Multicultural Music Education Attitudes, Values, and Practices of Public School Music Teachers

2003 ◽  
Vol 13 (1) ◽  
pp. 51-59 ◽  
Author(s):  
Roy M. Legette
Keyword(s):  
Public School ◽  
Music Education ◽  
Music Teachers ◽  
Multicultural Music Education ◽  
Multicultural Music ◽  
School Music

Music Education and Educators in Missouri, Iowa, and Illinois

2020 ◽  
pp. 002242942096150
Author(s):  
Jocelyn Stevens Prendergast
Keyword(s):  
Public School ◽  
Music Education ◽  
Music Teachers ◽  
Response Rate ◽  
Demographic Data ◽  
The United States ◽  
Survey Study ◽  
Phone Call ◽  
School Music ◽  
Music Class

The purpose of this survey study was to provide a demographic profile of PK-12 public school music teachers and details about the public school music teaching positions in Missouri, Iowa, and Illinois. An invitation to complete a questionnaire was emailed to all PK-12 public school music teachers in these three states whose email addresses could be gathered via a school district website search or phone call to the district, yielding a 26.1% response rate in Missouri, a 35.1% response rate in Iowa, and a 31.7% response rate in Illinois. The questionnaire contained items used to gather demographic data about the music teachers and details about their class offerings. Results indicate over 93% of music teachers in these three states identify as White and approximately two thirds identify as women. The teachers in these three states who responded to the survey travel less for their positions compared with music teachers in the United States as a whole, and findings were inconsistent between the states with respect to experience level and school location. Further, 28% to 47% of secondary-level educators in these three states teach a music class that is not band, choir, or orchestra.

Music Teachers’ Repertoire Choices and the Quest for Solidarity

2015 ◽  
pp. 371-387
Author(s):  
Heidi Westerlund ◽  
Sidsel Karlsen
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Immigrant Students ◽  
Multicultural Music Education ◽  
Cultural Roots ◽  
Multicultural Music ◽  
Musical Practices ◽  
Ethical Choices ◽  
Research Findings ◽  
Teaching Music

This chapter argues that multicultural music education that focuses on preserving cultural roots and cultivating historically justified, authentic musical practices in the classroom is inadequate as the single guiding approach to teaching music. Since musical diversity is already self-evident for today’s students, teachers should consider opening spaces for students’ own, ongoing negotiations of musics in order to create new musical negotiations and multiple belongings as well as social bonding. Moving toward what is often viewed as intercultural education, the chapter extends some of the starting points found in multicultural music education literature by rereading them against research findings regarding immigrant students’ musical agency and Zygmunt Bauman’s sociological analysis of cultural diversity in contemporary society. It argues that developing learning communities in which epistemological horizons and musical repertoire are brought both from outside the classroom and from within its existences would simultaneously entail ethical choices and working toward solidarity and democracy.

Alternative Assessment for Music Students with Significant Disabilities

2019 ◽  
pp. 224-241
Author(s):  
Donald DeVito ◽  
Megan M. Sheridan ◽  
Jian-Jun Chen-Edmund ◽  
David Edmund ◽  
Steven Bingham
Keyword(s):  
Public School ◽  
Music Education ◽  
Students With Disabilities ◽  
Student Performance ◽  
Alternative Assessment ◽  
Performance Outcomes ◽  
General Music ◽  
Significant Disabilities ◽  
School Music ◽  
K 12

How is it possible to move beyond assessment for the purposes of evaluating teacher proficiency and student performance outcomes and instead to consider assessment for understanding student musical experiences and preferences for the purpose of promoting lifelong musical engagement? This chapter includes and examines three distinct music education approaches that have been taken at the K–12 Sidney Lanier Center School for students with varying exceptionalities in Gainesville, Florida. Megan Sheridan illustrates inclusion and assessment using the Kodály approach. David Edmund and Jian-Jun Chen-Edmund examine creative lessons developed for exceptional learners in a general music setting. Steven Bingham and Donald DeVito illustrate adaptive jazz inclusion and performance for public school and university students with disabilities. This collaborative development in qualitative music assessment has taken place through (1) developing methods of communicating recognition of student engagement and affective responses during inclusive engagement in public school music education settings, specifically in Kodaly-based music instruction, K–12 general music classes, and secondary jazz ensembles; (2) using students’ interest and engagement as a means of curriculum development and assessment in inclusive public school music settings; and (3) building collaborative relationships with parents and the community for post-school lifelong music learning.

The method of emotional education in music teaching

2021 ◽  
pp. 002072092098355
Author(s):  
Hui Hong ◽  
Weisheng Luo
Keyword(s):  
Middle School ◽  
Music Education ◽  
Teaching Methods ◽  
Music Teachers ◽  
Aesthetic Education ◽  
Music Teaching ◽  
True Meaning ◽  
School Music ◽  
Teaching Music ◽  
Emotional Education

Wang Guowei, a famous scholar and thinker in our country, thinks that “aesthetic education harmonizes people's feelings in the process of emotional music education, so as to achieve the perfect domain”, “aesthetic education is also emotional education”. Therefore, in the process of music education, emotional education plays an important role in middle school music teaching, and it is also the highest and most beautiful realm in the process of music education in music teaching. Music teachers should be good at using appropriate teaching methods and means. In the process of music education, they should lead students into the emotional world, knock on their hearts with the beauty of music, and touch their heartstrings. Only when students' hearts are close to music in the process of music education, can they truly experience the charm of music and realize the true meaning of music in the process of music education. Only in this way can music classes be effectively implemented The purpose of classroom emotion teaching.

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