Primary Music Teachers Research Articles

Continuous Hidden Markov Algorithm-Based Multimedia Melody Retrieval System for Music Education

Education professionals receive instruction in Music Education (ME) to prepare for prospective jobs like secondary or primary music teachers, schools ensembles executives, or ensembles directors at music institutions. In the discipline of music education, educators do original research on different approaches to teaching and studying music. The most accurate and effective method of extracting music from huge music databases has become one of the most frequently discussed participants in contemporary multimedia information retrieval development. The essence of multimedia material is presented within a range of techniques since it is not bound to a single side. These several categories could consist of the song’s audio components and lyrics for musical information. Retrieving melodic information, subsequently, becomes the main focus of most recent studies. Aside from being an expensive deviate from academics, music programs are neither a viable profession neither a valid pastime. Therefore, in this study, we offer a Continuous Hidden Markov Algorithm (CHMA) related a novel method for recovering melodies from musical multimedia recordings. CHMA is considered to be the most basic dynamic Bayesian network. Two various types of audio frame features and audio example features are extracted throughout the feature extraction procedure from the audio signal according to unit length. Every music clip receives a unique approach that we implement with concurrently using various CHMA. The initial music gets processed using a trained CHMA that monitors fundamental frequencies, maps states, and generates retrieval outcomes. The training time for Traditional opera reached 455.76 minutes, the testing time for Narration achieved 56.10 minutes, and the recognition accuracy for advertisement reached an impressive 98.02%. A subsequently experimental result validates the applicability of the proposed approach.

The ‘professional digital competence’: Exploring the perspective of primary music teachers in Spain

The terms ‘Digital competence’ or ‘Professional digital competence’ are frequently used, yet their understanding remains varied and elusive. Moreover, existing research in education heavily focuses on the study of digital competence among students, with comparatively limited attention given to teachers. In this study, we aim to investigate primary music teachers’ perspectives on ‘professional digital competence’ in Spain. This entails understanding their conceptualizations on (1) the term itself, (2) the cultivation of related skills and (3) its practical application with students. Additionally, we seek to compare primary music teachers’ viewpoints with those of teachers from other subjects. Through a qualitative multi-case study involving purposeful sampling of 20 participants, the results suggest that our music teachers, regardless of their self-stated technological skills, possess a limited understanding of the ‘professional digital competence’ and express negative or pessimistic beliefs towards its development and implementation. Furthermore, they feel compelled to use educational technology despite their reservations. Our findings similarly indicate that their beliefs are not meaningfully different from those of non-music teachers in the same context. In discussing the implications, we suggest that these beliefs may lead to stress and anxiety among participants, necessitating support from educational administrators. Additionally, we propose that future research should further investigate both why and how our participants feel/are pressured to use technology, and the particular disadvantages of technology in music education identified in our analysis of their beliefs.

The iron cage of the music teaching profession: A multi-case study on how primary music teachers in Spain understand bureaucracy

Despite being an unavoidable part of the music teaching profession, bureaucracy remains an under-studied and ill-defined topic in the research literature. However, its investigation may benefit the music teaching profession by re-thinking policy, informing music teacher education programmes and fostering a mutual understanding among music teachers and policymakers. Therefore, in the present study, we aimed to investigate the understandings of Spanish music teachers in relation to bureaucracy and to compare these with the views of the teachers of other subjects in primary education. The perspective of purposefully selected music teachers were thus explored in-depth and contrasted with the views of their counterparts in a multiple case-study design. Our findings contribute a taxonomy of bureaucracy in the music teaching profession. Additionally, we conclude that the views of our music teacher participants on bureaucracy are mainly negative and slightly more pessimistic than those of their counterparts. In discussing our results, we connect these views with the Weberian ‘iron cage’ of bureaucracy and Arendt’s ‘government of Nobody’ as a substitute for democracy in governing education. Finally, we hypothesise a dystopic future of deprofessionalisation as a result of these primary music teachers’ declared lack of control over their own organisational tasks.

Primary music teachers’ efficacy in Hong Kong’s inclusive classrooms

ABSTRACTThis study analyses responses (n = 309, across 94 schools) to the General Self-Efficacy Scale (Zhang and Schwarzer [1995]. “Measuring Optimistic Self-Beliefs: A Chinese Adaptation of the General Self-Efficacy Scale.” Psychologia: An International Journal of Psychology in the Orient 38 (3): 174–181) from Hong Kong primary teachers of inclusive music classes. Analysis of these results sheds light on the impact that contextual reforms have on these non-core subject music teachers’ practice. Respondents’ perceived self-efficacy is moderate – characterised as a see-saw relationship between their personal and external domains. A possible behavioural intervention suggests professional-sharing being further enriched were current Education Bureau’s in-service SEN courses to be inclusive of all primary school subjects, including music. Specific factors that underpin these respondents ‘moderate’ self-efficacy are identified as forming two clusters, human resource management and stress, with possible behavioural interventions for these being outlined.

Music Teachers’ Perspectives on Live and Video-Mediated Peer Observation as Forms of Professional Development

The purpose of this interview study, conducted with 12 primary music teachers in Singapore, was to determine whether peer observation is viewed as a learning approach that may contribute to professional growth. We found that both specialist and generalist music teachers highly valued peer observation and were optimistic about the use of video-mediated peer observation. As a form of professional development, peer observation appears to enhance understanding and application of teaching strategies, allows teachers to anticipate students’ reactions during lessons, and builds their confidence as instructors. Video-mediated peer observation, which is both convenient and easily accessible, provides contextualized examples of effective classroom practices. We conclude that peer observation activities are most meaningful and transformative when they are responsive, that is, designed with music teachers’ voices and professional development needs in mind.

How do teachers define the notion of professional development? The case of primary music teachers

While research in teacher professional development (PD) has focused on numerous topics, not much is known about how teachers understand the notion of PD. Studying this topic is important because, for PD to be effective, all parties involved in its design and implementation need to have a common understanding of the scope and purposes of PD. We asked 315 Singapore primary school music teachers to define PD using their own words. Descriptive statistics, cluster analysis, and cross-tabulations were used to analyze the definitions and the extent to which these differed according to certain demographic variables. We found that teachers’ definitions were not entirely consistent with those proposed in the educational literature, as teachers referred to a narrower scope of ideas regarding the content, facilitation type, format, and outcomes of PD. For example, while the ultimate goal of PD according to scholarly definitions is enhancing student learning, teachers seem to primarily understand PD as a means to improving themselves. No differences were identified when teachers’ definitions were compared according to variables such as age, teaching experience, designation, and specialization. Based on our findings, we conclude that it is essential to help teachers develop broader understandings of what PD means and entails.

Generalist and specialist primary music teachers’ uses of nonverbal and verbal support during music practice.

Generalist teachers, also called nonspecialist teachers (Henley, 2011), are teachers in primary schools who teach music, but have not studied education at a university or a conservatory, nor attended any (or only a few) preservice or in-service teacher training courses on education. Many studies report much primary school teaching of is provided by generalist teachers (Henley, 2011; Pascoe et al., 2005). Generalist teaching is a wide-spread phenomena in Australia (Pascoe et al., 2005), Great Britain (Henley, 2011; Holden & Button, 2006; Seddon & Biasutti, 2008), North America (Sinclair, Jeanneret, & O'Toole, 2009), and European countries (Eurydice, 2009), including Germany (Hammel, 2011), where this research study is based. The amount of lessons taught by generalist teachers at German primary schools ranges between 72% and 86% (Hammel, 2011) of all lessons in primary school. In German schools, a specialist teacher cannot always be found to act as a helping mentor for the generalist teachers (Hammel, 2011). Furthermore, lessons taught by generalist teachers are often cancelled (Bahr, Fuchs, Gallus, & Jank, 2004; Fuchs & Brunner, 2006). Removing (and arts) lessons from a primary school's seems to be common practice, when resources (e.g., time, finances) decrease. Therefore, music and the arts are frequently considered to be the 'frills subject' in a school's timetable (Garvis & Pendergast, 2012, p. 107). The main problems generalist primary teachers face are little musical training (abilities; Heyworth, 2011; Pascoe et al., 2005) and that they often lack the confidence to teach the practical aspects of in the classroom (Henley, 2011, p. 25). A lack of confidence to teach among generalist teachers has been revealed as prevalent by many qualitative studies regardless of their site or setting.1 Further research on generalist teachers stated generalist teachers are often lacking self-confidence to teach (Garvis & Pendergast, 2012; Hennessy, 2000; Mills, 1989; Schellberg, 2005). Other common problems of generalist teachers are their lack of personal experiences and the overall lack of priority for in primary schools (Russell-Bowie, 2009). Advantages of generalist teaching are the generalist teacher's knowledge and awareness of each child in the class, compared with a nonclassroom teacher. A generalist teacher may adjust musical learning conditions fit best to their students' interests and needs. Another advantage of generalist teachers who are teachers is they do not have to adhere to the school's to practice music. They have more capacities and can fit in practice in the many times a week.To help generalist teachers to teach these practical aspects of music, adequate professional development measures need to be researched and established in initial teacher training and during their time as qualified teachers. Thus, the abilities and the confidence of generalist teachers to teach can be improved (Biasutti, Hennessy, & De Vugt-Jansen, 2015; Henley, 2011; Holden & Button, 2006; Schellberg, 2016; Telemachou, 2007). One of the few studies documents the quality of teaching in primary school is the Office for Standards in Education, Children's Services and Skills report (2009). It does not distinguish between generalist and specialist teachers, but it reports that: Only half the teaching in art, and religious education was good or outstanding. The best teaching showed teachers understood the particular demands of individual subjects in relation to pupils' learning. (Office for Standards in Education, Children's Services and Skills, 2009, p. 5).Nonetheless, the question is which teacher training approaches might improve the learning outcome of generalist teachers? …

Music teachers' perceptions of the features of most and least helpful professional development

ABSTRACTThe professional development (PD) opportunities typically offered to school music teachers in most countries have been described as sporadic, unsystematic, capricious in both purpose and content, and hence ineffective. Among other consequences, this has seriously limited the kinds of questions that music-specific PD researchers have been able to investigate. The situation is considerably different in Singapore, where in the past years music teachers have been offered a plethora of music-specific PD initiatives with various features (e.g., content, working dynamics, duration). Using Desimone's (2009) framework of critical features for effective PD, developed with teachers of “core” subjects, in this study we investigate the features of the most and least helpful PD as reported by Singapore primary music teachers. We conducted two focus group discussions (n = 7, n = 5) and a nationwide survey (n = 98). Data were analyzed using content analysis and descriptive/parametric statistics, respectively. Results showed that the participants prefer long and work-intensive PD initiatives focused on a mix of content directly applicable in class. They also value having active learning opportunities and interacting with familiar fellow colleagues. Teachers' responses suggest that all these high-quality features have to be met for a PD initiative to be deemed helpful. We conclude that Singapore music teachers also value the features described in Desimone's framework. Policy makers and school administrators should be mindful not only of the need to provide music teachers with more PD opportunities, but also of the need to offer PD that meets certain quality standards. This study has the potential to guide PD providers in how to best invest the resources available to better foster music teachers' professional learning.

Issues and Challenges in Teaching Multicultural Music amongst Primary Music Teachers in Malaysia

The purpose of this study is to identify the issues and challenges that music teachers face in teaching multicultural music in primary school classrooms in Malaysia. Using a qualitative methodology, in-depth semi-structured interviews were conducted with 30 music teachers from 12 primary schools. The data was analysed using a “themes-based” analysis of narrative. The findings indicate that these music teachers did not have adequate multicultural training during their college courses. The findings also demonstrate that the music teachers believe that multicultural music education is an essential part of music education. However, the implementation can prove to be difficult due to the fact that many music teachers do not possess appropriate multicultural music knowledge and resources in order to teach multicultural music. Music teachers also reported that the activities and approaches used in the classroom must involve the students actively, rather than passively receptive with a need to allow students to obtain first-hand experience playing traditional musical instruments. In particular, the data provides insights into a number of issues and challenges that music teachers face in implementing multicultural practices in Malaysian primary school music programmes. Hence, music teacher training programmes must take into account the diversity of Malaysian society in order to prepare music teachers to be receptive, tolerant and sensitive to the inclusion of multicultural music in their teaching.

Primary school music teachers’ professional development motivations, needs, and preferences: Does specialization make a difference?

There is widespread agreement that one-size-fits-all professional development (PD) has limited potential to foster teacher learning and that PD should be ‘responsive’ to the demands of teachers with different profiles. The purpose of this exploratory study was to analyze the PD motivations, needs, and preferences of Singapore primary school music teachers according to their level of specialization in music education. This variable has been relatively unexplored within the field of music-teacher PD. A nationwide survey was run to collect the data. Participants were 286 primary music teachers (about 40% of the entire population), who were split into three groups based on their music education background (Major = 113, Minor = 64, Generalist = 109). Findings indicated that the three groups of teachers had different motivation levels to participate in music-specific PD (e.g., generalists being the least motivated), various needs for further training (e.g., music education majors being the most interested in improving their music content knowledge), and different preferences regarding PD providers and learning formats (e.g., generalists preferring to learn from other fellow colleagues within informal settings). We concluded that the level of specialization in music education plays a major role in determining teachers’ PD motivations, needs, and preferences. This study has the potential to inform the design of more responsive PD initiatives.

Introducing technology in Cypriot primary classroom music lessons: ‘I learnt using things in music I didn’t know existed’

Abstract This articles presents issues around the introduction and use of technology in primary music education with particular reference to a study set in Cyprus that looks at the change in teachers’ practices, thinking and concerns as they become more engaged with technology and use it more. It examines the availability and use of technology in music lessons, the development of creative thinking and teaching with technology and the elements that facilitate the introduction and use of technology in music lessons. The study examines the cases of ten primary music teachers in Cyprus and uses interviews, questionnaires, observations and teacher reflection. It was indicated that if encouraged and provided with the technology, education, support and training they need, teachers can overcome their hesitations and use technology in their lessons.

A survey of rural primary school music education in Northeastern China

China has been instituting national basic education curriculum reforms since 2001. This study provides an updated understanding of present-day, rural primary school music education in Northeastern China’s Tonghua region. A total of 126 rural primary music teachers and 674 students from 28 primary schools in the region were surveyed using a questionnaire. In addition, teachers were interviewed about the factors responsible for the current situation. The findings reveal that primary music education in the rural areas of North-east China is suffering from a number of problems including the inadequate provision of resources by local government, teachers’ lack of professionalism in terms of music education, and an inadequate understanding of the new curriculum reforms and rationales. The measures recommended to improve the current situation in the region may also provide insights that would prove useful for global consideration.

The management of ‘safe’ and ‘unsafe’ complaint sequences in research interviews

Complaining as a conversational activity has been the topic of much recent research. However, no studies have been found which address the formulation and management of complaint sequences in research interviews. This article focuses on how complaint sequences are produced and managed by speakers within the socially situated setting of the research interview. Transcripts are drawn from data collected during a three-year study examining the work of itinerant primary music teachers. Complaint sequences examined here are derived from the pilot study phase of the project in which 12 practicing teachers were interviewed at length in 1996 by the researcher (who is also a music teacher). Analysis of interview accounts follows conversation analytic procedures and encompasses talk of the interviewer and interviewee. Using Sacks's (1992) notion of 'safe' and 'unsafe' complaints, four complaint sequences are used to examine (a) the management of unsafe complaints; (b) the reformulation of an initial 'unsafe' complaint into a 'safe' complaint; and (c) the formulation and management of a 'safe' complaint. Findings from this analysis indicate that for participants of research interviews in which the researcher shares co-categorial incumbency, the production of complaint sequences may be 'risky business'. This contrasts with findings from other studies which suggest that in conversational settings, complaining accomplishes a rapport building function.