Mainstreaming: Music Educators' Participation and Professional Needs

1981 ◽  
Vol 29 (1) ◽  
pp. 31-37 ◽  
Author(s):  
Janet Perkins Gilbert ◽  
Edward P. Asmus
Keyword(s):  
Music Education ◽  
Vocal Music ◽  
Nationwide Survey ◽  
Music Educators ◽  
Music Programs ◽  
Disabled Students ◽  
Educational Plan ◽  
Professional Needs ◽  
Psychological Harm ◽  
Individualized Educational Plan

The study examined music educators' involvement with disabled students, their knowledge of legislation regarding the handicapped, and their needs in developing and implementing music education programs for special students. Information was obtained through a nationwide survey of 789 general, instrumental, and vocal music educators at the elementary and secondary levels. Results indicated that 63% of the respondents have been professionally involved wih disabled students, with significantly greater experience at the elementary level. Respondents indicated the need for information about formulating Individualized Educational Plan goals, developing music programs for handicapped students, and assessing these students' progress. Those surveyed were particularly concerned about meeting students' individual needs, working with too large a number of handicapped students, and avoiding psychological harm to these students.

scholarly journals Shaping Policy in Music Education: Music Teachers as Collaborative Change Agents

2020 ◽  
Vol 107 (1) ◽  
pp. 43-48
Author(s):  
Carlos R. Abril ◽  
Brent M. Gault
Keyword(s):  
Teacher Evaluation ◽  
Music Education ◽  
Student Learning ◽  
Music Teachers ◽  
Change Agents ◽  
Music Educators ◽  
Music Programs ◽  
Learning Standards

Music educators have experience working in education environments governed by shifting policies and mandates. How can music educators become agents empowered to shape, interpret, and design mechanisms for putting policy into practice? This article describes ways to understand policy and options for responding and contributing to its development and implementation. We examine how music educators have responded to two policy areas that have had a significant impact on music programs and teachers in recent years: (1) learning standards and (2) evaluation of student learning as a component of teacher evaluation. Examples in this article are meant to serve as a case in point for how music educators can become more responsive and actively engaged in policy matters.

Admission and Assessment of Music Degree Candidates

2019 ◽  
Vol 29 (2) ◽  
pp. 10-21
Author(s):  
Phillip Payne ◽  
Jeffrey Ward
Keyword(s):  
Music Education ◽  
Music Educators ◽  
Music Programs ◽  
Survey Study ◽  
Assessment Practices ◽  
Education Programs ◽  
Current State ◽  
Candidate Assessment ◽  
Assessment Measures ◽  
Music Education Programs

The purpose of this survey study was to examine current admissions processes and assessment practices for music programs of National Association of Schools of Music member institutions. Representatives from 95 institutions responded to a researcher-designed questionnaire. Music education programs were perceived as being comparable to performance programs on admissions standards. We describe the current state of candidate assessment practices from matriculation through degree conferral, consider a range of assessment measures including gateway or barrier instruments, and pose critical questions about the use of such assessments to determine whether music education candidates are appropriately qualified to become P–12 music educators.

Music Education at the New York Institution for the Blind, 1832–1863

2014 ◽  
Vol 62 (4) ◽  
pp. 362-388
Author(s):  
Phillip M. Hash
Keyword(s):  
New York ◽  
Music Education ◽  
Vocal Music ◽  
Music Educators ◽  
Music Curriculum ◽  
Music Program ◽  
History Of ◽  
Research Questions ◽  
Teaching Music ◽  
The City

The purpose of this study was to document the history of music education at the New York Institution for the Blind (NYIB) from the opening of the school in 1832 through the tenure of the facility’s first music director, Anthony Reiff. Research questions pertained to the school’s origin and operation and to its music curriculum, pedagogy, faculty, ensembles, and resources. The NYIB provided a home and education for students ages eight to twenty-five. The music program served as recreation and vocational training and as a means of promoting the school. Reiff joined the faculty in 1835 and established a band and choir that performed throughout the city and surrounding states. In 1847, the board of managers hired George F. Root as head of vocal music and named Reiff director of the instrumental division. Sigismund Laser replaced Root in 1855 and remained at the NYIB until 1863, when both he and Reiff left the school. The faculty at the NYIB developed and promoted effective methods for teaching music to people with blindness and prepared graduates to serve as church musicians, piano tuners, and music educators. Findings from this study might serve to remind music educators of past pedagogical methods and principles applicable in teaching students who are blind today.

scholarly journals A pile of drums: Putting theory into practice in culturally diverse music education

2019 ◽  
Vol 38 (1) ◽  
pp. 79-92
Author(s):  
Jennifer Walden
Keyword(s):  
Music Education ◽  
Culturally Diverse ◽  
Music Teachers ◽  
Music Educators ◽  
Concert Band ◽  
Music Programs ◽  
Global Awareness ◽  
Global Perspectives ◽  
Experience Teaching ◽  
Challenging Situation

This article provides music educators with practical ways to (a) build school community through culturally diverse music and informal performances and (b) inculcate global perspectives into music programs (including concert band and choir) through culturally diverse music. In an autoethnographic style, the article tells a story that spans 2 years in a challenging situation: an international school in a country wrought with political and economic instability. It examines community building and inculcating global awareness from four perspectives. The first perspective reviews engagement in cultural diversity in music education through the lens of recently completed PhD research. It looks what scholars are writing about culturally diverse music education and how these ideas subsequently look in practice. Second, 30 years of personal experience teaching culturally diverse music are tied in, including ideas for student engagement in music classes. The third perspective includes practical ideas: how culturally diverse music can be integrated to broaden a program and rejuvenate interest in music. Finally, the fourth reveals responses from students experiencing learning through culturally diverse music. Examples, transcriptions, and recommended resources are included, leaving music teachers with useful, sustainable approaches for culturally diverse inclusivity.

“My voice speaks for itself”: The experiences of three transgender students in American secondary school choral programs

2019 ◽  
Vol 38 (1) ◽  
pp. 126-146
Author(s):  
Joshua Palkki
Keyword(s):  
Secondary School ◽  
Music Education ◽  
Choral Music ◽  
The United States ◽  
Music Educators ◽  
Music Programs ◽  
School Officials ◽  
Transgender Students ◽  
And Gender ◽  
Choral Programs

With the purpose of furthering lesbian, gay, bisexual, transgender, queer, questioning, and allies/agender/asexual (LGBTQA) dialogue in music education and to improve choral instruction for trans(gender) students, this multiple narrative case study explores the experiences of trans students in secondary school choral music programs in the United States. The emergent research design employed narrative and ethnographic techniques to honor and highlight voices of the three participants. The connection or lack thereof between voice and gender identity was different for each student. The policies of the students’ school districts, school officials, choral programs, and state music organizations shaped and influenced the participants as they navigated their trans identity within the high school choral context. Mentors (including teachers) and other “important others” helped these students as they traversed their gender journeys. From this research, it emerges that schools and choral programs can make policy changes to better serve trans youth, and more professional development and incorporation of (trans)gender issues is necessary for choral music educators.

Embracing identity: An examination of non-Western music education practices in British Columbia

2019 ◽  
Vol 37 (2) ◽  
pp. 286-297
Author(s):  
Beth Tuinstra
Keyword(s):  
Music Education ◽  
Teaching Practices ◽  
Classical Music ◽  
Traditional Music ◽  
Music Educators ◽  
Music Programs ◽  
Classroom Culture ◽  
Western Music ◽  
K 12 ◽  
To Receive

Although traditional music programs and university music and music education training programs have mostly incorporated Western classical music, British Columbia’s new curriculum signifies a shift from the Western classical framework to one that is more inclusive of the cultural diversity that exists in Canada. Using the frameworks of decolonization, non-Western music education, and music education and identity, I researched the current practices, experiences, and attitudes of British Columbian kindergarten to Grade 12 (K–12) music educators. I used a mixed-methods questionnaire to gain an understanding of the practices, experiences, and attitudes of these educators ( N = 80). Through this examination, I discovered that although 84% of respondents felt that it was important for students to receive a diverse, non-Western music education, only 63% currently utilized non-Western musics in their teaching practices. Respondents included the benefits or difficulties that they have experienced while including non-Western musics in their teaching practices, but they also talked about the barriers that have prevented them from including non-Western musics into their teaching practices. However, educators reported that by including non-Western musics, students showed greater joy, self-expression, engagement, open-mindedness, and empathy for others, causing a positive shift in classroom culture.

Peer Mentoring and Peer Tutoring Among K–12 Students: A Literature Review

2017 ◽  
Vol 36 (2) ◽  
pp. 13-21 ◽  
Author(s):  
Andrew Goodrich
Keyword(s):  
Literature Review ◽  
Music Education ◽  
Peer Mentoring ◽  
Music Teachers ◽  
Music Educators ◽  
Music Programs ◽  
Future Studies ◽  
Education Literature ◽  
K 12

The purpose of this literature review is to examine research on peer mentoring among K–12 students to assist practitioners with how to incorporate these instructional techniques into their own music programs. Primary themes across the music education literature of peer mentoring include the role of music teachers, the role of students as they learn from each other, and the role of socialization. This article concludes with implications for music educators and recommendations for future studies to inform practice and to guide further research into peer mentoring among K–12 students.

The Philosophy of Assessment in Music Education

2019 ◽  
pp. 32-55
Author(s):  
Roger Mantie
Keyword(s):  
Music Education ◽  
Authentic Assessment ◽  
Music Educators ◽  
Local Communities ◽  
Self Determination ◽  
Common Theme ◽  
Education Assessment ◽  
Consequential Validity ◽  
Mandated Testing

Philosophies of assessment are rare, perhaps even more so in music education. This chapter, arranged in five “movements” intended to reflect various ways of examining assessment issues, considers prominent themes emerging from the music education assessment literature, such as accountability, authentic assessment, consequential validity, legitimacy, mandated testing, metaphor, power-knowledge, and self-determination. The author asks questions such as, To what extent should philosophical commitments be voluntary versus compelled? To what extent should music educators be able to collectively determine educative values and to what extent should others (policymakers, local communities) have a say in what should constitute valuable learning in music? A common theme throughout the chapter is the urge for caution and reflection so that well-intended assessment efforts do not undermine cherished goals for music education.

Could There Be Deleuzian Assessment in Music Education?

2019 ◽  
pp. 121-136
Author(s):  
Lauren Kapalka Richerme
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Educators ◽  
Assessment Practices ◽  
Continuous Assessment ◽  
Education Policies ◽  
Philosophical Inquiry ◽  
Music Making ◽  
Musical Practices ◽  
Contemporary Education

Authors of contemporary education and arts education policies tend to emphasize the adoption of formal, summative assessment practices. Poststructuralist philosopher Gilles Deleuze’s emphasis on ongoing differing and imaginative possibilities may at first glance appear incompatible with these overarching, codified assessments. While Deleuze criticizes the increasing use of ongoing assessments as a form of control, he posits a more nuanced explanation of measurement. This philosophical inquiry examines four measurement-related themes from Deleuze’s writings and explores how they might inform concepts and practices of assessment in various music teaching and learning contexts. The first theme suggests that each group of connective relations, what Deleuze terms a “plane of immanence,” demands its own forms of measurement. Second, Deleuze emphasizes varieties of measurement. Third, those with power, what Deleuze terms the “majority,” always set the standard for measurement. Fourth, Deleuze derides continuous assessment. His writings suggest that music educators might consider that assessments created for one musical practice or style should not transcend their own “plane of immanence,” that a variety of nonstandardized assessments is desirable, that the effect of measurement on “minoritarian” musical practices must be examined carefully, and that it is essential to ponder the potentials of unmeasured music making.

Music Teacher Education Program Practices: Preparing Teachers to Work With Diverse Learners

2021 ◽  
Vol 30 (2) ◽  
pp. 51-64
Author(s):  
Mara E. Culp ◽  
Karen Salvador
Keyword(s):  
Teacher Education ◽  
Preservice Teachers ◽  
Music Education ◽  
Teacher Educators ◽  
Teacher Education Program ◽  
Music Educators ◽  
Diverse Learners ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Education Programs

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 including graduate student preparation, incorporating additional facets of human diversity, and contacting all institutions accredited by National Association of Schools of Music to prepare music educators. According to our respondents, integrated instruction focused on diverse learners was more commonly part of undergraduate coursework than graduate coursework. We used quantitative and qualitative analysis to describe course offerings and content integration.

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