Music Teachers Research Articles

THE DEVELOPMENT OF A MUSIC TEACHER’S COMMUNICATIVE COMPETENCE THROUGH DISSEMINATION OF PRACTICAL EXPERIENCE

The article deals with the development of the communicative competence of a music teacher from the perspective of dissemination of his/her own pedagogical experience. The emphasis is on the need for constant professional self-improvement. The author analyses a music lesson from the perspective of integrativity based on subject-subject relations.

Commentary on “Embodiment Consciousness in Music Performance Pedagogy” by Alves and Nogueira

This commentary on Alves and Nogueira (2024) proposes a potential approach to compare expert and non-expert music teachers’ use of embodied teaching strategies in one-to-one lessons with advanced performance students. The approach is hypothesis-driven, and builds on Alves and Nogueira’s theoretical framework of expert competency domains, as well as empirical studies of musical communication and one-to-one teaching strategies. It is argued that a comprehensive definition of embodied teaching strategies should be conceptualized in terms of the quality of teacher–student interactions and the measurable outcomes of those interactions, and that it should account for the wide range of verbal and non-verbal forms of embodied musical communication that arise.

Uncovering children’s experiences of emergent learning difficulties in the instrumental music studio

When children commence instrumental music tuition, learning difficulties can emerge to disrupt predictable learning processes and impact musical development. However, children’s experiences of learning difficulties, including how they present, are managed and can be supported, are rarely examined in music research. This longitudinal, qualitative study used Participatory Action Research and Interpretative Phenomenological Analysis methodologies to examine the lived experience of fourteen 7-year-old beginner cellists. It focussed on how children’s learning difficulties emerged in the music studio and affected their continued engagement, and how the instrumental music teacher supported children with difficulties. Unexpectedly, half ( N = 7) of the young learners encountered challenges, including memory and processing difficulties, impulse, attention and focus issues, intrusive synaesthesia, fine motor skill difficulty, dyslexia and persistent anxiety. Children’s highly individualised experiences of their learning difficulties were impacted by their motivations, self-perception and ratio of skill acquisition. A reflexive pedagogical approach by the teacher, together with pragmatic support and emotional guidance from parents, influenced the children’s learning behaviour and continued investment, contributing to their longer-term musical engagement. This study offers a unique contribution to the literature by providing a rare investigation of children’s emergent learning difficulties, as revealed in the instrumental music studio.

Music Teacher Competences Oriented Toward Inclusive Education: An Analysis of Proposals in the Initial Pre-Service Teacher Training Phase

Initial pre-service teacher training should include insights and learning that are closely related to classroom practice. In this paper, we analyse the expectations voiced by pre-service teachers studying toward a master’s degree in secondary education as well as by in-service teachers. Both groups participated in a 6-month professional development project focusing on the competences they need as music teachers in order to achieve inclusion in the classroom. Results from interviews and focus groups confirm that music teachers require multidimensional and correlated training that combines and integrates didactic, pedagogical, disciplinary, and transversal competences in their professional practice. Multidimensional correlated training and a critical teaching attitude are essential for teachers to be equipped to rationally address music learning needs and problems in the inclusive classroom. Findings of this exploratory study can be used as guidelines for policy makers and curriculum developers.

Personalities of professional heroes in the musical pedagogy of the South Urals

The article continues a series of studies by the authors devoted to the consideration of the activities of famous musicians-teachers of the South Urals in the heroic paradigm – as outstanding masters who have achieved impressive results in pedagogical work, have received wide public recognition, are perceived by the professional community as a model of service to their cause and an axiological guideline for the younger generation. The purpose of this work is to present the activities of famous musical teachers of the Southern Urals in an integrative context. In this article, the personalities of outstanding teachers of the P.I. Tchaikovsky South Ural State Institute of Arts (hereinafter referred to as the Tchaikovsky Law School) - E.G. Bykov (balalaika), V.V. Kozlov (guitar), A.A. Heineman (French horn, orchestral conducting) are chosen for study. The methodology consists in using an integrated approach and synthesis of research methods in pedagogy, art history, and cognitive linguistics. The scientific novelty of the article lies in the fact that the heroization of the personality of the teachers-musicians of the Tchaikovsky YUrGII is revealed integratively: in the didactic aspect (creation of their own outstanding pedagogical school), culturological (enrichment of cultural achievements of the region through fruitful and highly productive creative work of professional heroes), communicative (establishment of stable artistic communication with the public through creative activity of students), axiological (formation of reference principles and methods of work of a professional teacher, acting as axiological guidelines for the younger generation of musicians). The theoretical significance is expressed in a systematic and consistent study of the pedagogical heritage of outstanding masters of art of the South Urals, which allows us to enrich the history of the development of the Tchaikovsky School as one of the leading creative universities in the region. As a result of the research, the hypothesis is proved that the activities of outstanding musical teachers should be considered as a phenomenon of the spiritual culture of society in the unity of transformative, cognitive, value-oriented, communicative potential, and only integrative perception allows us to identify aspects of the glorification of personality most fully and in relief.

Retention and Recruitment of Students of Underrepresented Populations in Music Teacher Education (Part I)

Retention and Recruitment of Students of Underrepresented Populations in Music Teacher Education (Part I)

Inclusive elementary school musicking practice for Japanese students with special needs: A narrative inquiry

Musicking is an old, yet new concept of music-making. The term, first proposed by anthropologist Christopher Small, intended to reinterpret music as not merely an act but also as an object. While musicking, anyone can participate in musical activities, which include singing, dancing, improvisation, and listening to musicking sessions. This study examines the use of musicking strategies in a Japanese elementary school with special needs students. The initial participants comprised 10 students from the first to sixth grades from a public elementary school in the northern part of Okayama Prefecture, Japan. Dr. A, the lead researcher of this study, is a violinist–teacher–researcher with professional orchestra experience in the United States. His career as a guest music teacher spans more than 20 years. In addition, two homeroom teachers and two university students supported the research project as participant observers. Based on Dr. A’s related practice in this area, this study explored musicking with a special emphasis on student inclusion. By applying a narrative inquiry and multivocal ethnography, this study investigated various events that were experienced in the musicking practice. Finally, the participants co-constructed a research-based narrative, focusing on creating a learning environment enabling all participants to build a musical community together. By synthesizing the participants’ thoughts, providing insights into musicking practice, exploring unexpected events, and utilizing the intuitive nature of music, the participants identified an approach for a comprehensive model for musicking.

A Study of Middle School Music Teacher's Perception on the Use of Media in Music Classes

A Study of Middle School Music Teacher's Perception on the Use of Media in Music Classes

An investigation of Korean music teachers’ perceptions of technology in music classes

This study explored Korean music teachers’ use of technology and views on integrating technology into music classrooms. Using a mixed methods approach, the researchers administered a survey to 105 music teachers and conducted semi-structured interviews with five music teachers. The results showed that about one-fourth of survey respondents indicated that they rarely incorporate music technology when teaching singing and playing, and generally, music teachers reported that they use music technology infrequently for main class activities. In addition, these Korean music teachers demonstrated limited knowledge of fourth industrial revolution smart technologies, despite viewing AI and the metaverse as potentially helpful for music teaching. Notably, this study found that music teachers consider it necessary to utilize music technologies that enable them to broaden the scope of music curricula.

Evaluating the Quality of Training Programs for Pre-Service Music Teachers in Chinese Higher Education Institutions

This research utilized an explanatory sequential design within a mixed-methods framework to assess the effectiveness of three pre-service music teacher programs aimed at Grades 1-12 in China. First, a group of four evaluators was asked to holistically assess the overall quality of these programs on a scale ranging from 1 to 10. Second, the evaluators were invited answer four open-ended questions about the areas for improvement in terms of program goals and objectives, program curricula, instructional methods, and learning assessments, respectively. The generalizability (G-) theory framework was employed to analyze the quantitative data, particularly to examine the variability in ratings and the reliability of the program evaluations. The qualitative data underwent coding, categorization, and organization according to recurring themes. The results indicated that the rating of the quality of these programs by the four program evaluators was extremely consistent and unbelievably reliable. Furthermore, major areas for improvement are identified in program objectives and curricula as well as instructional methods and learning assessments. Implications for pre-service music teacher training program developers in Chinese colleges and universities are discussed.

Crossover of Flow from Music Teachers to Students: The Role of Teachers’ Work Orientations

Crossover of Flow from Music Teachers to Students: The Role of Teachers’ Work Orientations

ORGANIZATION-PEDAGPGICAL CONDITIONS OF PEDAGOGICAL UNIVERSITY STUDENTS’ ABILITY FOR INTERACTIVE DISTANCE EDUCATIONAL COOPERATION

The article justifies the topicality of future teachers’ preparation for work in blended learning conditions, including for organization of interactive distance educational cooperation. Such terms as interactivity and interactive education proposed by domestic researchers are analyzed. The classification of interactive activity forms is proposed.Organization-pedagogical conditions of the development of future teachers’ ability for interactive distance education cooperation are described: the implementation of models of interactive distance cooperation into educational process of a pedagogical university; the combination of various forms of interactive distance education cooperation; the use of active and interactive methods of education; the creation of open dynamic information-educational environment on the basis of equality and equivalence of objects of education, their cooperation and inter education; the use of modern dialogue technologies, modification of traditional forms of pedagogical interaction. The models of interactive distance interaction are characterized: informational, intentional, interactive, and inclusive. Much attention is drawn to the need for combination of different forms of interactive distance educational cooperation: the means of acting and dramatizing; role games; discussions, debates; press-conferences; “Brainstorming”, “Solution Tree”, method “Know / want find out / have found out”; method “Uncompleted Sentences”, “Press”, “Microphone”, sync wine. The peculiarities of active and interactive methods according to the requirements of modern educational process are highlighted. The ways of the creation of open dynamic informational-educational environment on the basis of equality, equivalence of objects of education, their cooperation and inter education are characterized. The examples of using of modern dialogue technologies, the modification of traditional forms of pedagogical interaction in future music teachers’ preparation are given.

The times, they are a-changing: Australian secondary classroom music teachers reflect on their early career 40 years on

The times, they are a-changing: Australian secondary classroom music teachers reflect on their early career 40 years on

Folk games as a tool of formation of artistic and creative competence of primary school children in music classes

The article describes the features of acquiring artistic and creative competence, as a child's elementary awareness of the specifics of art forms (artistic and productive, musical, theatrical); valuable attitude to art and artistic activity, the desire to perceive folklore art. Folkloric forms of the heritage of Ukrainian culture are considered. Teaching and methodical material and practical recommendations are offered, which in music classes will be useful both to experienced teachers of preschool institutions and to those workers who are starting to work with the smallest brains. Normative documents in the field of preschool education were studied and play competence was considered as a child's ability to free, emotionally saturated, spontaneous activity on his/her own initiative, in which the possibility of applying existing and assimilating new knowledge and personal development is realized due to the child's desire to participate in the life of adults through the realization of interests in game and role-playing actions in a generalized form. The necessity of using folk games for the formation of artistic and creative competence in preschool children is substantiated. Peculiarities of knowledge of the surrounding world of preschool children and themselves in it are determined. The work proposes to create a basis for the natural formation and development of musical abilities in preschoolers through a folk game by encouraging children to play folk games. It has been emphasized that raising children is based on love and respect for Ukrainian musical folklore. The secrets of conducting music classes using folk games and working with preschoolers are recommended to teachers of primary schools, music teachers, teachers of children's vocal ensembles of extracurricular and club institutions, scientists, graduate students, students of pedagogical and art educational institutions, parents and the general public

Optimizing AI-Powered Music Creation Social Media to Amplify Learning Content

This research aims to describe the orienting, implementing, and assessing aspects constructed by music teachers in optimizing AI-powered music creation social media to amplify learning content. This research used a qualitative approach with a descriptive method. Data were collected through focus group discussions (FGDs) and documentation studies. The data analysis technique used the Miles and Huberman model with the stages, 1) data collection, 2) data reduction, 3) data presentation, 4) conclusion drawing/verification. Data validity used triangulation techniques, including source and technical triangulation. The results show that, orientatively, the experience of interacting with technological advances and social dynamics has shaped the respondents' knowledge and understanding, not only on various types and functions, but also in determining the strengths, weaknesses, opportunities, and threats of the platform. Implementatively, in line with the values of music education, the integration of a platform that amplifies content into learning is used to engage students' creative dimensions where cognitive, affective, and psychomotor are bound to the ethical principles of AI use and aesthetic criteria of music. By assessment, the involvement of peer teachers and students provided an important drive in establishing effectiveness, impact, and support from stakeholders. This study recommends that the development of AI used in creation is a new challenge for music teachers in strengthening the integrity of their professionalism. The utilization of these tools and resources makes it easier for them to be creative in clarifying and emphasizing the elements of musical sound to build effective and valuable learning.

Defining music demonstration lessons: a unique performance-based lesson type improving teachers’ instructional skills in Chinese mainland education

Abstract Teaching is a highly complex act, and learning to teach in an educational era that combines both teacher-centred and student-centred approaches presents additional challenges. Conducting demonstration lessons (DL) is one of the methods aimed at enhancing teachers’ instructional skills. This study examines the features and functions of this unique type of lesson from the perspective of music demonstration teachers in Guangdong, China. Through observation and interviews, the findings not only reveal the prevalence of DLs as performance-based lessons in Chinese teachers’ professional lives but also explore their distinctions from regular school teaching and their potential for improving teachers’ pedagogical abilities. Concerns and issues related to this type of lesson, along with possible solutions, are also discussed to provide recommendations for incorporating DLs into teacher training programmes in higher education institutions.

Music Education Resource Materials in Relation to Quality of Teaching in Changsha County, China

The study conducted in-depth research and statistics on the music education resources and teaching quality of Changsha County, the participants of the study Were junior students from the Music School of Changsha Normal College. To understand their current assessment of the music education resources and music teaching quality in Changsha County. The results show that: The survey of student respondents showed a nearly balanced gender distribution (53.2% male, 46.8% female) and primarily included students over 20 years old, indicating a mature student demographic. Respondents generally affirmed the professional level and teaching quality of music teachers but highlighted deficiencies in resource allocation and extracurricular community support. Sex and age differences in evaluating resource adequacy, teacher quality, and community support were not significant, indicating consistent perceptions across these demographics. High-quality resource materials in music classes were strongly correlated with positive teacher attributes, such as enthusiasm, interaction skills, and organizational ability, suggesting that well-resourced classrooms enhance teacher effectiveness and student engagement.

Oboe educators’ perspectives on playing-related injury, Part I: Lived experience and perceptions surrounding injury

Music students experiencing the potentially debilitating effects of playing-related injury (PRI) often first turn to their music teachers for help. This paper aims to document music instructors’ lived experience and perceptions surrounding PRI and better understand how teachers currently support students’ musculoskeletal health. Using a qualitative description approach, in-depth interviews with 10 oboe teachers (7 male, 3 female) documented their lived experience with or without injury and perceptions of PRI. Self-identified uninjured participants ( n = 5) described PRI-adjacent and non-PRI problems which elicited empathy for injured musicians, and self-reflective practices that contributed to better health. Injured participants described varied relationships to their pain, including pain as a source of guilt, distress, learning, and growth, and described diverse coping mechanisms including physical therapy, medication, mindfulness, and self-experimentation. Participants’ observations and experiences of PRI influenced their teaching, and several described seeking greater efficiency in students’ instrument set-up and body use. Resources for injured musicians were perceived to be difficult to access due to financial constraints, unawareness, jargon-filled language, and misinformation. These results suggest a need for more outreach from performing arts health professionals connecting music teachers, often the first point of contact for injured students, with high-quality resources which support student wellbeing.

Collective free improvisation in the Flemish general music classroom: Probing student’s lived experience through flow

The aim of this study is to explore the lived experience of students ( N = 1,282) in general education engaging in collective free improvisation (CFI). Fourteen music teachers implemented a CFI lesson in 69 classes in Flanders (Belgium). Lived experience was measured using a Dutch version of the Flow State Scale for Occupational Tasks. This scale reflects the degree of Sense of Control, Positive Emotional Experience and Absorption by Concentrating. In addition, teachers’ reflections were mapped by means of an online survey. Overall scores on the 3 dimensions of the Flow scale averaged greater than or equal to 5 (7-point Likert scale). Results show a difference in total flow between students who already played an instrument and those who did not. Students who play an instrument score significantly higher on the factor ‘Sense of Control’. Conversely, the flow scores on the factors ‘Absorption by Concentration’ and ‘Positive Emotional Experience’ do not differ between instrumentalists and non-instrumentalists. Given the relatively high flow scores, we conclude that this type of musical engagement can be used for instrumentalists as well as non-instrumentalists. Although CFI was a new experience for the teachers, they indicated to continue using it in the future.

Integrating Critical Thinking into Advanced Musical Analysis in Ghanaian Music Education

This study examines the incorporation of critical thinking into the "Advanced Musical Analysis" course in the context of music education in Ghana. The research used a qualitative method, especially a case study design, to investigate the effective integration of interdisciplinary frameworks and critical thinking abilities into advanced musical analysis. The data were gathered using a combination of document analysis, semi-structured interviews, and classroom observations. This allowed for obtaining perspectives from instructors, students, and external examiners who were participating in the course. The findings demonstrate the potential advantages and difficulties of combining standard academic rigour with inventive, context-specific techniques that incorporate aspects such as phenomenology, semiotics, and cultural theory. Also, the study emphasises the possibility of a curriculum that is flexible and inclusive, incorporating African musical traditions. This would improve students' ability to analyse music and promote a more active and lively involvement with it. The findings underscore the importance for music instructors in Ghana to give high priority to fostering critical thinking skills and incorporating cultural relevance. This would ultimately enhance the academic and cultural aspects of music education in the country.