General Music Teachers Research Articles

General Music Teachers' Perceptions of District-Mandated Professional Development and Its Impact on Teaching Practices

General Music Teachers' Perceptions of District-Mandated Professional Development and Its Impact on Teaching Practices

A Cross-Cultural Interview Study of Singaporean and US General Music Teachers’ “Pedagogical Creativity”

Abstract In this qualitative interview study, we explored the “pedagogical creativity”—the creativity teachers employ in their generation and execution of curricula and instruction—of veteran and novice general music teachers from the United States and Singapore. We prompted participants, 10 from each country, to articulate their underlying philosophies through semistructured interviews. The teachers discussed (a) a diversity of ways they were flexible; (b) varying degrees of embracing and incorporating ambiguity into their teaching; (c) forming novel associative bonds to create curricula, including incorporating the nonmusical identities of themselves and their students into the classroom; and (d) the ways teacher evaluation and policy mandates did or did not affect their teaching. Findings indicated that the veteran teachers were better able to articulate their processes and had more experiences to draw upon. The teachers from the United States and Singapore differed in their attitudes toward incorporating other subject areas into their teaching, but little on all other aspects of pedagogical creativity. We discuss implications to provide a fuller understanding of how teachers and teacher educators may nurture pedagogical creativity.

General Music Teachers’ Backgrounds and Multicultural Repertoire Selection

The purpose of this qualitative study was to examine how teachers’ backgrounds could contribute to their decisions to include music from diverse cultures. Analysis of interviews with three general music teachers indicated that their music training and experiences, ethnic backgrounds, and years of teaching experience may have influenced their familiarity with multicultural music. That familiarity, in turn, may have affected their multicultural repertoire selection. In addition, the findings revealed that participants included multicultural music in spite of their relatively homogeneous student populations, because they recognized the need to provide their students with global perspectives. However, the teachers primarily focused on teaching Western music concepts, employing music from different cultures mainly as a way to offer variety in their repertoire.

Eunice Boardman’s Generative Theory of Musical Learning and the Holt Music Textbooks

Many general music teachers use a variety of methods in their classrooms. The Generative Theory of Musical Learning can serve as a basis for a variety of general music methodologies. Developed by Eunice Boardman, the Generative Theory of Musical Learning influenced general music textbooks from 1966 to 1988, and it continues to influence music educators even today. The purpose of this study was to examine how the theory influenced the six editions of the Holt Music textbook series and to determine how its ideas have continued to be disseminated since the final edition of the Holt series. Data were collected through examination of a variety of primary and secondary sources, including the Holt Music series textbooks, published and unpublished writings from Eunice Boardman, and interviews with coauthors of the series. The study traces the development of the ideas behind the Generative Theory, its influence on the Holt Music series from 1966 to 1988, and the dissemination of the ideas following the conclusion of the series.

Constructing a “fast protocol” for middle school beginner violin classes in Japan

This study aimed to investigate the process of constructing a “fast-protocol” for violin instruction. Since learning string instruments has not been common, and because there are limited hours for music in Japanese schools, the author, a violinist, collaborated with the general music teacher at a middle school in the Tokyo metropolitan area, and co-created the protocol which contains three lesson units as follows: (1) to play an open string on the violin; (2) to discriminate pitch by string crosses on the violin; (3) to discriminate pitch by using fingers on the violin. As for data collection, the study videotaped students’ learning, and maintained log notes. This study also collected students’ commentary focusing on perceived challenges after each class ( N = 120). Based on all gathered data, after completing the coding process, researcher and teacher co-constructed the narrative. Findings include critical examinations of readiness in violin teaching and learning, and variations on violin-specific challenges associated with enjoyment and satisfaction for beginners.

RELATIONSHIPS BETWEEN PITCH-MATCHING AND GRADE LEVEL, SEX, ETHNICITY, AND CLASSROOM TEACHERS’ USE OF MUSIC IN GRADES K-3

The purpose of this study was to examine relationships between pitch-matching and grade level, sex, ethnicity, and classroom teachers’ use of music among K-3 students (N = 289) taught by the same general music teacher. Portions of the data from a pitch-matching exercise that functioned as the music teacher’s roll-taking procedure during the 2005-06 school year were treated as pre- and posttests. There were no significant pretest differences between ethnic groups (Hispanic, White, Other). There were significant pretest differences among classes taught by different classroom teachers, as well as the female students scoring significantly higher than males. Covariance analysis (pretest as covariate) revealed significant improvement by girls over boys on the posttest. There were no significant pretest differences among grade levels, suggesting a lack of carryover of pitch-matching skills from previous years, despite significant improvement (pre-post) for every grade level during the year under study. The boys performed poorly relative to girls in higher grades, though the interaction was not significant. Finally, the study revealed relationships between classroom teachers’ reported use of music and student gain scores (pre-post) in pitch-matching.

Teachers’ Perceptions on Current Piano Use in the Elementary General Music Classroom

The purpose of this study was to identify teacher opinion of piano use, the amount of piano use, and current purposes for pianos in elementary general music classrooms. A geographically diverse sample of general music teachers ( N = 189) completed a piano use survey. The data indicated that teachers felt piano was an important part of elementary music and that the piano should be used for accompaniment more than any other purpose. Pianos were most commonly used on a weekly basis. Teachers who began piano lessons at a younger age also tended to use more piano in their classrooms. Qualitative statements made about piano use were positive and enthusiastic. This study provides direction for future research in the investigation of relationships between amount of piano use and teacher variables, and the amount of a cappella singing in the elementary classroom.

Male Elementary General Music Teachers

The purpose of this study was to describe the essence of being a male elementary general music teacher (MEGMT). I sought answers for two research questions. First, what are the perceived uniquely male experiences in elementary general music teaching? Second, in what ways might gender be a consideration in the preparation of elementary general music teachers? I conducted semistructured interviews of ten current MEGMTs in one New England state. After three cycles of coding, I found four emergent themes: (a) perceived uniquely male issues in teaching, (b) the hiring process and early years, (c) workplace gender issues, and (d) urban teaching overall. These findings both corroborated and contradicted those of the limited studies about MEGMTs, yielding support to investigate MEGMTs’ multifaceted essence further.

Shifting From Fear to Self-confidence: Body Mapping as a Transformative Tool in Music Teacher Education

Fear and lack of self-confidence toward music teaching are frequently experienced by many Bachelor of Education teacher candidates when they imagine themselves as future elementary general music teachers. Integrating visual art body mapping in elementary music methods fosters a unique opportunity to identify and interrogate musical experience. Findings from a 2-year narrative inquiry reveal how body mapping provides a window into music teacher identity through understanding the role of musical experience in teacher candidates’ daily lives. Body mapping becomes a transformative tool in music teacher education to move teacher candidates from embodied fear to increased self-confidence in shaping future teaching practice.

Experienced general music teachers’ instructional decision making

The purpose of this descriptive study was to explore experienced general music teachers’ decision-making processes. Participants included seven experienced, American general music teachers who contributed their views during two phases of data collection: (1) responses to three classroom scenarios; and (2) in-depth, semi-structured, follow-up interviews. Analysis using a constructivist approach revealed that participants reported making distinct decisions during the planning, instruction, and reflection stages of teaching. During planning, their focus was on developing clear goals and objectives, encouraging a life-long love of music, and fostering responsible citizenship. During instruction, they made decisions guided by specific formal and informal methodologies to build on previously taught concepts and to support classroom management. After instruction, participants’ responses highlighted the importance of being flexible, their own professional development, and student assessment. While other studies have examined general music teachers’ instructional processes in methodology-specific practices, this study offers insights from experienced general music teachers regarding their decision-making processes when responding to classroom scenarios. Implications for future research include improving in-service teachers’ self-awareness, advancing professional development for experienced teachers, and enhancing the effectiveness of music teacher education programs.

Music instruction for elementary students with moderate to severe cognitive impairments: A case study

Although elementary general music specialists teach students with a variety of exceptionalities every day (Chen, 2007; Hahn, 2010; Hoffman, 2011), many music teacher preparation programs do not adequately address exceptionality (Salvador, 2010). Articles regarding “strategies that work” appear perennially in the professional literature (e.g., Hammel, 2004), but these strategies have seldom been the subject of empirical research in peer-reviewed literature, and none of these articles pertain to how music teachers modify instruction to meet the needs of students with moderate to severe cognitive impairments (CI) who attend music with their self-contained categorical classes. This qualitative study details the practices of an elementary general music teacher with regard to music instruction of students with moderate to severe CI, both when these students were included with their fourth-grade peers and also when they attended music with their self-contained class.

General music teachers' attitudes and practices regarding multicultural music education in Malaysia

This study examined the utilisation of multicultural music education by Malaysian music teachers, with an emphasis on the relationship between music teachers’ attitudes and their subsequent degree of effort in developing and implementing multicultural music education in their music classes. Respondents for the study were 456 music teachers; responses were collected via an adapted version of the original Music Specialist’s Multicultural Music Education Survey instrument. Results indicate that there is limited implementation of multicultural music education in music classrooms due to inadequate preparation and limited resources and insufficient knowledge of multicultural music. As such, music teacher training programmes are needed in order to address both the theoretical and practical aspects of multicultural music education throughout the curriculum in a comprehensive and long-term manner.

With the eye and the ear—analytical and intuitive approaches in piano playing by Finnish teacher candidates

This article investigates a piano-playing subject called “keyboard harmony.” The subject was initially developed in the 1980s to give (K–12) schoolteachers the skills needed for accompanying singing in classrooms. Since keyboard harmony today has an official status in all Finnish music schools, both piano and general music teachers ought to know and make use of the method in their work. In this study, teacher education candidates ( N = 35) were given the task of playing two pieces of music with melody and chords from a songbook. The performances were recorded and evaluated. Students were tested also with Karmas auditory structuring and WAIS Digit-Symbol Coding tests. Additionally, all players wrote a short description of the strategies they used. Deriving from theory and based on the results, two main approaches to piano playing are defined: analytical and intuitive playing. The results indicate that one-sided emphasis on notation may hinder creative and more nuanced ways to play the piano.

Planning for Enjoyment in the General Music Classroom

Enjoyment is an important but often overlooked element in the music classroom. In this article, we review research literature related to enjoyment in musical interactions and discuss the role of enjoyment in the general music classroom. Drawing on research literature, our experience as general music teachers, and our research on enjoyment during musical play, we make recommendations for teachers interested in enhancing enjoyment in their classrooms. We include a teacher reflection template and an enjoyable elements guide to assist teachers in applying these ideas in the classroom.

Using “Informances” in General Music

General music teachers might be faced with formal performance expectations placed on them by administrators. While performance expectations are common in performance-based ensembles, meeting these expectations can be cumbersome and daunting to those who serve in the realm of general music. Informances—informative presentations of student learning that emphasize the learning process—provide an alternative to traditional concerts or programs. Informances serve as an excellent way of communicating one’s educational objectives to parents, administrators, and community members by sharing what and how students learn in the classroom. This article explores the benefits of including informances in one’s yearly programming, aligning the role of informances to address the new core music standards, two differing types of informances, as well as suggestions on how to successfully include them in the general music curriculum.

Assessing Expressive Movement

Expressive movement, created by students to demonstrate musical elements and artistry, provides a valid assessment opportunity for general music teachers. This purposeful movement, plastique animée, was developed by Swiss composer, Émile Jaques-Dalcroze, in the early 20th century. Plastique animée can serve as a useful tool, allowing teachers to observe an authentic, artistic musical experience for assessment purposes. Rubrics are based on predetermined criteria involving music elements, creativity, and expression. Students can self-assess by viewing a video recording of the movement and answering questions about the plastique animée experience. This article explains plastique animée and the process of implementation; provides two rubrics for assessing expressive, purposeful movement; and lists self-assessment questions and procedures. By assessing both objective and subjective elements, teachers and students can receive beneficial feedback regarding how a student comprehends musical concepts and demonstrates expressivity.

Online Status

The purpose of this qualitative study was to describe preservice music teachers’ perceptions of their experiences participating in virtual field experiences and mentoring episodes with experienced teachers during their elementary general music methods course. Participants were 21 preservice music teachers and 8 elementary general music teachers. Each cohort of two or three preservice teachers was assigned a mentor teacher. Using virtual conferencing technology, cohorts completed two observations of their mentor teacher, two 30-minute post-observation conferences with their mentor teacher, and three post–field teaching conferences with their mentor teacher. Data were preservice teachers’ written reflections about post-observation conferences and post–field teaching conferences. Analysis revealed challenges to and benefits of the virtual observations and conferences. Challenges included limitations of the technology and virtual experiences, and difficulty scheduling experiences. Benefits included improved logistics, view of reality, expanded perspective, and learning from dialogic inquiry. Overall, benefits were perceived to outweigh challenges.

Preparing Students for the 21st Century Through the Study of World Music

This column provides examples of activities that general music teachers might use to weave global awareness into web-based lessons to promote the development of information literacy, media literacy, and communication literacy through the study of world music.

Using Informal Education Through Music Video Creation

Music video creation provides students a new way to express themselves and become better performers and consumers of media. This article provides a new perspective on Lucy Green’s informal music pedagogy by enabling students to create music videos in music classrooms; thus, students are able to create music videos that informally develop skills in music and technology. The author offers his own experiences as a junior high and high school ensemble director and general music teacher that led to his students engaging technology in new ways both inside and outside the classroom. Video sharing websites such as YouTube have provided a new way for musicians to create and distribute their art, and by encouraging students to create music videos, students have the potential to learn lifelong music making skills. Practical advice on how to embark on a music video project is provided, and project outcomes are reported.

The Influence of Music Teacher Beliefs and Practices on the Expression of Musical Identity in an Elementary General Music Classroom

The purpose of this qualitative collective case study was to examine the ways an elementary general music teacher’s curricular beliefs and practices influence the expression of music in identity and identity in music for second-generation students. In addition to the music teacher, participants were 4 students whose families had immigrated to the United States from Mexico and who were attending the midwestern suburban school within the United States where the study took place. This research was designed to provide an understanding of the interactions between the roles of music instruction, cultural responsiveness, and musical identity. Within-case and cross-case analysis generated specific and broad themes that addressed the purpose of the study. The findings revealed that the role of the teacher’s view of the self as musician and educator, combined with the choice of instructional approach, created a music classroom environment that successfully met the teacher-directed goals for sequence-centered instruction. Nonetheless, the data revealed that the choice of instructional approach resulted in an isolated musical experience that did not support the integration of cultural, linguistic, and popular music experiences and largely ignored issues of cultural responsiveness.