Journal articles: 'Music teachers'

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Okay, H. Hakan. "The views of music teachers and music teacher candidates about value training." International Journal of Academic Research 6, no. 2 (March 30, 2014): 92–102. http://dx.doi.org/10.7813/2075-4124.2014/6-2/b.15.

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Nurtug, Bariseri Ahmethan, and Bahar Yigit Vahide. "Preservice music teachers` perception of their music teachers." Educational Research and Reviews 12, no. 7 (April 10, 2017): 432–41. http://dx.doi.org/10.5897/err2017.3153.

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Djumaboyeva, M. "PEDAGOGICAL SKILLS OF MUSIC TEACHERS." American Journal Of Social Sciences And Humanity Research 4, no. 1 (January 1, 2024): 150–54. http://dx.doi.org/10.37547/ajsshr/volume04issue01-24.

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This article talks about the importance of improving the professional-pedagogical skills of music teachers and professional competence, which is one of its branches. Today, in establishing the effectiveness of music teachers' activities and pedagogical activities, first of all, the importance of pedagogical skills and the possession of the types of competences necessary in each pedagogical process has been highlighted.

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Han, Jungmin Grace. "Korean Preservice Music Teachers’ Perceptions of Portfolio-based Teacher Education: A qualitative study." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 19 (October 15, 2023): 581–91. http://dx.doi.org/10.22251/jlcci.2023.23.19.581.

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Objectives This qualitative study aimed to examine Korean preservice music teachers’ perceptions of portfo-lio-based teacher education. Methods A focus group interview along with an open-ended survey was executed with five preservice music teachers who were enrolled in the same portfolio-based music history education course at a graduate school of education in Seoul, Korea. The collected data were transcribed in Korean, translated it into English, and then in-ductively analyzed. Results The findings show as follows. First, all the participants have rarely experienced portfolio-based learning. Second, the portfolio-based learning approach is perceived as a way to self-driven learning experience, which promoted their own growth and capacity for critical thinking and self-expression. Meanwhile, heavy-loaded as-signments and inconcrete learning objectives were found to form their negative perceptions of portfolio-based learning approach. Third, for succesful portfolio-based learning and teaching, teacher educators’ detailed learning objectives and guidelines along with good questions as well as assignment qualities are found to be essential. Conclusions In conclusion, portfolio-based teacher education approach can promote preservice music teachers’ capacity for self-driven learning and teaching. As for its open-ended nature, teacher educators’ role and attitude can be key components component for successful portfolio-based learning and teaching experiences. For future stud-ies, it is important to continue to discuss possibilities and limitations of portfolio-based music teacher education by reflecting the study’s findings and implications. It will ultimately optimize ways to empower music student teachers’ agency and capacity. This study contributes to underrepresented portfolio-based Korean music teacher education theory and practice.

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Cynthia L. Wagoner. "Measuring Music Teacher Identity: Self-Efficacy and Commitment Among Music Teachers." Bulletin of the Council for Research in Music Education, no. 205 (2015): 27. http://dx.doi.org/10.5406/bulcouresmusedu.205.0027.

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Brand, Manny. "Reel Music Teachers: Use of Popular Films in Music Teacher Education." International Journal of Music Education os-38, no. 1 (November 2001): 5–12. http://dx.doi.org/10.1177/025576140103800102.

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Kos, Ronald P. "Becoming music teachers: preservice music teachers’ early beliefs about music teaching and learning." Music Education Research 20, no. 5 (June 18, 2018): 560–72. http://dx.doi.org/10.1080/14613808.2018.1484436.

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Brand, Manny. "Master music Teachers." Music Educators Journal 77, no. 2 (October 1990): 22–25. http://dx.doi.org/10.2307/3397811.

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Krueger, Patti J. "Beginning Music Teachers." Update: Applications of Research in Music Education 19, no. 1 (November 2000): 22–26. http://dx.doi.org/10.1177/875512330001900105.

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Killian, Janice N., Keith G. Dye, and John B. Wayman. "Music Student Teachers." Journal of Research in Music Education 61, no. 1 (February 28, 2013): 63–79. http://dx.doi.org/10.1177/0022429412474314.

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In this descriptive study, we examined self-reported concerns of 159 music student teachers pre– and post–student teaching, over a period of 5 years. Resulting comments ( N = 867) were analyzed on the basis of (a) stages of teacher concern (focus on self, subject matter [music and teaching], and students) modeled after Fuller and Bown and (b) emerging categories of concern compared with those identified by Madsen and Kaiser. Stages of concern were reliably identifiable across all comments. Teachers, as predicted, began student teaching with more self (56%) and fewer student (4%) comments. Post–student teaching comments resulted in fewer self (33%) and more student (20%) mentions. Categorization of concerns indicated that pre– and post–student teachers shared some concerns (applying knowledge, discipline, confidence) but showed marked differences in other areas (cut out for teaching, information about students, administrative duties). Pre–student teaching categories were similar to those reported by Madsen and Kaiser a decade earlier; post–student teaching comments differed.

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Hess, Juliet. "Troubling Whiteness: Music education and the “messiness” of equity work." International Journal of Music Education 36, no. 2 (April 11, 2017): 128–44. http://dx.doi.org/10.1177/0255761417703781.

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At the elementary level, White, female music teachers largely populate music education. In the diverse schools of Toronto in Canada, teachers navigate their White subjectivities in a range of ways. My research examines the discourses, philosophies, and practices of four White, female elementary music educators who have striven to challenge dominant paradigms of music education. Their practices include critically engaging issues of social justice, studying a broad range of musics, and emphasizing contextualization. In many ways, these teachers interrupt the Eurocentric paradigm of music education to explore other possibilities with students. However, equity work is messy, and there were also moments that unsettled these teachers’ active equity agendas. This article describes both the subversions and the reinscriptions in a way that might be instructive to music education.

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Fang, Lin, Chiew Hwa Poon, and Ku Wing Cheong. "Pre-service music teachers’ satisfaction with the teacher education curriculum in northern China." International Journal of Education and Practice 12, no. 3 (May 8, 2024): 667–83. http://dx.doi.org/10.18488/61.v12i3.3747.

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Pre-service music teachers’ satisfaction with the curriculum has implications for student learning and curriculum development. It is necessary to investigate pre-service music teachers’ satisfaction with the curriculum to help universities respond to changing social needs. However, there is lack of empirical studies on this topic in China. This study aims to explore the degree of satisfaction of pre-service music teachers in northern China with the curriculum to reveal the current challenges and issues in music teacher education. For this, a quantitative statistical method was adopted to conduct a questionnaire survey among 421 pre-service music teachers who major in music education in four different universities in northern China. The satisfaction survey regarding curriculum content and curriculum design was conducted to identify challenges and issues in the current music teacher education curriculum. The results show that pre-service music teachers are moderately satisfied with the curriculum. The findings indicate the following: 1. Teaching methods are monotonous; 2. There is some ambiguity concerning teaching objectives and training standards; 3. Practical courses and practice mentors need to improve; and 4. Pre-service music teachers lack confidence in the preparation for teaching in the future. Universities can significantly contribute to improving curriculum satisfaction and students’ confidence in teaching preparation by actively providing teaching-related knowledge, skills, policies and goals. Universities should consider the learning needs of pre-service music teachers and improve traditional teacher-centered teaching methods to improve teaching quality.

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Asmus, Edward. "Recruiting the Teachers of Music Teachers." Journal of Music Teacher Education 11, no. 1 (September 2001): 3–4. http://dx.doi.org/10.1177/105708370101100102.

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Kallio, Alexis Anja. "Popular “problems”: Deviantization and teachers’ curation of popular music." International Journal of Music Education 35, no. 3 (August 2017): 319–32. http://dx.doi.org/10.1177/0255761417725262.

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Despite many music classrooms welcoming popular musics in striving towards an inclusive and democratic education, there has been relatively little research into teachers’ decisions regarding which popular musics are included and which are excluded from classroom activities. This is of particular interest taking into account arguments that the norms and values associated with some popular musics or songs exist in conflict with the ideals and ideologies of formal schooling. Through interviews with five Finnish music teachers, this article explores the identification and navigation of “problematic” popular musics in school contexts. Teachers noted that four musical features: lyrics, imagery, musical mood and emotional affect, influenced their constructions of popular musics and their repertoire selections for students. This study suggests that popular repertoire decisions are ethically, ideologically, and politically loaded, and that welcoming students’ own musics does not necessarily result in a more inclusive, democratic classroom culture.

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Rauduvaite, Asta, and Yanran Li. "TEACHER'S MUSIC ACTIVITIES IN THE CLASSROOM AS A PREREQUISITE FOR IMPROVEMENT OF MUSIC EDUCATION." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 25, 2018): 395. http://dx.doi.org/10.17770/sie2018vol1.3219.

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The relevance of the research is realized through the search for the music teacher’s activities that help to improve the process of music education while fostering the learner’s aesthetic and meaningful relationship to music. The object of the research is a music teacher’s activity of teaching music in general education school. The aim of the research is to analyse the improvement opportunities of a music teacher’s activity during music lessons in seventh-eighth grades in general education schools. The methods of the research include the analysis of scientific literature and documents of education; semi-structured interviews with music teachers; a written survey; quantitative and qualitative data analysis. According to the collected data, a variety of musical activities helps to develop learners’ inborn musical abilities, provide a favourable learning environment with an opportunity to develop the learners’ musicianship and presuppose their transferable skills. In this context, teachers’ active and creative musical involvement helps the learner to experience more positive emotions. Such a personal involvement and cooperation serve as a major condition for the improvement of the teachers’ musical activity. An inappropriate choice of the activities can lead to dissatisfaction and be the main reason for failure. The teachers’ participation in musical activities could encompass a number of music modes, which could create a more attractive and productive activity in the lesson: a teacher – a performer – a listener – a facilitator – a leader.

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Robinson, Mitchell. "Music teachers' perceptions of high stakes teacher evaluation." Arts Education Policy Review 120, no. 1 (December 14, 2017): 45–56. http://dx.doi.org/10.1080/10632913.2017.1373380.

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Bautista, Alfredo, and Yan Lam Ho. "Music and movement teacher professional development: An interview study with Hong Kong kindergarten teachers." Australasian Journal of Early Childhood 46, no. 3 (April 29, 2021): 276–90. http://dx.doi.org/10.1177/18369391211014759.

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Despite the urgent need to provide kindergarten teachers with professional development (PD) in music and movement, little is known about their needs, motivations, and preferences in this area. This interview study explores Hong Kong kindergarten teachers’ prior music and movement educational experiences and their self-perceived usefulness of such experiences, their needs and motivations to participate in further music and movement PD, and their preferences regarding PD facilitators, times, and learning activities. Evidence reveals that participants felt unprepared to enact the local music and movement curriculum guidelines, perceiving their prior educational experiences to be of low quality. Teachers showed high levels of need and motivation to participate in music and movement PD, showing preferences for initiatives facilitated by expert kindergarten teachers and musicians/performers, conducted during working hours or online, and involving classroom-based and content-focused activities. Findings raise awareness about the importance of providing kindergarten teachers with responsive music and movement PD.

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Culp, Mara E., and Karen Salvador. "Music Teacher Education Program Practices: Preparing Teachers to Work With Diverse Learners." Journal of Music Teacher Education 30, no. 2 (January 21, 2021): 51–64. http://dx.doi.org/10.1177/1057083720984365.

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Music educators must meet the needs of students with diverse characteristics, including but not limited to cultural backgrounds, musical abilities and interests, and physical, behavioral, social, and cognitive functioning. Music education programs may not systematically prepare preservice teachers or potential music teacher educators for this reality. The purpose of this study was to examine how music teacher education programs prepare undergraduate and graduate students to structure inclusive and responsive experiences for diverse learners. We replicated and expanded Salvador’s study by including graduate student preparation, incorporating additional facets of human diversity, and contacting all institutions accredited by National Association of Schools of Music to prepare music educators. According to our respondents, integrated instruction focused on diverse learners was more commonly part of undergraduate coursework than graduate coursework. We used quantitative and qualitative analysis to describe course offerings and content integration.

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Georgii-Hemming, E., and M. Westvall. "Teaching music in our time: student music teachers' reflections on music education, teacher education and becoming a teacher." Music Education Research 12, no. 4 (December 2010): 353–67. http://dx.doi.org/10.1080/14613808.2010.519380.

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Cameron, T. M. "Music Perhaps Best Used by Music Teachers." American Journal of Occupational Therapy 46, no. 10 (October 1, 1992): 955. http://dx.doi.org/10.5014/ajot.46.10.955.

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Yoo, Hyesoo. "Toward a Decentered Music Education Using a Rhizomatic Approach." Music Educators Journal 110, no. 1 (September 2023): 34–40. http://dx.doi.org/10.1177/00274321231195823.

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As we work to connect equity to our curriculum and pedagogy, a rhizomatic approach may provide a valuable lens for reconsidering traditional conventions. Such an approach underlines interconnected multiplicity with a noncentered, nonhierarchical emphasis. Applying a rhizomatic method, I offer music teachers some practical applications to challenge conventional curricular tendencies in subtle but important ways. Instead of using an additive approach to the Western classical canon, this approach helps to engage in music comparatively or relationally, which can enable teachers and students to think broadly across categories by recognizing the interconnections between musics. More important, lessons adopting a rhizomatic approach may help teachers and students consider all musics as bearers of equal status and honor many diverse forms of music.

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Grimsby, Rachel. "“Anything Is Better than Nothing!” Inservice Teacher Preparation for Teaching Students with Disabilities." Journal of Music Teacher Education 29, no. 3 (December 11, 2019): 77–90. http://dx.doi.org/10.1177/1057083719893116.

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The purpose of this instrumental case study was to examine three elementary music teacher’s perceptions of preparation to work with students with disabilities. Research questions included the following: How do elementary general music teachers define preparedness for working with students with disabilities? What challenges do elementary general music teachers face in their work with students with disabilities? What resources do general music teachers identify as helpful? Based on major themes that emerged from the analysis, I concluded general music teachers need more preservice preparation and ongoing professional development focused on students with disabilities, more time to collaborate with special education professionals, more consistent communications and recommendations about how to work with students who have disabilities, and access to assistive technologies.

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Su, Yan, and Yan Xiao. "Teachers’ Beliefs and Actions on affective responses during music listening activities in higher education in China." Advances in Education, Humanities and Social Science Research 8, no. 1 (October 26, 2023): 196. http://dx.doi.org/10.56028/aehssr.8.1.196.2023.

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Music listening is very important in all stages of music learning. Affective response and cognition take place simultaneously during the music-listening process. However, there is a paucity of research on how university music teachers deal with the issues of involving the affective responses of students in listening. This study employed a questionnaire survey to investigate the current situation of teaching beliefs and actions of music academics towards affective responses while listening to music in China. The views of 160 music university teachers recruited from 15 different universities have been surveyed. The questionnaire was designed based on the concept of music teaching and learning with an acceptable reliability of K=0.58. The survey data identified the potential correlation between the teacher’s beliefs and their actions (r=0.67). Moreover, the possible correlation between several predictors associated with the teachers (gender, educational degree, teaching experience and the type of university, and so on) also have been investigated. The results of this study revealed that around 90% of respondents agreed that affective responses can be enhanced music cognition during the teaching process. The relationship between teachers’ beliefs and actions is found to be positive but not linear related. In addition, it was found that the teacher’s knowledge of effective pedagogical responses during music listening has the potential to broaden the scope of their teaching.

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Bremmer, Melissa. "Does the body count as evidence? Exploring the embodied pedagogical content knowledge concerning rhythm skills of a Dutch specialist preschool music teacher." International Journal of Music in Early Childhood 16, no. 1 (June 1, 2021): 89–103. http://dx.doi.org/10.1386/ijmec_00029_1.

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In educational research, the teacher’s body tends to be neglected as a source of evidence of pedagogical content knowledge (PCK). The music teacher’s body might, however, communicate knowledge about teaching that is key to the profession of music teachers. This qualitative single case study set out to explore what the embodied PCK of a music teacher regarding teaching rhythm skills could be. Through a stimulated recall interview, two video analysis tasks, a digital notebook and a semi-structured interview, the PCK of a Dutch specialist music teacher teaching rhythm skills to preschoolers was mapped. The findings show that physical modelling, but also instructional, guiding, representational gestures and embodied ways of assessing, reflect embodied aspects of a music teacher’s PCK regarding rhythm skills. This research study illuminates the role of the music teacher’s body in PCK and provides a starting point for developing a body-based pedagogy for (future) music teachers.

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Bremmer, Melissa. "Does the body count as evidence? Exploring the embodied pedagogical content knowledge concerning rhythm skills of a Dutch specialist preschool music teacher." International Journal of Music in Early Childhood 16, no. 1 (June 1, 2021): 89–103. http://dx.doi.org/10.1386/ijmec_00029_1.

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In educational research, the teacher’s body tends to be neglected as a source of evidence of pedagogical content knowledge (PCK). The music teacher’s body might, however, communicate knowledge about teaching that is key to the profession of music teachers. This qualitative single case study set out to explore what the embodied PCK of a music teacher regarding teaching rhythm skills could be. Through a stimulated recall interview, two video analysis tasks, a digital notebook and a semi-structured interview, the PCK of a Dutch specialist music teacher teaching rhythm skills to preschoolers was mapped. The findings show that physical modelling, but also instructional, guiding, representational gestures and embodied ways of assessing, reflect embodied aspects of a music teacher’s PCK regarding rhythm skills. This research study illuminates the role of the music teacher’s body in PCK and provides a starting point for developing a body-based pedagogy for (future) music teachers.

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Haack, Paul, and Michael V. Smith. "Mentoring New Music Teachers." Music Educators Journal 87, no. 3 (November 2000): 23. http://dx.doi.org/10.2307/3399659.

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Kataryńczuk-Mania, Lidia. "Music teachers. Model perspectives." International Forum for Education 10 (December 31, 2017): 75–85. http://dx.doi.org/10.15804/iffore2017.05.

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Roberts, B. "Music Teachers as Researchers." International Journal of Music Education 23, no. 1 (May 1, 1994): 24–33. http://dx.doi.org/10.1177/025576149402300103.

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Campbell, Patricia Shehan. "Music, Teachers, and Children." General Music Today 7, no. 2 (January 1994): 19–26. http://dx.doi.org/10.1177/104837139400700204.

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Yuansin, Wang. "Hedonistic Approach in the Musical-Rhythmic Competence of Future Music and Choreography Teachers." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 274–77. http://dx.doi.org/10.33310/2518-7813-2019-66-3-274-277.

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The article is dedicated to the analysis of hedonistic approach to music and rhythm competence of prospective Music and Choreography teachers. As hedonism became a focus of scholars’ active attention during the recent decade, hedonistic approach is being put forward in the article as the key one in music and rhythm competence of prospective Music and Choreography teachers. Under the current circumstances of the society’s development, the psychological follow-up of prospective Music and Choreography teachers is an important goal to attain for our country. Each personality requires individual approach; help in revealing his/her specific features; in shaping a wholesome, harmonious personality. The goal under consideration presupposes setting complicated issues for teachers and psychologists; these issues require structural, systemic and subsequent solution. The personality’s subjective welfare is not only an indicator of his/her psychic (emotional) stability, the transient (dis)adaptation states and pressure compliance resources, but also has crucial significance for perfecting the processes of a person’s overall and academic socialisation. This phenomenon requires conducting applied research as well as solving other issues. Thus, hedonistic approach to music and rhythm competence of prospective Music and Choreography teachers presupposes studying and explication. Applying a hedonistic approach to music-rhythmic competence, under appropriate pedagogical conditions, is transformed into a kind of educational and musical training, which is based on a person's need for pleasure, enjoyment and relying on a love of music education. In this way, the hedonistic approach in music education gives the process of teaching future music teachers and choreography a special appeal.Hedonistic approach to music and rhythm competence of prospective Music and Choreography teachers under the corresponding academic circumstances is being rearranged into a distinctive teaching and music training based on the prospective Music and Choreography teacher’s demand for enjoyment and delight relying on the love of music education.

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Nurtug, Bariseri Ahmethan. "Correlation between teaching styles of candidate music teachers and mentor music teachers." Educational Research and Reviews 11, no. 13 (July 10, 2016): 1228–35. http://dx.doi.org/10.5897/err2016.2795.

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Supiarza, Hery, Deni Setiawan, and Cece Sobarna. "Pola Permainan Alat Musik Keroncong dan Tenor di Orkes Keroncong Irama Jakarta." Resital: Jurnal Seni Pertunjukan 20, no. 2 (August 26, 2019): 108–20. http://dx.doi.org/10.24821/resital.v20i2.2459.

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Penelitian ini mendiskusikan pola permainan alat musik keroncong dan tenor serta penerapannya pada lagu “Cente Manis” dan “Sambel Cobek”. Kedua alat musik ini merupakan identitas keroncong gaya Jakarta. Penelitian dilakukan dengan pendekatan kualitatif deskriptif dan data dikumpulkan melalui observasi, wawancara, dan dokumentasi. Berdasarkan hasil penelitian ditemukan bahwa asal mula istilah alat musik keroncong berasal dari bunyi alat musik itu sendiri. Istilah tenor merujuk pada istilah suara laki-laki tertinggi. Ditemukan juga teknik permainan alat musik keroncong dan tenor yaitu teknik rasguaedo (prung), strumming, arpeggio dan dengan cara dipetik satu-satu pada setiap senar. Teknik memainkan alat musik keroncong dan tenor tersebut meliputi pola permainan dobel engkel, dobel balik, format dan gaya lama. Permainan keempat pola tersebut bergantung pada lagu yang akan dibawakan dan kesepakatan para personilnya. The Approach of Orff-Schulwerk for Prospective Music Teachers in Kindergarten Schools. The topic in this article focuses on the application of Orff-schulwerk for university students as prospective teachers in school, including kindergarten. Orff-schulwerk can be seen as an approach to music education. In related to primary education, this approach focuses on the children needs and develops children musicality through necessary activities (elemental) in music and movement. Some questions in this article are: 1) what kind of Orff-schulwerk that can be used by prospective teachers in the learning process at kindergarten? 2) what benefits can be obtained by teacher candidates through the application of the Orff-schulwerk approach? And 3) how do prospective teachers who use this approach can understand their role in learning? The method used in this study is action research. The findings in this research are prospective teachers understand that: 1) Orff-schulwerk can be used in related to exploration – imagination – creation that involving music and movement; 2) this approach is useful for developing student musicality in the learning process in kindergarten; and 3) in this approach, prospective teachers are acted as facilitators who can create an atmosphere of learning that stimulate students’ imagination and creation. This study concludes that the Orff-schulwerk approach should be mastered by prospective teachers who teach in schools, including kindergarten. By having an understanding of this approach, both theoretically and practically, prospective teachers not only enhance their knowledge but also support the national education goals, namely the students’ character building in schools.Keywords: Orff-Schulwerk; music education; kindergarten teachers

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Ballantyne, Julie, and Jan Packer. "Effectiveness of preservice music teacher education programs: Perceptions of early-career music teachers." Music Education Research 6, no. 3 (November 2004): 299–312. http://dx.doi.org/10.1080/1461380042000281749.

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Isbell, Daniel S. "Musicians and Teachers." Journal of Research in Music Education 56, no. 2 (July 2008): 162–78. http://dx.doi.org/10.1177/0022429408322853.

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This study was designed to investigate the socialization and occupational identity of undergraduate music education majors enrolled in traditional preservice teacher education programs. Preservice music teachers ( N = 578) from 30 randomly sampled institutions completed a 128-item questionnaire. Descriptive statistics were computed for all variables, and factor analysis was used to explore the underlying structure of occupational identity. Correlational and regression analyses revealed relationships among socialization influences and occupational identity. Descriptive findings surrounding various aspects of primary and secondary socialization revealed that parents, school music teachers, and private lesson instructors exerted a positive influence on student decisions related to participating in music and pursuing a music education career. Factor analysis results indicated that occupational identity consisted of three constructs: musician identity, self-perceived teacher identity, and teacher identity as inferred from others. Correlations between secondary socialization and occupational identity were slightly stronger than those between primary socialization and occupational identity, and influential experiences were more predictive of occupational identity than influential people.

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Pellegrino, Kristen. "Becoming music-making music teachers: Connecting music making, identity, wellbeing, and teaching for four student teachers." Research Studies in Music Education 37, no. 2 (May 29, 2015): 175–94. http://dx.doi.org/10.1177/1321103x15589336.

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Nysæther, Eyolf Thovsen, Catharina Christophersen, and Jon Helge Sætre. "Who are the music student teachers in Norwegian generalist teacher education?" Nordic Research in Music Education 2, no. 2 (December 17, 2021): 28–57. http://dx.doi.org/10.23865/nrme.v2.2988.

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This study is based on data from a national survey of generalist student teachers specialising in music in the new five-year primary and lower secondary school teacher education programme in Norway. The study aims to map students’ backgrounds, experiences of the educational programme and visions for their future practice as generalist music teachers in schools. The theoretical perspective is cultural-historical activity theory (CHAT). The findings suggest that generalist teacher education music programmes reproduce patterns of inequality. These patterns should be addressed in the future development of the programmes; however, the current lack of diversity may inhibit conditions for transformation and change.

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Sularso, Sularso. "Pendekatan literasi musik: Upaya mengetahui persepsi mahasiswa pendidikan guru sekolah dasar tentang keragaman budaya musik Indonesia." Wiyata Dharma: Jurnal Penelitian dan Evaluasi Pendidikan 10, no. 1 (August 7, 2022): 1–7. http://dx.doi.org/10.30738/wd.v10i1.12745.

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Bagi mahasiswa pendidikan guru sekolah dasar, pembelajaran musik menjadi matakuliah wajib yang harus dituntaskan. Dalam masyarakat multikultural, siswa pendidikan guru sekolah dasar harus memahami khasanah musik Indonesia secara baik. Persoalannya adalah mahasiswa pendidikan guru sekolah dasar tidak secara spesifik mengambil jurusan musik, sehingga rata-rata mereka tidak memiliki pengetahuan literasi musik secara memadai. Perspektif literasi musik tradisional ini dimaksudkan untuk membantu mahasiswa sekolah dasar dalam memahami hubungan antara musik tradisional dan pendidikan musik multikultural. Signifikansi penelitian ini terletak pada pentingnya perspektif literasi musik tradisional dalam membantu semua mahasiswa pendidikan guru sekolah dasar dalam mengkonstruksi pengetahuan tentang musik tradisional Indonesia. Berpijak pada persoalan tersebut, maka penelitian ini bertujuan untuk mengetahui persepsi mahasiswa pendidikan guru sekolah dasar dalam kaitannya dengan keragaman budaya musik Indonesia dengan pendekatan literasi musik. Data diperoleh melalui observasi, dan wawancara. Data yang dikumpulkan meliputi data-data pengetahuan musik tradisi, respon pengindraan musik, hingga perhatian mahasiswa terhadap fenomena musik tradisi disekitarnya. Hasil klasifikasi ketiga jenis data tersebut selanjutnya dianalisis dengan pendekatan literasi musik. Hasilnya adalah bahwa pendekatan literasi musik tradisional dapat membantu mahasiswa pendidikan guru sekolah dasar dalam mengkonstruksi pengetahuan tentang musik tradisional Indonesia. Kontribusi penelitian ini terletak pada pembentukan perspektif baru tentang pentingnya peningkatan literasi musik tradisional Indonesia sebagai upaya untuk melestarikan identitas dan semangat multikultural bagi calon guru sekolah dasar di Indonesia. Music literacy approach: An effort to find out the perceptions of elementary school teacher education students about the diversity of Indonesian music culture Abstract: For elementary school teacher education students, learning music is a compulsory subject that must be completed. In a multicultural society, elementary school teachers' education students must understand the repertoire of Indonesian music well. The problem is that elementary school teacher education students do not specifically major in music, so on average, they do not have adequate knowledge of musical literacy. This traditional music literacy perspective is intended to assist elementary school students in understanding the relationship between traditional music and multicultural music education. The significance of this research lies in the importance of the traditional music literacy perspective in helping all elementary school teacher education students in constructing knowledge about Indonesian traditional music. Based on these problems, this study aims to determine the perceptions of elementary school teacher education students in relation to the diversity of Indonesian music culture with a musical literacy approach. Data was obtained through observation and interviews. The data collected includes data on knowledge of traditional music, musical sense responses, and students' attention to the phenomenon of traditional music around them. The results of the classification of the three types of data are then analyzed using a musical literacy approach. The result is that the traditional music literacy approach can help elementary school teachers educate students in constructing knowledge about Indonesian traditional music. The contribution of this research lies in the formation of a new perspective on the importance of increasing literacy in traditional Indonesian music as an effort to preserve the identity and multicultural spirit of prospective elementary school teachers in Indonesia.

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Davidova, Jelena. "Music Teacher’s Competences in the 21st Century." Pedagogika 134, no. 2 (October 18, 2019): 99–108. http://dx.doi.org/10.15823/p.2019.134.6.

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Rethinking education of music teachers for new learners’ generation is as crucial as identifying the new competencies that today’s music teachers need to develop. According to analyses of EU documents and scientists’ conceptions concerning music teacher’s competences, the author characterizes tendencies and priorities for improving music teachers’ competences in the 21st century. The basic task of music education is promoting the formation of learners’ personal attitude to the world, to self and others, to provide the opportunity for learners to learn music as a new form of communication. In this context music teacher has to demonstrate knowledge and understanding not only in music subject, but in a) communication and positive relationship-building; b) collaboration with parents, colleagues, musicians, composers and specialists in other spheres; c) development of creative and social skills of learners based on three pedagogical principles – personalization, participation and productivity, as well as through and in the arts/culture approaches in music education process.

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Ham, Ina. "A Study on Music Teacher’s Perceptions of Piano Accompanying for Preservice Music Teacher." Korean Society of Music Education Technology 30 (January 16, 2017): 161–82. http://dx.doi.org/10.30832/jems.2017.30.161.

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This study investigates music teacher’s perceptions of the need, contents, and methods of piano accompanying education for preservice music teacher. The questionnaire was made based on the preceding research of piano accompanying and reviewed by three experts. A total 101 questionnaires were distributed out to music teachers and 85 were returned back. Numerical data were stored using SPSS software. Five more music teachers, not given questionnaire, and two piano accompanying instructors of university are interviewed for complement findings from questionnaire in depth. Findings reveal that high rate of those questioned perceives piano accompanying is one of the crucial education courses for preservice music teacher, though those questioned are not assured with the contents and methods of piano accompanying education. As a result, three suggestions are preposed. First, piano accompanying education needs to focus on practices and exercises during the courses. Second, piano accompanying and other music courses are needed to integrate in order to achieve the purpose of music education. Third, music teacher’s understanding towards piano accompanying needs to be changed.

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Yoo, Hyesoo, Sangmi Kang, Camilo I. Leal, and Abbey Chokera. "Engaged Listening Experiences: A World Music Sampler." General Music Today 33, no. 3 (November 25, 2019): 14–20. http://dx.doi.org/10.1177/1048371319890291.

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As the U.S. population has become significantly more culturally diverse, many music educators have acknowledged the necessity to implement culturally diverse musics in music curricula. One of the challenges in teaching culturally diverse musics is designing a balance between performing-based activities and other activities such as listening, improvising, and composing activities. Despite the importance of developing students’ listening skills, listening lessons are still relatively deficient within the context of world musics. Therefore, we provide general music teachers with engaged listening strategies for implementing world music lessons in music classrooms. The lessons provided in this article are appropriate for upper elementary and secondary general music classrooms.

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Kang, Sangmi, and Hyesoo Yoo. "American preservice elementary teachers’ self-reported learning outcomes from participating in Korean percussion lessons in a music-methods course." Research Studies in Music Education 41, no. 3 (January 10, 2019): 327–42. http://dx.doi.org/10.1177/1321103x18806084.

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The purpose of this study was to examine American preservice classroom teachers’ self-reported learning outcomes after partaking in a weekly Korean percussion ensemble in an elementary music-methods course. The preservice classroom teachers rehearsed a Korean percussion ensemble piece ( Samulnori) as their course routine for half of the semester. Participants’ open-ended essays and semi-structured interviews were analyzed to determine their learning outcomes. Based on Abril’s (2006) three world music learning outcome categories (musical, cultural, and other) as initial codes, the emergent coding process was adopted. Through the data analysis, four themes emerged that illustrated preservice classroom teachers’ learning outcomes: (a) Cultural Awareness: Difference, (b) Music Fundamentals: Overlap with Traditional Course Content, (c) Bonding Experience: Community, and (d) Teacher Education: A Well-Rounded Teacher. Based on the results, possible implications for teaching culturally diverse musics to preservice classroom teachers in music-methods courses were discussed.

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Krueger, Patti J. "Empowering Music Student Teachers through Inquiry: Cooperating Teacher Views." Music Educators Journal 92, no. 3 (January 2006): 56–61. http://dx.doi.org/10.2307/3401142.

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LI, Yifei. "The "strong teacher" strategy for music teachers in rural primary and secondary schools from the perspective of subject core literacy." Region - Educational Research and Reviews 6, no. 1 (February 22, 2024): 148. http://dx.doi.org/10.32629/rerr.v6i1.1743.

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This article mainly discusses the development characteristics of "strong teacher" in rural music teachers from the perspective of subject core literacy, and summarizes the development plans for teachers form three aspects of "independent development", "social participation", and "cultural foundation". Through effective thinking on the analysis of the current situation of music education in rural primary and secondary schools, the following three issues can be identified: cognitive bias in the construction of rural music education, insufficient integration of rural music teachers, and insufficient equipment in rural music classrooms. A comprehensive development strategy has been proposed to enhance the comprehensive strength of rural music teachers, as well as their professional ethics and subject core literacy, and integrate localized teaching resources for the development of "strong teachers" in rural music. The aim is to improve the level of teaching staff.

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Cain, Tim. "Teacher as Guide: The Teacher's Role in the Secondary School Music Lesson." British Journal of Music Education 2, no. 1 (March 1985): 5–18. http://dx.doi.org/10.1017/s0265051700004575.

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This article is an attempt to explore what we Secondary School Music Teachers should do in our music lessons. To illuminate this problem the author postulates two rôles which he believes many music teachers adopt more or less whole-heartedly: the ‘Instructor’, who passes on a body of received skills, information and perhaps values; and the ‘Enabler’, who sets up conditions in which his or her pupils may discover music.Although both rôles can be fruitful in some areas of the music curriculum, the author considers them inadequate, and attempts to describe a new role which teachers might find more helpful. He outlines ways in which the teacher who adopts this role might operate when teaching Composition, Literature Studies, Audition, Skills and Performance (C(L)A(S)P).

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Dubrovsky, Vladimir V., Irina V. Efremova, and Larisa A. Pidzhoyan. "Digitalization in the field of music education: analysis of students – future music teachers and music educators." Perspectives of Science and Education 64, no. 4 (September 1, 2023): 73–89. http://dx.doi.org/10.32744/pse.2023.4.5.

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Introduction. Over the past decade, teacher-musicians have been intensively mastering the didactic functions of the digital space and digital technologies. However, the demonstration of successful practices for the use of digital resources in music education is not an indicator of the widespread use of these practices. The purpose of this article is to analyze the factors influencing the application of musical pedagogical technologies in music education. Materials and methods. 78 respondents took part in the survey and interviews: 4th-5th year students and teachers of Bunin Yelets State University (Russian Federation), teachers of additional education, music directors, music teachers. When studying the respondents' ideas about the factors influencing the use of music and computer technologies in music education, the level of education and teaching experience of music teachers were taken into account. To study the experience and ideas of respondents about the features of the digitalization of music education, a questionnaire was developed, consisting of 3 blocks: "Motivation and competence", "Support", "Material and technical and digital environment". The Kruskal-Wallis test was used as a method of mathematical statistics. Results. The most developed digital competence in the narrow professional sense is among teachers of higher education (63.7% have a high or above average level), students (57.2%), music teachers (32.4%) and teachers of additional education (19%), the least developed – among music directors (7.7%). The motivational potential is highest among teachers of higher education (90.9% have a high and above average level), students (52.4%), music teachers (37.8%) and teachers of additional education (26.6%). Music-computer technologies are used most intensively in the educational process by music teachers with experience from 3 to 20 years (48.4%). Educational and institutional support for the digital transformation of music education is focused mainly on higher education teachers and music teachers. Availability of equipment is assessed at a high level in universities (100%), and at an average level in schools (61.1%). The largest deficit is observed in the field of preschool education (low level – 1 5.4%, level below average – 84.6%). Scientific novelty. The features of the digital transformation of music education are empirically studied in the context of the factors of the level of education and experience of music teachers. Practical significance. The results of the study can be used in the development of programs for higher education disciplines and additional professional training programs for teachers on the use of music -computer technologies in the educational process.

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Patterson, Allyson. "Music Teachers and Music Therapists: Helping Children Together." Music Educators Journal 89, no. 4 (March 2003): 35. http://dx.doi.org/10.2307/3399902.

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Song, Jeong-ju, and A.-Hyun Kim. "Elementary Pre-Service Teachers' Perception of Music Classes While Micro-Teaching." Korean Journal of Teacher Education 40, no. 2 (March 30, 2024): 27–46. http://dx.doi.org/10.14333/kjte.2024.40.2.02.

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Purpose: This study aimed to discover the perceptions of pre-service teachers about music classes and to seek directions for enhancing the music class expertise through difficulties and demands for their music classes. Methods: Elementary school pre-service teachers participated in micro-teaching and filled out self-assessment sheets based on recorded class videos. A survey was conducted with 201 pre-service elementary school teachers about their perception of music classes before and after micro-teaching and what they believed their needs were to improve their music class expertise after micro-teaching. Results: First, the teachers recognized music classes as classes that felt the beauty of music and sympathized with emotions and values by considering the learners based on music knowledge. Second, they wanted a student participation-oriented music class based on the teacher's musical knowledge and practical skills, but they were experiencing trial and error in the micro-teaching due to their lack of music class experiences. Third, they had many individual differences in their confident music classes. To improve the professionalism of music classes, they believed that they required teacher training institutions to strengthen their connection with the field, support for improving musical competence, expand the number of hours of related subjects, expand class equipment, and provide opportunities to observe and analyze excellent classes. In addition, they recognized the need to develop individual abilities in relation to music practical skills, music knowledge, and music teaching methods in relation to the difficulties they encountered while micro-teaching. Conclusion: For the participants in the study to grow into teachers with music instruction expertise, various efforts are required, including not only for the individuals but also teacher training institutions. Following this study, it is expected that future studies will examine specific measures to improve the professionalism of music classes.

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Girdzijauskienė, Rūta. "The Bodily Experiences of Music Teachers." Central European Journal of Educational Research 3, no. 1 (April 30, 2021): 53–59. http://dx.doi.org/10.37441/cejer/2021/3/1/9351.

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This paper deals with the specifics of a music teacher's work in kindergarten and presents an empirical study, based on the approach of hermeneutic phenomenology. In the research outcomes, the experiences of the music teacher's work in kindergarten are presented through their stories about memorable moments of their professional activity. Initially, in accordance with the theory of Max van Manen, the research data were viewed through the prism of five dimensions (lived time, lived space, lived self-others, lived things, and lived body), typical of all phenomena. The paper discusses one of them, i.e. the teachers' experience from the perspective of the lived body. The stories demonstrate how through the looks, facial mimicry, and body language, moments of the teacher's everyday routine are revealed that would otherwise be overlooked or considered irrelevant.

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Friesen Wiens, Kim. "The Discerning Process of Song Selection." Alberta Academic Review 5, no. 1 (September 2, 2022): 7. http://dx.doi.org/10.29173/aar139.

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Songs that were once considered standard repertoire in elementary music programs across Canada are now being identified as including derogatory, misogynistic, and/or harmful texts. While there has been research and findings compiled on the text of songs (Bailey, 2020; Ellingsen, 2019; Kelly-McHale, 2018; McDougle, 2021), this is still a relatively new field, particularly regarding how information about texts of songs is shared with teachers. How can existing music education programs provide learning opportunities around repertoire selection for both in-service and preservice teachers? The Orff Level Certificate Program of Carl Orff Canada works with both preservice and in-service music teachers. The Orff program occurs on a yearly basis, with approximately 25 teacher educators and 250 teachers enrolled across the country. With the majority of elementary educators being “white, middle class, female, heterosexual teachers” (Holden & Kitchen, 2019, p. 27), there is a need to acknowledge the social hierarchy present in the classroom, that is, the power and privilege held by music educators. By working with music teachers to think critically about what musics to include, Orff Level Teacher Educators can provide the tools for music educators to “shape a curriculum and a pedagogy that purposefully places classroom musics alongside students’ own musics, experiences and interests (Hess, 2017, p. 71). In March 2021, an online survey, including a combination of multiple-choice and open-ended questions was sent to 25 Orff Level Teacher Educators in Canada. Responses were received from 17 teacher educators. The following questions guided the investigation: (a) How are songs selected for inclusion in the program? (b) Have there been changes to the repertoire list over the last five years? If so, what is driving these changes? (c) How do teacher educators see their selection process of repertoire impacting teachers’ choices of repertoire? Using thematic analysis, I analyzed the responses looking for common themes. These findings have served as a foundation for dialogue with Orff Teacher Educators. The next phase of the study will begin in spring 2022 where I will be interviewing three to five participants to further clarify findings from the survey portion of the research. References Bailey, P. (2020, April 27). Reclaiming kumbaya! https://www.decolonizingthemusicroom.com/reclaiming-kumbaya Ellingsen, A. (2019, October 30). Jump Jim Joe. https://www.decolonizingthemusicroom.com/jump-jim-joe Hess, J. (2017). Equity in Music Education: Why equity and social justice in music education? Music Educators Journal, 104(1), 71–73. https://doi.org/10.1177/0027432117714737 Holden, M., & Kitchen, J. (2019). Equitable admissions in Canadian teacher education: Where we are now, and where we might go. In J. Mueller, & J. Nickel, (Eds.) Globalization and diversity in education: What does it mean for Canadian teacher education? (23-60). Canadian Association for Teacher Education. Kelly-McHale, J. (2018). Equity in music education: Exclusionary practices in music education. Music Educators Journal, 104(3), 60–62. https://doi.org/10.1177/0027432117744755

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Still, Johanna. "Uppdraget att undervisa i musik. Förskollärares uppdrag att undervisa i musik med utgångspunkt i den nationella läroplanens innehåll och mål." Nordisk barnehageforskning 21, no. 3 (April 24, 2024): 58–78. http://dx.doi.org/10.23865/nbf.v21.404.

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Musikundervisningens mål är bland annat att ge barn redskap för att praktiskt kunna musicera i vardagen, utveckla musikaliskt tänkande och skapa ett positivt förhållningssätt till musik. De upplevelser barn får i musik är huvudsakligen beroende av de lärare de möter, anser Moore (2019). Därför borde lärare vara utrustade med de färdigheter och kunskaper som krävs för att kunna ge barnen meningsfulla musikupplevelser och för att kunna följa läroplanens innehåll och mål (Sætre, 2018). Syftet med denna studie är att undersöka hur lärare inom förskoleundervisning (sexårsverksamhet) tagit sig an uppdraget att undervisa i musik utgående från den finländska nationella läroplanens innehåll och mål. För att få svar på frågeställningen används kvalitativ innehållsanalys. I föreliggande studie har både dokument i form av läroplanstexter och förskollärares intervjusvar analyserats. Läroplanens övergripande mål är att den ska bidra till att en högklassig och enhetlig förskoleundervisning förverkligas i hela Finland, men resultatet i denna studie visar på stora variationer i förverkligandet av musikundervisningen. ENGLISH ABSTRACT The Mission to Teach Music. Pre-primary Teachers’ Assignment to Teach Music Based on the Content and Goals of the National Curriculum The aim of music education is to give children the tools to practically play music in everyday life, developing musical thinking, and create a positive attitude to music. The experiences children get in music are mainly dependent on the teachers they encounter (Moore, 2019). Therefore, teachers should be equipped with the skills and knowledge required to be able to give children meaningful musical experiences and to be able to follow the curriculum’s content and goals (Sætre, 2018). The purpose of this study is to investigate how teachers in pre-primary education approached the task of teaching music based on the content and goals of the Finnish national curriculum. Qualitative content analysis is used to answer the question at issue. In the present study both documents in the form of curriculum texts and pre-school teachers’ interview responses have been analyzed. The overall aim of the curriculum is to contribute to the realization of high quality and uniform preschool education throughout Finland, but the results show wide variations in the realization of music education.

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Journal articles on the topic 'Music teachers'

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