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Artículos de revistas sobre el tema "Music teachers"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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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 (2014): 92–102. http://dx.doi.org/10.7813/2075-4124.2014/6-2/b.15.

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2

kizi, Rakhimova Aziza Egambergan. "Methodology of Teaching Music Folklore for Music Teachers." European International Journal of Pedagogics 5, no. 5 (2025): 81–83. https://doi.org/10.55640/eijp-05-05-18.

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This article analyzes the methodology of teaching musical folklore in the process of training music teachers, its scientific and theoretical foundations, content and practical application. Effective methods of forming professional competence of future teachers, developing aesthetic taste and educating in the spirit of respect for national culture by integrating folklore samples based on folk oral traditions into music education are highlighted. At the same time, the article presents methodological recommendations on the use of lesson plans based on folk music, interactive methods and modern pe

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3

Nurtug, Bariseri Ahmethan, and Bahar Yigit Vahide. "Preservice music teachers` perception of their music teachers." Educational Research and Reviews 12, no. 7 (2017): 432–41. http://dx.doi.org/10.5897/err2017.3153.

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4

Djumaboyeva, M. "PEDAGOGICAL SKILLS OF MUSIC TEACHERS." American Journal Of Social Sciences And Humanity Research 4, no. 1 (2024): 150–54. http://dx.doi.org/10.37547/ajsshr/volume04issue01-24.

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This article talks about the importance of improving the professional-pedagogical skills of music teachers and professional competence, which is one of its branches. Today, in establishing the effectiveness of music teachers' activities and pedagogical activities, first of all, the importance of pedagogical skills and the possession of the types of competences necessary in each pedagogical process has been highlighted.

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5

Han, Jungmin Grace. "Korean Preservice Music Teachers’ Perceptions of Portfolio-based Teacher Education: A qualitative study." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 19 (2023): 581–91. http://dx.doi.org/10.22251/jlcci.2023.23.19.581.

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Objectives This qualitative study aimed to examine Korean preservice music teachers’ perceptions of portfo-lio-based teacher education. Methods A focus group interview along with an open-ended survey was executed with five preservice music teachers who were enrolled in the same portfolio-based music history education course at a graduate school of education in Seoul, Korea. The collected data were transcribed in Korean, translated it into English, and then in-ductively analyzed. Results The findings show as follows. First, all the participants have rarely experienced portfolio-base

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6

Cynthia L. Wagoner. "Measuring Music Teacher Identity: Self-Efficacy and Commitment Among Music Teachers." Bulletin of the Council for Research in Music Education, no. 205 (2015): 27. http://dx.doi.org/10.5406/bulcouresmusedu.205.0027.

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7

Brand, Manny. "Reel Music Teachers: Use of Popular Films in Music Teacher Education." International Journal of Music Education os-38, no. 1 (2001): 5–12. http://dx.doi.org/10.1177/025576140103800102.

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8

Hess, Juliet. "Troubling Whiteness: Music education and the “messiness” of equity work." International Journal of Music Education 36, no. 2 (2017): 128–44. http://dx.doi.org/10.1177/0255761417703781.

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At the elementary level, White, female music teachers largely populate music education. In the diverse schools of Toronto in Canada, teachers navigate their White subjectivities in a range of ways. My research examines the discourses, philosophies, and practices of four White, female elementary music educators who have striven to challenge dominant paradigms of music education. Their practices include critically engaging issues of social justice, studying a broad range of musics, and emphasizing contextualization. In many ways, these teachers interrupt the Eurocentric paradigm of music educati

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9

Kos, Ronald P. "Becoming music teachers: preservice music teachers’ early beliefs about music teaching and learning." Music Education Research 20, no. 5 (2018): 560–72. http://dx.doi.org/10.1080/14613808.2018.1484436.

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10

Fang, Lin, Chiew Hwa Poon, and Ku Wing Cheong. "Pre-service music teachers’ satisfaction with the teacher education curriculum in northern China." International Journal of Education and Practice 12, no. 3 (2024): 667–83. http://dx.doi.org/10.18488/61.v12i3.3747.

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Pre-service music teachers’ satisfaction with the curriculum has implications for student learning and curriculum development. It is necessary to investigate pre-service music teachers’ satisfaction with the curriculum to help universities respond to changing social needs. However, there is lack of empirical studies on this topic in China. This study aims to explore the degree of satisfaction of pre-service music teachers in northern China with the curriculum to reveal the current challenges and issues in music teacher education. For this, a quantitative statistical method was adopted to condu

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11

Brand, Manny. "Master music Teachers." Music Educators Journal 77, no. 2 (1990): 22–25. http://dx.doi.org/10.2307/3397811.

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12

Krueger, Patti J. "Beginning Music Teachers." Update: Applications of Research in Music Education 19, no. 1 (2000): 22–26. http://dx.doi.org/10.1177/875512330001900105.

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13

Killian, Janice N., Keith G. Dye, and John B. Wayman. "Music Student Teachers." Journal of Research in Music Education 61, no. 1 (2013): 63–79. http://dx.doi.org/10.1177/0022429412474314.

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In this descriptive study, we examined self-reported concerns of 159 music student teachers pre– and post–student teaching, over a period of 5 years. Resulting comments ( N = 867) were analyzed on the basis of (a) stages of teacher concern (focus on self, subject matter [music and teaching], and students) modeled after Fuller and Bown and (b) emerging categories of concern compared with those identified by Madsen and Kaiser. Stages of concern were reliably identifiable across all comments. Teachers, as predicted, began student teaching with more self (56%) and fewer student (4%) comments. Post

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14

Unarovna, Kuychieva Zamira. "Teaching Methods for Future Music Teachers Based on The Teacher-Student Tradition." International Journal of Pedagogics 5, no. 5 (2025): 99–102. https://doi.org/10.37547/ijp/volume05issue05-24.

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This article highlights the problems of integrating the teacher-student tradition into the modern educational process in the process of training future music teachers. The traditional teacher-student school is an important pedagogical tool for the continuous continuation of musical culture and instilling national values in the younger generation. Taking this tradition as a basis, the article analyzes effective methods of training music teachers, individual approaches and ways to develop creative competencies from a scientific, theoretical and practical point of view. The article also reveals t

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15

Kallio, Alexis Anja. "Popular “problems”: Deviantization and teachers’ curation of popular music." International Journal of Music Education 35, no. 3 (2017): 319–32. http://dx.doi.org/10.1177/0255761417725262.

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Despite many music classrooms welcoming popular musics in striving towards an inclusive and democratic education, there has been relatively little research into teachers’ decisions regarding which popular musics are included and which are excluded from classroom activities. This is of particular interest taking into account arguments that the norms and values associated with some popular musics or songs exist in conflict with the ideals and ideologies of formal schooling. Through interviews with five Finnish music teachers, this article explores the identification and navigation of “problemati

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16

Asmus, Edward. "Recruiting the Teachers of Music Teachers." Journal of Music Teacher Education 11, no. 1 (2001): 3–4. http://dx.doi.org/10.1177/105708370101100102.

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17

Rauduvaite, Asta, and Yanran Li. "TEACHER'S MUSIC ACTIVITIES IN THE CLASSROOM AS A PREREQUISITE FOR IMPROVEMENT OF MUSIC EDUCATION." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 25, 2018): 395. http://dx.doi.org/10.17770/sie2018vol1.3219.

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The relevance of the research is realized through the search for the music teacher’s activities that help to improve the process of music education while fostering the learner’s aesthetic and meaningful relationship to music. The object of the research is a music teacher’s activity of teaching music in general education school. The aim of the research is to analyse the improvement opportunities of a music teacher’s activity during music lessons in seventh-eighth grades in general education schools. The methods of the research include the analysis of scientific literature and documents of educa

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18

Shim, Souyeun, and Soojin Lee. "Secondary Music Teachers' Experiences of Teaching Korean Music: Practices of Music Teachers who Majored in Western Music." Korean Society of Music Education Technology 61 (October 31, 2024): 315–47. http://dx.doi.org/10.30832/jmes.2024.61.315.

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This study aims to explore the difficulties faced by music teachers with a background in Western music when teaching traditional Korean music (gugak) in schools and to draw educational implications from these findings. The study involved six middle school music teachers who majored in Western music, and data were collected through in-depth interviews and teaching materials provided by the teachers. The research participants' experiences related to Korean traditional music classes were explored by asking open-ended questions about what Korean traditional music classes were and what kind of teac

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19

Bautista, Alfredo, and Yan Lam Ho. "Music and movement teacher professional development: An interview study with Hong Kong kindergarten teachers." Australasian Journal of Early Childhood 46, no. 3 (2021): 276–90. http://dx.doi.org/10.1177/18369391211014759.

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Despite the urgent need to provide kindergarten teachers with professional development (PD) in music and movement, little is known about their needs, motivations, and preferences in this area. This interview study explores Hong Kong kindergarten teachers’ prior music and movement educational experiences and their self-perceived usefulness of such experiences, their needs and motivations to participate in further music and movement PD, and their preferences regarding PD facilitators, times, and learning activities. Evidence reveals that participants felt unprepared to enact the local music and

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20

Özgür, Eğilmez, Onuray Eğilmez Hatice, and Engür Doruk. "Attitudes of Pre-Service Music Teachers towards Value Education in Turkey." International Journal of Evaluation and Research in Education (IJERE) 7, no. 1 (2018): 11–16. https://doi.org/10.11591/ijere.v7.i1.pp11-16.

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In the music education curriculum, which is implemented from 2017-2018 academic year, the directive for teaching values was prepared for the first time. In this context, the research was conducted by comparing the attitudes of pre-service music teachers towards values education in terms of some variables, which will be included in the courses of value education according to the new music education curriculum. Data collected using the values education attitude scale were analysed using t-test, Kruskal-Wallis H test, and Spearman’s correlation coefficient. Results showed that attitude scor

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21

Robinson, Mitchell. "Music teachers' perceptions of high stakes teacher evaluation." Arts Education Policy Review 120, no. 1 (2017): 45–56. http://dx.doi.org/10.1080/10632913.2017.1373380.

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22

Culp, Mara E., and Karen Salvador. "Music Teacher Education Program Practices: Preparing Teachers to Work With Diverse Learners." Journal of Music Teacher Education 30, no. 2 (2021): 51–64. http://dx.doi.org/10.1177/1057083720984365.

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Music educators must meet the needs of students with diverse characteristics, including but not limited to cultural backgrounds, musical abilities and interests, and physical, behavioral, social, and cognitive functioning. Music education programs may not systematically prepare preservice teachers or potential music teacher educators for this reality. The purpose of this study was to examine how music teacher education programs prepare undergraduate and graduate students to structure inclusive and responsive experiences for diverse learners. We replicated and expanded Salvador’s study by inclu

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23

Khayitboboyevich, Avlakulov Dilovor. "Pedagogical possibilities of organizing music listening activities of future music teachers." International Journal of Pedagogics 5, no. 2 (2025): 56–59. https://doi.org/10.37547/ijp/volume05issue02-17.

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This article analyzes the process of organizing music listening activities of future music teachers from a pedagogical point of view. The process of listening to music is considered an important factor in the formation of teachers' aesthetic taste, development of musical culture and improvement of professional training. The study considers methods of effectively organizing music listening, the possibilities of using interactive methods and innovative technologies. It also covers pedagogical approaches and the use of didactic materials that serve to increase students' interest in the process of

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24

Yoo, Hyesoo. "Toward a Decentered Music Education Using a Rhizomatic Approach." Music Educators Journal 110, no. 1 (2023): 34–40. http://dx.doi.org/10.1177/00274321231195823.

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As we work to connect equity to our curriculum and pedagogy, a rhizomatic approach may provide a valuable lens for reconsidering traditional conventions. Such an approach underlines interconnected multiplicity with a noncentered, nonhierarchical emphasis. Applying a rhizomatic method, I offer music teachers some practical applications to challenge conventional curricular tendencies in subtle but important ways. Instead of using an additive approach to the Western classical canon, this approach helps to engage in music comparatively or relationally, which can enable teachers and students to thi

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25

Sim, TeeNa, and Julia Ai Cheng Lee. "Music-based language programme teacher training on preschool teachers’ music teaching self-efficacy and delivery performance: A case study." Southeast Asia Early Childhood Journal 13, no. 1 (2024): 133–51. http://dx.doi.org/10.37134/saecj.vol13.1.9.2024.

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Music substantially impacts early childhood development, especially language development, yet early childhood policies rarely emphasise the role of music in early learning and engagement. Research shows that effective delivery of early childhood music programmes depends on teachers' music knowledge, skills, and music teaching self-efficacy, which may be enhanced through teacher training. However, little is known about the training details and preparation of non-music-specialist preschool teachers who use music to teach. The present study sought to determine whether music-based language program

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26

Grimsby, Rachel. "“Anything Is Better than Nothing!” Inservice Teacher Preparation for Teaching Students with Disabilities." Journal of Music Teacher Education 29, no. 3 (2019): 77–90. http://dx.doi.org/10.1177/1057083719893116.

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The purpose of this instrumental case study was to examine three elementary music teacher’s perceptions of preparation to work with students with disabilities. Research questions included the following: How do elementary general music teachers define preparedness for working with students with disabilities? What challenges do elementary general music teachers face in their work with students with disabilities? What resources do general music teachers identify as helpful? Based on major themes that emerged from the analysis, I concluded general music teachers need more preservice preparation an

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27

Georgii-Hemming, E., and M. Westvall. "Teaching music in our time: student music teachers' reflections on music education, teacher education and becoming a teacher." Music Education Research 12, no. 4 (2010): 353–67. http://dx.doi.org/10.1080/14613808.2010.519380.

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28

Bremmer, Melissa. "Does the body count as evidence? Exploring the embodied pedagogical content knowledge concerning rhythm skills of a Dutch specialist preschool music teacher." International Journal of Music in Early Childhood 16, no. 1 (2021): 89–103. http://dx.doi.org/10.1386/ijmec_00029_1.

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In educational research, the teacher’s body tends to be neglected as a source of evidence of pedagogical content knowledge (PCK). The music teacher’s body might, however, communicate knowledge about teaching that is key to the profession of music teachers. This qualitative single case study set out to explore what the embodied PCK of a music teacher regarding teaching rhythm skills could be. Through a stimulated recall interview, two video analysis tasks, a digital notebook and a semi-structured interview, the PCK of a Dutch specialist music teacher teaching rhythm skills to preschoolers was m

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29

Bremmer, Melissa. "Does the body count as evidence? Exploring the embodied pedagogical content knowledge concerning rhythm skills of a Dutch specialist preschool music teacher." International Journal of Music in Early Childhood 16, no. 1 (2021): 89–103. http://dx.doi.org/10.1386/ijmec_00029_1.

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In educational research, the teacher’s body tends to be neglected as a source of evidence of pedagogical content knowledge (PCK). The music teacher’s body might, however, communicate knowledge about teaching that is key to the profession of music teachers. This qualitative single case study set out to explore what the embodied PCK of a music teacher regarding teaching rhythm skills could be. Through a stimulated recall interview, two video analysis tasks, a digital notebook and a semi-structured interview, the PCK of a Dutch specialist music teacher teaching rhythm skills to preschoolers was m

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30

Su, Yan, and Yan Xiao. "Teachers’ Beliefs and Actions on affective responses during music listening activities in higher education in China." Advances in Education, Humanities and Social Science Research 8, no. 1 (2023): 196. http://dx.doi.org/10.56028/aehssr.8.1.196.2023.

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Music listening is very important in all stages of music learning. Affective response and cognition take place simultaneously during the music-listening process. However, there is a paucity of research on how university music teachers deal with the issues of involving the affective responses of students in listening. This study employed a questionnaire survey to investigate the current situation of teaching beliefs and actions of music academics towards affective responses while listening to music in China. The views of 160 music university teachers recruited from 15 different universities hav

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31

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 ap

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32

Cameron, T. M. "Music Perhaps Best Used by Music Teachers." American Journal of Occupational Therapy 46, no. 10 (1992): 955. http://dx.doi.org/10.5014/ajot.46.10.955.

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33

Kim, Jihye. "A Case Study on Formation Process of Music Teacher Identity of First-time Elementary Teachers." Korean Music Education Society 54, no. 1 (2025): 97–125. https://doi.org/10.30775/kmes.54.1.97.

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The purpose of this study is to explore the process of forming music teacher identity of the first-time elementary school teachers. It is necessary to understand the aspects of the identity formation process of first-time elementary school teachers in Korea because music teacher identity formed during the first-time teacher period greatly affects the way teachers teach music in the future. A case study was conducted on 5 elementary school teachers with less than five years of experience. The researcher collected data through interviews 2-3 times per research participant, and analyzed them by t

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34

Jumaniyazov, Ollabergan Sharofiddinovich. "Music teachers' transversal competencies." International Journal of Pedagogics 5, no. 3 (2025): 169–71. https://doi.org/10.5281/zenodo.15420950.

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This paper examines the role of transversal competencies in music education, emphasizing their impacton student development and teaching effectiveness. It highlights the necessity for music educators to integratecommunication skills, emotional intelligence, and interdisciplinary approaches to enhance learning experiences.The study explores how effective communication fosters student engagement, how emotional intelligencecontributes to supportive learning environments, and how scientific and artistic perspectives intersect in musicinstruction. Additionally, it underscores the relevance of digit

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35

Supiarza, Hery, Deni Setiawan, and Cece Sobarna. "Pola Permainan Alat Musik Keroncong dan Tenor di Orkes Keroncong Irama Jakarta." Resital: Jurnal Seni Pertunjukan 20, no. 2 (2019): 108–20. http://dx.doi.org/10.24821/resital.v20i2.2459.

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Penelitian ini mendiskusikan pola permainan alat musik keroncong dan tenor serta penerapannya pada lagu “Cente Manis” dan “Sambel Cobek”. Kedua alat musik ini merupakan identitas keroncong gaya Jakarta. Penelitian dilakukan dengan pendekatan kualitatif deskriptif dan data dikumpulkan melalui observasi, wawancara, dan dokumentasi. Berdasarkan hasil penelitian ditemukan bahwa asal mula istilah alat musik keroncong berasal dari bunyi alat musik itu sendiri. Istilah tenor merujuk pada istilah suara laki-laki tertinggi. Ditemukan juga teknik permainan alat musik keroncong dan tenor yaitu teknik ras

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36

Sularso, Sularso. "Pendekatan literasi musik: Upaya mengetahui persepsi mahasiswa pendidikan guru sekolah dasar tentang keragaman budaya musik Indonesia." Wiyata Dharma: Jurnal Penelitian dan Evaluasi Pendidikan 10, no. 1 (2022): 1–7. http://dx.doi.org/10.30738/wd.v10i1.12745.

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Bagi mahasiswa pendidikan guru sekolah dasar, pembelajaran musik menjadi matakuliah wajib yang harus dituntaskan. Dalam masyarakat multikultural, siswa pendidikan guru sekolah dasar harus memahami khasanah musik Indonesia secara baik. Persoalannya adalah mahasiswa pendidikan guru sekolah dasar tidak secara spesifik mengambil jurusan musik, sehingga rata-rata mereka tidak memiliki pengetahuan literasi musik secara memadai. Perspektif literasi musik tradisional ini dimaksudkan untuk membantu mahasiswa sekolah dasar dalam memahami hubungan antara musik tradisional dan pendidikan musik multikultur

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37

Nysæther, Eyolf Thovsen, Catharina Christophersen, and Jon Helge Sætre. "Who are the music student teachers in Norwegian generalist teacher education?" Nordic Research in Music Education 2, no. 2 (2021): 28–57. http://dx.doi.org/10.23865/nrme.v2.2988.

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This study is based on data from a national survey of generalist student teachers specialising in music in the new five-year primary and lower secondary school teacher education programme in Norway. The study aims to map students’ backgrounds, experiences of the educational programme and visions for their future practice as generalist music teachers in schools. The theoretical perspective is cultural-historical activity theory (CHAT). The findings suggest that generalist teacher education music programmes reproduce patterns of inequality. These patterns should be addressed in the future develo

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38

Yoo, Hyesoo, Sangmi Kang, Camilo I. Leal, and Abbey Chokera. "Engaged Listening Experiences: A World Music Sampler." General Music Today 33, no. 3 (2019): 14–20. http://dx.doi.org/10.1177/1048371319890291.

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As the U.S. population has become significantly more culturally diverse, many music educators have acknowledged the necessity to implement culturally diverse musics in music curricula. One of the challenges in teaching culturally diverse musics is designing a balance between performing-based activities and other activities such as listening, improvising, and composing activities. Despite the importance of developing students’ listening skills, listening lessons are still relatively deficient within the context of world musics. Therefore, we provide general music teachers with engaged listening

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39

Haack, Paul, and Michael V. Smith. "Mentoring New Music Teachers." Music Educators Journal 87, no. 3 (2000): 23. http://dx.doi.org/10.2307/3399659.

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40

Kataryńczuk-Mania, Lidia. "Music teachers. Model perspectives." International Forum for Education 10 (December 31, 2017): 75–85. http://dx.doi.org/10.15804/iffore2017.05.

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41

Roberts, B. "Music Teachers as Researchers." International Journal of Music Education 23, no. 1 (1994): 24–33. http://dx.doi.org/10.1177/025576149402300103.

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42

Campbell, Patricia Shehan. "Music, Teachers, and Children." General Music Today 7, no. 2 (1994): 19–26. http://dx.doi.org/10.1177/104837139400700204.

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43

Strenáčiková, Jr. Maria, Sr. Maria Strenáčiková, and Mariana Kološtová. "Music teachers influencing lives." Klironomy 2, no. 5 (2022): 101–7. https://doi.org/10.47451/her2022-04-02.

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There are many teachers in Slovak music history and in present times who have educated generations of musicians with love and who have influenced many artistic careers and lifestyles. Paying homage to these personalities and making their activities accessible to the public is the goal of the national project KEGA 003UMB-4/2021, Lexicon of Personalities of Slovak Music Pedagogy. The aim of this paper is to briefly present two exceptional personalities who work with talented pupils/students of different ages, in different cities, different types and levels of schools, but with a common mission.

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44

Nurtug, Bariseri Ahmethan. "Correlation between teaching styles of candidate music teachers and mentor music teachers." Educational Research and Reviews 11, no. 13 (2016): 1228–35. http://dx.doi.org/10.5897/err2016.2795.

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

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

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46

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

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

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Davidova, Jelena. "Music Teacher’s Competences in the 21st Century." Pedagogika 134, no. 2 (2019): 99–108. http://dx.doi.org/10.15823/p.2019.134.6.

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Rethinking education of music teachers for new learners’ generation is as crucial as identifying the new competencies that today’s music teachers need to develop. According to analyses of EU documents and scientists’ conceptions concerning music teacher’s competences, the author characterizes tendencies and priorities for improving music teachers’ competences in the 21st century. The basic task of music education is promoting the formation of learners’ personal attitude to the world, to self and others, to provide the opportunity for learners to learn music as a new form of communication. In t

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Ballantyne, Julie, and Jan Packer. "Effectiveness of preservice music teacher education programs: Perceptions of early-career music teachers." Music Education Research 6, no. 3 (2004): 299–312. http://dx.doi.org/10.1080/1461380042000281749.

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Kang, Sangmi, and Hyesoo Yoo. "American preservice elementary teachers’ self-reported learning outcomes from participating in Korean percussion lessons in a music-methods course." Research Studies in Music Education 41, no. 3 (2019): 327–42. http://dx.doi.org/10.1177/1321103x18806084.

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The purpose of this study was to examine American preservice classroom teachers’ self-reported learning outcomes after partaking in a weekly Korean percussion ensemble in an elementary music-methods course. The preservice classroom teachers rehearsed a Korean percussion ensemble piece ( Samulnori) as their course routine for half of the semester. Participants’ open-ended essays and semi-structured interviews were analyzed to determine their learning outcomes. Based on Abril’s (2006) three world music learning outcome categories (musical, cultural, and other) as initial codes, the emergent codi

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LI, Yifei. "The "strong teacher" strategy for music teachers in rural primary and secondary schools from the perspective of subject core literacy." Region - Educational Research and Reviews 6, no. 1 (2024): 148. http://dx.doi.org/10.32629/rerr.v6i1.1743.

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This article mainly discusses the development characteristics of "strong teacher" in rural music teachers from the perspective of subject core literacy, and summarizes the development plans for teachers form three aspects of "independent development", "social participation", and "cultural foundation". Through effective thinking on the analysis of the current situation of music education in rural primary and secondary schools, the following three issues can be identified: cognitive bias in the construction of rural music education, insufficient integration of rural music teachers, and insuffici

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