Administrators' Ratings of Competencies for an Undergraduate Music Education Curriculum

1978 ◽  
Vol 26 (1) ◽  
pp. 3-15 ◽  
Author(s):  
Joel R. Stegall ◽  
Jack E. Blackburn ◽  
Richard H. Coop
Keyword(s):  
Music Education ◽  
General Education ◽  
Student Teaching ◽  
Professional Education ◽  
Undergraduate Curriculum ◽  
Education Curriculum ◽  
Applied Music ◽  
Education Professional ◽  
Music Ensembles ◽  
Teaching Music

The purpose of this study was to develop ratings by National Association of Schools of Music member institutions of competencies for an undergraduate curriculum in music education. Competencies were limited to the cognitive aspects of basic musicianship, applied music, and music education methods. Competencies in general education, professional education (including student teaching), music ensembles, and competencies in the affective and psychomotor domains were excluded. Testing conditions and criteria also were excluded. A questionnaire composed of 99 competencies was mailed to each of the NASM schools believed to offer undergraduate degrees in music education. The respondents were asked to indicate their opinion of the value of each competency by rating it on a scale from one (low) to five (high). The result of the study is a list of 84 competencies with a mean rating of 3.5 or higher.

Fray Pedro de Gante Pioneer American Music Educator

1979 ◽  
Vol 27 (1) ◽  
pp. 21-28
Author(s):  
George Heller
Keyword(s):  
United States ◽  
Music Education ◽  
Multicultural Education ◽  
General Education ◽  
Student Teaching ◽  
The United States ◽  
American Music ◽  
Western Hemisphere ◽  
European Standards ◽  
Teaching Music

Fray Pedro de Gante was an important figure in the history of American music education. His life and work in Mexico City predate similar activities in the United States by at least a century. He worked in a radically changing ethnic arld sociocultural environment and was a principal agent in the acculturation process. In teaching music he also became involved in the arts in general education, multicultural education, and student teaching. He was the first European to teach music in the Western hemisphere and taught thousands of students during his 45-year tenure. His school served as a model for later Franciscan schools in the southwestern United States. The documents show that he was not only successful by European standards, but that he was also highly respected and admired by the Indians he taught.

Student Teaching Seminars: Ideas for a Collaborative and Meaningful Culminating Experience

2017 ◽  
Vol 104 (1) ◽  
pp. 62-70 ◽  
Author(s):  
Kimberly H. Councill ◽  
Christopher M. Baumgartner
Keyword(s):  
Music Education ◽  
Student Teaching ◽  
Cooperating Teachers ◽  
Education Curriculum ◽  
Course Work ◽  
Crucial Component

The student teaching seminar is a crucial component in the final course work of the music education curriculum, though research that examines the structure and content of this important course is minimal. In this article, we provide in-depth descriptions of sample seminar activities, assessments, resources, and suggestions for creating a meaningful experience through collaboration with cooperating teachers.

scholarly journals Applicability of an applied music notation system: A case study of Figurenotes

2019 ◽  
Vol 37 (4) ◽  
pp. 654-666 ◽  
Author(s):  
Sanna Kivijärvi
Keyword(s):  
Music Education ◽  
General Education ◽  
Educational Practice ◽  
Music Notation ◽  
Structured Interviews ◽  
Voluntary Work ◽  
Applied Music ◽  
Educational Method ◽  
Notation System ◽  
Learning And Teaching

The purpose of this study is to examine the applicability of an applied music notation system, Figurenotes, by using the concept of educational method as theoretical lens. Figurenotes is examined through this lens at two levels: the micro level of music educational practice and the macro level of advancement of educational policies. The study is based on semi-structured interviews with experts in music education, special and general education, educational policy, music therapy, voluntary work, and music business as well as with students, clients, parents, and the developers of Figurenotes. The findings emphasise that the application of Figurenotes lowers the threshold for learning and teaching music, and is especially applicable in educational situations where the student’s cognitive load needs to be lessened. It is concluded that Figurenotes can be seen both as a pedagogical approach and as a method for advancing educational equity.

scholarly journals TEACHER'S MUSIC ACTIVITIES IN THE CLASSROOM AS A PREREQUISITE FOR IMPROVEMENT OF MUSIC EDUCATION

2018 ◽  
Vol 2 ◽  
pp. 395
Author(s):  
Asta Rauduvaite ◽  
Yanran Li
Keyword(s):  
Music Education ◽  
General Education ◽  
Positive Emotions ◽  
Structured Interviews ◽  
Transferable Skills ◽  
Personal Involvement ◽  
Musical Activity ◽  
Meaningful Relationship ◽  
Teaching Music ◽  
Musical Activities

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 education; semi-structured interviews with music teachers; a written survey; quantitative and qualitative data analysis. According to the collected data, a variety of musical activities helps to develop learners’ inborn musical abilities, provide a favourable learning environment with an opportunity to develop the learners’ musicianship and presuppose their transferable skills. In this context, teachers’ active and creative musical involvement helps the learner to experience more positive emotions. Such a personal involvement and cooperation serve as a major condition for the improvement of the teachers’ musical activity. An inappropriate choice of the activities can lead to dissatisfaction and be the main reason for failure. The teachers’ participation in musical activities could encompass a number of music modes, which could create a more attractive and productive activity in the lesson:  a teacher – a performer – a listener – a facilitator – a leader.

Teaching Music in Higher Education

2020 ◽  
Author(s):  
Colleen M. Conway
Keyword(s):  
Higher Education ◽  
Music Education ◽  
General Education ◽  
Student Learning ◽  
Teaching And Learning ◽  
The United States ◽  
Effective Teacher ◽  
Developmental Needs ◽  
Teaching Music ◽  
Music Education Majors

This book is designed for faculty and graduate assistants working with undergraduate music majors as well as non-majors in colleges and universities in the United States. It includes suggestions for designing and organizing music courses (applied music as well as academic classes) and strategies for meeting the developmental needs of the undergraduate student. It addresses concerns about undergraduate curricula that meet National Association of School of Music requirements as well as teacher education requirements for music education majors in most states. A common theme throughout the book is a focus on learner-centered pedagogy or trying to meet students where they are and base instruction on their individual needs. The text also maintains a constant focus on the relationship between teaching and learning and encourages innovative ways for instructors to assess student learning in music courses. Teaching is connected throughout the book to student learning and the lecture model of teaching as transmission is discouraged. Activities throughout the book ask instructors to focus on what it means to be an effective teacher for music courses. As there is limited research on teaching music in higher education, the book relies on comprehensive texts from the general education field to help provide the research base for our definition of effective teaching.

Class, Control, and Classical Music

2019 ◽  
Author(s):  
Anna Bull
Keyword(s):  
Music Education ◽  
Cultural Production ◽  
Classical Music ◽  
Historical Context ◽  
Ethnographic Study ◽  
Middle Classes ◽  
Class Culture ◽  
White Middle Class ◽  
Music Ensembles ◽  
The Aesthetic

Through an ethnographic study of young people playing and singing in classical music ensembles in the south of England, this book analyses why classical music in England is predominantly practiced by white middle-class people. It describes four ‘articulations’ or associations between the middle classes and classical music. Firstly, its repertoire requires formal modes of social organization that can be contrasted with the anti-pretentious, informal, dialogic modes of participation found in many forms of working-class culture. Secondly, its modes of embodiment reproduce classed values such as female respectability. Thirdly, an imaginative dimension of bourgeois selfhood can be read from classical music’s practices. Finally, its aesthetic of detail, precision, and ‘getting it right’ requires a long-term investment that is more possible, and makes more sense, for middle- and upper-class families. Through these arguments, the book reframes existing debates on gender and classical music participation in light of the classed gender identities that the study revealed. Overall, the book suggests that inequalities in cultural production can be understood through examining the practices that are used to create a particular aesthetic. It argues that the ideology of the ‘autonomy’ of classical music from social concerns needs to be examined in historical context as part of the classed legacy of classical music’s past. It describes how the aesthetic of classical music is a mechanism through which the middle classes carry out boundary-drawing around their protected spaces, and within these spaces, young people’s participation in classical music education cultivates a socially valued form of self-hood.

Design and Analysis for Quantitative Research in Music Education

2018 ◽  
Author(s):  
Peter Miksza ◽  
Kenneth Elpus
Keyword(s):  
Education Research ◽  
Data Analysis ◽  
Music Education ◽  
General Education ◽  
Research Design ◽  
Quantitative Research ◽  
Traditional Design ◽  
Design Type ◽  
To Come ◽  
Analytical Approaches

This book is an introduction to quantitative research design and data analysis presented in the context of music education scholarship. The book aims for readers to come away with a familiarity of prototypical research design possibilities as well as a fundamental understanding of data analysis techniques necessary for carrying out scientific inquiry. The book includes examples that demonstrate how the methodological and statistical concepts presented throughout can be applied to pertinent issues in music education. For the majority of Part I, the strategy is to present traditional design categories side by side with explanations of general analytical approaches for dealing with data yielded from each respective design type. Part II consists of chapters devoted to methodological and analytical approaches that have become common in related fields (e.g., psychology, sociology, general education research, educational policy) but are as yet not frequently exploited by music education researchers. Ultimately, this work is motivated by a desire to help scholars acquire the means to actualize their research curiosities and to contribute to the advancement of rigor in music education research throughout the profession at large.

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