, 2018): 306–16. http://dx.doi.org/10.17770/sie2018vol1.3180.

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The professional identity of music teacher represents the essence of this profession. Improving the programmes of music teacher education and deciding how to (re)construct the professional identity of prospective music teachers, it is important to discuss what contextual factors can have an impact on the development of music teacher identity and what possibilities of its (self-) development are available at university. A better understanding of the role-identity of teachers at various stages of their careers could enhance the conceptions of study programmes in music teacher education. The article analyses and discusses the conception of music teacher identities, substantiates its peculiarities during pre-service training, points out the most important characteristics for the successful professional activity of the music teacher. The research presented in the article focuses on professional identity development of 30 university music students (15 Lithuanian and 15 foreign) at Lithuanian University of Educational Sciences (Music Education). The method of focus group interview was used in this study.The research results show that the student music teachers have developed a distinctive attitude towards the professional education in universities and their own expectations. Suggestions for practice and further research are also provided.

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31

Draves, Tami J. "Instrumental Music Educators’ Experiences in a Professional Development Course." Update: Applications of Research in Music Education 35, no. 3 (February 29, 2016): 38–45. http://dx.doi.org/10.1177/8755123316634174.

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The purpose of this research was to investigate the experiences of instrumental music teachers in Designing Arts Instruction, a 4-day professional development course in a large urban school district. Specifically, I was interested in which activities participants (a) found most relevant and applicable to their current teaching situation, (b) believed would most benefit student learning, and (c) believed would contribute most to their overall music teacher development. Multiple forms of data were collected including participants’ reflections, researcher-facilitator journal and field notes, and structured individual interviews. Curriculum development and rubric writing were relevant to participants’ teaching situations and also engaged teachers’ personal musicianship. Participants recognized creative activities as motivating for students. Collaboration emerged as the course feature that contributed most to participants’ overall development. Those who plan and facilitate professional development might consider including aspects that invite collaboration, deep thinking, engagement, and reflection, particularly within the context of teachers’ musicianship.

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32

Conway, Colleen. "Introduction to Special Focus on Professional Development." Journal of Music Teacher Education 17, no. 1 (September 2007): 8–11. http://dx.doi.org/10.1177/10570837070170010104.

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33

Pastushenko, L. "Teaching technology development of professional competence future music teacher." Continuing Professional Education: Theory and Practice, no. 1-2 (2015): 82–87. http://dx.doi.org/10.28925/1609-8595.2015(1-2)8287.

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34

Bowles, Chelcy. "The Self-Expressed Professional Development Needs of Music Educators." Update: Applications of Research in Music Education 21, no. 2 (November 2002): 35–41. http://dx.doi.org/10.1177/87551233020210020701.

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35

Edgar, Scott N. "Introducing Social Emotional Learning to Music Education Professional Development." Update: Applications of Research in Music Education 31, no. 2 (March 15, 2013): 28–36. http://dx.doi.org/10.1177/8755123313480508.

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36

Eros, John. "Second-Stage Music Teachers’ Perceptions of Their Professional Development." Journal of Music Teacher Education 22, no. 2 (March 2012): 20–33. http://dx.doi.org/10.1177/1057083712438771.

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37

Conway, Colleen. "Professional Development of Experienced Music Teachers: Special Focus Issue." Arts Education Policy Review 112, no. 2 (January 31, 2011): 55–59. http://dx.doi.org/10.1080/10632913.2011.545751.

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Goodro, Julie. "Professional Development of Early Childhood Music & Movement Teachers." Perspectives: Journal of the Early Childhood Music & Movement Association 5, no. 1 (June 1, 2010): 17–19. http://dx.doi.org/10.1386/ijmec_0142_1.

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Moore, Janet L. S. "Assessment of a professional development programme for music educators." Music Education Research 11, no. 3 (September 1, 2009): 319–33. http://dx.doi.org/10.1080/14613800903144304.

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West, Justin J. "From the Conference to the Classroom: Elevating Short-Term Professional Development for Lifelong Learning." General Music Today 33, no. 1 (April 12, 2019): 24–28. http://dx.doi.org/10.1177/1048371319840651.

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Short-term or “one shot” professional development experiences are sometimes deemed less effective because they lack mechanisms for deep and ongoing engagement. Using the music conference as an example, I outline a simple framework on how music teachers might nevertheless use short-term professional development experiences as an impetus for long-range and high-impact professional growth.

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Pereverzeva, Marina V., and Elena A. Meleshkina. "Prerequisites for the Formation and Development of Professional Music Education in Russia." Uchenye Zapiski RGSU 20, no. 2 (June 29, 2021): 105–12. http://dx.doi.org/10.17922/2071-5323-2021-20-2-105-112.

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The subject of the study is the process of formation and development of music education in Russia on the basis of the traditions of home education of children in noble families and higher classes of tsarist Russia. The activation of performing and composer art has become one of the prerequisites for the development of professional music education in Russia. Another prerequisite was domestic music, which became widespread in aristocratic houses. The work carries out a historical and theoretical analysis of the origin of the pedagogical model of music education in pre-revolutionary Russia at the beginning of the 19th century and determines the main factors that led to the formation of professional music education in Russia on a solid scientific, pedagogical and socio-cultural basis, established in the country during the 17th and 18th centuries.

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Vyshnevetska, Maryna. "DEVELOPMENT OF AESTHETIC CULTURE OF A FUTURE MUSIC TEACHER WITH THE USE OF DIGITAL TECHNOLOGIES." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 167–71. http://dx.doi.org/10.36550/2415-7988-2021-1-195-167-171.

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The paper considers one of the relevant issues of introducing and using digital technologies by a future music teacher. It is proven that the realm of aesthetic culture of a future music teacher requires the introduction of innovative forms of education and their active application. It is substantiated that digital technologies are a means of professional development of future music teachers in the process of professional training and become an integral part of society at all levels and centers, and digital competence is recognized as one of the priorities in educational activities. The paper emphasizes that modern education is the mastery of electronic, multimedia textbooks and guides, e-courses, interactive complexes, therefore learning with the use of digital technologies is not a novelty but a requirement of the time. The structural components of aesthetic culture such as aesthetic consciousness, aesthetic activity, aesthetic self-organization are analyzed and singled out, and the author believes that such components are designed to implement strategic ideas in the field of education and culture into public life, to develop values, to apply and use modern technologies in professional activities, and this requires active skills in using ICT, as well as information, music and technological competencies, critical thinking, behavioral strategies, response to changing needs and interests of society. In this paper, the author considers digital, music and computer technologies as a means of professional development of a future music teacher in the process of professional training, because the use of such technologies increases motivation for professional activity and develops positive beliefs in selected music disciplines and areas of music research. The paper studies the SAMR approach that allows assessing the level of digital technologies use in educational institutions for teaching and learning. A review of current trends in digital technologies organization and application has identified their most common forms in the training of future music teachers and proven the effectiveness of their use, which affects the development of pedagogical mastery of music teachers.

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Emo, Martin. "Ableton Live professional learning development for secondary school music teachers." Journal of Music, Technology and Education 14, no. 1 (April 1, 2022): 43–68. http://dx.doi.org/10.1386/jmte_00033_1.

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There is a gap between secondary school music teacher’s knowledge of digital audio workstations (DAWs) and the phenomena of the digital musician. A digital musician is a student who uses a computer as their primary instrument for composing and performing music. This case study of in-service professional learning development (PLD) was based on the DAW Ableton Live and its integrated hardware controller, the Push. A review of professional learning literature informed the blended learning design (BLD) approach of the study. The analysis used a six-phase inductive approach for interpretive analysis of the themes. Results of this pre-COVID-19 study revealed that time, BLD, facilitation and videos impacted on the learning of the participants. Additionally, the participants underwent two linked paradigm shifts: first to include a computer and DAW in their conception of what music-making could be, and second that Ableton Live and the Push were musical instruments. Findings suggest that future PLD could increase learner readiness for using videos and a BLD in addition to preparing them for a paradigm shift.

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Murovanaya, N. N., I. A. Tyalleva, and Yu Yu Kurbangalieva. "Theoretical foundations and practice-oriented technologies for the development of professional competence of music teachers in the in-service training system." SHS Web of Conferences 113 (2021): 00006. http://dx.doi.org/10.1051/shsconf/202111300006.

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The article is devoted to the development of music teachers’ professional competence in the in-service teachers’ training system. The contradiction between the requirement of professional standards for the music teachers’ work and their preparation in the in-service teachers’ training system is discussed. The basic concept of the research - “professional competence” was specified, its structure was analysed, and the content was substantiated. The model of music teachers’ professional competence included such components as key components (informational, regulatory and communicative ones); an operational component; intellectual and educational component. The music teachers doing in-service training course were the participants of an experimental group and a control group. The results of input diagnostics showed the priority of using active forms of study for the experimental group. The detailed description of teaching technologies, used for the experimental group, was presented in the article. They included problem lectures, role games, business games, discussions, etc. The reliability of the output diagnostic results was proved with the help of t-test. The results showed decrease of the number of the music teachers with the low level of professional competence and increase of group members with high level of professional competence. Thus, the findings of the research proves the effectiveness of the model of music teachers’ professional competence.

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Mykhaskovа, Marina. "FOREIGN EXPERIENCE OF PROFESSIONAL TRAINING OF THE FUTURE MUSIC TEACHERS." Continuing Professional Education: Theory and Practice, no. 1 (2020): 74–79. http://dx.doi.org/10.28925/1609-8595.2020.1.11.

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The article deals with the comparative analysis of the system of music training of pedagogues-musicians abroad (in the countries of the European Union, Scandinavian countries, United States of America, People’s Republic of China and Japan) in particular, comparing these systems and selecting the most valuable experience for implementation in Ukraine. Particular attention is paid to the structure of music teacher education in Poland, Latvia, Finland, Germany, Hungary, Austria, Czech Republic, Slovak Republic, Sweden, Iceland, Norway, Great Britain, America, People’s Republic of China, Japan. The author of the article analyses the term of education in different countries; duration of stage education (Bachelor (Bc), Master (Mg), Doctor (Dr)); duration of study of the course; types of music activity; basic subjects; direction of educational subjects; music-pedagogical systems of outstanding musicians-pedagogues involved in the professional education process. It is analyzed that the common features for music education are: the orientation of education to the inner values associated with the development of musical skills, knowledge and abilities necessary for creativity and reaction to music; understanding and knowledge of the cultural environment and heritage; personal and community development through creativity, identity formation, personal development and social interaction. Music education systems abroad are characterized by the focus on the harmonious development of the personality, provide various forms of creative music playing on the material of folk, classical, contemporary music in their parallel comparison, develop perception and musical hearing through effective techniques.

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Hallam, Susan. "The development of memorisation strategies in musicians: implications for education." British Journal of Music Education 14, no. 1 (March 1997): 87–97. http://dx.doi.org/10.1017/s0265051700003466.

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Strategies for memorising music change as expertise develops. Twenty-two professional freelance musicians and 55 novice musicians were interviewed regarding their approaches to memorisation. Strategy use was found to depend on the nature of the material to be memorised. There was also evidence of considerable individual diversity in preferred strategies, learning being based on combinations of automated aural, kinaesthetic, or visual strategies. The professionals also made deliberate attempts to assist the memorisation process by developing an understanding of the structure of the music through analysis and devising strategies to avoid confusion when passages were similar. To reduce anxiety related to performance several strategies were often adopted simultaneously.

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Lv, Xin Xin. "Fuzzy Comprehensive Evaluation Method on College Music Teachers' Professional Quality." Applied Mechanics and Materials 543-547 (March 2014): 4346–49. http://dx.doi.org/10.4028/www.scientific.net/amm.543-547.4346.

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Music education is an important part of quality education, evaluation on music teachers professional quality effectively is both an important part of school work and an important condition for the growth and development of music teachers. This paper uses fuzzy comprehensive evaluation method to carry on research due to the difficult problems in teachers quality evaluation. We should focus on the evaluation ways after built an evaluation indication system and weight. The evaluation ways create a mathematical model of fuzzy comprehensive evaluation according to the solving steps of problem domain and then evaluate four music teachers professional quality in accordance with solving steps. Content of this study is important for the improvement of music teachers quality, the establishment of high-quality music teachers and the development of music education and other aspects.

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Burrack, Frederick. "Using Videoconferencing for Teacher Professional Development and Ensemble Clinics." Music Educators Journal 98, no. 3 (March 2012): 56–58. http://dx.doi.org/10.1177/0027432111434741.

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Videoconferencing technology can create opportunities to offer music teachers specific feedback that is crucial to satisfying their developmental needs by providing direct impact on instruction through online ensemble clinics.

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Ivković, Kristina. "The teacher's opinion about professional development in the teaching of the subject musical culture." Norma 27, no. 2 (2022): 209–26. http://dx.doi.org/10.5937/norma2202209i.

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The question of a permanent, lifetime worth of studying and improvement through formal, nonformal, and informal education has, in the last couple of years, become a more popular topic in various areas, including the area of education and teachers' and professors' professional development. In modern societies, the professional development of teachers and professors is seen as one of the key segments of contemporary education development and the development of the entire society which lies on the basis of the educational system. Individual and group professional development of teachers is a dominant form of permanent education and professional development of teachers in our country. Considering the countless potentials of Music culture instruction, and its opportunity to influence different elements of young school-age children's development, this paper focused on examining the opinions and practical steps of teachers related to the individual and professional development in the area of Music culture. The key results of this research indicate that the participants have a mostly positive opinion towards both individual and group professional development in the field of teaching the subject Music culture. Their specific activities in the context of individual and group professional development indicate the difference between the opinions and behavior of the participants. Namely, despite the positive opinion towards individual and professional training in the field of teaching the subject Music culture, the respondents included in this research take part relatively rarely.

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Sveschynska, Natalia. "FORMATION OF CREATIVE-PERFORMANCE SKILLS OF FUTURE TEACHERS OF MUSIC ART IN THE PROCESS OF INSTRUMENTAL TRAINING." Academic Notes Series Pedagogical Science 1, no. 190 (November 2020): 133–37. http://dx.doi.org/10.36550/2415-7988-2020-1-190-133-137.

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The level of professional qualification of a music art teacher is especially evident at the stage of creative and performing activities, when the synthesis of pedagogical and creative-performing components of activity allows to achieve the artistic influence of musical art on the individual. Analysis of the activities of music teachers of different levels of skill reveal the unity of pedagogical and creative- performing aspects of skill, their equivalence and complementarity in achieving teacher interaction with students. It is extremely important to reveal the original features of the national musical art (performance, creativity), education in the context of all the real preconditions, trends, factors of their development. There is a growing interest in theoretical and methodological issues of pedagogy and performance in each of the professional music fields. Improving the instrumental and performing training of young professionals, their active involvement in the system of pedagogical activity is a complex dialectical process, which is manifested in various forms of performing skills. The most important component of a musician's professional development is perfect musical and performance training. Various aspects of this process (physiological, psychological and pedagogical, etc.) are studied in the works of Yu. Bay, V. Bilous, E. Yorkina, E. Gurenko, M. Davydov, V. Knyazev, V. Razhnikov, V. Samitov, G. Tsypin etc. Important didactic principles of music teacher's knowledge development are the young teacher's own creative, aesthetic and professional self-improvement, supplementing the personal information and methodological base, creating an individual mobile system of effective pedagogical knowledge and skills that meet specific tasks. Attending concerts of academic music, opera and musical-dramatic performances, etc. (together with students, colleagues, independently); instrumental music, group singing; acquaintance with new musical works of various forms, genres, styles; training and performance as a performer (performers) at local, regional and other conferences, festivals, concerts, performances, etc. actively contribute to the creative self-improvement of the music teacher.

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