OPINIONS OF SECONDARY SCHOOL MUSIC TEACHERS ON THE USE OF EBA (EDUCATIONAL INFORMATION NETWORK): SAMPLES OF ŞANLIURFA

2021 ◽  
Vol 7 (45) ◽  
pp. 2253-2264
Author(s):  
Cihan TABAK ◽  
Ümit BOZ

With this research, it is aimed to determine the opinions of secondary school music teachers about the use of EBA. In line with the purpose of the research, the opinions of secondary school music teachers were taken by using the scanning model. The study group of the research consists of 22 music teachers working in ġanlıurfa in the 2021-2021 academic year. In order to collect data in the research, a semi-structured interview form was applied to the teachers. The data obtained as a result of the application were processed and descriptive analysis was made. As a result of the research, teachers related to EBA; They frequently use 'Live Lessons', 'Lessons' and 'My Page' modules, EBA contributes to them and the students, they do not have access problems to EBA, but students have access problems, they prefer 'Mobile Application' when using EBA, ' It was concluded that they performed the 'Live Lesson' module over the 'Zoom' application and did not record it, that they did not find the music lesson contents in the EBA sufficient, that they produced content and made the contents produced outside of the EBA accessible to the students. Keywords: Education Information Network, Distance Learning, Music Lesson

1985 ◽  
Vol 2 (1) ◽  
pp. 5-18 ◽  
Author(s):  
Tim Cain

This article is an attempt to explore what we Secondary School Music Teachers should do in our music lessons. To illuminate this problem the author postulates two rôles which he believes many music teachers adopt more or less whole-heartedly: the ‘Instructor’, who passes on a body of received skills, information and perhaps values; and the ‘Enabler’, who sets up conditions in which his or her pupils may discover music.Although both rôles can be fruitful in some areas of the music curriculum, the author considers them inadequate, and attempts to describe a new role which teachers might find more helpful. He outlines ways in which the teacher who adopts this role might operate when teaching Composition, Literature Studies, Audition, Skills and Performance (C(L)A(S)P).


2016 ◽  
Vol 13 (2) ◽  
pp. 2598 ◽  
Author(s):  
Nilüfer Özabacı ◽  
Tansu Mutlu ◽  
Duygu Çavdar ◽  
Eren Can Aybek

Morality is related to differentiation between ‘good (may be right)’ or ‘bad (may be wrong)’. It usually includes a range of rules that individuals what they should do or should not do in their society. Morality is a kind of specific cognitive concept that involves conscious judgment and making decision on issues related to rightfulness, injustice, right-wrong, good-bad and behave in parallel with these decisions and judgments. Emotional intelligence has a moral dimension as well. Goleman clarifies concept of emotional intelligence, and he underlines emotions’ role on human behaviour and their close relationships. According to Goleman, the emotional intelligence is the ability to identify, assess, and control the emotions of one self, others, and groups. The study group consists of eight undergraduate students were studying at Eskisehir Osmangazi University Faculty of Education in the academic year 2013-2014. Students were selected from 183 university students among their results from Emotional Intelligence Scale (Ergin, Ismen and Ozabacı, 1999) and Determination of Value Test (Rest, 1979) was applied with 183 undergraduate students with the method of standards sampling with the help of the minimum and maximum scores was selected from individuals (Yildirim and Simsek, 2008). The data were collected by a semi-structured interview form that was prepared by the researchers. The development of form was created for the purpose of considering the questions of the study. Data were collected by interview and qualitative data collection techniques. During the interviews, audio recording was used with the data were analysed the collected recordings with the descriptive analysis. After the categorization of data, the Cappa coefficient was calculated for the consistency between categories. The majority of the participants explained themselves as fair, honest, and emotional. ÖzetAhlak, bireyin doğru ile yanlışı ayırt edebilmesini sağlayan ilkeler ve değerler bütünüdür. Ahlak gelişimi toplumun tüm değerlerine kayıtsız şartsız edilgin bir uyma değil, topluma etkin bir uyum sağlamak için değerler sistemi oluşturma süreci olarak tanımlanmaktadır. Duygusal zekâ, kişinin kendisinin ve başkalarının hislerini tanıma, kendisini motive etme, içindeki ve ilişkilerindeki duyguları yönetme yetisidir. Ona göre duygusal zekâ ahlaki boyutun bir parçasıdır. Araştırma, probleme uygun olarak algıların gerçekçi ve bütüncül bir biçimde, derinlemesine ortaya konmasını hedefleyen nitel araştırma modeli ve olgu bilim deseni ile desenlenmiştir. Araştırmaya Eskişehir Osmangazi Üniversitesi Eğitim Fakültesi’nde 2013-2014 öğretim yılında öğrenim gören 8 lisans öğrencisi katılmıştır. Araştırmaya katılan öğrenciler, daha önceden kendilerine Duygusal Zekâ Ölçeği (Ergin, İşmen ve Özabacı, 1999) ve Değerlerin Belirlenmesi Testi (Rest, 1979) uygulanmış olan 183 lisans öğrencisi arasından aykırı durum örneklemesi (Yıldırım ve Şimşek, 2008) yardımıyla en az ve en çok puan alan bireyler arasından seçilmiştir. Veriler nitel veri toplama tekniklerinden görüşme tekniği ile araştırmacılar tarafından hazırlanan yarı yapılandırılmış görüşme formu kullanılarak toplanmıştır. Verilerin toplanması aşamasında elde edilen ses kayıtlarının dökümü yapılmış ve dökümler üzerinden betimsel analiz yapılmıştır. Kodlamaların ardından, kodlayıcılar arası tutarlılığın belirlenebilmesi için Kappa katsayısı hesaplanmıştır. Çalışma grubundaki bireylerle yapılan görüşmeler sonucunda bireylerin çoğu kendisini adaletli, dürüst, duygusal olarak tanımladığı bulunmuştur. 


2020 ◽  
Vol 38 (2) ◽  
pp. 226-239
Author(s):  
Jennifer Robinson

Veteran teachers are defined as having over 15 years’ teaching experience. This research introduces a new career stage of ‘super veteran’ for music teachers that have worked for 30 plus years and seeks to identify the influences on, and contributions of, Australian secondary school music teachers of this career stage. This article reports on survey data gathered in a larger qualitative study that contained a national survey and interviews. The analysis of the interview data in the larger study is yet to be completed. Likert-type scale questions were used for demographic data collection and open-ended questions explored influences on music teacher work practice. Of the responses, 32 were from super veteran secondary school music teachers. These teachers were motivated by working with students and felt valued by them and their parents. Super veterans continued to be engaged in professional development, found work–life balance a constant challenge and many were planning to continue teaching. This research has implications for school leaders in encouraging, valuing and utilising the expertise of super veteran secondary school music teachers. It suggests tailoring professional development for this career stage, gives feedback on the implementation of new curriculum and indicates strategies for stress management and work–life balance.


2016 ◽  
Vol 8 (1) ◽  
pp. 77
Author(s):  
Yıldız Mutlu Yıldız ◽  
Sibel Karakelle ◽  
Derya Arslan ◽  
Deniz Yıldız

The purpose of this study is to determine the accuracy of learning outcomes with the songs and activities included in the 3rd grade music course. This study employed document analysis of the qualitative methods. Third grade Music course Teacher’s Book, which has been used since 2013-14 academic year, is reviewed. ‘Listening, singing, and playing’, musical perception and exposition’, ‘musical creativity’, and ‘musical culture’ are included in the Primary School Music course Teaching Program. Teacher’s Book lists 13 main learning outcome themes and 23 learning outcomes, and 20 songs to be used for the realization of these outcomes. Of this data, ‘listening, singing, playing’, ‘musical perception’ and ‘musical creativity’ as learning domains, 5 main outcome themes, 8 outcomes and 7 songs to be used for the corresponding outcomes are selected via purposive sampling. This study focuses only on the above-mentioned learning domains, outcomes and songs. The qualitative data of the Teacher’s Book is analyzed and discusses using descriptive analysis approach. The example activities of the Teacher’s Book are reviewed under the themes of outcome, notion, activity, song and evaluation. The result of the study suggests that it is difficult to teach the students expected notions and musical behavior using the activities and songs included in the Teacher’s Book.  Keywords: Learning outcomes; songs; activities;  3rd grade music course  book


2005 ◽  
Vol 22 (1) ◽  
pp. 63-75 ◽  
Author(s):  
Janet Mills

While most of the students who graduate each year from the Royal College of Music (RCM) in London build performance-based portfolio careers that include some teaching, very few of them enter secondary school class music teaching. This article describes how young musicians' concerns about the career of secondary class music teacher develop as they move from sixth former to first year RCM undergraduate to third year undergraduate, and proposes some ways in which these concerns may be addressed. RCM students often agree strongly with statements consistent with a positive attitude to teaching, such as feeling a sense of achievement when pupils learn, and considering that teaching is about helping pupils realise their musical potential. However, they also tend to think that secondary class music teaching is not ‘doing music’. Successful secondary music teachers may take a different view, and the effect on RCM students of working with such teachers is reported descriptively.


2013 ◽  
Vol 31 (1) ◽  
pp. 5-18 ◽  
Author(s):  
Andrew Fowler

‘Music is both a creative and a performing art’ (Hallam, 2006, p. 70). Many musicians and music educators maintain that composing and performing, although related, are essentially different aspects of musical activity. In the professional musical sphere, composition and performance are almost invariably separated; academic studies have treated them discretely; GCSE and ‘A’ level specifications assess them distinctly, and many music teachers assess them in the classroom as if they were separate disciplines. It is common practice for students in the lower secondary school in England to work in a more integrated way, however (Philpott, 2001; Major, 2008), composing, performing to the class, and appraising each others’ work. Recently produced assessment guidelines for secondary school music teachers in England (NAME, 2011) encourage this more integrated view, accepting the assumption made by Swanwick and Franca (1999, p. 12) that ‘musical understanding is a broad conceptual dimension’ by considering composing and performing as inter-linked ways of demonstrating and communicating musicality. This study sets out to investigate the links between composing and performing in the secondary school classroom, through peer-rating, teacher rating and students’ self-report attitudinal questionnaires, analysing these using a multi-trait, multi-method technique.Evidence for convergent validity was found between performing and composing in the classroom, suggesting that they are closely linked and may indeed be related parts of the same trait. This may have implications for the ways in which composing and performing are taught and assessed. A larger-scale study could be undertaken to investigate this further.


2003 ◽  
Vol 20 (1) ◽  
pp. 61-71
Author(s):  
Michael Lynch

In 1942 the McNair Committee was appointed to consider the ‘supply, recruitment and training of teachers and youth leaders and to report what principles should guide the Board in these matters in the future’. Special attention was given to the needs of music teachers, and the proposals put forward by the Committee provided the framework for the pattern of training for the next 30 years. This article considers the reactions of the Ministry of Education, the Royal Schools of Music and the Incorporated Society of Musicians, making extensive use of archive material. Comparisons are drawn with the training received by music teachers today, with a call for further discussion of the essential skills necessary for effective music teaching.


2007 ◽  
Vol 55 (3) ◽  
pp. 220-236 ◽  
Author(s):  
Patricia Shehan Campbell ◽  
Claire Connell ◽  
Amy Beegle

This study aimed to determine the significance of music and music education to middle and high school adolescents, including those enrolled and not enrolled in school music programs. Of particular interest were their expressed meanings of music both in and out of school, with attention to adolescent views on the role of music in identity formation, the musical and nonmusical benefits for adolescents of their engagement with music, the curricular content of secondary school music programs, and the qualities of music teachers in facilitating music-learning experiences in middle and high school classes. An examination of essays, statements, and reflections in response to a national essay content was undertaken using an inductive approach to analyze content through the triangulation of interpretations by the investigators. Five principal themes were identified within the expressed meanings of music by adolescents: (a) identity formation in and through music, (b) emotional benefits, (c) music's life benefits, including character-building and life skills, (d) social benefits, and (e) positive and negative impressions of school music programs and their teachers. Overwhelming support was expressed for music as a necessary component of adolescent life, with support for and comments to probe concerning the work of music educators in secondary school programs.


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