scholarly journals Importance of Intuition in Music Education

Pedagogika ◽  
2014 ◽  
Vol 115 (3) ◽  
pp. 208-220
Author(s):  
Rasa Kirliauskienė
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
School Teacher ◽  
Contemporary Music ◽  
Structured Interview ◽  
Research Data ◽  
Music Teacher ◽  
Young Generation ◽  
Full Time

Communication of music is firstly based on intuitive intonational thinking. Thus, according to Z. Rinkevičius (2009), it is quite natural that appropriate use of music may efficiently stimulate intuitive thinking, reserves of unknown to us subconsciousness, and through them, those of consciousness. Therefore, music facilitates improvement of spiritual powers and intellect more than any other kinds of art. Research object: importance of intuition in music education. Research aim: to reveal importance of intuition in music education. Methods of research and sample: analysis of scientific literature sources, interview. Qualitative research data are described applying content analysis. The scheme of categorization was not planned in advance and it was devised on the basis of the received data. The research was carried out in October 2013 and January 2014. The people related to the analysed problem (key informants) were chosen in the first stage of the research: 3 teachers with sufficient pedagogical experience working at school. The semi-structured (oral) interview was employed. The focus of this stage of research was on subjective opinion of the informants about importance of intuition in music education. They also were asked in what way, according to the informants, intuition is manifested in their work as a phenomenon. Attempts were also made to identify the musical activities, where use of intuition is evidenced. The second stage of the research included 28 fourth year (full-time and part-time) students. The semi-structured interview (written) was used in this stage. The question about importance of intuition in musical education was not presented to future teachers of music with the acquired sufficient knowledge of pedagogy, psychology and other theories, speciality - related abilities and skills of observational and performance practices. They were asked to express their opinion about the content of the role of a contemporary music teacher. The question about significance of intonation was not presented to the informants making attempts to envisage the vision of the young generation (i.e., music teachers to be) about what a school teacher should be like and then the researcher searched for certain links to substantiate own theory. Conclusions • The research revealed that music teachers frequently act under influence of intuition, change plans when new ideas emerge and get overwhelmed with an impulse of creativity. According to them, manifestations of intuition in music activities are mostly expressed in music creation, listening to music, music playing and musical thinking. • The research data identified the content of the role of a music teacher pointing out its 5 aspects: educator (education for humanity: humanity, communication, playing music together); authority (competent specialist: example for school learners, profound knowledge of study subject, universality); importance of teacher’s personality (aspects of teacher’s personality: ability to arouse learners’ interest, ability to be a friend, teacher’s charismatic personality, flexibility); creativity (manifestations of creativity: teacher’s creativity, ability to develop students’ creativity, improvisation, revelation of students’ personality through creative expression) and value-based aspects (enlightener of students’ souls, nurturer of beauty of life, provision of sense to new impressions, expression of emotions). • The content of the role of a contemporary music teacher revealed during the research substantiates possibilities of intuition in music education and expands its boundaries.

Pre-service music teachers' satisfaction: person–environment fit approach

2012 ◽  
Vol 29 (3) ◽  
pp. 371-385 ◽  
Author(s):  
Serkan Perkmen ◽  
Beste Cevik ◽  
Mahir Alkan
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Teacher ◽  
Theoretical Frameworks ◽  
Vocational Satisfaction ◽  
Highly Correlated ◽  
Service Music ◽  
And Control ◽  
Future Work

Guided by three theoretical frameworks in vocational psychology, (i) theory of work adjustment, (ii) two factor theory, and (iii) value discrepancy theory, the purpose of this study was to investigate Turkish pre-service music teachers' values and the role of fit between person and environment in understanding vocational satisfaction. Participants were 85 students enrolled in the department of music education in a Turkish university. The Minnesota Importance Questionnaire (MIQ) was used to examine the participants’ values in six dimensions: achievement, comfort, status, altruism, safety and autonomy. Results revealed that the pre-service teachers value achievement most followed by autonomy, which suggests that they would like to have a sense of accomplishment and control in their future job. The degree to which their values fit their predictions about future work environment was found to be highly correlated with vocational satisfaction. These results provided evidence that the vocational theories used in the current study offers a helpful and different perspective to understand the pre-service teachers' satisfaction with becoming a music teacher in the future. We believe that researchers in the field of music education may use these theories and MIQ to examine the role of values in pre-service and in-service music teachers' job satisfaction.

scholarly journals VALUES CREATED BY MUSIC EDUCATION IN GENERAL COMPREHENSIVE SCHOOLS

2021 ◽  
Vol 2 ◽  
pp. 318-329
Author(s):  
Urve Läänemets ◽  
Katrin Kalamees-Ruubel ◽  
Kristi Kiilu ◽  
Kadi Kaja ◽  
Anu Sepp
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Teacher ◽  
Music Teacher Education ◽  
School Students ◽  
Creative People ◽  
Content Integration ◽  
Service Music ◽  
Further Development

This is the final part of research started in 2014 when development of the new National Curricula (NC) was initiated. The role of music education had to be mapped to prove its meaning as a traditional mandatory subject in the NC. According to the research program, different aspects, related to music education (content, integration of art subjects, informal and non-formal music activities, supportive learning environments, etc.), were analysed. The research of 2020 is summarising the values music education can provide for development of educated, responsible, ethical and creative people. The data collected from essays of school students and (future and in-service) music teachers (n=166), were analysed by qualitative methods. The values were classified by the following categories: social, cultural, cognitive, moral, aesthetic, personal. The research results can be used as arguments for developing music education syllabi in the NCs from kindergartens to gymnasia. The whole program of research is already being used for further development of music teacher education.  

scholarly journals Intuition in music education

2020 ◽  
Vol 10 (2) ◽  
pp. 157-166
Author(s):  
Rasa Kirliauskienė ◽  
Jolanta Abramauskienė
Keyword(s):  
Music Education ◽  
Contemporary Music ◽  
Music Teacher ◽  
Research Results

This article analysed the role of intuition in music education. Since success needs insight and quick perception, otherwise called intuition, this article aimed to reveal how it is possible to achieve music teacher’s activity. Also, the content of the role of a contemporary music teacher was identified and five aspects were distinguished: significance as an educator and as an authority, the importance of teacher’s personality, creativity and value-based aspects. The research content of the role of a contemporary music teacher justifies the possibilities for intuition in music education and extends its boundaries. The content of the role of a contemporary music teacher revealed during the research substantiates possibilities of intuition in music education and expands its boundaries. The analysis of the research results is meaningful for the improvement of music education.   Keywords: Music education, the role of a contemporary music teacher, intuition.    

Courses for Secondary Instruments

2019 ◽  
pp. 344-363
Author(s):  
Molly A. Weaver
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Teacher ◽  
Promising Practices ◽  
Education Curriculum ◽  
Music Teacher Education ◽  
Teaching Activities ◽  
School Based ◽  
Secondary Instrument ◽  
Institutional Model

The main purpose of this chapter is to synthesize the literature regarding courses for secondary instruments in the interest of making recommendations for promising practices. The chapter also is intended to “push boundaries from within the system” of music teacher education. That is, it is intended to be a resource for those who prepare preservice music teachers (PMTs) for the realities of P-12 school-based music education and who aspire to instill in these new colleagues a disposition toward change. The chapter is divided into six sections: importance of secondary instrument courses, characteristics and configurations of secondary instrument courses, focus and content of secondary instrument courses, peer teaching activities and field experiences within secondary instrument courses, recommendations for promising practices (including professional development beyond the preservice music education curriculum and an institutional model for secondary instrument courses), and future considerations.

Developing Effective Dispositions for Teaching Music

2019 ◽  
pp. 321-344
Author(s):  
Michael Raiber
Keyword(s):  
Music Education ◽  
Teacher Educators ◽  
Systematic Approach ◽  
Music Teachers ◽  
Developmental Stages ◽  
Music Teacher ◽  
Teacher Dispositions ◽  
Teacher Concerns ◽  
Teaching Music ◽  
The Impact

The impact of teacher dispositions on the professional development of preservice music teachers (PMTs) has been substantiated. This chapter describes an approach to dispositional development within the structure of an introduction to music education course. A teacher concerns model is used to organize this systematic approach through three developmental stages that include self-concerns, teaching task concerns, and student learning concerns. A series of 11 critical questions are presented for use in guiding PMTs’ dispositional development through these developmental stages. Activities to engage PMTs in the exploration of each of these questions are detailed for use by music teacher educators desiring to engage PMTs in dispositional development.

scholarly journals Personality traits of a music teacher

2006 ◽  
Vol 38 (1) ◽  
pp. 247-263 ◽  
Author(s):  
Blanka Bogunovic
Keyword(s):  
Music Education ◽  
Personality Traits ◽  
Music Teachers ◽  
Practical Implication ◽  
Personal Characteristics ◽  
Musical Instrument ◽  
Music Teacher ◽  
Public Performance ◽  
Music Schools ◽  
Musical Education

In the context of individual musical instrument teaching, pedagogical abilities of a music teacher and the atmosphere he creates, result from his personality traits and can be of crucial importance for the initial and further progress of his students. The paper seeks to: describe the personality of a music instrument teacher, determine the differences in comparison to a group of non-musicians, and determine the position of personal characteristics in the structure of general and professional teacher profile. The sample comprised 60 individuals, teaching various musical instruments in five primary music schools. The research method is explorative and based on the use of the five-factor personality model (NEO PI-R was administered). The findings show that music teachers display a higher level of: openness, agreeableness and conscientiousness. The degree of congruence with the findings of other research is discussed and certain similarities were found, as well as differences stemming from professional and cultural specificities. Differences are proved to exist in relation to gender, musical instrument, working experience, degree of musical education and active public performance. Compared to non-musical population, it is confirmed that teachers of instrument in musical education represent a distinctive group. There are also differences between teachers who are oriented to pedagogic work only and those who, in addition, actively perform in public. Selection of teachers, according to characteristics which may be connected to students? accomplishment, is a practical implication relevant for the music education.

scholarly journals “Where the Social Stigma Has Been Overcome”: The Politics of Professional Legitimation in Nepali Music Education

2021 ◽  
pp. 119-132
Author(s):  
Danielle Shannon Treacy ◽  
Sapna Thapa ◽  
Suyash Kumar Neupane
Keyword(s):  
New York ◽  
Music Education ◽  
Appreciative Inquiry ◽  
Music Teachers ◽  
Social Stigma ◽  
Professional Responsibility ◽  
Music Teacher ◽  
New Horizons ◽  
The Social ◽  
Collective Imagination

AbstractThis chapter explores the actions musician-teachers in the extremely diverse and complex context of the Kathmandu Valley imagine that might hold potential for contesting and altering processes of marginalisation and stigmatisation in Nepali society. The empirical material was generated in 16 workshops involving 53 musician-teachers and guided by the Appreciative Inquiry 4D model (e.g. Cooperrider et al. Appreciative inquiry handbook: for leaders of change. Crown Custom, Brunswick, 2005). Drawing upon the work of Arjun Appadurai, we analysed the ways in which engaging the collective imagination (1996) and fostering the capacity to aspire (2004) can support musician-teachers in finding resources for changing their terms of recognition. We identified five actions that musicians and musician-teachers take to legitimise their position in Nepali society: (1) challenging stigmatised identities, (2) engaging foreignness, (3) advocating academisation, (4) countering groupism, and (5) promoting professionalisation. We argue that these actions suggest the need for music teachers to be able to ethically and agentively navigate both the dynamic nature of culture and questions of legitimate knowledge, which may be fostered through an emphasis on professional responsibility (Solbrekke and Sugrue. Professional responsibility: new horizons of praxis. Routledge, New York, 2011) in music teacher education.

The Role Of Interactive Educational Technologies In Improving The Effectiveness Of Music Education

2020 ◽  
Vol 02 (12) ◽  
pp. 205-208
Author(s):  
Toshmatov Gulomjon ◽  
◽  
Goziyev Jobirkhan ◽  
Keyword(s):  
Music Education ◽  
Learning Process ◽  
Music Teachers ◽  
Interactive Learning ◽  
Learning Technologies ◽  
Educational Technologies

In this article the authors discuss the role of interactive and educational technologies and their effectiveness in the process of teaching for music teachers. Furthermore, the article gives information about concepts and information on the content, purpose and application of interactive learning technologies in the learning process.

scholarly journals Music Teacher Rankings of Selected Core Teaching Practices

2019 ◽  
Vol 29 (1) ◽  
pp. 86-99
Author(s):  
J. Si Millican ◽  
Sommer Helweh Forrester
Keyword(s):  
Music Education ◽  
Teaching Practices ◽  
Teacher Educators ◽  
Music Teachers ◽  
Music Teacher ◽  
Music Teaching ◽  
Pedagogical Content ◽  
Technical Vocabulary ◽  
History Of ◽  
Service Music

There is a decades-long history of music education researchers examining characteristics and skills associated with effective teaching and assessing how preservice music teachers develop those competencies. Building on studies of pedagogical content knowledge and the professional opinions of experienced music educators, researchers are now attempting to identity a body of core music teaching practices. We asked experienced in-service music teachers ( N = 898) to think about the skills beginning music teachers must possess to investigate how respondents rated and ranked selected core music teaching practices in terms of their relative importance. Developing appropriate relationships with students, modeling music concepts, and sequencing instruction were the top core teaching practices identified by the group. Results provide insights into knowing, naming, and framing a set of core teaching practices and offer a common technical vocabulary that music teacher educators might use as they design curricula and activities to develop these foundational skills.

scholarly journals Music Teacher Dispositions: Self-Appraisals and Values of University Music Students

2018 ◽  
Vol 66 (1) ◽  
pp. 111-125 ◽  
Author(s):  
Robert H. Woody ◽  
Danni Gilbert ◽  
Lynda A. Laird
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Teacher ◽  
Teacher Dispositions ◽  
Music Students ◽  
Music Majors ◽  
Education Majors ◽  
Music Teaching ◽  
Education Students ◽  
Music Education Majors

For music teachers to be most effective, they must possess the dispositions that best facilitate their students’ learning. In this article, we present and discuss the findings of a study in which we sought to explore music majors’ self-appraisals in and the extent to which they value the disposition areas of reflectivity, empathic caring, musical comprehensiveness, and musical learnability orientation. Evidence from a survey of 110 music majors suggested that music education students possess and value the dispositions of reflectivity, musical comprehensiveness, and musical learnability orientation more highly after they have matured through their college careers. Additionally, based on their responses to music teaching scenarios, it appears that senior music education majors possess greater empathic caring than do their freshman counterparts.

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