Instrumental Teachers Research Articles

‘Play it by ear’ – teachers' responses to ear-playing tasks during one-to-one instrumental lessons

This paper reports findings from the Ear-Playing Project in relation to the teaching strategies that 15 instrumental teachers adopted during one-to-one instrumental lessons whilst helping their students to copy music by ear from a recording. Overall, the teachers used a variety of strategies including singing and humming along with or without the recording, asking questions and giving verbal explanation and positive feedback. By the end of the project, the teachers indicated that the project showed them a new and enjoyable way to introduce aural-training tasks, it helped them develop their own confidence in ear-playing and it gave them the opportunity to observe and assess their students' needs more carefully. The benefits for the students included greater enjoyment during instrumental lessons, development of aural and improvisation skills and greater confidence in instrumental playing.

The Responsibility of the Teacher to the Student Performer

The responsibility of the musical instrument teachers to their students is manifold. It includes the initial assessment of the abilities of the child, the development of the professional qualities, skills and dexterity of the student, the building of a stock of knowledge (basic note cognition, the fundamentals of the musical theoretical knowledge, general musical and stylistic culture), the responsibility to build up a strong motivation for playing a musical instrument, to develop determination and precise control over one’s own performance and to promote a level of self-confidence, adequate to the abilities of the student. Whereas you may come across some publications about the first enumerated responsibilities, the topic about the needed self-confidence of the performer is usually neglected by the authors of methodical studies. The self-confidence of the musician - interpreter should not be either excessive or unduly low, because they both could be an obstacle as to the successful performance before listeners, so to the professional and even the life fulfilment of the instrumentalist.

Students’ Perceptions of Emotional and Instrumental Teacher Support: Relations with Motivational and Emotional Responses

We explored whether students’ perceptions of emotional and instrumental support provided by their mathematics teacher constitute separate dimensions of teacher support and how they are related. We also analyzed how students’ perceptions of emotional and instrumental support in math lessons relate to math anxiety, intrinsic motivation, help-seeking behavior, and effort. The participants were 309 Norwegian students in 9th and 10th grade. The data were analyzed by means of structural equation modeling (SEM). The results revealed that emotional and instrumental support constitute separate but strongly correlated constructs. Directly or indirectly, both emotional and instrumental support was related to all motivational constructs. The strongest relations were found for instrumental support. Additionally, instrumental support predicted lower levels of anxiety. One implication of this study is that teachers should aim at providing both emotional and instrumental support.

Developing Tools For Supporting Music Instrument Studies: Model For Reflection

Contemporary pedagogies of musical instruments stress the importance of active and reflective learning (Brown 2008, Scott 2011). However, a model for supporting students’ reflection in this context is currently missing. The aim of the study is to develop and validate a model for supporting music students’ reflection processes in the context of music instrument studies. The model identifies the processes of reflection and specifies, based on the challenges of each process, how to support reflection in this context. Expert validation of the model was carried out through focus group interviews with twelve instrument teachers in three different institutes in Estonia. Findings suggest that with minor modifications, the model, developed based on the findings of supporting reflection in various contexts of higher education, is suitable for the context of music instrument studies.

Motivations impacting upon music instrument teachers’ decisions to teach and perform in higher education

The purpose of this study was to explore why highly trained musicians choose to teach in higher education. An international population from nine countries of music instrument teachers was sampled via online survey, to determine their reasons for teaching in higher education. Motivational constructs from the expectancy-value framework were used, and data were analysed statistically and qualitatively for themes. Findings show that participants held significantly higher expectancy beliefs about teaching than performing, and significantly higher intrinsic interest value beliefs about performing than about teaching. All six constructs were positively correlated with cost for music performing and teaching predicting the most variance.

A Longitudinal Study of Preservice Music Teacher Development

The purpose of this study was to investigate the development of preservice music teachers’ concerns using Fuller and Bown’s model. Participants were 8 instrumental teachers who participated in the previous Berg and Miksza (2010) study. Data sources included goals essays, journals, a midterm growth plan, and teaching observation reports with accompanying lesson plans that were collected over a 1.5-year period. The participants expressed less concern for self-survival and more concern for making an impact on students as time progressed from their junior-level practicum experience to the end of student teaching. Concerns regarding basic competencies and professionalism ultimately gave way to specific contextual aspects of the participants’ teaching placements and more nuanced instructional issues. Results indicated that the focus of the participants’ concerns also was greatly affected by their teaching context. Implications for music teacher preparation as well as extensions of Fuller and Bown’s model are discussed.

The older, the wiser?Profiles of string instrument teachers with different experience according to their conceptions of teaching, learning, and evaluation

Recent research on music teaching and the curricula proposed in different countries increasingly insists on moving towards teaching centered on managing students’ mental processes according to the constructivist approach. However, studies on conceptions and practices of teaching–learning show that these still largely focus on transmitting the musical and technical knowledge needed to produce the correct sound. Our main aim was to study the conceptions of teaching–learning held by 53 string teachers at elementary levels, and to test how they are affected by the variable teaching experience (in three groups: [a] less than 7 years; [b] 7–14 years; and [c] more than 14 years). We also wanted to determine whether these conceptions give rise to consistent profiles in three pedagogical dimensions: teaching, learning, and evaluation. We collected data by means of a multiple-choice questionnaire, and applied cluster analysis, correlations, analysis of variance (ANOVA), and post hoc tests. Agreeing with prior research, we found three distinct profiles in the answers to the questionnaire: direct, interpretative, and constructive. Teachers’ beliefs were more constructive regarding teaching and evaluation than regarding learning, although younger teachers held more complex positions regarding teaching and learning music, in contrast to much research on teaching-expertise.

Communication of Expectations between Principals and Entry-Year Instrumental Music Teachers: Implications for Music Teacher Assessment

Assessment of arts educators, including music educators, has evolved into a high-stakes situation that drives teacher pay, promotion, and retention. This assessment process is driven by federal policy advocating for a value-added model based on student performance. Principals, who are often charged with assessing artistic musical performance, traditionally conduct these evaluations but may be underprepared to do so. This disconnect between evaluator expertise and teacher assessment expectations poses a challenge for arts educators, administrators, and policymakers. This article presents a policy model for music teacher assessment based on findings from a study of principals’ expectations of entry-year instrumental music teachers (EYTs) and how these expectations are communicated. I first outline this study and then explain how these findings are relevant for music teacher assessment, especially within a value-added model. Principal expectations are especially important to articulate, given the high-stakes nature of teacher assessment and the direct connection between expectations and assessment. After speaking with both principals and EYTs, I derived the following conclusions: (a) principals’ expectations largely focus on interpersonal and general teaching skills such as engaging students and classroom management, not on musical expertise; (b) principals’ expectations are often not adequately conveyed to EYTs, and assessments are conducted primarily through official reviews; and (c) increased communication of principal expectations would benefit the EYT's induction process. I suggest that principals and music teachers increase communication and dialogue to define “musical success” and determine adequate methods for music teacher assessment. Finally, I conclude by presenting a new model linking policy with music teacher assessment.

Enabling and supporting remote classroom teaching observation: live video conferencing uses in initial teacher education

In this paper the authors present findings from a small-scale study in order to extend their understanding of using live video conferencing in initial teacher education. Four distinct steps, consisting of observation, contextualisation, reflection and development of personal practices, were identified based on an in-depth focus group interview. The authors argue that current conceptualisations of video conferencing are limited in their scope in terms of focusing predominantly on pragmatic and instrumental teacher training issues. They suggest that video conferencing needs to be integrated further into training practices in order to be truly beneficial and to have long-term effects for all continuous professional development, based on the opportunities that live video conferencing offers above face-to-face observations and lesson recordings.

Instrumental and vocal teacher education: competences, roles and curricula

This article focuses on selected outcomes of the European Association of Conservatoires (AEC) ‘Polifonia’ Working Group for Instrumental and Vocal Teacher Training in Europe (2007–2010). The introduction provides the background to the project, explains the rationale and objectives, describes the research process and gives an overview of the research outcomes. The main part of the article focuses on the resulting set of competences proposed for instrumental/vocal teaching, organised around the concept of teacher roles and explores implications for curriculum development. The many different pedagogical traditions, music education systems and musical cultures in Europe suggest a multitude of possible approaches to address common goals. The article calls for increased dialogue and collaboration between higher music education and the instrumental/vocal teaching profession at local and national levels and, in keeping with the implications of the Bologna Process, points to the need for ongoing international collaboration between higher music education institutions.

Popular musicians and instrumental teachers: the influence of informal learning on teaching strategies

This article explores the relationship between how popular musicians learn and how they subsequently teach, and considers the extent to which they incorporate their own informal learning practices into their work as teachers. A group of eight UK teachers was recruited and data collection, involving interviews and lesson observations, took place between January 2006 and December 2008. Findings are reported here in relation to two teachers in particular, whose learning histories were similar but whose teaching practices were very different. The ways they valued the results of their informal learning practices seemed to determine the extent to which they sought to replicate them in their teaching. There is evidence for the significance of learning histories, and implications for training and professional development.

Lessons for teachers: What lower secondary school students tell us about learning a musical instrument

In this study I set out to investigate why many students drop out from elective instrument programmes, particularly in lower secondary school. I examined the values and beliefs a sample of students in their first year in secondary school attach to learning an instrument, and the impact of the instrument lesson upon these values and beliefs. Forty-eight year 8 students (aged 12–13) from the Perth metropolitan area participated in eight focus groups. The study found that, while participants had strong cognitive and affective reasons for learning, their competence beliefs were fragile, due in part to the dislocation associated with the transition into secondary school. Students revealed a need for a high level of positive reinforcement from their instrument teachers. The findings indicate that competence beliefs can be just as important as values in determining the future enrolment decisions of students of this age. The study concludes that it is important for instrument teachers to understand the unique needs of students transitioning into secondary school, and develop targeted instructional practices accordingly. Addressing the specific needs of lower secondary students represents one effective step in the process of improving retention rates in elective instrumental programmes.

Advanced youth music ensembles: Experiences of, and reasons for, participation

The experiences of 72 adolescent musicians who had been members of an advanced youth symphony orchestra or concert band were investigated. An online survey explored previous participation and the importance of past experiences when making future decisions about participation. Previous experience was very positive. Enjoyment of public performances, a sense of musical satisfaction from participating, and opportunities to meet new people and spend time with other musicians were highly rated. First-time decisions to participate were primarily influenced by positive feedback from friends and peers while ongoing participation tended to be based on the positive experience of the musical and social aspects of participation rather than contextual aspects such as location or the input of significant others such as instrumental teachers or parents.

Value of Demonstration in an Instrumental Course

The aim of this paper is to explain the importance of demonstration in instrumental education. It is observed that some flute teachers – of all levels - who are graduates of music education institutions such as conservatories and lyceum of fine arts prefer oral explanation method instead of demonstrating how to play the instrument. Scholars have pointed out that educational planning must be applied in such a way that directs to as many senses as possible. The oral method stands totally against this suggestion. It is concluded that, no matter the level of the student, a flute lesson must be carried out with demonstration by the teacher. It is suggested that instrument teachers must be active and authorised in playing their instrument and able to demonstrate any instrumental technique or passage of music at the lesson.

Qualifications of Adult Musical Instrument Teachers

Qualifications of Adult Musical Instrument Teachers

The Study of Teacher Efficacy in Hong Kong Sub-Degree Sector

Introduction. Sub-degree sector is rising in Hong Kong. The number of enrolled students was over 50000 in 2011. Students’ characteristics and teachers’ roles in the sub-degree sector are different from other sectors. It was important to investigate the factors related with teacher efficacy of sub-degree teachers.Method. Sixty sub-degree teachers were surveyed, and 58 of them were valid (33 males and 25 females). The questionnaire contained three teacher efficacy scales: Teacher Efficacy Scale (TES) (short form), Bandura’s Instrument Teacher Self-Efficacy Scale (TSES), and Teachers’ Sense of Efficacy Scale (TSoES) and an instrument of self-rating’s levels of concerns.Results. The teacher efficacy scales were found to be reliable in the sub-degree sector. The levels of education and educational trainings were not found to be related with any teacher efficacy scales. Level of concerns of teacher efficacy was found to be significant related with TSES’ efficacy to influence parental involvement and ToSES’s instruction strategies.Conclusion. This study found that educational trainings and levels of educations were not related with teacher efficacy and could persuade institutes not to view educational backgrounds as the most influencing factor in employment selections and design better staff developments instead of only sponsoring teachers to pursue further studies.

Teachers’ perceptions of declining participation in school music

Low enrolment and high attrition rates are pressing issues facing school music in Australia. Based on a sociocognitive perspective, the current study explored music teachers’ perceptions of the extent of, reasons for, and factors influencing continuing enrolment in music. The findings showed that both classroom and instrumental music teachers perceived a general decline in student enrolment in music in high school. However, instrumental teachers perceived that relatively higher percentages of students tended to continue with instrumental music. Music teachers ranked the importance of various cognitive and social factors relevant to students’ continuing and discontinuing participation in music learning in school. Regression analyses showed that parental support and a quality music programme were significant factors predicting teachers’ perceptions of student persistence levels in instrumental and classroom music respectively. The paper ends with a discussion on the development of reformative music pedagogy.

From leisure to work: amateur musicians taking up instrumental or vocal teaching as a second career

This article aims to increase our understanding of how amateur musicians become teachers as a change of career, how they use their musical and life skills in their teaching, and how their teaching impacts on their musical identity. The questionnaire responses of 67 career-change instrumental and vocal teachers showed evidence of their strong identification with music teaching which was reinforced by positive past and current musical experiences. It was expressed in terms of personal and professional growth and fulfilment with concomitant increased self-confidence, self-esteem, happiness, pleasure and emotional support. The findings suggest that career-change instrumental and vocal teachers performing music as amateurs can make a strong contribution to the music teaching profession.

Student evaluation of teaching from the actors’ perspective

This article discusses obstacles that higher education institutions may need to surmount when introducing quality assurance measures such as student evaluation of teaching. It is based on a research study of how student evaluation of one-to-one instrumental tuition is perceived, experienced and practiced by instrumental teachers and their students at a Norwegian music academy. The study takes as its point of departure institutional theory, which focuses on how norms, values, routines and perceptions develop in an institution and result in a collective ‘logic of appropriateness’: taken-for-granted expectations as to how members of the institution ‘should’ behave. The results indicate that such a ‘logic of appropriateness’ does indeed exist at the case institution and that it poses several stumbling blocks to student evaluation of teaching. The results underline the importance of understanding the prevailing ‘logic of appropriateness’ when introducing quality assurance measures such as student evaluation of teaching in higher education institutions.

A Case Study of Issues Concerning Professional Development for Rural Instrumental Music Teachers

Current legislation focusing on the professional development (PD) of teachers has come under closer scrutiny since the advent of the No Child Left Behind Act of 2001. The purpose of the present study was to investigate the effects of music specific PD activities provided as part of a community symphony orchestra’s educational outreach project on rural instrumental music teachers. Rural music teachers face unique challenges of time, place, and distance. The problem was to determine the extent to which rural instrumental music teachers’ attitudes, teaching strategies, and musical skills are affected through onsite music-oriented PD activities. PD activities designed specifically for instrumental music teachers appeared to stimulate and improve teachers’ personal self-development of music and teaching skills. Data indicate that PD must be oriented toward relevant and useful topics and experiences that spark an inquisitiveness and continuing curiosity of learning and self-development in teachers, and to counteract the complacency that may occur from being in a fixed, isolated career path.