Music Teachers Research Articles

The impact of Chinese university music teachers’ teaching beliefs on creative teaching behaviors: the mediating role of technological acceptance

This study focuses on college teachers in the Ningxia Hui Autonomous Region of China, aiming to explore the relationships among teaching beliefs, creative teaching behaviors, and technology acceptance. The research adopts a questionnaire survey method, using scales for teaching beliefs, creative teaching behaviors, and technology acceptance to conduct online surveys of college teachers in the Ningxia Hui Autonomous Region of China. Convenience sampling is employed during the survey. The study mainly verifies the theoretical model proposed by using statistical analysis software such as SPSS and AMOS. The results reveal that teaching beliefs of college teachers in the Ningxia Hui Autonomous Region of China positively predict creative teaching behaviors; teaching beliefs positively predict technology acceptance; technology acceptance positively predicts creative teaching behaviors; and technology acceptance has a significant mediating effect between teaching beliefs and creative teaching behaviors.

Creating a Model of Music Teacher Training by Integrating Distance and Full-Time Modes of Learning: Current Approaches in Education

The study is devoted to the problem of the formation of mastery of music teachers based on the integration of distance and face-to-face learning as an aspect of neuropedagogy. This problem has not been studied in the scientific and methodological literature, although digital means of communication have long penetrated the sphere of musical and pedagogical education. The task of designing a model of professional music teacher training, which has changed due to the introduction of distance learning for future music teachers, remains relevant. In the course of the research, theoretical system-analytical methods were used, methodical materials and experience of university teachers were studied in the field of developing a model of teaching music students in conditions of integration of remote and full-time forms of work. In the context of the research, scientific research on neuropedagogy was analyzed, conceptual and categorical components of the research work were determined. The main focus of the study is related to the principles of building a model of professional training of a music teacher based on the integration of distance and full-time forms of education. In order to realize the research goal, the method of synthesis and analysis, integration, research, descriptive and scientific methods were applied. The method of generalization was used to determine the results of the research work, which formed an idea about the neuropedagogical essence of the formation of professional competence of a musician.

How (not) to write a B♭ french horn beginners method book

Name: Isabelle Roelofs Main subject: Master Natural Horn Research supervisor: Daniel Salbert Title: How (not) to write a Bb French Horn beginners method book Research question: How (not) to write a Bb French Horn beginners method book Summary of the results: As a horn teacher, I realize that the existing Dutch method books seem not to be written from the perspective of a beginning, young horn player. They show little consideration for the specific physical abilities of children at a young age when learning to play the horn, probably because those methods are mostly not written by a horn player. Therefore, I have researched the do's and don'ts behind writing a method book. If playing the exercises in a method is not physically feasible, it can lead to frustration for the student, which, in my opinion, is detrimental to the learning process. I have always learned that moments of success are crucial for the development and maintenance of motivation. I find these moments of success lacking in existing Dutch-language horn methods. I also believe that they progress too quickly to emphasize reading notation. I notice that my own students often prioritize correctness over musicality. I have critically examined and compared the available Dutch horn method books. Additionally, I interviewed fellow horn teachers to gather their perspectives. Furthermore, I attended a lesson for young horn players at BASIS (Royal Conservatory of the Hague) where auditory learning takes precedence. I am not the first to consider writing my own method. Other horn teachers have embarked on this journey, each with their unique motivations. My research has revealed that I am not the only one who has critical thoughts about the existing horn method books. A significant part of the interviewed teachers also emphasized this same point. Based on the obtained results, I have outlined the initial steps that, in my opinion, are necessary for a starting young horn player, along with the corresponding range of tones. Biography: Isabelle Roelofs, an accomplished horn player and dedicated music teacher, earned degrees in French Horn and Music Education from Codarts University. Graduating with honors from the Royal Conservatory of Antwerp, she is currently pursuing a Master's in Natural Horn at The Hague Conservatory with Teunis van der Zwart. Isabelle is the founder of Belle Musique (2018), where she imparts her musical knowledge through personalized horn lessons, shaping the future of horn players step by step.

Keys and Cords: A Comparison of Piano and Vocal Teaching Strategies

The profession of a music teacher has developed over the past years in a way where teachers are required to be more versitale and not focussed on one specific element. A lot of collegues of mine, including myself, work at a music school where they teach children not only their main instrument, but also a secondary instrument, in my case piano. This brings up interesting challanges as a lot of teaching strategies overlap, but there might also be approaches that differ between various instruments. In this research, we explore how private vocal lessons compare to private piano lessons and what the specific teaching strategies are of these instruments. Following up on this, we analyze how these finding inspire my own teaching practice and how one instrument might benefit from the teaching strategies of the other instrument. This research includes a dive into already existing literature, interviews with Conservatory teachers who specify in vocal and piano pedagogy and interviews with private school teachers. Additionally, observations were made of multiple vocal and piano lessons given by myself as well as the other teachers mentioned above.

Workplace Well-Being and Classroom Space: An Exploratory Survey of K–12 Music Teachers

Abstract Kindergarten through 12th-grade (K–12) music teachers spend much of their professional lives occupying physical workspaces like classrooms and offices. Given that teachers occupy these spaces for extended periods of time, the impact of these spaces on teacher well-being should be considered. This exploratory survey study examined the relationships between K–12 music teachers’ workplace well-being and perceptions of the physical classroom spaces. A questionnaire was completed by 484 music teachers who were members of the National Association for Music Education. The questionnaire included the Workplace PERMA Profiler (a measure of workplace well-being) and the Structural, Physical, and Campus Environment Survey (a measure of teachers’ perceptions of their classrooms). Higher levels of well-being were positively correlated with favorable perceptions of classroom space. Scale and aesthetics, the visual environment, and spatial environment elements were the strongest predictors of well-being. Taking statistical and textual data together, specific features including windows, good natural light, quality and controllable lighting, aesthetically pleasant (e.g., decorations and colors) rooms, ample space and storage, comfortable temperatures, good organization, and control over the classroom space had the largest positive impact on well-being among the participating teachers.

Mental Health, Spirituality, and Self-Compassion Among K–12 Music Teachers During the COVID-19 Pandemic

Abstract We examined the influence of gender, age, and death of loved ones due to COVID-19, race/ethnicity, mode of instruction (hybrid, in-person, etc.), general religiosity, dispositional spirituality, and self-compassion among kindergarten through 12th-grade (K–12) music educators (N = 637) in order to assess how these factors impacted their mental health approximately 1 year after the onset of the COVID-19 pandemic. Our findings indicate a weak to moderate influence on mental health attributable to religiosity and spirituality, with feelings of connection to a higher power predicting better mental health while feelings of connection to other human beings and nature predicting the opposite. Additionally, there was a strong and statistically significant relationship between self-compassion and positive mental health, accounting for between a .87 to 1.09 decrease in stress, depression, and anxiety among participants based on one-unit increases in self-compassion. We discuss implications for music education research as well as preservice and in-service professional development based on these findings.

Higher Music Teacher Education Programs in Mexico from the Professors’ Perspective. A Descriptive Study

Introduction: Despite the significant promotion and undeniable growth of music education in Mexico, three major issues have hindered its full consolidation and appropriate development: 1) There are few higher music education programs; 2) Enrollment in these programs is extremely low; 3) There is a deficit of well-trained music educators. Unfortunately, few studies in Mexico have addressed these issues, with most focusing on curriculum design. Objective. To address these concerns, this study conducted a quantitative, descriptive analysis to determine the profile of tertiary music education faculty and explore their perceptions regarding the functioning of their academic programs, their students’ profiles, and the teaching-learning conditions. Methodology. Data was collected through an ad hoc survey created by the researcher and validated through the expert-judgment validation process. The survey was sent to the 14 music education programs listed in the ANUIES Yearbook 2022-2023. Data was statistically analyzed by using the software SPSS, 2.0. Results. The findings highlighted the strengths and weaknesses perceived by professors and provided insights that may explain the current situation. Conclusions. While there are notable strengths, significant weaknesses need to be addressed, including the hiring of more well-prepared full-time professors, the implementation of effective recruitment mechanisms, adequate psycho-pedagogical support, and appropriate funding programs.

PSYCHOLOGICAL DIAGNOSTICS AND PSYCHOLOGICAL AND PEDAGOGICAL SUPPORT FOR GIFTED CHILDREN IN MUSIC LEARNING

Purpose. The purpose of this study was to understand how music teachers perceive and diagnose gifted children in teaching music, what are the psychological and pedagogical features of teaching music in groups of children with different creative potential, and what psychological and pedagogical support is needed for students. To promote creativity in the music classroom, teachers need to acquire knowledge about creativity as a concept in general and in the music field in order to create situations in which students can build creative abilities and gradually develop their creativity. Creative potential in the process of teaching music should be formed taking into account children’s psychological and pedagogical characteristics in the group at different levels of its formation. Psychological diagnostics involves the selection of tools and technologies that activate the formation and development of emotional intelligence in groups of children with different creative potential in the process of teaching music. Forming the level of students’ giftedness is proposed as a new dimension of creative pedagogical knowledge for teaching music. And psychological and pedagogical support for students is an important element in the development of emotional intelligence in groups of children with different creative potential in the process of teaching music. Methodology. The basis of the research is formed by subject-activity and humanistic approaches with the implementation of psychodiagnostic and theoretical methods (analysis, comparison, generalization), methods of structural data analysis. Results. The results of the study make it possible to diagnose the level of emotional intelligence in groups of children with different creative potential in the process of teaching music, and teachers’ recommendations allow to improve the training program, taking into account psychological and pedagogical support to increase the effectiveness of this process. Practical implications. The results of the study can be applied in the field of general and professional education for diagnosing children with different creative potential, the creation and development of emotional intelligence, psychological and pedagogical support and psychological counseling.

Theory of the Diversity of Alternative Music Pedagogy Methods

Our music education is based on the concept of Zoltán Kodály and the methodological guidance of Katalin Forrai in early childhood, which is an indispensable foundation and support for Hungarian music education. The method uses fundamental values to develop children's musical skills and abilities. At about the same time, music teachers throughout Europe were engaged in reforming the structure and methodological tools of music teaching. Among these music teachers, I would like to highlight the pedagogy of Dalcrose, Orff, Willems and Freinet, who successfully applied early childhood music education and the development of children with special educational needs in their programmes. Based on their pedagogy and methods, they agreed on the following principles: musical education should start as early as possible, continuous musical activity (singing, rhythm, listening, movement, improvisation, instrument, listening) should be given priority, and in addition to age-specific characteristics, adequate emphasis should be given to individual talents, since the uneven development of psychic abilities can lead to differences in levels within a single age group over several years. Music can develop empathy and social skills. Through rhythms and harmonies, the development of large and fine movements can be achieved. It is beneficial for thinking, creativity, self-expression and the development of the sense of self. Music improves well-being, concentration and actively helps to develop attention. It leads to openness and flexibility. It also has a powerful effect on speech, imagination and improvisation skills. That is why we can use music for healing and developmental purposes. There is a long line of research that proves that the earlier in life you start to develop, develop or correct your personality through music, the earlier you should start.

Модель формування готовності майбутніх учителів музичного мистецтва до роботи в умовах змішаного навчання

The article justifies the necessity of the implementation of the formation model of future music teachers’ readiness as a factor of educational process optimization at a modern higher educational institution in the conditions of spreading of information technologies use. The article analyzes the contents of the following model blocks: purpose, methodological, contents, process and diagnostic-resultive. It is stated that the purpose component of the model includes the aim and tasks of the research. The characteristic is given to the methodological block which contains methodological approaches and basic principles of the process of future music teachers’ readiness formation in blended learning conditions. Much attention is drawn to prior for modern conditions methodological approaches: system, integrative, personally-oriented, activity and subject-environmental. The consideration of the peculiarities of structure–functional model of future music teachers’ readiness formation for work in blended learning conditions which reflect the combination of principles of traditional and blended learning let us concentrate on the following conceptually important principles: the principle of students’ activity and independence, the principle of cooperative activity, the principle of reliance on students’ life experience, individual approach principle, the principle of the actualization of studies’ results, reflective principle, the principle of personally mediate interaction, the principle of education systematicity and integrity, the principle of various kinds of communication combination. The contents block consists of motive, cognitive, personal and activity components of future music teachers’ readiness for work in blended learning conditions. The components of the processual model block described in the article are the following: special course “The Theory and Practice of Blended Learning organization” created and implemented by the author, the use of different forms and methods of teaching, both traditional and innovative at the course “The Theory of Music Interpretation”. The article highlights the contents of diagnostic-resultive block that includes the criteria base of the research which allows determining the degree of formation of future music teachers’ readiness for work in blended learning conditions and those changes that occurred as a result of purposeful work.

"More Than Just Composers": Teachers' Identities as Music Creatives and the Impact on Teaching Composition

The large research study on which this paper draws examined the preparation of early-career teachers (ECTs) in New South Wales to teach composition and musical creativity. Presenting data collected through a Constructivist Grounded Theory (CGT) research design, and semi-structured interviews and themes, this article explores the theme of Musical Identity as it arose in the larger study. Through discussions with ECTs and composers who have experience teaching composition in NSW secondary schools, this study examined and compared these groups’ personal definitions of composition and perceptions of composer/creator identity and explored the implications of these definitions and identities on how these groups approach composition instruction in NSW secondary schools. These discussions revealed that participants held a wide variety of definitions of composing and the composer identity, stemming from composition’s strong Western Art Music (WAM) connotations, and these ambiguities presented themselves as barriers for the participants to teach composition effectively. Literature in this area indicates that, with relatively little pedagogical understanding of it, composition is neglected in initial teacher education (ITE) programs in Australia, Canada, Finland, the United Kingdom, and the United States. As music education activities should be facilitated using processes and paradigms that reflect the paradigms of students, music teachers’ personal definitions of composition need to be broadened through their ITE experiences. In order to democratise the act of creating music, syllabus terminology and requirements should be revised to reflect these broader definitions of music creation in NSW secondary schools.

음악을 전공한 특수교사의 자서전적 생애사 연구

Objectives The purpose of this study is to deeply understand and analyze the process from becoming a music teacher to a special education teacher to find the existential meaning of life and suggest implications for growth as a teacher. Methods Through the autobiographical life history research method, the course of major events according to the chronological flow of a specific section of the teacher's life that had a significant impact on the teacher's life is examined from a first-person perspective to find the existential meaning of life and promote the teacher's internal growth. Results The innate element of immediate action practice was a great help in the process of going from a music teacher to a special education teacher, and all the effort and time invested in the process became an important factor in growing as a teacher. In addition, the reason why I was able to overcome the trials and errors I experienced in the process of becoming a special education teacher may have been due to the researcher's efforts, but the most important thing was that I was able to overcome the trials and errors I experienced in the process of becoming a special education teacher, but the most important thing was that I was able to overcome the trials and errors I experienced in the process of becoming a special education teacher, but the most important thing was that I was able to overcome the trials and errors I experienced in the process of becoming a special education teacher. I learned that I needed to pursue growth. Third, rather than avoiding crises that come in one's life, everyone must go back to the starting point and face them, remembering the passion, enlightenment, and growth process of that period to provide the driving force to overcome the crisis. Fourth, students are also valuable members of the family. She was able to remember once again that teachers have no right to treat students poorly, so they must respect students for who they are. Lastly, I came to find identity and meaning between music and special education in that music motivates me to live as a special education teacher and the process and life of a special education teacher provide a foundation for me to grow to a higher level as a teacher. Conclusions Having the courage to take on a challenge and take immediate action became the driving force that allowed us to achieve our goals and move forward despite environmental difficulties. Second, through experience working in special classes, the true roles and responsibilities of special education teachers and a universal view of education were established. Third, teachers have no right to treat students poorly. Fourth, all the time and effort you put into achieving your goal is meaningful, with nothing left to waste. Fifth, teachers are not perfect, so they need time to rest and recharge. What is more important is whether you grow after making a mistake than the fact that you made a mistake. Sixth, we must have the opportunity for inner growth through time of self-reflection and regain the existential meaning of life.

The Workforce Entry and Teaching Responsibilities of New Music Education Graduates: Evidence From a State Longitudinal Data System

The purpose of this study was to investigate Maryland music teacher education program completers’ background and transition into the K–12 public school music teacher ( N = 700). Using data from the Maryland Longitudinal Data System between 2008 and 2020, I examined characteristics associated with music teacher employment in the public schools, the job responsibilities of new music teachers, the characteristics of schools in which new music teachers were employed, and how the school in which new music teachers were employed was similar or dissimilar to the high school from which they graduated. Overall, approximately 59% of music education graduates subsequently taught in Maryland K–12 public schools. Most new teachers taught in elementary (60%) or middle schools (30%). Teaching responsibilities of new teachers included general music (59%), chorus (29%), band (26%), and orchestra (22%). Implications for music teacher education and policy recommendations for music teacher shortages are discussed.

Metaverse VR technologies in contemporary Chinese music education

ABSTRACT The research purpose is to explore the need to introduce innovations in the curriculum and the classroom in music colleges and universities influenced by virtual reality multimedia environments with elements of metaverse VR technologies. Particular attention is paid to the metaverse platforms with VR games in academic disciplines such as Applied Music, Fundamentals of Composition, and Learning to Play Musical Instruments. The practical part involves the analysis of the experimental and control groups of 240 individuals, selected and structured using the sampling method and the quasi-experimental method. Method Questioning is used by scholars to summarise the information and survey results collected from students. The experiment reveals that up to 72.2% of students suppose that the introduction of the art course based on digital multimedia virtual reality is effective, and their music teachers prefer to use multimedia virtual reality learning tools. The gamification elements in different musical disciplines are interesting for 78% of students. The results’ significance is the possibility to adapt the music curriculum in colleges to students’ needs. Further research is needed to evaluate the use of VR technologies for musical workshops as part of playing musical instruments and the basics of musical composition.

Withdrawing from involution: The “lying flat” phenomenon of music teachers in China

“Involution” refers intensive and irrational competitions in workplace, “lying flat” is the phenomenon in which individuals perform the bare minimum of work required for employment. This study investigates the life experience of Chinese Music Teachers (CMTs) participating in involutionary work activities, explores how they cope with involution by “lying flat.” In-depth interviews with 16 participants identified three stages of involutionary work activities engagement: involvement, conflict, and defense. CMTs employed three “lying flat” ways including evasive behaviors, emotional compensation, and swan strategy. Findings suggest that “lying flat” serves as a strategy for teachers to avoid burnout, providing insights into emerging buzzwords across various cultures.

Research On Guqin Composition In Mainland China In The 1950s And 1960s: Some Works Of Yu Shaoze [喻绍泽

After the establishment of the People's Republic of China in 1949, a group of guqin players from the folk were integrated into official music research and educational institutions. Under the guidance of the cultural policies advocated by the new regime, they created a considerable number of new guqin compositions that reflected the characteristics of the times. This paper primarily focuses on the historical and morphological study of nine guqin pieces composed by Yu Shaoze [喻绍泽] (1903-1988), the earliest professional guqin music teacher in the west China, between 1956 and 1966.In the historical research section, the article examines the historical context of these works from two perspectives: the personal circumstances of the guqin player and the socio-political atmosphere in China. In the musicological research section, the article studies these works within the author-work relationship to investigate how the guqin player's performance experience shaped the forms of these compositions. Simultaneously, it explores how the author responded to the political demands and tastes of the Chinese authorities regarding music compositions during the 1950s and 1960s in his creative process.

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.

Bulletin Boards and Classroom Decorations: A Visual Representation of Your Music Teaching Philosophy

In this manuscript, we introduce four philosophical camps and provide bulletin board and classroom decoration examples of how music teachers can visually communicate their teaching philosophies to their students, parents, colleagues, and administrators. The categories emerged from our review of bulletin board examples created by our music teacher colleagues and include (1) music, emotion, and expression; (2) praxialism; (3) extramusical benefits; and (4) social justice. Bulletin boards may indirectly represent teachers’ philosophies when compared with explicit curricula, such as lesson plans, textbooks, and other instructional materials. However, teachers can foster holistic learning experiences for students by harmonizing their implicit messages on bulletin boards and classroom decorations with the explicit curriculum.

CCM in the choral classroom: Pedagogical practices of two high school music educators

This study aims to enrich the discourse on integrating contemporary commercial music (CCM) genres into vocal music education. Despite existing methodologies by vocal pedagogues, there is a pressing need for a formalized CCM pedagogy. Developing such a pedagogy requires understanding and possibly drawing inspiration from the pedagogical practices and philosophical beliefs of current vocal music educators teaching these styles. To delve deeper, the author conducted a qualitative case study with two suburban high school music educators proficient in CCM vocal techniques. Each participant underwent a 30- to 40-minute semi-structured interview and an observed rehearsal, and provided course materials. Analysis revealed key themes: Caroline’s motivation, teaching techniques and community response; and Matt’s musical background, motivation, beliefs, teaching practices and community response. Despite contextual differences, both shared musical backgrounds and positive community feedback. These findings offer insights for vocal music educators and teacher education programmes.

The pedagogical–artistic strategies of community music facilitators as an inspiration for formal music education: A single case study

In this article, we elaborate on the pedagogical–artistic strategies of a community music project and how they may inspire formal music educational practices. To do so, we draw on findings from a study on the pedagogical–artistic strategies of the musicians–coaches of The Ostend Street Orchestra (TOSO), a community music project that started as an artistic response towards the commotion around a group of homeless people in the coastal town of Ostend, Belgium. The pedagogical–artistic strategies adopted by the TOSO coaches foster the emergence of an educational approach that may have the potential to enrich music educational practices by creating a learning environment that is more democratic and inclusive. Data collection included in-depth semi-structured interviews with the TOSO coaches in 2017 and 2021, as well as video-stimulated recall. The interview data were analysed using thematic analysis. Seven themes emerged from our analysis: embodied interaction, co-coaching, re-thinking musical parameters, personal musical skills, collaboration, collective experiential learning and inclusion. We present the framework and rationale of the study, describe the pedagogical–artistic strategies of the coaches, and discuss the results. In conclusion, we briefly consider possibilities for further research and music teacher education.