Music Teacher Preparation Research Articles

Mentoring in the context of music teacher education: A systematic review

The preparation of music teachers represents a key factor within the educational framework. In a world in constant evolution, the need to integrate new training proposals that cater to different environments is of vital importance to strengthen music education. The aim of this study is to analyze the use of mentoring in the context of music teaching through a systematic review using PRISMA. Among the results, the main areas addressed by mentoring are observed, being centered around professional development and the accompaniment of both students and teachers who are new to teaching. The profile of the participants in the mentoring relationship (mentor-mentee) is detailed in the systematic review, being the formal models of mentoring, linked to an institution, the most widespread throughout the article. Among the main conclusions, the prominence of the USA in the research and development of mentoring programs is noted and the positive impact of mentoring in both formal and informal contexts is highlighted, emphasizing individualized and group mentoring for professional and personal development in higher education.

Movement of Chinese Music Student Teachers Through Fuller and Bown Stages of Concern: A Comparison of Survey Ratings and Free Response

Student teaching is a critical element in music teacher preparation. Fuller and Bown’s three-stage model of teacher concerns development has been widely utilized in the United States, but little is known about the development of concerns of Chinese preservice music teachers. Therefore, the purpose of this mixed-method study was to investigate Chinese student teachers’ ( N = 65) concerns and shift-of-concern patterns before and after student teaching. A rating survey translated to Chinese and written free responses were used to examine concerns. Both quantitative and qualitative data indicated that teaching experience, as predicted, notably decreased student teachers’ self concerns. Analysis of written comments revealed that many concerns were context-specific, and thus we added a new category: social concerns, including legitimacy of music as a subject, physical work environment, and others. Comparisons between the two types of dependent measures showed notable differences. By ratings, task concerns were ranked significantly higher than self and student impact concerns both before and after student teaching. The written comments, however, revealed that Chinese student teachers had the most self concerns before student teaching but emphasized social concerns after student teaching. In-depth discussion includes emerging themes, cultural context, possible factors associated with concerns shifts, and implications for future research.

LGBTQ+ Inclusivity in U.S. Choral Classrooms

The purpose of this study was to investigate current practices pertaining to lesbian, gay, bisexual, transgender, and queer (LGBTQ+) inclusivity among U.S. secondary choral teachers. Data consisted of survey responses ( N = 145) from individuals teaching choral music at the middle school and/or high school level in the United States. Results indicate that, although many choral educators avoid gendered practices and believe that it is important to address LGBTQ+ issues in the choral classroom, fewer implement further inclusive practices, such as asking students their pronouns or sharing their own pronouns, programming repertoire by LGBTQ+ composers and discussing their identities, and choosing repertoire or changing lyrics to be gender-neutral. Implications include the need for continued professional development on LGBTQ+ inclusive practices (particularly in music teacher preparation programs) and further research on the factors that may encourage music educators to provide a more inclusive classroom environment for LGBTQ+ students.

The use of digital technology in music teacher training in China

The Fourth Industrial Revolution and the concept of “Open Innovation” not only changed the nature of international economic processes, but also brought significant changes in the educational sphere, which indicates the relevance of this paper whose purpose is to analyze what digital technologies can be used in the preparation of music teachers in the People’s Republic of China. This objective mediates the following tasks: to reveal the content of the concept of digital technologies; to identify the historical reasons for the Chinese government’s decision to improve the digital competences of future music teachers; to list the digital technologies that have been actively used in the training of Chinese music teachers over the period of 2000-2010 and from 2010 to 2023. The study is based on the works of the following authors: M.G. Bresler, T.L. Guruleva, C. Huai, L.S. Orlova, K. Schwab, L. Han and others. Its scientific novelty lies in the systematization of various researchers’ opinions on the topic of this work. The obtained results can be used by practicing teachers of music pedagogy.

Identifying Elements of Inclusion: Interviews With Elementary Music Teachers About Their Students With Autism Spectrum Disorder

Each year, increasingly more children with autism spectrum disorder (ASD) are being served in schools. Many children with ASD are included in elementary music classrooms, but little is known about the experiences of these students and their teachers. For this study, we purposefully selected two elementary music teachers from participants in a survey about students with ASD. Semi-structured interviews with these teachers allowed us to identify elements necessary for creating a culture of inclusion and implementing the inclusion of students with ASD. Follow-up, in-class observations with one teacher confirmed interview findings. Overall, results from the teachers’ interviews suggested elements that could impede or facilitate elementary music teachers in their efforts to create a classroom culture of inclusion and implement inclusion using best practices from music education and special education. Findings also provide important implications for music teacher preparation programs and school policies and procedures.

Policy influences on the inclusion of popular music in music teacher education programs

Despite the increased presence of popular music education in K-12 music classrooms and interest in the inclusion of popular musics in post-secondary music teacher preparation programs, most collegiate music schools emphasize Western art music (WAM) and replicate existing traditions. As the music industry outside the academy innovates at a dizzying pace, most university schools of music remain tightly focused on music of the past, resistant to change. The purpose of this study was to investigate the influence of hard policies (mandated by bodies outside the institution, particularly NASM accreditation) and soft policies (internal policies both overt and covert) on the emergence of popular music education in collegiate music programs. To better understand the perceived policy influences on the inclusion of popular musics in post-secondary music programs, we surveyed 117 music education faculty and administrators at NASM-accredited schools of music. We found that most participants believed difficulties in enacting change were due to lack of resources, hard policies such as those handed down by state lawmakers, and soft policies like longstanding institutional traditions and faculty attitudes beliefs regarding the ultimate direction of music teaching and learning in higher education. We discuss opportunities, challenges, and implications for curricular change in music teacher preparation programs.

The Push to 120: Reconciling Credit Hours in Undergraduate Music Education

Bachelor of Music Education degrees, like many professional programs, require a high number of credit hours for graduation. The marketization of higher education and efforts toward equitable access to a college education drive efforts to eliminate “excess” credits. Despite state and institutional mandates to reduce credit requirements to 120 hrs, many programs still exceed this target with some reaching nearly 150 credit hours. This descriptive survey study with follow-up document review examined how schools of music are responding to credit hour reduction policies limiting credits at or near 120 hrs. The findings of this study confirmed tensions between accreditation requirements, credit hour reduction policies, and curricular aims of music teacher preparation programs. The authors present reports regarding influencing factors and strategies for reconciling credit hours. They further discuss emerging questions regarding credit allotment and course hours, implications for student wellness and curricular reform, and suggestions for future research.

Necessary for some, and helpful for all: preparing music educators to reach every student

This paper puts forth the argument that the field of pre-service music teacher education in the United States must include coursework in accessible music education in order to prepare music educators to teach today’s students effectively. The percentage of students with disabilities and diagnoses in today’s schools is rising, and music educators in the U.S. are not adequately prepared to teach these students. Using the framework of “necessary for some, and helpful for all,” the paper asserts that incorporating some of the strategies and approaches of accessible music education – specifically, Universal Design for Learning and Differentiated Instruction – into undergraduate music teacher education programs would greatly increase the effectiveness of U.S. music teacher preparation.

Perceptions and experiences of preservice music educators working with students with disabilities: A mixed methods inquiry of online field experiences within a music for special education course

Music teacher preparation programs typically provide preservice music educators (PMEs) experiences working with many student populations, including students with disabilities. Researchers have shown the positive impact field experience and coursework has on PMEs preparation to teach music to students with disabilities (SWD). Yet, few music education programs provide PMEs with experiences teaching SWD. The purpose of this explanatory mixed methods study was to examine the influence of a 6-week online field experience, in combination with content-specific coursework, on PME’s perceptions related to teaching music to SWD. From pretest to posttest, participants reported a significant decrease in these perceptions. In subsequent interviews, the authors found that participants’ perceptions may have decreased due to feelings of inadequacy and the desire for more experience. Participants stated that the field experience was the most meaningful part of the course overall. Implications for preservice music teacher education are discussed.

Developing fieldwork experiences in popular music: Reflections and opportunities

In music teacher education in the United States, fieldwork experiences are often required for teacher certification and historically served as a platform for preservice music teachers to develop content and pedagogical knowledge as they transition to being professional music teachers. Instrumental music education fieldwork experiences remain largely siloed in band and orchestra contexts, while limited researchers have sought to investigate popular music education (PME) fieldwork experiences. As a duoethnography, this article highlights the lived experiences of two popular music educators in the creation of a new popular music fieldwork experience in a small town in the northeastern region of the United States. The authors suggest expanding undergraduate music education to include learner-led and democratic teaching practices in PME classrooms and increase popular music pedagogies in music teacher preparation curricula.

Start Me Up: Experiences of First-Year Teachers Beginning New Instrumental Music Programs in Urban Public Schools

The purpose of this multiple case study was to examine the experiences of beginning music teachers as they navigate starting instrumental music programs in a large urban school district in the southern United States. A team of researchers collected data from three first-year music educators launching new instrumental programs at seven schools. Data sources included participant interviews, observation of teaching, questionnaire responses, informal conversations, and artifacts from the field. Data analyses uncovered issues related to school culture, classroom management, communication, access to resources, isolation, and teacher evaluation. The ancillary status of music within the curricular hierarchy and concerns about substantive professional development provide insight into new teachers’ struggles to be successful under challenging circumstances. Recommendations for music teacher preparation are provided.

МОТИВАЦІЙНЕ СПРЯМУВАННЯ У ПІДГОТОВЦІ МАЙБУТНІХ УЧИТЕЛІВ МУЗИКИ

The preservation of world culture, particularly in music, while developing a well-rounded individual is an increasingly pressing concern in modern humanistic thinking and pedagogical practice. The relevance of the publication is that the issue of forming professional staff in the field of culture and music, in particular, is of great importance in modern society. The topic of this publication is devoted to the problems of motivational orientation in the training of future music teachers. The purpose of this study is to provide an in-depth, multifaceted coverage of this phenomenon. This is the basis of both practical and theoretical significance of the study. In this work, the authors considered the sources that highlight the topics of selfeducation and increasing the level of work capacity of music teachers, the principle of awakening students’ motivation for professional self-realization in the field of musical art, the formation of the professional and psychological apparatus of future music teachers, etc. Based on the research findings of scholars of different countries, periods and directions in the field of studying the problems of modern music pedagogy in general, the publication develops in the form of a panorama picture (the form of a drawing-scheme, which is a manifestation of the author’s idea, the author’s development) providing an individual independent and integral concept of the phenomenon of motivational direction of future music teachers. The methods used to research the issue of motivational direction in the preparation of future music teachers include searching and collecting relevant sources, analyzing existing materials, compiling information and organizing it into categories (components or elements) of a complex integrated system, and summarizing key points about the analyzed phenomenon in a diagrammatic form. As a result of the analysis of materials that highlight the problem of motivational direction while training future music teachers, the leading categories (components) of this field as a holistic, multifaceted and voluminous system are presented. Each of them differs in its individual scale, content, characteristics and function. A hypothesis arose about the perspective of motivational direction in the training of future specialists, both in the field of music and any other sphere of life. Awakening students’ interest in the future profession not only makes the learning process successful, but also contributes to the realization of progressive humanistic ideas concerning humanity as a whole. The practical significance of this work lies in the need for research data provided by it for the modernization and expansion of modern pedagogical activities, in particular, in classes of Music. The value of the publication is also reflected in the prospects of the researched problem, as its ideas and conclusions can be applied by scholars further in the process of studying issues related to the topic of compiling and effective implementation of educational curricular in the field of music. Thus, the publication, on the one hand, considers different views on the problem of motivational direction of future music teachers, gives theses related to this area, and, on the other hand, notes the prospects for cultural and spiritual prosperity of society and its progress.

Music Teachers in U.S. Charter Schools: A Multistate Profile

This descriptive survey study aimed to investigate the professional experiences of music educators teaching at charter schools in the United States. In the spring of 2020, a total of 113 charter school music teachers across six states responded to an online questionnaire soliciting information regarding their licensure status, background and training, details of their teaching assignment, and reasons for accepting a teaching position in the charter school setting. At the time of data collection, approximately two thirds of participants held an active music teaching license. Others either held licensure in other content areas or held no active teaching license at all. Among study participants, approximately one third left positions at traditional public schools to teach music in the charter school system, citing the appeal of curricular autonomy and job flexibility. The discussion includes considerations for music teacher preparation programs.

Large Ensemble Teachers’ Support for Popular Music Courses in High Schools

The purpose of this study was to investigate whether large ensemble teachers supported the inclusion of authentic popular music courses in high school music programs. We distributed the 61-item Popular Music in High School Questionnaire (PMQ) to a nationwide, stratified sample of 1,000 high school large ensemble teachers. Participants perceived several obstacles to widespread adoption of popular music courses in high schools, with their support for curricular inclusivity dependent on region of the country, teaching assignment/duties, and teaching experience. We discuss broad implications of the findings and highlight the cyclical relationship between music teacher preparation programs and curricular music content delivered in U.S. secondary schools.

A case study: 30 elementary music education majors’ perceptions of preparedness, interest, and comfort teaching choir before and after taking a choral methods course

The purpose of this case study was to evaluate the elementary general music education majors’ perceptions of preparedness, interest, and comfort with the choral skills presented in a choral methods course. Thirty elementary general music education majors ( N = 30) enrolled in a choral methods course responded to a pre- and post-course survey. Participants self-assessed their feelings of preparedness to teach choir, stated their interest in teaching choir, and specified their comfort levels teaching seven choral skills. It was found that there were differences between the participants’ feelings of preparedness to teach choir at the beginning and the end of the semester and in the participants’ indication of interest in teaching choir before and after taking the choral methods course. Participants’ overall comfort ratings on the seven choral music teaching skills increased from the beginning to the end of the semester; choral repertoire was the area that participants felt most comfortable, which is indispensable to provide meaningful choral experiences to young singers. Implications for music education are that music education students’ feelings of preparedness, interest in teaching choir, and their comfort in acquiring the required teaching skills to do so, provides insights into effective preservice music teacher preparation.

The preparation of music teachers in Brazil and England: reflections on teaching practice models

This paper examines and compares teaching practice models of three music teacher training courses originating from Brazil and England, as well as addressing issues regarding the initial preparation of the music teacher in both countries. Activity theory was employed as a theoretical framework to explain the related factors involved in both models’ implementation. A number of challenges were indentified such as: (i) how to balance the theoretical and practical dimensions of the curriculum; (ii) the quest for mechanisms for the transferral of the pedagogical and musical instrument knowledge acquired by students to music teaching practice contexts; and (iii) the absence of a specialist music teacher as mentors in some educational contexts. Findings showed that there is diversity in teaching practice models due to different educational and technological contexts employed.

Korean novice music teachers’ perceptions of their first years’ challenges

ABSTRACT Recently, there have been attempts to improve the support for beginning music teachers by investigating their difficulties during their first teaching years. The purpose of the study was to describe Korean novice music teachers’ perceptions of their first years’ challenges. In this study, data were generated through participants’ reflective journals, two individual interviews per participant and class observations. The findings indicated that beginning music teachers commonly felt insufficient in terms of music subject matter knowledge and skills as music educators as well as their assessments of students’ performances in music classes. They also mentioned their challenges, especially their relationships with students. Suggestions not only for practice in music teacher preparation and support but for future research on beginning music teachers are provided.

Values, Agency, and Identity in a Music Teacher Education Program

Many view music teacher education as a locus for socially just transformation of music education through the development of preservice teacher agency and identity development. However, few have directly examined values in music teacher preparation programs, and values are implicit in agency. The purpose of this exploratory, intrinsic case study was to investigate the visible values in music education courses at one institution to add a new dimension to research and practice. We collected data from four instructor and five undergraduate participants through observations, interviews, and syllabus review. Themes of critical thinking, agency, student centeredness, positive teacher-student relationships, and skills and knowledge for teaching emerged from the data. Findings indicate that values may be relative in practice despite shared language among preservice teachers and music teacher educators. We provide guiding questions for program review and future research through the lens of values.

Status of Band and Orchestra Programs in North Carolina

The purpose of this study was to examine K–12 instrumental music education in North Carolina. Specifically, we investigated course offerings, teacher demographics, teaching responsibilities, and music program funding. We administered a survey to the members of the North Carolina Music Educators Association listserv who indicated band or orchestra as their teaching area. Participants identified themselves as teachers of orchestra ( n = 44), band ( n = 173), or a hybrid of both ( n = 17). Of schools that offered instrumental music, 95% offered band and 36% offered orchestra. More than 20% of orchestra teachers were “very likely to retire within 5 years.” The majority of teachers relied on fundraising to provide adequate music education for students. Results of this study were analyzed and compared to national averages reported in the Give a Note Foundation’s 2017 report: The Status of Music Education in United States Public Schools. Implications for orchestra teachers, music programs, music teacher preparation curriculum, and future research are discussed.

Регионализация как основа модернизации современного музыкально-педагогического образования

The article is devoted to the relevant problem of regionalizing modern musical and pedagogical education. The purpose of the study is to identify the structural components of the content of the regional ethno-grade component of multinational Stavropol in the musical and pedagogical formation of the region, as well as the study of the patterns of their interaction. In accordance with the purpose of the article, a source-edge analysis of scientific sources on issues, as well as a comparative analysis of the inclusion of local lore content in the content of educational material at different historical stages of the development of domestic education. The scientific novelty is characterized by a new cultural approach to the development of the content of the regional component of multinational Stavropol in the musical and pedagogical formation of the region. As a result, the model of the bachelor's training program in the direction of the preparation of future music teachers in providing their professional competencies on the implementation and implementation of a regional ethno-grade component into a community pedagogical practice is proposed.