Music Teacher Training Research Articles

Ethnocultural technologies of vocal training of students of pedagogical universities of China

The training of music teachers in China's pedagogical universities is based on strategies for linking national cultural traditions and innovative education systems in other countries. Today, special attention is paid to the training of music teachers, which is due to the increased demand of children and parents for music education. The deepening of such training is facilitated by the special specializations of students, which allow them to acquire knowledge and performing skills in a particular type of musical activity in the final semesters of study at the university. But, since students receive education in pedagogical universities, this performance training should be based on Chinese ethnocultural traditions, and be organically combined with pedagogical training. The article examines an ethnocultural technologist based on the traditions of the national Chinese opera, contributing to the formation of stage skills necessary both for staging an opera performance by students and for replenishing the pedagogical baggage of a school music teacher. The introduction of this technology into the "Performing Arts" subject of the "Vocal Music" specialization among fourth-year students has shown its effectiveness both for staging fragments of opera performances, not only by Chinese but also by Western composers and for replenishing the pedagogical skills of future music teachers.

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.

THE SIGNIFICANCE OF B.V. ASAFYEV'S INTONATION THEORY IN THE INSTRUMENTAL-PERFORMANCE TRAINING OF A MUSIC TEACHER

The intonation theory of B.V. Asafiev is a methodological basis for theoretical musicology, all types of musical performance and musical-pedagogical activity. However, the problem of using this concept in the training of school music teachers is not fully applied in the educational process, from which a conclusion is made about the need for its development and implementation in the educational process of pedagogical universities.

The relation between attitudes towards the use of technology in music education and big five inventory personality traits

The goal with the study reported on here was to determine pre-service music teachers’ views regarding the effectiveness, utility, and sufficiency of technology use in music education as well as the associations between their personality traits and their attitudes towards this use. The participants were 224 pre-service teachers studying in music teacher training programmes in Türkiye. The use of technology in music education questionnaire, the big 5 inventory and the attitude towards using technology in music education scale were used as survey instruments to collect the data. The results reveal that attitudes towards using technology in music education showed a positive relation with openness, and a negative relation with neuroticism. A qualified majority of pre-service music teachers think that technology is beneficial and that they can use technology effectively in music education. Nonetheless, the majority of pre-service music teachers still thought that educational technologies were used inadequately during their music education.

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.

Analysis of the Reasons for the Problems of Music Teaching in Chinese Universities

The reasons for the problems of music teaching in Chinese colleges and universities are manifold. Firstly, the influence of education system and policy is an important factor. The current education examination system in China pays too much attention to scores and promotion rates, leading schools and teachers to pay more attention to exam-oriented education, and music education often becomes a neglected part. At the same time, the unbalanced distribution of educational resources also makes some colleges and universities with poor music teaching conditions and insufficient teachers to provide high-quality music education. Secondly, the backwardness of the concept of music education is also one of the causes of the problem. In addition, the imperfection of teacher training and selection mechanism is also one of the causes of the problem. At present, the training system for music teachers is not sound, and there is a lack of ways to train music teachers with comprehensive qualities. Meanwhile, the irrationality of the teacher evaluation mechanism also prevents some music teachers with professional skills from getting due recognition and incentives, which leads to the shortage of teachers.

예비 음악교사의 학교현장 실습에 대한 만족도 조사 연구

Field training for pre-service teachers is an important process that helps future teachers understand the school environment and gain expertise in teaching the subject. This study aims to investigate the differences in satisfaction levels of pre-service teachers who have undergone two types of field training in schools, namely, the existing four-week training and semester-based training. For this purpose, this study surveyed pre-service teachers who participated in either four-week or 15-week field training programs to examine the overall content of the training, including class demonstrations, class observations, guidance, and classroom management, and investigated the subjects’ satisfaction factors to draw implications. The survey results showed that pre-service teachers who participated in the semester-based program had high satisfaction levels as well as a strong interest in school life and teachers’ work. In particular, the semester-based practice provided concrete and realistic experiences of teaching required in the actual field through creative activities, a student orchestra, the free-semester system, and music clubs, which were unavailable in the existing four-week program. The result implies that to further enhance the quality of the field training of pre-service music teachers, an organic linkage among schools, the Office of Education, and teacher training institutions is critical to enable the stable operation of semester-based training. To ensure the effectiveness of field training for teachers who will play a significant role in future education, the in-field teaching of major subjects should be considered, and the curricula of teacher training institutions and their continuous connections with partner schools should be systematically restructured.

The use of digital technology in music teacher training in China

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

Current state and prospects of teaching-learning processes in music teacher education in Spain: a literature review

Abstract The teaching-learning process, both in general and in the specialty of Music Education, has evolved and its explanatory models have become increasingly complex. In view of current challenges, it is relevant to analyse the elements that are considered necessary to train music teachers to become competent professionals. This study identifies characteristics found in specialised Spanish and international scientific literature on teaching-learning processes in music teacher education, referring to their current state as well as to desirable developments and future prospects. Although a certain overlap among emergent categories in Spain and those in other countries can be observed, we also found differences of degree, as well as interesting divergences.

INCLUMUSIC - NEW SKILLS FOR INCLUSIVE HIGHER MUSIC EDUCATION INSTITUTIONS

IncluMusic is a project aimed at promoting the inclusion of students with special educational needs (SEN) and disadvantaged backgrounds in Higher Music Education. Starting from the analysis of the „state of the art” that shows a lack of specialised support and a poor practical implementation of inclusive policies for these students in most EU countries, the IncluMusic project envisages the creation of a pilot programme to train music teachers, administrative staff and tutors specialised in inclusive music education. The ultimate goal is to develop new approaches for the education of students with special educational needs in higher music education institutions and to create a community committed to inclusive teaching practices within the AFAM sector.

Reframing Creative Teaching in Secondary Music Teacher Education

According to research about creativity in education, creativity can be considered an ability that can be fostered through specific teaching strategies. Consequently, future secondary music teachers should be equipped with the knowledge to develop students’ musical creativity. A challenge for teacher training lies in providing concepts and strategies to develop this professional knowledge. With the aim of improving a music didactics course, the purpose of this study was to understand how student teachers’ conceptions of creative music teaching evolved over one semester. In reference to the concept of creative teaching developed by Beghetto and research about the role of the teacher’s body in music education, a specific framework to identify aspects of creative pedagogical knowledge was conceived. A thematic analysis of two semi-structured interviews with five future secondary music teachers provided a detailed picture of the evolution of their conceptions about creative music teaching. Interestingly, student teachers’ knowledge of theoretical concepts presented in the course, as well as knowledge about the role of the body in creative music teaching, remained mainly implicit. Knowledge about their professional identities as creative musicians and pedagogues appeared to be relevant for enhancing awareness of how to teach with creativity. In order to describe this dimension more precisely, we develop the concept of creative stance knowledge as an emerging category from the data. Its potential for teacher training will be discussed, including a more embodied vision of creative pedagogical knowledge for music teacher training.

Development of vocal and performing abilities of future music teachers

Relevance. The crisis in music education threatens the quality of teaching, highlighting the need to enhance teachers' vocal skills to attract more students to music. Purpose. This study aimed to investigate the impact of developing vocal-performance skills on the professional training of future music teachers in Kazakhstan. Methodology. Various research methods were employed, including analysis of existing educational programs and teaching materials, comparative analysis with international practices of vocal training, study of available resources, and comparison of research results with foreign standards and recommendations in music teacher training, focusing on vocal-performance skills. Results. Improving the quality of education for future music teachers through the development of vocal-performance skills enhances their professional competence. Well-prepared teachers are better equipped to deliver music education and design curricula tailored to their students' needs. Integration of modern vocal training techniques, use of technology in music education, active engagement with musical instruments and multimedia resources, and collaboration with professional singers and vocal coaches contribute to effective learning and enhance the quality of vocal education. Conclusions. The study underscores the importance of developing vocal-performance skills in music teacher training in Kazakhstan. Educational institutions and music teacher training programs can optimize curricula and vocal teaching methods based on these findings. This optimization will improve professional competence and create a stimulating educational environment, ultimately enhancing the quality of music education in Kazakhstan. Keywords: preparation; quality of education; practical teaching methods; evaluation of training programs

The use of modern digital technologies in the training of future music teachers

Relevance. The research relevance is determined by the fact that modern society is rapidly integrating digital technologies into various spheres of life, including education, which creates the urgency and need to understand how these digital technologies can be best used in the educational process. Purpose. The purpose of this study is to examine and analyse the impact of modern digital technologies on the learning process of future teachers of music education. Methodology. In this paper, an analytical method, generalisation, and systematisation were used. Results. As a result of the investigation of the introduction of digital technologies into the training of future music teachers, a positive effect on learners was found, making the training more attractive and stimulating them to engage in independent research in the field of music. Teachers have also become more open to using modern tools and resources in their work, realising that technology enriches the educational process and makes it more efficient and satisfying for students. Conclusions. The study established that digital instruments such as �Smart Piano�, �Yousician�, and �Auralbook� effectively attract students� interest and develop their skills in music education. However, it is important to note that cooperation with experienced teachers remains an integral part of the educational process, contributing to shaping competent music teachers. The results of this study can be useful for teachers to better understand how to integrate digital technologies into the learning process and improve learning efficiency. Keywords: musical instruments; art; education; online applications; music teacher

The Role of Computer Technologies in Music Teacher Training: Implementing the Humane Education Strategy

The ever-evolving nature of society dictates educational policies, which is mirrored in the challenges of training music teachers in higher education. Pedagogical universities are constantly investigating ways to revolutionize education and introduce new pedagogical tools. This article analyzes the experiences, difficulties and directions of music teacher training in the scope of the humane education strategy. Surveying the condition of music education, its current status and potential for progress has demonstrated that the career of a musician-educator is and will remain in high demand as long as it is augmented with new professional content. This can be used to broaden the role of a music teacher in both regular and extra schooling, such as designing and implementing numerous musical and creative progression programmes. Importantly, the article delves into the issue of developing a model for teaching information technologies to future music teachers, which follows an interdisciplinary and context-oriented content selection principle. It advocates for a comprehensive approach to shaping a continuous sequence of educational subjects throughout the entire period of university education. It also highlights the integration of music and computer technologies as a means of teaching information technology and as a subject for study. Finally, the article highlights the significance of computer technologies in training future music teachers as there is a growing demand for music education specialists who are proficient in the technological processes associated with music software and can effectively employ computer technologies in their professional duties.

Features of Vocal and Choral Training of Future Music Teachers

The article reveals the peculiarities of vocal and choral training of future music teachers. The current stage of modernization of higher education in Ukraine, which is connected with the integration of our country into the European educational space, actualizes the problem of the quality of professional training of future music teachers. Vocal and choral activity is one of the most important activities of a future teacher-musician, and the training of highly qualified specialists in this field is one of the priority directions of art education. A promising direction of vocal and choral training of future specialists in the field of musical art during higher education is the arrangement of a certain sequence of teaching professional disciplines and its complex integrity, which includes the disciplines of the cycle of choral conducting, methods of teaching choral conducting, disciplines of choral studies, choral class, practical work with the choir, choral arrangement and reading of choral scores, voice production, vocal teaching methods, practical assimilation of school repertoire, etc. A feature of vocal and choral training of students of higher education institutions of artistic direction is the presence of basic structural components in it, which include conducting and choral and vocal and performing components. The conducting and choral component prepares students for the activities of a leader of a student choir, capable of organizing and implementing work on choral works at an appropriate methodical level, and capable of creating choral groups for children of various age groups in institutions of general secondary and extra-curricular education. in the workshops of which students will be able to form and develop their own aesthetic sphere, enrich their internal culture, master the values of vocal and choral art, develop their musical, singing, and artistic abilities. The vocal-executive component prepares students for the demonstration of vocal, vocal-choral works and their fragments during vocal-choral work in educational institutions, and without it, the full functioning of the conducting-choral component is impossible. Independent work of students is also an important component of the professional training of future specialists in the field of musical art.

Exploring the Training Path of Music Teacher Education on Professionalism

Music education is the unity of the practical activity of music and the practice of education, and has a dual character. In school music education, the practical activities of music have the characteristics of presentational and expressive; the practical activities of education have the characteristics of goal and normative. For a long time, due to the ambiguous understanding of the dual nature of music education practice, it has led to insufficient integration of the music and education disciplines, unclear pathways for music teacher education and training, and little effectiveness in teaching and learning. Therefore, it is necessary to follow the characteristics of their respective disciplines on the basis of finding a point of integration of the disciplines and realizing the integration and unification of the two, so as to improve the mechanism of music teacher education and training.

CURRENT PROBLEMS OF MODERNIZATION OF MUSIC EDUCATION OF THE PRC IN THE CONTEXT OF MODERN CHALLENGES

The scientific review article presents an analysis of the current problems of music education in the People's Republic of China, which are caused by the contradictions between the urgent need to preserve and multiply the national cultural potential and the requirements for the reorganization of the education system in accordance with the tasks of integration into the cultural and educational world space. The role of Chinese musical art in the historical, cultural and philosophical excursion is characterized. The main problems of music education in the People's Republic of China, which are determined by the music-pedagogical community, are presented. They are the following: orientation of Chinese music education on the training of performers, improvement of their technique; insufficient use of interdisciplinary connections with humanitarian disciplines to form a holistic view of musical art as a spiritual phenomenon; insufficient level of professional training of teachers of musical art; conservative approach in the organization and implementation of the educational process. The views of Chinese scientists, teachers, and art critics regarding the modernization of music education in the People's Republic of China are highlighted: updating and expanding the content of education by disciplines, topics of a national nature; the use of modern methods, techniques, organizational forms of training; raising the level of training of music teachers. The importance of building a national music school for the implementation of the state national cultural strategy is revealed. Among other important factors are solving the problems of national unification of the country, consolidation of the people, harmonization of relations in the society on the basis of cultural cohesion of the nation; elevation of the national identity of the Chinese nation. Prospective directions for the development of the national music school are outlined: updating the performing repertoire, supplementing the musical material studied in music lessons with examples of folk art; creating a historical and cultural context when teaching musical disciplines; promoting the spread of traditional Chinese music, its popularity and prestige in public consciousness; improvement of the process of teaching Chinese traditional music in educational institutions of all levels; defining and reconstructing the subjectivity of Chinese music, using the unique spiritual experience of national music.

HRYHORII LEVCHENKO’S ARTISTIC AND PEDAGOGICAL ACTIVITY IN THE CONTEXT OF UKRAINIAN MUSIC TEACHER TRAINING DURING THE LAST QUARTER OF THE 20th – BEGINNING OF THE 21st CENTURY

The article highlights the analysis results of the artistic and pedagogical activity of the outstanding Ukrainian teacher, musician, folklorist, professor, Head of the Music Department, and leader of the Ukrainian folk choir “Kalyna” of Poltava V. G. Korolenko National Pedagogical University Hryhorii Levchenko.
 The analysis has been carried out in the context of future music teacher training in Ukraine during the last quarter of the 20th - the beginning of the 21st century. It is emphasized that with his professional activity, H. Levchenko strengthened the process of providing education to students majoring in spatiality Secondary Education (Music Art) at the institution of higher pedagogical education.
 Attention is focused on the fact that during the last quarter of the 20th century, the teacher created a classical university department of music with a skilled staff. It is emphasized that during total Russification in the 80s and 90s, teachers led by H. Levchenko managed to adhere to the position of training music teachers based on the best examples of Ukrainian musical heritage. It is indicated that at the end of the 80s of the 20th century, H. Levchenko founded the Ukrainian folk choir “Kalyna.” It became one of the leading student collectives of Ukraine during the last decade of the 20th and the beginning of the 21stcentury. It popularized the folk art of its native land on the territory of Europe. It is established that an essential component of student education during the specified historical period was the combination of formal artistic education with non-formal artistic education not only in the “Kalyna” choir but also in other artistic and creative groups. At the beginning of the 21st century, these groups became creative laboratories of the department. Even today, students undergo musical and performing practice in conducting and choral, vocal and performing, and choirmaster training there. It significantly strengthens their professional competence. It is emphasized that the most valuable thing in Professor H. Levchenko’s work for more than half a century of artistic and pedagogical activity is his ascetic work on the formation of a music teacher as a patriot of his country, capable of preserving and multiplying the musical heritage of our people and educating the young generation on the best examples of musical art of Ukraine.

‘It blew my mind’. Creating spaces for integrating creativity, electroacoustic music and digital competencies for student teachers

AbstractThis exploratory study describes the design and implementation of a sound-based intervention in the initial training of specialist music teachers at a Spanish university. It aimed to create spaces geared towards more creative and contemporary approaches to musical learning in order to gauge the perceptions of trainee teachers regarding this kind of approach. The intervention (45 h of class time) was based on the creation of electroacoustic compositions following the SBM (Sound Based Music) approach using digital tools (Aglaya Play, AP). Qualitative process data were collected through self-reports, individual memories, and nine focus groups. The results suggest that the implementation of new intervention models that take into account the development of future teachers’ creativity with activities focused on exploration, experimentation, and creation with sound can generate new opportunities to enrich their teaching identities.

Exploring the potential of informal music learning in a perceived age of pedagogical traditionalism for student teachers in primary music education

AbstractThis research explored the impact of informal learning (IL) in primary music initial teacher training. A small group of undergraduate student teachers had an opportunity to learn about and facilitate an IL approach. Data were collected from interviews, participant reflective logs and researcher reflections. The findings show that perceived benefits included freedom for serendipity, pupil autonomy and aural learning; perceived tensions included student teacher anxiety and a lack of teacher control. The researchers propose two aspects for consideration: first, that language associated with IL has social meaning that must be updated; second, that while direct instruction remains at the heart of primary teacher education, IL can continue to be justified despite the current emphasis on direct explicit teaching.