Journal articles: 'Music educator'

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Mellizo, Jennifer M. "Demystifying World Music Education: From Guiding Principles to Meaningful Practice." General Music Today 32, no. 2 (October 17, 2018): 18–23. http://dx.doi.org/10.1177/1048371318805237.

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Over the past several decades, music education scholars have put forth a variety of convincing rationales for world music education. Yet the gap between theory and practice in this area persists. In theoretical ways, practicing music educators acknowledge the value of world music learning experiences, but many remain reluctant to fully embrace and embody this approach in practice. Through this article, one practicing general music educator shares her personal experience of writing, implementing, and subsequently observing another music educator use a new world music curriculum resource, inspired by the music traditions of the Fon people in southern Benin. As our understanding of world music pedagogy continues to evolve, more practicing music educators should share their unique perspectives and experiences. These “snapshots” from the field can help other (perhaps more hesitant) music educators envision what this pedagogical approach might look like in their own classrooms.

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Smith, Jacqueline C. "Hidden in Plain Sight: A Music Therapist and Music Educator in a Public School District." International Journal of Music Education 36, no. 2 (June 19, 2017): 182–96. http://dx.doi.org/10.1177/0255761417712319.

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The purpose of this intrinsic case study was to clarify the roles of a music educator and music therapist in a North American public school district. This case was unique because some of the students with special needs received both music instruction and music therapy services, yet there was little collaboration between the two disciplines. In an effort to learn more about each music discipline and to add to the knowledge base of the connections between music education and music therapy I posed four research questions: (1) What were the goals of the music teacher and music therapist for the students in their classrooms? (2) What were the perceptions of the music teacher regarding music therapy services in an educational setting? (3) What were the perceptions of the music therapist regarding student experiences in the music classroom? (4) In what ways did the music therapist and music educator collaborate, or not, to improve outcomes for students with special needs? I found the goals of the educator and therapist in music were unique yet complementary, and clarification of these goals is needed to assist educators who work with students with special needs.

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Marsh, Kathryn. "Doreen Bridges: Music educator." Musicology Australia 16, no. 1 (January 1993): 71–72. http://dx.doi.org/10.1080/08145857.1993.10415231.

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Webster, Peter. "The New Music Educator." Arts Education Policy Review 100, no. 2 (November 1, 1998): 2–6. http://dx.doi.org/10.1080/10632919809599449.

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Hess, Juliet. "Becoming an Anti-Racist Music Educator: Resisting Whiteness in Music Education." Music Educators Journal 107, no. 4 (June 2021): 14–20. http://dx.doi.org/10.1177/00274321211004695.

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In this article, I propose some ways that music educators might become anti-racist. I explore the ways that Whiteness manifests in music education and subsequently examine actions we might take to resist this Whiteness. Ultimately, I suggest anti-racism as a way forward for music education. I delineate some of the ways that Whiteness operates in music education, not to discourage educators but rather to encourage us to notice the way Whiteness pervades our field.

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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 (July 27, 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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King, Andrew. "The (music) educator as producer." Journal of Music, Technology & Education 11, no. 3 (December 1, 2018): 235–49. http://dx.doi.org/10.1386/jmte.11.3.235_1.

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Music technology has been an active part of the Higher Education (HE) curricula for several decades but it is perhaps the last few decades that have witnessed the proliferation of courses at tertiary level, or at least certainly in the United Kingdom. The recently formed Office for Students (OfS) in the United Kingdom replaces HEFCE (Higher Education Funding Council for England) although the remit is somewhat different for this new entity. The OfS is very much a regulator working on behalf of the consumers (students) and not the universities; education is probably the last of the sectors in the United Kingdom to fall into line with this practice since utility and other companies which have had such regulation for years. This brings into sharp focus the view of education as a service industry and the position of education more generally in HE in the United Kingdom. This takes place in the suggested context of a falling number of students engaging with music at schools, sixth form, and further education colleges as a consequence of changes to government policy and the content of the curricula. This article begins by examining music in education and highlighting the current issues. It draws upon recent reports about music in schools before examining the value of music, and especially music technology, in the curriculum. Questions around employability are set out and some key findings from a phenomenological study are presented to educators. Finally, some signposts are set out for future work in this area.

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May, Brittany Nixon, Karen Willie, Cherilyn Worthen, and Allyssa Pehrson. "An Analysis of State Music Education Certification and Licensure Practices in the United States." Journal of Music Teacher Education 27, no. 1 (April 4, 2017): 65–88. http://dx.doi.org/10.1177/1057083717699650.

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Teacher certification and licensure practices for music educators vary by state. Enhancing music teacher educator knowledge of state music education certification and licensure practices can inform music teacher preparation and improve future music teacher quality. The purpose of this study was to compile relevant information for music educators about the certification practices of each of the United States and the District of Columbia as of January 2016, and to examine the commonalities and differences among the states’ policies. Results revealed a movement toward comprehensive certification for all grade levels and music subject areas. Researchers noted heightened accountability through increased testing requirements and the inclusion of teacher performance assessments.

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Shiraishi, Fumiko. "Calvin Brainerd Cady: Thought and Feeling in the Study of Music." Journal of Research in Music Education 47, no. 2 (July 1999): 150–62. http://dx.doi.org/10.2307/3345720.

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Calvin Brainerd Cady (1851-1928) was an influential American music educator who developed a theory of music education that emphasized the unification of children's thoughts and feelings. Focusing on the development of artistic music-conception (the ability to hear music in the mind), Cady taught music's intellectual and emotional aspects simultaneously. Cady demonstrated the effectiveness of his theory through successful music education practices at John Dewey's laboratory school and at his own Music-Education School. Cady was a significant reformer who pioneered several new activities and principles that became standard practices. His practical theories and effective practice influenced many music educators and the course of American music education history. His unification of thought and feeling in the music curriculum is still relevant to current and future music education practices.

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Wiggins, Robert A. "Interdisciplinary Curriculum: Music Educator Concerns." Music Educators Journal 87, no. 5 (March 2001): 40. http://dx.doi.org/10.2307/3399707.

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Wing, Lizabeth Bradford, and George N. Heller. "Charles Leonhard: American Music Educator." History of Education Quarterly 36, no. 3 (1996): 377. http://dx.doi.org/10.2307/369430.

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Doerken, E. William. "Considerations for the music educator." Music Educators Journal 76, no. 2 (October 1989): 41–42. http://dx.doi.org/10.1177/002743218907600201.

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Meske, Eunice Boardman. "Teacher Education Reform and the College Music Educator." Music Educators Journal 73, no. 6 (February 1987): 22–26. http://dx.doi.org/10.2307/3400257.

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Williams, Lindsey R., and Somchai Trakarnrung. "Thai pre-service music educators and their future in music education and its role in society." International Journal of Music Education 34, no. 1 (June 26, 2015): 74–89. http://dx.doi.org/10.1177/0255761415584297.

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The purpose of this investigation was to acquire a better understanding of the decision-making process of Thai pre-service music education students and their expectations of their post-graduation professional activities. Demographic data was gathered as well as self-reported participant influences regarding choosing to major in music education. A free response question sought participants’ perception of their role as a music educator in their community. Results tended to mirror those of previous research. Emergent themes from the free response question included teacher behaviors, teacher traits, and student outcomes. These data may help to provide a better understanding of the pre-service music educators’ influences to become music educators, and their post-graduation expectations, as well as providing important information that may lead to possible revisions in current music education curricula in Thailand. Immediate and future relevance of the data and areas for further research were discussed.

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Akyurek, Riza. "Training Organizations Music Educator Orchestra/Chamber Music Education Problems and Solution Proposals." Procedia - Social and Behavioral Sciences 47 (2012): 185–89. http://dx.doi.org/10.1016/j.sbspro.2012.06.636.

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Salvador, Karen, and Jacqueline Kelly-McHale. "Music Teacher Educator Perspectives on Social Justice." Journal of Research in Music Education 65, no. 1 (February 15, 2017): 6–24. http://dx.doi.org/10.1177/0022429417690340.

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Given the shifting demographics in American education, the rising likelihood of students with special needs being taught in inclusive classrooms, and the increasing openness with which students are challenging gender and sex norms, social justice has become a prevalent research topic in music education. This survey sought to investigate the perspectives of music teacher educators with regard to social justice, music education, and music teacher education. Many of the 361 respondents indicated engagement with social justice and shared methods for addressing social justice topics in music teacher education as well as describing limitations that prevented them from doing more. However, about 50% of respondents defined social justice in “difference-blind” terms. A further 10% to 15% of respondents rejected the need to address social justice topics in music teacher education, stated it was not their job, and/or described social justice as a waste of instructional time that should be spent on content. In contrast, 10% to 15% of respondents expressed a desire for assistance understanding more about social justice in school music settings and/or suggestions how to teach about social justice topics in undergraduate music teacher education. This article concludes with a discussion of these findings and suggestions for future research.

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Kuebel, Christa R., Lisa Huisman Koops, and Vanessa L. Bond. "Cultivating Teachers of General Music Methods: The Graduate Years." Journal of Music Teacher Education 28, no. 1 (March 22, 2018): 10–23. http://dx.doi.org/10.1177/1057083718761812.

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The purpose of this autonarrative inquiry was to explore the professional identity development and mentoring relationships of three general music teacher educators during their time at one university. We present our stories of development and re-visioning as general music methods educators through our roles as educator, learner, and co-learner while having taught or team-taught general music methods at Case Western Reserve University (Cleveland, Ohio) over the past 10 years. Data included individual journals and transcripts of monthly Google text chats and conference calls. We analyzed the data through the commonplaces of temporality, sociality, and place, and engaged in re-storying. Investigating the process of becoming a general music methods instructor provided important insights concerning the impact of time, people, and places on the transition from music teacher to music teacher educator.

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Kuebel, Christa. "Health and Wellness for In-Service and Future Music Teachers: Developing a Self-Care Plan." Music Educators Journal 105, no. 4 (June 2019): 52–58. http://dx.doi.org/10.1177/0027432119846950.

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Researchers have published an increasing number of reports about undergraduate music students suffering from depression, anxiety, and stress as well as of in-service teachers’ experiences with burnout. Whether an undergraduate music student, a teacher, or a teacher educator, those in our profession need to increase awareness of the prevalence of stress and mental health concerns in music education. Along with presenting information to increase mental health literacy, this article discusses the use of self-care as a form of stress reduction among current and future music educators.

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Draves, Tami J. "Teaching Ambition Realized: Paul’s Beginning Music Teacher Identity." Journal of Music Teacher Education 29, no. 1 (April 29, 2019): 41–55. http://dx.doi.org/10.1177/1057083719844211.

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The purpose of this particularistic case study was to explore Paul’s teacher identity in his first year as a music educator. I chose Paul purposively because, while a high school senior, he had participated in previous research about teacher socialization. Using Olsen’s sociocultural view of teacher identity as a lens, I examined Paul’s teacher identity including personal beliefs about teaching, how those interacted with professional learning and teacher education experiences, and how Paul made sense of himself as a teacher. Through data analysis I revealed three themes: Becoming Student Focused, Learning to Be Myself as a Teacher, and Taking Ownership. I recommend making preservice and cooperating music teachers more aware of teacher identity models and suggest activities to promote teacher identity development in music teacher education programs. Music teacher educators would benefit from having more teacher identity scholarship focused on music student teachers and beginning music educators.

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McCaffrey, Tríona, Katrina McFerran, Gustavo Gattino, and Sumathy Sundar. "The Global Music Therapy Educators Network." British Journal of Music Therapy 34, no. 2 (November 2020): 80–81. http://dx.doi.org/10.1177/1359457520969322.

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Music therapy educators around the globe are united in their commitment to the development of the profession through the education of new professionals. Although different university programmes emphasise diverse approaches and are representative of their surrounding cultures, there is much that is shared between different programmes and educators. However, prior to the COVID-19 pandemic, there was minimal interaction between educators as a group, possibly due to time pressures and a lack of need to unite and celebrate our diversities. With the onset of the pandemic and the rapid transition to online learning, an unexpected space emerged for collective dialogue among the music therapy educator community. Brought together by the challenges imposed on professional training due to a global pandemic, a number of global educators united in discussion to seek a way forward.

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Koops, Lisa Huisman. "It Takes a Village to Raise an Early Childhood Music Teacher." General Music Today 32, no. 2 (November 16, 2018): 34–35. http://dx.doi.org/10.1177/1048371318809970.

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In this column, I consider the important supporting players for an early childhood music educator: classroom teachers, administrators, support staff, parents and caregivers, and children. I argue that it is vital for early childhood music educators to view these individuals as part of their “village” and reach out to make connections with other early childhood music educators as well.

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Lee, William R., and Sondra Wieland Howe. "Luther Whiting Mason: International Music Educator." History of Education Quarterly 39, no. 3 (1999): 352. http://dx.doi.org/10.2307/370020.

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Miller, Samuel D. "Time, Space, and the Music Educator." Bulletin of Historical Research in Music Education 13, no. 1 (January 1992): 19–32. http://dx.doi.org/10.1177/153660069201300103.

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Hesterman, Phillip K. "Growing as a Professional Music Educator." General Music Today 25, no. 3 (January 19, 2012): 36–41. http://dx.doi.org/10.1177/1048371311435274.

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Anderson, Steven Armon, and Gregory Lamar Denson. "Preparing the Successful Urban Music Educator." Music Educators Journal 101, no. 4 (June 2015): 35–40. http://dx.doi.org/10.1177/0027432115573965.

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Eakins, Rex. "Heitor Villa-Lobos: A Music Educator." International Journal of Music Education os-10, no. 1 (November 1987): 32–35. http://dx.doi.org/10.1177/025576148701000107.

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Bourne, Warren. "Book Review: Doreen Bridges: Music Educator." International Journal of Music Education os-22, no. 1 (November 1993): 85. http://dx.doi.org/10.1177/025576149302200124.

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Lorway, Verne Hélène. "A toe-tapping good time: Informal musicking through critical pedagogy in inclusive settings." Journal of Popular Music Education 3, no. 3 (December 1, 2019): 497–511. http://dx.doi.org/10.1386/jpme_00009_1.

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This article draws upon the experiences of the author as a music educator creating inclusive music programmes over the past 24 years. She describes how informal learning gleaned from the approaches of popular musicians, combined with musicking as a means of building powerful relationships and critical pedagogy to infuse student voices into the teaching and learning process is a potent recipe for building an inclusive music class. Such a method needs to be guided by music educators throughout the learning process. Examining inclusive music education leads to further questions regarding what constitutes musicality and non-musicality in western society. When persons of all ages are involved in musicking in school and community contexts, music educators need to be involved in the challenges surrounding notions of musicality and non-musicality to steer processes that can create spaces for learning and growth.

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Kirliauskienė, Rasa, and Jolanta Abramauskienė. "Intuition in music education." Global Journal of Arts Education 10, no. 2 (August 31, 2020): 157–66. http://dx.doi.org/10.18844/gjae.v10i2.4734.

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This article analysed the role of intuition in music education. Since success needs insight and quick perception, otherwise called intuition, this article aimed to reveal how it is possible to achieve music teacher’s activity. Also, the content of the role of a contemporary music teacher was identified and five aspects were distinguished: significance as an educator and as an authority, the importance of teacher’s personality, creativity and value-based aspects. The research content of the role of a contemporary music teacher justifies the possibilities for intuition in music education and extends its boundaries. The content of the role of a contemporary music teacher revealed during the research substantiates possibilities of intuition in music education and expands its boundaries. The analysis of the research results is meaningful for the improvement of music education. Keywords: Music education, the role of a contemporary music teacher, intuition.

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Royston, Natalie Steele, and D. Gregory Springer. "Beliefs of Applied Studio Faculty on Desirable Traits of Prospective Music Education Majors." Journal of Research in Music Education 65, no. 2 (June 13, 2017): 219–36. http://dx.doi.org/10.1177/0022429417714470.

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The purpose of this study was to examine the beliefs of applied music faculty on desirable traits of prospective music education majors. Respondents ( N = 326), who were sampled from 73 National Association of Schools of Music–accredited institutions in the United States, completed a survey instrument developed to determine the characteristics of the admissions process at their institutions, their perceptions of various professional dispositions for entering music education majors, and their perceptions of various selection criteria for entering music education majors. Results indicated that music education faculty hold little or no responsibility for admissions decisions and that admissions decisions are primarily made by applied music faculty at many institutions. They also reported that “demonstrates a passion for music” and “is responsible and dependable” are the most desirable professional dispositions for entering freshmen music education majors and that “desire to be a music educator” and “teachability” are the most important selection criteria used when admitting freshmen music education majors. Free-response data suggest that applied faculty members consider various facets during the admissions process, including a prospective music education major’s personal characteristics, musical characteristics, academic characteristics, and prior teaching/leadership experience. Implications for music educators are discussed, and suggestions for future research are proposed.

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Southcott, Jane. "Egalitarian Music Education in the Nineteenth Century: Joseph Mainzer and Singing for the Million." Journal of Historical Research in Music Education 42, no. 1 (May 10, 2019): 29–45. http://dx.doi.org/10.1177/1536600619848104.

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In the 1840s, massed singing classes led by charismatic pioneer music educators such as Joseph Mainzer (1801–1851) sprang up across the United Kingdom. Mainzer was a much respected composer, music journalist, and music educator. Born in Trèves (Prussia), he traveled across Europe and settled in Paris, where he was part of the revolutionary Association Polytechnique that offered free education to the working classes. His mass singing classes were a remarkable success but aroused the suspicions of authorities. Mainzer left Paris for political reasons and moved to England, and after teaching across the United Kingdom, settled in Edinburgh. His arrival in Scotland was greeted with a degree of adulation reserved for celebrities. Across Scotland classes were established to disseminate his new system that was taught in larger centers and most small towns. Although Mainzer’s fixed-doh system did not long survive him and the subsequent arrival of the tonic sol-fa method in the 1850s, his work (and that of others) created an environment in which popular singing classes in schools, churches and the community could flourish. Mainzer was a skilled and charismatic educator. He advocated tirelessly for lifelong music education for all. Mainzer has been overlooked and deserves recognition.

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Aguirre, Ryan. "Finding the Trans Voice: A Review of the Literature on Accommodating Transgender Singers." Update: Applications of Research in Music Education 37, no. 1 (April 24, 2018): 36–41. http://dx.doi.org/10.1177/8755123318772561.

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Conversations surrounding transgender students are beginning to appear in the nation’s schools. In recent years, experts in the fields of music education and vocal pedagogy have shared their experiences and research on transgender issues in the choral classroom and private lessons. Studies focused on transgender issues in choral music education have yielded inconsistent results. While some have shown music educators to be supportive and accommodating, others have shown a gap in educator knowledge of transgender issues. Vocal pedagogues have had the unique opportunity to work closely with transgender singers one-on-one. Their work is highly transferable to a choral classroom setting. This review of literature synthesizes the work of choral conductors and private voice instructors with the narratives of transgender singers to provide implications for educators and a direction for future research.

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

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

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Dye, Christopher K. "Descriptive Profile and Survey of Alternatively Certified Texas Music Educators." Journal of Music Teacher Education 27, no. 3 (September 14, 2017): 24–37. http://dx.doi.org/10.1177/1057083717731769.

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The purpose of the study was to examine the features of Texas’s Alternative Route to Certification (ARC) programs in music education, the demographics and prior experiences of program completers, and the employment of ARC completers in K–12 public schools. Data were collected from the State Board of Educator Certification about demographics and employment information for all individuals who completed ARC programs in music education between 2002 and 2012 ( N = 1,200), and individuals from that population were surveyed concerning their experiences ( n = 214). Survey respondents completed programs that varied widely in duration, features, instructional modalities, and providing institutions. Music educator gender and ethnicity were significantly associated with the route used to pursue alternative certification. Relative to the distribution of music teaching positions across the state, ARC completers were disproportionately employed in large urban districts, charter school districts, and in districts with large proportions of economically disadvantaged students.

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Southcott, Jane. "A Music Education Pioneer – Dr Satis Naronna Barton Coleman." British Journal of Music Education 7, no. 2 (July 1990): 123–32. http://dx.doi.org/10.1017/s0265051700007622.

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The work of American music educator Satis Coleman is little known. In the first half of this century she devised a music education programme that led children through music instrument making and playing, singing, moving and creating to develop a ‘seeking attitude’ to music and to life. Many of her ideas are pertinent today and her work seems, in many respects, far ahead of its time.

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Simonović Schiff, Jelena Dj, and Jere T. Humphreys. "Claude V. Palisca as Music Educator: The Yale Seminar on Music Education and the Norton Anthology of Western Music." Journal of Historical Research in Music Education 41, no. 2 (March 11, 2019): 179–200. http://dx.doi.org/10.1177/1536600619836094.

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Claude V. Palisca (1921–2001) was a prominent American musicologist and music educator. He authored books and articles about Renaissance and Baroque music theory and developments in musicology, but is most widely known as the founder and first editor of the Norton Anthology of Western Music ( NAWM) and coauthor of A History of Western Music, the two music history textbooks that are still in use in classrooms worldwide. In this article, we trace Palisca’s first idea of the NAWM’s structure, content, and purpose through his writings and activities between the 1950s and late 1970s. The central part among Palisca’s activities in music education belongs to his organization of the Yale Seminar on Music Education, his seminar report, and the listening curriculum designed to instill more balance between performance and academic study in largely performance-oriented public school music programs. In his listening curriculum, Palisca argued for emphasis on understanding music through listening within the historical and theoretical context of the music work, an approach he would later pursue in the NAWM. Palisca hinted that a similar teaching “package” is needed for the undergraduate level, thus identifying the listening curriculum from his Yale Seminar report as the first glimmer of the future NAWM.

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BOURA, VASSILEIA. "The Learning Effect of Electroacoustic Music in Secondary Education An Interdisciplinary Practice in Greek Schools." Volume 5 - 2020, Issue 9 - September 5, no. 9 (September 25, 2020): 562–74. http://dx.doi.org/10.38124/ijisrt20sep464.

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In the rise of the 21st century, the music educator in modern schools is challenged to educate and train students in both conventional and contemporary music theory and practice. The contemporary approach to music learning and composition requests knowledge and practical skills from interdisciplinary fields. Electronics, physics, mathematics, computer science and music are merged to produce different contemporary styles of music. Students, in secondary education, are challenged to develop listening, performing and computer music skills, to expand their musical aesthetics and culture, together with their musical memory. Music educators are expected to teach a wide range of musical styles and techniques. Science and technology are parts of the musical practice in schools. Music has become an interdisciplinary subject, capable, more today than ever, to educate and shape personalities in school and for preparing students to be strong and healthy for entering society. Scientific and empirical research continues to be conducted to provide helpful guidelines for teachers' intentional use of music, in every class. This paper provides music educators with successful and valuable methods for incorporating electroacoustic music into the teaching and learning school environment applicable to secondary school settings

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Colwell, Cynthia M. "Learning Disabilities in the Music Classroom: Implications for the Music Educator." Update: Applications of Research in Music Education 21, no. 2 (November 2002): 9–16. http://dx.doi.org/10.1177/87551233020210020401.

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Kastner, Julie Derges, Jill Reese, Kristen Pellegrino, and Heather A. Russell. "The roller coaster ride: Our music teacher educator identity development." Research Studies in Music Education 41, no. 2 (September 19, 2018): 154–70. http://dx.doi.org/10.1177/1321103x18773114.

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In transitioning from the K–12 classroom to higher education, teacher educators often experience tensions and challenges, which may be due to a misalignment between their situational and substantial selves. While many researchers have explored identity transitions of teacher educators, more research is needed to understand this experience with music teacher educators. Using self-study, we explored our identities as four music teacher educators, plus one additional participant, in transitioning from being music teachers to early-career music teacher educators. Data included interviews and personal journals, and we developed restoried narratives, non-linear representations, and cartoons during data analysis. These revealed three themes: misalignment, adaptation and acceptance, and roller coaster of growth. Misalignment describes the disconnect we experienced between our substantial and situational selves as a result of three factors: balance, autonomy, and identity. Adaptation and acceptance describes the strategies we developed to respond to the factors leading to our misalignment and accept our developing identities as music teacher educators. Roller coaster of growth describes the indirect nature of the process we experienced as we shifted between misalignment and acceptance. Based on these findings, we suggest further research in the identities of teacher educators throughout their careers and recommend strategies for professional development and support.

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Cowden, Robert L. "The Master Music Educator for Century XXI." Arts Education Policy Review 94, no. 2 (December 1992): 26–28. http://dx.doi.org/10.1080/10632913.1992.9936905.

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Rozmajzl, Michon, and Patricia Bourne. "On Classroom Management for the Music Educator." Journal of Music Teacher Education 5, no. 2 (June 1996): 21–29. http://dx.doi.org/10.1177/105708379600500205.

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Hirokawa, Eri. "Robert Pace Music Theorist, Composer, and Educator." Bulletin of Historical Research in Music Education 18, no. 3 (May 1997): 155–72. http://dx.doi.org/10.1177/153660069701800301.

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Baker, Vicki D. "Profile of an Effective Urban Music Educator." Update: Applications of Research in Music Education 31, no. 1 (September 20, 2012): 44–54. http://dx.doi.org/10.1177/8755123312458293.

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Laprise, Richard. "Empowering the Music Educator through Action Research." Music Educators Journal 104, no. 1 (September 2017): 28–33. http://dx.doi.org/10.1177/0027432117708012.

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Action research is an empowering experience for educators, yet many believe that they do not have the time, resources, or knowledge to make it a worthwhile experience. What do you need to know to feel confident in making action research a method of bettering your teaching and your students’ learning? This article reveals how to make this process approachable while piquing your curiosity about how it can be used to better your own classroom. Developing meaningful research specific to our own teaching moves beyond reflective practice and gives us evidence to support and inform our actions.

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Mukherjee, Anoosua. "Reconsidering the Composer-Educator in Postwar America." Journal of Historical Research in Music Education 40, no. 2 (December 8, 2017): 170–92. http://dx.doi.org/10.1177/1536600617743012.

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By the middle of the twentieth century, American universities had evolved into powerful institutions with aggressive cultural agendas. Renewed interest in the arts provided a platform for composers employed by these universities to grow into powerful civic leaders. This article investigates the contributions of four modernist composers—Walter Piston, Roger Sessions, William Schuman, and David Diamond,—who held academic and administrative posts at Harvard University, Princeton University, the University of California at Berkeley, and the Juilliard School of Music. During this period, these four composers used their academic positions to shape American classical music culture—not through their compositions—but by overhauling music departments, authoring textbooks, and extending the reach of universities and conservatories far beyond the campus walls. This project relies on primary and secondary sources, weaving together academic records, administrative reports, and composer correspondence into a narrative of educational reform, cultural patronage, and even urban renewal. This article endeavors to widen the historiographic focus on postwar composers like the Four to reconsider their relevance as music educators, cultural authorities, and practitioners of modernism outside of the concert hall.

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Lamb, Roberta. "The Possibilities of/for Feminist Music Criticism in Music Education." British Journal of Music Education 10, no. 3 (November 1993): 169–80. http://dx.doi.org/10.1017/s0265051700001728.

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The essay sets the context and identifies some possibilities this music educator/feminist theorist currently finds in music, whilst applying the framework of sociologist Dorothy Smith's standpoint feminism to music as constituted within the ideology of particular institutions and practices. Contributions of feminist musicology, in terms of documentation of women's experience in and with music, women's status, and perspectives of feminist music criticism, are summarized. Considering these contributions and framework as a basis to this contextualized critical stance leads to further questions. For example, just as feminist musicology provides music education with the possibilities of new content, is it not likely that feminist criticism in music education could assist musicology in coming to terms with making musical sense, collectively, through cultural institutions? In beginning to work with such a question of criticism, it is suggested that institutional issues of power, as played out through who teaches and sexual harassment of student, are evident and require attention.

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Gage, Nathan, Bronwen Low, and Francisco Luis Reyes. "Listen to the tastemakers: Building an urban arts high school music curriculum." Research Studies in Music Education 42, no. 1 (June 29, 2019): 19–36. http://dx.doi.org/10.1177/1321103x19837758.

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In partnership with academics from McGill University and community arts partners, a high school in Montreal faced with significant challenges became an “urban arts school,” offering music and visual art programs centered in youth culture, as well as integrating arts into several academic subjects. The initiative was inspired by the school’s popular extra-curricular activities, which included a Hip Hop literacy club that ran beat making and rap writing workshops. Considering the popularity of these activities, the school decided to offer a music education program focused on musical skills through real-life music making activities that resemble those employed by popular musicians. This article chronicles the development of this music education program from the perspective of the music teacher, including the experience of continual adaptation to the needs and interests of students. The program is one of the first to combine Musical Futures, an approach to music education that promotes the combination of non-formal music teaching, informal music learning, and students’ interest in a formal school setting, with Hip Hop Based Music Education, predominantly located in community settings. This case study showed that students benefited from having an open-minded and committed educator with experience in popular musics. The co-teaching by professional Hip Hop artists also supported student progress and engagement by adding authenticity to the music making process. Furthermore, the alignment of the music program with the general school ethos contributed to its success. The paper also highlights the need to balance the development of musical skills with student engagement, and the informal music learning philosophy of Musical Futures with direct instruction associated with formal school settings.

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Watts, Sarah H., and Patricia Shehan Campbell. "American Folk Songs for Children." Journal of Research in Music Education 56, no. 3 (October 2008): 238–54. http://dx.doi.org/10.1177/0022429408327176.

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American composer Ruth Crawford Seeger grew into the role of music educator as a consummate musician with a deep interest in connecting children to their American musical heritage. This article examines the contributions of Ruth Crawford Seeger to American music education, principally through examination of primary and secondary sources and review of her published works. While historical in some of its methodological procedures, it is even more so a biographical study of a composer who was consumed with a passion to preserve and transmit American heritage music to children. Her life in music as pianist, music intellectual, and composer notwithstanding, this research draws attention to her work in the selection, transcription, and placement of songs from the vast collections of the Lomax family into published works for use with children in schools. The authors examine the legacy of Ruth Crawford Seeger as an educator, with particular emphasis on the manner in which music of the people was masterfully transcribed from recordings and prepared for children and their teachers in schools and preschools.

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Hedden, Debra Gordon, George N. Heller, Jere T. Humphreys, and Valerie A. Slattery. "Alice Carey Inskeep (1875-1942): A Pioneering Iowa Music Educator and MENC Founding Member." Journal of Research in Music Education 55, no. 2 (July 2007): 129–47. http://dx.doi.org/10.1177/002242940705500204.

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The purpose of this study was to examine the professional contributions of Alice Carey Inskeep (1875-1942), who contributed significantly to music education through her positive and effective teaching, supervising, community service, and leadership in music education. Inskeep was born in Ottumwa, Iowa, and taught for five years in that city's school system after graduating from high school. She served as music supervisor in Cedar Rapids, Iowa, for most of the remainder of her career, where she provided progressive leadership to the schools and community. She was one of three people appointed to plan the initial meeting in Keokuk, Iowa, for what eventually became MENC: The National Association for Music Education, and she was one of sixty-nine founding members of the organization in 1907. The Keokuk meeting served as an impetus for Inskeep to travel to Chicago, where she studied with several notable music educators. Later, she sat on the organization's nominating committee, the first Educational Council (precursor to the Music Education Research Council) board of directors, and provided leadership to two of the organization's affiliates, the North Central Division and the Iowa Music Educators Association. She served as a part-time or summer faculty member at Iowa State Normal School and Coe College in Cedar Falls and Cedar Rapids, Iowa, respectively, and the American Institute of Normal Methods in Evanston, Illinois, and Auburndale, Massachusetts.

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Pethel, Robert. "The state of guitar education in the United States." Journal of Popular Music Education 3, no. 2 (July 1, 2019): 245–60. http://dx.doi.org/10.1386/jpme.3.2.245_1.

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Guitar education has emerged as a discipline in K-12 institutions alongside ‘traditional’ music education such as band, orchestra and chorus in recent decades. Despite the substantial body of literature containing practical advice on teaching guitar, research-supported scholarship is lacking. The purpose of this study was to provide an evidentiary-based understanding of the professional profiles of guitar educators. A large sample (n = 1269) of guitar educators participated in the Guitar Educator Questionnaire (GEQ). Findings from the GEQ suggest a low per cent (7.9%) of music educators who teach guitar class consider themselves to be ‘guitar specialists’. A substantial number of respondents (68.5%) indicated that they rarely or never participated in guitar-related professional development, and 76.1% of respondents reported that their pre-service training provided little or no preparation for a career in guitar education.

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Journal articles on the topic 'Music educator'

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