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Journal articles on the topic 'Training of Music teachers'
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1
Okay, H. Hakan. "The views of music teachers and music teacher candidates about value training." International Journal of Academic Research 6, no. 2 (March 30, 2014): 92–102. http://dx.doi.org/10.7813/2075-4124.2014/6-2/b.15.
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Bhebhe, Sithulisiwe, Tawanda Runhare, and Ratau John Monobe. "Training music teachers through distance learning: The case of teaching practice mentoring at one primary school teacher training college in Zimbabwe." British Journal of Music Education 32, no. 3 (November 2015): 259–71. http://dx.doi.org/10.1017/s0265051715000339.
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This study sought to examine the quality of teaching practice (TP) mentoring in the teaching of music at primary school level through the distance mode of training at one college of education in Zimbabwe. The study examined the experiences and perceptions of lecturers and student teachers on TP mentoring in music within the context of a distance mode of teacher training. A purposive sample of 17 music student teachers and 11 lecturers was selected. The study employed a qualitative case study research design in which one-on-one interviews, focus group discussions and documentary analysis were used to collect data. The main conclusion from the study was that the distance approach to teacher training was not effectively utilised for teacher preparation in music due to inadequate music knowledge and skills of mentor teachers as well as weaknesses of the school curriculum. Recommendations drawn from these conclusions are that the teaching practice period should not be the same for all subjects and more demanding subjects such as music deserve to be practiced more. Student teachers specialising in music must be placed for teaching practice where there are music specialist teachers. This study also recommends that the placement of music student teachers for teaching practice be undertaken jointly by the teaching practice coordinators and the music specialist lecturer.
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Wolffenbüttel, Cristina Rolim. "Music Education Training for Teachers." Creative Education 10, no. 10 (2019): 2101–10. http://dx.doi.org/10.4236/ce.2019.1010152.
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Smith, Audrey G., Mary J. Sandage, David D. Pascoe, Laura W. Plexico, Italo R. Lima, and Guanqun Cao. "Elementary School Teachers' Vocal Dose: Muscle Bioenergetics and Training Implications." Journal of Speech, Language, and Hearing Research 60, no. 7 (July 12, 2017): 1831–42. http://dx.doi.org/10.1044/2016_jslhr-s-16-0193.
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PurposeTranslating exercise-science methodology for determination of muscle bioenergetics, we hypothesized that the temporal voice-use patterns for classroom and music teachers would indicate a reliance on the immediate energy system for laryngeal skeletal-muscle metabolism. It was hypothesized that the music-teacher group would produce longer voiced segments than the classroom teachers.MethodUsing a between- and within-group multivariate analysis-of-variance design (5 classroom teachers; 7 music teachers), we analyzed fundamental-frequency data—collected via an ambulatory phonation monitor—for length (seconds) of voiced and nonvoiced intervals. Data were collected for 7.5 hr during the workday, over the course of several workdays for each teacher.ResultsDescriptive analyses of voiced and nonvoiced intervals indicated that over 99% of voiced segments for both groups were no longer than 3.15 s, supporting the hypothesis of reliance on the immediate energy system for muscle bioenergetics. Significant differences were identified between and within the classroom- and music-teacher groups, with the music-teacher group producing longer voiced segments overall.ConclusionsKnowledge of probable intrinsic laryngeal skeletal-muscle bioenergetics requirements could inform new interdisciplinary considerations for voice habilitation and rehabilitation.
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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 (January 4, 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 programmes. The sample survey among the teachers was implemented via email. The goal of the research was to determine if the programmes of the music courses at the teacher education studies are appropriate for the development of the competencies necessary for students of music education. Teaching methods teachers emphasized the need for more practical training, primarily regarding playing instruments and singing, and they pointed out that the course Teaching Methods in Music is the most important course for the training of future music teachers. Aside from that, they believe that more classes should be devoted to music courses, i.e. they propose to reorganise the contents of the courses by increasing the amount of practical classes and reducing the amount of theory classes. They also believe that it is necessary to introduce testing of musical ability at entrance exams for admission into the teacher education studies.
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Beauchamp, Gary. "INITIAL TRAINING + INSET = Confident teachers. A formula for success?" British Journal of Music Education 14, no. 1 (March 1997): 69–85. http://dx.doi.org/10.1017/s0265051700003454.
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There has long been concern about the confidence and performance of the so-called non-specialist teacher of Music in the primary school. Although much research has focused on the long-term solution of educating student teachers, it is important that practising teachers are not forgotten. Many forms of training are available which attempt to help these teachers develop their current practice. This article looks at the effectiveness of this provision by examining a survey of teacher opinion, and suggests ways in which this may inform future practice in this vital area of teacher development.
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Khodorovskyi, V. I. "The features of instrumental and performance training of future music teacher at concertmaster classes." Musical art in the educological discourse, no. 2 (2017): 168–71. http://dx.doi.org/10.28925/2518-766x.20172.16871.
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The article presents one of the most current problems of modern music education concerning concertmaster training of students in higher education institutions of arts as one of the priority components of their future profession. The author of the article notes that music lessons in secondary school encourage teacher to the active manifestation not only of music and performing skills, but willingness to perform concertmaster job at a high professional level. A wide range of music teacher’s concertmaster activities results in a whole set of his professional skills such as: coordinating teacher’s performance activity with the soloist, the ability to read musical scores sheet, edit it, transpose the music material, pick accompaniment, if necessary, simplify or complicate maintenance, perform own song accompaniment etc. In light of this, the weight of the concertmaster classes increases, which acquires the status of primary professional development of future expert. The author of the article highlights the features of instrumental and performance training of future music teacher at concertmaster classes and exposes potential possibilities of students’ music and performance development during these classes, in particular, development of future music teachers’ skills and abilities that are unique for concertmaster activities. The author points out such skills as: ability to accompany own singing, combine accompaniment while singing a soloist party, simplify or complicate the texture of musical accompaniment, read three rows of musical scores sheet, transpose music in connection with tessitura capabilities of performers, pick the melody and detailed accompaniment to it, ensemble skills, etc. The article states that concertmaster classes allow future music teachers to master necessary knowledge for future professional activity and skills and to fill the performance store with works of school repertoire.
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Nikolaii, Halyna, and Alina Sbruieva. "Evolution of Music teachers’ training in Poland in the process of development of pedagogical education." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 4 (129) (December 26, 2019): 90–101. http://dx.doi.org/10.24195/2617-6688-2019-4-12.
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Integration of Ukraine into the European educational space necessitates solution of a number of complex problems, including modification of music-pedagogical education, taking into account historical experience of training music teachers in other countries. Taking into account the fact that educational traditions of Ukraine and Poland are very similar, a constructive study of the evolution of music teacher training in the system of pedagogical education of the Second Commonwealth of Poland seem to be timely. The article is aimed at revealing peculiarities of the evolution of music teachers’ training in Poland in the process of development of pedagogical education. In order to achieve this goal, a number of research methods have been used, in particular: analytical (comparative-terminological, historical-pedagogical (historical-genetic, retrospective), comparative-diachronic), structural-typological and empirical (conversations, discussions and e-mailing). The characteristics of the evolution of music teacher training in Poland as a historical reality is carried out in the form of historical-genetic analysis of a set of facts substantiating the theoretical ideas on such development, logical reconstruction of historical-scientific processes, identification of national specificity and All-European development tendencies, which allows us to predict the ways of modernization of music-pedagogical education in Ukraine. It has been proved that, throughout its historical development, despite constant socio-political influences of other states (Austrian, Prussian and Russian empires, later – USSR), Poland has tried to preserve national traditions of teachers’ training, which was primarily reflected in the developed structure, the variety of types of centres of pedagogical education, the search for its optimal models. It has been found out that under modern conditions, bifurcation processes in the systems of higher pedagogical and secondary school education lead to the weakening of the bonds between them. The impact of secondary school reforms on modification of pedagogical education, which is being brutally macadamized, is being greatly decreasing. At the beginning of the XXI century, an external (supranational) attractor – the Bologna Process – started influencing dramatically the development of the higher education system in Poland, in particular pedagogical which aims at ensuring the conformity of the structure and quality of Polish education with the European standards and European dimension of higher education. The results of the study include, in particular, identification of terminological differences in the works of certain Polish and Ukrainian scholars regarding the training of Music teachers; concretization of the heuristic potential of the laws of dialectics and synergetic approach concerning contradictory development of music training of teaches and pedagogical training of Music teachers in the context of historically conditioned changes within the structure of pedagogical education and cultural-musical needs of society. Keywords: Music teacher training, historical-pedagogical discourse, development of pedagogical education, musical training, school reforms, European dimension of higher education, Poland, Ukraine, national traditions.
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Rauduvaite, Asta. "Music Teacher Education in China." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 8 (January 6, 2018): 74–83. http://dx.doi.org/10.18844/prosoc.v4i8.2978.
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The content of music teacher education study programmes is conditioned by the needs of the market economy and information society, higher education as a mass phenomenon, penetration of humanist ideas into the curricula and many other factors. The aim of these study programmes is to respond to the needs of society, develop the competencies of teacher education and establish the right conditions for successful implementation and to achieve the intended learning outcomes. The training of music teachers in China requires overall improvement in the level of music teacher training. The Ministry of National Education provides the curriculum for music teacher education as well as the guidelines for teaching compulsory courses for music teachers at general institutions and prestigious universities in China. This profession is important in professional courses and in the field of pedagogy; therefore, integrating the content of elective courses into professional courses could be more prolific and comprehensive. Keywords: Music teacher education, study programme, music education.
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Bilozerska, Anna, Kateryna Kushnir, Tetiana Belinska, Tetiana Rastruba, and Ninel Sizova. "Formation of a Developmental Environment of Professional Training of Future Music Teachers in the Ukrainian Educational Space." Revista Romaneasca pentru Educatie Multidimensionala 13, no. 2 (July 2, 2021): 90–109. http://dx.doi.org/10.18662/rrem/13.2/412.
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The article proves that the problem of creating a developmental environment in the course of professional training of future music teachers is now becoming a particularly acute issue and is becoming an important area of scientific and pedagogical research. The article aims to theoretically substantiate, develop in the form of a model, implement and experimentally verify pedagogical conditions for the formation of a developmental environment for the professional training of future music teachers at music and pedagogical faculties. The aim of the article was achieved by using the following research methods: pedagogical observation, questionnaires, conversations with students and teachers, psychological and pedagogical methods for analysing the style of pedagogical activity and communication between teachers and students. The effectiveness of the formation of a developmental environment for the professional training of future music teachers increased under the following conditions: ensuring the facilitative nature of interpersonal interaction in the system "teacher –music –student", organizing the professional training process for future music teachers based on developmental teaching; actualization of the developmental potential of special music disciplines; activation of students' independent work; formation of a creative, psychologically comfortable atmosphere at the faculty. The formative experiment and the results of the pedagogical diagnostics have proved the validity of the developed model for changing educational conditions and the prevailing high level of creative independence and professional readiness of future music teachers in the experimental group.
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Demirbatır, R. Erol. "Aural Training in Institutions Training Music Teachers in Turkey." Procedia - Social and Behavioral Sciences 116 (February 2014): 3049–53. http://dx.doi.org/10.1016/j.sbspro.2014.01.705.
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Lokareva, Yuliya. "METHODICAL ASPECTS OF MUSIC AND THEORETICAL TRAINING IN HIGHER ART EDUCATIONAL INSTITUTIONS." Academic Notes Series Pedagogical Science 1, no. 192 (March 2021): 102–6. http://dx.doi.org/10.36550/2415-7988-2021-1-192-102-106.
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The article actualizes the problem of music-theoretical training in higher educational institutions, reveals the pedagogical potential of music-theoretical disciplines, explores the methodological aspects of optimizing the process of music-theoretical training on the basis of an integrated approach. research analysis revealed the pedagogical potential of music-theoretical training for the professional development of future music teachers, multifaceted opportunities of music-theoretical disciplines, demonstrated the versatility of music-theoretical training (cognitive-informational, practical, creative, projective functions), proved the need for its focus on music -creative activity, which consists of various types (instrumental-performing, conductor-choral, improvisational-creative, research, lecture-educational, compositional and others) and affects the comprehensive disclosure and practical implementation of the creative potential of students of higher art educational institutions. The current stage of development of national education is characterized by the actualization of the role of art disciplines during the professional development of the personality of the future teacher of music art. Music-theoretical training is the basis of the process of formation of professional competencies of future music teachers. The problem of raising the level of professionalism of future music teachers largely depends on music-theoretical training aimed at various types of music-creative activities that are important for the training of students of higher art schools. Thus, the analysis of research revealed the pedagogical potential of music-theoretical training for the professional development of future music teachers, multifaceted possibilities of music-theoretical disciplines, demonstrated the versatility of music-theoretical training (cognitive-informational, practical, creative, projective functions), proved the need for its direction on musical and creative activity, which consists of different types (instrumental-performing, conducting-choral, improvisational-creative, research, lecture-educational, compositional and others) and influences the comprehensive disclosure and practical implementation of the creative potential of students of higher art education institutions.
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Havre, Sigrid Jordal, Lauri Väkevä, Catharina R. Christophersen, and Egil Haugland. "Playing to learn or learning to play? PlayingRocksmithto learn electric guitar and bass in Nordic music teacher education." British Journal of Music Education 36, no. 1 (November 16, 2018): 21–32. http://dx.doi.org/10.1017/s026505171800027x.
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This article is based on a case study of how the Rocksmith entertainment music video game can be used in the context of studying electric guitar and bass as part of music teacher training. In empirical terms, we were interested in how music teachers’ knowledge becomes articulated in the pedagogical discourse of our participants. As conceptual points of departure, we used play theory, game studies, and the Technological Pedagogical Content Knowledge (TPACK) model of teacher's knowledge. Four ways of approaching the potential role of Rocksmith in music teacher education stand out as a result. In the discussion, we suggest that music gaming can be conceptualised as an activity that expands the reach of what can be considered as ‘playful’ and ‘serious’ in music teacher studies. Such an approach can guide our thinking about how different areas of music teachers’ knowledge merge into multidimensional competence, paving the way for further discussion about how ‘music educatorship’ can be constructed in the digital era.
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Sulastri, Sulastri. "JURNAL INGGRIS ANGKLUNG TRAINING FOR PAUD TEACHERS." Empowerment 8, no. 1 (February 28, 2019): 30. http://dx.doi.org/10.22460/empowerment.v8i1p30-38.1155.
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West Java is the area that is rich in traditional music, one of them is angklung, which is a musical instrument made of bamboo and played by shaking . As one of the traditional musical instruments, angklung as musical instrument should be maintained by the community so that it can still be heard and played and even preserved to the next generation. One effort to appreciate and preserve angklung traditional music, IGTKI (Bandung Kindergarten Teachers Association) held a Training to improve the professional competence of early childhood education teachers as a target audience in mastering traditional angklung music to be able to transfer knowledge to children early age in PAUD. The purpose of this study analyzed the implementation of angklung extracurricular learning in PAUD in Bandung as a vehicle for the preservation of traditional music in West Java. This study uses qualitative descriptive as the method. Data collection techniques used were observation, interviews, and documentation. By preserving angklung traditional music, it is hoped that angklung music will remain a cultural heritage of West Java without fear of being seized by other countries.Keywords; Training, Education Teachers, PAUD, Angklung
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Liang, C. "VALUE POTENTIAL OF MUSIC TEACHERS’ ARTISTIC AND EDUCATIONAL ACTIVITY." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 70–79. http://dx.doi.org/10.33989/2226-4051.2021.23.238256.
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The purpose of the article is to analyze the phenomenon of music teachers’ artistic and educational activity in the artistic and value context as well as projections for professional training. The integral content of such activity in the teaching profession is revealed in general, and its connection with the values of culture is considered. It is emphasized that art education covers all disciplines of professional music and pedagogical training. At the same time, the tasks of the particular discipline always are in the centre of the solution of problems of other disciplines. Moreover, the place of education in life and work of prominent artists and teachers of Ukraine, China, and other countries is indicated. The role of poly-artistic training of music teachers as a basis for the formation of artistic values is emphasized. The requirements of artistic and educational activity for professional training of music teachers are outlined as the following: attitude towards educational activity, self-development of cultural skills, mastery of information space, development of performing skills, mastering the techniques of verbal and nonverbal communication with the audience.
The article specifies the essence of music teacher’s artistic and educational activity as a purposeful permanent process that integrates various components of artistic cognition. The interdependent vectors of professional training of music students are formulated. They are the following: a directed influence on artistic values of others and conscious enrichment of one’s own artistic value sphere. The potential of music teacher’s artistic and educational activity as a foundation and reference point for acquiring personal artistic values is revealed, which includes motivation to expand general artistic erudition, the possibility of holistic practice-oriented immersion in art, presentation of the results of artistic search, and self-presentation.
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Radiushyna, Svitlana, and Maryna Tkachenko. "Pedagogical conditions for the development of future Music teachers’ interpretative skills in the process of choral and conductorial training." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 1 (130) (February 7, 2020): 90–98. http://dx.doi.org/10.24195/2617-6688-2020-1-12.
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The article analyses the essence, content and specificity of future music teachers’ interpretive skills. The purpose of the article is to substantiate pedagogical conditions favourable for effective development of future music teachers’ interpretive skills in the process of their choral and conductorial training. These methods of theoretical research are used: analysis, generalisation, synthesis, extrapolation, deduction, systematisation. Interpretation is seen as the basis and the necessary condition for understanding a piece of music, the subjective (personal) attitude and creative imagination of a teacher of music being of great importance. The essence of interpretation in the context of the activity of the Musical Arts teacher lies in the interpretation of an artistic text which reflects the content of the author's message in key note symbols. In the activity of the Musical Arts teacher, there are two forms of interpretation: performing and verbal-pedagogical. The interpretation of the choral work is considered in the article as an artistic-performing conception of the conductor which is based on his/her artistic and imaginative ideas, knowledge; it is realised in his/her creative interaction with the choral team. The list of specific interpretive skills to be demonstrated by the future Music teachers in the context of choral and conductorial training has been clarified. A system of interrelated pedagogical conditions has been offered, it includes these constituents: increase of future specialists’ motivation for the choral and conductorial activities through realisation of the axiological potential of choral music; the implementation of the coaching pedagogical technologies into the choral and conductorial training intended for the future Music teachers; a systematic widening of future specialists’ thesaurus of artistic and imaginative ideas. Further research involves the development of a step-by-step methodology for the development of future Music teachers’ interpretative skills in the process of their choral training.
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Komarovska, Oksana, and Xia Gaoyang. "Polyartistic Potential of Music Theory Subjects in Training Music Teachers." Intellectual Archive 7, no. 6 (December 20, 2018): 82–89. http://dx.doi.org/10.32370/2018_11_10.
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Hamilton, Sandra, and Jennifer Vannatta-Hall. "Popular music in preservice music education: Preparedness, confidence and implementation." Journal of Popular Music Education 4, no. 1 (March 1, 2020): 41–60. http://dx.doi.org/10.1386/jpme_00013_1.
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This study examined popular music in preservice music teacher training programmes in the United States. The researchers explored types of courses and programmes offered in undergraduate music education programmes to prepare future music teachers to teach popular music. Quantitative data revealed trends in the inclusion of popular music within undergraduate music education programmes, determined music teacher educators’ perceptions of their students’ attitudes towards using popular music in the general music classroom, and examined the types of popular music pedagogy needed for preservice music educators. Qualitative data ascertained perceived confidence levels of graduates to utilize popular music. Results revealed that western classical music is the focus for the majority of music educators’ undergraduate degree programmes and that often music teacher preparation programmes ignore popular music study. Bridging the gap between western classical and popular music would help prepare teachers to include and value all types of music in K-12 music education.
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Maievska, A. S. "Vocal and performance development as part of future music teachers professional training." Musical art in the educological discourse, no. 2 (2017): 159–63. http://dx.doi.org/10.28925/2518-766x.20172.15963.
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The article deals with the problem of the vocal and performance development of future music teacher as a complicated, important, holistic, multifaceted process of awareness and improvement, development ability to complete creative professional realization and performance of personal qualities and talents of the teacher. It analyses nformation about professional development and self-development of personality as a study subject of psychologists and educators; it presents different methodological approaches to its solution. It is concluded that professional self-development is connected with the inner combination of constituents of the psyche of personality aimed at its efficacious interaction with the environment by means of achieving the result which is personally significant and adequate to the requirements of society. The professional development is defined as conscious human activity aimed at full self-realization of themselves as individuals in the field which is determined by their future profession. Great attention is focused on the reasonability of consideration of professional self-development issue from the perspective of readiness for its implementation. It is concluded that the development of vocal and performance is an important, multifaceted component that occurs at all stages of professional training of future music teachers and includes various forms of self-expression, self-improvement, self-fulfillment, the ability to realize much better teacher’s personal talents and professional skills. The following research is aimed to identify pedagogical conditions of vocal and performance development of future music teachers in the classroom setting rates.
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Ghozali, Imam. "The Training of The Use of Finale Software in Songs Notation for Cultural Teachers of SMP In Pontianak." JPKM (Jurnal Pengabdian Kepada Masyarakat) UNTAN 2, no. 1 (January 30, 2019): 31. http://dx.doi.org/10.26418/jpkm.v2i1.80.
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This Community Service (PKM) activity is motivated by the lack of knowledge and skills of most art and culture teachers in writing music notation with beam notation in junior high schools in Pontianak. Thus we need a media that can help accelerate and exact the understanding and skills of writing music notation. The method used is the implementation of the final program in the form of training and mentoring to increase interest, knowledge, and skills in writing block notation. The training is delivered in a variety of ways through lectures, demonstrations, questions and answers, and practices at MGMP (Subject Teachers' Group) teacher group meetings. The results of the activities show that the training program has achieved the expected objectives, namely increasing the interest, knowledge, and skills of teachers in writing block notation with finale media. It is indicated by the teacher's response to the activity, the results of the assignment, and the final test for writing simple songs.
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Kokotsaki, Dimitra. "Musical involvement outside school: How important is it for student-teachers in secondary education?" British Journal of Music Education 27, no. 2 (June 2, 2010): 151–70. http://dx.doi.org/10.1017/s0265051710000069.
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This study aims to assess the perceived impact of Post-Graduate Certificate in Education (PGCE) music students' engagement in music making outside school on their teaching. Fifty-one students training to become secondary school music teachers in England were asked to report on the perceived impact that their participation in music making outside school had on their lives during their training and on its expected impact as a qualified music teacher. They believed that being musically involved outside school has both personal and professional benefits for them as it has the potential to increase their anticipated job satisfaction as qualified teachers and help them become better teachers. They all expressed a desire to be involved in such musical activities as qualified music teachers because they felt that these can help them maintain their enthusiasm, be more confident and motivated, and keep their technique and performance standards to a high level.
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Suleymanova, Dilorom, and Shoxida Ataboyeva. "Issues Of Professional Training Of Future Music Teachers In Working With The Choir." American Journal of Social Science and Education Innovations 02, no. 11 (November 30, 2020): 453–57. http://dx.doi.org/10.37547/tajssei/volume02issue11-76.
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This article describes the future pedagogical activities of future music teachers studying in the higher education system, the qualifications and skills necessary for them to work with choirs. Also, today there are a lot of shortcomings in the teaching process, introducing students to the art of vocal and choral. In addition to the concluding remarks of the article, the authors gave a number of effective methods and recommendations.
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Fahnøe, Preben. "Music Education in Teacher Training in Denmark." British Journal of Music Education 4, no. 3 (November 1987): 259–62. http://dx.doi.org/10.1017/s0265051700006100.
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From time to time the standard and content of musical education in Danish Teacher Training Colleges has been the subject of strong criticism. It has been argued that the courses are out of date; that they should be modernised, and that the quality of instruction should be improved. Yet the criticism is often imprecise – possibly because those who make it are not themselves sufficiently well-informed about the details of the existing courses and the problems faced by those who have to teach and administer them. The author, a very experienced musician, author of numerous music-education publications, and himself a Lecturer at a Teachers College, discusses the principles and problems of organising music as a specialist area of the teacher-education programme.
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Chun, Zhang. "Diagnostic results of the acmeological culture of future music teachers in the process of singing." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 249–54. http://dx.doi.org/10.33310/2518-7813-2019-66-3-249-254.
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The article presents the results of the diagnosis of acmeological culture of future music teachers in the process of singing. Based on the developed system of criteria and indicators of the structural components of the studied phenomenon (motivational-value, cognitive-developmental, communicative-heuristic and creative-projective), the contents of the phased diagnostic technique of the ascertaining experiment, which consists of pedagogical conversations, oral questioning, questioning, testing, essay – annotations, creative tasks, typical types of conducting and choral activities, expert assessments, mathematical methods of data processing. The levels of formation of the acmeological culture of future music teachers are determined, their substantive characteristics are formulated. Ukraine's accession to a single European educational space declares new requirements for professional training of music teachers. Increasingly, it is becoming necessary to focus higher education on the training of professionals capable of professional mobility, rapid adaptation to new educational conditions, self-realization and self-improvement throughout life – individuals with high levels of acmeological culture. According to the results of the ascertainment experiment, the calculation of the arithmetic mean of quantitative indicators by certain structural components was performed: motivational-value, cognitive-developmental, communicative-heuristic and creative-design. Of particular importance is the problem of formation of acmeological culture in the singing activity of future music teachers. It is the high professionalism of vocal-choral activity of the music teacher that not only enhances the prestige of the teacher's profession, but also provides a peculiarity of personal influence of the teacher-professional on the spiritual development of students by means of vocal-choral art.
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Juntunen, Marja-Leena. "Teacher educators’ visions of pedagogical training within instrumental higher music education. A case in Finland." British Journal of Music Education 31, no. 2 (April 15, 2014): 157–77. http://dx.doi.org/10.1017/s0265051714000102.
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The purpose of this study was to examine the visions of teacher educators of instrumental pedagogy (n = 12) in higher music education regarding ‘good’ teaching and instrumental student teacher preparation. The theoretical basis for the study was research on teachers’ visions (Hammerness, 2006): teachers’ own conceptions of ideal teaching practices. The data were gathered through semi-structured interviews and analysed by qualitative content analysis. The interviewed teachers’ visions of good teaching of instrumental pedagogy were closely related to their visions of good teaching of instrumental or vocal music, which they attempted to communicate to their student teachers. The process of teacher development was primarily understood as acquiring a package of skills and knowledge that are partly instrument specific, partly generic, and strongly influenced by the labour market. Teaching practice was considered essential, and was perceived as building connections between theory and practical application. The findings support prior research within Nordic teacher education (Hammerness, 2012), in that faculty members’ visions related to teaching are individual and only partly negotiated with their colleagues.
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Majerus, Claire, and Donald M. Taylor. "Elementary Music Teachers’ Experiences Training and Collaborating With Paraprofessionals." Update: Applications of Research in Music Education 39, no. 1 (June 19, 2020): 27–37. http://dx.doi.org/10.1177/8755123320935635.
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The purpose of this study was to investigate elementary music teachers’ perceptions of paraprofessional participation in the classroom and to examine the extent to which instructors provided preparation for their paraprofessional colleagues. Five hundred and four members of the National Association for Music Education completed a 32-item survey utilizing a 3-point Likert-type scale ( strongly agree = 3, neither agree nor disagree = 2, strongly disagree = 1). Music teachers indicated that they need help with behavioral reinforcements and transitions in the classroom (e.g., entering, exiting, and moving between activities). They also needed paraprofessionals to adapt music activities for students spontaneously during class, but they provided little to no guidance or training for their colleagues. Out of 504 participants, only 8 (1.6%) indicated any kind of regular meetings with paraprofessionals and special education teachers outside the music classroom to discuss goals and strategies.
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Sveschynska, Natalia. "FORMATION OF CREATIVE-PERFORMANCE SKILLS OF FUTURE TEACHERS OF MUSIC ART IN THE PROCESS OF INSTRUMENTAL TRAINING." Academic Notes Series Pedagogical Science 1, no. 190 (November 2020): 133–37. http://dx.doi.org/10.36550/2415-7988-2020-1-190-133-137.
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The level of professional qualification of a music art teacher is especially evident at the stage of creative and performing activities, when the synthesis of pedagogical and creative-performing components of activity allows to achieve the artistic influence of musical art on the individual. Analysis of the activities of music teachers of different levels of skill reveal the unity of pedagogical and creative- performing aspects of skill, their equivalence and complementarity in achieving teacher interaction with students. It is extremely important to reveal the original features of the national musical art (performance, creativity), education in the context of all the real preconditions, trends, factors of their development. There is a growing interest in theoretical and methodological issues of pedagogy and performance in each of the professional music fields. Improving the instrumental and performing training of young professionals, their active involvement in the system of pedagogical activity is a complex dialectical process, which is manifested in various forms of performing skills. The most important component of a musician's professional development is perfect musical and performance training. Various aspects of this process (physiological, psychological and pedagogical, etc.) are studied in the works of Yu. Bay, V. Bilous, E. Yorkina, E. Gurenko, M. Davydov, V. Knyazev, V. Razhnikov, V. Samitov, G. Tsypin etc. Important didactic principles of music teacher's knowledge development are the young teacher's own creative, aesthetic and professional self-improvement, supplementing the personal information and methodological base, creating an individual mobile system of effective pedagogical knowledge and skills that meet specific tasks. Attending concerts of academic music, opera and musical-dramatic performances, etc. (together with students, colleagues, independently); instrumental music, group singing; acquaintance with new musical works of various forms, genres, styles; training and performance as a performer (performers) at local, regional and other conferences, festivals, concerts, performances, etc. actively contribute to the creative self-improvement of the music teacher.
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Havrilova, Liudmyla, Valentyna Oriekhova, Olena Beskorsa, Olha Churikova-Kushnir, and Zoya Sofronii. "INVESTIGATING MUSIC TEACHERS’ MASTERY OF TRANSMEDIA TECHNOLOGY IN UKRAINE." Humanities & Social Sciences Reviews 8, no. 5 (September 3, 2020): 23–36. http://dx.doi.org/10.18510/hssr.2020.853.
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Purpose of the study: The objective of this study was to look into the opportunities of using the transmedia technologies in art education, in particular in music teachers’ professional training, and to introduce the results of the online survey “Transmedia Technology in Art Education” that was carried out in Ukraine among both teachers’ and university students’ for investigating their mastery of transmedia technology.
Methodology: This study was based on the online survey “Transmedia Technology in Art Education”. The survey was developed on the Google Forms platform and included 20 questions, divided into three blocks. To conduct the study, 40 students of State Higher Education Institution “Donbas State Pedagogical University” (Ukraine) and Communal Institution “Pokrovsk Pedagogical College” (Ukraine) and 31 university lecturers and secondary school teachers took part in the survey.
Main Findings: The received data and their analysis show that the concept of transmedia technology and its essence is new and unknown for both students and teachers. The survey confirms that all survey participants are active ICT users who prefer searching for and sharing information on the Internet, using electronic guides and textbooks, and creating multimedia products. Fewer respondents prefer active methods of using ICT, such as an online stream, seminars, e-journals, learning materials with QR codes. It was found that the knowledge about ICT and skills to use it is the basis for mastering the transmedia technology and implementing it in music teachers’ professional training.
Applications of this study: This study can be used by secondary school administrative staff to investigate the teachers’ mastery of transmedia technology, as well as by university teachers for implementing the transmedia strategy in music teachers’ professional training that contributes to the qualitative development of their professional competence.
Novelty/Originality of this study: The novelty of the study lies in the attempt to investigate the level of music teachers’ mastery of transmedia technology and its potential opportunities for developing music teachers’ professional competence as there is no experience of using transmedia technology in the sphere of music teacher training.
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Lasauskiene, Jolanta. "(RE)CONSTRUCTION OF STUDENT MUSIC TEACHER IDENTITY." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 1 (May 25, 2018): 306–16. http://dx.doi.org/10.17770/sie2018vol1.3180.
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The professional identity of music teacher represents the essence of this profession. Improving the programmes of music teacher education and deciding how to (re)construct the professional identity of prospective music teachers, it is important to discuss what contextual factors can have an impact on the development of music teacher identity and what possibilities of its (self-) development are available at university. A better understanding of the role-identity of teachers at various stages of their careers could enhance the conceptions of study programmes in music teacher education. The article analyses and discusses the conception of music teacher identities, substantiates its peculiarities during pre-service training, points out the most important characteristics for the successful professional activity of the music teacher. The research presented in the article focuses on professional identity development of 30 university music students (15 Lithuanian and 15 foreign) at Lithuanian University of Educational Sciences (Music Education). The method of focus group interview was used in this study.The research results show that the student music teachers have developed a distinctive attitude towards the professional education in universities and their own expectations. Suggestions for practice and further research are also provided.
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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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Тeriaieva, L. A. "Pedagogical conditions and innovative technologies in the process of learning discipline “Choral Conducting”." Musical art in the educological discourse, no. 2 (2017): 141–44. http://dx.doi.org/10.28925/2518-766x.20172.14144.
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Innovation of modern education is competence-based approach, which requires the students to receive sturdy theoretical knowledge and practical skills on the basis of interdisciplinary connections between choral conducting with other psycho-pedagogical and related musical academic disciplines. To achieve this goal it is necessary to create the appropriate pedagogical conditions. Creation of conditions depends on the organization of training, competence and experience of the teacher. Favorable pedagogical conditions always have a positive effect on the quality of students’ training in choral conducting, efficiency and intensification of their training. We offer to develop methodological competence of future music teachers in choral conducting classes following these pedagogical conditions: continual self-improvement of teachers; enhancing the motivation of learning through the use of exercises in choral conducting on visual means, multimedia and other modern computer technologies; complete methodological support for choral conducting and related musical disciplines by educational programs; independent work of students on improving their methodological competence; teaching students to be confident in their ability and own conductor’s skills; creative contact at classes on choral conducting between the future music teacher, teacher and accompanist, as well as between the future music teacher and the choir group. This article focuses on the requirement to create favorable conditions for teachers in the classses in choral conducting. It is considered, analysed and proposed pedagogical conditions which reveal psychological and pedagogical problems and highlight the ways to overcome them. Favorable conditions of teaching in choral conducting have a positive impact not only on the development of methodical competence, but also on quality of future music teachers’ training.
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Luxin, Cheng. "CREATIVE POTENTIAL OF FUTURE MUSIC TEACHERS’ VOCAL TRAINING." Science and Education 37, no. 10 (October 2016): 157–61. http://dx.doi.org/10.24195/2414-4665-2016-10-28.
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Bouij, Christer. "Swedish Music Teachers in Training and Professional Life." International Journal of Music Education os-32, no. 1 (November 1998): 24–32. http://dx.doi.org/10.1177/025576149803200103.
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Lasauskiene, Jolanta. "Developing and renewing music teacher competences: prospects and challenges." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 8 (January 11, 2018): 225–33. http://dx.doi.org/10.18844/prosoc.v4i8.3053.
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The topic of music teacher education and training raises many issues for discussion. The purpose of the present study was to analyse the approach of pre-service music education teachers towards their professional activity and to discuss their expectations within the context of the competence-based education. Thirty four students (international and national), all pre-service music teachers studying in Lithuanian University of Educational Sciences, were included. The results indicated that generally the expectations of students were (more or less) in line with the principles of the competence-based initial music teacher education. Prospective music teachers describe their professional activity as broad and multidimensional but they also emphasise the importance of personal and ethnic values, implementation of general, subject-specific and professional competences and continuous improvement. It has been revealed that in music education it is particularly important to combine orientation towards pedagogical activities with orientation towards the spread of the learner’s personality. Keywords: Competence-based education, music teacher education, competences, student’s expectations, Lithuania.
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Yuansin, Wang. "Hedonistic Approach in the Musical-Rhythmic Competence of Future Music and Choreography Teachers." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 274–77. http://dx.doi.org/10.33310/2518-7813-2019-66-3-274-277.
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The article is dedicated to the analysis of hedonistic approach to music and rhythm competence of prospective Music and Choreography teachers. As hedonism became a focus of scholars’ active attention during the recent decade, hedonistic approach is being put forward in the article as the key one in music and rhythm competence of prospective Music and Choreography teachers. Under the current circumstances of the society’s development, the psychological follow-up of prospective Music and Choreography teachers is an important goal to attain for our country. Each personality requires individual approach; help in revealing his/her specific features; in shaping a wholesome, harmonious personality. The goal under consideration presupposes setting complicated issues for teachers and psychologists; these issues require structural, systemic and subsequent solution. The personality’s subjective welfare is not only an indicator of his/her psychic (emotional) stability, the transient (dis)adaptation states and pressure compliance resources, but also has crucial significance for perfecting the processes of a person’s overall and academic socialisation. This phenomenon requires conducting applied research as well as solving other issues. Thus, hedonistic approach to music and rhythm competence of prospective Music and Choreography teachers presupposes studying and explication. Applying a hedonistic approach to music-rhythmic competence, under appropriate pedagogical conditions, is transformed into a kind of educational and musical training, which is based on a person's need for pleasure, enjoyment and relying on a love of music education. In this way, the hedonistic approach in music education gives the process of teaching future music teachers and choreography a special appeal.Hedonistic approach to music and rhythm competence of prospective Music and Choreography teachers under the corresponding academic circumstances is being rearranged into a distinctive teaching and music training based on the prospective Music and Choreography teacher’s demand for enjoyment and delight relying on the love of music education.
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Mykhaskovа, Marina. "FOREIGN EXPERIENCE OF PROFESSIONAL TRAINING OF THE FUTURE MUSIC TEACHERS." Continuing Professional Education: Theory and Practice, no. 1 (2020): 74–79. http://dx.doi.org/10.28925/1609-8595.2020.1.11.
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The article deals with the comparative analysis of the system of music training of pedagogues-musicians abroad (in the countries of the European Union, Scandinavian countries, United States of America, People’s Republic of China and Japan) in particular, comparing these systems and selecting the most valuable experience for implementation in Ukraine. Particular attention is paid to the structure of music teacher education in Poland, Latvia, Finland, Germany, Hungary, Austria, Czech Republic, Slovak Republic, Sweden, Iceland, Norway, Great Britain, America, People’s Republic of China, Japan. The author of the article analyses the term of education in different countries; duration of stage education (Bachelor (Bc), Master (Mg), Doctor (Dr)); duration of study of the course; types of music activity; basic subjects; direction of educational subjects; music-pedagogical systems of outstanding musicians-pedagogues involved in the professional education process. It is analyzed that the common features for music education are: the orientation of education to the inner values associated with the development of musical skills, knowledge and abilities necessary for creativity and reaction to music; understanding and knowledge of the cultural environment and heritage; personal and community development through creativity, identity formation, personal development and social interaction. Music education systems abroad are characterized by the focus on the harmonious development of the personality, provide various forms of creative music playing on the material of folk, classical, contemporary music in their parallel comparison, develop perception and musical hearing through effective techniques.
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Ovcharenko, Natalia, Olha Matveieva, and Olha Chebotarenko. "Metodological readiness formation of future music art teachers for their professional activity." Revista Amazonia Investiga 9, no. 27 (March 21, 2020): 157–64. http://dx.doi.org/10.34069/ai/2020.27.03.16.
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The article highlights the ways of solving the current problem of artistic education in Ukraine - methodological readiness formation of future music art teachers for their professional activity. The purpose of the study is experimental verification of the organizational and methodical principles of the methodological readiness formation of future music art teachers for their further professional activity, which is considered as: professional and personal formation of a teacher based on the motivation to such a kind of activity, a complex of methodological knowledge, skills and psychological capacities of the music art teacher to apply them. The research covers the structure of the methodological readiness of the music art teacher for their professional activity, which includes the following components: motivation-demanding, informational-cognitive, scientific activity-based, reflexive-evaluational, self-improving; also certain criteria, indicators and levels of methodological readiness formation of the music art teacher are determined in particular and the organizational and methodical principles of forming the methodological readiness of future music art teachers, based on the modernization of the content, forms and methods of methodological training of future music art teachers. The effectiveness of certain organizational and methodical principles has been confirmed by experimental research.
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Gifford, Edward. "The Musical Training of Primary Teachers: Old Problems, New Insights and Possible Solutions." British Journal of Music Education 10, no. 1 (March 1993): 33–46. http://dx.doi.org/10.1017/s0265051700001418.
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Recent national and international documents dealing with education and the arts have attributed poor teaching of music in primary schools to inadequacies in the training of primary teachers. The most frequently reported problems associated with the training of teachers in music education were students' lack of confidence and their low musical ability.Against this background, a study was undertaken to examine further the extent to which participation in a music education course during pre-service training advanced the musical skills, music teaching ability, musical sensitivity, and attitudes towards music of students who become general primary teachers. It was hypothesised that the quality of music education was influenced by the multi-dimensional interactions of a range of factors. These included: attitude towards music and to music education; musical achievement; the classroom learning environment; students' preferred learning styles and their previous musical background. This paper reports data on these factors and the influence of preservice training on attitudes to music and to music teaching.The investigation confirmed general primary pre-service teachers' low perception of their competence and confidence as music teachers, and established that any limited gains in music and music teaching skills were offset by their enjoying and valuing music and music education less. Causal explanations for the findings are discussed and a model of music education is proposed both as a further means of interpreting the data and a basis for the potential re-focussing of the music curriculum.
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Bennett, Dawn, and Eddy K. M. Chong. "Singaporean pre-service music teachers’ identities, motivations and career intentions." International Journal of Music Education 36, no. 1 (May 6, 2017): 108–23. http://dx.doi.org/10.1177/0255761417703780.
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This article explores pre-service music teachers’ professional identities during pre-service training. Its focus is a student cohort whose studies are funded by the Singaporean Ministry of Education in return for a commitment—a teaching bond or contract—to work as teachers in schools. An overview of pre-service teacher education and the challenges of attraction and retention in Singapore is followed by discussion of the literature relating to identity formation, with a focus on music teacher and musician identities. Next, analysis and discussion of the findings highlight that participants’ teacher identities did not align with their level of performance proficiency. Teacher identity did, however, align with participants’ intentions to remain in teaching; participants who defined themselves first and foremost as music teachers were more likely than their peers to plan long-term teaching careers. The article considers the influence of teaching bonds, or contracts, signed by students in advance of their post-secondary studies. It concludes by considering the implications for recruitment and for developing professional identity among pre-service music teachers.
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Kovalchuk, Vasyl, Tetiana Ageykina-Starchenko, Natalia Chorna, and Svitlana Iskra. "FORMATION OF EMOTIONAL INTELLIGENCE OF STUDENTS – FUTURE MUSIC TEACHERS AND MUSIC SUPERVISORS OF PRESCHOOL INSTITUTIONS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 1 (May 20, 2020): 454. http://dx.doi.org/10.17770/sie2020vol1.4920.
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The reform of Ukrainian education has put forward new requirements for the training of teachers, in particular, future music teachers and music supervisors of preschool institutions. There was a need to revise traditional teaching methods, update the content of education and change emphasis in the educational process from cognitive to emotional. One of the factors affecting the professional training of a music teacher is emotional intelligence as integrated phenomenon that combines emotional and intellectual abilities into a single developing (dynamic) system, which gives the opportunity to distinguish cognitive-emotional, empathy-creative (artistic) and regulatory-behavioral components. The purpose of the article is the theoretical argumentation of the emotional intelligence concept and structure, the approbation results presentation of emotional intelligence formation methods by future music teachers and music supervisors of preschool institutions in the process of studying special music disciplines "Basic Special Instrument", "Voice Staging", "Choral Conducting". During the experimental research, which was conducted by students of the Preschool Education And Musical Art Faculty, various methods of diagnosing emotional intelligence were used, special methods and methods of its formation were created ("Self-knowledge", "Emotional infection", "Physical actions" methods; "What am I?", "Show your emotion", "Diary of emotions" techniques). It is proved that the implementation of the proposed methodological aspects into the educational process influences positive changes of this quality development, which, in turn, will ensure the successful adaptation of the future music teacher in his professional activity.
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Figueiredo, Edson Antônio de Freitas. "Associations between training, employment, and motivational styles of Brazilian instrumental music teachers." International Journal of Music Education 37, no. 2 (April 1, 2019): 198–209. http://dx.doi.org/10.1177/0255761419839170.
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Teachers follow a motivational style based on their own beliefs about motivation affected by environmental events. External events such as rules and traditions often affect orientation towards controlling; however, it is not known if events such as training and employment affect the extent to which music teachers try to control a student’s behavior. The aim of the current study is to investigate associations between the motivational styles of instrumental music teachers, their training, and the type of employment they possess. A survey was conducted with 358 instrumental music teachers. Participants accessed an online questionnaire to provide information about their motivational style and to answer questions about their training and employment. Trained musicians recorded higher scores in the controlling factor than trained music educators. Similarly, teachers who worked in public music schools recorded higher scores in the controlling factor than the ones who worked in private music schools. Our study suggests that motivational literature should be part of the higher education curriculum, since it could help to improve behaviors that support autonomy in instrumental music lessons. The study also recommends making changes to the lifelong job positions that are acquired through public tenders in order to prevent teachers from disregarding the perspective of their students.
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Daynova, Guzel, Margarita Zabbarova, Laysan Karimova, Irma Levina, and Tatyana Politaeva. "Digital educational space in the professional training of music teachers." SHS Web of Conferences 98 (2021): 05025. http://dx.doi.org/10.1051/shsconf/20219805025.
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Professional training of music teacher is a versatile and creative process. It includes numerous areas, such as instrumental and vocal training, studying pedagogical technologies for working with children, studying masterpieces of world music art, and, certainly, studying digital resources and technologies. Digital education space is a digital environment integrating opportunities of digital education resources, computer-aided music technologies and tools, which is the basis in training music teacher. The importance of skills of setting as interactive accompaniment and basic user accompaniment in the form of phonogram is also stipulated by the specificity of accompaniment activity of music teacher as one of the major constituents of professional readiness. Imagination of music teacher as a concertmaster (accompanist of children singing) exerts the influence on whether he would be able by means of expressive playing and keyboard technique to underline and to support the temper of children singing, to present clearly and to reproduce instrument features by piano. That is, a music teacher should be aware of organology, know features of instrument sounding and peculiarities of various instruments. This is sufficiently aided by sequencer software with embedded banks of virtual tunes on synthesizer. In digital education space, video is presented as teaching aid for transfer of learning information, that is, it is considered as video aid, video device used for organization of education. Under existing conditions of distance learning, the interaction between teacher–choirmaster, teacher–vocalist, concertmaster, and students is supported by information and communication technologies. Therefore, mastering means and resources of digital education space is aimed at improved of professional training of future music teacher being the basis of formation of personal capabilities and skills of student.
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Bautista, Alfredo, Guo-Zheng Toh, and Joanne Wong. "Primary school music teachers’ professional development motivations, needs, and preferences: Does specialization make a difference?" Musicae Scientiae 22, no. 2 (November 14, 2016): 196–223. http://dx.doi.org/10.1177/1029864916678654.
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There is widespread agreement that one-size-fits-all professional development (PD) has limited potential to foster teacher learning and that PD should be ‘responsive’ to the demands of teachers with different profiles. The purpose of this exploratory study was to analyze the PD motivations, needs, and preferences of Singapore primary school music teachers according to their level of specialization in music education. This variable has been relatively unexplored within the field of music-teacher PD. A nationwide survey was run to collect the data. Participants were 286 primary music teachers (about 40% of the entire population), who were split into three groups based on their music education background (Major = 113, Minor = 64, Generalist = 109). Findings indicated that the three groups of teachers had different motivation levels to participate in music-specific PD (e.g., generalists being the least motivated), various needs for further training (e.g., music education majors being the most interested in improving their music content knowledge), and different preferences regarding PD providers and learning formats (e.g., generalists preferring to learn from other fellow colleagues within informal settings). We concluded that the level of specialization in music education plays a major role in determining teachers’ PD motivations, needs, and preferences. This study has the potential to inform the design of more responsive PD initiatives.
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Ibbotson, Lindsay, and Beng Huat See. "Delivering Music Education Training for Non-Specialist Teachers through Effective Partnership: A Kodály-Inspired Intervention to Improve Young Children’s Development Outcomes." Education Sciences 11, no. 8 (August 16, 2021): 433. http://dx.doi.org/10.3390/educsci11080433.
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A priority area identified by the Department of Education (England) and the Economic Social and Research Council is the development of teachers, especially in primary music education where the limited opportunities for training offered by teacher training providers have raised concerns. This paper reports on an evaluation of a collaborative partnership training of non-specialist teachers, using a Kodály-inspired pedagogy to teach music in a classroom setting. Participants included 54 teachers (and 1492 pupils, aged 5–6), selected from 55 schools, as part of a large randomised control trial (RCT) in the north of England. This paper presents findings from a qualitative study that was conducted alongside the RCT, but which was not part of the RCT itself or the RCT’s implementation and process evaluation. Results from the study, which include a pre-post survey of teachers, focus group interviews and reflective journals, suggest promising effects on teachers’ pedagogical skills, their self-efficacy and competence, and children’s self-confidence and disposition for learning.
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Bilen, Sermin. "Speaking as a musical expression tool according to teachers’ views." Cypriot Journal of Educational Sciences 16, no. 2 (April 30, 2021): 869–87. http://dx.doi.org/10.18844/cjes.v16i2.5693.
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The aim of the study is to evaluate the relationship between speaking as a musical expression tool and music in effective communication according to teachers’ opinions. The qualitative research method is used in this study. The data were collected with the ‘opinion form’ that prepared online and consists of three open-ended questions. The research group consisted of 400 teachers, 131 of whom music teachers and 269 of whom other field teachers. The results of the research are that body language is at the forefront of communication tools other than music; musical expressions are mostly used in speech; emotional expression and effective expression are common aspects of music and speech; and music teachers are willing to learn this strategy. Training arrangements for teachers to use body language and speech effectively are in line with these results, and in-service training programs for music teachers to develop a musical expression are among the suggestions.
Keywords: Language; speech; music; musical education; musical expression.
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Havrilova, Liudmyla H. "ПРИНЦИПИ ФОРМУВАННЯ ПРОФЕСІЙНОЇ КОМПЕТЕНТНОСТІ МАЙБУТНІХ УЧИТЕЛІВ МУЗИКИ ЗАСОБАМИ МУЛЬТИМЕДІЙНИХ ТЕХНОЛОГІЙ." Information Technologies and Learning Tools 46, no. 2 (April 8, 2015): 45. http://dx.doi.org/10.33407/itlt.v46i2.1210.
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The article focuses on an urgent problem of contemporary artistic education and concerns implementation of multimedia computer aids of learning in the process of music teachers training. The author considers the principles of music teachers professional competence formation using multimedia technologies and defines them as follows: principle of informatization of learning; principle of visualization, supported with multimedia aids; principle of optimal selection of learning aids; principle of integration of traditional approaches to music education with innovative multimedia technologies; principle of purposeful interaction and creative cooperation between teacher and students; principle of promotion creative musical activities and personal self-expression. Adherence to these principles determines effective professional development of music teachers through the means of multimedia technologies.
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Sogin, David W., and Cecilia Chu Wang. "Music activity reports by music teachers with varying training in Orff Schulwerk." International Journal of Music Education 26, no. 3 (August 2008): 269–78. http://dx.doi.org/10.1177/0255761408092527.
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Priest, Philip. "General Practitioners in Music: Monitoring Musicianship Skills Among Intending Secondary Teachers." British Journal of Music Education 13, no. 3 (November 1996): 225–32. http://dx.doi.org/10.1017/s0265051700003259.
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Music graduates choosing secondary school teaching as a career and training through one-year post-graduate courses are drawn from an increasingly wide range of degree studies in music and embark on their training year with diverse specialisms and music skills. Yet these students will need to operate as generalists in schools with an ever-widening music curriculum. In this account of procedure in one institution, a view is given of the applied musicianship needed by new teachers and discussion of this invited from all providers of post-school music education and training. Data collected from students who may soon be responsible for music in a school indicate a trend towards improvement in only some areas of musicianship.
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Biasutti, Michele, Sarah Hennessy, and Ellen de Vugt-Jansen. "Confidence development in non-music specialist trainee primary teachers after an intensive programme." British Journal of Music Education 32, no. 2 (December 11, 2014): 143–61. http://dx.doi.org/10.1017/s0265051714000291.
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The issue of music teacher training for primary generalist teachers is shared by many countries in the world. We know from a range of studies which factors contribute to teachers’ abilities and confidence, but there are fewer studies that document the possible training approaches and interventions that might improve the outcomes. This article describes an international educational experience addressed to 23 trainee primary teachers coming from Austria, Italy, the Netherlands and Slovenia. The Intensive Programme1 called ‘International Summer School in Educating Music Teachers’ (ISSEMT) was offered at Padova University, Italy with the purpose of fostering confidence and competences among trainee generalist teachers for teaching music in the primary school. In planning the didactic approach of the ISSEMT, methods designed to enhance participants’ understandings of teaching creatively and teaching for creativity were adopted. The entire educational activity was evaluated by students using questionnaires and discussion. In addition, a follow-up interview was conducted with students after two years and five months, at the end of the ISSEMT. Students refer to the improvement of confidence in teaching music and the application of a creative approach. They appreciated the approach, the practical teaching ideas and the way the course closely related to their educational needs. These results are discussed in the framework of confidence development of the generalist teacher in the primary school for teaching music. The key factors that contributed to the effectiveness of the ISSEMT are also discussed.
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Holden, Hilary, and Stuart Button. "The teaching of music in the primary school by the non-music specialist." British Journal of Music Education 23, no. 1 (March 2006): 23–38. http://dx.doi.org/10.1017/s0265051705006728.
Full textAbstract:
This article reports on an investigation of the teaching of music by non-music specialists in the primary school. In particular, it examines attitudes to teaching music, factors affecting teachers' confidence, the relationship between confidence and training, support for music teaching, teaching experience and musical background. The non-specialist teachers taking part in this survey were chosen from twelve schools across one Local Education Authority (LEA). The attitudes and views on teaching music of 71 teachers were obtained through a questionnaire survey and follow-up interviews. The findings of this survey show that there is much work still to be done in providing non-specialists with effective long-term training and support to increase their music skills, subject knowledge, and confidence, to enable them to make a more marked difference to children's musical education.