Relevant bibliographies by topics / The roll of the teacher/musician

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

Academic literature on the topic 'The roll of the teacher/musician'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "The roll of the teacher/musician"

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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 (December 31, 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 and dialogue technologies in the process of professional activity of the teacher-musician is underlined with the help of which it becomes possible to comprehend the dialogue of cultures necessary for the analysis of artistic phenomena of various cultural-historical epochs, styles, genres. It is shown that the use of dialogue technologies contributes to the comprehension of the depth of the artistic content of a musical work, the comprehensive comprehension of music as a phenomenon of culture. It is revealed that within the framework of the artistic and creative approach to the training of music teachers, the dialogue determines the spiritual and value attitude to the essence of musical art, reveals the creative potential of the student-musician.The article shows that the most effective scientific approach to the methodical preparation of future teachers of musical art is an artistic and creative approach. The artistic and creative approach of the teacher of musical art to performing musical-educational activities as a system education is determined by external and internal factors. For external factors it is expedient to include the influence of the socio-economic environment, the specific features of the educational institution of artistic education, in which the student is realized, the goals and objectives formulated by a particular pedagogical team, etc. Internal factors include the need for creative activity, motivational and spiritual-value spheres, other internal sources of creative activity of a music teacher.
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Garipova, Natalya. "On the psychological component in the preparation of a future musician teacher." SHS Web of Conferences 87 (2020): 00105. http://dx.doi.org/10.1051/shsconf/20208700105.

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The article reveals the pragmatic aspect of the psychological training of future music teachers and reveals its specificity. This specificity lies in the fact that knowledge and skills from the field of psychology in the professional activity of a music teacher should ensure the comprehension of the emotional-figurative content of a musical work, and not familiarization with it as an object of study, as it happens in the development of other educational disciplines. The role of psychological knowledge for solving many other tasks solved in the process of musical education, carried out both in collective and individual forms, is also indicated. At the same time, two ways of forming psychological competencies are indicated – explicit, associated with the module of psychological disciplines, and implicit, which consists in the fact that psychological knowledge penetrates into the depths of performing and musical-theoretical training, providing an understanding of the mechanisms of perception, performance of music and mastering the algorithms of the teacher’s work on creation of conditions for its adequate artistic perception, which is the comprehension of musical meaning. In the study of the problem of the mechanisms of the emotional impact of music and the emergence of non-auditory sensations and perceptions are considered; the importance of mastering this (essentially psychological) information for the future musician teacher is shown. The proposed way of improvement the psychological training of a teacher-musician provides a solution to a dual task – improvement his personal qualities (which is facilitated by the perception of high music) and improvement his professional skill in organizing the process of musical perception of learners. This is able to ensure the birth of deep feelings in them.
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Shaymukhametova, Liudmila N. "Role Playing in Piano Instruction." ICONI, no. 1 (2021): 160–67. http://dx.doi.org/10.33779/2658-4824.2021.1.160-167.

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The article presents innovative forms of work with musical texts during piano lessons applied in work with beginning students in all conditions of teaching: in the academic educational process, as well as in private teaching practice of self-employed specialists. The reader shall be acquainted with concrete methodological elaborations of role playing which may be useful for the teacher in his or her practical work. The elaborations are carried out within the framework of one of the leading contemporary directions developed by the academic school of practical musical semantics. The presented homework assignments may serve as specimens for the creation of analogous elaborations by the teacher himself with substitutions of the musical material and with consideration of the pupils’ age-related capabilities. The author of the project, Liudmila Nikolayevna Shaymukhametova aspires to draw attention not only to new approaches to work with the musical text and to practical semantics as the most important direction in teaching music, but also to the question of what the contemporary textbook for the beginner musician should look like. The materials are addressed, among others, to upgrade training courses and professional retraining of teachers of schools, methodologists and teachers of general and professional education, as well as for application in practical work of private school teachers
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Ovchar, О. P. "V. O. Bohdanov – an outstanding researcher of the history of wind art in Ukraine: his life and creative career." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 8–23. http://dx.doi.org/10.34064/khnum1-54.01.

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Background. The question of a comprehensive assessment of certain musicians’ work has both artistic and aesthetic, sociocultural, and ethical projections associated with the evaluation of the creativity and activity of the musician both during their lifetime and after their passing. This issue also continues to be acutely relevant in the area of studying and shaping the scope of cultural knowledge about traditions and innovations in all spheres of musical art, about the role of an individual in the historical and cultural process both in the national and in the civilizational, globalizational aspects. Another important aspect is the study of one’s own cultural traditions and achievements (at the national, regional and other levels.), which makes it possible to reveal something universal and particular in all areas of musical practice (composition, performance, teaching, etc.) and give them an objective assessment. In this connection, musicians – our contemporaries, whose achievements are diverse and very significant in the musical field and whose versatile contribution to the development of musical art cannot be overestimated, – need special public and scientific attention. One of such outstanding figures of modern Ukraine is Valerii Bohdanov (13/07/1939–10/10/2017), a trumpet performer, conductor, teacher, musicologist, who devoted his whole life to music art in its various manifestations, achieved the highest results in all spheres of activity and went down in the history of Ukrainian musical art as one of the rare examples of a universal musician. His performance, conducting, pedagogical, and research activities in the field of wind instruments performance are so significant that they require a complex study, which as yet does not exist, and this paper seems to be one of the first steps on this path. Objectives. The purpose of this paper is to evaluate the life and career of the outstanding musician Valerii Bohdanov from the viewpoint of his contribution to the study of the history of wind performance in Ukraine. Methods. This paper employs a complex of several research methods related to the statement of the theme and its specificity: historical method, which allowed considering facts from life and work of V. Bohdanov in relation to the peculiarities of historical conditions of the time; historical and cultural method, thanks to which one can take into account the general context of music art, in particular, events and phenomena of musical practice within certain conditions of national culture, traditions and possibilities, specified amongst others at the ideological level; biographical method of research, due to which different periods of the musician’s creativity, directions of his activity, as well as their prerequisites, development paths and results are described; comparative method, associated with the comparative characteristics of stages and tendencies of Valerii Bohdanov’s work in different periods of his life; phenomenological method, featuring characteristics of unique interaction of various facets of the universal musician – the artist of music art. Results. The versatile activity of V. Bohdanov, a prominent musician, performer, conductor, teacher, researcher of the history of wind art in Ukraine, is distinguished by a special degree of interrelation of these spheres, which indicates the special quality of the universalism of Valerii Oleksandrovych’s personality as a phenomenon. According to the outlined and characterized areas of the musician’s activity all his achievements are determined, firstly, by the peculiarities of different periods of his life and career, historical circumstances and certain artistic experience, and secondly, by his personal qualities. The research and pedagogical activity of V. Bohdanov is one of the peaks of his multifaceted activity and the embodiment of the true mission, which combined the talent and experience of the practising musician, performer and conductor with pedagogical, scientific and educational work to the extent that allows speaking about a special status of a universal musician – a worker of musical art. An individual feature of V. Bohdanov’s universalism is that, being a practising musician, performer and conductor, he achieved the highest results in the scientific field, made an invaluable contribution to the study of the history of wind performance in Ukraine. Conclusions. The research findings indicate that Valerii Bohdanov’s activity is distinguished by the diversity and special status of universalism; its various facets are not just interconnected, they are interdependent and, thanks to a complex of personality characteristics, have become the basis for the outstanding result that was achieved by the musician. At the same time, the scientific side of Valerii Bohdanov’s work, dedicated to the history of wind instrument performance in Ukraine, has become a kind of pinnacle of his creative and life journey. Based on the aforesaid, we believe that the results of the presented research can be used in further scientific research related to such issues as: the study of Valerii Bohdanov’s research, performance, conducting, and pedagogical activities, as well as the work of other musicians, representatives of the wind music art of Ukraine; the characteristic of wind instruments performance schools; the search for answers to the questions faced by modern wind instruments performance, in particular, in the context of tradition and innovation, organology, genre-stylistics, repertoire, etc.
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Tanglin, Zhang. "POTENTIAL OF MEDIA EDUCATION IN PROFESSIONAL TRAINING OF MUSIC TEACHERS." Innovative Solution in Modern Science 7, no. 43 (December 27, 2020): 5. http://dx.doi.org/10.26886/2414-634x.7(43)2020.1.

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The article examines pedagogical activity as a way of social and cultural practice of the individual, which implements the tasks of preserving national traditions, adapting and regulating the process of professional development of a future teacher. The modernization of the educational system of Ukraine is determined by the tendencies of European integration, which can be considered an essential lever of success not only for the economic and political transformation of society, but also for strategic changes in the educational policy of Ukraine. The purpose of the article is to substantiate the practical importance of media education, taking into account modern trends in the modernization of the educational system in Ukraine in the era of globalization of the world educational space. To achieve this goal, the following tasks were set: to consider the role of media education in the professional activities of future music education specialists, to substantiate media education as a component of general education, and media literacy and media competence as a component of the professional and general culture of a modern music teacher; identify ways to solve the problem of the need for media education in the professional activity of a future musician teacher; to reveal and analyze promising directions for increasing the level of media educational training of future music teachers in social relations, new dimensions of his self-realization; substantiate the conclusions and directions for further consideration of the selected problem. The main methods used in the study are comparative, analytical, systemic and structural. Conclusions. We consider media education as a component of ICT, which includes, on the one hand, knowledge, skills and abilities of their application, on the other hand, media literacy, media competence and media culture. We associate the training of future teachers of musical disciplines using ICT tools with the need to improve the state educational standard by introducing new specialties, the need for which is dictated by the current state of art education and culture. The practical implementation of media education requires a change in scientific views on the need to introduce media education as a component of general education, and media literacy and media competence as an integral part of the professional and general culture of a modern music teacher. The solution to the problem posed also depends on the understanding of the value of professional activity, which occurs only through the actualization of the processes of self-awareness by future teachers-musicians, revealing themselves in the search for the meaning of artistic values. Key words: media education, modernization of professional training, musical and pedagogical activity, information and communication technologies, future teacher-musician.
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Stevens, Robin S. "Pathfinder and Role Model: Ada Bloxham, Australian Vocalist and Tonic Sol-fa Teacher." Journal of Historical Research in Music Education 39, no. 2 (January 18, 2017): 131–47. http://dx.doi.org/10.1177/1536600616669360.

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The Australian mezzo-soprano Ada Beatrice Bloxham (1865–1956) was the inaugural winner (in 1883) of the Clarke Scholarship for a promising musician resident in the Colony of Victoria to study at the Royal College of Music in London. She was the first Australian to enrol at the Royal College of Music and to graduate as an Associate of the College in 1888, and she was the first woman to be awarded a Fellowship of the Tonic Sol-fa College, London, also in 1888. After a period teaching and performing in Japan (1893–1899), she married and lived variously in South Africa, England, and France, returning to Australia in 1927. Due most probably to her marriage and family responsibilities, she appears not to have achieved her full potential as a performer and teacher. Nevertheless, Bloxham is worthy of recognition as having gained success as a musician and educator both in her native Australia and abroad during her early and middle years, and as a pathfinder and role model for other women during the early years of their musical careers.
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Tucker, Olivia Gail. "Preservice Music Teacher Occupational Identity Development in an Early Field Experience." Journal of Music Teacher Education 30, no. 1 (June 24, 2020): 39–52. http://dx.doi.org/10.1177/1057083720935852.

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Occupational identity development is an important, complex component of music teacher education. Preservice teachers may experience dissonance between and/or integration of their musician and teacher identities, and scholars have found early field experiences to be important in undergraduates’ transitions into the teacher role. The purpose of this instrumental case study was to examine the occupational socialization and identity development of preservice music teachers in an early field teaching experience with a focus on preservice teacher and P–12 student interactions. I conducted observations, interviews, and a demographic survey during a semester-long early field experience. Findings centered around (a) the dynamic nature of preservice teachers’ identities; (b) the importance of peers, music teacher educators, and students to preservice participants as they engaged in the process of becoming music teachers, and (c) the momentary embodiment of music teacher and student roles. I connect these findings to prior research and suggest implications.
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Nørholm Lundin, Anna. "Att bli och att vara framgångsrik musiker – socialisation och sortering genom livet." Educare - vetenskapliga skrifter, no. 1 (March 20, 2020): 82–108. http://dx.doi.org/10.24834/educare.2020.1.5.

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This article concerns learning, socialization and social sorting among successful musicians. The aim is to understand and problematize not only what it means to become a classical musician but also what it entails to be a successful classical musician. In what ways are musicians socialized through life? What approaches are formed among musicians, and what is the meaning of these when it comes to performance of work? Are their specific arenas and rituals of particular importance, when it comes to socializing and sorting among musicians? Interviews and documents about twelve musicians have been analyzed with the aid of Bourdieusian concepts, for example, practical sense and habitus, and research on elitist practices within music, arts and sports. The results indicate that there is a typical and similar career path for successful musicians, where young musicians are socialized into considering their careers in music as natural and given. The musicians are recognized as talented or wonder children at an early age, and they are accepted as students of a master teacher. Their careers are built by merits, such as a spectacular debut leading to an international career. These career steps function as both merits and as an opening of doors. Further, they contribute by strengthening the musicians´ identities and their roles as successful musicians and role models within the field.
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Stubley, Eleanor. "Field Theory and the Play of Musical Performance." British Journal of Music Education 12, no. 3 (November 1995): 273–83. http://dx.doi.org/10.1017/s0265051700002746.

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This paper utilizes the vocabulary and methodological concepts of field theory to explore how play can arise in and through performance. Field is defined as a space or potential for action. The action of play is grounded in an open and expanding space which through a dialectic interplay of feelings motivates self-exploration. The action of musical performance is grounded in a reaching out movement through which the performer forges and sustains a musical voice. The field can create a space for play when the music-making re-directs or challenges the focus of the musical voice. The methodological approach recognizes and respects differences in the way music is made in different cultural traditions. It also articulates a need to develop instructional strategies which treat musical style as a ritualistic process and which define the role of the teacher as a musician.1
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Kritskiy, Aleksandr B., and Boris D. Kritskiy. "Phenomenon of Choral Sonority in the Context of Intonation Theory as a Component of the University Training of the Musician-Pedagogue." Musical Art and Education 8, no. 2 (2020): 54–71. http://dx.doi.org/10.31862//2309-1428-2020-8-2-54-71.

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The article was written based on the results of a theoretical study by Boris Dmitrievich Kritskiy, my father, who proposed to introduce scientific terms “musical phonics” into the spheres of musicology, pedagogy of music education and performing arts. In his view, “musical phonics” should be considered as a field of scientific and methodical research of audio (instrumental, vocal-choral) design of the process of music performed. And the audio embodiment of the musical text as a relatively independent phenomenon in a broad interpretation is a phonic form. Vocal design of choral sound is a necessary structural component of the performance. From the point of view of intonation theory of music, choral sonority – singing, vocal-choral materialization of the score – is a specially interpreted text. The audio quality is seen as a problem of vocal choral performance in the preparation of a future teacher-musician/choirmaster. There is a belief about the need for future teachers-musicians to understand the methods of constructing the audio matter of music. The methods transform the musical text in accordance with the form, logic of the development of the figurative and artistic meaning of the work and are aimed at the education of the audio culture among the choral collective. Work on the creation of a phonic form involves establishing intonation links between the performed work and the methods of its mastery. The leading role in its crystallization is played by a meaningful plan of music, which allows us to speak about it as a historical category, defined by genre-stylistic features of performed works. Built according to the laws of beauty and at the same time reflecting the spirit of its time, the era in which the performer creates, it reveals the changes that characterize the culture of vocal and choral performance. The performed composition, included in the context of broad cultural and life relations, is saturated with a new meaning. As an example, the phonic form in orthodox liturgical singing is considered.
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Dissertations / Theses on the topic "The roll of the teacher/musician"

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Harris, Rod (Rod D. ). "Musician and teacher: the relationship between role identification and intrinsic career satisfaction of the music faculty at doctoral degree granting institutions." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332810/.

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The purpose of this study was to investigate the relationship between identification with the teacher or musician role and intrinsic career satisfaction by college music teachers in doctoral degree granting institutions.
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Feay-Shaw, Sheila J. "The transmission of Ghanaian music by culture-bearers : from master musician to music teacher /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11281.

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Nordström, Marika. "Rocken spelar roll : En etnologisk studie av kvinnliga rockmusiker." Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-38159.

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This doctoral thesis is about female rock musicians who are involved in two Swedish non-profit feminist music associations; Rockrebeller, which is situated in Uppsala and She´s Got the Beat in Umeå. The aim of the study is to analyze how the informants describe their lives as rock musicians and as active participants in these feminist music associations. The main issues are musicianship, identity, feminism and gender. The empirical material consists of in-depth interviews with ten informants – five from Umeå and five from Uppsala – and these interviews are complemented by a number of participatory observations. The focus of thesis is on the informants’ self-presentations: their stories and experiences. One central theme is the ways that the informants’ different identities are interlaced and closely knit together in different ways: as feminists, as musicians and as active participants in the associations. Two major themes in my thesis are music and politics and they can be regarded as two sides of the same coin; in order to make it easier for women to play rock music they have become involved in the associations, and this relationship is regarded as a form of political work. The informants have been influenced by punk and Riot Grrrls Movement – a feminist movement that is associated with punk bands and fanzines is sometimes seen as representative of a "third wave feminism". All the informants are members of rock bands, but many are also engaged in other projects, for instance in the role of a singer-songwriter, and these different identities as musicians are often seen as complementary to each other. Rock bands are generally considered to be fascinating but insecure experiences because bands tend to split up with time. Those who are also active musicians outside of the band (most often guitarists) usually regard their own individual identity as musicians as the most important thing; a safe harbor that is always there. Their ideological beliefs are for instance visible in a common vision of the ideal rock band as democratic, anti-hierarchic and where an equality of opportunity exists. Rock music is in some ways used as an expression for an alternative way of life, of rebellion, and is seen as politically subversive. One of the ambivalences of the source material is the kind of identity politics that the associations represent and whose purpose is to improve the gender equality in the field. There is a well-known dilemma involved in this practice; how is it possible to navigate from a marginalized, subordinated position, without using the method of categorizing that may increase the probability of reproducing their own marginalization? Their life as rock musicians is described as enjoyable rewarding, and as a means of expressing their cultural belonging and ideological beliefs, such as feminism. However, the overall picture highlights the pleasures of creating and making music, which serves as an explanation why they strive to make rock music more accessible for women. The descriptions of being in a band and performing on stage are varied and on the whole complex. The group dynamics of the band are portrayed as very meaningful but also trying at times, and playing in front of an audience is described as everything between ecstasy and a nerve-wrecking experience. However, there is an overall adaptation to the norms surrounding rock music; a sense that one has to adjust oneself in order to function as a rock musician. The informants´ statements generally emphasize gender, but from time to time they identify themselves with other male amateur rock musicians.
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Åkesson, Robin. "Idrottlärarens roll i att motivera elever." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-28121.

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Motivation är ett ord som är välbekant inom skolans värld, och ett ord som är viktigt inom idrott och hälsa. Elevers inställning till ämnet idrott och hälsa är avgörande, inte bara för elevernas skolgång, utan även i det fortsatta livet. Som stöd och hjälp till att stimulera eleverna till en god inställning till ämnet finns idrottsläraren. Syftet med arbetet var att se vilken roll läraren har när det gäller att motivera sina elever i ämnet idrott och hälsa. Vidare ville jag se vilka erfarenheter läraren har, och vilka metoder som finns för att motivera sina elever. Jag använde mig av en kvalitativ undersökning i form av intervjuer. Jag intervjuade sex idrottslärare där två stycken jobbar på låg- och mellanstadiet och fyra stycken på högstadiet och gymnasiet. Informanterna var fyra män och två kvinnor i olika åldrar och med varierad erfarenhet av läraryrket. Resultatet visade att läraren spelar en stor roll när det gäller att motivera sina elever. Genom kommunikation, engagemang och stöd hjälper läraren sina elever att utveckla intresse för fysisk aktivitet och en rörelseglädje, vilket kan vara grunden till ett liv där fysisk aktivitet och hälsa är i fokus. Omotiverade elever har ofta en dålig självkänsla. Läraren kan bidra till bättre självkänsla genom att ge positiv feedback till eleverna och samtidigt få dessa elever att lyckas med uppgiften. Viktigt är att undervisningen har olika alternativ och nivåer så att alla elever får möjlighet att uppleva framgång. Då får eleverna möjlighet att hitta en aktivitet som de tycker är intressant och roligt. Metoder för att motivera sina elever är genom beröm, uppmuntran, feedback och entusiasm. Motiverade och intresserade elever i ämnet idrott och hälsa är grunden till ett livslångt lärande.
Motivation is a word well known to the world of education, a word which is important in the areas of sports and health. Pupils 'attitudes to physical education are essential, not only for students' education, but also in latter life. The PE teacher is a support and a person who stimulates students to a good attitude towards the subject. The purpose of this survey was to see what role the teacher has when it comes to motivating their students in physical education. Furthermore, I wanted to see what experiences the teacher has, and what methods they use to motivate their students.I used a qualitative research method in the form of interviews. I interviewed six PE teachers where two of them worked in low and middle school and four in secondary school. The informants were four men and two women of different ages and with varied experience in the teaching profession. The results showed that the teacher plays a big role in motivating their students. Through communication, involvement and being supportive the teacher helps their students to develop an interest in physical activity and a joyful experience of movement in general, which can serve as a foundation for a life in which physical activity and health is in focus. Less motivated students often have a lower self-esteem. The teacher can support these students by helping them succeed in exercises and by giving them positive feedback. It is important that the lessons are varied, have different options and levels so that all pupils have the opportunity to experience success. This provides the students with an opportunity to discover activities that they find interesting and enjoyable. Methods to motivate their students are through credit, encouragement, feedback and enthusiasm. Motivated and interested students in physical education are the foundation for lifelong learning.
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Flueck, Christa Anne. "A New Score for Orchestra Education Programs: A Descriptive Analysis of the Cleveland Orchestra's Learning Through Music Teacher and Musician Workshops." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392970753.

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Brante, Göran. "Lärare av idag : om konstitutioneringen av identitet och roll." Doctoral thesis, Högskolan Kristianstad, Sektionen för Lärarutbildning, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-97.

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This thesis comprises four articles and a summarizing text. The articles build on three sets of data regarding various aspects of the teaching profession. One objective is to illustrate and discuss what may make teaching appear to be a complex and intensive profession, as well as what conditions are necessary to make the relationship between teachers and pupils appear to be characterized by asymmetry. A second objective is to discuss which changes to working conditions could in turn lead to changes to the apparent complications in teachers’ working conditions. Using a systemic approach as the point of departure, different mechanisms that may contribute to the constitution of teachers’ identity and role are discussed. On the one hand the systemic analysis moves from a biological point of view, via a cultural, a psychological and a societal point of view, to explain and comprehend how groups can develop asymmetrical relationships. On the other hand, curriculum changes, as well as changes in the school system over the last twenty years and the synchronous nature of teacher work, are used in discussing the complex and intensive character of teaching. Abduction makes it possible to explain the complex and intensive character of the teaching profession, as well as the asymmetric relationship between teachers and pupils, using these mechanisms. It is also proposed that interplay exists between these two aspects. A third result is the proposal that many of these problems may be explained by the extensive reforms that have burdened teachers and schools since the end of the last century. In conclusion, changes in teachers’ attitudes towards innovation, their approach to knowledge, the relationship with the pupils, and the teachers’ mission, are suggested as possible means of modifying the situation.
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Cox, Patricia Huff. "The Professional Socialization of Arkansas Music Teachers as Musicians and Educators : The Role of Influential Persons from Childhood to Post-college Years." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277995/.

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The purpose was to investigate the role of influential persons in the professional socialization process of music educators as musicians and teachers. The problems were to determine: who encouraged subjects toward music and teaching during pre-college, college, and post-college years; and the interrerationships of gender and teaching specialty with influential persons in subjects' lives.
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Partington, Julia Suzanne. "The problematics of partnership between the primary class teacher and the visiting musician : power and hierarchy in the pursuit of dialogic relationship." Thesis, University of Newcastle upon Tyne, 2017. http://hdl.handle.net/10443/3686.

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Conceived in response to earlier research confirming the consistent and long-standing trend of low musical confidence among primary school teachers in the United Kingdom, this study examines the concept of partnership between class teachers and visiting musicians within the primary music classroom. From the dual perspectives of music educator and ethnographic researcher, I investigate dynamics of power and hierarchy present within the primary class teacher and visiting ‘specialist’ musician relationship, which is a typical aspect of current music education teaching practice. Using Christopher Small’s concept of musicking, issues of expertise, talent or giftedness, musical identity, musical confidence and power within the teacher/musician relationship are closely examined. In turn, through study of a programme of collegial classroom musicking, I seek to trial and propose a specific model of dialogic partnership for music education within the primary school that aims to disrupt the continuing cycle of low musical confidence among primary teachers which, in turn, affects their attitudes to teaching music and to their perceptions of musicality among the children whom they are teaching.
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Olsson, Majlis, and Anna Osaeus. "Barn och stress - Specialpedagogens roll i det förebyggande arbetet/Childern and stress - the roll of the education teacher in the stress prevention." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-29325.

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Sammanfattningvis visar resultaten på att barn och ungdomar är och upplevs mer stressade idag. Det finns många orsaker till barns stress och och den tar sig i olika uttryck. Skolans inre och yttre miljö är en stor stressfaktor som påverkar både yngre och äldre barn. För att kunna förebygga och motverka stress är det viktigt att identifiera stressen tidigt i livet.
Syftet med följande arbete är att ta del av specialpedagogers uppfattningar, upplevelser och kunskaper om barn och stress. Därigenom kan vi få en ökad kunskap om hur vi identifierar barn som är stressade, om olika stress- och skyddsafaktorer samt hur vi i skolan kan arbeta med stressförebyggande åtgärder. Arbetet ger en översikt av tidigare forskning om barn och stress. Vidare ger arbetet en uppfattning om hur specialpedagoger upplever barn och stress, hur det förebyggande arbetet ser ut och den specialpedagogiska kompetensen. Med hjälp av den kvalitativa intervjun som metod tar vi del av specialpedagogernas upplevelser, uppfattningar och kunskaper
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Andersson, Hanna. "Pedagogers roll i barns lek : En studie om pedagogers tankar om sin roll och delaktighet i barns lek i förskolan." Thesis, Karlstads universitet, Institutionen för pedagogiska studier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-43661.

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Books on the topic "The roll of the teacher/musician"

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Christophersen, Catharina, and Ailbhe Kenny, eds. Musician–Teacher Collaborations. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315208756.

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Percy Jones: Priest, musician, teacher. Melbourne: Melbourne University Press, 1988.

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Canada, National Library of. Claude Champagne 1891-1965: Composer, teacher, musician. Ottawa: National Library of Canada, 1990.

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Campbell, Patricia Shehan. Musician and teacher: An orientation to music education. New York: W. W. Norton, 2008.

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Kuprina, Elena. Co-creation in music and music education. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1019193.

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The monograph is devoted to the problem of musical co-creation, represents the artistic and dynamic system. The author considers the musical co-creation from the perspective of interdisciplinary approach, as the phase of the creative process, featuring self-contained characteristics, manifested in the "I" and "I'm Different" through specific regularities and principles. In music co-creation differentiated into spheres, types and forms, where the role of the ratio of the subjects and the performance of co-creative artistic projects are analyzed from the position of system dynamics. In music education operates a pedagogy of co-creation, manifesting the specifics through professional, psychological, reflective, and educational facets. Presented to the organizational form of the pedagogy of co-creation, from the perspective of information approach given the findings of a study of the influence of pop on the sensory system of the student of a musician-performer (the performer). Can be used in courses of the disciplines of the history of music, music psychology and music pedagogy, pedagogy of co-creation. Addressed to students of music schools, teachers, musicians of all disciplines, musicologists and cultural studies, researchers, creative processes, and a wide circle of curious readers.
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Fernandez, Jerry. To be a rock but not to roll: A 40-year odyssey (1966-2006) of a Singapore pop musician, Jerry Fernandez. 2nd ed. [Singapore: Comdesign Associates, 2009.

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Library, Canada National. Claude Champagne, 1891-1965, composer, teacher, musician: Exhibition held in Ottawa from November 16, 1990 to March 17, 1991. Ottawa: National Library of Canada, 1990.

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Nevins, Maureen. Claude Champaigne (1891-1965): Composer, teacher, musician : exhibition held in Ottawa from November 16, 1990 to March 17, 1991. Ottawa: National Library of Canada, 1990.

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Kozlov, Mihail. Ministers of pagan cult in the religious and political life of the Eastern Slavs (IX-XI centuries). ru: INFRA-M Academic Publishing LLC., 2019. http://dx.doi.org/10.12737/1058360.

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The subject of historical and cultural research in this monograph was the Institute of ancient servants of pagan cult, including both professional priests (Magi, sorcerers and magicians) and wandering buffoons (musicians, storytellers, guides bears, demons). In the first part of the study identified the main function of ancient Ministers of pagan cults, identified key priestly clans, identified the hierarchical structure of the East Slavic priests, its Charter and the basic sources of financing of the ancient pagan temples and their Ministers. The second part is devoted to the place and role of the old Russian Ministers of pagan cult in the religious and political life of the Eastern Slavs of the IX-XI centuries. It is designed for teachers of higher educational institutions, school teachers, students and all those interested in national history and culture.
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Stauffer, Donald W. Piano tuning for musicians & teachers: An easy, straight forward method of tuning to assist the musician & music teacher to care for his own piano and to gain a better perspective of the enigma of temperament. Birmingham, AL: Stauffer Press, 1989.

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Book chapters on the topic "The roll of the teacher/musician"

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Rolle, Christian, Verena Weidner, Julia Weber, and Matthias Schlothfeldt. "Role Expectations and Role Conflicts within Collaborative Composing Projects." In Musician–Teacher Collaborations, 50–61. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315208756-5.

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Boyce-Tillman, June. "The Complete Musician: The Formation of the Professional Musician." In Musician–Teacher Collaborations, 108–20. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315208756-10.

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Kenny, Ailbhe, and Catharina Christophersen. "Musical Alterations: Possibilities for Musician–Teacher Collaborations." In Musician–Teacher Collaborations, 3–12. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315208756-1.

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Abeles, Harold F. "An Urban Arts Partnership: Teaching Artists and the Classroom Teachers Who Collaborate with Them." In Musician–Teacher Collaborations, 121–32. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315208756-11.

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Eidsaa, Randi Margrethe. "Dialogues between Teachers and Musicians in Creative Music-Making Collaborations." In Musician–Teacher Collaborations, 133–45. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315208756-12.

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Randles, Clint. "Abigail’s Story: The Perspective of the Professor/iPadist/Teaching Artist." In Musician–Teacher Collaborations, 146–55. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315208756-13.

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Partington, Julia. "“Ideal Relationships”: Reconceptualizing Partnership in the Music Classroom Using the Smallian Theory of Musicking." In Musician–Teacher Collaborations, 159–70. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315208756-14.

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Kresek, Katharine. "Nurturing on the Go?" In Musician–Teacher Collaborations, 171–79. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315208756-15.

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Kinsella, Victoria, Martin Fautley, and Nancy Evans. "Musician–Teacher Collaborations in Composing Contemporary Music in Secondary Schools." In Musician–Teacher Collaborations, 180–92. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315208756-16.

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Brinck, Lars. "“I’m Just the Bass Player in Their Band”: Dissolving Artistic and Educational Dichotomies in Music Education." In Musician–Teacher Collaborations, 193–203. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315208756-17.

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Conference papers on the topic "The roll of the teacher/musician"

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Hincu, Ionela. "Musical-interpretative skills and their role in teacher music education training." In Condiții pedagogice de optimizare a învățării în post criză pandemică prin prisma dezvoltării gândirii științifice. "Ion Creanga" State Pedagogical University, 2021. http://dx.doi.org/10.46728/c.18-06-2021.p274-277.

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This article reflects the professional and moral values of the Music Education teacher: abilities, skills, aptitudes, organisational skills, and abilities, etc. that have a special place in the formation of pedagogical mastery. Performing activity reinforces the teacher’s authority as a propagandist musician of all that is best, transforming him or her into a genuine teacher of the 21st century. Thus, in the training of the Music Education teacher, the mutual relationship between the vocal, instrumental, vocal-instrumental performance and musical-theoretical knowledge is of great importance.
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Meleshkina, Ye A. "WESTERN MUSICAL AND PEDAGOGICAL EXPERIENCE ON THE PATH TO BECOMING A MODERN MUSICIAN-TEACHER." In XIV International Social Congress. Russian State Social University, 2015. http://dx.doi.org/10.15216/rgsu-xiv-313.

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