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1
Walling, Catherine Bennett. "Intercultural exchanges in South Africa: Exploring music teacher experiences, understandings, and practices." International Journal of Music Education 38, no. 2 (2019): 252–66. http://dx.doi.org/10.1177/0255761419877574.
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The purpose of this study was to examine the experiences of four US music educators during and after a 3-week adult choir camp in South Africa. Findings reveal that the camp positively influenced music teacher understandings and practices, both during and after the exchange. Throughout the camp, participants navigated race, privilege and prejudice and expressed value for a vast array of shared experiences with choir mates, teachers, and homestays. Participants reflected regularly on processes of learning new musics, describing growth through authentic and at times challenging activities. Furthermore, all participants recognized that firsthand experiences were essential to deep learning. During the camp, all participants expressed hopes of bringing new ideas and music home; 2 months after returning to their classrooms, 3 of the 4 participants reported the teaching of South African songs along with modified pedagogical approaches. Ultimately, participants shared that the trip had impacted them in various personal ways, noting increased tolerance, patience, kindness, confidence and hope.
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Campbell, Patricia Shehan. "How Musical We Are: John Blacking on Music, Education, and Cultural Understanding." Journal of Research in Music Education 48, no. 4 (2000): 336–59. http://dx.doi.org/10.2307/3345368.
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The distinguished music scholar John Blacking (1928-1990) made the study of music in culture and the nature of musical thought and behavior his lifelong quest. Although an anthropologist by training and an ethnomusicologist in his academic output, he produced a vast quantity of publications on the nature of musicality and musical development in the Venda children of northern Transvaal, South Africa. There are multiple purposes of this research, starting with a profile of the professional career of John Blacking, from his musical beginnings in England to his South African Odyssey of fieldwork and teaching of music as a social and cultural force, and finally to his teaching and scholarly contributions as an academic powerhouse and articulate advocate for the education of children in and through music in the United Kingdom, the United States, and internationally. An examination follows to gauge the extent of John Blacking's fieldwork and theoretical views relevant to music, education, and culture, with particular attention to Blackings approach to the study of children as a distinctive musical culture and the nature of their musicality, the central role of physical movement and dance as integrated within the musical experience, and the development of world musics in educational programs.
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Richardson, Carol P. "Negotiating borderlands: a study of music teaching and learning in Ghana, West Africa." Music Education Research 5, no. 3 (2003): 275–83. http://dx.doi.org/10.1080/1461380032000126364.
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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 (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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Covalle, Whitney A. "Three Black Gospel Music Experts on Preparing, Teaching, and “Being” in the African American Aural-Oral Tradition." Bulletin of the Council for Research in Music Education, no. 233 (July 1, 2022): 48–68. http://dx.doi.org/10.5406/21627223.233.03.
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Abstract The purpose of this multiple case study was to gather musical and nonmusical perspectives from three experts on teaching Black gospel music in the African American aural-oral tradition. Research questions included: (a) What is the process Black gospel music experts engage in when preparing for and teaching gospel music in the aural-oral tradition? (b) In the view of Black gospel music experts, how does race intersect with the preparation, teaching, and performance of gospel music? (c) How do Black gospel music experts advocate for incorporating gospel music into public school vocal music programs? Participants were purposively selected, and data collection included observations, researcher-singer participation, and multiple interviews. Expert agreement emerged regarding teaching processes as a nonmusical “state of being” deeply infused with cultural, community, and spiritual values. Rehearsals were uninterrupted musical experiences with limited nonverbal instruction made possible from robust aural-oral immersion preparation. While participants insisted race was not a prerequisite for engagement in gospel music, they agreed the influence and mediation of race plays an active role, citing the proliferation of anti-Blackness in the academy as foremost among the barriers to rigorous preparation to teach Black gospel music. Experts advocated for teaching gospel music in schools to offer students the opportunity to participate in the accessible, inclusive, participatory, and communal experience available in gospel music.
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K.M., Isaac, and Emmanuel O.A. "Rejection of Indigenous Music? Reflections of Teaching and Learning of Music and Dance in Tamale International School." African Journal of Social Sciences and Humanities Research 4, no. 2 (2021): 74–86. http://dx.doi.org/10.52589/ajsshr-muuuijwv.
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Culturally responsive teaching and learning in schools creates an engaging and accessible learning environment that ensures continuity in the traditions of the people. One of the aspects of culture which engages students effectively in the learning process is music and dance. However, the instructional delivery of Music and Dance in Tamale International School scarcely includes the indigenous music content to a broader perspective. The paper was an investigation to find out how music and dance was taught in Tamale International School. It also highlights the attitudes of students towards the teaching and learning of Music and Dance. Using the cultural theory of Education as the theoretical framework, and a case study research design, participants were drawn from the pupils, the music teacher as well as the headteacher of the school. Interview and observation were the main instruments for the data collection. It was revealed that teaching of music and dance in the Tamale International School was a problem due to the fact that the school is one of the Western colonized schools with much historical orientation on Western music thereby relegating African music to the background. Attitudes of pupils towards the study of African music component of the music and dance syllabus being negative due to their religious background and the orientation received from their parents. Situated within the cultural education theory, the paper concludes that when students are given the opportunity to learn traditional music very often at school, it will help them to know theirs as Africans and embrace it in spite of their orientations from their religious background.
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Bolaji, David. "African Pianism: An Educator View." East African Journal of Arts and Social Sciences 5, no. 1 (2022): 75–87. http://dx.doi.org/10.37284/eajass.5.1.602.
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The quest for solving the impending challenge that hampers the performance of music students in playing pieces composed by African scholar in the African pianism style is one of the major concerns of most piano instructors that embraced the concept of African pianism. The identified difficulty stands as contributing factor downplaying the promotion of African identity via the use of the piano. Generally, this has stimulated lots of debates at different levels, which calls for urgent attention to reposition and promote African pianism. The thrust of this paper is not to re-sound the identified difficulty, but to investigate and propound applicable approaches that could be used as fundamental procedures for correcting the intricacy of this challenge. The Taro Yamane sample size theory was adopted. Questionnaire were administered to music students from two Universities in Nigeria used as case study, interviewing piano instructors from these institutions, interviewing Christian Onyeji, a prominent African pianism composer in Nigeria and Meki Nzewi, a renowned, personate and promoter of African music. The findings reveal that there is a big gap between the music students and their knowledge of their indigenous music and culture. Also, most music students do not have any prior theoretical nor practical knowledge of piano playing before coming to study music, and the ratio balancing of the choice of selected piano pieces given to the students is more of Western oriental pieces than African oriental pieces. However, the suggestive approachable measures to tackle the said problem include, route learning method which, should dominant the teaching method for pieces in African pianism style, African pianism pieces should be the dominant pieces to be given to students learning to play the piano in the departments of music in Nigeria. Composers should compose short pieces in the African pianism style/techniques and make them available for instructional materials. Nevertheless, the proposed suggestions in this study will serve as an eye opener to the need for redirecting and promoting the teaching and playing of African Pianism in the department of music in Nigeria.
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Veblen, Kari K., Nathan B. Kruse, Stephen J. Messenger, and Meredith Letain. "Children’s clapping games on the virtual playground." International Journal of Music Education 36, no. 4 (2018): 547–59. http://dx.doi.org/10.1177/0255761418772865.
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This study considers children’s informal musicking and online music teaching, learning, playing, and invention through an analysis of children’s clapping games on YouTube. We examined a body of 184 games from 103 separate YouTube postings drawn from North America, Central and South America, Europe, Africa, Asia, Australia, and New Zealand. Selected videos were analyzed according to video characteristics, participant attributes, purpose, and teaching and learning aspects. The results of this investigation indicated that pairs of little girls aged 3 to 12 constituted a majority of the participants in these videos, with other participant subcategories including mixed gender, teen, adult, and intergenerational examples. Seventy-one percent of the videos depicted playing episodes, and 40% were intended for pedagogical purposes; however, several categories overlapped. As of June 1, 2016, nearly 50 million individuals had viewed these YouTube postings.
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Stiga, Kalliopi, and Evangelia Kopsalidou. "Music and traditions of Thrace (Greece): a trans-cultural teaching tool." DEDiCA Revista de Educação e Humanidades (dreh), no. 3 (March 1, 2012): 145–64. http://dx.doi.org/10.30827/dreh.v0i3.7094.
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The geopolitical location as well as the historical itinerary of Greece into time turned the country into a meeting place of the European, the Northern African and the Middle-Eastern cultures. Fables, beliefs and religious ceremonies, linguistic elements, traditional dances and music of different regions of Hellenic space testify this cultural convergence. One of these regions is Thrace. The aim of this paper is firstly, to deal with the music and the dances of Thrace and to highlight through them both the Balkan and the middle-eastern influence. Secondly, through a listing of music lessons that we have realized over the last years, in schools and universities of modern Thrace, we are going to prove if music is or not a useful communication tool – an international language – for pupils and students in Thrace. Finally, we will study the influence of these different “traditions” on pupils and students’ behavior.
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EKPO, Omotolani Ebenezer. "The Eurhythmics of Swange Dance of the Tiv People of Central Nigeria." Journal of Advance Research in Social Science and Humanities (ISSN: 2208-2387) 7, no. 12 (2021): 01–09. http://dx.doi.org/10.53555/nnssh.v7i12.1127.
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Eurhythmics in Dalcroze study is defined as the engagement of human body in rhythmic movement and active listening. Jaques-Dalcroze’s involvement of Eurhythmics in music pedagogy is aimed at securing steady position for the body and mind as well as a calculated and unconstrained expression of rhythm. African indigenous music and dance is predominantly functional with intensive assignation of the body and soul of the participants to satisfy the rhythmic drum patterns provided by the musicians. The teaching of music in traditional African settings may be generally informal, yet deliberate. The training technique of the notable indigenous dances in Nigeria informally employ the Dalcroze Eurhythmics teaching technique in the step by step movement pattern and dynamics employed during their group practices, especially with younger members of the group. Among the various traditional dance found in the Tiv clan of central Nigeria, the Swange dance is purposefully selected for this study to validate the relevance of Dalcroze to indigenous Nigerian culture, with regard to music and movement. This paper employ the ethnographic study approach; it combines participatory and observation research methodologies, theoretical engagement, and ample illustrative style of writing, to portray the everyday complexities of music/dance learning among the people.
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Rockell, Kim. "MUSIC(S) OF THE WORLD AS AN ONLINE EFL RESOURCE: A Japanese EFL classroom experience." Englisia: Journal of language, education, and humanities 7, no. 2 (2020): 102. http://dx.doi.org/10.22373/ej.v7i2.6325.
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This research considers how the study of musical performances from around the world can be drawn upon as a useful resource for language instruction, particularly in EFL Japanese university classrooms. This study shares the insights gained from literature reviews combined with the researcher’s teaching experiences on the advanced English elective course of Computer Assisted Ethnomusicology. This work was carried out over a five-year period between 2013–2018 at a university in the Tohoku region of Japan, based on a course that focused on the music and culture found in Oceania, South East Asia, East Asia, Africa and North America. This study identifies the language resources present within the ethnomusicological content, and identifies the ways it can help awaken learners to the rich variation that exists among the cultures of the world, and highlighting the way local and global features combine in the ‘glocal.’ In addition to digital applications, approaches introduced in the study also include the combination of high and low contact activities based on ethnomusicological resources. This helps to emphasize how Massive Open Online Courses (MOOCs), and open source multimedia make it possible to approach musical song texts and discourses that surround musical practice and performance and apply these to EFL teaching.
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O.A., Emmanuel, and Isaac K.M. "The Nature of Ghanaian Music and Dance Syllabus and the Challenges of Teaching its Contents in Tamale International School." British Journal of Contemporary Education 1, no. 1 (2021): 40–51. http://dx.doi.org/10.52589/bjce-iiwhzrrt.
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This paper examined the nature of the Junior High School (JHS) music and dance syllabus in the context of growing cultural education and current socio-cultural transitions in Ghana. It also sought to highlight the challenges of teaching the syllabus in the schools. The design used was a case study while archival document analysis and interview incorporated the data collection instruments to collect the appropriate data to answer the research questions. The content of the syllabus was analyzed while two main participants of the study were also interviewed. The study reveals a mismatch in the relationship between the content of the music and dance taught in the classroom and what actually exists in the syllabus to be taught. It is recommended that music teachers properly align their instructional content to the syllabus since it contains enough African music content that can prepare the pupils to appreciate their musical culture.
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Anderson, Chad, Taneshka Kruger, and Irma Eloff. "The Influence of a Song on School Children’s Knowledge Growth for Sustainable Malaria Prevention: Teacher Perspectives." Sustainability 14, no. 22 (2022): 15023. http://dx.doi.org/10.3390/su142215023.
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Music as a potential prevention strategy can play a pivotal role in developing behavioural changes and creating awareness about malaria and malaria prevention. The study was conducted in a moderate-risk malaria district in sub-Saharan Africa. A comparative analysis and pre-and post-intervention evaluation of three teaching intervention methods to teach and educate young children about malaria, e.g., song intervention, drama intervention, and song-and-drama combination, was evaluated. Data were collected by means of pre-and post-intervention interviews with Grade 3 primary school children and teachers, as well as a post-intervention questionnaire with teachers, parents, guardians, and caregivers. The purpose of the study was to investigate knowledge gains on malaria in relation to malaria awareness interventions. The results revealed that the song-only intervention was the most effective learning intervention strategy in this population and that behavioural changes and knowledge growth occurred regarding malaria and malaria prevention in this population. Independent of the teaching styles of each teacher in teaching the song to the children, the findings established that culturally and age-appropriate songs contributed to increasing children’s knowledge growth regarding sustainable malaria prevention.
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Kalinde, Bibian, and Dorette Vermeulen. "Fostering children’s music in the mother tongue in early childhood education: A case study in Zambia." South African Journal of Childhood Education 6, no. 1 (2016): 9. http://dx.doi.org/10.4102/sajce.v6i1.493.
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The influence that the use of a familiar language has on learning has long been explored with suggestions that a child’s mother tongue is the most suited initial language of instruction in school. In Zambia, however, this is not the case as the majority of people think that young children should learn to speak in English as soon as possible because this is the language of education. As a result, songs in English dominate the singing repertoire in pre-schools even when children have not mastered sufficient English vocabulary. Singing songs in English, just as teaching children in a language they do not understand, has been shown to hamper learning. The theoretical lens of indigenous African education underpins the study in order to investigate how music in the mother tongue in a cultural context can foster educational aims. Research participants included an expert in Zambian indigenous children’s songs who also acted as resource person and led 18 children aged between 5 and 6 years in sessions of music in their mother tongue. The findings of the study revealed that educational implications of children’s participation in music in the mother tongue can be found in the way in which they are organised, the activities they involve and in the music elements that characterise them.
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Stevens, Robin S. "Pathfinder and Role Model: Ada Bloxham, Australian Vocalist and Tonic Sol-fa Teacher." Journal of Historical Research in Music Education 39, no. 2 (2017): 131–47. http://dx.doi.org/10.1177/1536600616669360.
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The Australian mezzo-soprano Ada Beatrice Bloxham (1865–1956) was the inaugural winner (in 1883) of the Clarke Scholarship for a promising musician resident in the Colony of Victoria to study at the Royal College of Music in London. She was the first Australian to enrol at the Royal College of Music and to graduate as an Associate of the College in 1888, and she was the first woman to be awarded a Fellowship of the Tonic Sol-fa College, London, also in 1888. After a period teaching and performing in Japan (1893–1899), she married and lived variously in South Africa, England, and France, returning to Australia in 1927. Due most probably to her marriage and family responsibilities, she appears not to have achieved her full potential as a performer and teacher. Nevertheless, Bloxham is worthy of recognition as having gained success as a musician and educator both in her native Australia and abroad during her early and middle years, and as a pathfinder and role model for other women during the early years of their musical careers.
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Tsampiras, Carla. "Walking up hills, through history and in-between disciplines: MHH and Health Sciences Education at the tip of Africa." Medical Humanities 44, no. 4 (2018): 270–80. http://dx.doi.org/10.1136/medhum-2018-011494.
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Celebration, frustration, contestation and imagination all manifest themselves when examining the evolution of the field of Medical and Health Humanities (MHH) at the University of Cape Town (UCT). That this field has been growing at the same time as access to, inclusion in, and social justice issues linked to higher education have come under the spotlight has the potential to shape how we think and plan for the future of the field. Doing this will require treks up hills, journeys through difficult histories and dynamic dances in-between disciplines.This article examines MHH at UCT broadly, referring to projects and programmes that are underway primarily in the humanities and health sciences faculties. From this overview, the article specifically examines the curricula changes introduced in the Faculty of Health Sciences inspired by MHH and the author’s interest in historical consciousness. It describes current points of intervention in physiotherapy and MBChB undergraduate curricula; and through short-term special study modules that have allowed those interested in MHH to explore relationships between health and healing and art, music, writing, yoga, PhotoVoice, drama, drawing and complex histories.It discusses some of the challenges of introducing humanities teaching into health sciences curricula; and some of the tensions that result from the meeting of divergent epistemologies and pedagogies. The article considers if, and how, MHH might engage with social (in)justice, and inclusions and exclusions and potentially offer a balm to soothe the bruising effects of oppressive histories and a hegemonically hierarchical present.
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Burton, J. Bryan, and Rosella DiLiberto. "Resources for Teaching Music of Africa." General Music Today 12, no. 3 (1999): 24–30. http://dx.doi.org/10.1177/104837139901200309.
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Howard, Karen. "Expressing Culture: Teaching and Learning Music of Ghana, West Africa." General Music Today 32, no. 1 (2018): 26–29. http://dx.doi.org/10.1177/1048371318792228.
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In recent years, there has been much criticism of multiculturalism for its failure to address the power and privilege that keep the status quo in music education. Continued support and education is needed to grow preservice, practicing, and even veteran teachers’ skills in teaching and learning music genres from a broader range of music cultures. To that end, the purpose of this column is to examine the potential for bringing music from Ghana, West Africa, into the general music setting. A brief introduction to the music culture of Ghana is presented first, then a traditional song with teaching suggestions, followed by a list of suggested print and recorded resources.
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Kwon, Oh-Sun. "A study on music teaching efficacy and music teaching practices of early childhood teachers and music teachers." Journal of Korea Open Association for Early Childhood Education 27, no. 2 (2022): 37–58. http://dx.doi.org/10.20437/koaece27-2-02.
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Shanahan, Yvonne P., and Morris W. Shanahan. "A Teaching Case Study: Roxy Music Limited." Journal of Business Case Studies (JBCS) 1, no. 2 (2005): 15–18. http://dx.doi.org/10.19030/jbcs.v1i2.4918.
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Roxy Music Limited is a wholesale supplier of Compact Discs (CDs), Music Cassettes, Videos and, more recently DVDs, in the New Zealand music and entertainment market. All products are imported from Germany, the United Kingdom, the United States of America or Holland. Product arrives in boxes of 1,000 units. For the purpose of this case, we are focusing on CD sales.
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Jorritsma, Marie. "Teaching ethnomusicology in times of trouble: a perspective from Johannesburg, South Africa." Ethnomusicology Forum 30, no. 1 (2021): 105–28. http://dx.doi.org/10.1080/17411912.2021.1938627.
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YOUNG, VANESSA, KIM BURWELL, and DAVID PICKUP. "Areas of Study and Teaching Strategies in Instrumental Teaching: a case study research project." Music Education Research 5, no. 2 (2003): 139–55. http://dx.doi.org/10.1080/14613800307110.
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Oh, Seong il, and Min jung Son. "A Study of Swahili Music in East Africa." Institute for Education and Research Gyeongin National University of Education 41, no. 2 (2021): 151–68. http://dx.doi.org/10.25020/je.2021.41.2.151.
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Baumgartner, Christopher M., and Kimberly H. Councill. "Music Student Teaching Seminars." Update: Applications of Research in Music Education 35, no. 2 (2016): 62–69. http://dx.doi.org/10.1177/8755123315615183.
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The purpose of this study was to examine the structure and content of music student teaching seminars at 4-year, degree-granting institutions accredited by the National Association of Schools of Music across the United States. A secondary purpose was to determine how these seminars (a) addressed perceived needs of student teachers and beginning teachers when reflecting on their student teaching experience and (b) met those needs through course structure and content. Though variability existed in frequency and length, most seminars ( n = 95, 77.86%) were taught in the music department. Participants ( N = 205; 42.71% overall response rate) indicated that teacher responsibilities, job searching, and behavior management were the most frequently addressed topics in their seminars; creating résumés, lesson planning, and peer discussions represented the most common activities. Data suggest variability in both structure and content of seminars, as well as a discrepancy between perceived student teacher needs and seminar content.
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Yu, Sun-Mi. "A Study on the Naedeureum of Court Music for Teaching Music Appreciation." Journal of Korean music education research 14, no. 2 (2020): 119–47. http://dx.doi.org/10.31177/sskme.2020.14.2.04.
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Yang, Xuenan. "The Study of Music Teaching in Universities and the Inheritance of National Music Culture." Advances in Higher Education 3, no. 2 (2019): 159. http://dx.doi.org/10.18686/ahe.v3i2.1437.
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<p>With the development of the society and the progress of the time, the pace of China's education reform is more and more steady. The development of the education system is gradually perfect. Music teaching is an indispensable part of the teaching system of colleges and universities, which has a positive impact on the improvement of students' music literacy. However, due to the interference of various factors, the national music culture has not been well inherited and developed, leading to the increasingly westernized development of music in China. This paper analyzes and discusses the relationship between university music teaching and national culture in detail, and puts forward a series of strategies and programs that are conducive to the inheritance of national music culture, which plays a role of reference and reference for university music teaching.</p>
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Cheng, Hao, Hao-ze Zhong, and Ke-cheng Ben. "Study on the Application of Digital Information Technology in Music Teaching." Mobile Information Systems 2022 (March 22, 2022): 1–9. http://dx.doi.org/10.1155/2022/2816848.
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In order to deal with the great challenge of the arrival of information society to the traditional music teaching concept and practice, an overview of the teaching ability structure of music normal students supported by information technology is put forward. The changes in the structure of teaching ability caused by information technology are analyzed, that is, to analyze the cultivation of teaching ability of music normal students by integrating music subject knowledge with information technology platform and promoting relevant elements in combination with teaching activities. By using Fitzgerald and our proposed long+short method to separate Beach Boys songs at the singing music ratio of -6, 0, and +6 dB, the singing signal (left column) and music signal (right column) are relative to the average values of SDR (first row), SIR (second row), and SAR (third row) of pure singing and pure music. Experiments show the effectiveness of this method.
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Barnes, Gail V. "Teaching Music: The First Year." Bulletin of the Council for Research in Music Education, no. 185 (July 1, 2010): 63–76. http://dx.doi.org/10.2307/41110366.
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Abstract The purpose of this study was to contribute to the novice music teacher case literature by studying the prevalent themes in the experiences of five first-year teachers. The teachers submitted periodic journal entries and were also interviewed at the beginning of their second semester of teaching. I analyzed transcripts using HyperResearch and submitted them to the participants for both descriptive and interpretive validity checks. Many themes emerged, but those with the highest frequency counts were: Students (behavior), Students (musical). Administrative, Students (personal), Self-evaluation (discipline), and Self evaluation (personal). The five teachers had varying experiences, and all continued in those situations for the following year. Teacher educators must prepare novice teachers for the varying realities of their early experiences, and school administrators must offer effective support during this critical time.
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West, Tore, and Anna-Lena Rostvall. "A Study of Interaction and Learning in Instrumental Teaching." International Journal of Music Education os-40, no. 1 (2003): 16–27. http://dx.doi.org/10.1177/025576140304000103.
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Eleven brass and guitar lessons in Sweden were videotaped, transcribed, and analyzed to investigate how teachers and students used speech, music, and body language; to what they focused their attention during the lessons; and how this affected student learning. A detailed description of each lesson was analyzed using cognitive concepts of experiencing and learning music, as well as concepts of educational genres of speech and music use. Five hours of video of 4 teachers and 21 students were minutely described and analyzed. The results of the study reflect how music during the lessons was broken down into separate note symbols as read from the score, rather than the expected musical phrases, rhythms and melodies. Surprisingly, expressive qualities of performing music were not addressed at all. The teacher controlled the interaction, while student attempts to take any initiative were ignored or questioned in a manner that was not anticipated.
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Miksza, Peter, and Margaret H. Berg. "A Longitudinal Study of Preservice Music Teacher Development." Journal of Research in Music Education 61, no. 1 (2013): 44–62. http://dx.doi.org/10.1177/0022429412473606.
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The purpose of this study was to investigate the development of preservice music teachers’ concerns using Fuller and Bown’s model. Participants were 8 instrumental teachers who participated in the previous Berg and Miksza (2010) study. Data sources included goals essays, journals, a midterm growth plan, and teaching observation reports with accompanying lesson plans that were collected over a 1.5-year period. The participants expressed less concern for self-survival and more concern for making an impact on students as time progressed from their junior-level practicum experience to the end of student teaching. Concerns regarding basic competencies and professionalism ultimately gave way to specific contextual aspects of the participants’ teaching placements and more nuanced instructional issues. Results indicated that the focus of the participants’ concerns also was greatly affected by their teaching context. Implications for music teacher preparation as well as extensions of Fuller and Bown’s model are discussed.
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Kuebel, Christa R. "Preparedness of Instrumental Music Majors Teaching Elementary General Music." Journal of Research in Music Education 67, no. 3 (2019): 304–22. http://dx.doi.org/10.1177/0022429419850110.
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The purpose of this multiple-case study was to examine the career development, choices, and goals of elementary general music teachers who identified as instrumental majors during their undergraduate degree programs. Data collection included a questionnaire, interviews, participant journals, and observation field notes; data were organized using the theoretical framework of social cognitive career theory. Themes are presented in two categories: internal influences (self-efficacy and perceived differences between elementary music and instrumental music) and external influences (economy, undergraduate preparation, and working in elementary general music). Implications regarding the development of self-efficacy and preparation for teaching outside of one’s specialization are discussed.
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Martin, Lisa D. "A Case Study of a Noncredentialed, Second-Career Music Educator." Journal of Music Teacher Education 28, no. 1 (2018): 83–101. http://dx.doi.org/10.1177/1057083718788017.
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Throughout the United States, educators lacking formal credentials have increasing opportunities to assume classroom teaching positions. The purpose of this instrumental case study was to explore the career decision making and early-career teaching experiences of Holly, a noncredentialed music educator working in a public charter school. Data were collected over 6 months in the form of semistructured interviews, teaching and performance observations, and artifact analysis. Holly’s pathway to classroom teaching as a second career was characterized by nonlinear decision making, exploring numerous options before choosing to teach school music. Her early classroom teaching experiences were similar to those of traditional early-career music teachers with regard to classroom management concerns; however, her experience in private lesson instruction and directing community music theater equipped her with more practical pedagogical skill sets than typical early-career music educators. The discussion includes considerations of the value of formal credentialing and implications for music teacher education program recruitment.
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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 (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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Liu, Weijia, and Aspalila bt Shapii. "Study on Aesthetic Teaching Methods in Ethnic Music Teaching in Universities in the Context of Intelligent Internet of Things." Scientific Programming 2022 (August 22, 2022): 1–7. http://dx.doi.org/10.1155/2022/7901855.
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Folk vocal music is an important part of music majors in colleges and universities (CaU), and the core of music education is AE. Therefore, in vocal music teaching, students should be guided to understand the beauty of music and to use vocal performance as an aesthetic experience so as to cultivate their aesthetic appreciation ability. As one of the national musical instruments, Chinese Zither has a unique musical charm. Its traditional aesthetic value is high, which can bring people beautiful music enjoyment. This paper takes Chinese Zither as an example to study the aesthetic teaching methods in college national instrumental music teaching. In the process of research, we use a combination of a variety of research methods to study two classes of music major in our school. This paper first uses the literature analysis method to elaborate the AE and then uses the questionnaire survey method to study the college students’ understanding and views on the national instrumental music. Then, through the case analysis method, it analyzes the achievements and interest changes of the students after the introduction of aesthetic teaching in Chinese Zither teaching. At the same time, through expert interviews, it summarizes the teaching of national instrumental music in the CaU aesthetic teaching strategy and the use of mathematical analysis on the relevant data processing. This study found that before the introduction of aesthetic teaching in Chinese Zither teaching, the good rate of class 2 students was only 33.33%, and after the introduction of aesthetic teaching in Chinese Zither teaching, the good rate of students in class 2 reached 86.67%. Therefore, the introduction of aesthetic teaching in Chinese Zither teaching can effectively improve students’ learning level. This also shows that in the teaching of ethnic music, the introduction of aesthetic teaching and the combination of aesthetic art and music art can effectively improve the learning level of students.
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Lebaka, Morakeng Edward Kenneth. "Modes of Teaching and Learning of Indigenous Music Using Methods and Techniques Predicated on Traditional Music Education Practice: The Case of Bapedi Music Tradition." European Journal of Education 2, no. 1 (2019): 62. http://dx.doi.org/10.26417/ejed-2019.v2i1-55.
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This paper takes a look at music education in Bapedi society in Sekhukhune district, Limpopo Province in South Africa as the transmission of musico-cultural manifestations from one generation to the other. The aim is to investigate the modes of transmission of indigenous Bapedi music. Music teaching and learning in Bapedi society is an integral part of cultural and religious life, and is rich in historical and philosophical issues. Traditional music knowledge system produces a better result to the teaching and learning of indigenous music in Bapedi culture. The research question of interest that emerges is: What are the modes of transmission for indigenous Bapedi music during the teaching and learning process? The primary source for data collection was oral interviews and observations. Secondary sources include theses, books and Journal articles. Performances were recorded in the form of audio-visual recordings and photographs. The results have shown that in Bapedi society, learning music through participation has been a constant practice. The transmission process involves participation, fostering of communal sense, concentration on the present moment and the use of musico-cultural formulae and cues for interactional purposes. It was concluded that in Bapedi society, creative music making and music identity are the obverse sides of the same coin, in that the former provides an arena in which the latter can be explored.
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Killian, Janice N., Keith G. Dye, and John B. Wayman. "Music Student Teachers." Journal of Research in Music Education 61, no. 1 (2013): 63–79. http://dx.doi.org/10.1177/0022429412474314.
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In this descriptive study, we examined self-reported concerns of 159 music student teachers pre– and post–student teaching, over a period of 5 years. Resulting comments ( N = 867) were analyzed on the basis of (a) stages of teacher concern (focus on self, subject matter [music and teaching], and students) modeled after Fuller and Bown and (b) emerging categories of concern compared with those identified by Madsen and Kaiser. Stages of concern were reliably identifiable across all comments. Teachers, as predicted, began student teaching with more self (56%) and fewer student (4%) comments. Post–student teaching comments resulted in fewer self (33%) and more student (20%) mentions. Categorization of concerns indicated that pre– and post–student teachers shared some concerns (applying knowledge, discipline, confidence) but showed marked differences in other areas (cut out for teaching, information about students, administrative duties). Pre–student teaching categories were similar to those reported by Madsen and Kaiser a decade earlier; post–student teaching comments differed.
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Li, Kaiyue. "Inheritance and Innovation of National Music Culture in Music Education." BCP Social Sciences & Humanities 18 (June 30, 2022): 556–63. http://dx.doi.org/10.54691/bcpssh.v18i.1162.
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In the context of globalization, national music culture has become the focus of academic circles. How to protect, inherit and innovate the excellent national music culture is an important problem facing the current music education theory and practice research. This study argues that music education needs to keep a proper balance between “globalization” and “localization”, reasonably use the teaching materials of national music, and maintain the “root” and “uniqueness” of national culture, so as to better inherit and innovate national music culture. Thus, in this study, based on the summary of the concept of national music, the integrated teaching method of “teaching-practice-scientific research” is put forward from the perspective of inheritance, and the idea of integrating international music teaching method and national music culture is proposed from the perspective of innovation.
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Draves, Tami J. "Portfolio Assessment in Student Teaching: A Reliability Study." Journal of Music Teacher Education 19, no. 1 (2009): 25–38. http://dx.doi.org/10.1177/1057083709343906.
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Meissner, Henrique, and Renee Timmers. "Teaching young musicians expressive performance: an experimental study." Music Education Research 21, no. 1 (2018): 20–39. http://dx.doi.org/10.1080/14613808.2018.1465031.
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Cevik Kilic, Deniz Beste. "Pre-service Music Teachers’ Metaphorical Perceptions of the Concept of a Music Teaching Program." Journal of Education and Learning 6, no. 3 (2017): 273. http://dx.doi.org/10.5539/jel.v6n3p273.
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This study was intended to reveal pre-service music teachers’ perceptions of the concept of a “music teaching program” with the use of metaphors. Its sample included 130 pre-service music teachers in the Music Teaching Program of Fine Arts Teaching Department in Balıkesir University’s Education Faculty. The study data were collected by having the participants complete the sentences: “The music teaching program is like... because...” and “The music teaching program is similar to... because....”. The study’s qualitative data were collected using a survey form with open-ended questions. Subsequently, the data were interpreted using content analysis. The pre-service music teachers produced 30 metaphors. These metaphors were classified into six conceptual groups based on their shared aspects. The study concluded that pre-service music teachers explained the concept of a “music teaching program” using a variety of metaphors.
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Forrester, Sommer H. "Music Teacher Knowledge: An Examination of the Intersections Between Instrumental Music Teaching and Conducting." Journal of Research in Music Education 65, no. 4 (2017): 461–82. http://dx.doi.org/10.1177/0022429417742124.
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The purpose of this study was to examine the complexities of instrumental music teacher knowledge as they relate to the intersection between instrumental music teaching and conducting, and to explore how participants describe and perceive these intersections. The key research question guiding this study was, How do high school instrumental music teachers describe the intersections between instrumental music teaching and conducting? This study focused on the participants’ ( N = 4) perceptions and descriptions of the intersections between instrumental music teaching and conducting. A multiple-case-study design was used. The central finding of this study suggests that the practice of instrumental music teaching demands a specialized form of knowledge that reflects the integration of, rather than the intersection between, both teaching and conducting. This specialized form of knowledge informs the participants’ in-the-moment decision making, judgments, decisions, and communication with students and the ensemble as a whole. The findings of this study suggest implications for music teacher education and conducting education, specifically in the areas of devising professional development opportunities that are systematic, multilevel, and multifaceted and that mirror the integrated nature of teaching and conducting that occurs in practice.
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Zhuanga, Chun Mei, and Kok Chang Pan. "A Survey on Chinese Music Teachers’ Attitudes towards World Music Teaching." International Journal of Scientific and Management Research 05, no. 10 (2022): 60–73. http://dx.doi.org/10.37502/ijsmr.2022.51005.
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This study used a questionnaire as a research instrument to investigate the attitudes of 1 368 Chinese primary and secondary school music teachers towards world music teaching. The questionnaire includes single- and multiple-choice questions. It was used to examine the music teachers’ definitions of ethnomusicology and world music, their understanding of the major rationales for world music teaching, the world view of music, and the purpose of world music education, teaching approaches, and effective teaching activities as they perceived, and the challenges faced by Chinese music teachers in world music teaching. The results showed that Chinese music teachers did not have a clear and profound understanding of the aspects examined above. Instead, the teachers are more influenced by Western centralist values. They are less affected by ethnomusicology, which interprets human music from a cultural perspective, and multicultural music education. In general, the music teachers lacked confidence in teaching world music.
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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 (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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Button, Stuart. "Music Teachers’ Perceptions of Effective Teaching." Bulletin of the Council for Research in Music Education, no. 183 (January 1, 2010): 25–38. http://dx.doi.org/10.2307/27861470.
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Abstract The purpose of this study was to investigate the perceptions of the effective teacher, associated to the teaching and learning of music at Key Stage 3.1 The quantitative data was obtained through the administration of a questionnaire to 26 music teachers, immediately following their first term of teaching. The questionnaire consisted of 48 statements related to the effective teaching of music. Results demonstrate that there is an imperative for music teachers, when teaching general class music, to deploy a variety of teaching strategies and to bridge the gap between pedagogical expertise, subject knowledge, and how pupils learn if they are to become expert practitioners and maximize their potential as change agents.
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Brdnik Juhart, Petra, and Barbara Sicherl Kafol. "Music Teachers’ Perception of Music Teaching at the Stage of Early Adolescence." Center for Educational Policy Studies Journal 11, no. 3 (2021): 97–118. http://dx.doi.org/10.26529/cepsj.1092.
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Based on the descriptive method of qualitative educational research, the present study explores music teaching at the stage of early adolescence in terms of general-school music teachers’ viewpoints on factors defining the planning and implementation of music teaching. The study was based on qualitative analysis of data gathered in interviews with 18 teachers from nine countries (Slovenia, Argentina, Australia, USA, Turkey, Poland, Russia, Italy and Germany). The research found that music teaching based on authentic musical communication through the activities of playing, creating and listening to music was favoured by the interviewees. Among the factors affecting the presentation of music teaching at the stage of early adolescence, the quality of curricular bases and the professional competence of music teachers were emphasised. In this context, the research findings showed that music curricula in the international context do not provide a suitable curricular base for the implementation of music teaching. The problem becomes especially salient when the competences of music teachers are insufficient for the transference of the curricular platform to musical praxis through authentic ways of musical teaching. The research findings provide an insight into the complexity of the factors involved, including authentic music teaching, the music curriculum and teachers’ competences, which determine the planning and implementation of music teaching at the stage of early adolescence. In addition, the findings provide a basis for further research in a broader context and for the development of guidelines for curricular updates and the modernisation of music education in general schools.
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ÜSTÜN, Hamza. "EXAMINATION OF TURKISH MUSIC ELEMENTS IN PRIMARY SCHOOL MUSIC LESSON BOOKS." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 30 (2022): 96–106. http://dx.doi.org/10.31567/ssd.580.
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In Turkey, music lessons start from the pre-school period and continue until the twelfth grade. While music teachers conduct the lesson in secondary and high school periods, this lesson is carried out by classroom teachers in primary school. Classroom teachers apply the knowledge they have learned within the scope of the music education course they have taken in the faculties they study at in primary schools. It is of great importance for primary school teachers to be able to teach the departments related to teaching Turkish music in primary schools, which has a wide range of music education. In this research, it is aimed to examine the fields of Turkish music teaching in the 1st, 2nd, 3rd and 4th grade music textbooks prepared to be taught in primary schools within the music lesson curriculum published in 2018. In this context, four books written separately for each level in 2019 formed the study group of the research. In the research, the document analysis method, one of the qualitative research methods, was used. The data were analyzed with the document analysis method. During the data collection process, the sub-fields of Turkish music departments in the textbooks for all levels were determined as Turkish folk music, Turkish classical music, mehter music and religious music. According to the findings obtained as a result of the research, it has been determined that Turkish folk music is mostly included among the fields related to Turkish music teaching in the textbooks, and the examples given are associated with the listening-speaking learning field. It has been concluded that there are various activities promoting Turkish music instruments at all levels, important composers of Turkish music are included, and folk dances are used in teaching our traditional music. Suggestions for improvement were made regarding the Turkish music teaching sections in the books. It has been concluded that a spiral teaching strategy has been developed in terms of teaching Turkish music in the textbooks and in this case it will be beneficial for the continuity of the teaching. It is thought that the study will be beneficial for classroom teachers who are conducting music lessons in primary schools.
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박주연 and 이민정. "A study on types of music teaching practice according to knowledge, perception, and teaching practice of early childhood music activity." Korean Journal of Early Childhood Education 34, no. 1 (2014): 343–68. http://dx.doi.org/10.18023/kjece.2014.34.1.015.
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Godfrey, John. "WHO ARE WE TEACHING AND WHY ARE WE TEACHING THEM? THOUGHTS ON MUSICAL DIVERSITY IN UNIVERSITY COMPOSITION TEACHING." Tempo 76, no. 302 (2022): 52–60. http://dx.doi.org/10.1017/s0040298222000341.
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AbstractMusical composition has traditionally been taught with the assumption that students share musical backgrounds and have similar aims. In today's highly diverse musical world, however, composition students are exposed to a multiplicity of musical languages. They develop their personal creative styles from an internal conceptual ‘melting pot’ and must also develop compositional methodologies for a potentially large array of disparate usages. This article argues that the teaching of composition should recognise both the rich global diversity of musics and the plethora of uses to which compositional techniques might be applied, and that such teaching might most productively be focused on imparting a broad selection of technical concepts from many musics, coupled with an interrogation of the underlying purposes of techniques taught. All musics must be treated as equally worthy of study and students’ embodied experiences respected. Curricula need to be designed with such a catholic view in mind, encouraging students to embrace the growing profusion of genres, techniques and resources available and develop a flexible, broadly informed and resourceful outlook.
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QIN, Heping, and Bei TU. "An innovative training study on music therapy teaching methods for autism disorder (ASD)." Theory and Practice of Social Science 3, no. 1 (2021): 30–36. http://dx.doi.org/10.6914/tpss.202103_3(1).0004.
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Practice has found that music and therapeutics have become more and more closely related in recent years. Music can assist in the treatment of certain diseases and relieve stress. For example, people with autism have common symptoms such as social communication disorders, communication disorders, and interest disorders. Although patients live in their own worlds, they also have common ground where they like music is interested in music, and have a strong talent for music. Through innovative training through music therapy, they use Orff's teaching and Kodaly. The expression of music language in teaching method, combining music with treatment, can effectively improve symptoms, relieve mood, relax mood, and slowly return to healthy social life. Under the influence of the novel coronavirus epidemic, music therapy is more suitable for home treatment, establishing a social communication relationship between autism patients and families. Through consulting literature, practical activities, visits, surveys and other practical modes, this paper innovates and trains and studies the benefits of music therapy for people with autism, and puts forward reference suggestions for music therapy.
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신지혜. "A Study of Verbal Instruction and Modeling in Music Teaching." Journal of Future Music Education 1, no. 2 (2016): 39–56. http://dx.doi.org/10.36223/jnafme.2016.1.2.003.
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