Diversifying Musical Experiences in Schools and Music Teacher Preparation Programs

2019 ◽  
pp. 891-901
Author(s):  
Robert H. Woody ◽  
Mark C. Adams
Keyword(s):  
United States ◽  
Music Education ◽  
Popular Music ◽  
The United States ◽  
Music Teacher ◽  
Education Programs ◽  
Preparation Programs ◽  
Music Making ◽  
Large Ensembles ◽  
Classical Traditions

This chapter discusses the innate differences between vernacular music-making cultures and those oriented in Western classical traditions, and suggests students in traditional school music education programs in the United States are not typically afforded opportunities to learn skills used in vernacular and popular music-making cultures. The chapter emphasizes a need to diversify music-making experiences in schools and describes how vernacular musicianship may benefit students’ musical development. It suggests that, in order for substantive change to occur in music education in the United States, teachers will need to advance beyond simply considering how to integrate popular music into their traditional large ensembles—and how preservice music teacher education programs may be the key to help better prepare teachers to be more versatile and philosophically open to teaching a more musically diverse experience in their future classrooms.

Measuring pre-service music teachers’ creative identities: a cross-cultural comparison of the United States and Singapore

2019 ◽  
Vol 36 (02) ◽  
pp. 197-210
Author(s):  
Clint Randles ◽  
Leonard Tan
Keyword(s):  
United States ◽  
Music Education ◽  
Popular Music ◽  
Music Teachers ◽  
Music Performance ◽  
The United States ◽  
Music Listening ◽  
Music Making ◽  
Creative Identity ◽  
Service Music

AbstractThe purpose of this study was to examine and compare the creative musical identities of pre-service music education students in the United States and Singapore. The Creative Identity in Music (CIM) measure was utilized with both US and Singapore pre-service music teacher populations (n = 274). Items of the CIM relate to music-making activities often associated with creativity in music education in the literature, including composition, improvisation and popular music performance. Results suggest, similar to findings of previous research, that while both populations are similar in their degree of creative music-making self-efficacy and are similarly willing to allow for creativity in the classroom, Singaporean pre-service music teachers value the areas of creative identity and the use of popular music listening/performing within the learning environment to a significantly greater extent (p < 0.0001) than their US counterparts.

The Oxford Handbook of Preservice Music Teacher Education in the United States

2019 ◽  
Keyword(s):  
United States ◽  
Teacher Education ◽  
Music Education ◽  
State Level ◽  
The United States ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Education Faculty ◽  
Song Writing ◽  
Faculty And Administrators

The Oxford Handbook of Preservice Music Teacher Education in the United States aims to work from within the profession of music teacher education to push the boundaries of P-12 music education. In this book, we will provide all of those working in music teacher education—music education faculty and administrators, music researchers, graduate students, department of education faculty and administrators, and state-level certification agencies—with research and promising practices for all areas of traditional preservice music teacher preparation. We define the areas of music teacher education as encompassing the more traditional structures, such as band, jazz band, marching band, orchestra, choir, musical theater, and elementary and secondary general music, as well as less common or newer areas: alternative string ensembles, guitar and song-writing, vernacular and popular music, early childhood music, and adult learners

scholarly journals String Teacher Preparation Programs in the United States

2020 ◽  
Vol 10 (1) ◽  
pp. 33-43
Author(s):  
Annalisa C. Chang ◽  
Angela Ammerman
Keyword(s):  
United States ◽  
Music Education ◽  
The United States ◽  
Full Time ◽  
Preparation Programs ◽  
The Status ◽  
String Music Education ◽  
String Programs ◽  
String Music ◽  
String Teacher

The rise in demand for string teachers is a sign of support for string programs across the United States. Despite an increase in string teacher positions, there is growing concern regarding the lack of qualified string music education graduates to fill the vacancies, sometimes leading administrators to close programs. This study investigated the status of string teacher education programs in the United States. Participants for this study were degree-granting institutions ( N = 636) accredited by the National Association of Schools of Music (NASM). The NASM directory listings and institution websites were examined to determine what type of degrees were offered, and presence of a full-time string music education faculty member. Results indicated that while most NASM-accredited institutions offer some type of undergraduate degree in music education, very few institutions (16%) were shown to have a full-time string music education specialist. Results also indicated a significant relationship between the size of school and likelihood of having a full-time string music education specialist, χ2 (7, N = 526) = 80.03, p < .001.

scholarly journals A Return to Amateurism in Music Education

2019 ◽  
Vol 106 (1) ◽  
pp. 31-37
Author(s):  
John Kratus
Keyword(s):  
High School ◽  
Teacher Education ◽  
Twentieth Century ◽  
Music Education ◽  
Music Teachers ◽  
American Music ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Music Making ◽  
Large Ensembles

The future of American music education may be found in its past—a time when music teachers instilled lifelong amateur music-making in their students. There are differences between amateur and professional musicianship, and the focus of American music education shifted from amateurism to semiprofessionalism in the mid-twentieth century. An orientation toward semiprofessionalism makes little sense given the limited performance opportunities in large ensembles after high school and college. This article suggests a way back to nurturing amateurism and highlights two obstacles to this goal: the inflexibility of music teacher education and the profession’s reluctance to accept popular music. The article concludes with a narrative of what a world of amateur musicianship looks like.

A Historical Overview of Music Teacher Education in the United States

2019 ◽  
pp. 43-66 ◽  
Author(s):  
Phillip M. Hash
Keyword(s):  
United States ◽  
Teacher Education ◽  
World War Ii ◽  
Music Education ◽  
19Th Century ◽  
The United States ◽  
Colleges And Universities ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Public And Private

This chapter examines the history of music teacher education in the United States from its humble beginnings in the 19th century through the varied preservice and advanced programs offered today. The chapter describes the evolution of the field over the past 200 years and speculates on the future of the profession through a historical lens. Most music teachers of the 18th and early 19th centuries received little formal preparation in either music or pedagogy and earned most of their living in a trade. Around 1830, music teacher education began on an institutional basis in singing conventions, teacher institutes, and private academies. State normal schools and some conservatories extended this work in the mid-19th century by offering instruction in pedagogy and “public school music.” Colleges and universities followed suit around 1900 and, two decades later, began awarding undergraduate and graduate degrees in music education. These programs expanded a great deal through World War II and continued to develop in response to changing needs, values, and priorities of society. Today, initial preparation is highly accessible through public and private colleges and universities throughout the country. The same is true of graduate-level instruction, which will likely become more prevalent as institutions continue to develop fully online master’s and doctoral programs.

Popular music in preservice music education: Preparedness, confidence and implementation

2020 ◽  
Vol 4 (1) ◽  
pp. 41-60 ◽  
Author(s):  
Sandra Hamilton ◽  
Jennifer Vannatta-Hall
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Teacher Educators ◽  
Classical Music ◽  
The United States ◽  
Music Educators ◽  
Music Teacher ◽  
Students Attitudes ◽  
Training Programmes ◽  
K 12

This study examined popular music in preservice music teacher training programmes in the United States. The researchers explored types of courses and programmes offered in undergraduate music education programmes to prepare future music teachers to teach popular music. Quantitative data revealed trends in the inclusion of popular music within undergraduate music education programmes, determined music teacher educators’ perceptions of their students’ attitudes towards using popular music in the general music classroom, and examined the types of popular music pedagogy needed for preservice music educators. Qualitative data ascertained perceived confidence levels of graduates to utilize popular music. Results revealed that western classical music is the focus for the majority of music educators’ undergraduate degree programmes and that often music teacher preparation programmes ignore popular music study. Bridging the gap between western classical and popular music would help prepare teachers to include and value all types of music in K-12 music education.

A Comparison of “Popular Music Pedagogy” Discourses

2013 ◽  
Vol 61 (3) ◽  
pp. 334-352 ◽  
Author(s):  
Roger Mantie
Keyword(s):  
United States ◽  
Content Analysis ◽  
Music Education ◽  
Popular Music ◽  
Conceptual Framework ◽  
The United States ◽  
Music Pedagogy ◽  
International Differences ◽  
Pedagogical Relationship

The purpose of this study was to interrogate discourses of “popular music pedagogy” in order to better understand music education practices generally and specifically those in the United States. Employing a conceptual framework based on the work of Jan Blommaert (2005), a content analysis was conducted on a sample of 81 articles related to popular music and music education according to the variables of journal and nationality. Results suggest that international differences in discourse existed. American-based authors focused on issues of legitimacy and quality (repertoire and teaching), whereas non-American-based authors focused on matters of utility and efficacy, with an emphasis on the quality of learning and pedagogical relationship. The lack of awareness (national and international) of discourse features and functions may be limiting the effectiveness of both communication and practice.

Influences on teacher efficacy of preservice music educators

2021 ◽  
pp. 025576142098624
Author(s):  
Ryan A Fisher ◽  
Nancy L Summitt ◽  
Ellen B Koziel ◽  
Armand V Hall
Keyword(s):  
Teacher Efficacy ◽  
Music Education ◽  
Scale Score ◽  
Music Performance ◽  
The United States ◽  
Music Teacher ◽  
Predictor Variables ◽  
Education Students ◽  
Education Programs ◽  
Convenience Sample

The purpose of this study was to explore the factors that influence preservice music teacher efficacy. Participants in this study were undergraduate music education students ( N = 124), a convenience sample taken from six mid-South university music education programs in the United States. To explore the factors influencing preservice music teacher efficacy, a survey was sent to participants. The survey consisted of demographic information (race, gender, classification, etc.), questions about the predictor variables, and the Preservice Music Teacher Efficacy Scale (PMTES). Multiple regression revealed that the predictor variables accounted for 38% ( R2 = .38; adjusted R2 = .33) of the variance in the PMTES. Professional Disposition Scale score (β = .35, p < .001) and Music Performance Efficacy Scale score (β = .39, p < .001) contributed the greatest to the regression model. Based on these findings, music teacher education programs may consider implementing a type of professional disposition measurement throughout music education students’ undergraduate education. The results also reinforce the importance of developing music performance skills as part of a music education program.

Popular Music Ensembles

2012 ◽  
pp. 877-889
Author(s):  
Carlos Xavier Rodriguez
Keyword(s):  
Public Schools ◽  
Popular Music ◽  
Teaching And Learning ◽  
Traditional Music ◽  
The United States ◽  
Core Values ◽  
Music Teacher ◽  
Music Ensembles ◽  
Large Ensembles ◽  
School Music

Popular music ensembles increase interest and student participation in school music instruction. Some ensembles are small and selective, used as a privilege for the leading performers in larger, traditional school ensembles. Conversely, other popular music ensembles are much larger in size, for instance guitar ensembles, since they are attractive to students who lack background in traditional instruments, yet still allow students to gain experience playing in large ensembles. This article is devoted to identifying and describing core values that underlie teaching and learning in the most prevalent types of popular ensemble in the United States, and globally, as they occur within more traditional music curricula in public schools, and the implications of these emerging ensembles for music teacher education. Examples of specific programs that illustrate these core values in action are cited.

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