Academic literature on the topic 'Individual music teaching'
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Journal articles on the topic "Individual music teaching"
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Crockett, Jean B. "Legal Aspects of Teaching Music Students with Disabilities." Music Educators Journal 104, no. 2 (December 2017): 45–50. http://dx.doi.org/10.1177/0027432117712802.
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The public education of students with disabilities in the United States is governed by federal policies that promote school improvement, protect students from discrimination, and provide those who need it with special education and related services to meet their individual needs. This article explains the legal aspects of teaching students with disabilities in the context of music education. Topics address promoting student achievement through the Every Student Succeeds Act, protecting individual access to the music curriculum under Section 504 and the Americans with Disabilities Act, and providing music instruction to special education students under the Individuals with Disabilities Education Act. Guidelines are provided for making music instruction for students with disabilities both legally correct and educationally meaningful.
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Schmidit, Charles P. "Individual Differences in Perception of Applied Music Teaching Feedback." Psychology of Music 17, no. 2 (October 1989): 110–22. http://dx.doi.org/10.1177/0305735689172002.
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Ferencziné Ács, Ildikó. "The Nyíregyháza Model: The Teaching of Teaching Music / of Making Music." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 9–36. http://dx.doi.org/10.24193/subbmusica.2020.2.01.
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"The Music Pedagogy Workshop working within the Institute of Music at the University of Nyíregyháza has initiated several programmes related to music methodology, financed by EU funds. Within the framework of subproject entitled “Renewing the practice of teaching music in public education based on folk traditions,” digital handbooks and teachers’ books have been designed for the Grades 1 to 4 of primary schools. The present paper introduces the novel features of the material designed for Grades 1 and 2. It touches upon the issues of the relevant points in curricular regulations, the possibilities of the innovative methods of score notation and score reading, tailored to the age characteristics of students, and the new approach to teaching the musical elements connected to a selected song corpus. The basic concept in designing the material of the first two grades was the amalgamation of folk culture, including folk tales and children’s game songs, and the world around children. The elements of the knowledge of the present and the past appear side by side in the individual thematic units. Interdisciplinarity also gets emphasised. The generative and creative music activities, the tasks aimed at developing receptive competences, games, and the application of graphic notation, targeting the development of fine motor skills and music literacy, have been designed to broaden the toolkit of music pedagogy for junior schools. Keywords: digital education material, folk music, children’s songs, graphic notation, generativity"
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Bjøntegaard, Bjørg Julsrud. "A combination of one-to-one teaching and small group teaching in higher music education in Norway – a good model for teaching?" British Journal of Music Education 32, no. 1 (June 20, 2014): 23–36. http://dx.doi.org/10.1017/s026505171400014x.
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Instrumental teachers in higher music education in Norway and elsewhere traditionally organise their teaching as individual lessons with one teacher and one student. This paper takes a closer look at how a horn teacher at the Norwegian Academy of Music has organised her weekly teaching in individual, small group and master class lessons with all her students. The project being described in the paper has since been extended to other instruments, but this paper concentrates on the horn model. The main focus is on small group lessons where the students themselves play and comment on fellow students’ performances. The evidence suggests that a combination of teaching in individual, small group and master class lessons is the best way of educating students as responsible, reflective and professional musicians.
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Prichard, Stephanie. "A Mixed-Methods Investigation of Preservice Music Teaching Efficacy Beliefs and Commitment to Music Teaching." Journal of Research in Music Education 65, no. 2 (June 13, 2017): 237–57. http://dx.doi.org/10.1177/0022429417710387.
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The purpose of this study was to investigate the music teaching efficacy beliefs and commitment to teaching of preservice music teachers enrolled in an introductory music education course. Also explored was the impact of introductory music education course experiences on preservice music teachers’ music teaching efficacy beliefs and commitment to teaching. This study was conducted in a sequential explanatory mixed-methods design, organized into two strands (Strand I: Quantitative, Strand II: Qualitative). Introductory music education students ( N = 684) from 41 National Association of Schools of Music–accredited institutions participated in Strand I, with a nested sample of 24 interviewees participating in Strand II. Preservice music teachers’ efficacy beliefs were interpreted as having two dimensions: music teaching efficacy beliefs and classroom management efficacy beliefs. Mixed-methods analyses indicated that introductory music education students’ music teaching efficacy beliefs may have been impacted by a variety of course experiences, including individual mentoring, peer teaching, and field experience. Participants’ commitment to teaching may have been strengthened by mentoring, although instances of weakened commitment were rare. Additional findings included the types and qualities of experiences perceived by participants as influential to music teaching efficacy beliefs or commitment.
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Reifinger, James L. "Teaching Pitch Notation–Reading Skills." General Music Today 33, no. 3 (December 7, 2019): 21–28. http://dx.doi.org/10.1177/1048371319891419.
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The teaching of music-reading skills has been cited as a neglected area of music education needing improvement. Music reading is the process of translating notation into sounds. Producing the notated sounds by singing, more specifically referred to as sight-singing, is especially demanding because it requires the individual to first mentally construct aural images of the sounds, an essential process that is challenging to teach and assess. This article describes a series of activities for teaching music-reading skills in general music or choir, focusing mainly on reading and singing pitch notation, though many of the ideas could also be used to teach rhythm reading. The activities are sequential, are easy to implement, and allow for the assessment of skill acquisition at various stages of development.
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Dunn, Rosemary. "Teaching Music through Individual Composition: A Music Course for Pupils aged Eleven to Eighteen." British Journal of Music Education 9, no. 1 (March 1992): 49–60. http://dx.doi.org/10.1017/s0265051700008688.
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In this article I expound my method of teaching the language of music to my pupils. I aim to enable them to express themselves through music, just as they are expected to use the tools of language for creative writing and art materials for original work.My class organisation and the syllabus by which my pupils learn to compose is explained in some detail for years seven to nine and in more general terms thereafter.I include examples of compositions, from Year Seven and from GCSE pupils. I hope I can encourage other teachers to adopt similar objectives and therefore reap similar rewards.
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Brand, Manny, and Lori Dolloff. "Fantasies and Other Romanticized Concepts of Music Teaching: A Cross-Cultural Study of Chinese and North American Music Education Students’ Images of Music Teaching." International Journal of Music Education os-39, no. 1 (May 2002): 17–30. http://dx.doi.org/10.1177/025576140203900103.
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Within an international context, this article reports on the use of drawings by Chinese and North American music education majors as a means of examining these students’ images, expectations, and emerging concepts of music teaching. By studying and discussing these drawings within the methods class, it is hoped that these music education majors could project their present orientation toward music teaching. Several common themes were seen in both the Chinese and North American drawings. Individual drawings are analyzed and included as evidence of archetypal images and signifiers. It is proposed that these students’ drawings might serve as a means of uncovering, analyzing, and challenging music education students as they begin the career-long task of reconciling romanticized notions with more realistic experiences in teaching music.
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Schiavio, Andrea, Michele Biasutti, Dylan van der Schyff, and Richard Parncutt. "A matter of presence: A qualitative study on teaching individual and collective music classes." Musicae Scientiae 24, no. 3 (November 2, 2018): 356–76. http://dx.doi.org/10.1177/1029864918808833.
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In the current study, 11 expert music teachers were asked to reflect on their own practice and compare their experience of individual and collective teaching settings. Adopting an approach based on grounded theory, two interrelated themes were identified in the raw data: teaching issues and professional development. In both categories, the notion of ‘presence’ emerged as a defining feature of the comparison. Teachers reported to be less present in collective settings, whereas one would expect that the higher (cognitive, teaching, etc.) demands associated with more learners would result in teachers being instead more involved in the unfolding dynamics of the lesson. Inspired by the conceptual tools offered by the Extended Mind (ExM) approach, we suggest that in collective settings teachers feel less present because they can offload the cognitive role of ‘teacher’ onto the learners, giving rise to a hybrid extended system that fosters a shared sense of responsibility, where pedagogical dynamics are functionally distributed across the whole group. In reporting excepts from music teachers, and adopting a novel perspective to frame our discussion, our research may contribute to existing literature in (collective) music pedagogy.
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Ferm Thorgersen, Cecilia, Geir Johansen, and Marja-Leena Juntunen. "Music teacher educators’ visions of music teacher preparation in Finland, Norway and Sweden." International Journal of Music Education 34, no. 1 (June 29, 2015): 49–63. http://dx.doi.org/10.1177/0255761415584300.
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In this study we investigated the visions of 12 music teacher educators who teach pedagogical courses called instrumental pedagogy and classroom music pedagogy in three music academies in Finland, Norway and Sweden. The data were collected through individual, semi-structured qualitative interviews. Drawing on Hammerness’ concept of teachers’ vision we concentrated on the educators’ visions of good music pedagogy teaching, an ideal graduate, and visions of their subject as a whole, as well as how those visions can be extended to denote some characteristics of the teaching traditions at play. The results indicated that visions were personal and not necessarily consistent between educators or across institutions. Rather, they were strongly related to, steered, and limited by established teaching traditions. We suggest that vision might constitute a functional concept in music teacher educators’ reflections on their work and that clear programme visions should be formulated in music teacher education institutions through collective collegial efforts.
Dissertations / Theses on the topic "Individual music teaching"
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Infante, Daniel da Trindade. "Relatório de prática de ensino supervisionada realizada no Conservatório Regional de Évora - EBORAE MVSICA: a problemática do estudo individual de guitarra no curso básico de música do ensino artístico especializado." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29048.
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O propósito deste relatório reside na exposição de mecanismos que visam solucionar problemas
relacionados com a falta de organização do estudo individual dos alunos em geral, com foco nos alunos
do Ensino Básico de Música. A análise desta problemática é essencial não só para uma boa performance
em palco, como também para a formação de um aluno como futuro músico profissional. Deste modo,
serão apresentadas não só ferramentas que servirão de guia para a organização do estudo individual,
como também estratégias para solucionar problemas relacionados com as várias dificuldades na prática
do mesmo; Abstract:
The Problematic of Individual Guitar Study at the Basic Music Level of
Specialized Artistic Education.
The purpose of this report is to expose mechanisms that aim to solve problems related to the
lack of organization of the individual study of students in general, with a focus on students of Basic
Music Education. The analysis of this problem is essential not only for a good performance on stage,
but also for the formation of a student as a future professional musician. In this way, not only tools will
be presented that will serve as a guide for the organization of the individual study, but also strategies to
solve problems related to the various difficulties in its practice.
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Gil, Eunice Cristina Rijo. "Relatório de prática de ensino supervisionada realizada na Escola de Música do Conservatório Nacional. A importância da música de câmara na aprendizagem individual do clarinete." Master's thesis, Universidade de Évora, 2017. http://hdl.handle.net/10174/21032.
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O presente relatório surge no âmbito da Prática de Ensino Supervisionada, realizada na Escola de Música do Conservatório Nacional durante o ano letivo 2015-2016, tendo como supervisores os professores Mário Marques (na qualidade de orientador interno) e Luís Gomes como orientador cooperante. Ao longo da primeira secção será apresentada a descrição histórica e orgânica da instituição supracitada. Posteriormente é concretizada a caracterização dos alunos, das aulas assistidas e lecionadas, assim como uma análise crítica das mesmas. A segunda secção deste relatório prevê a aferição da importância da música de câmara na aprendizagem individual do clarinete, abordando diferentes conceitos e componentes que atuam nesta sistema de ensino. Nesta secção figuram também resultados de um questionário que afere as perspetivas de professores do ensino vocacional da música neste âmbito. Pretende-se com a presente investigação reunir informação substancial para a formação do professor de instrumento; Abstract: Supervised Teaching Practice held at the Escola de Música do Conservatório Nacional. The importance of chamber music in individual clarinet learning.
This report is part of the Supervised Teaching Practice, held at the Escola de Música do Conservatório Nacional during the academic year 2015-2016, having professors Mário Marques (as internal supervisor) and Luís Gomes as co-supervisor. Throughout the first section will be presented the historical and organic description of the aforementioned institution. Subsequently, is presented a characterization of the students, the assisted classes and the lectures is analyzed, as well as a critical analysis of the same. The second section of this report foresees the measurement of the importance of chamber music in the individual learning of the clarinet, addressing different concepts and components that work in this system of education. This section also shows the results of a questionnaire that assesses the perspectives of vocational music teachers in this field. It is intended with the present investigation to gather substantial information for the training of the instrument teacher.
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Forsgren, Sanna. "Pianoundervisning - grupp eller enskilt? : Hur pianopedagoger förändrar sina didaktiska val beroende på undervisningsform." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2942.
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Denna studie bygger på en jämförelse mellan hur pianopedagoger förändrar sina didaktiska val beroende på undervisningsform, i detta fall enskild undervisning eller gruppundervisning. Tre pianopedagoger har intervjuats och sex observationer har genomförts. En då vardera pedagog undervisade i grupp och en då pedagogerna undervisade enskilda elever. Undersökningen har genomförts med hermeneutik och det sociokulturella perspektivet som teori med inslag från Lev. S. Vygotskijs tankar kring kamratlärande och den proximala utvecklingszonen. De visuella, auditiva och kinestetiska lärstilarna valdes ut som särskilt viktiga för undersökningen samt sången och rytmikmetoden som redskap i undervisningen. Dessa redskap valdes ut med grund i dess positiva påverkan på inlärning och kontinuerliga närvaro under min utbildning på Kungl. Musikhögskolan i Stockholm. En koncentration har funnits kring de redskap, enligt den sociokulturella teorin, som pedagogerna använt i sin undervisning och hur faktorer som samspel och kamratlärande har använts och speglats i undervisningen. Resultatet presenteras i två delar. Tre intervjuer med pianopedagoger visar att de inte anser sig göra någon skillnad i sina didaktiska val beroende på undervisningsform. Däremot motsäger resultatet från observationerna detta till viss del. Störst är skillnaden mellan hur informanterna ser på sångens roll i undervisningen och hur de använder den. Undersökningen visar att pedagogernas didaktiska val till större del beror på deras egna preferenser i kombination med individanpassad undervisning än beroende på undervisningsform. I resultatet kan man utläsa att fler moment och redskap användes under gruppundervisningen än under de enskilda lektionerna. Detta kan bero på att pedagogerna behöver anpassa materialet efter fler individers preferenser och möjligheter för inlärning i gruppundervisningen, under de enskilda lektionerna har pedagogerna större möjlighet att individanpassa efter den aktuella eleven.This study is based on a comparison between how piano teachers change their didactics depending on the teaching method, particularly individual teaching or group teaching. Three piano teachers have been interviewed and six observations have been conducted. One where the teacher taught an individual student and one where the teacher taught a group. The study has been conducted with the sociocultural perspective as overarching theory with elements of Lev. S. Vygotsky’s thoughts about cooperative learning and the Zone of Proximal Development, and with hermeneutics as a method of analysis. Focus was maintained on the tools the teachers use during the lessons and how the cooperative learning is visual during the lessons. Some tools and methods were selected as particularly relevant. These where the three learning styles as tools. That is, visual, auditory and kinesthetic learning. In addition, singing as a tool were chosen as well as the Dalcroze-method. These were chosen because of their continuous presence during my education at the Royal College of Music in Stockholm and their recognition withing the particular scientific field. The results are presented in two parts. The interviews show that the teachers claims to not change their didactics depending on the teaching method, that is individual or group lessons. This is partly contradicted by the result from the observations. The most significant and striking differences is between the teacher’s thoughts about using singing as a tool and how they actually uses it. The study shows that the teacher’s didactic choices largely depend on their own preferences in combinations with the particular needs and abilities of the student. The number of methods and tools used during the group lessons are greater than the ones used during the individual lessons. This could be caused by the fact that the teachers need considerate every students preferences in learning during a group lesson whereas the teacher can concentrate on just one student during a individual lesson.
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Ramos, Francisco Parente. "Relatório da prática de ensino supervisionada realizada na Escola Artística de Música do Conservatório Nacional: a comunicação não verbal em contexto de aula individual de violino." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/28159.
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No âmbito da unidade curricular Prática de Ensino Supervisionada do Mestrado em Ensino de Música da Universidade de Évora, a primeira secção deste trabalho refere-se ao relatório de estágio realizado na Escola Artística de Música do Conservatório Nacional. Esta primeira secção, além do contexto histórico da escola e da descrição de todos os agentes escolares nela envolvidos, relata os processos de ensino/aprendizagem da classe de violino onde o mestrando desenvolveu o seu trabalho ao longo do ano lectivo 2018/2019. A segunda secção contém uma investigação naturalista, de abordagem mista (qualitativa e quantitativa), cujo objectivo é identificar a importância de determinada comunicação não-verbal específica, em contexto de aula individual de violino. Além da consulta e análise de bibliografia especializada, esta investigação foi realizada através de ficha de observação directa da acção do orientador cooperante, bloco de notas e entrevista semi-estruturada realizada ao mesmo; Supervised Teaching Report held at Escola Artística de Música do Conservatório Nacional: Nonverbal Communication in Individual Violin Lessons
Abstract: Inserted in the curricular unit of Supervised Teaching Practice in Master’s Degree in Music Teaching at Évora University, the first section of this essay reports the training practice in Escola Artística de Música do Conservatório Nacional. Besides the historical background of the School, this first sections describes all the teaching agents and the violin class teaching/learning methods, where the Master’s Degree student developed his teaching during the 2018/2019 schoolyear. The second section highlights a naturalistic both qualitative and quantitative survey research, whose aim is to identify the importance a nonverbal specific communication in an individual violin lesson. Besides the research and analysis of specific bibliography, this essay includes the conclusions of direct observation and a semi-structured interview to the Master Degree’s supervisor
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Nilhammer, Hanna. "Att vara orkestermusiker och instrumentallärare : En studie om samspelet mellan två yrkesroller." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-7279.
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Det här examensarbetet handlar om orkestermusiker tillika instrumentallärare, och hur de ser på samspelet mellan yrkena. Arbetet har två vinklingar; hur musikern påverkas av läraren, och hur läraren påverkas av musikern. Jag har använt mig av kvalitativa intervjuer med sex informanter som alla jobbar både som stråkmusiker och pedagoger. De har olika bakgrund, och olika erfarenhet av undervisning. Som teoretisk bakgrund använder jag ett förhållningssätt där mästarläran, och läraren som coach står i centrum. Mitt resultat är bland annat att musikern blir mer medveten och analytisk till sitt eget och andras spel och att läraren blir en utövande mästare som håller hög spelnivå. Jag diskuterar vilka olika roller mina informanter kan ha, hur deras svar kan relateras till mästarläran kontra coachning samt förmedlad kontra konstruerad kunskap. Det jag kommit fram till är att mina informanter ser jobbkombinationen som värdefull och berikande för båda yrkena, men att tiden ofta inte räcker till.This study focuses on orchestral musicians who also are instrumental teachers, and how they approach the interrelationship between the two professions. The study presents two views: how the teacher influences the musician, and how the musician influences the teacher. I have based the study on qualitative interviews with six interviewees, all of whom work as string players and pedagogues. They all have different backgrounds, with various experiences of teaching. As a theoretical background, I have used an approach where master teaching, or the teacher as a coach, is central. Among my findings, I have discovered that the musician becomes more conscious and analytic toward his/her own style of playing, but also towards others as well. The teachers are masters and they possess a high technical level in their playing. Further, I discuss what roles the interviewees may have, and how I can relate their answers to my theoretical background. The interviewees make clear that working as both a teacher and a musician is valuable, but the issue of time can be a problem.
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Jimenez, Samantha D. "An Exploration of Teaching Music to Individuals With Autism Spectrum Disorder." Antioch University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1396908032.
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Chapman, Taylor Ruthann. "MUSIC THERAPISTS’ USE OF VISUAL SUPPORTS FOR INDIVIDUALS WITH AUTISM SPECTRUM DISORDER." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/128.
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Visual supports, which provide information presented in a visual format to enhance achievement toward specific goals, can be very helpful for individuals who have autism spectrum disorder (ASD). Music therapists often use visual supports in their practice; however, research exploring how they do so is limited. In the present study, the researcher used a mixed-methods research design to explore music therapists’ use of visual supports for individuals who have ASD. The researcher e-mailed a survey to board-certified music therapists who opted to receive e-mails from the Certification Board for Music Therapists (CBMT), 525 of whom completed the entire survey. Approximately 70% of participants reported using visual supports “always” or “very often.” Participants most frequently reported using pictures with written words and visual schedules. Visual supports are most often used by music therapists in children’s facilities/schools and to address communication skills when working with individuals who have ASD. Participants most frequently reported using visual supports to generally enhance the session/interventions, using them to provide routine, predictability, and clear expectations for individuals who have ASD. Resources and recommendations provided by participants are also summarized. Open-ended responses were coded into themes, and most participants recommended specific software or applications and encouraged others to use certain visual supports, such as visual schedules and “real” pictures. Future researchers should examine the effectiveness of visual supports when used in music therapy sessions for individuals who have ASD.
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Molumby, Nicole Lena. "The application of different teaching strategies reflective of individiual students' learning modalities in the university flute studio class." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1086122579.
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Kwak, Eunmi Emily. "An exploratory study of the use of music therapy in teaching mathematical skills to individuals with Williams syndrome." Diss., Connect to online resource - MSU authorized users, 2008.
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Backman, Bister Anna. "Spelets regler : En studie av ensembleundervisning i klass." Doctoral thesis, Stockholms universitet, Kungl. Musikhögskolan i Stockholm, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-107884.
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The aim of this study is to explore criteria characterizing music teacher’s strategies when trying to adapt their teaching to individual students. The interaction of three music teachers with their students was explored in case studies in different parts of Sweden (a pre-study, and the main study consisting of two parallel studies). The research interest especially concerns teaching class ensemble addressing teenagers in the tuition provided under the curriculum of Swedish secondary and upper secondary school. This study adopts the perspective of cultural psychology according to which learning is understood as being relational, taking place in a cultural context, depending on available cultural resources and affected by it. Cultural tools are considered mediators of meaning and crucial for learning. Of special interest to the present study are the ways in which teachers distribute knowledge to their students. Many-sided data were collected in all case studies: series of lessons were observed and video-documented; preliminary results were followed up in semi-structured interviews with the teachers, respectively. The results show similarities in the use of general strategies; e.g. peer-teaching and -learning in the classroom and flexibility in using and developing cultural tools. Results also show three diverging practices; rehearsal-room practice, supervisor-practice and ensemble-leading-practice. The results are discussed from a societal perspective, in light of Swedish School history. Issues concerning the government of the School and equivalence are addressed. An unexpected result is that the concept “individually adapted ensemble teaching” may be understood very differently among music teachers actively involved in teachers’ education. The need for development of professional concepts is further underlined by the findings that teachers develop new cultural tools within different practices. This is discussed related to the framing of the central curricula.
Books on the topic "Individual music teaching"
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Winding it back: Teaching to individual differences in music classroom and ensemble settings. 2016.
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Conway, Colleen M. Teaching Music in Higher Education. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190945305.001.0001.
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This book is designed for faculty and graduate assistants working with undergraduate music majors as well as non-majors in colleges and universities in the United States. It includes suggestions for designing and organizing music courses (applied music as well as academic classes) and strategies for meeting the developmental needs of the undergraduate student. It addresses concerns about undergraduate curricula that meet National Association of School of Music requirements as well as teacher education requirements for music education majors in most states. A common theme throughout the book is a focus on learner-centered pedagogy or trying to meet students where they are and base instruction on their individual needs. The text also maintains a constant focus on the relationship between teaching and learning and encourages innovative ways for instructors to assess student learning in music courses. Teaching is connected throughout the book to student learning and the lecture model of teaching as transmission is discouraged. Activities throughout the book ask instructors to focus on what it means to be an effective teacher for music courses. As there is limited research on teaching music in higher education, the book relies on comprehensive texts from the general education field to help provide the research base for our definition of effective teaching.
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Banner, Olivia, Nathan Carlin, and Thomas R. Cole, eds. Teaching Health Humanities. Oxford University Press, 2019. http://dx.doi.org/10.1093/med/9780190636890.001.0001.
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Teaching Health Humanities expands our understanding of what health humanities teaching currently does and what it could do. Its contributors describe the variety of degree programs where they teach, the politics and perspectives that inform how they teach, and methods for incorporating newer digital and multimodal technologies into their teaching practices. Each individual chapter lays out the theory that drives contributors’ teaching, then describes how it happens in practice at the broad level of such matters as syllabus design and at the finer level of lesson plans, class exercises, and/or textual analyses. In the middle section, contributors focus on how they integrate critical race, feminist, queer, disability, class, and age studies in their courses, with essays that exemplify intersectional approaches to these axes of difference and oppression. The last section includes chapters that illuminate how to teach about digital technologies to reveal the often obscured politics in their design, as well as descriptions of courses that bridge bioethics and music, medical humanities and podcasts, health humanities filmmaking, and visual arts in end-of-life care.
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McPherson, Gary, and Susan Hallam. Musical potential. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0024.
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An ongoing controversy persists regarding the extent of individual variability in musical potential and the extent to which observable differences in acquiring musical skills result from social contexts that facilitate learning, genetic factors, or interactions between the two. This article outlines key elements of these debates and considers how ‘musical potential’ has been assessed. It argues that what children are born withenablesrather thanconstrainswhat they will eventually be able to achieve. While a range of generalized abilities may come into play when learning music, a host of environmental and personal catalysts work in combination with teaching and learning processes to develop particular types of talent. These talents form the basis of the many professional, amateur, and informal forms of meaningful engagement that individuals can have with music.
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Welch, Graham, and Adam Ockelford. The role of the institution and teachers in supporting learning. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0029.
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This article discusses how learning and teaching in music are shaped by processes outside the individual, not least because of the influences of group membership (allied to age and gender), performance expectations and practices, and professional and institutional cultures. The process of individual induction into the characteristics of a particular musical culture by teachers and institutions influences the formation of identities in music, for better or for worse, at least in terms of dominant models within the culture. Indeed, the development of music teachers themselves can be seen within an activity system, i.e. the teacher's understanding of their role is developed both by informal personal reflection of the experience of performance and their own learning, and, more systematically, through their own induction process by attendance at a specialist, pedagogically focused institution.
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de Oliveira Andrade, José Sergio. NEOJIBA: art as a bridge to human development. Translated by Ana Raquel Vasconcelos Maia and Ana Carolina Bastos De Oliveira e Oliveira. Navida Editora, 2021. http://dx.doi.org/10.51968/navida.neojiba.
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An amazing story told through the details of the creation and implementation process of Program NEOJIBA – State Centers for Children and Youth Orchestras of Bahia. It takes the reader on a journey of individual and collective resilience with the purpose of fulfilling a dream: opening opportunities for social development and the common good through the teaching of classical music to less privileged communities.
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McPherson, Gary E., and Graham F. Welch, eds. The Oxford Handbook of Music Education, Volume 1. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199730810.001.0001.
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Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education, which comprises of two volumes, offers an overview of the many facets of musical experience, behavior, and development in relation to this diverse variety of contexts. In this first volume, articles discuss a range of key issues and concepts associated with music learning and teaching. The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the school-age years. Exploring how children across the globe learn and make music, and the skills and attributes gained when they do so, these articles examine the means through which music educators can best meet young people's musical needs. The second volume of the set brings the exploration beyond the classroom and into later life. Whether they are used individually or in tandem, the two volumes of this text update and redefine the discipline, and show how individuals across the world learn, enjoy, and share the power and uniqueness of music.
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Paul, Sharon J. Art & Science in the Choral Rehearsal. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863760.001.0001.
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In recent decades, cognitive neuroscience research has increased our understanding of how the brain learns, retains, and recalls information. At the same time, social psychology researchers have developed insights into group dynamics, exploring what motivates individuals in a group to give their full effort, or conversely, what might instead inspire them to become freeloaders. This book explores the idea that choral conductors who better understand how the brain learns, and how individuals within groups function, can lead more efficient, productive, and enjoyable rehearsals. Armed with this knowledge, conductors can create rehearsal techniques which take advantage of certain fundamental brain and social psychology principles. Through such approaches, singers will become increasingly engaged physically and mentally in the rehearsal process. This book draws from a range of scientific studies to suggest and encourage effective, evidence-based techniques, and can help serve to reset and inspire new approaches toward teaching. Each chapter outlines exercises and creative ideas for conductors and music teachers, including the importance of embedding problem solving into rehearsal, the use of multiple entry points for newly acquired information, techniques to encourage an emotional connection to the music, and ways to incorporate writing exercises into rehearsal. Additional topics include brain-compatible teaching strategies to complement thorough score study, the science behind motivation, the role imagination plays in teaching, the psychology of rehearsal, and conducting tips and advice. All of these brain-friendly strategies serve to encourage singers’ active participation in rehearsals, with the goal of motivating beautiful, inspired, and memorable performances.
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Butz, Karel. Achieving Musical Success in the String Classroom. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190602888.001.0001.
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Achieving Musical Success in the String Classroom describes the author’s pragmatic pedagogical approach toward developing complete musicianship in beginning through advanced-level string players by incorporating the ideas of Mimi Zweig, Paul Rolland, and Shinichi Suzuki. The author’s philosophical assumptions are explained in regard to the structure and purpose of string teaching contributing to a high level of musical artistry among students. Introductory through advanced string concepts relating to instrument setup, posture, left- and right-hand development, music theory, aural skills, assessment procedures, imagery in playing, the development of individual practice and ensemble skills, and effective rehearsal strategies are explained in a sequential approach that benefits the classroom teacher and student. In addition, several score examples, sample lesson plans, and grading rubrics, as well as videos of the author demonstrating his pedagogical ideas and techniques with musicians, are included.
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Avery, Susan. Adult Community Choruses. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.19.
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When considering teaching and conducting diverse populations in community choirs, one must begin with discussions of the phenomenon itself: a description of the term, a brief history of adult singing ensembles in the United States, and an exploration into the many types of community choirs and issues such as age, gender, exclusivity, purpose, and goals. Examined research on these issues is organized into large topics such as adult learning theories (music literacy and learning styles) and adult physiological concerns (untrained adult singers’ vocal mechanisms and aging voice issues). Personal identity growth or creation as individual musicians must be taken into account, as well as social implications of ensemble identity (among group members and by external community members). Finally motivation for joining and remaining in community choirs will be part of this chapter. That necessary phenomenon is examined through lenses such as choral repertoire preference, social needs, and personal goals fulfillment.
Book chapters on the topic "Individual music teaching"
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Grimsby, Rachel. "Resources for Music Teachers." In Teaching Music to Students with Autism, 209–28. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190063177.003.0011.
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This chapter is intended to offer a wide array of print and media resources related to autism spectrum disorder. These resources include websites that list information on individual diagnoses, information on available therapies, instructional strategies, rights for individuals with autism, advocacy information, and forums for discussion. Apps (applications) for phones and tablets are also listed. These apps either assist in communication or learning, or are apps caregivers may use to support behavior and transitions. Lastly, a list of readings has been provided. Readings include practitioner and scholarly articles, theses, and dissertations, as well as books.
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Snodgrass, Jennifer. "Why and How." In Teaching Music Theory, 15–49. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190879945.003.0002.
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Administrators and faculty around the country are working together to examine teaching approaches that better meet the needs of the 21st-century music student. These conversations have led to many institutions redesigning their curriculum. However, before any specific curricular decisions are made, the question of “why” changes are needed should be addressed and discussed. Based on several research studies, there are new trends in topics that are taught in both music theory and aural skills, and the ordering of material and the pace vary between institutions. There is no one-size-fits-all curriculum, and it is up to administrators and faculty to better understand the curriculum design that best fits the needs of individual students in their program.
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Szűcs, Tímea. "The Complexity of the Teaching Profession in Music Education." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/7.
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The complexity of the teaching profession can be seen in the relationship between various people as they work together with students, colleagues, management and office staff. In addition, the different personalities and attitudes of the children fundamentally determine the structure and effectiveness of lessons as well as applied pedagogical methods. The complexity can also be approached through the diversity of teaching activities. Besides lessons and administration, the duties of the teacher include organizing various school and city events, competitions, programs, trips and camps. The music teacher’s individual lessons involve yet another type of interaction between teacher and student, and this special situation adds complexity to a teaching career. This essay explores the specific situations and challenges that characterize a music teacher's career. Keywords: teaching, complexity, pedagogical methods, music education, primary schools of arts
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Weiser, Nick. "Teaching Jazz Standards." In Teaching School Jazz, 245–56. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0022.
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The issue of teaching jazz standards is fraught with questions. What are “standards?” What makes a composition a standard? Why do jazz musicians use them as vehicles for improvisation? How are greater standards distinguished from lesser standards? How does one select particular standards to suit the needs of students? This chapter provides strategies for learning and internalizing the core jazz repertoire. It provides historical context to the development and evolution of the jazz standard canon, looking to the songbook folios of the great American tunesmiths and to original and seminal recordings as sources for the study of this music. Emphasis is given to the practical issues of selecting age- and skill-level-appropriate tunes; memorizing melodies, chord progressions, and lyrics (as applicable) in multiple keys; and devising improvisational exercises specific to individual compositions.
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Hammel, Alice M., and Ryan M. Hourigan. "A Resourceful and Pedagogical Approach to Teaching Students with Special Needs." In Teaching Music to Students with Special Needs. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780195395402.003.0010.
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The vignette regarding Gregory introduces an approach to teaching students with special needs that may be new for many music educators (and music education students). Collegiate students are not always given the opportunity to think critically and constructively about adaptations and accommodations for students with special needs prior to graduation from undergraduate school (Hammel, 1999; Nocera, 1979). Skills developed while brainstorming ideas for students via vignettes may assist music educators as they derive strategies for students with special needs in music classrooms. This skill preparation also introduces the idea of a “team approach” when interacting with faculty, administration, students, and families (Ansuini, 1979; Atterbury, 1993). For these reasons, vignettes are included within the text to encourage this process when preparing to teach students with special needs. The most effective approach when working within a school and school system is to become a part of the existing team of professionals (Dalrymple, 1993). Teachers often become compartmentalized when teaching music in another part of the building or when traveling from building to building. Successful child-centered schools function as teams, and active participation is important for each individual teacher as well as for the overall success of the school (Gfeller, Darrow, & Hedden, 1990; Gilbert & Asmus, 1981; Heller, 1994; Williams, 1988). Being proactive and positive can assist teachers as they become involved as integral “team members” within a school. Maintaining a positive and inclusive attitude will increase the view that the music program is an important and necessary component of school life for all students (Ozonoff, Rogers, & Hendren, 2003; Pierce & Schreibman, 1997; Wagner, 1999). Being aware of the students in the music classroom, as well as their academic and behavioral needs, is a critical initial strategy in developing an inclusive scope and sequence for classrooms and ensembles (Hart & Risley, 1975; Prizant & Wetherby, 1998). Knowing that we teach students, with music as a catalyst, and that students come to the music classroom with a variety of independent and individualized needs is important to inclusive-oriented music educators.
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Hammel, Alice M., and Ryan M. Hourigan. "Curriculum and Assessment for Students with Special Needs." In Teaching Music to Students with Special Needs. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780195395402.003.0013.
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Every successful music educator has a curriculum that contains a scope (overarching goals) and sequence (how we will achieve our goals and in what order) that are critical to reaching meaningful educational goals within the music classroom. Walker and Soltis (2004) state: “Working with the curriculum is an integral part of all teachers’ daily lives”. When specific curricula are not mandated (by the state, or federal government), most music educators use a set of standards or guidelines to devise a scope and sequence for classroom teaching (i.e., the National Standards). It is important as music educators to consider their curriculum when preparing to teach all students, not just students with learning challenges. This is what separates an educator from a therapist or a service provider. The questions that we will address in this chapter include: How do music educators maintain a focus on their own curricular goals while adapting that same curriculum to the individual needs of students? And how do we assess and reflect on these goals to make adjustments in our curriculum? These are difficult questions to answer. In fact, this has been a challenge for teachers since the inclusion of students with special needs began following the passage of P.L. 94–142 more than 35 years ago. Walker and Soltis explain, “While many teachers supported the goal, many were offended that rigid regulations were imposed on them without their consent”. All these issues require a thoughtful and sequential approach when preparing, presenting, and assessing instruction in the music classroom. However, the stronger the underlying curricular focus is, the easier it will be to adapt and modify your existing curriculum to individualize instruction for students who have learning differences. Your specific curriculum, if not mandated by your state or school system, will be a result of your philosophy of music education. Even when utilizing prescribed curricula, your choices in scope and sequence will reflect your values in the classroom. These same values will be reflected in the choices you make in modifying your curricula for students with special needs.
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Hammel, Alice M., and Ryan M. Hourigan. "Public School Education within a Democracy." In Teaching Music to Students with Special Needs. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780195395402.003.0006.
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The beginning of the school year is a time when situations similar to Mrs. Johnson’s first day occur. It is when these first lessons go awry that some music teachers first begin to think of their individual students, rather than the collective group. Who is the girl who moves slower than the rest and uses a walker? Who are the students in the small group who come late each day with a teacher to assist them? Who is the boy who bounds down the hall and begins to take down one of the brand new bulletin boards that have just been finished? The answer to the questions above is that they are all our students. They all have a place in our schools and they all deserve to have an education that includes music. As music teachers, we have both the right and responsibility to educate all the students in our schools. We are charged with studying each student who enters our classroom and with providing all students the music education they deserve. To do this, however, we must begin to plan for the inclusive education of all students before that first group heads down our hall on the first day of school. Unfortunately, until recently this was not the educational philosophy of public schools within the United States. This chapter will introduce the process we as a nation have experienced as we have come to the understanding of what an education for all students in the United States entails, including: challenges within families; the real-world realities of inclusion in practice; and a label-free approach to teaching music in the public school setting. This book is designed to facilitate the planning, implementation, and assessment of music education for students with special needs. It is written from a paradigm that advocates thoughtful inclusion and honors the teaching and learning relationship between music teachers and their students. It is hoped that this text will present a philosophy and a set of guiding principles for teaching students with special needs in a helpful and pragmatic manner.
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Upitis, Rena. "Developing the Singing Voice." In This Too is Music, 213–22. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190884956.003.0013.
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This chapter discusses how young children can develop their singing voices as part of a community of singers and creative musicians. Teaching singing is approached both through direct instruction and through the compositions that children themselves create. Some of the techniques discussed involve pitch matching in a musical context, including solfège techniques and songs. The importance of voice regulation is also discussed, and several classroom activities involving chants and poetry are described, where children can both learn about voice regulation and create original work. The emphasis throughout is on singing with meaning and on the joys that can come with developing one’s individual voice in a community that sings.
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Humberstone, James. "Drum Programming Minus One (Beginner)." In The Music Technology Cookbook, 17–20. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0004.
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This chapter describes a lesson that uses a software step sequencer and portable speaker to teach students how to construct rhythmic patterns (or “beats”) uncomplicated by pitch, thereby learning about rhythmic values and patterns within meter. In the process of learning how to make beats, students will learn about concepts such as tempo and meter. By neglecting pitch, students can more easily grasp complex aspects of rhythm, such as individual rhythmic values (eighth note, 16th note, etc.). This is a lesson minus-one (or zero, if you prefer) because it is a pure constructivist approach to teaching drum programming. It can be used with young kids, or kids who might not have used music technology before.
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Johansson, Karin. "Collaborative Music Making and Artistic Agency." In Contemporary Approaches to Activity Theory, 73–91. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-6603-0.ch005.
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The focus of this chapter is on musical agency in professional contexts and in Higher Music Education (HME). What is musical agency? How can musical agency be investigated, promoted, and developed? Cultural-historical activity theory approaches hold a potential for exploring and answering such questions with a dialectical perspective on creativity. Three examples of interventionist studies from a one-to-one teaching situation, a professional improvisation project, and a student string quartet are given. They illustrate how individual musical acts influence and transform collective music making. Methodological conclusions are drawn and suggestions are made for the development of intervention studies of musical practice inspired by Change Laboratory methodology.