Relevant bibliographies by topics / Music teachers Music Education, Higher

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Music teachers Music Education, Higher'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Music teachers Music Education, Higher"

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Rauduvaite, Asta. "Music Teacher Education in China." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 8 (January 6, 2018): 74–83. http://dx.doi.org/10.18844/prosoc.v4i8.2978.

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The content of music teacher education study programmes is conditioned by the needs of the market economy and information society, higher education as a mass phenomenon, penetration of humanist ideas into the curricula and many other factors. The aim of these study programmes is to respond to the needs of society, develop the competencies of teacher education and establish the right conditions for successful implementation and to achieve the intended learning outcomes. The training of music teachers in China requires overall improvement in the level of music teacher training. The Ministry of National Education provides the curriculum for music teacher education as well as the guidelines for teaching compulsory courses for music teachers at general institutions and prestigious universities in China. This profession is important in professional courses and in the field of pedagogy; therefore, integrating the content of elective courses into professional courses could be more prolific and comprehensive. Keywords: Music teacher education, study programme, music education.
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Bonneville-Roussy, Arielle, Emese Hruska, and Hayley Trower. "Teaching Music to Support Students: How Autonomy-Supportive Music Teachers Increase Students’ Well-Being." Journal of Research in Music Education 68, no. 1 (January 31, 2020): 97–119. http://dx.doi.org/10.1177/0022429419897611.

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According to self-determination theory (SDT), the learning experiences of music students can be explained partly by the autonomy-supportive style adopted by their music teachers. To provide the first in-depth understanding of how music performance teachers support the autonomy of their students and how this support is related to students’ well-being, we adopted SDT and the PERMA model of well-being. We provide answers to three fundamental questions about teacher-student relationships in music: (1) Do music performance teachers support the autonomy of their students in higher music education? (2) How do students perceive this support? and (3) How does autonomy support affect music students’ well-being? Music performance teachers ( n = 35) and students ( n = 190) were recruited from higher music education institutions in the United Kingdom. Analyses included mean comparisons of teachers’ and students’ answers to survey questions, correlational analyses of teacher-student dyads’ responses on measures, and qualitative analyses of open-ended questions. Results showed that teachers and students mostly agreed that teachers provide autonomy support to their students. Teachers’ transmission of passion for music and autonomy-supportive behaviors were related to students’ well-being, whereas controlling behaviors hindered well-being. Qualitative results showed that although students put well-being at the core of their concerns, music teachers seemed unaware or ill-prepared to face those concerns.
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Koizumi, Kyoko. "Creative Music Education in Japan during the 1920's: The Case of the Elementary School Attached to Nara Women's Higher Teachers College." British Journal of Music Education 11, no. 2 (July 1994): 157–62. http://dx.doi.org/10.1017/s0265051700001030.

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‘Creative music-making’, as developed in recent years in Great Britain and other countries, has also become popular in Japanese music education; for many music teachers have come to think seriously about the significance of child-centred music education instead of teacher-centred music education. Such a trend seems to be new. However, as in the United States and Great Britain, child-centred music education has been implemented previously – during the 1920's, in Japan's case. This development began in the Elementary School Attached to Nara Women's Higher Teachers College. The author describes the ideas and practices of creative music education in this school, and its historical background, comparing them with creative music-making today.
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Lasauskiene, Jolanta, and Yuqing Yang. "Educating music teachers in the new millennium: Current models and new developments." Contemporary Educational Researches Journal 8, no. 3 (August 24, 2018): 101–14. http://dx.doi.org/10.18844/cerj.v8i3.3009.

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The main aim of every teacher education programme is to educate competent teachers and to develop necessary professional qualities to ensure lifelong teaching careers for teachers. In various countries different traditions of educating teachers of music have been established following the traditions and needs of each country. The aim of this study is to present and generalise an overview of the most common models of music teacher education in Lithuania (with a focus on Lithuanian University of Educational Sciences) and other countries, so as to highlight the main features that might initiate discussion of critical issues in the context of music teacher education nationally and internationally. The article focuses on pedagogical study programmes of Music Education as well as on similarities and differences in their curricular. The research on models for teacher education in the best foreign higher education institutions creates conditions for adoption of the most successful international teacher education practices. Keywords: Initial music teacher education, teacher education curriculum, teacher education models, study programmes;
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Lokareva, Yuliya. "METHODICAL ASPECTS OF MUSIC AND THEORETICAL TRAINING IN HIGHER ART EDUCATIONAL INSTITUTIONS." Academic Notes Series Pedagogical Science 1, no. 192 (March 2021): 102–6. http://dx.doi.org/10.36550/2415-7988-2021-1-192-102-106.

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The article actualizes the problem of music-theoretical training in higher educational institutions, reveals the pedagogical potential of music-theoretical disciplines, explores the methodological aspects of optimizing the process of music-theoretical training on the basis of an integrated approach. research analysis revealed the pedagogical potential of music-theoretical training for the professional development of future music teachers, multifaceted opportunities of music-theoretical disciplines, demonstrated the versatility of music-theoretical training (cognitive-informational, practical, creative, projective functions), proved the need for its focus on music -creative activity, which consists of various types (instrumental-performing, conductor-choral, improvisational-creative, research, lecture-educational, compositional and others) and affects the comprehensive disclosure and practical implementation of the creative potential of students of higher art educational institutions. The current stage of development of national education is characterized by the actualization of the role of art disciplines during the professional development of the personality of the future teacher of music art. Music-theoretical training is the basis of the process of formation of professional competencies of future music teachers. The problem of raising the level of professionalism of future music teachers largely depends on music-theoretical training aimed at various types of music-creative activities that are important for the training of students of higher art schools. Thus, the analysis of research revealed the pedagogical potential of music-theoretical training for the professional development of future music teachers, multifaceted possibilities of music-theoretical disciplines, demonstrated the versatility of music-theoretical training (cognitive-informational, practical, creative, projective functions), proved the need for its direction on musical and creative activity, which consists of different types (instrumental-performing, conducting-choral, improvisational-creative, research, lecture-educational, compositional and others) and influences the comprehensive disclosure and practical implementation of the creative potential of students of higher art education institutions.
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Holmgren, Carl. "The conditions for learning musical interpretation in one-to-one piano tuition in higher music education." Nordic Research in Music Education 1, no. 1 (November 17, 2020): 103–31. http://dx.doi.org/10.23865/nrme.v1.2635.

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Research has indicated that one-to-one teaching in higher music education in Western classical music typically favours technical over interpretive aspects of musicianship, and imitation of the teacher’s rather than the student’s explorative interpretation. The aim of the present study is to investigate students’ and teachers’ understandings of how musical interpretation of Western classical music is learned in this context. Semi-structured qualitative interviews with six piano students and four teachers in Sweden were conducted and hermeneutically analysed using haiku poems and poetical condensations. The analysis found that the conditions for learning musical interpretation centred upon students achieving a high level of autonomy, as affected by three key aspects of teaching and learning: (1) the student’s and the teacher’s understandings of what musical interpretation is, (2) the student’s experience of freedom of interpretation as acknowledged by the teacher, and (3) (expectations of) the student’s explorative approach. As none of these aspects were reported as being explicitly addressed during lessons, there might be a need for both teachers and students to verbalise them more clearly to support piano students’ development.
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Juntunen, Marja-Leena. "Teacher educators’ visions of pedagogical training within instrumental higher music education. A case in Finland." British Journal of Music Education 31, no. 2 (April 15, 2014): 157–77. http://dx.doi.org/10.1017/s0265051714000102.

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The purpose of this study was to examine the visions of teacher educators of instrumental pedagogy (n = 12) in higher music education regarding ‘good’ teaching and instrumental student teacher preparation. The theoretical basis for the study was research on teachers’ visions (Hammerness, 2006): teachers’ own conceptions of ideal teaching practices. The data were gathered through semi-structured interviews and analysed by qualitative content analysis. The interviewed teachers’ visions of good teaching of instrumental pedagogy were closely related to their visions of good teaching of instrumental or vocal music, which they attempted to communicate to their student teachers. The process of teacher development was primarily understood as acquiring a package of skills and knowledge that are partly instrument specific, partly generic, and strongly influenced by the labour market. Teaching practice was considered essential, and was perceived as building connections between theory and practical application. The findings support prior research within Nordic teacher education (Hammerness, 2012), in that faculty members’ visions related to teaching are individual and only partly negotiated with their colleagues.
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Snell, Alden H., Jill Wilson, and Carolyn S. Cruse. "Cooperating Teachers’ Perceptions of Hosting and Mentoring Music Student Teachers." Journal of Music Teacher Education 28, no. 2 (July 30, 2018): 84–97. http://dx.doi.org/10.1177/1057083718786269.

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Researchers have demonstrated the importance of professional development experiences for in-service music educators that are content-specific and that cultivate meaningful partnerships with higher education faculty and preservice music teachers. The purpose of this mixed-methods study was to explore cooperating teachers’ perceptions related to hosting and mentoring student teachers. We interviewed 13 cooperating teachers to document their views. Based on interview results, we created and distributed an online questionnaire, with 102 cooperating teachers from five U.S. regions responding. Cooperating teachers’ motives for hosting student teachers were largely altruistic, and they identified various student teacher skills and university supervisor supports as being important. We suggest that the immersive experience of serving as a cooperating teacher may be a form of professional development.
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Nikolaii, Halyna, and Alina Sbruieva. "Evolution of Music teachers’ training in Poland in the process of development of pedagogical education." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 4 (129) (December 26, 2019): 90–101. http://dx.doi.org/10.24195/2617-6688-2019-4-12.

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Integration of Ukraine into the European educational space necessitates solution of a number of complex problems, including modification of music-pedagogical education, taking into account historical experience of training music teachers in other countries. Taking into account the fact that educational traditions of Ukraine and Poland are very similar, a constructive study of the evolution of music teacher training in the system of pedagogical education of the Second Commonwealth of Poland seem to be timely. The article is aimed at revealing peculiarities of the evolution of music teachers’ training in Poland in the process of development of pedagogical education. In order to achieve this goal, a number of research methods have been used, in particular: analytical (comparative-terminological, historical-pedagogical (historical-genetic, retrospective), comparative-diachronic), structural-typological and empirical (conversations, discussions and e-mailing). The characteristics of the evolution of music teacher training in Poland as a historical reality is carried out in the form of historical-genetic analysis of a set of facts substantiating the theoretical ideas on such development, logical reconstruction of historical-scientific processes, identification of national specificity and All-European development tendencies, which allows us to predict the ways of modernization of music-pedagogical education in Ukraine. It has been proved that, throughout its historical development, despite constant socio-political influences of other states (Austrian, Prussian and Russian empires, later – USSR), Poland has tried to preserve national traditions of teachers’ training, which was primarily reflected in the developed structure, the variety of types of centres of pedagogical education, the search for its optimal models. It has been found out that under modern conditions, bifurcation processes in the systems of higher pedagogical and secondary school education lead to the weakening of the bonds between them. The impact of secondary school reforms on modification of pedagogical education, which is being brutally macadamized, is being greatly decreasing. At the beginning of the XXI century, an external (supranational) attractor – the Bologna Process – started influencing dramatically the development of the higher education system in Poland, in particular pedagogical which aims at ensuring the conformity of the structure and quality of Polish education with the European standards and European dimension of higher education. The results of the study include, in particular, identification of terminological differences in the works of certain Polish and Ukrainian scholars regarding the training of Music teachers; concretization of the heuristic potential of the laws of dialectics and synergetic approach concerning contradictory development of music training of teaches and pedagogical training of Music teachers in the context of historically conditioned changes within the structure of pedagogical education and cultural-musical needs of society. Keywords: Music teacher training, historical-pedagogical discourse, development of pedagogical education, musical training, school reforms, European dimension of higher education, Poland, Ukraine, national traditions.
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Campbell, Mark Robin, and Linda K. Thompson. "Perceived Concerns of Preservice Music Education Teachers: A Cross-Sectional Study." Journal of Research in Music Education 55, no. 2 (July 2007): 162–76. http://dx.doi.org/10.1177/002242940705500206.

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The purpose of this study was to explore perceived concern.s of preservice music education teachers across four different points in professional development. A 45-item Teacher Concerns Checklist (Borich, 2000), based upon Fuller and Bown's (1975) three-stage model of teacher development, identified respondents' levels of self-concerns, task concerns, and impact concerns. Participants included 1,121 preservice music educators from 16 institutions of higher education in the United States. Data analysis indicated Field Experience/Practicum students held higher levels of concern than did students in Introduction to Music Education, Methods, and Student Teaching. Fernales consistently held higher concerns than did males. Students indicating a preference to teach elementary level or university level held higher concerns than those intending to teach high school. At all professional development points, impact concerns ranked highest, followed by self concerns, with task concerns ranked lowest. Implications for music teacher educators and suggestions for further research are discussed.
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Dissertations / Theses on the topic "Music teachers Music Education, Higher"

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Jones, James B. "Music performance faculty in higher education : their work and satisfaction /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487322984315649.

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McCowen, Heather V. "Mentoring in Higher Education Music Study: Are Good Teachers Mentors?" Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30491/.

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This quantitative study examined the correlation between how college level music students rated their teachers on the Fowler/O'Gorman Mentor Functions Questionnaire and how they perceived two aspects of their private music lessons: 1) to what extent they perceived their relationship with their teachers as positive, and 2) to what extent they perceived their teachers as good. The respondents for this study were 295 undergraduate and graduate music majors studying at 5 private universities or music schools. Positive correlations were found between the scores on the Mentor Functions Questionnaire (MFQ) and good teachers and positive lesson experiences. No correlation was found between the existence of gender congruity or the lack of gender congruity and the mean score on the MFQ. Respondents reported differences among their teachers' behaviors (p < .05): Role Modeling and Coaching behavior were perceived at significantly higher levels than the other six mentoring behaviors, whereas Friendship and Advocacy behavior was found at significantly lower levels. The behaviors of Personal and Emotional Guidance, Career Development Facilitation, Strategies and Systems Advice, and Learning Facilitation were found at levels closer to the mean. When role modeling and coaching behavior are present, students perceive teachers as good and lessons as positive. It is not necessary to be friends with a student in order to provide a positive lesson experience. Fowler and O'Gorman's mentoring behaviors have implications for improving the mentoring of collegiate music students.
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Wasson, Carla Sue. "An analysis of college applied woodwind positions in the academic labor market from 1983-1990 /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11226171.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.
Includes tables. Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Robert Pace. Includes bibliographical references (leaves 120-126).
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Makonnen, Karyn. "The Interdisciplinary Approach: A Music Education Methods Course Component For Preservice Education and Music Education Majors." Bowling Green State University / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1421884052.

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Drummond, Urvi. "Music education in South African Schools after apartheid : teacher perceptions of Western and African music." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6298/.

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The South African classroom music curriculum has changed in the twenty years since the transition from apartheid to democracy in 1994. The broad imperative for the main music education policy shifts is a political agenda of social transformation and reconciliation. Policy aims are to include many more learners in the music classroom by promoting the study of diverse musics that were previously marginalised and by providing a framework for music education that allows learners to progress at their own pace. This research study investigated to what extent music teachers are able and likely to fulfil the requirements of the new, post-apartheid curriculum, with particular reference to the National Curriculum Statement music policies (NCS). Specifically, it considered whether teachers have a particular allegiance to Western and/or African music. Twelve South African music teachers were interviewed for this purpose. The latest music curriculum revision in the form of the Curriculum and Assessment Policy Statement (CAPS, 2011) has modified knowledge content by streaming music into three distinct but parallel genres. In addition to Western music, the curriculum incorporates Indigenous African music and Jazz as representative of the diverse cultural interests of South Africans. An analysis of post-apartheid music policy documents draws on post-colonial thought to frame the affirmation of African music by giving it a prominent place in the curriculum. In order to appreciate the role different musics are expected to play in the curriculum, the work of prominent ethnomusicologists provides a means to conceptualise the range of emerging musics, including World Music, Global Music and Cosmopolitan Music, and their differences. For teachers to comply with the policy directive to teach different musics to diverse learners, they are required to expand their knowledge and adapt their teaching styles to achieve these aims. This study highlights a lack of resources and of structured teaching support through continuing professional development as well as a need for policy to give clearer direction in the way it instructs teachers to execute the changes demanded of them in the curriculum. An investigation of teachers’ own musical education and their views of the new curriculum reveals that they are willing to teach a variety of musics. Their perceptions of the differences between Western and African music illustrate a reflective understanding of the challenges they face in this undertaking.
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Rademan, Carika. "Evaluating the efficacy of training programmes for secondary school music teachers at higher education institutions in the province of the Eastern Cape." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1019925.

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Frequent changes in the school music curriculums in South Africa necessitated changes in teaching music in schools. Music teachers in secondary schools who are responsible for teaching music as a subject have been confronted with the challenges presented in such a changing educational climate and often found that their pre-service teacher training did not sufficiently prepare them for changing syllabi. The quality of teaching in schools is directly linked to the quality of teacher training at universities and when institutional policies prohibits pre-service teachers from qualifying themselves sufficiently for their in-service careers, frustration and disillusionment sets in. This study explores the perceptions of music teachers of the effectiveness of their pre-service training. It also explores the content of university music degree courses and whether it is in line with school music curricula. The study addressed the research questions through the use of questionnaires and interviews. The finding suggested that there is a need for teacher training courses to be adapted and contextualised so that there is continuum between university and school curriculums. This research also exposed the policies barring music graduates from fully qualifying themselves as teachers and raised important issues that music teacher educators need to address in order to ensure that music graduates are adequately prepared for classroom music teaching.
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Ponce, Frank Kalani. "Job Satisfaction Among High School Choral Music Teachers in the State of Ohio." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392742151.

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Corley, Alton L. "An investigation of the predictive relationship of academic variables in three different learning environments to the intentions of music education majors to leave the degree program." connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/corley%5Falton/index.htm.

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Loveless, Jerry C. L. "The Use of Music as a Pedagogical Tool in Higher Education Sociology Courses| Faculty Member Perspectives and Potential Barriers." Thesis, Portland State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1540707.

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Previous research has identified student engagement as an important antecedent to student learning in higher education. Although student engagement is viewed as important for learning, a significant number of college students still report frequently feeling bored in their courses. The use of music as a pedagogical tool is believed to be beneficial for promoting student engagement and student learning in higher education sociology courses, yet it has been suggested that sociology faculty members do not commonly incorporate the technique into their courses. The purpose of this comparative interview study is to explore higher education sociology faculty members' understandings of the use of music as a pedagogical tool, and the perceived importance of student engagement to student learning among higher education sociology faculty members.

In this study, it is found that higher education sociology faculty members believe student engagement can lead to increased student learning. It is also found that higher education sociology faculty members generally identify music as an effective pedagogical tool for promoting student engagement and learning in higher education sociology courses. Interestingly, participants believed the use of music as a pedagogical tool to be an uncommon practice in higher education sociology courses in the United States. As part of their efforts to explain their choices to use or not use music as a pedagogical tool, faculty participants described potential barriers that may impact faculty member choices to use music in their higher education sociology courses.

Sociology faculty participants in this study agreed that a lack of discussion of pedagogical tools among colleagues and in teaching courses might serve as a potential barrier for the use of music as a pedagogical tool. Higher education sociology faculty participants also identified a lack of knowledge of how to use music as a pedagogical tool as a potential barrier for the use of music in sociology courses. This research suggests that the lack of faculty knowledge of music as a pedagogical tool may be due to the lack of discussion of pedagogical tools both among colleagues and in the teaching courses completed by higher education sociology faculty members.

Past research has suggested that sociology faculty members need to create an environment that encourages students to be active and engaged participants in their own learning through building a community of learners. This study suggests that higher education sociology faculty members may successfully build a community of learners through using music as a pedagogical tool in their courses. This study recommends that changes at the departmental level need to occur in order to make it easier for sociology faculty members to gain the knowledge required to use music effectively in their courses. Suggestions for practice and future research are provided.

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Karakelle, Sibel. "The Centralized Higher Education System in Turkey and the National Music Teacher Training Program Since 1998: An Analysis." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Aug2006/karakelle%5Fsibel/index.htm.

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Books on the topic "Music teachers Music Education, Higher"

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Dust, Thomas J. Curricular structure and the music and music education components of secondary music education programs at Canadian institutions of higher education. Ann Arbor, Mich: UMI Dissertation Services, 2005.

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Chaddock, Katherine E. The multi-talented Mr. Erskine: Shaping mass culture through great books and fine music. New York: Palgrave Macmillan, 2012.

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The multi-talented Mr. Erskine: Shaping mass culture through great books and fine music. New York: Palgrave Macmillan, 2012.

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M, Hodgman Thomas, ed. Teaching music in higher education. New York: Oxford University Press, 2008.

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Westerlund, Heidi, and Helena Gaunt. Expanding Professionalism in Music and Higher Music Education. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003108337.

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A, Keene James. Giants of music education. Centennial, Colo: Glenbridge Pub., 2010.

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Collaborative learning in higher music education. Burlington: Ashgate, 2013.

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Miller, Rodney E. Institutionalizing music: The administration of music programs in higher education. Springfield, Ill: C.C. Thomas, 1993.

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Hugo, Elsbeth. Effective music education in South Africa. Pretoria: Human Sciences Research Council, 1993.

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Music Educators National Conference (U.S.). Task Force on Music Teacher Education for the Nineties. Music teacher education: Partnership and process. Reston, Va: Music Educators National Conference, 1987.

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Book chapters on the topic "Music teachers Music Education, Higher"

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Lam Yau, Christine Ngai. "The Leadership Role of Instrumental Teachers in Students’ Career Development." In Leadership and Musician Development in Higher Music Education, 149–66. New York ; London : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9780429503924-12.

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Cooke, Carolyn, and Laura Colucci-Gray. "Complex Knowing: Promoting Response-Ability Within Music and Science Teacher Education." In Posthumanism and Higher Education, 165–85. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14672-6_10.

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Hall, Clare. "Pre-service teachers converting motherhood into creative capital through composing with sound." In Creative Teaching for Creative Learning in Higher Music Education, 119–31. [2016] | Series: SEMPRE studies in the psychology of music: Routledge, 2016. http://dx.doi.org/10.4324/9781315574714-10.

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Palmer, Tim. "Deconstructing and re-imagining repertoire in music teacher training." In Creative Teaching for Creative Learning in Higher Music Education, 132–50. [2016] | Series: SEMPRE studies in the psychology of music: Routledge, 2016. http://dx.doi.org/10.4324/9781315574714-11.

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Beauregard, Julie, and Elizabeth Bucura. "“To Thine Own Self Be True”: One Music Educator’s Transition from Higher Education Faculty Member to High School Teacher." In Narratives and Reflections in Music Education, 105–21. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-28707-8_8.

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Kallio, Alexis Anja, Kathryn Marsh, Heidi Westerlund, Sidsel Karlsen, and Eva Sæther. "Introduction: The Politics of Diversity in Music Education." In The Politics of Diversity in Music Education, 1–11. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_1.

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AbstractThe Politics of Diversity in Music Educationattends to the political structures and processes that frame and produce understandings of diversity in and through music education. Recent surges in nationalist, fundamentalist, protectionist, and separatist tendencies highlight the imperative for music education to extend beyond nominal policy agendas to critically consider the ways in which understandings about society are upheld or unsettled and the ways in which knowledge about diversity is produced. This chapter provides an overview of the scholarly foundations that this book builds upon before introducing the four sections of the book and contributing chapters. The first section of the book focuses on the politics of inquiry in music education research. The second section attends to the paradoxes and challenges that arise as music teachers negotiate cultural identity and tradition within the political frames and ideals of the nation state. The third section considers diversities that are often overlooked or silenced, and the final section turns to matters of leadership in higher music education as an inherently political and ethical undertaking. Together, chapters work towards a more critical, complex, and nuanced understanding of the ways in which the politics of diversity shape our ideals of what music education is, and what it is for.
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Rowley, Jennifer. "The Musician as Teacher." In Leadership of Pedagogy and Curriculum in Higher Music Education, 150–69. New York ; London : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429022418-10.

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Bernard, Rhoda. "Disciplinary Discord: The Implications of Teacher Training for K–12 Music Education." In Discourse and Disjuncture between the Arts and Higher Education, 53–73. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55243-3_3.

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Aróstegui, José Luis. "Music vs. Education." In Educating Music Teachers for the 21st Century, 175–99. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-503-1_8.

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Haddon, Elizabeth. "Creativity in higher music education." In Creative Teaching for Creative Learning in Higher Music Education, 35–48. [2016] | Series: SEMPRE studies in the psychology of music: Routledge, 2016. http://dx.doi.org/10.4324/9781315574714-4.

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Conference papers on the topic "Music teachers Music Education, Higher"

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López-Íñiguez, Guadalupe, and Tuula Jääskeläinen. "How about equality and equity in higher music education? A theoretical framework for researching quality of music teaching and learning." In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5417.

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While quality development has an important role in higher education in Finland, its connection with equality and equity in teaching and learning music is not often mentioned. Most of the discussions about equality in education have focused on how to equalize access to and participation in education, but there are disagreements about what the very concepts of equality and equity mean in education. When striving to achieve equality in higher music education, the use of learner-centered pedagogies may promote an engaging and satisfying learning experience. We illustrate a more holistic approach in teaching and learning music by adapting the equality-equity model developed by Espinoza (2007) to give an overview of dimensions of equality and equity with reference to the different stages of the educational process at the music university level. Constructivist research and phenomenographic research in teaching and learning music suggest that the conceptions held by teachers and students about teaching and learning can be relevant factors in the pursuit of change in educational practices. On this basis, we develop a theoretical framework and suggest some remedies for the research of teaching and learning in music universities aimed at developing more holistic quality in higher music education.
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Arrington, Nancy McBride. "Examining Preservice Teachers’ Self-Efficacy for Enhancing Literacy of Diverse Learners through Music." In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5415.

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The sense of efficaciousness for teaching diverse learners was examined with twenty-four pre-service teachers concurrently enrolled in a junior-level Creative Arts methods course and a field experience course with placements in K-2 general education classrooms. The pre-service teachers participated in music and literacy activities in their university class, then planned and implemented standards-based music activities in literacy lessons with their young students. Both quantitative and qualitative data were collected, including a teacher self-efficacy scale, an attitude survey, written reflections, interviews, open-ended responses, and lesson plans. Results demonstrated a significant increase in the pre-service teachers’ self-efficacy in pre-post ratings analysis and indicated that this project contributed to their efficacy for meeting needs of diverse learners in the elementary classrooms. The pre-service teachers demonstrated proactive classroom management and reflected upon their students’ increased focus in class. The pre-service teachers indicated that their success with these types of projects encouraged them to plan for similar implementation with their future diverse learners, potentially contributing to a positive impact on their future performance. Additionally, this project emanated Scholarship of Teaching and Learning by encouraging self-reflection; examining and applying effective teaching strategies; and advancing the field of teacher education. Keywords: Self-Efficacy, Diverse Learners, Music Integration, Scholarship of Teaching and Learning
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Vernia-Carrasco, Ana Mercedes. "Competency-based learning: Music education, the great forgotten." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.7473.

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Adapting to the European framework in education, without thinking about the approaches of UNESCO, assumed that there was no type of exclusion, neither by subjects nor by profiles, however, we find a clear void regarding the competencies that a professional of music must acquire, in their training and for their employability. Not only in the strictest areas such as the Conservatories, but also in elementary schools and at the University. Our work required the help of professionals from music schools, because current laws do not refer to work in the area of competences, except in some decrees where professional competences are mentioned, or in other cases, where reference is simply made to integrate the basic skills of primary schools. The results were a proposal of basic Competences in music, which could include both conservatories and music schools, regardless of the instrumental specialty, which is a first step to establish a criterion that unifies the criteria for this group of teachers.
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Marrucci, Luca, and Erika Piazzoli. "Evaluating Learner Engagement in Arts Education: Perspectives from Music and Drama in Education." In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5516.

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In this paper we aim to investigate learner engagement and how it can be evaluated, in the context of higher education research. Specifically we consider learner engagement evaluation in Arts Education, where the educational focus is on the process, rather than the product – drawing on music and drama in education research and practice. First, we position the notion of evaluation as opposed to assessment, with attention to its etymological roots. Second, we discuss the multifaceted notion of engagement as process, exploring the nature of learner engagement and a number of possible engagement indicators. We then synthesize these categories into descriptors which, we argue, can be useful to evaluate learners’ engagement in arts education practices. Third, we ground theory into practice by offering two examples drawn from the authors’ PhD case study research, respectively in music education and drama in education. We conclude that engagement is a multifaceted construct, which we frame as a mutual exercise of agency – whereby the teacher and the students act in a partnership as co-artists.
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Churikova-Kushnir, O. D., and Z. V. Sofronii. "Vocal and choral training of future music art teachers in higher education institutions." In PEDAGOGY AND PSYCHOLOGY IN THE MODERN WORLD: THE ART OF TEACHING AND LEARNING. Baltija Publishing, 2021. http://dx.doi.org/10.30525/978-9934-26-041-4-112.

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Stramkale, Ligita. "The Independence of Primary School Students in Learning Music at a Distance during Covid-19 Pandemic." In 14th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2021. http://dx.doi.org/10.22616/reep.2021.14.022.

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As a result of the Covid-19 pandemic, the primary school students were forced to study at a distance of two and a half months starting from mid-March 2020. There was a situation where students had to learn music independently more than they had done so far. The study aims to determine 2nd and 3rd grade students’ perspectives on independent distance learning of music during the Covid-19 pandemic. To achieve the aim of the study, previous researches on this issue were analysed, as well as an empirical study was carried out. The study involved 105 (N=105) primary school students in grades 2-3 and occurred in the second term of the 2019/2020 school year in a public primary school located in Riga. A questionnaire consisting of 20 statements was conducted to determine students’ perspectives on music distance learning independently. The twenty statements were divided into four groups: students’ independence, provision of technical aids, difficulties and attitude. The study revealed that the students’ skills to find and complete the tasks that are given by the teacher in the E-class are at a middle level. The students assessed their ability to learn to sing songs and perform music listening tasks independently at a high level. The students mostly used computers or mobile phones when they learned music at a distance. However, the majority of students faced a lack of technical aids. The study found out that complete music listening task was the easiest for the students, but a little harder was learning to sing songs. The most difficult part of learning for students was to complete a writing task because the possibility of printing it was limited. The students rated their attitude towards music distance learning independently at a middle level. Many students missed the presence of their teachers and longed for social activities in the classroom. The study concluded that there is a significant difference between 2nd and 3rd grade students’ skills to find independently the tasks sent by the teacher. Moreover, the 3rd grade students wanted to learn music independently at a distance more than the 2nd grade students did. The study provides evidence-based data on primary school students’ readiness to learn music independently at a distance.
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Кушнір, К. В., І. М. Кравченко, and Л. В. Щербакова. "ДИСТАНЦІЙНА ФОРМА НАВЧАННЯ СТУДЕНТІВ ЗВО В СУЧАСНИХ УМОВАХ МИСТЕЦЬКОЇ ОСВІТИ В ПЕРІОД ПАНДЕМІЇ." In Proceedings of the XXV International Scientific and Practical Conference. RS Global Sp. z O.O., 2021. http://dx.doi.org/10.31435/rsglobal_conf/25012021/7353.

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The article highlights the current state of distance education, considers its advantages and disadvantages, and analyzes the main factors that inhibit the introduction of full-fledged distance learning of art education during the pandemic. The main problems faced by university teachers in organizing distance learning are clarified. Prospects for the introduction of distance education in the Free Economic Zone of Ukraine have been studied. The main role in the implementation of distance learning is played by modern computer technologies, which in combination with the latest educational media technologies become effective means of developing professional and critical thinking of students. Right now, society is more interested than ever in informatization and computerization of all spheres of activity, including art. Therefore, the computer is an indispensable assistant to teachers and students in mastering information flows, modeling and illustrating processes, phenomena, objects and events. High-quality mastery of music and computer technology, orients the future art teacher to the school of tomorrow and gives him a certain "margin of advance" for highly professional activities. The article considers the ways of application of innovative and music-computer technologies in the study of art disciplines, as well as the forms of their implementation, which are aimed at improving the quality of training of future professionals. The main priorities for the development of modern art education in Ukraine and the prospects of distance learning for the higher education system of Ukraine during the pandemic are identified.
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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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Kurtz, Gila, and Yehuda Peled. "Digital Learning Literacies – A Validation Study." In InSITE 2016: Informing Science + IT Education Conferences: Lithuania. Informing Science Institute, 2016. http://dx.doi.org/10.28945/3480.

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[The final form of this paper was published in the journal Issues in Informing Science and Information Technology.] This paper presents a validation research of seven Digital Learning Domains (DLDs) and sixty-five performance statements (PSs) as perceived by students with experience in learning via ICT. The preliminary findings suggest a statistical firmness of the inventory. The seven DLDs identified are Social Responsibility, Team-based Learning, Information Research and Retrieval, Information Management, Information Validation, Processing and Presentation of Information, and Digital Integrity. The 65 PSs will enable a teacher to identify the level of competency the learner has in each DLD, thus identifying students’ strengths and weaknesses that must be addressed in order to facilitate learning in the current era. As can be concluded from the findings, most of the participants evaluate themselves as digitally literate with regard to the basic information research and retrieval skills, validation and information management. But when it comes to PSs that require complex decision making or higher order thinking strategies, it seems that a large number of participants lack these skills. Also, social responsibility and digital integrity domains are perceived as known by the participants but not very well taken in terms of pro-active action to enforce appropriate digital behavior, or avoiding illegally obtained music or movies.
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Yusupov, M. G. "Features of self-regulation of students’ mental states: operational aspect." In INTERNATIONAL SCIENTIFIC AND PRACTICAL ONLINE CONFERENCE. Знание-М, 2020. http://dx.doi.org/10.38006/907345-50-8.2020.756.766.

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The instability of modern social conditions, informational and emotional richness of learning contribute to the emergence of negative states of fear, uncertainty, aggression, and provokes psychosomatic disorders of students. In order to satisfy the requirements of society, it is necessary to have a high level of development of the ability to control oneself, allowing self-regulation of the mental state within certain social frameworks. In everyday life, students use sets of techniques developed in individual experience that allow them to cope with negative conditions, enter the educational rhythm or relieve stress. Therefore, it is relevant to study spontaneously developing methods and techniques for self-regulation of states that help prevent the negative dynamics of the current state and provide an acceptable level of adaptation. In this regard, the article aims at studying ordinary ways of self-regulation of negative states of students and their relationship with the productivity of cognitive processes and individual cognitive styles. According to the results of the study, we found that typical negative states of students are fatigue, laziness, frustration. The most frequent methods of their regulation are communication, music, walking, sleeping. The relationship between the productive, stylistic characteristics of cognitive processes and the choice of self-regulation methods is shown. Thus, respondents with a high level of imagination and heuristic cognitive style choose a method of communication. Differences in the methods of self-regulation and experienced states in boys and girls were revealed. The results can be of interest to teachers and practical psychologists in education.
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Reports on the topic "Music teachers Music Education, Higher"

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Loveless, Jerry. The Use of Music as a Pedagogical Tool in Higher Education Sociology Courses: Faculty Member Perspectives and Potential Barriers. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1100.

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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