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Journal articles on the topic 'Music teachers Music teachers School music Music appreciation'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Cain, Melissa. "Musics of ‘The Other’: Creating musical identities and overcoming cultural boundaries in Australian music education." British Journal of Music Education 32, no. 1 (2015): 71–86. http://dx.doi.org/10.1017/s0265051714000394.

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The binary opposition between ‘own music’ and ‘other's music’ is the ‘result of deep conditioning’ (Drummond, 2010, p. 118) and is almost impossible to overcome.By exploring the underlying constructs that influence students’ and teachers’ perceptions of minority cultures and their musics, this paper explores the notion of ‘the other’ in Australian music education. In particular, how the many factors which play a role in cultural identity serve to both promote and prevent musical understanding and appreciation. An examination of Australian multicultural policy and music curriculum documents in

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2

Lei, Liu. "Research on Music Appreciation Teaching of Non-Music Majors in Normal Universities." International Journal for Innovation Education and Research 4, no. 1 (2016): 46–50. http://dx.doi.org/10.31686/ijier.vol4.iss1.507.

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Schools in China pay more attention to quality-oriented education. Music, an essential part in quality-oriented education, has been an indispensable part in education policy making process for a long time. During the crucial period transforming from examination-oriented education to quality-oriented education, music plays an irreplaceably special role in learning and teaching. According to the recent data, all the normal universities have set up the music curriculum, whether it is music, or non-music majors. It stresses the importance of music class in the form of compulsory or optional course

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Vidulin, Sabina. "Music teaching in regular class and extracurricular music activities in Croatia: State and perspectives." Hungarian Educational Research Journal 10, no. 2 (2020): 143–54. http://dx.doi.org/10.1556/063.2020.00015.

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AbstractIn the last 30 years Croatia has been involved in an intensive period of educational reforms. Music teaching, as a compulsory subject, underwent some positive and negative changes. The so-called open model and contents remake bring the possibility for teachers to be more creative and for students to be involved to a greater extent, but unfortunately, music lessons come to just 1 h per week. As a part of the Croatian school system, the extracurricular music activities are implemented in the school curriculum which affects the acquisition of new knowledge developing students’ musical ski

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Spencer, Piers. "John Paynter, 1931–2010: an appreciation." British Journal of Music Education 27, no. 3 (2010): 221–23. http://dx.doi.org/10.1017/s0265051710000306.

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John Paynter's death this year has deprived British music education of its most inspirational advocate during the second half of the 20th century. John's teaching in primary and secondary schools during the 1950s played a major role in shaping his vision of music at the heart of the curriculum. With his ear for an apt phrase, John loved to quote American novelist Toni Morrison's description of the wonderful presence and power of music as ‘a way of being in the world’. During the 1960s, John trained teachers in colleges in Liverpool and Chichester, before joining the innovative music department

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Wolf, Motje. "The Appreciation of Electroacoustic Music: The prototype of the pedagogical ElectroAcoustic Resource Site." Organised Sound 18, no. 2 (2013): 124–33. http://dx.doi.org/10.1017/s1355771813000046.

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This article introduces research on the influence of teaching on the change of inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to make Key Stage 3 students (11–14 years old)1 familiar with electroacoustic music. The curriculum introduced music using concepts, such as music with real-world sounds and music with generated sounds. Presented in an online environment and accompanied with a teachers’ handbook, the curriculum can be used online or as classroom-based teaching resource.The online environment was developed with the help of user-centred design.

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Leung, Bo-Wah. "Overview of research work of Prof. Leung on Cantonese opera in Hong Kong and Guangzhou." Impact 2021, no. 7 (2021): 18–20. http://dx.doi.org/10.21820/23987073.2021.7.18.

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It is important to recognise and transmit the importance of traditional music. Professor Bo-Wah Leung, Research Centre for Transmission of Cantonese Opera, The Education University of Hong Kong, recognises the value of this and wants to establish improved methods of communicating the cultural importance of Cantonese opera and thereby inspiring an appreciation for this among the current generation of young people as well as future generations. Bo-Wah founded the Research Centre in 2018 and this is where he leads various research projects devoted to improving how teachers can impart the importan

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Treacy, Danielle Shannon, and Heidi Westerlund. "Shaping imagined communities through music: Lessons from the School Song practice in Nepal." International Journal of Music Education 37, no. 4 (2019): 512–23. http://dx.doi.org/10.1177/0255761419850251.

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This study attends to the global need to rethink how music education could provide opportunities for shaping imagined communities in times of intensifying societal complexity and diversity by exploring the practice of singing ‘school-specific songs’ in the Kathmandu Valley, Nepal. The methodology combines educational ethnography with Appreciative Inquiry, whereby individual interviews with school administrators, musician-teachers, a school founder and a composer were analysed and reflexively interpreted. Countering previous critical research on school-specific songs, this study shows that alth

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Horak, Yakym. "Volodymyra Bozhejko’s & her family letters Stanislav Liudkevych." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 271–311. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-15.

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The article bears witness to the history of relationship between composer and pianist. The extant letters (31 in all) are published with the scientific commentary for the first time, as well as letters of her father Ivan Bozhejko (2 in all), and a letter of her brother Yuliy Bozhejko to Stanislav Liudkevych. The pianists’ letters span the years from 1919 to 1947 — the time of her piano studies in Vienna, and later her employment as a piano teacher in Peremyshl subsidiary school of Higher Music Institute. The letters reveal the methodology of Liudkevuch professional tutoring of his student: he

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Aris, Qori Islami. "Pelatihan Penciptaan Musikalisasi Puisi sebagai Bentuk Apresiasi Sastra pada Siswa SMK Telkom Pekanbaru." BIDIK: Jurnal Pengabdian kepada Masyarakat 1, no. 2 (2021): 32–40. http://dx.doi.org/10.31849/bidik.v1i2.6203.

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Scientific articles are scientific papers of research results communicated in scientific publications, such as journals, magazines, or other publications. In schools, especially teachers who teach Bahasa Indonesia, are required to be able to motivate students to increase their reading interest in literature, because by studying literature students can get various benefits for their lives. Therefore, a teacher is required to be able to guide students to give appreciation for literary works, especially poetry. However, the reality in the field, teachers have difficulty teaching poetry musicaliza

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Syarnubi, Syarnubi. "PROFESIONALISME GURU PENDIDIKAN AGAMA ISLAM DALAM MEMBENTUK RELIGIUSITAS SISWA KELAS IV DI SDN 2 PENGARAYAN." Tadrib: Jurnal Pendidikan Agama Islam 5, no. 1 (2019): 87–103. http://dx.doi.org/10.19109/tadrib.v5i1.3230.

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This study aims to describe and analyze critically the professionalism of teachers in the form of PAI religiosity fourth grade students at SDN 2 Pengarayan. This research is a qualitative research taking the location of SDN 2 Pengarayan. Data collection are getting by observation, documentation and interviews. Data analysis were carried out by examining all data, data reduction, data presentation, drawing conclusions and verifying data. Data checking is done by triangulation with two modes, namely using multiple sources and multiple methods. The results of the study show: (1) PAI teacher

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Rapoport, Alek. "Tradition and Innovation in the Fine Arts." Canadian-American Slavic Studies 45, no. 2 (2011): 183–206. http://dx.doi.org/10.1163/221023910x535593.

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AbstractSince childhood, AR was attracted by art. His first teacher, E. Sagaidachny, was a former member of the nonconformist groups “Youth Union” and “The Donkey Tail”. Later, in Leningrad, AR enrolled in the V. Serov School of Art. In spite of official Socialist Realism, some teachers (Shablovsky, Gromov, Sudakov) introduced their students to Russian avant-garde. AR educated himself, copying the paintings of Old Masters in the Hermitage Museum. During 1959-1963 AR studied Russian Suprematism and Constructivism in the Leningrad's Institute for eater, Music and Cinema under the supervision of

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Sexton, Fiona. "Practitioner challenges working with informal learning pedagogies." British Journal of Music Education 29, no. 1 (2012): 7–11. http://dx.doi.org/10.1017/s0265051711000507.

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Early in my career as a music teacher I was very focused on providing my students with what I believed at the time were a range of musical experiences that broadened their understanding and appreciation of music from a variety of cultures and traditions. However, as I gained more experience, I was able to spend a greater amount of time reflecting on how the pupils were learning as well as what they were learning. Through my engagement in practitioner research I also became more aware of the musical experiences my pupils were having away from school and this led me to realise that an increasing

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13

Cox, Gordon. "Secondary School Music Teachers Talking." Music Education Research 1, no. 1 (1999): 37–46. http://dx.doi.org/10.1080/1461380990010104.

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Hidayatullah, Riyan, and Prisma Tejapermana. "Kelas Gitar Akustik Berbasis Pembelajaran Kooperatif." Gondang: Jurnal Seni dan Budaya 4, no. 2 (2020): 137. http://dx.doi.org/10.24114/gondang.v4i2.18676.

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This article examines learning acoustic guitar in formal schools employing cooperative learning design. The problem is focused on students’ perceptions of the difficulty of interpreting theory, teacher mastery of music theory, and the learning methods used. This study aims to describe the cooperative learning method implemented in acoustic guitar classes at schools (N = 30). Data were collected through observation, interviews, and documentation to be analyzed qualitatively using an interactive model (Miles et al., 2014). The guitar learning process is carried out in groups by breaking the home

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Woody, Robert H., and Kimberly J. Burns. "Predicting Music Appreciation with Past Emotional Responses to Music." Journal of Research in Music Education 49, no. 1 (2001): 57–70. http://dx.doi.org/10.2307/3345810.

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This study is an exploration of the musical backgrounds and beliefs of nonmusicians and the relationship of these variables to music appreciation factors. Subjects were 533 college students enrolled in 17 sections of courses in Music Appreciation and Music for Classroom Teachers. Subjects completed a questionnaire regarding their musical backgrounds, preferences, and beliefs and then heard and responded to four highly expressive classical music excerpts. Data analyses indicated significant relationships between certain musical background factors and responsiveness to classical music. More spec

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Orieščiková, Helena. "Music therapy or music philetics in school?" Kultura - Przemiany - Edukacja 8 (2020): 162–73. http://dx.doi.org/10.15584/kpe.2020.8.11.

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The paper is focused on explaining the concepts of music therapy and music philetics at school. Music philetics is defined as an artistic - pedagogical discipline with a very close relationship with music therapy. It tries to create his own, new ways, procedures with the basis in music therapy, but require a different procedure and approach within the implementation. Music philetics is a newly emerging discipline standing on the border of music education and music therapy. It is beneficial in schools where teachers use different working methods with music, rhythm, and voice. The text deals wit

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Vasil, Martina. "Integrating popular music and informal music learning practices: A multiple case study of secondary school music teachers enacting change in music education." International Journal of Music Education 37, no. 2 (2019): 298–310. http://dx.doi.org/10.1177/0255761419827367.

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The purpose of this multiple case study was to examine the practices and perspectives of four music teachers who integrated popular music and informal music learning practices into their secondary school music programs in the United States. A primary goal was to understand music teachers’ process of enacting change. Data included 16 semi-structured interviews, eight school site visits and observations, documents, and a researcher journal. Findings revealed that teachers enacted change within micro-contexts—their classrooms. Teachers had an internal locus for change; they developed rationales f

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Robinson, Nicole R. "Preservice Music Teachers’ Employment Preferences." Journal of Research in Music Education 60, no. 3 (2012): 294–309. http://dx.doi.org/10.1177/0022429412454723.

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This study was designed to investigate preservice music teachers’ ( N = 187) perceptions of employment preferences when considering future teaching positions. Adaptive Conjoint Analysis, a business market–based research tool, was used to determine preferences for personal factors (e.g., salary, commute), school environmental factors (e.g., administrative support, school type, student race-ethnicity, student socioeconomic status [SES]), and music teaching factors (e.g., resources, facilities, program sustainability, parental and community support). Results indicated that preservice music teache

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19

Hamann, Donald L., and Joy E. Lawrence. "University Music Educators' Effectiveness as Determined By Public School Music Teachers." Update: Applications of Research in Music Education 12, no. 2 (1994): 21–27. http://dx.doi.org/10.1177/875512339401200204.

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Abril, Carlos R., and Julie K. Bannerman. "Perceived Factors Impacting School Music Programs." Journal of Research in Music Education 62, no. 4 (2014): 344–61. http://dx.doi.org/10.1177/0022429414554430.

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The purpose of this study was to examine elementary music teachers’ perceptions of factors impacting their music programs and teaching positions as well as the actions these teachers take in response to those factors. The following research questions guided the study: (1) What factors are perceived to impact music programs and teaching positions? (2) What is the nature of these factors? (3) How and within what socioecological levels do teachers act on behalf of their programs or positions? (4) To what degree are specific actions, people, and/or groups thought effective in impacting music progr

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21

Corcoran, Sean. "Teaching creative music in El Sistema and after-school music contexts." International Journal of Music Education 39, no. 3 (2021): 313–26. http://dx.doi.org/10.1177/0255761421990820.

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El Sistema music programmes have blossomed over the past decade, with the aim of fostering social development through intensive orchestral music instruction. Many scholars agree that creative music making can facilitate student agency development, increase a sense of belonging and promote creative expression by allowing students to bring their perspectives to the learning context. With these benefits apparent, it seems rational that El Sistema should incorporate creative music making into its curriculum. To build understanding of how creative music approaches function in some programmes, I use

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Legette, Roy M. "Multicultural Music Education Attitudes, Values, and Practices of Public School Music Teachers." Journal of Music Teacher Education 13, no. 1 (2003): 51–59. http://dx.doi.org/10.1177/10570837030130010107.

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Holden, Hilary, and Stuart Button. "The teaching of music in the primary school by the non-music specialist." British Journal of Music Education 23, no. 1 (2006): 23–38. http://dx.doi.org/10.1017/s0265051705006728.

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This article reports on an investigation of the teaching of music by non-music specialists in the primary school. In particular, it examines attitudes to teaching music, factors affecting teachers' confidence, the relationship between confidence and training, support for music teaching, teaching experience and musical background. The non-specialist teachers taking part in this survey were chosen from twelve schools across one Local Education Authority (LEA). The attitudes and views on teaching music of 71 teachers were obtained through a questionnaire survey and follow-up interviews. The findi

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Dale, Catherine. "Britain's ‘Armies of Trained Listeners’: Building a Nation of ‘Intelligent Hearers’." Nineteenth-Century Music Review 2, no. 1 (2005): 93–114. http://dx.doi.org/10.1017/s1479409800001579.

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‘Are you musical?’, asks Gustav Kobbé of some imaginary interlocutor in the introduction to How to Appreciate Music (1906). ‘No’, comes the reply, ‘I neither play nor sing’. ‘But, if you can read and listen’, Kobbé continues, ‘there is no reason why you should not be more musical … than many of those whose musicianship lies merely in their fingers or vocal cords’. Kobbé's response epitomizes the shift in emphasis that had begun to occur in music education at the turn of the century from the acquisition of technical proficiency on an instrument or the voice to the cultivation of an appreciative

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Russell, Joshua A., and James R. Austin. "Assessment Practices of Secondary Music Teachers." Journal of Research in Music Education 58, no. 1 (2010): 37–54. http://dx.doi.org/10.1177/0022429409360062.

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The purpose of this study was to survey assessment and grading practices employed by secondary music teachers throughout the southwestern region of the United States. Three main research questions guided the study: (1) What types of school district frameworks and classroom contexts are secondary music teachers operating within? (2) Which specific assessment and grading practices are employed most commonly by secondary music teachers? (3) Do any contextual or individual difference variables influence secondary music teachers’ assessment and grading practices? Two mailings yielded 352 total usab

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Sutherland, Andrew Thomas. "“I think everyone’s been thrilled”: Music teachers’ perspectives on school music performance collaborations." International Journal of Music Education 35, no. 3 (2017): 446–59. http://dx.doi.org/10.1177/0255761416689839.

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Thanks to the efforts of music teachers in arranging concerts, young musicians develop a multitude of skills when performing with others. Music teachers are notoriously time-poor with the pressures of various curricular and co-curricular demands. To find time to provide performance opportunities for students that involve other schools adds layers of administrative complexities to an already comprehensive workload. Although there is literature to suggest the benefits of collaboration, the necessities of getting the mechanics of a music department running smoothly often places the idea of musica

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Сherkasov, Volodymyr. "FORMATION OF MUSIC AND PEDAGOGICAL EXPERIENCE OF MUSIC ART TEACHERS GENERAL EDUCATIONAL INSTITUTIONS." Academic Notes Series Pedagogical Science 1, no. 190 (2020): 56–62. http://dx.doi.org/10.36550/2415-7988-2020-1-190-56-62.

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The article proves the possibility of forming the ability to understand music by primary school students. The influence of program works of the school program on the perception and understanding of music of different genres is proved by concrete examples. The educational influence of works of musical art on the formation of the artistic and emotional sphere of personality is proved. The formation of the ability to understand works of music by primary school students occurs in a certain sequence based on teacher-student interaction, both in music lessons and during extracurricular work on artis

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Ng, Hoon Hong. "The Value of Learning Collective Free Music Improvisation: Preservice Music Educators’ Perspectives." Journal of Music Teacher Education 30, no. 3 (2021): 40–53. http://dx.doi.org/10.1177/10570837211018287.

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I conducted a case study to explore preservice music teachers’ behaviors, thoughts, and feelings when engaged in collective free music improvisation. Nine preservice music teachers were taught how to freely improvise within groups as part of a teacher education course and participated in interviews and focus group discussions. Major themes highlighted learning across three segments that emphasized communication and collaborative skills, entrepreneurial skills and risk taking, and reconciliation and transformation. I concluded that the sociomusical outcomes produced by collective free improvisa

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29

Legette, Roy M. "The Role of University Music Educators as Perceived by Public School Music Teachers." Journal of Music Teacher Education 8, no. 2 (1999): 21–28. http://dx.doi.org/10.1177/105708379900800205.

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McQueen, Hilary, Susan Hallam, and Andrea Creech. "Teachers’ and students’ music preferences for secondary school music lessons: reasons and implications." Music Education Research 20, no. 1 (2016): 22–31. http://dx.doi.org/10.1080/14613808.2016.1238059.

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Parkes, Kelly A., Brett D. Jones, and Jesse L. M. Wilkins. "Assessing Music Students’ Motivation Using the MUSIC Model of Academic Motivation Inventory." Update: Applications of Research in Music Education 35, no. 3 (2015): 16–22. http://dx.doi.org/10.1177/8755123315620835.

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The purpose of this study was to investigate the reliability and validity of using a motivation inventory with music students in upper-elementary, middle, and high school. We used the middle/high school version of the MUSIC Model of Academic Motivation Inventory to survey 93 students in the 5th to 12th grades in one school. Our analysis revealed the inventory produced reliable and valid scores on the five MUSIC scales (MUSIC is an acronym for empowerment, usefulness, success, interest, and caring). Findings provide empirical evidence to support the validity of the five-factor structure of the

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Palen, Lois, John Palen, and Andrew Dabczynski. "School Teachers Forum Theater Music and the School Orchestra." American String Teacher 44, no. 4 (1994): 53–55. http://dx.doi.org/10.1177/000313139404400414.

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Ng, Chi-hung Clarence, and Kay Hartwig. "Teachers’ perceptions of declining participation in school music." Research Studies in Music Education 33, no. 2 (2011): 123–42. http://dx.doi.org/10.1177/1321103x11423598.

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West, Chad. "Preparing Middle School Music Teachers to Teach Jazz." Journal of Music Teacher Education 23, no. 2 (2013): 64–78. http://dx.doi.org/10.1177/1057083713487077.

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Bowman, Wayne D. "Music Education and Post-Secondary Music Studies in Canada." Canadian University Music Review 21, no. 1 (2013): 76–90. http://dx.doi.org/10.7202/1014479ar.

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This essay questions the efficacy of conventional disciplinary boundaries in post-secondary music studies, boundaries that reductively define music education as a training ground for public school music teachers. Our expectations of music education and its sphere of influence have been far too modest. To the extent we segregate music education from the goals and objectives of music studies more broadly, we neglect our collective responsibility for the musical life of our country. We have focused inwardly, engrossed in our specialties, leaving the design of school music curricula and the fragil

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Henninger, Jacqueline. "Research-to-Resource: Effective Incorporation of World Music Into the Music Classroom." Update: Applications of Research in Music Education 37, no. 1 (2018): 5–8. http://dx.doi.org/10.1177/8755123318774199.

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As the demographics of our nation continue to evolve, music educators have a responsibility to embrace the opportunities they have to increase their students’ levels of awareness and acceptance of others who may represent different ethnic groups. The following research-to-resource article will provide background information and recommendations for instructional approaches one may use when sharing world music with students in the music classroom. Researchers have shown that providing students with opportunities to learn about and perform music representative of other cultures may positively aff

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Seddon, Frederick, and Michele Biasutti. "Non-music specialist trainee primary school teachers’ confidence in teaching music in the classroom." Music Education Research 10, no. 3 (2008): 403–21. http://dx.doi.org/10.1080/14613800802280159.

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Dobrota, Snježana, Antonija Vrančić, and Ivana Križanac. "Attitudes of primary school teachers in Croatia toward Music as a school subject / Stališča osnovnošolskih učiteljev na Hrvaškem do glasbe kot šolskega predmeta." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 17, no. 34 (2021): 13–27. http://dx.doi.org/10.26493/2712-3987.17(34)13-27.

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The paper explores the influence of years of work experience, professional qualifications, additional music education, engaging in music activities in leisure time, and going to the theatre/classical music concerts on the attitudes of primary school teachers toward the school subject Music. The research was conducted on a sample of primary education teachers from all Croatian counties (N = 233), using a questionnaire composed of two parts: The General Data Questionnaire and Attitudes Toward Music as a School Subject. The results confirm that primary school teachers with fewer years of work exp

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Gül, Gülnihal. "In Terms of Music Teachers, the Evaluation of Music Types in the Curriculum for Music in Secondary Education in Turkey." European Journal of Social Sciences Education and Research 2, no. 1 (2014): 19. http://dx.doi.org/10.26417/ejser.v2i1.p19-24.

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Along with the establishment of the Republic, a song repertoire consisting of transferred songs was previously endeavoured to be formed by taking school music samples of foreign countries and writing Turkish words below them. Afterwards, with the same percept, an imitation songs repertoire was attempted to be formed by our composers. Since the 1950s, the idea that school music should be on the axis of folk music and that music education should be carried out through school music samples composed from the close environment of the child has begun to take place. Together with the various developm

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Ho, Wai-Chung. "Secondary school students’ preferences for popular music and perceptions of popular music learned in school music education in Mainland China." Research Studies in Music Education 39, no. 1 (2017): 19–37. http://dx.doi.org/10.1177/1321103x17700688.

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This study examined popular music and school music education as cultural constructs of teenage students amid the shifting cultural and social dynamics of contemporary China. Data were drawn from questionnaires completed by 6,780 secondary students (mainly ages 12 through 17) from three cities—Beijing, Changsha, and Shanghai. The survey results revealed the extent of Chinese youths’ preferences for a variety of popular music styles in their daily lives, the relationship between their preference for popular idols and their music learning, and their views on learning popular music in school music

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Hancock, Carl B. "Music Teachers at Risk for Attrition and Migration." Journal of Research in Music Education 56, no. 2 (2008): 130–44. http://dx.doi.org/10.1177/0022429408321635.

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This study examined the effects of teacher characteristics, school conditions, teacher efficacy, external support, and remuneration on music educators' risk for attrition and migration. Data from the 1999—2000 Schools and Staffing Survey—a comprehensive, nationally representative survey of teachers, principals, and schools conducted by the National Center for Educational Statistics—were examined for 1,931 music teacher participants. Based on sequential logistic regression analysis, significant predictors included young age (less than 30 years; 30—39 years), teaching in a secondary or private s

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Ho, Wai-Chung, and Wing-Wah Law. "Music education and cultural and national values." International Journal of Comparative Education and Development 22, no. 3 (2020): 219–32. http://dx.doi.org/10.1108/ijced-10-2019-0053.

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PurposeThe purpose of this paper is to examine music teachers' perceptions of teaching cultural and national values (also defined as national cultural values) to explore the tensions facing school music education in the choice of music types to be delivered in Hong Kong and Taiwan.Design/methodology/approachWith specific regard to music teachers' perceptions of “values,” “music cultures” and “nationalism,” data were drawn from a survey questionnaire given to 343 music teachers (155 preservice and 188 in-service music teachers) and semistructured interviews with 36 of these respondents.Findings

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Hackworth, Rhonda S. "Prevalence of vocal problems: Speech-language pathologists’ evaluation of music and non-music teacher recordings." International Journal of Music Education 31, no. 1 (2012): 26–34. http://dx.doi.org/10.1177/0255761411431398.

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The current study, a preliminary examination of whether music teachers are more susceptible to vocal problems than teachers of other subjects, asked for expert evaluation of audio recordings from licensed speech-language pathologists. Participants ( N = 41) taught music ( n = 23) or another subject ( n = 18) in either elementary ( n = 21), middle ( n = 10), or high school ( n = 10), and had a mean of 14 years’ teaching experience. Each teacher read a poem while being audio recorded. Nine licensed speech-language pathologists with a mean of 20 years’ clinical experience served as expert evaluat

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Killen, Roy. "Preservice music teachers: influences on lesson planning." British Journal of Music Education 13, no. 1 (1996): 31–47. http://dx.doi.org/10.1017/s026505170000293x.

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This article explores the influences on preservice teachers' planning decisions in a study conducted during Semester I, 1994 at an Australian University. A group of second year Bachelor of Education (Music) students and Diploma in Education (Music) students were placed in a local school under the supervision of their university specialist methods lecturer and were required to teach a specified lesson to a junior secondary class on three occasions. Before teaching these lessons, every preservice teacher was interviewed and asked to justify each of their planning decisions. Responses for the pla

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Isbell, Daniel S. "Musicians and Teachers." Journal of Research in Music Education 56, no. 2 (2008): 162–78. http://dx.doi.org/10.1177/0022429408322853.

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This study was designed to investigate the socialization and occupational identity of undergraduate music education majors enrolled in traditional preservice teacher education programs. Preservice music teachers ( N = 578) from 30 randomly sampled institutions completed a 128-item questionnaire. Descriptive statistics were computed for all variables, and factor analysis was used to explore the underlying structure of occupational identity. Correlational and regression analyses revealed relationships among socialization influences and occupational identity. Descriptive findings surrounding vari

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Lamont, Alexandra, David J. Hargreaves, Nigel A. Marshall, and Mark Tarrant. "Young people's music in and out of school." British Journal of Music Education 20, no. 3 (2003): 229–41. http://dx.doi.org/10.1017/s0265051703005412.

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This article examines the perceived and documented problems of school music, particularly at secondary level, through a study of young people's music in and out of school. Four issues are explored: teachers' approaches to music in school; pupils' levels of engagement in musical activities in and out of school; pupils' attitudes to music in and out of school; and pupils' aspirations in music. A Pupils' Music Questionnaire was administered to 1,479 pupils in Years 4, 6, 7 and 9 (aged 8–14 years) from 21 schools in England; Teacher Interviews were conducted with 42 head teachers and teachers resp

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Forrester, Sommer Helweh. "Community Engagement in Music Education: Preservice Music Teachers’ Perceptions of an Urban Service-Learning Initiative." Journal of Music Teacher Education 29, no. 1 (2019): 26–40. http://dx.doi.org/10.1177/1057083719871472.

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To facilitate cultural competency among preservice music teachers, music teacher educators must create ongoing opportunities for discourse and situated learning. The purpose of this collective case study was to examine four preservice music teachers’ experiences in the Arranger-in-Residence Program (AIRP)—a community engagement project emphasizing service-learning and placed within a socioeconomically diverse urban school district. Research questions included (1) How did the participants describe their experiences in the AIRP? and (2) What challenges, if any, did the participants experience du

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Kusumawardani, Siska, and Nanda Nur Aulia. "ANALISIS KETERAMPILAN BERMAIN ALAT MUSIK ANGKLUNG PADA SISWA SEKOLAH DASAR." Refleksi Edukatika : Jurnal Ilmiah Kependidikan 11, no. 1 (2020): 116–20. http://dx.doi.org/10.24176/re.v11i1.4975.

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The purpose of this study was to analyze and describe the skills of playing angklung musical instruments in elementary school children. The research method in this research is descriptive research with observation, documentation and interview data. The research was conducted at SD Private Syafana Islamic School with the subjects studied were 10 children who were a combination of low classes, namely class 1,2,3. Data analysis using descriptive-qualitative analysis. The results showed that the skills to play angklung consisted of 1) preparation consisting of recruiting children to enter extra an

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Kim, Jie Soen. "Modern Joseon's Accommodation of Western Music, Seen from Activity of Japanese Secondary School Music Teachers." Tongyang Ŭmak 34 (December 31, 2012): 109–30. http://dx.doi.org/10.33452/amri.2012.34.109.

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Akarsu, Sıtkı. "Investigating Secondary School Music Teachers' Views about Online Music Lessons During the COVID-19 Pandemic." Educational Policy Analysis and Strategic Research 16, no. 2 (2021): 160–78. http://dx.doi.org/10.29329/epasr.2020.345.8.

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