Journal of Music Teacher Education recent issues

Core Questions in Music Teacher Education--Revisited

Thompson, L. — Tue, 22 Sep 2009 12:47:02 PDT

Conversations

Fredrickson, W. E., Conway, C. M. — Tue, 22 Sep 2009 12:47:02 PDT

Effects of Learner-Centered Activities in Preparation of Music Educators: Finding the Teacher Within

Killian, J. N., Dye, K. G. — Tue, 22 Sep 2009 12:47:02 PDT

The authors followed the progress of 43 undergraduate music education majors through three semesters of peer teaching, field-based teaching of school-age students, and student teaching. Each semester, students followed a reflective practice model that included plan/teach/archive/reflect procedures following every teaching experience. The reflective practice model, as explained in this study, is a learner-centered model that emphasizes self-evaluation and professional responsibility rather than traditional instructor grading and feedback.The report includes student responses to three semesters of surveys requiring Likert-type scale responses, recall of self-reported skill levels during previous semesters, and responses to open-ended questions.

Portfolio Assessment in Student Teaching: A Reliability Study

Draves, T. J. — Tue, 22 Sep 2009 12:47:02 PDT

The purpose of this study was to investigate the reliability of portfolio assessment in student teaching. The specific problems were (a) to determine interjudge reliability for the music student teaching portfolio assessment and (b) to determine if music student teachers rate themselves similarly to the expert panel of judges. Participants (N = 13) were undergraduate music education majors completing their student teaching semester at a major midwestern university. The Student Teaching Portfolio (STP) was required as part of the student teaching semester.Two expert judges rated participants’ STP using the Student Teaching Portfolio Assessment Rubric (STPAR). Participants self-assessed their portfolios using STPAR as well. Interjudge reliabilities and correlations between participants’ self-assessments and judges’ ratings were calculated. Results showed that portfolios can be a reliable and valid assessment tool for student teaching. Further research on the reliability of portfolio assessment in preservice teacher education is recommended.

Connections Between Performer and Teacher Identities in Music Teachers: Setting an Agenda for Research

Pellegrino, K. — Tue, 22 Sep 2009 12:47:02 PDT

The purpose of this article is to examine the literature concerning the connections between performer and teacher selves in the formation of a music teacher’s identity. This article begins by framing an issue facing preservice and in-service music teachers, namely, the tension between a performer identity and a teacher identity. An overview is provided of (a) the literature documenting preservice music teacher identities that privileges the performer identity and (b) the literature that focuses on balancing and negotiating the performer and teacher identities. To understand aspects of the current debate about music teacher identities, the author develops five themes based on a critical analysis of the selected literature: teacher versus performer identity conflict, personal and professional benefits of music making, holistic view of musical identities, roles and situated identities, and defining music teacher identity. The author concludes by synthesizing the commonalities of the recent research and suggesting approaches and topics for future research on music teacher identity.

Educating Teachers to Transform the Trilogy

Colley, B. — Tue, 22 Sep 2009 12:47:02 PDT

This article constitutes the second stage in an ongoing investigation of alternative instrumental ensembles in schools. First, interview data from the previous stage, which documented cases in Massachusetts, Kentucky, Washington, and Nevada, where individual music teachers began and successfully sustained alternative ensembles for the past 5 to 10 years, summarize the genesis, growth, and sustenance of these ensembles. The current article presents data relating to the K-12 policy decisions made by these teachers and then examines these policy decisions with a focus on their implications for music teacher preparation. Implications for music teacher education are considered in light of enhancing music teachers’ understanding of policy choices in the areas of (a) program design, (b) student participation, (c) conceptualizations of musicianship, and (d) cultural and aesthetic appropriateness. Finally, differences in inherent assumptions between alternative ensemble practice and traditional ensemble practice are set forth, ending with recommendations for specific teacher education reforms and action initiatives.

Band and Orchestra Teachers' Rankings of General Pedagogical Knowledge and Skill

Si Millican, J. — Tue, 22 Sep 2009 12:47:02 PDT

Classroom management, presentation, and organization skills are significant predictors in the success or failure of teachers regardless of subject. Elements of this type have been categorized in the literature as general pedagogical knowledge (GPK). The purpose of this quantitative study is to determine if a relationship exists between music teachers’ rankings of importance for GPK variables and the variables related to primary teaching assignment, grade level, teaching experience, and school size. Band and orchestra directors (N = 173) ranked the variables organize and plan instruction; develop rules, routines, procedures, handbooks, etc.; enforce classroom rules promptly and consistently; and develop relationships with students highest of all GPK variables. Some of the findings in this study suggest that band and orchestra directors may approach their time in classrooms differently based on their teaching assignment and grade level. Results give an insight into the specific nature of classroom management as it relates to music settings.

Examining the Preservice Practicum Experience of Undergraduate Music Education Majors-- Exploring Connections and Dispositions Through Multiple Perspectives A Critical Grounded Theory

Abrahams, F. — Tue, 22 Sep 2009 12:47:02 PDT

This grounded theory study explores the relationship between the college methods class and the off-campus practicum experience. The study included nine undergraduate music education majors enrolled in a methods course designed to prepare them to teach music in secondary schools. Also included were three in-service teachers who served in the role of cooperating teachers for the practicum portion of the experience. Content for the on-campus methods class was altered to accommodate the programs where students would be working. Data included reflections from the students during a weekly on-campus seminar, informal interviews with the cooperating teachers, observations of the students at the practicum sites, and written evaluations of the students by the cooperating teachers. As a result of open, focused, and axial coding, several themes emerged that confirmed the literature stating that despite best efforts, the on-campus course and off-campus practicums do not connect.

Book Review: Michael Strong Effective Teacher Induction and Mentoring: Assessing the Evidence New York : Teachers College Press, 2009. 160 pp. $25.95. ISBN 0807749338

Conway, C. — Tue, 22 Sep 2009 12:47:02 PDT

Request for Applications Editorial Board Members: Journal of Music Teacher Education

Tue, 22 Sep 2009 12:47:02 PDT

A Call for Collaboration

Thompson, L. — Thu, 12 Mar 2009 13:22:49 PDT

Introspection

Fredrickson, W. E. — Thu, 12 Mar 2009 13:22:49 PDT

Scheduling Accommodations Among Students Who Persist in High School Music Ensembles

Baker, V. D. — Thu, 12 Mar 2009 13:22:49 PDT

The purpose of this study was to investigate scheduling patterns of high school students who earn multiple credits in music ensembles and to investigate why high school students elect to enroll in ensembles. Participants (N = 443) were freshman music majors enrolled in 10 Texas universities. They completed questionnaires about enrollment in ensembles, classes taken outside of the traditional school day, and types of high school schedules. In a free-response format, participants listed any scheduling obstacles and reasons for taking ensemble classes in high school. Results indicated that the primary obstacles involved schedule conflicts. Respondents (n = 55) who took summer school and correspondence courses had the highest average number of music ensemble classes (7.9) for Grades 9 through 12. The primary motivating factors for ensemble membership were the pleasures associated with performing music and social networking. Implications of research include the potential improvement of retention rates.

Transforming Music Teacher Education Through Service Learning

Burton, S., Reynolds, A. — Thu, 12 Mar 2009 13:22:49 PDT

Service-learning initiatives have become prevalent on the campuses of higher education. In teacher education, preservice teachers involved in educational partnerships that are service-learning based respond to the needs of a community partner, apply pedagogical knowledge and skills they have acquired in their coursework to real-world problems, and engage in critical reflection. Service-learning offers preservice teachers increased opportunities to develop their teaching practice and teacher identities and provides a backdrop for preservice teachers to develop personally and become socially integrated into the field of teacher education. In this article, we provide descriptions of four service-learning contexts for music teacher preparation. We discuss the role of service-learning in transforming preservice music teachers, their music teaching practice, and the community partners they served. Finally we present challenges to engaging in service learning in music teacher preparation, characteristics of meaningful service learning work, and discuss the transformative potential of service-learning in music teacher preparation.

Perspectives on Rural and Urban Music Teaching: Developing Contextual Awareness in Music Education

Hunt, C. — Thu, 12 Mar 2009 13:22:49 PDT

This constructivist research aimed to learn key stakeholders' perspectives on the role of music programs and teachers in rural and urban school districts. Nine participants, including music teachers, administrators, and parents, representing four rural and urban locations were interviewed. Interviews were transcribed, checked, and revised by participants. Revised transcripts were analyzed and key concepts categorized into an NVivo 7 database. After the researcher sought additional participant input, an article draft was reviewed and critiqued by participants. Although the results cannot be generalized, participants' perspectives were influenced by the contextual factor of geographical location. The Developing Contextual Awareness (DCA) model was developed and proposed for increasing music educators' geographical and social awareness. The DCA model should be studied for a match to any local context and includes understanding music teachers' and music programs' roles, focusing on advantages and accepting challenges as opportunities, creating specific professional development goals, and committing to persistence.

Inside and Outside the Undergraduate Music Education Curriculum: Student Teacher Perceptions of the Value of Skills, Abilities, and Understandings

Hourigan, R. M., Scheib, J. W. — Thu, 12 Mar 2009 13:22:49 PDT

This study examined the perceived requisite skills and understandings needed for a successful student teaching experience. Six instrumental music student teachers served as participants. Findings included that students perceived curricular, co-curricular, and extra-curricular music teaching and non- music teaching experiences to be valuable prior to student teaching. Valuable curricular and co-curricular (e.g. fieldwork) skills included: (a) administrative skills; (b) classroom management skills; (c) musicianship skills; and (d) content and pedagogical knowledge. The participants reported that not only did they acquire these skills from coursework, applied lessons, and ensemble participation, but also experiences outside of their curricular requirements (e.g., skills relating to work ethic, interpersonal and intrapersonal skills). The researchers compared these results to the forms of Ethical and Intellectual Development (Perry, 1968/1999) and determined that preservice music teachers' perceptions of the importance of acquired skills prior to student teaching may depend on their intellectual development.

Perceived Instructional Needs of Middle School and Senior Citizen Band Members

Rohwer, D. — Thu, 12 Mar 2009 13:22:49 PDT

The purpose of this study was to describe and compare adult and middle school band members' perceptions of music education issues, including effective teaching and musical environment. The participants were 94 band members from three states: 28 middle school band participants from three middle schools and 66 senior citizen band participants from three adult bands. At a band rehearsal, the band members answered a 49-item questionnaire with 26 Likert-type questions on the topic of effective teaching. While the overall means are high for all component skills, musical skills were rated lowest, followed by instructional skills and personality characteristics. Older and younger musicians responded similarly across the musical, instructional, and personality components. Conclusions highlight the collegiate instructional issues that may help meet older and younger musicians' instructional preferences.

Vocal Hygiene Perceptions of Experienced and Preservice Music Teachers

Hackworth, R. — Thu, 12 Mar 2009 13:22:49 PDT

The purpose of this study is to compare perceptions of vocal hygiene at different levels of music teaching experience. The following survey information from 659 music teachers with various levels of teaching experience forms the basis of the analysis: voice use in teaching, perceived risk of voice disorders in teaching, ratings of vocal behaviors, personal voice problems, and ratings of perceived vocal stress in teaching activities. The teachers are grouped according to level of experience: late career, early career, or preservice. Majorities in all groups believe (a) teaching equals high voice disorder risk, (b) vocal problems affect the career, and (c) career change to preserve voices would be unlikely. Using Likert-type scales, the teachers rated the healthiness of selected vocal behaviors and perceived vocal stress in selected teaching activities. Overall, they rate drinking water the healthiest behavior and smoking the unhealthiest. For teaching activities, they rate speaking over noisy classroom conditions highest for causing vocal stress, and they rate demonstration singing the lowest. Significant differences emerge in ratings from the three groups of teachers for four behaviors (speaking in noisy environments, drinking water, clearing throat, and consuming alcohol) and four teaching activities (opening remarks, vocal instruction while students sing, speaking over noisy classroom conditions, and lunchroom duty).

Moving Forward in a Time of Change

Thompson, L. — Tue, 23 Sep 2008 14:56:28 PDT

Epiphany

Fredrickson, W. E. — Tue, 23 Sep 2008 14:56:28 PDT

"Firecrackers" and "Duds": Cooperating Music Teachers' Perspectives on Their Relationships With Student Teachers

Draves, T. J. — Tue, 23 Sep 2008 14:56:28 PDT

The purpose of this qualitative research study is to examine the perspective of the cooperating music teacher in the student teaching experience. Three cooperating music teachers serve as participants in the study: one high school and elementary band director, one middle school choral director, and one elementary through high school orchestra director. Data are collected through interviews and e-mail prompts and then coded and analyzed for emerging themes. Power emerges as a strong theme. When discussing relationships with student teachers, cooperating teachers describe how power is shared; the power structures are defined by the researcher on a continuum from student—teacher relationship to team-teaching relationship to a collaborative partnership. Generally, the cooperating music teachers find the more collaborative partnerships to be the most satisfying.

The Art Education Philosophy of June King McFee and the Implications for Music Education

Steele, N. — Tue, 23 Sep 2008 14:56:28 PDT

This article discusses the art education philosophy of June King McFee and implications of this philosophy for music education and music teacher education. There is much to be learned from other fields of study, especially the arts, which can be applied to music to expand current beliefs and practices. Basic tenets of this philosophy include a focus on the individual through cultural awareness; music experience; expressiveness and creativity; communication; relationships between student, teacher, and music; and the need for a comprehensive music education. Included is a discussion of the application of McFee's philosophy to music teaching as well as teacher education.

The Role of Integrated Curriculum in Music Teacher Education

Barry, N. H. — Tue, 23 Sep 2008 14:56:28 PDT

Curricular integration has become an increasingly important component of many school reform initiatives, particularly at the elementary school level. Despite the important philosophical and political implications of this trend, there is relatively little literature on the impact of integrated curriculum for music learning and none dealing specifically with the implications of integrated curriculum on music teacher education. The purpose of this article is to review key issues surrounding the topic of integrated curriculum with special attention to implications for music teacher education. A one-way model in which music is used to reinforce content in other academic areas is what commonly passes for integration. A two-way integrated curriculum in which music and other subject areas are included and honored in a meaningful and appropriate manner provides a rich, comprehensive learning experience that can cross boundaries of culture and individual student differences, resulting in a productive and motivating experience for learners and yielding unique opportunities for teachers.

Using a Musicianship Portfolio as Assessment of Music and Education Course Objectives in a "Music for Elementary Teachers" Course

Huisman Koops, L. — Tue, 23 Sep 2008 14:56:28 PDT

This study explores the use of a portfolio to document and assess development of musicianship in a university course on elementary music methods for early childhood and elementary education majors. The researcher develops and implements the portfolio during two semesters, and students complete a survey regarding the perceived usefulness of the assignment. Survey feedback suggests an appreciation on the part of students regarding the usefulness of the portfolio relative to their learning in the course. Students indicate that the portfolio helped them to understand what musicianship is and become aware of and grow in their own musicianship. The results also suggest that the portfolio was a valuable tool for students to synthesize their learning in the course. The majority of students respond that they believed musicianship was an important part of the course; this belief could be due in part to the experience of creating the portfolio.

Distance Learning in Graduate Music Teacher Education: Promoting Professional Development and Satisfaction of Music Teachers

Walls, K. C. — Tue, 23 Sep 2008 14:56:28 PDT

The impact of a graduate distance learning music teacher education program on the professional development of in-service music teachers is evaluated through telephone interviews of 16 program graduates, a questionnaire completed by 29 current students, and a questionnaire completed by 10 graduating students. Emergent themes are development of teaching philosophy, changes in teaching practice, personal growth, and high program satisfaction. Philosophy changes are generally reported in vague terms. Graduates' classroom methods, curriculum, assessment, and technology integration practices are widely affected. Program attributes that enhance learning and satisfaction include increased interaction among music teachers, positive faculty—student interaction, real-world tasks, quality of learning, and technology integration. Assignments requiring asynchronous communication, multimedia creation, or online research increase interaction and real-world applicability.

A New Framework for Music Education Knowledge and Skill

Si Millican, J. — Tue, 23 Sep 2008 14:56:28 PDT

This study investigates perceptions of secondary school band and orchestra teachers regarding the relative importance of knowledge and skill categories to professional success, using a framework modeled after Schulman (1986, 1987). Band and orchestra teachers in secondary schools (N = 214) complete an anonymous, online survey ranking the relative importance of various knowledge and skill categories. Participants rank pedagogical content knowledge, content knowledge, and general pedagogical knowledge highest. There are no significant differences in the rankings of the categories among various subgroups at the p < .05 level. Results confirm the applicability of Schulman's model to music education. This framework has implications for undergraduate, graduate, and continuing professional education. Analysis of categories' interaction provides insight into effective classroom instruction.

Instrumental Music Teacher Educators (IMTE) Third Biennial Colloquium for Teachers of Instrumental Music Methods Call for Participation for May 2009 Meeting Theme--Transforming 21st Century Instrumental Music Educators

Tue, 23 Sep 2008 14:56:29 PDT

The Love of Teaching Music

Ester, D. — Tue, 01 Jan 2008 00:00:00 PST

Teaching

Fredrickson, W. E. — Tue, 01 Jan 2008 00:00:00 PST

The Selection and Preparation of Cooperating Teachers in Music Education

Zemek, M. D. — Tue, 01 Jan 2008 00:00:00 PST

The purpose of this study is to describe the current process of selecting cooperating teachers and their preparation for this role in music teacher education throughout the state of Illinois to improve future practices and policies. Coordinators of student teaching and music education professors (N = 19) were surveyed regarding their school's selection and preparation practices. Findings include a reliance on the personal and professional relationships between K–12 and collegiate music educators when selecting music cooperating teachers rather than on the recommendation of school principals (p = .003) as reported throughout the general education literature. Preparation activities are limited to the use of handbooks of student teaching, one-on-one conferences between cooperating teachers and college or university supervisors, and an occasional class or workshop. Finally, current selection practices based on previous knowledge of cooperating teacher candidates may in fact decrease the need for preparation.

The Use of Student-Written Cases in Music Teacher Education

Hourigan, R. — Tue, 01 Jan 2008 00:00:00 PST

The purpose of this study was to examine the use of student-written cases as part of an instrumental music methods course. Research questions included the following: (a) What are the positive and negative issues associated with student-written cases? (b) What are preservice music teachers' perceptions as to the value of case writing as part of an instrumental music methods class? Five preservice instrumental music students who were enrolled in music teacher education at a large midwestern university agreed to participate in this study. A qualitative comparable case study design was used in this investigation. Student-written cases, the researcher's feedback, and interviews with the participants served as data for this study. Positive issues included student reflection and the building of music teacher identity through revisions and feedback. Negative issues included lack of time, the need for discussion of cases, and the need for peer feedback. Participants expressed that case writing was a valuable activity.

Opinions and Reported Learning Outcomes of Undergraduate Music Education Majors Concerning Required Recital Attendance

Kinney, D. W., Martin, M. — Tue, 01 Jan 2008 00:00:00 PST

The purpose of this study was to determine undergraduate music education majors' opinions and reported learning outcomes related to recital attendance required by their degree program. Comparisons were made between underclassmen (n = 99) and upperclassmen (n = 48) and between those attending a university with periodic deadlines for completing the requirement (n = 101) and those attending a university without periodic deadlines (n = 46). Types of recitals attended were also examined. Results indicated positive opinions concerning recital attendance; however, respondents were neutral about the value of the recital attendance requirement itself. Respondents were also neutral about reported learning outcomes, although underclassmen reported significantly greater learning in regard to concert etiquette than upperclassmen. Respondents without periodic deadlines were found to be significantly more likely to procrastinate in completing the requirement and rated the value of recital attendance significantly lower than those with periodic deadlines. Analysis of types of concert attendance revealed that instrumentalists predominantly attended instrumental recitals, whereas vocalists were divided equally between instrumental and vocal recital attendance.

Sources of Pedagogical Content Knowledge: Reports by Preservice Instrumental Music Teachers

Haston, W., Leon-Guerrero, A. — Tue, 01 Jan 2008 00:00:00 PST

The purpose of the study was to better understand what influences preservice instrumental music teachers' acquisition of pedagogical content knowledge (PCK). Research questions were as follows: (a) Are there identifiable applications of PCK in the preservice teachers' interactions with students? (b) To what source—apprenticeship of observation, methods classes, cooperating teachers, or intuition—do preservice teachers attribute these applications of PCK? Video recordings of preservice teachers conducting a rehearsal were collected and analyzed for events that demonstrated PCK. Exemplary excerpts were selected and reviewed with each participant. Interviews revealed a substantial amount of identifiable PCK. Apprenticeship of observation, methods courses, and cooperating teacher were each cited by 2 participants as their primary source of PCK. One participant cited intuition and methods courses equally. Determining where preservice teachers go to access PCK is the first step in redesigning college methods courses to better account for previously learned PCK.

Constructing a Model for the Effective Mentoring of Music Educators

Jacobs, J. N. — Tue, 01 Jan 2008 00:00:00 PST

In this article, a model for the effective mentoring of music educators is presented. Mentoring and induction literature is referenced to examine recent trends and determine the contents of the model. The model begins with state government design and funding of a mentoring program. Layers are built on this foundation, including (a) support of professional organizations; (b) mentor selection, training, and compensation; (c) mentor–mentee release time; and (d) a multiyear concept. Completion of a mentoring program as a requirement for full teacher certification completes this mentoring program model. The model provides a departure point for experimental trials, future research, and eventual comprehensive program design.

An Instructional Approach for Improving the Writing of Literature Reviews

Freer, P. K., Barker, A. — Tue, 01 Jan 2008 00:00:00 PST

The authors engaged in a team-teaching approach to foster improvements in the writing and evaluation of scholarly literature reviews by their graduate students in music education. A focal point of the semester-long project was the analysis and public critique of each author's dissertation literature review by the other author, using a variant of a rubric for evaluating literature reviews by Boote and Beile. Students further refined the rubric by evaluating literature reviews in current music education journals and then used the rubric to guide their own writing. Student reflections and responses were gathered through questionnaires and interviews, with indications that the process had a twofold effect: (a) improved skills in conceptualizing, writing, and analyzing literature reviews and (b) increased collegiality as students perceived their instructors as peer scholars.

High School Instrumental Students' Perceptions of Effective Music Student Teacher Traits

Kelly, S. N. — Tue, 01 Jan 2008 00:00:00 PST

This study examined high school band and orchestra students' perceptions of effective music student teacher skills and behaviors. Participants (N = 314) began by completing a 34-item survey by rating items 1 to 31 from 1 (not very important) to 5 (very important) regarding the degree of importance with which each trait should be exhibited by a student teacher in a music class. Items 32 to 34 asked the respondents to indicate (a) how often they had a music student intern during a specific time period, (b) the respondent's primary performance area, and (c) the respondent's year in school. Resulting data indicated that skills and behaviors receiving the highest mean scores were "Is able to apply knowledge; being competent" (M = 4.595) and "Has a positive behavior" (M = 4.586). Skills and behaviors receiving the lowest mean scores were "Can play the piano" (M = 2.952) and "Has knowledge of technology" (M = 3.407). ANOVA found few significant differences among the teacher traits and different groups of students.