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Journal articles on the topic 'Individual music teaching'
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1
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.
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Dabczynski, Andrew. "Swinging on a Gate: Teaching Traditional Folk Music as Chamber Music." American String Teacher 42, no. 3 (August 1992): 78–80. http://dx.doi.org/10.1177/000313139204200333.
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Having raised their instruments to playing position, the ensemble members directed their eyes in anticipation toward the lead player. His bow poised above the strings, he dipped and raised his scroll, indicating a predecided tempo, and with his final, magnified preparatory gesture, the group began its well-rehearsed rendition of an often-performed selection from the standard literature. With energized precision, the players executed their individual roles; the harmonic structure became rarefied by way of carefully manicured intonation, contrasting rhythmic motives were meticulously manipulated one against another, and all in support of a shimmering melody which floated above the rest with a sense of ease belying its technical complexity. The performers never failed a moment in their communication with each other; eye contact was ever present, balance was adjusted by facial expressions recognized among the players, and spontaneous musical nuances were met with knowing smiles of approval. The audience became instantly engaged, responding to the familiar strains of the melody. Soon they were reacting physically to the rhythmic buoyancy of the music, becoming increasingly involved in this magnificent presentation. And with the final repeated chords of the coda, the crowd burst into joyous applause and shouts of praise, thrilled to have been able to take part in this encompassing artistic experience.
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Vaughan, Victoria. "Music analysis in the practice room." British Journal of Music Education 19, no. 3 (October 28, 2002): 255–68. http://dx.doi.org/10.1017/s0265051702000347.
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This article examines the impact of analysis teaching on performance by documenting the progress of 12 students who took part in an advanced undergraduate class in music analysis. Each class participant was asked to keep a diary of their performances, both during practice time and in instrumental lessons, and these are documented and analysed. Finally, the students were given oral viva voce examinations. The data from this short qualitative study shows a variety of results that illustrate the extent to which individual students react to the teaching of music analysis in different ways.
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Zhou, Mingyue. "To Discuss the Different Music Materials for Learners and Analyze the Difference Between Individual and Group Teaching." Journal of Education and Development 4, no. 1 (January 15, 2020): 8. http://dx.doi.org/10.20849/jed.v4i1.701.
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Beginning tutor books are preparing for students who exposed to music for the first time. It is the simplest and most basic music teaching materials. Piano beginners can divide into different age groups, such as young beginners, teenagers, and adults. The young beginners about six to ten years old, the teenagers are usually senior students, about thirteen to eighteen, and an adult is a person over the age of eighteen. People of all age groups can become piano beginners, and beginners at different age groups should use different kinds of music textbooks. In this essay, the musical materials for the piano beginner at different age groups are presenting below.
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Tomlinson, Jo. "Music therapist collaboration with teaching assistants for facilitating verbal and vocal development in young children with special needs: A mixed methods study." British Journal of Music Therapy 34, no. 2 (November 2020): 95–107. http://dx.doi.org/10.1177/1359457520971815.
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Music Therapists increasingly work collaboratively alongside other professionals and families. This article presents research into transdisciplinary work with teaching assistants in a school. A mixed methods investigation was carried out to evaluate the development of verbal and vocal skills in young children who received both individual music therapy and additional music sessions carried out by teaching assistants. Qualitative data were gathered to support quantitative video analysis results. The Music Therapist organised music sessions for the teaching assistants to carry out independently, to assess whether this enhanced the children’s verbal development. Statistical analysis of vocal scores from video material utilising bootstrapping techniques indicated that there was a statistically significant difference pre- and post-intervention for the children who had additional teaching assistant music sessions. This indicated that the collaborative approach was effective in enhancing verbal skills. The qualitative evidence also supported this theory. Due to the small number of participants, these results cannot be generalised to other situations and larger scale research could be carried out to demonstrate conclusive results. This study shows that Music Therapists and teaching assistants in schools can work collaboratively and this may potentially enhance the progress children make, with reinforcement of verbal development strategies in the class context.
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Hackworth, Rhonda S. "Prevalence of vocal problems: Speech-language pathologists’ evaluation of music and non-music teacher recordings." International Journal of Music Education 31, no. 1 (February 9, 2012): 26–34. http://dx.doi.org/10.1177/0255761411431398.
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The current study, a preliminary examination of whether music teachers are more susceptible to vocal problems than teachers of other subjects, asked for expert evaluation of audio recordings from licensed speech-language pathologists. Participants ( N = 41) taught music ( n = 23) or another subject ( n = 18) in either elementary ( n = 21), middle ( n = 10), or high school ( n = 10), and had a mean of 14 years’ teaching experience. Each teacher read a poem while being audio recorded. Nine licensed speech-language pathologists with a mean of 20 years’ clinical experience served as expert evaluators by listening to the 41 recordings while manipulating the Continuous Response Digital Interface (CRDI) dial. Results showed no significant differences between music and non-music teacher evaluations. The individual variations in scores showed no trends for any particular group, but rather pointed out how personal vocal hygiene (care of the voice) is for individual teachers. Suggestions for future research include ways to best help teachers manage individual vocal problems.
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Bunting, Robert. "Composing Music: Case Studies in the Teaching and Learning Process." British Journal of Music Education 4, no. 1 (March 1987): 25–52. http://dx.doi.org/10.1017/s0265051700005714.
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In this article the author opens up some of the issues involved in teaching composition to individual pupils of the upper Secondary School age range. To do this he studies the work of two boys over two terms in detail, including many of their sketches, and pays particular attention to the role of the boys' teacher. This study leads to some general considerations: syllabus design, the relationships between composing, performing and listening, and methods of assessment.
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Powell, Sean R. "Examining Preservice Music Teacher Concerns in Peer- and Field-Teaching Settings." Journal of Research in Music Education 61, no. 4 (November 15, 2013): 361–78. http://dx.doi.org/10.1177/0022429413508408.
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The purpose of this study was to examine the concerns of preservice music teachers using the Fuller and Bown teacher concerns model. Participants were 12 senior-level instrumental music education majors enrolled at a medium-size American public university. A video-assisted, stimulated recall method was used to interview participants after two peer-teaching and two field-teaching episodes. Data consisted of 1,019 coded statements drawn from more than 900 min of interviews. Task concerns were the most reported in all interviews, followed by self concerns and student impact concerns. Task concerns decreased across the four teaching episodes, while student impact concerns increased from the first field-teaching episode to the second. Rehearsal strategy use, evaluation of teaching, and individual student impact were the most frequently coded task, self, and student impact concerns, respectively. Overall, participants reported that peer teaching was more difficult and stressful than field teaching. Implications of the Fuller and Bown framework as well as additional future research directions are proposed.
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Odam, George. "Teaching composing in secondary schools: the creative dream." British Journal of Music Education 17, no. 2 (July 2000): 109–27. http://dx.doi.org/10.1017/s0265051700000218.
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Composing is an obligatory activity at Key Stage 3 in the present National Curriculum in music for England and for Wales. The research programme, based on field visits, seminars and questionnaires, seeks to identify a basis for effective classroom practice through direct observation of experienced teachers and their pupils in twenty-six State secondary schools across England. Visits have also been made to Northern Ireland, Scotland and Wales. Group-work is the dominant working method in most secondary schools. Much time is at present wasted in group-work and it contributes significantly to stress in both teachers and pupils. Composing is largely an individual activity and this is insufficiently acknowledged or planned for at Key Stage 3. Too many teachers use methods inappropriate to the resources available to them. There are problems of progression and preservation of pupils' work. Despite these problems there is strong evidence that many children enjoy composing activities in school and compose music in and out of school for a variety of reasons and occasions. Composing is firmly established in our music education curriculum and provides a unique feature of practice in the United Kingdom. When composing is taught well, pupils look forward to their music lessons in the secondary school and approve of and enjoy composing activities.
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Hewitt, Allan. "A Q study of music teachers’ attitudes towards the significance of individual differences for teaching and learning in music." Psychology of Music 34, no. 1 (January 2006): 63–80. http://dx.doi.org/10.1177/0305735606059105.
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Silverman, Marissa. "I drum, I sing, I dance: An ethnographic study of a West African drum and dance ensemble." Research Studies in Music Education 40, no. 1 (October 28, 2017): 5–27. http://dx.doi.org/10.1177/1321103x17734972.
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The purpose of this ethnographic study was to investigate the Montclair State University’s West African drum and dance ensemble. Analyses of the data revealed three themes related to individual participants and the “lived reality” of the group as a whole, and to the social-cultural teaching–learning processes involved: spirituality, community-as-oneness, and communal joy. My motivation for undertaking this inquiry arose from the fact that, beginning in the 1960s, music education scholars in the United States have been concerned about the widespread marginalization of non-Western musics in American music teacher education programs. This situation is still a major concern because American undergraduate and graduate music teacher preparation remains overwhelmingly dominated by Western classical styles. This situation runs contrary to the massive social, cultural, situational, and musical diversity of American students’ lives. As one small effort to advance musical diversity in my own university music school context, I developed the proposal for and initiated the Montclair State University’s West African drum and dance ensemble.
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Hallam, Susan. "Professional Musicians' Orientations to Practice: Implications for Teaching." British Journal of Music Education 12, no. 1 (March 1995): 3–19. http://dx.doi.org/10.1017/s0265051700002357.
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The purpose of this study was to investigate the ways in which professional musicians practise. Semi-structured interviews were conducted with 22 freelance musicians spanning a wide range of age and experience and encompassing most of the instruments of the traditional orchestra. The interviews revealed considerable individual diversity in the ways in which the musicians approached and undertook their practice. The findings are discussed in terms of their educational implications.
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Good-Perkins, Emily. "Arab students’ perceptions of university music education in the United Arab Emirates: A discussion of music education and cultural relevance." International Journal of Music Education 37, no. 4 (June 15, 2019): 524–35. http://dx.doi.org/10.1177/0255761419853627.
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The purpose of this study was to explore with five Arab young adults their perceptions of Western and Arabic musical cultures as well as their perceptions of the Western classical vocal teaching they experienced at an American-modeled university in the United Arab Emirates. Of interest were issues of cultural relevance and the role of music and music education in Arab society. Data collection methods for this study included individual, semi-structured interviews with each participant and three focus group discussions. This paper will explore the following four themes from the interviews: Theme 1: Western classical university music teaching was incongruent with Arabic classical music teaching. Theme 2: Despite the incongruencies, participants found the university music experience to be transformative. Theme 3: Participants have a strong personal connection to Arabic music. Theme 4: Lack of music education has cultural ramifications; however, it is a complex issue. Using Paris’ conception of culturally sustaining pedagogy as a theoretical lens through which to view participants’ perceptions of music and music education in the United Arab Emirates as well as the juxtaposition of heritage and emergent musical traditions within a globalized traditional society, issues of cultural relevance, personal transformation, and musical identity will be further discussed.
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Berkley, Rebecca. "Teaching composing as creative problem solving: conceptualising composing pedagogy." British Journal of Music Education 21, no. 3 (November 2004): 239–63. http://dx.doi.org/10.1017/s026505170400587x.
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This article reports on a school-based research project into teaching composing at GCSE, setting this alongside a review of the literature. It suggests that research into cognition in composing in school students and teaching composing within a school context may be synthesised by understanding composing as problem solving. Composing is described as knowledge-rich, complex, multiple and creative problem solving, requiring the development of skills of hypothesis and verification in students. A series of case studies of individual teachers is analysed using Bernstein's framework for coding knowledge in the curriculum. Research data presented suggest that although there is significant variation in the practice of individual teachers, teaching composing is characterised in the main activities of instruction and training in composing skills and knowledge; management of a positive creative learning environment; and facilitation of ownership, autonomy and authority in students. The article concludes by suggesting that conceptualising teaching composing as problem solving enables music educators to rationalise the specific demands of the curriculum context in which they are operating by providing students with a framework for cognitive development in composing.
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Moore, Randall S. "Influence of Multicultural Singing Games on Primary School Children'S Attentiveness and Song Preferences in Music Classes." International Journal of Music Education os-39, no. 1 (May 2002): 31–39. http://dx.doi.org/10.1177/025576140203900104.
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In this study, eight multicultural songs with varying amounts of movement were taught to one hundred ninety-five 4- to 7-year-olds in a school setting during three weeks of daily music lessons. Three observers recorded group and individual attentiveness behavior during 17 hours of music instruction. At the end of the research period, subjects were asked in groups and individually to tell how much they liked the eight songs they had learned. Results indicated over 95% group on-task behavior during music instruction, and attention varied with amount of action in each song. A Spearman correlation of -.90 (p = .01) indicated that as the amount of activity in songs increased, the amount of off-task behavior decreased. Group and individual attitudes correlated moderately highly (r = .75) and confirmed that two forms of attitude assessment, group rating and individual interviewing, showed consistency in preferences. Additional observation of ten individuals showed that on-task behavior for listening was 88%, singing 64%, and moving 84%. It appears that young children enjoy moving and singing together and show preferences for songs with more actions. Music educators are encouraged to use singing games when teaching young children, particularly multicultural songs in foreign languages that might otherwise be eschewed.
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Bogunovic, Blanka. "Personality traits of a music teacher." Zbornik Instituta za pedagoska istrazivanja 38, no. 1 (2006): 247–63. http://dx.doi.org/10.2298/zipi0601247b.
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In the context of individual musical instrument teaching, pedagogical abilities of a music teacher and the atmosphere he creates, result from his personality traits and can be of crucial importance for the initial and further progress of his students. The paper seeks to: describe the personality of a music instrument teacher, determine the differences in comparison to a group of non-musicians, and determine the position of personal characteristics in the structure of general and professional teacher profile. The sample comprised 60 individuals, teaching various musical instruments in five primary music schools. The research method is explorative and based on the use of the five-factor personality model (NEO PI-R was administered). The findings show that music teachers display a higher level of: openness, agreeableness and conscientiousness. The degree of congruence with the findings of other research is discussed and certain similarities were found, as well as differences stemming from professional and cultural specificities. Differences are proved to exist in relation to gender, musical instrument, working experience, degree of musical education and active public performance. Compared to non-musical population, it is confirmed that teachers of instrument in musical education represent a distinctive group. There are also differences between teachers who are oriented to pedagogic work only and those who, in addition, actively perform in public. Selection of teachers, according to characteristics which may be connected to students? accomplishment, is a practical implication relevant for the music education.
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Pellegrino, Kristen, Jennifer P. Beavers, and Susan Dill. "Working with College Students to Improve Their Improvisation and Composition Skills: A Self-Study with Music Teacher Educators and a Music Theorist." Journal of Music Teacher Education 28, no. 2 (July 27, 2018): 28–42. http://dx.doi.org/10.1177/1057083718787825.
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The purpose of this self-study of teacher education practices was to examine and improve improvisation and composition teaching practices for three university professors at the same institution. Primary data sets were individual researcher journals and transcripts of seven researcher meetings. Secondary data sets were music major surveys, interviews, observations, and written communications. Findings are discussed in three sections: origins of our insecurities, turning point realizations and conversations, and our changed teaching practices and students’ learning. With the encouragement and support of our coresearchers, each of us experienced greater success in regularly integrating improvisation and composition into our teaching, which yielded notable increases in our students’ confidence and skills when improvising and composing, as well as willingness to incorporate them into their own teaching. We noticed improved student learning in many areas, as well as a more sophisticated transference of knowledge between playing, reading, and writing music.
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Simpson, Alvin F. "Inservice Music Educators’ Perceived Comfort for Teaching and Performing on Secondary Band Instruments." Update: Applications of Research in Music Education 39, no. 3 (February 16, 2021): 11–19. http://dx.doi.org/10.1177/8755123321995953.
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I surveyed inservice instrumental music educators ( N = 96) to determine their comfort level for teaching and performing on secondary band instruments. Research questions included the following: (a) How comfortable do inservice music educators feel teaching and performing on secondary instruments? (b) Does grade level affect educators’ comfort levels? (c) Does the educators’ primary instrument family relate to their perceived comfort level for teaching and playing on secondary instruments? and (d) Does the format of instrument classes during preparation programs influence educators’ comfort for teaching and playing secondary instruments? Participants reported moderate comfort on most instruments, with brass being most comfortable. Participants indicating woodwind as a primary instrument reported an overall higher comfort level for teaching and performing on brass instruments, whereas low comfort levels on double reeds. High school educators felt least comfortable teaching and performing on secondary instruments. Participants who took Split-Families and Semester-Families preservice classes felt more comfortable performing on secondary instruments versus those who took Individual-Instrument courses.
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Kim, You Jin, and Moo Kyoung Song. "Exploring teachers’ approaches to popular music: Attitudes, learning practice, and issues in South Korea." International Journal of Music Education 38, no. 3 (April 28, 2020): 456–69. http://dx.doi.org/10.1177/0255761420919570.
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In recent years, a strong focus on popular music has increased in South Korean music education. Although this shift in the curricular content has led to studies on the formation of popular music repertories in the curriculum, few studies have attended to teachers’ attitudes and learning practices to popular music as related factors. To understand popular music education in South Korea, we investigated music teachers’ attitudes, learning practices, and critical issues that have arisen in their teaching. We conducted an online survey with secondary music teachers ( N = 138) followed by a focus group interview ( n = 6). The findings suggest that teachers’ attitudes toward popular music (positive, neutral, or negative) were associated with their learning practices, including the time they spent on popular music, their selections of popular music genres, and musical activities. This provides a starting point for further investigation of the teachers’ attitudes related to their learning practices in shaping popular music curriculum. Regardless of the teachers’ attitudes to popular music, they agreed popular music a good place to start for their students. In addition, they had similar or divergent perceptions and concerns of teaching popular music depending on their attitudes, as they have found their own individual ways of incorporating popular music.
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Fjellman-Wiklund, Anncristine, Gunnevi Sundelin, and Christine Brulin. "Musicianship and Teaching: Positive Health Factors in Music Teachers." Medical Problems of Performing Artists 17, no. 1 (March 1, 2002): 3–10. http://dx.doi.org/10.21091/mppa.2002.1002.
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Musicians at all levels of performance may experience health problems from the physical and psychosocial demands of their work. The most common complaints among musicians relate to musculoskeletal symptoms. Health problems are costly, both to the individual and to society, and may have detrimental effects on the musician’s career. Thus, it is important to prevent health problems not only through the prevention of disorders, but also by understanding the factors that are favorable to health. The aim of this study was to gain a deeper understanding of what music teachers perceived to be important for their health and well-being. Data were collected in interviews with nine music teachers working at a municipality music school in Sweden. The interviews were coded and analyzed using the “grounded theory” method. To increase credibility, the study design used triangulation in investigators, member checking, and reference group checking. “Replenishing and using up energy” was found to be the core category influencing health and well-being. The work contained both positive and negative elements. Creativity in the music and working together with students and colleagues were perceived as sources of energy, while the goals of the organization, experienced as stressful and frustrating, used up energy. The focal point of work, whether it is pedagogical or musical, can also have an effect on how teachers perceive their status of health, and on how they are able to find strategies to deal with the physical and psychosocial strains of work. The music teachers in this study who seemed to modify life and work best were those who had a more pedagogical approach, finding a source of energy in the interplay between music and teaching. They perceived that they were able to influence the working situation and as a result were less frustrated and felt more content with their working environment. This may, in the long term, lead to perceived better health.
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Russell, Joshua A., and James R. Austin. "Assessment Practices of Secondary Music Teachers." Journal of Research in Music Education 58, no. 1 (April 2010): 37–54. http://dx.doi.org/10.1177/0022429409360062.
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The purpose of this study was to survey assessment and grading practices employed by secondary music teachers throughout the southwestern region of the United States. Three main research questions guided the study: (1) What types of school district frameworks and classroom contexts are secondary music teachers operating within? (2) Which specific assessment and grading practices are employed most commonly by secondary music teachers? (3) Do any contextual or individual difference variables influence secondary music teachers’ assessment and grading practices? Two mailings yielded 352 total usable questionnaires (36%) with a sampling error of +/—5%. Participants reported that their school districts emphasized letter grades and that music course grades were equally weighted with other course grades in calculating student grade point averages and generating credit toward graduation. Yet, music teachers seldom received administrative guidance or altered assessment approaches due to standards-based curriculum adoption. Participants based grades on a combination of achievement and non-achievement criteria, with non-achievement criteria receiving greater weight in determining grades. Although instructional time, number of students taught, and number of concert performances prepared/ given had no substantive relationship with assessment decisions, grading practices were influenced by teaching level and teaching specialization.
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Juntunen, Marja-Leena. "Teacher educators’ visions of pedagogical training within instrumental higher music education. A case in Finland." British Journal of Music Education 31, no. 2 (April 15, 2014): 157–77. http://dx.doi.org/10.1017/s0265051714000102.
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The purpose of this study was to examine the visions of teacher educators of instrumental pedagogy (n = 12) in higher music education regarding ‘good’ teaching and instrumental student teacher preparation. The theoretical basis for the study was research on teachers’ visions (Hammerness, 2006): teachers’ own conceptions of ideal teaching practices. The data were gathered through semi-structured interviews and analysed by qualitative content analysis. The interviewed teachers’ visions of good teaching of instrumental pedagogy were closely related to their visions of good teaching of instrumental or vocal music, which they attempted to communicate to their student teachers. The process of teacher development was primarily understood as acquiring a package of skills and knowledge that are partly instrument specific, partly generic, and strongly influenced by the labour market. Teaching practice was considered essential, and was perceived as building connections between theory and practical application. The findings support prior research within Nordic teacher education (Hammerness, 2012), in that faculty members’ visions related to teaching are individual and only partly negotiated with their colleagues.
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Tavsanli, Omer Faruk, Abdullah Kaldirim, and Tayyar Erdem Gedikli. "Enhancing Permanence for Vocabulary Learning on 2nd Grade Students in Turkey Through Music." GIST – Education and Learning Research Journal, no. 22 (June 23, 2021): 51–73. http://dx.doi.org/10.26817/16925777.843.
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Music plays an important role in students' language development. Because the process of acquiring and developing language skills of the individual and the process of learning to make music work have many similarities. In this study, the effect of teaching word with music with the normal intelligence and development level of 2nd grade students on the learning of the meaning of the word and ensuring the permanence of the word has been examined. Quasi-experimental design with experimental control group was used in the study. The research was carried out with 43 second grade students and the data were analyzed with ANOVA test. According to the results of the study, it is concluded that the teaching of vocabulary with music both the meaning of the word and providing the persistence of learning was found to be useful.
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Sakin, Ajda Şenol, and Gülnihal Gül. "An Example of a Study with Instructed Music Listening Activities with Information and Concert Event Content." International Education Studies 14, no. 8 (July 22, 2021): 14. http://dx.doi.org/10.5539/ies.v14n8p14.
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It is thought that music education in general education, especially for individuals of all ages and levels, is important in the musical development of the individual. Besides, it is seen that the “listening-singing” learning area in general music education teaching programs has an important weight in the program. In this context, it is considered necessary that music listening activities carried out for this learning area should be among the main activities that support other musical activities in classroom music education, which form the basis for the students to benefit from music education. For this reason, it is thought that the active participation of the students in music listening activities will contribute to effective and efficient music education. With this study, it is aimed to determine the contribution of instructed music listening activities to music culture learning outcomes in secondary school music education. For this purpose, an instructed music listening activity was held for students in a secondary school. The effect of the activity performed on the level of success was measured with knowledge tests. According to the results it is found that most of the students achieved an above-moderate success from the recorder family knowledge test.
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Araújo, Marcos V., and Christopher F. Hein. "A survey to investigate advanced musicians’ flow disposition in individual music practice." International Journal of Music Education 37, no. 1 (December 2, 2018): 107–17. http://dx.doi.org/10.1177/0255761418814563.
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This study explored advanced musicians’ dispositions to flow in musical practice. A total of 168 classically trained musicians answered a questionnaire assessing their proneness for flow experience during musical practice and associations between flow and demographic factors, practice routines and musical instruments. Dispositions to flow in musical practice did not vary across musical instrument groups, age or gender. Positive associations were found between daily practice time and flow, suggesting that flow may contribute to engagement with daily practice. Negative associations between music practice experience and loss of self-consciousness and challenge–skill balance were found, suggesting that even among experts the level of task complexity during practice may affect perceptions of competence. While six individual flow indicators were frequently experienced, three indicators were much less experienced, pointing to the existence of another similar relevant experience in the practice of expert performers, named as optimal practice experience. The article finishes with implications regarding the benefits of flow for teaching and learning practices.
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Kaleli, Yavuz Selim. "An Investigation of Pre-Service Music Teachers’ Self-Regulatory Skills." International Journal on Social and Education Sciences 3, no. 3 (July 17, 2021): 548–62. http://dx.doi.org/10.46328/ijonses.226.
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Self-regulatory skill is one of the important factors affecting academic orientation and performance of learners at all levels in learning-teaching processes. The aim of this study is to compare the self-regulatory skills of pre-service teachers studying in music education departments based on the variables of gender, class, overall achievement and performance in individual instruments lessons. The study was conducted with 198 Pre-service Music Teachers studying at Necmettin Erbakan University and Gazi University. Data were collected by using Academic Self-regulatory Skills Scale. Research findings showed that pre-service music teachers’ self-regulatory skills differed based on the variables of year of study, achievement levels in individual instrument lessons and overall academic achievement. It was found that students with high academic achievement levels had effective self-regulatory skills. However, no significant difference was found between the self-regulatory skills of male and female pre-service music teachers.
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Wöllner, Clemens, and Jane Ginsborg. "Team teaching in the conservatoire: The views of music performance staff and students." British Journal of Music Education 28, no. 3 (October 14, 2011): 301–23. http://dx.doi.org/10.1017/s0265051711000222.
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Team teaching – two or more teachers sharing the training of a group of students – has only recently been implemented in the curricula of many higher music education institutions. This article reports on a survey of 142 music students and their tutors from three departments (the Schools of Strings, Vocal and Opera Studies, and Wind, Brass and Percussion) in a major British conservatoire. Team teaching had been in use for one year in the first department, five years in the second and 30 years in the third. The extent to which respondents valued team teaching was not, however, related to the length of time it had been in use. Key benefits of team teaching were seen as exposure to new ideas and additional feedback. Respondents suggested a variety of improvements to mitigate drawbacks such as perceived differences between tutors' approaches and limited time for individual tuition. Provided tutors and students communicate effectively with each other and negotiate where necessary, this method of teaching and learning is likely to be beneficial for all.
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Kai-Wen Cheng, Evangeline, and Colin Durrant. "An investigation into effective string teaching in a variety of learning contexts: a single case study." British Journal of Music Education 24, no. 2 (July 2007): 191–205. http://dx.doi.org/10.1017/s0265051707007413.
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This study aims to explore and investigate the factors that contribute to effective instrumental teaching and to understand the interdependence and interactions between these factors. The study obtained data using qualitative research tools from a series of individual and group instrumental teaching observations and a semi-structured interview with an instrumental teacher operating in a variety of teaching contexts. Findings from the study suggest that a great number of factors are required for instrumental teaching and learning to be effective. These factors interweave with each other and form a creative teaching style for the subject. The research indicated that it is helpful for the teachers to focus on pupils' learning processes rather than only on their learning outcomes. When real learning occurs, it is a positive experience for both teachers and pupils with long-term benefits in other areas of learning.
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Silveira, Jason M., Julie Beauregard, and Tina Bull. "Development of the Processfolio: Promoting Preservice Music Teacher Reflection Through Authentic Assessment." Journal of Music Teacher Education 27, no. 1 (March 14, 2017): 11–23. http://dx.doi.org/10.1177/1057083717697632.
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The purpose of this study was to determine what impact an authentic assessment tool (i.e., a processfolio) would have on our music education Master of Arts in Teaching degree program. We conducted a case study at our university with the music education Master of Arts in Teaching student cohort to detail the development and initial implementation of the processfolio as a means of reflection in preservice music teachers. Data included participant observation, individual and collaborative note taking, written artifacts from students and faculty, audio/video recordings, and semistructured interviews. Findings indicated (a) processfolios became a lens through which students focused their growth as reflective teachers; (b) a lack of examples and confusion over specific processfolio requirements was stress inducing; (c) the collaborative nature of working within a peer/faculty cohort was socially, emotionally, and academically valuable; (d) students effectively used the processfolio to demonstrate synthesis of the multiple facets of the graduate music education program.
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Gavin, Russell B. "An Exploration of Potential Factors Affecting Student Withdrawal From an Undergraduate Music Education Program." Journal of Research in Music Education 60, no. 3 (September 18, 2012): 310–23. http://dx.doi.org/10.1177/0022429412454662.
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The purpose of this study was to examine the degree withdrawal patterns of undergraduate music education majors, with a specific focus on the individual experiences of students withdrawing from the major. Data from recently withdrawn students ( N = 14) were assembled using a qualitative methodology that included semistructured interviews, questionnaires, researcher journals, and meetings with experienced researchers. The data were analyzed and coded, generating a number of categories for discussion and analysis. Students’ experiences during college were diverse, with concerns focused on the applied music component of the degree surfacing as important to many students. The reasons given for withdrawal from the music education program also were diverse, including dismissal from the applied music studio, erosion of personal confidence as a musician, realizations about their feelings toward music versus their feelings about teaching in general as it related to their personal career goals, and personal life issues. Following withdrawal from the music education curriculum, all interviewed students reported that they remained actively involved in music in some way. Implications of these results are discussed in relation to individual experiences and the function of those experiences within the context of current models of student persistence.
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Yuksel, Gozde. "Metaphors of the prospective teachers regarding the concept of music." Cypriot Journal of Educational Sciences 15, no. 4 (August 31, 2020): 651–66. http://dx.doi.org/10.18844/cjes.v15i4.5048.
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How teachers perceive concepts and facts is very important because teaching is a profession capable of shaping the cognitive, affective and behavioural behaviours of society through education. This research aims to determine the perceptions of prospective teachers studying at teacher education programmes of different fields regarding the concept of music. The main purpose here is to determine how music, which has an important place in human life with its individual, social, cultural, economic and educational functions, is perceived by prospective teachers. This research was conducted according to the descriptive survey model. The participants of the research consisted of three categories and a total of 186 people: prospective teachers attending departments whose curriculums do not include music lessons (PT, n = 57), prospective teachers attending departments whose curriculums include music lessons (preschool teaching, classroom teaching) (PTM, n = 66) and prospective music teachers (PMT, n = 63). The data were obtained through a form asking the participants to complete the statement ‘Music is like ... because ...’. The analysis of the produced metaphors was carried out in five steps: (1) coding and extracting, (2) collecting sample metaphors, (3) developing categories, (4) ensuring validity and reliability and (5) transferring data to Statistical Package for the Social Sciences for quantitative data analysis. As a result of the research, based on 83 different metaphors produced by prospective teachers, these metaphors were divided into seven categories. When the distribution of perceptual categories by participant type was examined, it was observed that the perceptions of the participants changed according to whether they took music lessons and how often they took them.
Keywords: Metaphor, music, perception of music, teacher education.
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Demirbatır, Rasim Erol. "Investigating entrepreneurship levels of pre-service music teachers." Journal of Education and Learning (EduLearn) 15, no. 3 (August 1, 2021): 352–59. http://dx.doi.org/10.11591/edulearn.v15i3.20298.
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The aim of this study was to examine the entrepreneurship levels of Pre-Service Music Teachers (Bursa Uludağ University Faculty of Education Music Teaching Undergraduate Program students) in terms of gender, grade level and career goals. For this purpose, data were collected from all 1st and 4th year students studying at Bursa Uludağ University Faculty of Education, Department of Music Education. The Individual Entrepreneurship Perception Scale (IEPS) and a Personal Information Form were used to collect the data. Mann Whitney U test was used to analyze the data. In line with the findings obtained, it was found that there was no significant difference in terms of IEPS total and subscale scores by gender. However, there were significant differences in favor of 4th year students in terms of locus of control, self-confidence and self-discipline sub-scores, as well as the total IEPS scores by grade level. It was concluded that those aiming for a non-teaching profession got significantly higher locus of control scores than those aiming to become a teacher. Regarding these results, suggestions have been developed to increase the entrepreneurship level of pre-service music teachers.
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Varvarigou, Maria. "‘I owe it to my group members…who critically commented on my conducting’ – Cooperative learning in choral conducting education." International Journal of Music Education 34, no. 1 (June 4, 2014): 116–30. http://dx.doi.org/10.1177/0255761414535564.
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This article explores cooperative learning in choral conducting education. The five characteristics of cooperative learning identified by Adams and Hamm ((1996). Cooperative learning: Critical thinking and collaboration across the curriculum (2nd ed.). Springfield, IL: Charles Thomas Publishers): positive interdependence; face-to-face interaction; individual accountability and personal responsibility for reaching groups goals; frequent practice with small-group interpersonal skills; and regular group processing and reflection have been used to structure the discussion on the learners’ perception of their development and their module’s effectiveness. The context in focus was an elective module on choral conducting education at master’s level. Cooperative learning in choral conducting education was shown to support the learners’ motivation for active participation in the teaching and learning process; to increase respect for diversity; to support the learners’ development of interpersonal, communication, leadership and teaching skills at both an individual and at a collective level; and to improve teacher effectiveness.
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Wilson, Brian, and Jan McCrary. "The Effect of Instruction on Music Educators' Attitudes toward Students with Disabilities." Journal of Research in Music Education 44, no. 1 (April 1996): 26–33. http://dx.doi.org/10.2307/3345411.
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Before and after completing a university course for teaching music to special education learners, master's-level music education students ( N = 18) were given a measure examining their attitudes toward students with disabilities. The survey instrument consisted of 20 statements describing five different groups of students; these were learners with emotional, physical, multiple, mental, or no impairments. The participants were directed to indicate strength of agreement or disagreement with the following statements: “I would feel comfortable in interacting with this individual,” “I would be willing to work with this individual,” and “I would feel capable in working professionally with this individual.” Results showed an increase in the participants' responses to the statement “I would feel more capable in working professionally” but a statistically significant decrease ( p < . 05) to the statement “I would be willing to work” with special-needs learners after the completion of training.
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van der Merwe, Liesl, and John Habron. "Exploring lived experiences of spirituality amongst five Dalcroze teachers." Psychology of Music 48, no. 2 (August 1, 2018): 163–81. http://dx.doi.org/10.1177/0305735618785011.
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This article presents an interpretative phenomenological analysis (IPA) of the lived spiritual experiences of five Dalcroze teachers while teaching Dalcroze Eurhythmics. It responds to a recent expansion of research into spirituality within music education and also in relation to Dalcroze Eurhythmics. However, there is no study on the lived spiritual experiences of Dalcroze practitioners. Therefore, the purpose of this article is to understand how five Dalcroze teachers make sense of their spiritual experiences while teaching Dalcroze Eurhythmics. After semi-structured interviews, we interpreted the experiences of each individual participant separately before doing a cross-case analysis. A six-step, iterative, and inductive data analysis cycle was followed. The superordinate themes that emerged are: Breathing is essential; Giving and receiving energy (physical and emotional); Creating connections through sound and movement; Awareness of self, other, environment, and music; Growth and learning; Meaning and holism; Wellbeing; and Precious moments of transcending time and space. Participants’ spiritual experiences are discussed against the background of “A conceptual model of spirituality in music education” as well as “A conceptual study of spirituality in selected writings of Émile Jaques-Dalcroze.” Music educators’ awareness of spirituality while teaching Dalcroze Eurhythmics could be heightened to increase their “pedagogical thoughtfulness and tact.”
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Smith, Raychl, and Jacqueline Secoy. "Exploring the Music Identity Development of Elementary Education Majors Using Ukulele and YouTube." Journal of Music Teacher Education 29, no. 1 (August 29, 2019): 71–85. http://dx.doi.org/10.1177/1057083719871026.
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The purpose of this instrumental case study was to understand how learning to play the ukulele influenced the music identity of elementary education majors. Eighteen participants (17 females, 1 male) from two universities created YouTube playlists and recorded solo ukulele performances for their YouTube channel. Music identity perceptions were collected via writing reflections, video recorded class sessions, and focus group interviews. We found that students’ early life experiences informed their beginning-of-semester perceptions of music identity (past selves), while in-class experiences contributed to higher levels of music competence and participation, and meaningful shifts in music identity (present and future selves). Music teachers should consider how the ukulele and YouTube may be used to promote individual expression, accountability, and self-directed learning. We encourage music teacher educators to use music biographies and YouTube as tools for culturally responsive teaching while creating safe spaces for the music identity development of less experienced/confident musicians.
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Draves, Tami J. "Instrumental Music Educators’ Experiences in a Professional Development Course." Update: Applications of Research in Music Education 35, no. 3 (February 29, 2016): 38–45. http://dx.doi.org/10.1177/8755123316634174.
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The purpose of this research was to investigate the experiences of instrumental music teachers in Designing Arts Instruction, a 4-day professional development course in a large urban school district. Specifically, I was interested in which activities participants (a) found most relevant and applicable to their current teaching situation, (b) believed would most benefit student learning, and (c) believed would contribute most to their overall music teacher development. Multiple forms of data were collected including participants’ reflections, researcher-facilitator journal and field notes, and structured individual interviews. Curriculum development and rubric writing were relevant to participants’ teaching situations and also engaged teachers’ personal musicianship. Participants recognized creative activities as motivating for students. Collaboration emerged as the course feature that contributed most to participants’ overall development. Those who plan and facilitate professional development might consider including aspects that invite collaboration, deep thinking, engagement, and reflection, particularly within the context of teachers’ musicianship.
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Bezemchuk, Larisa, and Volodymyr Fomin. "THE FORMATION OF FUTURE MUSIC ART TEACHER`S METHODOLOGICAL COMPETENCE IN THE PROCESS OF PEDAGOGICAL PRACTICE." 1 1, no. 1 (September 2020): 43–49. http://dx.doi.org/10.34142/27091805.2020.1.01.07.
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Object. The article`s aim is to study formation of the methodological competence of a music teacher`s potential in practical work as well as to determine the effective forms and methods of professional training of the bachelor students during their pedagogical practice at schools. Methods. Conventional pedagogical research methods were applied: theoretical analysis of scientific and pedagogical literature, comparative analysis, empirical and modeling methods. Results. In the course of the research, the essence of methodological competence in the context of solving the issues of a potential music teacher’s professional training was theoretically substantiated. It is determined that the content of the curriculum for higher education 014 Secondary Education (Music) focuses the applicant of the first bachelor’s degree on the formation of «polyphonic» methodological and pedagogical thinking. It is proved that this type of thinking is a priority one for mastering the methodological constructions of the updated subjects «musical art» and «art». It is covered the conceptual core for structuring of the main professionally oriented academic disciplines: «Methods of music education» and «Pedagogical practice». The basis of such a structuring is a didactic matrix of art lessons of poly-artistic direction. It is proposed to use the principle of interdisciplinary integration for the development of students’ methodological skills in three dimensions of musical art mastering: improvement-transformation-modeling. Modeling of professional situations in the process of pedagogical practice by means of creation of individual methodological maps of students is carried out. A special place in the methodological and practical work of students was taken by various forms of individual creative tasks on music pedagogy. This significantly affected the level of professional training, and separately – the practical and creative component of the formation of the students’ methodological base. Among the methods that aroused the greatest interest of students during pedagogical practice it should be point out the holding of master classes, music-pedagogical trainings, discussions the issues of pupils’ teaching by art means. A wide range of practical issues was solved due to introduction of interactive teaching forms, like «music aquarium», «art cafe», «brainstorming», «facilitation discussion» as well as imitating music and game technologies. Conclusions. Summarizing the results of the study, it can be pointed out that the practical training of a modern music teacher should be carried out in the plane of integration processes affected the renewal of a music lesson as a lesson of poly-artistic content. It is proposed to consider the formation of methodological competence from the standpoint of the systematic approach to teaching. It is carried out modeling of professional situations based on the principles of interdisciplinary integration. It was found that the most effective form of students’ work during school practice is the creation of individual methodological maps.
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Gaunt, Helena. "Learning and teaching breathing and oboe playing: action research in a conservatoire." British Journal of Music Education 24, no. 2 (July 2007): 207–31. http://dx.doi.org/10.1017/s0265051707007425.
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This paper presents findings from action research in a conservatoire (the Guildhall School of Music & Drama) which focused on teaching and learning effective breathing in playing the oboe. A range of approaches and techniques emerged from a literature review. These were implemented in practice with oboe students at the Guildhall School, and changes in their practice and perceptions of breathing were analysed. Participants' responses to the approaches used were diverse, emphasising individual learning styles. Considerable changes in their breathing practice as oboists were observed, and in addition it was noted that in several cases their approach to learning became more reflective and self-directed.
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Williamson, Paul, Eugene Ball, and Emily Wilson. "Developing one-to-one contemporary trumpet teaching strategies through peer observation and collaborative reflection." International Journal of Music Education 37, no. 4 (August 2, 2019): 622–35. http://dx.doi.org/10.1177/0255761419863124.
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Generally, one-to-one music lessons in tertiary settings are delivered by practicing professional musicians. While contemporary musicians draw upon a broad foundation of musical skills, they tend to develop highly specialized skills in a narrow area of performance. This may not be ideal for the one-to-one teaching studio, a situation that calls for a broad repertoire of teaching strategies tailored to individual student needs. This tension is exacerbated, as one-to-one tertiary performer-teachers are often employed on a sessional basis, and as such are offered limited opportunity to receive feedback or professional learning related to their one-to-one teaching practice. This article presents findings from a pilot study employing a peer observation and collaborative reflection approach to professional learning conducted by two contemporary trumpet performer-teachers. Similarities and differences between teaching strategies were identified in order to develop a broader range of teaching strategies that the participants might draw on in the future. In turn, the efficacy of a peer observation and collaborative reflection approach to professional learning for the participants is discussed.
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Georgii-Hemming, Eva, and Maria Westvall. "Music education – a personal matter? Examining the current discourses of music education in Sweden." British Journal of Music Education 27, no. 1 (January 26, 2010): 21–33. http://dx.doi.org/10.1017/s0265051709990179.
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The embedding of informal practices in music education in school relates to significant issues concerning students' engagement, participation, inclusion and the role of the teacher. This article addresses these issues by presenting and discussing current music education in compulsory comprehensive schooling in Sweden. It does so by drawing upon music pedagogical research, music education studies conducted during the last 10 years and national evaluations. Examples of practice from upper secondary schools are also used to clarify and illustrate the issues under consideration. It has been said that Swedish music education has gone from ‘School Music’ to ‘Music in School’. This development has been characterised by greater influence of students on curriculum content resulting in increased use of popular music, and, consequently, teaching strategies acquired from informal music playing contexts. The curriculum states that the core of the subject is practical music playing, through which personal development can occur – both musically and socially. Music education in several other countries is developing a more practical approach, and the role of popular music in schools, and what is sometimes called informal learning, is featured in international music pedagogy debates. This article considers the musical, pedagogical and democratic consequences of this pedagogy from a Swedish perspective. As a result of a sharp focus on personal social development and individual students' musical interests, music education in Sweden has become relatively limited in terms of repertoire, content and teaching methods. Recent evaluations and studies also demonstrate that music education lacks direction, and is short of creative engagement with music. The role of the teacher is unclear and sometimes lacks validity in a practical music education situation. Viewed from an international perspective, the kind of music education that has developed in Sweden is unique. Thus, when the possibilities and limitations of music education in Sweden are discussed, it has the potential to be of interest to international music education research.