Music Teachers Research Articles

The Impact of Parental Influence on Students' Music Subject Selection at A-level in Ugandan Secondary Schools

This study investigates the impact of parental influence on students' selection of music as a subject in Ugandan A-Level secondary schools, amid declining enrolment in the music subject field. This research paper aims to understand how parental perceptions and attitudes toward music influence students’ subject choices, focusing on concerns over career viability and societal views on music subjects. A descriptive survey design was employed, involving questionnaires and interviews with 211 participants, including at A-level former music students (those who offered music at O-level and did not continue with it at A-level), their parents, school administrators, and music teachers. Stratified random sampling and purposive techniques were used to select respondents from secondary schools in central Uganda, with data collected through structured questionnaires and a Likert scale. Results indicate that parental discouragement significantly deters students from choosing music as a subject at A-level due to perceived limitations in career prospects and cultural attitudes, aligning with societal preferences for traditionally prestigious subjects. Limited generalizability outside of Ugandan A-level contexts may restrict the broader application of findings. Enhanced parental awareness and school-based counseling are recommended to promote music subject as a viable and valuable field.

Artistic expression as a property of resonant musical experience: an interview study with upper secondary school music teachers

Background The curriculum for the courses given at the music specialization of the upper secondary school’s aesthetic program in Sweden includes the concept of artistic expression (AE). Being a criterion for assessment, no definition is provided by the National Agency of Education and there exists no consensus of how to interpret artistic expression among music teachers and music teacher students. Methods In order to explore how teachers understand, teach, and assess the concept and phenomenon of artistic expression, twelve qualitative interviews with music teachers were conducted and analyzed through an open coding process. Results The findings show that the concept of artistic expression is multifaceted and evasive. The results focus on two analytic threads: (i) situatedness and (ii) entanglement. (i) AE is situated due to context-specific parameters which underpins the meaning of the concept in this particular educational setting. (ii) Furthermore, the phenomenon of artistic expression is entangled (a) with the ongoing relationship between teacher and student, and (b) in a temporally unfolding and interactive musical event. The phenomenon of artistic expression as entangled is discussed, primarily through Hartmut Rosa’s concept of resonance, which brings into focus the intersubjective character of aesthetic experience. Doing so questions understandings of – and assessment procedures surrounding – artistic expression that relies on skill-based interpretations or reductions of entanglement. One example of such reduction is assessment of recordings of student performances which limits (a) the relational perspective (if assessed by a third person) or (b) the entanglement with the musical event. The perspective of resonance brings forth the teacher’s role during a student performance as characterized by self-efficacy and active listening, thus co-constitutive of artistic expression. Conclusions The article concludes with reflections on how the findings may contribute to the continuous discussion on how scientific grounding and proven experience may inform both the music education at upper secondary school and music teacher education. The concept of resonance provides a possibility to reframe conceptions of artistic competence in art education as being grounded in intersubjective and relational terms, rather than being reified as a set of measurable skills, an understanding which in turn risks replacing learning with criteria compliance.

The Well-being of Art Teachers for Promoting the Sustainable Development of Art Education in Latvia

Due to the fact that it is vitally important for the people of Latvia to preserve and develop their national identity in today’s globalized world, it is especially important to maintain a high level of art education quality and promote the well-being of art teachers more holistically. In the era of growing globalization and multiculturalism, supporting Latvia’s unique cultural values is vital. The aim of the study was to explore the well-being of music, ballet, dance, and visual art teachers in the context of the sustainable development of art education in Latvia. In the interdisciplinary study, 72 music, ballet, dance, and visual art teachers were involved. According to the well-being criteria (positive relationships with others, self-acceptance, autonomy, the meaning of life, skills to fulfill life’s needs, and life goals), the research results were differentiated by demographic indicators. Considering the influence of school principals on the well-being of art teachers, the study identifies school management activities that can contribute to well-being in the workplace.

ნიკოლოზ ბარათაშვილის ლექსის „როს ბედნიერ ვარ შენთან ყოფნითა“ პირველწყაროსათვის

In the notes and comments on the poetic works of Nikoloz Bara­tashvili, it is erroneously stated that his poem “When I am happy with your presence” is based on the anonymous Russian song "The Brook" that is suggested by Nikolai in Leo Tolstoy’s novel “War and Peace” and the text of which is quoted by the writer's wife Sophia Tolstaya in her memoirs “My Life”. But in reality, as we have managed to find out, “When I am happy with your presence” has nothing to do with “The Brook”. Nikoloz Bara­tashvili’s poem is s a translation of the once popular romance by the Russian composer Pyotr Bulakhov to the words of “Kol’ sĉastliv ja s t’aboi bivayu” (“How I am happy with you”) by Vasily Chuyevsky, a Ru­ssian poet of the mid-19th century. Nikoloz Baratashvili’s trans­lation is as close as possible to the Russian source, to its meter, into­nation and refrain in the stanzas and key images of the original source. At the same time in Georgian translation some lines are modified and the melodic tonality of the original text is intensified. The date of Nikoloz Baratashvili's translation of the Russian romance is not indicated in the autograph. According to the editors of publications of his works, the translation was made in 1841. Biographical information about Vasily Chuevsky is almost comple­tely absent. It is only reliably known that he was one of the most remarkable poets and songwriters of the mid-19th century. There is information that in the mid-1840s, while being a student at Moscow University, he, together with Alexander Dubuque, a Russian com­poser and music teacher, published musical editions of romances and songs in 1846. Taking into account the year of Nikoloz Baratashvili's death, 1845, and the fact that some time had to pass before Vasily Chuevsky's ro­mance could come to the attention of the Georgian poet, certain conclu-sions can be made about the time of the creation of the Russian romance and its adaptation into Georgian. The translation of the Russian romance by Nikoloz Barata­shvili ex­pands our understanding of the character of the develop­ment of vocal lyrics in Georgian romantic poetry and, at the same time, deserves attention because there is almost no data on the life, creative activity and lifetime popularity of Vasily Chuyevsky. We attach to the article Petr Bulakhov’s notes on the words of the romance by Vasily Chuevsky, expanding our understanding of the nature of the music and text that attracted the attention of Nikoloz Baratashvili.

Embracing diversity through differentiated instruction in music education

The article discusses the importance of differentiated instruction in music teaching and learning, emphasizing its role in fostering inclusivity and meeting the diverse needs of students. Drawing from personal teaching experiences, the author highlights how traditional, uniform teaching methods often neglect students’ varied readiness levels, learning profiles, and interests. Differentiated instruction, as conceptualized by Tomlinson, is presented as a proactive and flexible approach that tailors content, processes, products, and learning environments to cater to individual student needs. The article demystifies several myths about differentiation and discusses practical music classroom scenarios, illustrating how differentiation can address real-world challenges faced by music teachers. The conclusion advocates for the implementation of differentiated instruction as a non-negotiable, essential practice in music education, urging teacher educators to prepare future music teachers to engage every student meaningfully. The approach ensures a democratic and supportive music classroom where each student’s potential is recognized, nurtured, and celebrated.

General Music Teachers’ Knowledge as Professional Capital

General Music Teachers’ Knowledge as Professional Capital

MONITORING MUSICAL DEVELOPMENTOF CHILDREN OF THE THIRD YEAR OF LIFE,TAKING INTO ACCOUNT HOLISTIC THINKING

The article discusses the concept of functional asymmetry of the child’s cerebral hemispheres and the universal developmental paradigm. The universal developmental paradigm means that the characteristic of the world in which we exist is its duality, its division into right and left, light and dark, good and evil... It is thinking, as a function of the human mind, that can be considered the essence of man - a fundamentally intelligent being, and therefore thinking, since thinking is a system-forming factor of man as a living system, and at the same time a necessary and sufficient factor of his being as a rational being, as a species of Homo sapiens. Therefore, the main developmental goal of education should be considered the development of thinking in pupils. Preschool children's brains are used to remembering everything as it is - in a variety of colors, smells, sounds, and other factors. During reproduction, an image-model is created in the right hemisphere, and a verbal definition corresponding to the image is created in the left hemisphere. As a result, perception is not erased, it gives rise to brilliant poems, books, paintings, discoveries. This is unlimited and natural for him. During learning, in most cases, either the left or the right hemisphere of the brain is loaded, while the opposite remains unused. Experimentally, using K. Pearson’s criterion, it was confirmed that the musical development of a child of the third year of life will be more effective and qualitative if the holistic thinking of the two hemispheres of the child's brain is involved. Holistic thinking is the combined work of the two cerebral hemispheres, relying on all channels of information perception. Of course, the tasks of developing preschool children’s personality will be successfully solved if music lessons include consideration of the main issues of factual material. In this case, the music teacher varies the methods of study and forms of work. We propose conditions for individual and personal development of the child, namely, within the framework of the program, thematic planning, conducting classes, games, matinees, etc. the music teacher should have didactic material that changes the type and form of presentation of educational material, and the child has the freedom to choose the task (the same task should provide the possibility of its implementation through an image, word, scheme, modelling, musical accompaniment, movement, etc.), that is, to promote the integration of the right and left types of being in learning and development. Activities that involve two hemispheres of the preschoolers' brain simultaneously will be more effective.

СТАТИСТИЧНІ МЕТОДИ У ПРОВЕДЕННІ ПЕДАГОГІЧНИХ ДОСЛІДЖЕНЬ (ПРИКЛАДНИЙ АСПЕКТ)

The article discusses the concept of functional asymmetry of the child’s cerebral hemispheres and the universal developmental paradigm. The universal developmental paradigm means that the characteristic of the world in which we exist is its duality, its division into right and left, light and dark, good and evil. It is thinking, as a function of the human mind, that can be considered the essence of man - a fundamentally intelligent being, and therefore thinking, since thinking is a system-forming factor of man as a living system, and at the same time a necessary and sufficient factor of his being as a rational being, as a species of Homo sapiens. Therefore, the main developmental goal of education should be considered the development of thinking in pupils. Preschool children's brains are used to remembering everything as it is - in a variety of colours, smells, sounds, and other factors. During reproduction, an image-model is created in the right hemisphere, and a verbal definition corresponding to the image is created in the left hemisphere. As a result, perception is not erased, it gives rise to brilliant poems, books, paintings, discoveries. This is unlimited and natural for him. During learning, in most cases, either the left or the right hemisphere of the brain is loaded, while the opposite remains unused. Experimentally, using K. Pearson’s criterion, it was confirmed that the musical development of a child of the third year of life will be more effective and qualitative if the holistic thinking of the two hemispheres of the child's brain is involved. Holistic thinking is the combined work of the two cerebral hemispheres, relying on all channels of information perception. Of course, the tasks of developing preschool children’s personality will be successfully solved if music lessons include consideration of the main issues of factual material. In this case, the music teacher varies the methods of study and forms of work. We propose conditions for individual and personal development of the child, namely, within the framework of the programme, thematic planning, conducting classes, games, matinees, etc. the music teacher should have didactic material that changes the type and form of presentation of educational material, and the child has the freedom to choose the task (the same task should provide the possibility of its implementation through an image, word, scheme, modelling, musical accompaniment, movement, etc.), that is, to promote the integration of the right and left types of being in learning and development. Activities that involve two hemispheres of the preschoolers’ brain simultaneously will be more effective.

An investigation of pre-service music teachers’ preferences and willingness to teach six ethnic music styles in Taiwan

The study aimed to examine Taiwanese fourth- and fifth-year pre-service music teachers’ preferences, familiarity, and willingness to teach six ethnic music styles (Chinese, Hokkien, Hakka, Taiwanese Aboriginal, Vietnamese, and Indonesian) to the largest ethnic student groups in Taiwan. Participants ( N = 126) listened to 18 ethnic music excerpts and rated their preferences, familiarity, and willingness to teach using 7-point Likert-type scales. As a validity check, the pre-service music teachers were required to identify the ethnic language in which each music example was performed. However, their ability to identify the languages did not strongly correlate with their preferences, familiarity, and willingness to teach the music examples.The findings indicated that the pre-service music teachers’ preferences and familiarity were positively correlated with their willingness to teach the six ethnic music styles. Moreover, the year of enrollment and the interaction between enrollment year and certificate level significantly influenced participants’ familiarity with the ethnic music styles. Furthermore, music training was a significant variable affecting the willingness to teach Hokkien music.

Teaching Physical Education Online in Schools: Challenges and Recommendations from the Preservice PEMAC Teachers in Fiji

Teacher preparation programs in institutions of higher learning serve as an incubator for the professional development of teachers and leaders in the education sector. It is imperative for these programs to deliver high-quality instruction, even when circumstances are extraordinary. To this end, during the COVID-19 pandemic, teacher preparation programs worldwide were forced to move programs online with little preparation. This study aimed to learn about barriers to teaching online physical education (PE) in Fiji using an Interpretative phenomenological analysis (IPA) approach. Data were collected from preservice PE, Music, and Arts (PEMAC) teachers enrolled in the second or third year of the PEMAC teacher preparation program in Fiji. Five focus group discussions were conducted with a total of twenty participants (14 males and 6 females). Sixty percent of the participants did not think the digital infrastructure for teaching online PE was adequate. Seventy percent thought online PE could potentially make an impact. Four superordinate themes were identified as a result of the IPA including: (a) the development of pedagogical skills; (b) program design; (c) instructional delivery; and (d) advocacy, branding & marketing for PE. The findings imply that greater investment in digital infrastructure is needed and also suggest that preservice teachers can benefit from professional development aiming to build teacher confidence and competency for teaching online PE effectively in Fiji.

A Delphi Study of Effective Practices for Determining the Competencies of Elementary Music Teachers

This study aims to determine the competencies essential for elementary music teachers by exploring effective practices and insights of experts in music education. Using a three-round Delphi method with twelve music education experts, the study collected and refined competencies across three stages. In Round 1, qualitative data were thematically analysed to identify competency domains. In Round 2, participants ranked these domains and competencies by importance, with agreement levels assessed using Kendall’s W. Round 3 sought consensus by allowing participants to review collective rankings and explanations. Results revealed seven key domains, with Musical Skills emerging as the most essential, with the ability to play an instrument being the most important competency.

National Estimates and Comparisons of Alternatively and Traditionally Certified Music Teachers in the United States

National Estimates and Comparisons of Alternatively and Traditionally Certified Music Teachers in the United States

Innovative Strategies of Tertiary Music Teachers in Teaching Musically-Challenged Students

This study focuses on the innovative strategies that tertiary music teachers (specialist music teachers and experts) employ to help musically-challenged students. Those who have trouble with rhythm, tonal acuity, music theory, and musical aptitude are operationally referred to as musically-challenged. Ten participants were selected through purposive sampling and responded to the interview questions using an interview guide. Thematic analysis was conducted on their responses to generate codes and themes in this investigation. This is a single case study that draws from constructivist and behaviourist learning theories. To help students who have difficulty with music, music and its related components should be valued as an essential part of the curriculum. Devoted teachers should authentically demonstrate all of the subject's contents using innovative teaching strategies, allowing students to immediately grasp the values to be inspired and confident in the subject. As a result, strategies such as identifying the weaknesses of the learners, informal instruction, collaborative learning, repetition, positive reinforcement in learning, technology integration, and patience have proven to be effective solutions to the case being studied.

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.

Common Errors in Manuscripts Submitted to the Journal of Music Teacher Education (JMTE)

Common Errors in Manuscripts Submitted to the Journal of Music Teacher Education (JMTE)

A Yin-Yang approach: Investigating students’ beliefs about teaching and learning in music among college students in Macau, China

This exploratory study aims to investigate the beliefs of college students in Macau, China, regarding teaching and learning in the field of music education, including factors influencing students’ views and their ideal music classroom environment. Employing a Rigorous Mixed Methods Framework that included surveys, observations, interviews, and reflective essays, a sample of ( n = 120). Chinese college students and ( n = 3) college music instructors were selected for participation. In the initial phase, findings revealed a nuanced perspective among students, demonstrating a stronger preference for the Constructivist Conception over the Traditional Conception. However, during the second and third phases, the findings revealed a preference for traditional and master-apprentice styles of learning in practice. Through the analysis of all three phases of research, this study unveiled a complex and juxtaposed ideology of music learning among Chinese students. While there was a misalignment between students’ ideologies and behaviors, they consistently expressed a desire for a more collaborative, creative, supportive, and open environment in which they can freely share their musical passion. Rather than adhering to a binary approach, the findings suggest the necessity of embracing a more nuanced “Yin-Yang” perspective in Macau.

“Once We Found Our Groove, . . .”: A Study of Preservice Music Teachers Engaged in a Popular Music Education Experience

The purpose of this intrinsic case study was to examine the perceived benefits and challenges of implementing informal learning practices through popular music education for preservice music teachers. Specifically, we sought to understand why and how preservice music educators would perceive benefits and challenges from their experiences in a modern band. We conducted a study with five preservice music teachers in a modern band outside of the curriculum in a music teacher education program. We collected the data for 9 weeks, gathering multiple interviews, participants’ written responses, artifacts, and researchers’ field notes. Three overarching themes emerged from the data analysis: (a) a self-navigating process of aural-based learning, (b) autonomy with freedom, and (c) reflective educators. Our findings indicated that the ultimate goal of informal learning practices in music teacher education may not be limited to mastering musical skills but should include improving problem solving and classroom decision making.

Reflection on Cultivating Students Appreciation Ability in College Music Teaching

As an important part of college art education, music plays a very good role in cultivating students artistic sentiment and emotion. In college music teaching, in order to further improve students music level, it is necessary for teachers to focus on cultivating students appreciation ability, and stimulate students emotional resonance to the works through appreciation and analysis of various excellent music works, so as to strengthen students music literacy in a deep level. Therefore, this paper mainly explores the strategies of cultivating students appreciation ability in college music teaching, hoping to provide some reference for the majority of college music teachers.

중등음악교사의 국악 수업 경험: 서양음악을 전공한 음악교사들의 국악 수업 실천

This study aims to explore the difficulties faced by music teachers with a background in Western music when teaching traditional Korean music (gugak) in schools and to draw educational implications from these findings. The study involved six middle school music teachers who majored in Western music, and data were collected through in-depth interviews and teaching materials provided by the teachers. The research participants' experiences related to Korean traditional music classes were explored by asking open-ended questions about what Korean traditional music classes were and what kind of teachers they wanted to become, and as a result, the experiences and perceptions related to teachers' professional formation were analyzed into five categories, 11 thematic groups, and 55 topics. In order to understand the nature of the difficulties in teaching Korean music, a music teacher who majored in Western music was selected as a case study and analyzed using a qualitative research method, and the results are as follows. First, during their university years before becoming teachers, the study participants who majored in Western music felt a sense of unfamiliarity when they first took a traditional Korean music (gugak) class. Second, the nature of the difficulties in teaching Korean music experienced by the participants in the study was not about knowledge, but about what to teach. Third, the study participants became teachers and worked tirelessly to overcome difficulties and implement good Korean music lessons. Fourth, the study participants' identity as music teachers who teach national music was naturally formed through their Korean music lessons.

교원 양성기관의 국악 교육과정 제안 - 사범대학 음악교육과 교육과정을 중심으로

This study seeks to enhance the quality of music teacher education programs in Korea with the goal of cultivating music teachers who can foster a strong sense of national cultural identity and global citizenship among Korean students. By analyzing the music education curricula of nine teacher training colleges in light of the 2022 revised national curriculum and the 2023 basic required courses and fields, this study identifies key challenges and proposes solutions. There are two main issues with the music education curricula in teacher training colleges. First, the courses on gugak do not align with the national curriculum standards, particularly regarding the required basic courses and fields. Second, there is a significant imbalance in the faculty composition of music education departments, with a disproportionately higher number of professors specializing in Western music compared to gugak. To address these issues, the following revisions to the music education curriculum in teacher training colleges are proposed. First, the curriculum should be overhauled to align with the Ministry of Education’s 2022 revised music curriculum and the 2023 basic required courses and fields. Second, the faculty composition of music education departments should be adjusted to reflect the appropriate balance between gugak and Western music as outlined in the national curriculum. Third, the Ministry of Education should implement stronger oversight of music teacher education curricula and faculty appointments to ensure that these proposed changes are effectively implemented.