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1
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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Bogunovic, Blanka. "Personality traits of a music teacher." Zbornik Instituta za pedagoska istrazivanja 38, no. 1 (2006): 247–63. http://dx.doi.org/10.2298/zipi0601247b.
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In the context of individual musical instrument teaching, pedagogical abilities of a music teacher and the atmosphere he creates, result from his personality traits and can be of crucial importance for the initial and further progress of his students. The paper seeks to: describe the personality of a music instrument teacher, determine the differences in comparison to a group of non-musicians, and determine the position of personal characteristics in the structure of general and professional teacher profile. The sample comprised 60 individuals, teaching various musical instruments in five primary music schools. The research method is explorative and based on the use of the five-factor personality model (NEO PI-R was administered). The findings show that music teachers display a higher level of: openness, agreeableness and conscientiousness. The degree of congruence with the findings of other research is discussed and certain similarities were found, as well as differences stemming from professional and cultural specificities. Differences are proved to exist in relation to gender, musical instrument, working experience, degree of musical education and active public performance. Compared to non-musical population, it is confirmed that teachers of instrument in musical education represent a distinctive group. There are also differences between teachers who are oriented to pedagogic work only and those who, in addition, actively perform in public. Selection of teachers, according to characteristics which may be connected to students? accomplishment, is a practical implication relevant for the music education.
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Rapatskaya, Lyudmila A. "From Musicology to the Cultural Direction of Music Education Pedagogy: Research Introspection." Musical Art and Education 8, no. 3 (2020): 103–17. http://dx.doi.org/10.31862//2309-1428-2020-8-3-103-117.
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The article describes the role of the scientific school by E. B. Abdullin in the formation and gradual development of the author’s research positions in the field of pedagogy of higher school music education. The first stage is characterized by considering problem of forming the artistic culture of future music teachers in a pedagogical University.The research embodied in his doctoral thesis, developed under the influence of the vectors of musicological and pedagogical thought. In includes analyses of the interaction of music with other art forms as manifestations of the General laws of artistic activity of man, revealed in the phenomenon of artistic culture. Pedagogical interpretation of artistic culture allowed us to consider this category: a) as an integral component of the content of music and pedagogical education; b) as a professionally significant quality of the music teacher’s personality. The concept changed the status of historical and theoretical training of future teachers-musicians, which received the working title “pedagogical musicology”. The content of pedagogical musicology was determined by a culturological approach to the learning process, designed to solve practical problems of mastering music in synchronic and diachronic interaction with other types of arts.The second stage is to expand the cultural component of professional training of music teacher, becoming a cultural orientation that integrates musicology, cultural studies and the pedagogy of music education on the basis of higher spiritual principles of music as an art form. The cultural direction allows developing new scientific approaches in the content of master’s educational programs in line with the methodological concept by E. B. Abdullin.
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Mills, Janet, and Jan Smith. "Teachers' beliefs about effective instrumental teaching in schools and higher education." British Journal of Music Education 20, no. 1 (March 2003): 5–27. http://dx.doi.org/10.1017/s0265051702005260.
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What makes instrumental teaching, including vocal teaching, effective? And is this the same in schools and in higher education (HE), including conservatoires? We asked 134 local education authority (LEA) instrumental teachers to state what they believe makes good teaching in schools and in HE, and to list the strengths and weaknesses of the teaching that they recall receiving as students. We found that many teachers believe that good teaching in schools differs from good teaching in HE. There are differences in the beliefs held by teachers with and without qualified teacher status (QTS), and also in those of men and women. Many teachers report that their teaching is influenced by the ways that they were taught, and the ‘peak’ lessons that teachers received often appear particularly influential. We explain the steps we have taken to enable LEAs to apply the findings when planning professional development for their teachers, and suggest further applications.
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Zavadska, Galina, and Jelena Davidova. "The Development of Prospective Music Teachers’ Harmonic Hearing at Higher Education Establishments." Pedagogika 117, no. 1 (March 5, 2015): 72–85. http://dx.doi.org/10.15823/p.2015.068.
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The development of harmonic hearing is an essential component of the system of music teachers’ training. The paper is concerned with the type of a case study which deals with the study of professional groups (a bigger and more diffusive group of 14 students). The process of training music teachers at sol-fa classes in a higher education establishment is analyzed and described. The sol-fa classes are oriented towards the development of harmonic hearing.
The purpose of the study is to develop a technology of conducting sol-fa classes oriented towards developing students’ – the prospective music teachers’ – harmonic hearing on the basis of a case-study methodology; to present the developed material and ways of its application in the training process; to analyze and summarize the results of the research done.
The research results show that the criteria relating to practical music making of students, such as polyphonic singing and intoning intervals and chords, and also those relating to creativeness, such as improvisation and composing the accompaniment for the melody, have been the most effective ones.
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Oleksiuk, Olga, Vladimir Cherkasov, Olga Yezhova, Svetlana Kulikova, Snezhana Kurkina, and Julia Lokareva. "Formation of Readiness of Higher Education Institutions’ Students to the Introduction of Musical-Pedagogical Technologies." Pedagogika 136, no. 4 (December 20, 2019): 126–40. http://dx.doi.org/10.15823/p.2019.136.8.
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The model for the formation of the readiness of pre-service music teachers to the introduction of music-pedagogical technologies is developed, it includes elements: methodological-targeted; content-technological; productive-evaluative. The created model of the use of music-pedagogical technologies in lessons of musical art in secondary schools contains music perception, vocal-choral work, improvisation, playing on musical instruments, and musical-plastic activity.
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Oğuz-Duran, Nagihan, and Rasim Erol Demirbatır. "The Mediating Role of Shyness on the Relationship Between Academic Satisfaction and Flourishing among Pre-Service Music Teachers." International Education Studies 13, no. 6 (May 29, 2020): 163. http://dx.doi.org/10.5539/ies.v13n6p163.
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This study examined shyness as a potential mediator in the relationship between academic satisfaction and flourishing among Turkish music teacher education students. Using a questionnaire-based survey design, data were collected from 162 (100 female and 62 male) pre-service music teachers. The Shyness Scale, the Academic Life Satisfaction Scale and the Flourishing Scale were used for data collection. The bootstrap re-sampling method was employed using Hayes’s SPSS PROCESS macro. Results of bivariate correlations showed that, higher academic satisfaction was associated with increased flourishing as expected, whereas higher shyness was associated with decreased flourishing. The mediation model was significant for the contribution of shyness. These findings offer useful implications for the instructors of pre-service music teachers and counseling professionals in higher education.
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Velichko, Y. V., and O. V. Militsina. "AUDIOVISUAL TEACHING TECHNOLOGIES IN HIGHER EDUCATION TRAINING OF MUSIC TEACHERS." Tomsk State Pedagogical University Bulletin, no. 6 (2018): 186–91. http://dx.doi.org/10.23951/1609-624x-2018-6-186-190.
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Figueiredo, Edson Antônio de Freitas. "Associations between training, employment, and motivational styles of Brazilian instrumental music teachers." International Journal of Music Education 37, no. 2 (April 1, 2019): 198–209. http://dx.doi.org/10.1177/0255761419839170.
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Teachers follow a motivational style based on their own beliefs about motivation affected by environmental events. External events such as rules and traditions often affect orientation towards controlling; however, it is not known if events such as training and employment affect the extent to which music teachers try to control a student’s behavior. The aim of the current study is to investigate associations between the motivational styles of instrumental music teachers, their training, and the type of employment they possess. A survey was conducted with 358 instrumental music teachers. Participants accessed an online questionnaire to provide information about their motivational style and to answer questions about their training and employment. Trained musicians recorded higher scores in the controlling factor than trained music educators. Similarly, teachers who worked in public music schools recorded higher scores in the controlling factor than the ones who worked in private music schools. Our study suggests that motivational literature should be part of the higher education curriculum, since it could help to improve behaviors that support autonomy in instrumental music lessons. The study also recommends making changes to the lifelong job positions that are acquired through public tenders in order to prevent teachers from disregarding the perspective of their students.
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Bonastre, Carolina, Enrique Muñoz, and Renee Timmers. "Conceptions about teaching and learning of expressivity in music among Higher Education teachers and students." British Journal of Music Education 34, no. 3 (April 7, 2017): 277–90. http://dx.doi.org/10.1017/s0265051716000462.
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This work aimed to analyse factors related to conceptions and beliefs about expressivity in music among students and teachers. A questionnaire with 11 Likert-type items was developed covering the main factors included in the literature of teaching-learning of expressivity and emotion in music. Through exploratory factor analysis three factors were identified:expressive technique (ET), emotional expression (EE), and self-learning of expressivity (SLE). Comparisons between teachers and students showed that teachers had significant higher scores in EE with no differences in ET or SLE, although the effect size for SLE was high. The three factors are proposed as a tool for the assessment of conceptions of expressivity and its learning in both teachers and advanced students of music for teaching and research objectives.
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Duke, Robert A., Carol A. Prickett, and Judith A. Jellison. "Empirical Description of the Pace of Music Instruction." Journal of Research in Music Education 46, no. 2 (July 1998): 265–80. http://dx.doi.org/10.2307/3345628.
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The present study was designed to assess novice teachers* perceptions of timing in music instruction and to identify the aspects of timing that are associated with positive perceptions of instructional pacing. We selected eight 1-3-minute excerpts from teaching-practicum videotapes of four novice teachers teaching in a choral rehearsal, a band rehearsal, and two elementary music classrooms. Each teacher appeared in two excerpts that differed with regard to the pace of instruction depicted in each. Novice teachers (N = 44) viewed the videotaped excerpts and evaluated the pace of instruction along six semantic differential scales: fast—slow; appropriate—inappropriate; tense—relaxed; smooth-uneven; too fast-too slow; good-bad. Subjects discriminated among the faster and slower examples on five of the six evaluation dimensions, and among teachers on all six dimensions. Subjects rated the pace of instruction more positively when the rates of student performance episodes and teacher activity episodes were higher rather than lower, and when the mean durations of teacher and student activity were shorter rather than longer. These variables may function as operational measures of the pace of instruction in music performance.
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Bernāts, Guntars, and Andrejs Mūrnieks. "THE CHALLENGES, RISKS AND PROSPECTS OF THE REALISATION OF THE MUSIC METHODOLOGY MODULE OF ONE – YEAR EDUCATION PROGRAMME." Education. Innovation. Diversity. 1, no. 2 (May 26, 2021): 24–30. http://dx.doi.org/10.17770/eid2021.1.5428.
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The reform of teachers’ education commenced by the Ministry of Education and Science provides an opportunity to obtain a qualification as a teacher within one year, encompassing studies based in a working environment for those who already have higher education. The goal of the research is to identify the challenges, risks and perspectives of the realization of the module “Music methodology” of the study course “Integrated methods in Teaching Culture Understanding and Self-expression in Art” within the one-year study programme “Skolotājs”. The research compared study course plans in music teaching and choir work methodology at two Latvian higher education institutions, as well as at two foreign higher education institution, where a qualification as a music teacher at a comprehensive school can be attained. The research was undertaken based on an analysis of theoretical sources, providing an understanding about a synthesis of varying contemporary methodological approaches. It encompasses the acquisition of a knowledge of cultural history and the history of music, the style and future directions of popular music, desirably not just theoretically but practically as well, in the education of the students. The actualization of such study courses as music teaching methodology, the research process in music teaching, music history and stylistics, the psychology of music, conducting, choir/vocal ensemble work, methodology and music project management are important for the high quality and integrated acquisition of music teaching methodology.
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Mateiro, Teresa. "Education of music teachers: A study of the Brazilian higher education programs." International Journal of Music Education 29, no. 1 (February 2011): 45–71. http://dx.doi.org/10.1177/0255761410372758.
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Merrick, Brad, and Carol Johnson. "Teaching Music Online in Higher Education: 2020 conference report." Journal of Music Technology & Education 13, no. 1 (August 1, 2020): 95–108. http://dx.doi.org/10.1386/jmte_00018_1.
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Faced with the state of emergency restrictions due to the global COVID-19 pandemic, the 2020 Teaching Music Online in Higher Education conference was adaptively modified to exist as a synchronous, online event. Embracing the opportunity to model online music pedagogy in its online format, organizers transformed the conference to utilize live-streaming, video recordings and other online active learning strategies. A total of 143 tertiary music instructors and graduate students from 66 institutions located around the world took part in the conference at a time of unprecedented restriction on face-to-face learning and travel restrictions. This report is both important and timely, as it provides insights into components that were found to be both necessary and fundamental to the success of the event for music researchers, teachers and other delegates in attendance. Key areas related to organization, communication, structure, protocols and activities were explored through learning analytics and a conference evaluation. Strategies and recommendations are included to assist others who wish to create and present an online conference that exemplifies online pedagogy principles.
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Hanson, Josef. "Realizing Entrepreneurship in K–12 Music Education: Inside or Outside the Box?" Music Educators Journal 104, no. 3 (March 2018): 32–39. http://dx.doi.org/10.1177/0027432117745360.
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Although “entrepreneurship” has become a movement in arts career preparation programs, its application for school-based music educators remains unclear. This article suggests that intrapreneuring—entrepreneurial practice within large organizations—better encapsulates the balance of innovation and affiliation that teachers often pursue to enhance their motivation at work. Results from a survey of K–12 music educators suggest that intrapreneurial mindsets and behaviors predict higher fulfillment of teachers’ needs for autonomy, competence, and relatedness—all elements crucial to healthy motivation. For many music educators, intrapreneuring may serve as an ideal pathway to increased motivation, career longevity, and a broader teacher-driven approach to education reform.
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Lundquist, Barbara Reeder. "Higher Education and Teacher Preparation in Music." Design For Arts in Education 88, no. 3 (February 1987): 6–11. http://dx.doi.org/10.1080/07320973.1987.9935463.
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Khodorovskyi, V. I. "The features of instrumental and performance training of future music teacher at concertmaster classes." Musical art in the educological discourse, no. 2 (2017): 168–71. http://dx.doi.org/10.28925/2518-766x.20172.16871.
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The article presents one of the most current problems of modern music education concerning concertmaster training of students in higher education institutions of arts as one of the priority components of their future profession. The author of the article notes that music lessons in secondary school encourage teacher to the active manifestation not only of music and performing skills, but willingness to perform concertmaster job at a high professional level. A wide range of music teacher’s concertmaster activities results in a whole set of his professional skills such as: coordinating teacher’s performance activity with the soloist, the ability to read musical scores sheet, edit it, transpose the music material, pick accompaniment, if necessary, simplify or complicate maintenance, perform own song accompaniment etc. In light of this, the weight of the concertmaster classes increases, which acquires the status of primary professional development of future expert. The author of the article highlights the features of instrumental and performance training of future music teacher at concertmaster classes and exposes potential possibilities of students’ music and performance development during these classes, in particular, development of future music teachers’ skills and abilities that are unique for concertmaster activities. The author points out such skills as: ability to accompany own singing, combine accompaniment while singing a soloist party, simplify or complicate the texture of musical accompaniment, read three rows of musical scores sheet, transpose music in connection with tessitura capabilities of performers, pick the melody and detailed accompaniment to it, ensemble skills, etc. The article states that concertmaster classes allow future music teachers to master necessary knowledge for future professional activity and skills and to fill the performance store with works of school repertoire.
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Bjøntegaard, Bjørg Julsrud. "A combination of one-to-one teaching and small group teaching in higher music education in Norway – a good model for teaching?" British Journal of Music Education 32, no. 1 (June 20, 2014): 23–36. http://dx.doi.org/10.1017/s026505171400014x.
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Instrumental teachers in higher music education in Norway and elsewhere traditionally organise their teaching as individual lessons with one teacher and one student. This paper takes a closer look at how a horn teacher at the Norwegian Academy of Music has organised her weekly teaching in individual, small group and master class lessons with all her students. The project being described in the paper has since been extended to other instruments, but this paper concentrates on the horn model. The main focus is on small group lessons where the students themselves play and comment on fellow students’ performances. The evidence suggests that a combination of teaching in individual, small group and master class lessons is the best way of educating students as responsible, reflective and professional musicians.
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Juchniewicz, Jay. "The Influence of Social Intelligence on Effective Music Teaching." Journal of Research in Music Education 58, no. 3 (October 2010): 276–93. http://dx.doi.org/10.1177/0022429410378368.
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The purpose of this study was to investigate the influence of social intelligence on effective music teaching. Forty teachers from “exemplary programs” and “more challenging programs” across band, chorus, orchestra, and general public school music programs were administered the Interpersonal Perception Task—15 (IPT-15). In addition, 84 external evaluators viewed teaching excerpts of 12 “exemplary” and “challenged” teachers and rated the (a) overall effectiveness and (b) main attribute that influenced their evaluations of each teaching excerpt. Results indicated no significant differences between the IPT-15 scores of “exemplary” teachers and “challenged” teachers.The external evaluators rated teachers identified as “exemplary” significantly higher than they rated teachers labeled as “challenged.” The majority of attributes influencing external evaluators’ ratings of overall teacher effectiveness were social, constituting more than 85% of all responses. All teachers who demonstrated effective social skills were perceived as effective teachers. Effective communication skills were the most frequently cited attributes for “exemplary” teachers, whereas ineffective classroom management was the most listed attribute for why teachers were rated ineffective.
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Zimmerman Nilsson, Marie-Helene, and Colette Murphy. "Synergies in subject parallels: Coteaching “music-drama”." Hungarian Educational Research Journal 11, no. 1 (May 7, 2021): 1–13. http://dx.doi.org/10.1556/063.2021.00019.
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AbstractThis case study contributes with a new coteaching design, in which experienced teachers from two different aesthetic subjects are planning, teaching and evaluating together in higher education, more specifically in general preschool teacher education. The aim of the study is to analyse how two drama teachers and a music teacher reflect on their coteaching. Coteaching, when teachers teach together with shared responsibility to meet their students’ learning needs, is a pedagogical approach to enable an active learning process. Research and practice in coteaching have emerged, mostly designed with coteachers within the same subject. However, more research is needed about teachers from different subjects coteaching together. The theoretical framework is sociocultural, with special emphasis on aspects of learning from ‘the other’ in praxis by working in a zone of proximal development (ZPD). Analysed data consist of field notes and audio-recorded teacher group conversations. Main findings show synergies in subject parallels, based on the analysis of coteachers’ reflections as learning processes within their ZPD. In conclusion, a major contribution in terms of synergy in coteaching appears in subject parallels related to specific subject matter concepts, where music and drama are intertwined in the classroom as “music-drama”, as a new dimension.
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Smith, Raychl, and Jacqueline Secoy. "Exploring the Music Identity Development of Elementary Education Majors Using Ukulele and YouTube." Journal of Music Teacher Education 29, no. 1 (August 29, 2019): 71–85. http://dx.doi.org/10.1177/1057083719871026.
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The purpose of this instrumental case study was to understand how learning to play the ukulele influenced the music identity of elementary education majors. Eighteen participants (17 females, 1 male) from two universities created YouTube playlists and recorded solo ukulele performances for their YouTube channel. Music identity perceptions were collected via writing reflections, video recorded class sessions, and focus group interviews. We found that students’ early life experiences informed their beginning-of-semester perceptions of music identity (past selves), while in-class experiences contributed to higher levels of music competence and participation, and meaningful shifts in music identity (present and future selves). Music teachers should consider how the ukulele and YouTube may be used to promote individual expression, accountability, and self-directed learning. We encourage music teacher educators to use music biographies and YouTube as tools for culturally responsive teaching while creating safe spaces for the music identity development of less experienced/confident musicians.
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Roseth, Nicholas E. "A Survey of Secondary Instrumental Teachers’ Immediacy, Ensemble Setup, and Use of Classroom Space in Colorado and Indiana." Journal of Research in Music Education 68, no. 3 (September 1, 2020): 305–27. http://dx.doi.org/10.1177/0022429420944227.
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The purpose of this study was to survey secondary band and orchestra teachers ( N = 436) in Colorado and Indiana regarding their self-reported immediacy behaviors, ensemble setups, and use of classroom space when teaching. Immediacy “refers to nonverbal teacher behaviors which increase nonverbal interaction with students and which communicate closeness.” Female teachers and teachers of young ensembles reported higher levels of overall immediacy. Among component immediacy behaviors, teachers reported using proximity-related behaviors the least; females reported using proximity behaviors at higher rates than males. The majority of teachers reported using “closed” ensemble setups (i.e., setups that limit teacher movement among students) and remained in these setups for the majority of the school year. Teachers of young ensembles reported greater use of “opened” setups (i.e., setups that help facilitate teacher movement among students). Although teachers reported spending the majority of rehearsal time on the podium, female teachers, teachers of young ensembles, and teachers who used opened setups reported less time on the podium and more time moving among students. Implications for immediacy, ensemble setup, and teacher use of space in music education are discussed.
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Doerksen, Paul F. "Aural-Diagnostic and Prescriptive Skills of Preservice and Expert Instrumental Music Teachers." Journal of Research in Music Education 47, no. 1 (April 1999): 78–88. http://dx.doi.org/10.2307/3345830.
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This study is an investigation of the aural-diagnostic and prescriptive skills of preservice and expert instrumental music teachers. Specifically, the researcher sought to determine how the two groups compared with respect to evaluations for band performances of different music-difficulty and performance-quality levels. Subjects listened to an audiotape recording that comprised four types of performances: Difficult Music and Excellent Performance, Difficult Music and Average Performance, Moderate Music and Excellent Performance, and Moderate Music and Average Performance. For each performance type, subjects responded to four evaluative areas in the investigator-designed Aural-Diagnostic and Prescriptive Skills Test: performance-quality ratings of nine select music elements, rankings of the nine elements, diagnoses of performance problems associated with the weakest-ranked elements, and prescriptions of rehearsal solutions for the diagnosed performance problems. Results indicate that (a) regardless of performance types, preservice teachers rated Intonation lower than did expert teachers; (b) interactions exist among the four performance types for subjects' ratings of Tone Quality, Intonation, Articulation, and Dynamics; and (c) compared to preservice teachers, a higher proportion of expert teachers ranked Blend/Balance and Musical Interpretation as the weakest- performed music elements.
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Demirbatır, Rasim Erol. "Investigating entrepreneurship levels of pre-service music teachers." Journal of Education and Learning (EduLearn) 15, no. 3 (August 1, 2021): 352–59. http://dx.doi.org/10.11591/edulearn.v15i3.20298.
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The aim of this study was to examine the entrepreneurship levels of Pre-Service Music Teachers (Bursa Uludağ University Faculty of Education Music Teaching Undergraduate Program students) in terms of gender, grade level and career goals. For this purpose, data were collected from all 1st and 4th year students studying at Bursa Uludağ University Faculty of Education, Department of Music Education. The Individual Entrepreneurship Perception Scale (IEPS) and a Personal Information Form were used to collect the data. Mann Whitney U test was used to analyze the data. In line with the findings obtained, it was found that there was no significant difference in terms of IEPS total and subscale scores by gender. However, there were significant differences in favor of 4th year students in terms of locus of control, self-confidence and self-discipline sub-scores, as well as the total IEPS scores by grade level. It was concluded that those aiming for a non-teaching profession got significantly higher locus of control scores than those aiming to become a teacher. Regarding these results, suggestions have been developed to increase the entrepreneurship level of pre-service music teachers.
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Madsen, Katia, and Jane W. Cassidy. "The Effect of Focus of Attention and Teaching Experience on Perceptions of Teaching Effectiveness and Student Learning." Journal of Research in Music Education 53, no. 3 (October 2005): 222–33. http://dx.doi.org/10.1177/002242940505300304.
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The purpose of this study was to examine preservice and experienced teachers' ratings and comments on teacher effectiveness and student learning after observing videotaped music classes. Comparisons were made among experience levels of observers and between focus of attention of observation. Subjects for the study included college junior and senior music education majors who either had no practicum teaching experience ( n= 26) or who had practicum teaching experiences but had not student-taught ( n= 26). A third group included subjects with full-time music teaching experience ( n= 26). Subjects watched two videotapes, one of an elementary music lesson with the camera focused on the teacher and one with the camera focused on the students. Subjects were asked to rate the effectiveness of teaching and student learning of both videotapes and provide a written rationale for assigning the ratings. Ratings were analyzed statistically and indicated a significant difference among groups ( p < .001), with experienced teachers rating teachers and students lower than undergraduate subjects. Comments were categorized as relating to teacher behavior, student behavior, or other. Analyses indicated that all groups made more comments about the teacher regardless of whether they watched the teacher tape or watched the student tape. Experienced teachers were more critical in their evaluations and made more judgment statements than the undergraduate subjects did. Total ratings of the teacher were significantly higher than those of the students. No differences were found due to focus of attention of observation.April 1, 2005May 25, 2005
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Castanon-Rodríguez, Rosario. "Teaching with LEEMUSICA/READMUSIC in Higher Education: Perception and Improve in Music Education." Proceedings 2, no. 21 (December 12, 2018): 1353. http://dx.doi.org/10.3390/proceedings2211353.
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The present work tries to reflect the student perception about their music education through the application of two tests in the classroom with university students at 3rd and 4th year of the Grade of Teacher at the Faculty of Education in the University of Valladolid. They have been realized at the beginning of the year the first one and at the end of the first semester of the academic year 2017/18. The first one concerns their previous formation in music (school and High school as well as formal/unformal music education—conservatories and schools of music - included their perception about the acquisition of basic music skins. The second test ask them specifically about their perception of improve of those skills (music language, tuning, playing instruments, aural education, didactic of music and use of ICT) after their formation in Higher Education with Leemúsica/Readmusic methodology.
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Gregory, M. Kent. "Collaboration for Music Teacher Education between Higher Education Institutions and K-12 Schools." Journal of Research in Music Education 43, no. 1 (April 1995): 47–59. http://dx.doi.org/10.2307/3345791.
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This study's purpose was to investigate the extent and nature of collaboration for music teacher education between K—12 schools and higher education institutions across the United States. A survey was used to gather data from a stratified random sample (n = 204) of the 813 higher education institutions offering music education degrees. The findings indicated that 96.77% of colleges/universities collaborate with K—12 schools in some form, but the degree of collaboration varies widely. Higher education music faculty respondents reported a broad range of benefits to students, faculty, the higher education institution, and the K—12 schools. Communication, shared decision-making, funding sources, faculty rewards, trends, and reasons for collaboration were examined. An analysis of variance revealed significant relationships between the degree of collaboration and (a) the number of music education majors, (b) the institution's size, and (c) graduate study in music education.
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Droe, Kevin L. "The Effect of Teacher Approval and Disapproval of Music Performed in a Rehearsal Setting on Music Preferences." Journal of Research in Music Education 56, no. 3 (October 2008): 267–78. http://dx.doi.org/10.1177/0022429408326800.
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The purpose of this study was to investigate the effects of teacher approvals and disapprovals of music performed in a rehearsal setting on the music preferences of middle school students. Students ( N = 440) from eight middle school bands participated in the study and were assigned one of four different rehearsal conditions. Teachers rehearsed either one or two assigned pieces of music, while implementing one of the following treatment conditions: (a) rehearsal of one piece with teacher approval and rehearsal of the other piece without comment; (b) rehearsal of one piece with teacher disapproval and rehearsal of the other without comment; (c) rehearsal of only one of the pieces, with teacher approval; and (d) rehearsal of only one of the pieces, with teacher disapproval. After five rehearsals of the music, students were given a listening survey on which to rate their preferences for the two compositions. Results indicated that the treatment conditions had a significant effect on preferences. Ratings from the approval treatment condition were significantly higher than those from the disapproval treatment condition.
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Duţică, Luminiţa. "Choose Music! A Consulting and Training Strategy for Admission to Higher Education in Music." Review of Artistic Education 17, no. 1 (March 1, 2019): 40–46. http://dx.doi.org/10.2478/rae-2019-0004.
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Abstract The educational project CHOOSE MUSIC!, subtitled “for counselling and training for admission to higher education in music”, was created many years ago, at the initiative of Prof. Univ. PhD. Luminiţa Duţică, with the main purpose of creating a bridge between the pre-university and academic musical education (through pupils - students, pupils - university professors, etc.). Another special objective was to promote the image and opportunities existing at “George Enescu” National University of Arts of Iași. In this respect, inter-institutional partnerships were established between the Faculty of Interpretation, Composition and Theoretical Music Studies within “George Enescu” National University of Arts of Iași and numerous art high schools/colleges, especially from the regions of Moldavia (Suceava, Botoșani, Bacău, Piatra-Neamț, Iași, Bârlad and Galați). In this study we will go into more detailed aspects related to teaching and art activities made for this purpose, diverse and attractive, evidenced by: demonstration lessons of Music theory, Classical composition / jazz – easy listening, Musicology, Choral/Orchestral Conducting, MasterClass for aspects regarding the perception and graphic representation of the sounds, as well as the specific musical skills training (held by professors Luminiţa and Gheorghe Duţică), to which educational concerts, book launches, special meetings with teachers from the pre-university education, additional training with students for admission to the academic musical education in Iași (especially in the contest subject called Theory - Solfeggio –Melodic Dictation.
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Gruber, Hubert. "Lesson study with music: a new way to expand the dialogic space of learning and teaching." International Journal for Lesson and Learning Studies 8, no. 4 (October 3, 2019): 272–89. http://dx.doi.org/10.1108/ijlls-03-2019-0019.
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Purpose The purpose of this paper is to show that lesson study by including elements from music and music education can sustainably expand and improve the dialogical space for teaching and learning in higher education, especially for primary and secondary teacher education students. Design/methodology/approach For the first time under the topic “Lesson Study: Music in Dialogue,” corresponding study programs were prepared at the University College of Teacher Education, Lower Austria. The data material from which answers to research questions can be generated are the “Didactic Design Pattern” and classical research lesson planning, observation and discussion instruments. Moreover, discussion protocols of the reflection meetings offered insights the participants gained through sharing their experience of a series of lesson study cycles including focussed collaboration between mentors, teachers, teacher education students and primary school pupils. Findings Within the lesson study groups, the space for cooperation and dialogue widened considerably and the interest in the work and expertise of each other increased. Based on the principles of a “community of practice,” this study shows the positive effects of professional collaboration on primary and secondary teacher education students and a lasting impact on their pupils’ learning. Thereby, the dialogical principle was found to play a central and important role. In connection with music- and art-related processes, previous limitations in teaching and learning with music can be exceeded for pupils, teacher education students and teachers. Research limitations/implications This study, therefore, provides new insights into questions of organization and implementation, as well as scientific and didactic support in professional learning communities. Originality/value So far, there has been little practitioner research through lesson study in the field of music education. In particular, lesson study enhancing the cooperation between music education and other subject areas through dialogical-integrative work has brought about knowledge and insights of great importance for the further development of an appropriate didactic approach in dialogic music education.
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Clauhs, Matthew. "Songwriting with digital audio workstations in an online community." Journal of Popular Music Education 4, no. 2 (July 1, 2020): 237–52. http://dx.doi.org/10.1386/jpme_00027_1.
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Digital audio workstations and online file-sharing technology may be combined to create opportunities for collaborations among many groups, including performing ensembles, music technology classes, professional songwriters and preservice music teachers. This article presents a model for a digitally mediated online collaboration that focuses on popular music songwriting activities in school and higher education settings. Using an example from a high school music production class that collaborated with an undergraduate music education course through Google Docs and a file-sharing platform, the author outlines steps towards facilitating partnerships that focus on creating music in an online community. Such collaborations may help remove barriers between our classrooms and our communities as music teachers leverage technology to develop relationships with creators and performers of popular music everywhere.
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Parkes, Kelly A., and Ryan Daniel. "Motivations impacting upon music instrument teachers’ decisions to teach and perform in higher education." British Journal of Music Education 30, no. 3 (June 19, 2013): 397–414. http://dx.doi.org/10.1017/s0265051713000193.
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The purpose of this study was to explore why highly trained musicians choose to teach in higher education. An international population from nine countries of music instrument teachers was sampled via online survey, to determine their reasons for teaching in higher education. Motivational constructs from the expectancy-value framework were used, and data were analysed statistically and qualitatively for themes. Findings show that participants held significantly higher expectancy beliefs about teaching than performing, and significantly higher intrinsic interest value beliefs about performing than about teaching. All six constructs were positively correlated with cost for music performing and teaching predicting the most variance.
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Havrilova, Liudmyla, Valentyna Oriekhova, Olena Beskorsa, Olha Churikova-Kushnir, and Zoya Sofronii. "INVESTIGATING MUSIC TEACHERS’ MASTERY OF TRANSMEDIA TECHNOLOGY IN UKRAINE." Humanities & Social Sciences Reviews 8, no. 5 (September 3, 2020): 23–36. http://dx.doi.org/10.18510/hssr.2020.853.
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Purpose of the study: The objective of this study was to look into the opportunities of using the transmedia technologies in art education, in particular in music teachers’ professional training, and to introduce the results of the online survey “Transmedia Technology in Art Education” that was carried out in Ukraine among both teachers’ and university students’ for investigating their mastery of transmedia technology.
Methodology: This study was based on the online survey “Transmedia Technology in Art Education”. The survey was developed on the Google Forms platform and included 20 questions, divided into three blocks. To conduct the study, 40 students of State Higher Education Institution “Donbas State Pedagogical University” (Ukraine) and Communal Institution “Pokrovsk Pedagogical College” (Ukraine) and 31 university lecturers and secondary school teachers took part in the survey.
Main Findings: The received data and their analysis show that the concept of transmedia technology and its essence is new and unknown for both students and teachers. The survey confirms that all survey participants are active ICT users who prefer searching for and sharing information on the Internet, using electronic guides and textbooks, and creating multimedia products. Fewer respondents prefer active methods of using ICT, such as an online stream, seminars, e-journals, learning materials with QR codes. It was found that the knowledge about ICT and skills to use it is the basis for mastering the transmedia technology and implementing it in music teachers’ professional training.
Applications of this study: This study can be used by secondary school administrative staff to investigate the teachers’ mastery of transmedia technology, as well as by university teachers for implementing the transmedia strategy in music teachers’ professional training that contributes to the qualitative development of their professional competence.
Novelty/Originality of this study: The novelty of the study lies in the attempt to investigate the level of music teachers’ mastery of transmedia technology and its potential opportunities for developing music teachers’ professional competence as there is no experience of using transmedia technology in the sphere of music teacher training.
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Whittaker, Adam. "Teacher perceptions of A-level music: tension, dilemmas and decline." British Journal of Music Education 38, no. 2 (January 14, 2021): 145–59. http://dx.doi.org/10.1017/s0265051720000352.
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AbstractA-level music, a qualification taken most often in English and Welsh school contexts around the age of 18, has been a long-standing feature of the musical training of many musicians. Historically bound up with Western European Art Music, the qualification has somewhat broadened its horizons in recent times, though with mixed success in opening up new ways of thinking about music. Recent research has highlighted the seemingly precarious nature of A-level music in many English schools. The reasons for this picture of decline are highly complex and difficult to disentangle, and are part of a much broader diminishing of creative subjects in the school curriculum. Decreasing numbers of A-level music entries run somewhat counter to popular policy discourse, which celebrates flagship announcements of £79 million given to Music Education Hubs in 2019–2020, and 2018 survey results that reported more than 700,000 children learning to play a musical instrument through music hub provision. However, behind these headlines, although there are many children having the opportunity to learn a musical instrument, few continue through to A-level and beyond. Despite its declining numbers, A-level music is recognised as a valuable qualification amongst music teachers, offering something distinct from graded music examinations and other Level 3 musical qualifications. This article presents the results of a recent nationwide survey of A-level music teachers to offer an insight into teacher perceptions of current A-level music specifications, the extent to which it prepares students for entry into higher musical education, and its appropriateness for aspiring young musicians.
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Сherkasov, Volodуmуr. "FORMATION OF MUSICAL AND AESTHETIC CULTURE OF FUTURE TEACHERS OF MUSICAL ART BY MEANS OF THE FESTIVAL MOVEMENT." Academic Notes Series Pedagogical Science 1, no. 192 (March 2021): 26–31. http://dx.doi.org/10.36550/2415-7988-2021-1-192-26-31.
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The article substantiates the formation of musical and aesthetic culture of future teachers of music by means of the festival movement. The substantiation of the festival-competition «Steps to Mastery» is just being held on the basis of the Centralukrainian State Pedagogical University named after Volodymyr Vynnychenko. Music culture in the context of training future music teachers in higher education is interpreted by us as a complex dynamic phenomenon that integrates knowledge, skills and abilities in major musicological disciplines, experience in various types of music performance, the level of intellectual and creative abilities of future music teachers art, readiness for active musical and creative activity and increase of values of musical art. Aesthetic culture of the future music teacher is defined as a holistic, complex personal education, characterized by globalization of aesthetic worldview, level of aesthetic education and development, refined aesthetic taste, aesthetic perception and response to works of music, as well as the creation of aesthetic values in life and art. Musical and aesthetic culture of the future music teacher is the core of his professional culture, spiritual values and personal intellectual and artistic image. In the process of studying music-theoretical, instrumental and vocal-choral disciplines, future music teachers form an emotional and value attitude to the creative heritage of composers who were able to recreate the style, character and atmosphere of the era, which forms a holistic picture of the world, allows to think and focus those events that affected social change and contributed to progressive neoplasms in society. Participation in the festival movement promotes the creation of relationships between innovation, technology and creativity, the search for innovative and creative ideas. There is a presentation of the professional level of performers and musical groups, creative interaction is formed in the context of a new system of communication and a new model of cultural life. Music festivals have a positive impact on the preservation of cultural heritage, the promotion of national and world values.
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Boon, Ebru Tuncer. "Self-regulated learning skills of prospective music teachers in Turkey." International Journal of Music Education 38, no. 3 (March 23, 2020): 415–30. http://dx.doi.org/10.1177/0255761420909919.
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The purpose of this study was to investigate self-regulated learning skills of prospective music teachers in Turkey ( N = 222). This study also investigated whether self-regulated learning skills of prospective music teachers differed according to their gender, academic year, daily practice hours, and most recent instrument exam grade. The data were collected through the Self-Regulated Learning Skills Scale developed by Turan. Analyses revealed that statistically significant differences were found between the Planning and Goal Setting subscale and gender variable. The female students had higher planning and goal setting compared to the male students. The results also showed that the male students were more dependent learners. Students whose instrument exam grade was between 76 and 100 had higher planning and goal setting skills. Prospective music teachers who practiced their instruments more than 3 hr a day showed higher self-regulated learning skills than those who practiced less. Implications for future research and practical applications are also discussed.
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Blackford, Lena. "Musical education in Russian secondary schools." British Journal of Music Education 14, no. 1 (March 1997): 57–67. http://dx.doi.org/10.1017/s0265051700003442.
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This paper reviews the traditions of teaching school music in Russia and focuses on the music curriculum for comprehensive schools elaborated by the Russian Academy of Pedagogical Sciences. New teaching methods continue to be developed and, despite economic difficulties in Russia, the number of institutes of higher music education remains high compared to that in other countries. As a result Russia has, perhaps, a greater number of highly-qualified musicians, teachers and performers than any other country in the world.
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Powell, Sean R., Molly A. Weaver, and Robin K. Henson. "Relationship of Preservice Music Teachers’ Primary Instrument Background and Teaching Effectiveness in Brass and Woodwind Techniques Classes." Journal of Music Teacher Education 27, no. 3 (September 26, 2017): 38–50. http://dx.doi.org/10.1177/1057083717733469.
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The purpose of this study was to examine the relationship between preservice music teachers’ primary instrument background and their teaching effectiveness in brass and woodwind techniques classes. Study participants ( N = 135) were preservice music teachers enrolled in secondary instrument techniques courses (brass and woodwinds) from fall 2011 through spring 2015 in three universities. Participants taught a 10-minute video recorded lesson to a beginning-level university student on a brass or woodwind instrument at the end of the semester. All videos were subsequently assessed by two researchers using a researcher-designed rubric. The results of analyses of variance showed that brass-teaching scores tended to be higher than woodwind-teaching scores for all groups. Brass players taught brass more effectively than woodwind players, and woodwind players taught woodwinds better than brass players. Brass and woodwind players scored higher than percussionists, vocalists, pianists, and string players in both brass and woodwind teaching. Implications for music teacher education are discussed.
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Hanson, Josef. "Exploring Relationships Between K–12 Music Educators’ Demographics, Perceptions of Intrapreneuring, and Motivation at Work." Journal of Research in Music Education 65, no. 3 (August 4, 2017): 309–27. http://dx.doi.org/10.1177/0022429417722985.
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Gifford Pinchot III coined the term intrapreneur to recognize “dreamers who do”: individuals who transform ideas into new endeavors within existing organizations. The purpose of this study was to gauge the salience of intrapreneuring for K–12 music teachers and examine how its attributes and behaviors relate to teachers’ workplace motivation and demographics. From a sampling frame of 1,351 public school music teachers in New York State, 576 teachers completed an online questionnaire for a response rate of 42.6%. Results showed statistically significant differences in teachers’ intrapreneurial orientation depending on teaching experience, level and specialization of teaching position, and school affluence. Higher levels of confidence in and contextual support for intrapreneuring predicted stronger teacher motivation. Respondents who self-identified as intrapreneurs facilitated collaborations between their students and guest musicians, piloted new approaches for teaching creativity and improvisation, and developed innovative curricula. While respondents generally felt autonomous, they did not feel they had adequate resources for launching new endeavors, and they perceived low levels of tolerance for risk and mistakes within their school organizations. Findings of this study may help isolate specific intrapreneurial attributes and organizational factors that could support teacher-driven pedagogy and reduce teacher demotivation and attrition.
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Zhukov, Katie. "Exploring the content of instrumental lessons and gender relations in Australian higher education." British Journal of Music Education 25, no. 2 (June 11, 2008): 159–76. http://dx.doi.org/10.1017/s0265051708007900.
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This observational study analysed the lesson content of 24 instrumental lessons (piano, strings and winds) using a gender-balanced sample (equal numbers of male/female teachers and students) from five Australian higher education institutions to ascertain the priorities of topics in advanced applied music lessons in the Western Classical tradition. The results were analysed according to gender to determine differences of approach between male and female teachers and male and female students. Same-gender and different-gender pairings were also considered. Technique was found to be of the greatest importance, followed by Articulation and Expression. Some gender differences have emerged between the teachers, with the male teachers tending towards a more analytical approach and the female teachers adopting more balanced lesson content. The treatment of students showed some divergence, with greater emphasis on Expression in the lessons of female students, whereas the male students studied more Structure. The results demonstrate stereotypical gender behaviour among the teachers and towards their students not previously observed in this educational setting.
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Suleymanova, Dilorom, and Shoxida Ataboyeva. "Issues Of Professional Training Of Future Music Teachers In Working With The Choir." American Journal of Social Science and Education Innovations 02, no. 11 (November 30, 2020): 453–57. http://dx.doi.org/10.37547/tajssei/volume02issue11-76.
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This article describes the future pedagogical activities of future music teachers studying in the higher education system, the qualifications and skills necessary for them to work with choirs. Also, today there are a lot of shortcomings in the teaching process, introducing students to the art of vocal and choral. In addition to the concluding remarks of the article, the authors gave a number of effective methods and recommendations.