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Journal articles on the topic 'Teacher of musical education'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

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 prim

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2

Stramkale, Ligita. "STUDENTS’ PERSPECTIVES ON THE IMPLEMENTATION OF MUSICAL ACTIVITIES IN PRESCHOOL EDUCATION." Journal of Education Culture and Society 9, no. 2 (2018): 109–16. http://dx.doi.org/10.15503/jecs20182.109.116.

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Aim. The aim of the study is to find out students’ perspectives on the necessity, readiness and disturbing factors of implementing musical activities in preschool. The theoretical part of the paper describes the particularity of preschool teachers’ work, the children’s interest in musical activities, and the benefits of implementing musical activities in preschool.  Method. The empirical study involved 168 students (N=168), of which 132 students (N=132) are already working as preschool teachers in parallel with their study at the university. The study identified three questions: why do p

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3

Svalina, Vesna, Blaženka Bačlija Sušić, and Goran Lapat. "PRIMARY SCHOOL TEACHERS’ OPINIONS TOWARDS MUSICALLY GIFTED STUDENTS." Problems of Education in the 21st Century 79, no. 1 (2021): 133–61. http://dx.doi.org/10.33225/pec/21.79.133.

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Primary school teachers have an important role in the early identification and further development of a child's musical giftedness. The research was aimed to examine the opinions of primary school classroom teachers (N = 1130) employed in Croatian primary schools regarding conceptualization of musical giftedness and its impact on identification of musically gifted students. Furthermore, their opinions about the support of parents, professional team and collective as well as competencies for recognizing and further development of the child’s musical giftedness were investigated. Although most r

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4

Lau, Wing Chi Margaret, and Susan Grieshaber. "Musical free play: A case for invented musical notation in a Hong Kong kindergarten." British Journal of Music Education 27, no. 2 (2010): 127–40. http://dx.doi.org/10.1017/s0265051710000045.

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Drawn from a larger mixed methods study, this case study provides an account of aspects of the music education programme that occurred with one teacher and a kindergarten class of children aged three and four years. Contrary to transmission approaches that are often used in Hong Kong, the case depicts how musical creativity was encouraged by the teacher in response to children's participation during the time for musical free play. It shows how the teacher scaffolded the attempts of George, a child aged 3 years and 6 months, to use musical notation. The findings are instructive for kindergarten

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5

Meske, Eunice Boardman. "The (Musical) Arts and Teacher Education." Design For Arts in Education 88, no. 3 (1987): 15–18. http://dx.doi.org/10.1080/07320973.1987.9935465.

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6

Slavíková, Petra. "Creativity in Education from the Teacher’s Perspective and Its Possible Implications for Music Creative Work with Children Aged 5–6 in Formal Education in the United Kingdom." Paedagogia Musica, no. 4 (2023): 37–54. http://dx.doi.org/10.24132/zcu.musica.2023.04.37-54.

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This study is a qualitative research project focused on teachers’ views of their influences on children’s (aged 5–6) musical creativity within the context of formal education in the United Kingdom. The study offers insight into teachers’ efforts to develop creativity directly and indirectly and explores other factors which connect to creativity, such as institutional context, teacher training, and musical and pedagogical skills. Participants (seven music teachers work- ing in state and private schools in York, UK, with children aged 5–6) were recruited through snowball sampling and participate

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Hong, Seungyoun. "A Comparative Study of Student Selection Systems in Korean and American Teacher Training Universities Focusing on Music Teachers." International Journal of Membrane Science and Technology 10, no. 3 (2023): 1491–506. http://dx.doi.org/10.15379/ijmst.v10i3.1732.

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This study aims to enhance the system for nurturing elementary school music teachers in South Korea through a comparative analysis with the United States, focusing on the student selection methods and curricular approaches in teacher training universities. By examining the differences between the two countries, particularly in relation to the admission process and the content of music education programs, this research seeks to identify potential areas for improvement in South Korea's teacher preparation system. The findings reveal significant differences between the two countries in their appr

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Mkrtichian, O. А., and Zhenyu Zhou. "PEDAGOGICAL CONTINUING EDUCATION OF MUSICAL ART TEACHERS IN THE PR CHINA." Bulletin of the T.H. Shevchenko National University "Chernihiv Colehium" 1, no. 157 (2019): 117–21. https://doi.org/10.5281/zenodo.2622454.

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This paper highlights the algorithms for continuing education of music art teachers in the PRC. Also, attention is paid to the difference in the use of the terms "teacher of music» and "teacher of music art", which are used in the terminology of the People's Republic of China. The peculiarity of continuing education of music art teachers in the People's Republic of China is their perception as civil servants, and it regulates the peculiarities of passing qualification courses for a given category of teachers, as well as the content of the courses. The state underta

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9

Milencovici, Daniel-Alex. "Teaching Music Education at Primary School in Romania: A Qualitative Analysis on Teachers Training." Studia Universitatis Babeș-Bolyai Psychologia-Paedagogia 67, no. 2 (2022): 139–62. http://dx.doi.org/10.24193/subbpsyped.2022.2.07.

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"A quality education is a major goal of each country because it is a predictor of the success of future societies. When it comes to quality education, initial teacher training should be a landmark of the universities that prepare the future teachers. Music education can contribute to the development of quality education from a young age of children, needing, therefore, well trained teachers to perform it. Exposing children to quality music education in primary school does not restrict to the class hours. It might cover different learning situations, as music can accompany most of the teaching

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10

Rakityanska, L. M. "ON THE QUESTION OF THE PRINCIPLES OF THE ORGANIZATION INDIVIDUAL TRAINING IN THE SYSTEM MUSIC TEACHER TRAINING." Educational Dimension 8 (May 24, 2022): 93–99. http://dx.doi.org/10.31812/educdim.5428.

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In the article are given modern principles of organization o f the individual approach in the system of personal-oriented education of the teaches of music.  The author investigates the content of principals of musical and general pedagogic, the ways o f their realization in musical-performing preparing of the teacher of music in the secondary school. The author reveals the content of musical-performing preparing of the future teacher of music, which is organized on the basic of principals o f professional-oriented education

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You, Tingjun, Huihua He, and Yuanyang Yue. "Teacher Support and Pre-Service Preschool Teachers’ Piano Skill: The Chain Mediation Effects of Music Self-Efficacy and Learning Engagement." Behavioral Sciences 15, no. 4 (2025): 484. https://doi.org/10.3390/bs15040484.

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Piano proficiency is essential for pre-service preschool educators; nevertheless, numerous candidates begin teacher education programs with little prior experience, exhibiting poor self-efficacy and limited musical competencies required for effective teaching. This study seeks to examine the mechanism of how teacher support affects proficiency in piano skills among pre-service preschool educators. Four hundred thirty pre-service preschool teachers from a preschool teacher education program at a public normal university in Shanghai, China, completed the Teacher Support Questionnaire (MOCSE-TSQ)

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12

Pryshchepa, O. "READINESS STRUCTURE OF FUTURE ELEMENTARY SCHOOL TEACHER TO INTEGRATED MUSICAL AND EDUCATIONAL ACTIVITY." Bulletin of the T.H. Shevchenko National University "Chernihiv Colehium" 2, no. 158 (2019): 269–72. https://doi.org/10.5281/zenodo.3251490.

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One of the priority directions of Ukrainian education system development are integration processes. It is emphasized that pedagogical elementary school teacher’s work is aimed at formation of younger school students’ key competences among which there are requirements to common pupils’ cultural literacy. For this reason, integrated musical and educational activity of the elementary school teacher is directed to younger school students’ training, development and education by means of musical art. <strong>Aim of the article: </strong>define the readiness structure of the e

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13

Glover, Jo. "Understanding Children's Musical Understanding." British Journal of Music Education 7, no. 3 (1990): 257–62. http://dx.doi.org/10.1017/s0265051700007865.

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Central to building any picture of children's musical development is the notion of musical understanding. As teachers we need constantly to seek a better understanding of what children's musical understanding involves and how it is acquired and displayed. Indications of how we may need to look at children's work are taken from a 1984–7 Bristol-based research project, and strategies subsequently adopted for use in initial and in-service teacher training are outlined.

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Griffin, Shelley M. "Shifting From Fear to Self-confidence: Body Mapping as a Transformative Tool in Music Teacher Education." Alberta Journal of Educational Research 61, no. 3 (2016): 261–79. http://dx.doi.org/10.55016/ojs/ajer.v61i3.56048.

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Fear and lack of self-confidence toward music teaching are frequently experienced by many Bachelor of Education teacher candidates when they imagine themselves as future elementary general music teachers. Integrating visual art body mapping in elementary music methods fosters a unique opportunity to identify and interrogate musical experience. Findings from a 2-year narrative inquiry reveal how body mapping provides a window into music teacher identity through understanding the role of musical experience in teacher candidates’ daily lives. Body mapping becomes a transformative tool in music te

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15

Ho, Yan Lam, and Alfredo Bautista. "Quality Assessors’ Feedback and Recommendations on Music Education in Hong Kong Kindergartens." Education Sciences 14, no. 5 (2024): 466. http://dx.doi.org/10.3390/educsci14050466.

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In Hong Kong, quality assessors from the Education Bureau (EDB) visit kindergartens to conduct Quality Review (QR) assessments. Their written reports, therefore, reflect the official local perspective of quality kindergarten education. We conducted a content analysis of 323 QR reports focusing on the positive and negative feedback and recommendations for improvement regarding music education. Two coding schemes were developed using an inductive approach. High inter-reliability was obtained. The most frequently mentioned positive feedback codes were related to sufficient exposure to music and e

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16

Charalambidou, Christina. "Cultivating Creativity in Teacher Education." Constructionism Conference Proceedings 8 (June 24, 2025): 27–41. https://doi.org/10.21240/constr/2025/17.x.

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Music education is widely recognized for its cognitive and emotional benefits, making it a significant focus of educational research. However, many educators – particularly in early childhood and primary settings – are reluctant to integrate music into their teaching. This hesitation often stems from inadequate musical preparation, low self-confidence, and insufficient support. Such limitations reduce both the frequency and quality of musical experiences offered to students, limiting their developmental opportunities. To address this issue, a balanced approach to teacher preparation is needed

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17

Botirkhonovich, Shokirkhonov Bakhtiyorkhon. "EDUCATION OF MUSICAL ABILITIES, TEACHING ONE AND TWO VOICES." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 03, no. 05 (2022): 54–57. http://dx.doi.org/10.37547/pedagogics-crjp-03-05-09.

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This article provides detailed information on the pedagogical skills of a music teacher, ways to develop children's musical abilities, the role of music in the upbringing of children, the directions of teaching music to children by a music teacher in one and two voices.

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18

Kim, Jee-Ean, and YouMe Han. "The Structural Relationship Between Early Childhood Teachers’ Variables Affecting the Practice of Early Childhood Music Education." Korean Association For Learner-Centered Curriculum And Instruction 25, no. 5 (2025): 981–96. https://doi.org/10.22251/jlcci.2025.25.5.981.

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Objectives The purpose of this study is to identify the structural relationship between early childhood teaches’ musical interest, music self-concept, knowledge for early childhood music activities, attitude toward early childhood music education, and the practice of early childhood music education. Through this, this study seeks the ways to support teacher education, and intended to provide a practical and theorietical basis for increasing the effictiveness of music education in early childhood education. Methods The participants of this study were 278 kindergarten teachers in Seoul, Gyeonggi

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19

Jurkić Sviben, Tamara, and Martina Mičija Palić. "Attending cultural events and aquiring cultural capital in the context of developing music competencies of future teachers for teaching music culture in lower grades." Školski vjesnik 72, no. 2 (2023): 110–27. http://dx.doi.org/10.38003/sv.72.2.7.

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As part of the Music Culture course, teacher education students at the Faculty of Teacher Education of the University of Zagreb are obliged to attend classical and jazz music concerts organized by the faculty as a part of the Music Scene of the Faculty of Teacher Education.The paper aims to examine the attitudes and opinions of teacher education students about the importance and necessity of attending cultural events, especially concerts, in order to conduct music culture classes in primary education successfully and effectively.The results show that students who, to a greater extent, believe

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20

Shaw, Ryan D., and David Potter. "A Content Analysis of Music Teacher Student Learning Objectives in Michigan." Bulletin of the Council for Research in Music Education, no. 229 (July 1, 2021): 29–46. http://dx.doi.org/10.5406/bulcouresmusedu.229.0029.

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Abstract States have revamped teacher evaluations over the last 10 years to include teacher performance ratings based on student achievement/growth, presenting a challenge in nontested subjects such as music. The most common approach has been to measure music teacher effectiveness based on teacher-designed student learning objectives (SLOs), but almost no evidence exists on SLO processes. The purpose of this study was to examine the assessments and parameters used in SLOs. Specific research questions were: (a) What assessments are used to measure student growth? (b) What is the overall design

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21

Mejzner, Rafał. "Musical intelligence of candidates for early childhood teachers." Problemy Opiekuńczo-Wychowawcze 577, no. 2 (2019): 59–67. http://dx.doi.org/10.5604/01.3001.0013.2047.

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The purpose of the following article is to present the results of the research on the musical intelligence of candidates for early childhood education teachers. The research was carried out using a standardized test developed by Herbert D. Wing. The author of the paper bases on the assumption that the level of musical intelligence of future teachers in kindergarten and fi rst grades of primary school largely determines the effects of didactic work in the fi eld of music education conducted by academic teachers. The text ends with conclusions and postulates aimed at optimizing teacher education

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22

Swanwick, Keith. "The ‘good-enough’ music teacher." British Journal of Music Education 25, no. 1 (2008): 9–22. http://dx.doi.org/10.1017/s0265051707007693.

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Teaching and learning are complex processes and evaluating the work of music teachers is neither obvious nor simple. The outcomes of educational transactions may not be completely or immediately apparent. Furthermore, the contexts in which musical skills and understanding are acquired are multiple, going well beyond the formal categories of ‘general’ class music teacher or the ‘private’ instrumental and vocal teacher. In many of these alternative settings, standardised student assessment or teacher evaluation processes may be inappropriate. In this paper, an approach to evaluating teaching and

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23

Okhmaniuk, Vitalii, Ivan Kosynets, Nataliia Chernetska, Oleg Gontar, and Nataliya Tseiko. "Musical Art and Musical Pedagogy in Higher Art Education: Instrumental and Vocal Directions." Cadernos de Educação Tecnologia e Sociedade 18, se1 (2025): 282–90. https://doi.org/10.14571/brajets.v18.nse1.282-290.

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The article represents at attempt to comprehend systemic features of today musical art and musical pedagogy synergy in musical higher education, with special focus on instrumental and vocal directions. The notion of sense-making is considered, based on the potential of ‘hidden curriculum’ and value co-creation. It is emphasized that a skilled educator fosters a dynamic environment that supports the dyadic interaction between teacher and student. The instructor uses the interpersonal relationship as a means of identifying and customizing the steps required in a task so that they are clear, unde

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24

Brenner, Brenda, and Katherine Strand. "A Case Study of Teaching Musical Expression to Young Performers." Journal of Research in Music Education 61, no. 1 (2013): 80–96. http://dx.doi.org/10.1177/0022429412474826.

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What does it mean to teach musical expression to child performers? Is it teaching how to interpret a piece of music “correctly,” or is there more involved? In this case study, we explored the beliefs and practices of five teachers who specialized in teaching children to perform in a variety of musical performance areas, including violin, cello, piano, guitar, voice, and musical theater. To discover their pedagogy for teaching musical expressivity, we asked the initial questions, “How do these teachers define musical expression?” “What are the characteristics of an expressive performance for ch

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Sulentic Begic, Jasna, Amir Begic, and Tihana Skojo. "Opinions of University Music Teachers on the Musical Competencies Necessary for Primary Education Teachers." International Journal of Higher Education 6, no. 1 (2017): 197. http://dx.doi.org/10.5430/ijhe.v6n1p197.

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This paper describes the research conducted in the Republic of Croatia during the 2012/13 academic year. We have gathered opinions from experts, i.e. teaching methods teachers from seven faculties of teacher education, regarding the music teaching competencies necessary for primary education teachers teaching music in the first several grades of elementary school. We used the Delphi method in our research, i.e. in our sample survey among teaching methods teachers. The teachers also evaluated the competencies of their students and some elements of teacher education studies course syllabi and pr

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Omarova, Anar, and Madina Shamurodova. "MUSIC EDUCATION AND DEVELOPMENT." MODERN SCIENCE AND RESEARCH 3, no. 2 (2024): 915–20. https://doi.org/10.5281/zenodo.10684823.

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<em>This article provides information about music education, its importance and development in the process of work of preschool educational organizations. Organization of educational activities of preschoolers, purposeful formation of the child’s personality through the influence of musical art - the formation of interests, needs, abilities and aesthetic attitude to music, teaching music, in the process of musical education, the education of each child. about character traits and interests, cooperation between a music director and a teacher, about musical activities.</em>

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27

Kushnir, K. "Peculiarities of valuable competencies development of future teacher of musical art." Musical art in the educological discourse, no. 3 (2018): 25–31. http://dx.doi.org/10.28925/2518-766x.2018.3.2531.

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The article is devoted to the current problem of modern art, especially music education. It reveals peculiarities of valuable competencies development of future teacher of musical art in conductoing-choral training at a higher education institution. The society is interested in development a highly-qualified specialist, who has high level of valuable competencies development, who meets the demands to the teacher in modern school. It is emphasized that the future teacher of musical art should be mobile, use computer technologies, take an active part in a socio-cultural environment, all this wil

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28

Dimitrov, Teodor. "Music Teacher Competencies as a Responsibility of Music Pedagogy Education." Pedagogical Almanac 30, no. 1 (2022): 45–54. http://dx.doi.org/10.54664/qbuh3277.

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The subject of this study is the professional competence of music teachers, as well as the complex relation between the musical competencies acquired in different musical disciplines during musical and pedagogical education on the one hand, and the specific manner of their complex functioning in music lessons on the other hand, considering the goals and tasks of this subject in general education. The aim of the study is to consider the necessary competencies of the music teacher for the accomplishment of practical learning outcomes, as well as to compare them with some aspects of the training

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29

Lyudmila, Kondratova. "Actual problems of the pedagogical mastership development of the musical art teacher under conditions of postgraduate pedagogical education." ScienceRise: Pedagogical Education, no. 3(30) (May 31, 2019): 23–27. https://doi.org/10.15587/2519-4984.2019.170645.

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The article is devoted to highlighting the current state of the development of pedagogical mastership of musical art teachers in the system of postgraduate pedagogical education. The modern experience of the development of pedagogical mastership in formal education is considered. The experience of using thematic, author's courses for teachers on the basis of special courses, master-classes, creative workshops, in-depth training, thematic training is described. The description of innovative forms of teacher training in the course period is given. The experience of the organization of non-fo

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30

Lukovska, Svitlana. "Exploring the Composer-Performer-Teacher Role Complex in Fostering Creativity in Music Education." Convergences - Journal of Research and Arts Education 17, no. 33 (2024): 105–22. http://dx.doi.org/10.53681/c1514225187514391s.33.242.

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The article considers the interaction system between the processes of creating a musical composition, performance and pedagogy, which is currently a particularly topical issue. The main purpose of the article is to actualise the attention to this dilemma of representatives of the Ukrainian musical and pedagogical community, including composers, performers, teachers, and to comprehend the importance of the triune role complex. The article analyses the block “composer – performer – teacher” using the methods of historical and interdisciplinary approaches. Data different in nature, directions of

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Dikun, I. "Theoretical-Methodological Foundations Of Developing Creative Activity Experience Of Future Music Teachers." Zhytomyr Ivan Franko state university journal. Рedagogical sciences, no. 2(88) (March 30, 2017): 101–5. http://dx.doi.org/10.35433/pedagogy.2(88).2017.101-105.

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The article deals with the main directions of contemporary art education aimed at training and educating specialists, capable of creative self-development and self-realization, professional development and active creative teaching. A phenomenon of art and creative activities are analyzed in the research of scholars of different branches of knowledge. Theoretical-methodological foundations of creative activity experience of future Music teachers are defined. The levels of musical perception and activities that make up the Institute of musical culture of society are characterized. The article re

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32

Koycheva, Tetyana, and Zhuhua Li. "THE ESSENCE OF THE METHODOLOGICAL CULTURE OF FUTURE TEACHERS OF MUSICAL ART." Modern Tendencies in Pedagogical Education and Science of Ukraine and Israel: the Way to Integration, no. 9 (September 20, 2018): 123–30. http://dx.doi.org/10.24195/2218-8584-2018-9-123-130.

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The article substantiates the relevance of the study of the issue of culture relevant education, in particular of future teachers of musical art, the formation of a methodological culture in them. The data on the theoretical basis for the study of this issue are presented. On the basis of the analysis of the concepts «culture», «pedagogical culture», «professional and pedagogical culture», «methodological culture», the essence of the phenomenon «methodological culture of future teachers of musical art» is determined and its role in the process of their professional training in the conditions o

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Rui, Gou. "Ethno-Artistic Competence of a Music Teacher: Essence, Structure, Features of Formation." Professional Education: Methodology, Theory and Technologies, no. 17 (September 14, 2023): 79–92. http://dx.doi.org/10.31470/2415-3729-2023-17-79-92.

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Abstract. This article examines the main competencies of a modern music teacher. The purpose of the article is to characterize the essence, structure and features of the formation of ethno-artistic competence of a music teacher. The used research methods are: analysis and generalization, modelling, synthesis. Results. It has been established that the actions of the music teacher should be primarily aimed at the formation of key competencies, since the training can be successful in which the following chain is clearly traced: from a competent teacher to a competent student. Therefore, the impor

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Yusupova, A. A., and N. A. Kargapolceva. "INTERPRETATION OF A MUSICAL WORK AS A MEANS OF DEVELOPING ARTISTRY IN THE PROCESS OF MUSICAL AND ARTISTIC EDUCATION OF FUTURE MUSIC TEACHERS." Vestnik Orenburgskogo gosudarstvennogo universiteta 230 (2021): 53–57. http://dx.doi.org/10.25198/1814-6457-230-53.

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Artistry plays an important role in the pedagogical activity of any teacher, but it is of particular importance in the activity of a music teacher, since it is the most important professional quality of the personality of a teacher-musician. Pedagogical artistry, as is well known, consists of an external factor (intonation, diction, expressiveness, musicality, gestures, plasticity, etc.), which is developed through vocal art, and an internal one (spirituality, creative and musical-pedagogical thinking, imagination, etc.), associated with performing skills. Work on the interpretation of the wor

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Turekhanova, Zh, and N. N. Khan. "PEDAGOGICAL GIFTEDNESS AS A FACTOR OF SUCCESSFUL PREPARATION OF STUDENTS OF ADDITIONAL EDUCATION FOR CONCERT PERFORMANCE." BULLETIN Series of Pedagogical Sciences 70, no. 2 (2021): 56–64. http://dx.doi.org/10.51889/2021-2.1728-5496.07.

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This paper examines the features of the activities of a teacher of additional education related to the preparation of students for a concert performance and necessity of creating favorable conditions to the successful performance of students. The most common shortcomings in preparing students for performing in front of audience are identified, also the main stages of the musical teaching process are considered. In the course of analyzing the activities of a music teacher, it was revealed that in the structure of the organization of the musical teaching process when working with gifted students

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Zhuhua, Li. "The structure of the future Music teachers’ methodological culture." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 1 (130) (2020): 22–27. http://dx.doi.org/10.24195/2617-6688-2020-1-3.

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Our country's aspirations for joining the European educational space, acquiring institutions of the national education system, including establishments of general education, competitiveness in the world educational services market actualize the need for its modernization and quality improvement. Modern state documents that provide the legal normative framework for national education are aimed at the above mentioned. The purpose of the article is to highlight and substantiate the structure of the methodological culture of the future teachers specialised in Musical Arts. The article describes th

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Vicente-Nicolás, Gregorio, Lozano Carlos Rodríguez, and Judith Sánchez-Marroquí. "Music in Early Childhood Education: generalist teachers versus specialist teachers." Espiral. Cuadernos del Profesorado 16, no. 32 (2023): 29–38. https://doi.org/10.25115/ecp.v16i32.8862.

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Today, there is still a debate in schools about who should be the teacher responsible for teaching music in Early Childhood Education: some believe that it should be the Early Childhood teacher and others believe that it should be the specialist music teacher who takes on this task. The objective of this work is to know the opinion of future teachers of Early Childhood Education on some aspects of their training and teaching of music, with special attention to whether they consider that this discipline should be taught by them or, on the contrary, by the music teacher. The group of participant

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Hanley, Betty. "Music Teacher Education: New Directions." British Journal of Music Education 10, no. 1 (1993): 9–21. http://dx.doi.org/10.1017/s026505170000139x.

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Research about the delivery of music teacher education programs indicates a number of areas which should be addressed. The report below describes innovative practice in an advanced elementary methods course at the University of Victoria, British Columbia. In Music Education 306, theory and practice were connected through student-directed discussions of foundation issues; the development of personal musical competencies; observation, teaching in the schools, and reflection on practice; the challenge to examine issues critically; and student involvement in the planning of their own learning and

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Flusser, Victor. "An ethical approach to music education." British Journal of Music Education 17, no. 1 (2000): 43–50. http://dx.doi.org/10.1017/s0265051700000139.

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Reflecting upon the relationship between people and music, the author is led to adopt a new position on musical education. His ideas are based on the work of the philosopher Hannah Arendt, the pedagogue and paediatrician, Janusz Korczak, and the composer R. Murray Schafer – all of whom focus upon the ‘dialogue’ of education. From Korczak is borrowed the idea of the child as ‘a present-state being’ rather than a ‘future-state being’; from Arendt the concepts of labour, work and action; and from Schafer his ‘Wolf Project’ for a musical community. On the basis of these three influences, the autho

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Madrimov, Bahram Khudoinazarovich. "Professional Training Is An Incentive For Moral And Aesthetic Education." American Journal of Social Science and Education Innovations 03, no. 02 (2021): 109–13. http://dx.doi.org/10.37547/tajssei/volume03issue02-17.

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Each profession has its own characteristics, and the profession of a music teacher has its own secrets and requirements. The uniqueness of the professional competencies of the future teacher is reflected in the fact that they are aimed at enriching the inner world of students in the music sphere with spiritual values and content that are reflected in the works of musical art. Professional spiritual competences reflect the specificity and spiritual nature of the practice of musical pedagogy. Their formation is one of the most pressing problems inherent in the modern system of music education, a

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Kuznetsova, Olga. "Artistic-creative approach to the methodical preparation of students of faculties of arts of pedagogical universities." HUMANITARIUM 44, no. 2 (2019): 99–106. http://dx.doi.org/10.31470/2308-5126-2019-44-2-99-106.

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The article shows the essence of artistic and creative activity of the teacher of musical art, the possibility of realization of which involves mastering personal-oriented pedagogical technologies. The purpose of the article is theoretical synthesis and systematization of the possibilities of artistic and creative approach to the methodical preparation of future teachers of music. The expediency of applying pedagogical technologies of contextual, problem learning, as well as information, design technologies in the preparation of teacher-musician is determined. The leading role of dialogicity a

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Shouldice, Heather Nelson. "“Everybody has something”: One teacher’s beliefs about musical ability and their connection to teaching practice and classroom culture." Research Studies in Music Education 41, no. 2 (2018): 189–205. http://dx.doi.org/10.1177/1321103x18773109.

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The purpose of this case study was to explore one elementary music teacher’s beliefs about the nature of musical ability and the ways in which these beliefs relate to actions and lived experiences in the classroom. Data included extensive classroom observations documented through fieldnotes and video footage, semi-structured interviews, teacher journal entries, teaching artifacts, and researcher memos. Three themes emerged from the data: (a) enabling success for all; (b) power of the learning environment; and (c) encouraging lifelong engagement with music. The findings of this study suggest th

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Valdebenito, Karla, and Alejandro Almonacid-Fierro. "Teachers’ conceptions of music teaching: A systematic literature review 2010-2020." International Journal of Evaluation and Research in Education (IJERE) 11, no. 4 (2022): 1950. http://dx.doi.org/10.11591/ijere.v11i4.22950.

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This article provides an overview of research in music education between 2010 and 2020 and affords a systematic review of literature related to the experiences of teachers in teaching music in the classroom. The literature reports that music teaching depends mostly on the teacher, who must employ teaching-learning strategies according to the initial training received and the different educational contexts of professional practice. The article has the objective of analyzing the teaching practices that teachers deploy in the regular classroom of primary and secondary education. Bibliographic inf

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Mishra, Vidhi. "Tune Trek: Music Education Platform for Children." International Journal of Designs for Learning 16, no. 1 (2025): 20–21. https://doi.org/10.14434/ijdl.v16i1.41434.

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Tune Trek is a music education platform for children (ages 3 to 7) who have parents without any musical training to support at-home music practice. Tune Trek uses the Orff approach for musical training, by engaging mind and body through a combination of singing, dancing, acting, and the use of percussion instruments. The Tune Trek platform ecosystem includes an iPad app for children, a mobile app for parents, and a website for teachers. The apps and website both feature character-driven navigation, animated lessons, and a rewards system, intended to increase engagement and task completion. The

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Gorbenko, Sergiy. "ARTISTIC EDUCATION OF STUDENTS IN THE PROJECTION OF A PERSONALLY ORIENTED APPROACH." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 14–18. http://dx.doi.org/10.36550/2415-7988-2021-1-195-14-18.

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The article is devoted to the problem of personality-oriented education of students of general secondary education. A special place in this process belongs to the teacher. Emphasis is placed on the need to develop and implement in school practice such approaches that would be focused on the formation of students' ability to build constructive relationships with participants in the educational process in terms of mutual understanding, creative cooperation. The teacher must have a dialogical style of communication with students, cultivating in them equal subjective relationships. The content of

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Menard, Elizabeth A. "Music Composition in the High School Curriculum." Journal of Research in Music Education 63, no. 1 (2015): 114–36. http://dx.doi.org/10.1177/0022429415574310.

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Student and teacher perceptions regarding composition instruction were investigated using case study techniques in two high school music programs: a general music program providing accelerated instruction to gifted musicians in small classes and a typical performance-based band program. Students in both programs participated in a composition instruction program. Qualitative data included student and teacher interviews, observation, and participant journals. Quantitative data included administration of a composition attitude survey and assessment of student compositions. Analysis of band direct

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Ying, Yue. "METHODICAL PREREQUISITES FOR TRAINING MUSIC TEACHERS TO TEACH ART TO PUPILS." Aesthetics and Ethics of Pedagogical Action, no. 26 (December 25, 2022): 183–93. http://dx.doi.org/10.33989/2226-4051.2022.26.273179.

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The purpose of the article is to analyze the requirements of general school education regarding the education of art students as determinants of the professional future music teacher methodical training. Scientific sources of Ukrainian and Chinese art pedagogy were involved in the theoretical analysis. The analysis was carried out in the context of identifying the potential of the achievements of Ukrainian artistic pedagogy and science for their possible introduction into the Chinese music and music-pedagogical education system, which is currently being integrated into the world's cultural pro

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Hanke, Maureen. "Living the spiral curriculum: using the Swanwick/Tillman sequence of musical development to support music in primary schools in the 1980s." British Journal of Music Education 39, no. 1 (2022): 115–19. http://dx.doi.org/10.1017/s0265051721000267.

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AbstractThis article aims to capture how the Swanwick and Tillman (1986) spiral model of musical development influenced my work as an Inner London Education Authority (ILEA) music coordinator (advisory teacher). It discusses my professional position in a period of teaching prior to the implementation of the National Curriculum for Music, to illustrate dichotomous pedagogical approaches in a developing re-positioning of aesthetic knowledge in music education. Using the example of two Key Stage 2 (KS2) music projects, a brief reflection concludes how the model of musical development and an adapt

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Ilari, Beatriz. "Musical Parenting and Music Education: Integrating Research and Practice." Update: Applications of Research in Music Education 36, no. 2 (2017): 45–52. http://dx.doi.org/10.1177/8755123317717053.

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Although teachers work constantly with parents, discussions concerning parental roles in children’s music learning are often left at the margins in music teacher training programs. The aim of this article is to offer a review of musical parenting research from an ecological perspective. Bronfenbrenner’s bioecological theory of human development is used as a lens to examine musical parenting research concerning infants, school-aged children, and adolescents. Issues pertaining to contemporary parenting in the Western world such as intensive parenting and concerted cultivation are also considered

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Kolling, Luciane Inês. "Educação musical e unidocência: modos de ser professora na educação infantil." Educação Online 20, no. 48 (2025): e25204801. https://doi.org/10.36556/eol.v20i48.1658.

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O artigo apresenta resultados de uma pesquisa sobre como a professora pedagoga unidocente trabalha a educação musical na educação infantil. Como base metodológica, utilizou-se da abordagem qualitativa (Brandão, 2001; Minayo, 2009), com questionário semiaberto (GIL, 2010) e entrevista por grupo focal (Bauer; Gaskell, 2002; Gatti, 2005), baseado nos referenciais sobre a educação infantil, unidocência e a música. Sequencialmente, em seus caminhos metodológicos, apresentamos a análise dos dados, inicialmente, por cinco Unidades de Análise (UA): “Trabalhando com a música”, “O papel da professora”,

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