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Uncovering pre-service music teachers’ assumptions of teaching, learning, and music
Abstract
In this study, the author collected narratives from her students in a music teacher education programme. Using narrative analysis, students’ assumptions and thoughts about music teaching, music learning and music making were uncovered. Through the presentation of a case study of one student, the author demonstrates some of the ways that the insights that she gained through collecting and analysing her students’ narratives have influenced her teaching and advising. Working with narratives in this way has powerful implications for research and practice in music teacher education. Researchers can learn a great deal about the thinking and assumptions that pre-service music educators bring to their studies, and practitioners can develop strategies to more effectively support their students as they develop their professional identities as music educators.
... Researchers in both general teacher education (e.g., Britzman, 1985;Feiman-Nemser & Buchmann, 1985;Knowles, 1992;Weinstein, 1989) and music teacher education (e.g., Dolloff, 1999;Rideout & Feldman, 2002;Schmidt, 1998) have provided ample documentation that preservice teachers will enter teacher education programs with individually held ideas about more and less effective teaching practices. Researchers have also demonstrated that preservice teachers filter their learning in the preservice program through these preexisting beliefs, whether that filtering takes place outside their Schmidt 29 conscious thought or through conscious experiences, with guidance from instructors and other mentors, or through self-directed growth (e.g., Bernard, 2009;Conkling, 2003;Dolloff, 1999;Haston & Leon-Guerrero, 2008;Richards, 1999;Schmidt, 1998). ...
... Music teacher educators have reported a variety of other assignments that may help prospective educators reflect on and make their beliefs about teaching more explicit. They have asked preservice teachers to complete various guided reflection assignments, such as electronic journals (Conkling, 2003), guided verbal reflections (Stegman, 2007), autobiographical narratives (Bernard, 2009), structured written reflections (Stegman, 2001), structured or unstructured interviews (Conkling, 2003;Stegman, 2007), or written or electronic portfolios (Bauer & Dunn, 2003;Tarnowski, 1997). Music teacher educators have also found case studies, written by or for preservice music teachers, to be useful. ...
... Lind (2001) summarized research on case studies in general teacher education, and Conway (1999) studied the classrooms of four expert teachers; both proposed guidelines for music teacher educators wishing to design case studies for their classes. Campbell (1999) collaborated with a preservice teacher in reflecting on her experience and found the process valuable for his own understandings of the ways preservice teachers' perceptions develop; Bernard (2009) found similar benefits for her teaching by conducting narrative analysis of her students' autobiographical writing. Of the researchers who have explored reflection as a means to assist the development of teaching practice, some have proposed that the ability to reflect may be developmental, at least in some aspects (Conkling, 2003;Harwood, 1999;Hourigan & Scheib, 2009;Kerchner, 2006;Stegman, 2007). ...
This literature review examines research focusing on preservice music teachers' developing beliefs about teaching and the ways those beliefs influence their practices. Dewey's theory of experience suggests that experience influences beliefs, and studies of preservice music teachers support this theory. Music education researchers have examined sources of preservice teachers' beliefs and the challenges for teacher educators in helping preservice teachers identify and articulate them. Studies are also reviewed documenting methods that music teacher educators have explored in helping preservice teachers link their beliefs with teaching practices in methods courses and early teaching experiences. Future research could examine the longitudinal development of beliefs from preservice through in-service teaching and effective methods for assessing preservice teachers' development. Further research is also needed in preparing teachers with the desire and the skills needed to address the needs of culturally and musically diverse students.
... The expansion and strengthening of disciplinary knowledge noted in this section is all the more important for musicians entering a career in teaching, as their particular discipline specialism often positions them in 'dissonance' (Bernard, 2009) with their new pedagogical role and identity, a point to which I now turn. ...
... In this sense, musicians' creativities could be viewed as a tool for coping with the shifting realities of university-workplace transitions, as it enables engagement with issues of self-identity, being and becoming, terms that are scarcely mentioned in higher education pedagogy (Jackson, 2006). This is all the more important for musicians becoming teachers, as their particular discipline specialism often 'positions' them (sometimes in dissonance and other times harmoniously) between the identities of 'teacher' and 'musician' (Bernard, 2009;Pellegrino, 2009). This is due to the fact that the majority of secondary music specialist teachers are likely to have been trained within the Western classical tradition. ...
... As a tool for 'exploring teachers' perspectives on their culture, beliefs and actions', beginning teachers' narratives provide evidence of their pathways toward establishing their own unique identities by creating their own meaningful school stories (Marble, 1997); they are also shown to have much to offer to pre-service teachers in terms of the reflective thinking that arises as a result of telling and re-telling stories to the self and to others (Bernard, 2009). This type of sense-making is key to any new teacher's transition into school culture (Marble, 1997). ...
... Although the previous research has focused mainly on the results of learning, i.e. creative performance, within the field of music education there have been increasingly international studies on university students' learning (e.g. Bernard, 2009; Ferm Thorgesen, 2010;Ferm & Johansen, 2008;Reid, 2010). In Finland there are also studies in higher music education on teaching, practicing styles, one-to-one-tuition, master class and collaborative learning (e.g. ...
... (Entwistle, 1988;Entwistle & Ramsden, 1983;Marton & Säljö, 1976a;1976b;1997.) In higher music education there are studies regarding university students' experiences of learning (Reid, 2010) and university students' conceptions of learning (Bernard, 2009;Reid, 2010). Ferm Thorgesen (2010) has researched university students ' and Ferm & Johansen (2008) university students' and teachers' conceptions of quality learning with theoretical categorising of approaches to deep and surface learning. ...
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... Moreover, as a tool for coping with music-making/music-teaching transitions, creativity could be considered crucial for musicians' identities and sense of self as they employ prior knowledge and skills in new ways in their teaching contexts and as they create new notions of "self" in educational workplaces. This is important for musicians becoming teachers, as their particular specialism "positions" them sometimes in dissonance and other times in harmony with the teacher-musician identity (Bernard, 2009). ...
... The Vignettes above aimed to provide an initial window into two lines of thought put forward during this paper. The first relates to musicians' particular discipline specialism that often positions them (sometimes in dissonance and other times harmoniously) between the identities of 'teacher' and 'musician' (Bernard, 2009). Musicians do not undertake educational work as complete novices. ...
This research was designed to study the adaptation and applications of informal music learning practices in a context of formal education. The knowledge of musical learning processes in extracurricular contexts has been approached with great interest by researchers, throughout the years. The aim was to explore the link between these processes, its procedures and their interrelationships, to assist the work of teachers and enrich the practice of music in general. The methodological support of Action Research, in conjunction with the use of ethnographic techniques of data collection such as participant observation and questionnaires, allowed gathering students’ views about the applied activities. The subject “Musical Informal Practices,” offered for four months in the Undergraduate Course at the School of Music of the State University of Minas Gerais, Brazil, served as the base environment for the study. The research involved fourteen students and with the activities developed through them it was possible to apply, study and discuss the main musical practices of informal learning, with reference to the work of Professor Dr. Lucy Green (2008). Thus, at the end of the study, through the reports of the students, we concluded that the informal practices, after due adaptations, act as facilitators for the students’ in their musical practices.
... Moreover, as a tool for coping with music-making/music-teaching transitions, creativity could be considered crucial for musicians' identities and sense of self as they employ prior knowledge and skills in new ways in their teaching contexts and as they create new notions of "self" in educational workplaces. This is important for musicians becoming teachers, as their particular specialism "positions" them sometimes in dissonance and other times in harmony with the teacher-musician identity (Bernard, 2009). ...
... The Vignettes above aimed to provide an initial window into two lines of thought put forward during this paper. The first relates to musicians' particular discipline specialism that often positions them (sometimes in dissonance and other times harmoniously) between the identities of 'teacher' and 'musician' (Bernard, 2009). Musicians do not undertake educational work as complete novices. ...
As parent universities strive to produce work-ready graduates, tertiary music institutions are beginning to respond by changing their offerings. Consequently, vocational preparation, work integrated learning (WIL) and service-learning courses are becoming increasingly prevalent. For the majority of institutions, these are offered in the latter years of students’ undergraduate Bachelor of Music and Music Technology degrees. Some critics consider this is too late. Rather, exploration of what it means to be a musician needs to be encountered early in the degree in order to optimally maximise and engage with undergraduate training. In Australia, it is debatable whether young commencing students are generally ready to accept the realities of the music industry and/or supportive of vocation training.
Traditional career goals such as orchestral employment are becoming less realistic, reducing linear career options, yet some tertiary music institutions with curricula aligned to these employment outcomes continue to thrive. To explore this phenomenon beyond the argument of demographics, population and arts policy, an entire first year Bachelor of Music and Bachelor of Music Technology cohort was asked about their vocational ambitions. As “The Dream” is the initial inspiration for short-term and long-term music career motivation, this paper will identify, explore and define 94 first-year undergraduate students’ career aspirations. Intrinsic/extrinsic motivations, perceptions of required career skills and role models are additionally scrutinized. The findings of this study may serve as a guide for music institutions wishing to integrate similar programmes into the first year of their undergraduate Bachelor of Music degrees.
... Moreover, as a tool for coping with music-making/music-teaching transitions, creativity could be considered crucial for musicians' identities and sense of self as they employ prior knowledge and skills in new ways in their teaching contexts and as they create new notions of "self" in educational workplaces. This is important for musicians becoming teachers, as their particular specialism "positions" them sometimes in dissonance and other times in harmony with the teacher-musician identity (Bernard, 2009). ...
... The Vignettes above aimed to provide an initial window into two lines of thought put forward during this paper. The first relates to musicians' particular discipline specialism that often positions them (sometimes in dissonance and other times harmoniously) between the identities of 'teacher' and 'musician' (Bernard, 2009). Musicians do not undertake educational work as complete novices. ...
Success in marketing classical music depends largely on three key factors: the size and status of the CD release label; the status and image of the performers and composers; and the repertoire. This paper reports from a project that involved a small, independent Australian label, performers little-known beyond their academic work, and newly written music by Australian composers. The researchers expected it to be difficult to get airplay, recognition and sales, and they responded by turning to the idea of the concept album. The project looked at the concept album as a way of offering classical composers and performers new ways of programming works, ordering CD tracks, and placing their music into the listening community. We begin with discussion of the concept album in popular music and similar shapes in classical music and then introduce four recent projects of newly composed classical music: Australia East and West – new music for viola and piano (forthcoming 2015); Childhood in Music – new music for solo piano (2011); Shadows and Silhouettes: New piano compositions celebrating a Chinese-Western confluence (2012); and Antarctica – new music for piano and/or toy piano (2014). We follow this with discussion of the similarities with, and differences from, recognised popular concept albums types. In doing so, we raise new concept album possibilities and argue for and against some of the points raised in Ryan Hibbett’s (2005) pairing of indie rock and classical music and how they might impact on marketing. Against this background, we end the paper with consideration of the relevance of creative marketing for performers and composers of contemporary classical music whether within or outside tertiary institutions.
... Moreover, as a tool for coping with music-making/music-teaching transitions, creativity could be considered crucial for musicians' identities and sense of self as they employ prior knowledge and skills in new ways in their teaching contexts and as they create new notions of "self" in educational workplaces. This is important for musicians becoming teachers, as their particular specialism "positions" them sometimes in dissonance and other times in harmony with the teacher-musician identity (Bernard, 2009). ...
... The Vignettes above aimed to provide an initial window into two lines of thought put forward during this paper. The first relates to musicians' particular discipline specialism that often positions them (sometimes in dissonance and other times harmoniously) between the identities of 'teacher' and 'musician' (Bernard, 2009). Musicians do not undertake educational work as complete novices. ...
Students develop knowledge of themselves, their peers and their creative thinking and practice through a complex set of negotiations and experiences. Most students at a conservatorium enter with a long experience of music making in school, co-curricula activities and the home. They have already learned to practice, to perform, and to think in musical ways; but at the tertiary level they have made an extra commitment to the ideal of becoming a professional musician. During their training, students’ musical identity is in a fluid state as they transition from expert musical learner to novice professional musician. These transitions are informed by students’ study experiences, which in turn inform their formation of professional identity and their negotiation of the relationships between the personal and the professional. In this study we explored the role of creativity in students’ learning and identity formation. The study was located at an Australian conservatoire where creativity is considered a graduate attribute and is also used as an assessment criterion. Specifically, the study explored creativity as a single dimension of students’ developing professional ideas. Students were invited to participate in a discussion of what creativity means in relation to their learning. The discussion had only minimal intervention by a facilitator, with students taking the lead on the discussion’s direction and outcomes. Using a linguistic approach, this paper examines how students negotiated views on creative thinking and practice. It shows how the forms of music students played or composed, and the affordances of their degree programs, mediated students’ creative activities. The discussion indicates what students see as the utility of creative practice or thinking for their future careers. Of particular interest are the moves and countermoves that are made between the students as they discuss elements of musical activity, thinking, performance, perceptions of musical genres and potential work environments. The moves and countermoves represent a form of knowledge transfer and co-construction in action.
... There is an extensive body of research exploring the effectiveness of feedback that informs preservice teachers regarding their teaching practices and the most effective teaching practices used by teachers in the field of music (Bernard, 2009;Legette & McCord, 2015;Richards & Killen, 1993;Walker, 2008;White, 2007, for example.). However, formative, verbal feedback effectiveness has not been directly examined in the context of pre-service teachers in the field of music education. ...
The purpose of this study was to develop and validate a scale to measure the quality of pre-service music teachers' formative, verbal feedback in the context of secondary-level instrumental ensemble rehearsals. The questions that guided this study include: (a) What are the psychometric qualities (e.g., validity, reliability, and precision) of the Pre-Service Music Teacher Verbal Feedback Evaluation Scale? (b) How do the verbal feedback criteria vary in difficulty in relation to how the students vary in achievement? and (c) How does the rating scale category structure vary across each individual criterion? A sample of pre-service music teachers' teaching episodes (N = 55) was video recorded in 6-10 minute segments. Music content experts (N = 15) evaluated the teaching segments using the Pre-Service Music Teacher Verbal Feedback Evaluation Scale consisting of 39 criteria embedded within five domains. Data were analyzed using the Many Facet Rasch Partial Credit (MFR-PC) model. Results indicated a high reliability of separation and a good data-to-model fit for the MFR-PC. Implications for teaching and rehearsal effectiveness as well as pre-service music education training in the secondary-level instrumental classroom are discussed.
... (p.4). The concept of 'flow' has been regularly used to explain the benefits of music making (see Bernard, 2009 for discussion). It is apparent that by putting people in situations where they experience a balance of challenge and skill level that they enter this 'flow' state and an improvement in their well-being can be a beneficial side effect. ...
Improving the well-being of children has been widely discussed, yet research-exploring strategies aimed at improving this in school-based settings is still an emerging field of research. This mixed methods study investigated the impact of a singing intervention on the subjective well-being of a class of 27 children aged 8–9. Over the course of 2 weeks, the class took part in 20 minutes of daily group singing with a focus on learning popular music that they chose. The sessions were delivered by a generalist primary teacher who had previously worked as a music specialist. In measuring children's subjective well-being with emphasis on life satisfaction, the ‘Student's Life Satisfaction Scale’ was administered to the children pre- and post-intervention. Of the 27 children, four (identified as disadvantaged) were interviewed as part of a focus group at the end of the intervention and questions centred around the children's opinions and enjoyment of the intervention. Results indicated that there was a much lower proportion of children with low subjective well-being scores after the intervention than before the intervention (as measured by the SLSS questionnaire). Analysis of the Likert scale data showed a ‘medium’ (d = 0.5) effect size. Thematic analysis of the focus group revealed that singing had a broadly positive effect on the well-being of those children, which is consistent with findings found in similar trials involving adults. Links to the theoretical framework of ‘flow’ by Csikszentmihalhi (1975) are drawn, alongside the PERMA well-being framework model (Seligman, 2012) to help explain the effects of being engrossed in an enjoyable activity such as group singing and how this in turn can impact subjective well-being.
... Also in agreement with the teachers of other subjects, the participants in the present study describe their position on the ideal interaction between teachers and learners in their teaching philosophies (FELICILDA-REYNALDO & UTLEY, 2015). In regard to the specific body of works that are focused on the beliefs of preservice music teachers, several results of the present study are equally in agreement with these studies, such as the intention to create 'open' learning environments where in-class discussions are encouraged (BERNARD, 2009) and the concerns with the students' emotional growth (KOS, 2018). However, the participants in the present study also raise aspects that are uncommon or non-existent in previous studies regarding teaching philosophies and beliefs. ...
Written teaching philosophies are a common part of applications for music teaching positions. However, their contents are not commonly addressed in the music-education research literature. At the present study, I aim to explore the beliefs in practicing the profession as expressed in those statements and based on the case of last-year pre-service music teachers at a Swedish university. The results showed four different areas of concern: methodology-related, self-related, curriculum-related and student-related aspects. Furthermore, I discuss the impossibility to classify the underlying philosophies within the traditional ones in music education and the implications for the professional world.
... from student to teacher. Music researchers have investigated preservice music teacher identity on training and support (Jones & Parkes, 2010), comparison with performer identity (Bennett & Stanberg, 2006;Juuti & Littleton, 2010), perceived teacher image (Bernard, 2009;Conway, Eros, Pellegrino, & West, 2010;Dolloff, 1999), and choices to teach or not to teach (Hellman, 2008;Jones & Parkes, 2010). Others have focused on music teacher socialization (Bouij, 2004;Isbell, 2008), self-efficacy (Jones & Parkes, 2010), and aspects of creativity and identity development (Randles, 2009). ...
Students choosing to enter the music teaching profession after having already obtained undergraduate degrees in other music fields may experience unique forms of socialization and teacher identity development. Participants were four students enrolled in a 3-year master’s program with a music teacher licensure component. Through individual and focus group interviews, participants shared their perspectives on program experiences, course elements, and interactions with peers and professors as important influences on their developing music teacher identity. I examined the data for emerging patterns and applied open and axial coding to the most prominent responses, resulting in themes centered on participants’ socialization experiences, desire for independence, need for self-justification, and “outsider” status among peers. To combat lack of peer recognition or support, participants developed strong, collaborative relations with each other. Implications for music teacher educators are considered.
... Isbell (2008) suggested that music education majors' teacher identity is influenced by the extent to which they are viewed as teachers by the important others in their lives, including collegiate music education faculty and school music teachers serving as mentors/cooperating teachers. Bernard's (2009) narrative analysis revealed assumptions and thoughts about music teaching of students participating in a music teacher education program; she asserted that her findings could be used to develop strategies to more effectively support stu- dents during their collegiate experience as they develop their professional identities as music educators. Hopefully the outcomes of this and future research will result in a better understanding of how students develop teacher identities and allow us in the teacher education profession to connect that understanding to a learning environment that nurtures positive identity development. ...
For music teachers to be most effective, they must possess the dispositions that best facilitate their students’ learning. In this article, we present and discuss the findings of a study in which we sought to explore music majors’ self-appraisals in and the extent to which they value the disposition areas of reflectivity, empathic caring, musical comprehensiveness, and musical learnability orientation. Evidence from a survey of 110 music majors suggested that music education students possess and value the dispositions of reflectivity, musical comprehensiveness, and musical learnability orientation more highly after they have matured through their college careers. Additionally, based on their responses to music teaching scenarios, it appears that senior music education majors possess greater empathic caring than do their freshman counterparts.
... In the literature, there are many studies about pre-and in-service education in music teacher education (Conway, 2002;Ballantyne & Packer, 2004;Ballantyne, 2007;Bernard, 2009;Burwell & Shipton, 2011;Freer & Bennett, 2012). Several studies on the physics of music, which is an interdisciplinary subject, also can be found in the literature and considered as a basis for this study (Kelly & Chen, 1999;Hodges, 2003;Longair, 2006;Caleon & Supramaniam, 2007;Caleon & Ramanathan, 2008;Frederickson, 2010). ...
Physics of music is an area that is covered by interdisciplinary approach. In this study it is aimed to determine prospective music teachers’ level of association with physics concepts which are related to music. The research is a case study which combines qualitative and quantitative methods. Eighty-four students who were studying at the Department of Music Education participated to the study. A data collection instrument which included qualitative and quantitative items with an interdisciplinary approach was used in this research. The collected data were grouped and analyzed by finding percentage value for each item. The findings from the data analysis were interpreted and a case assessment was made. In addition it was asked if it was necessary to take such an education. The findings revealed that most participants were unaware of musical concepts relating to physics and had difficulty in associating these concepts or expressing what they know. However, a great majority thought that such an education was necessary in their department.
... Reflection can lead to the demonstration of divergent psychological conditions and emotions, such as stress or excitement, fear or confidence, satisfaction or disappointment. Self-assessment can become an informative tool for lecturers in higher education by allowing them to better understand and value their students' needs, reshape the content of their lectures accordingly, and support students more effectively (Bernard 2009). This approach can add a "hint of comfort" to traditional forms of assessment that may follow strict and often stressful examination procedures. ...
Self-assessment can play an important role in teachers’ personal and professional development and is encouraged by educational programs worldwide. This article reports on a Greek study that aimed to investigate generalist preservice kindergarten teachers’ self-assessment of their music teaching ability. One hundred participants were asked to design and deliver three music sessions for the kindergarten and then prepare a short reflective portfolio. Qualitative analysis of the portfolios led to the identification of different issues related to student practices, including preservice teacher training, teaching ability, the effect of different school environments and policies, and personal thoughts and feelings. Finally, the article discusses the role of self-assessment in understanding students’ academic needs and suggests initiatives and policies that might promote better teaching practices in music education, both at kindergarten and university level.
... Prior research has demonstrated that teacher beliefs influence teacher behaviour (Bernard 2009;Datnow and Castellano 2000). Teachers' beliefs inform their teaching methods and subsequently, outcomes (Kennedy and Kennedy 1996). ...
This paper reports a study investigating trainee teachers' beliefs about music abilities and learning. The study employed two questionnaires: the Music abilities beliefs questionnaire (MABQ) and the Music learning beliefs questionnaire (MLBQ) which were specially designed to reveal the beliefs of trainee teachers of primary and secondary schools (middle and high school). Internal consistency and factor structure of the two questionnaires were investigated through the application of Cronbach alphas and factor analysis techniques. For the MABQ, four factors were extracted, which were interpreted as study abilities, performance technical skills, discriminative abilities and interpretation. For the MLBQ, five factors were extracted, which were interpreted as personality, cognitive characteristics, musical factors, family and social factors, and physiological and body factors. Each factor from both questionnaires was subjected to ANOVA taking into consideration the influence of three concurrent variables, such as age, gender and grade taught (primary/secondary). Results revealed significant differences between primary and secondary trainee teachers in the way they consider music ability and learning. The results are discussed in relation to their potential impact on teacher education and implications for future research.
Uncovering the motivations towards a profession may contribute to a better understanding of how the profession is chosen and will be pursued. However, the research on the attractiveness of the music teaching profession is rather limited and predominantly focused on identity development, thereby overlooking other aspects that may play a role. In pursuing a case study, my aim is to contribute to this field of research by investigating the views of pre-service music teachers enrolled at the University of Karlstad in Sweden. The results depict a unique motivational profile compared to their counterparts in other subjects. These differential aspects are threefold, indicating a high prevalence of ‘extrinsic motivations’ driving their choice of profession, that ‘altruistic reasons’ have lower significance as a motivating factor, and that there is a poor perceived relevance of these individuals’ future profession. In addition, this study provides evidence of the prevalence of ‘musician identities’ over ‘teaching identities’ and foresees the dependence between the participants’ motivation and their future students’ progression. Moreover, I hypothesise that career changes and Pygmalion effects are to be expected if intrinsic motivation towards the profession is not fostered or if this population’s motivation is linked to the progress of their students rather than the challenge of motivating them in the first place.
One of the most important issues in music education is the development of children’s musical abilities, which are in turn impacted by teachers’ beliefs. The purpose of this study was to investigate the beliefs of general classroom and music specialist teachers in Hungary about the development of the musical abilities of children. A total of 176 general classroom teachers and 272 music specialist teachers participated in the research process. Data were collected using an online questionnaire method. SPSS was used to process data using quantitative methods. The researcher used descriptive statistical methods (frequencies, means, standard deviations) for data analysis, and inferential statistics—independent samples t test, Pearson’s correlation, and factor analysis (Maximum Likelihood method, Oblimin rotation)—to examine differences and correlations between variables. The results indicated that teachers cognitively organize musical abilities differently from the Hungarian National Core Curriculum content. Moreover, the study observed several differences among the beliefs of general classroom and music specialist teachers regarding the level of development of musical abilities of primary school children. A significant correlation was noted between the teachers’ qualifications, practice, and length of instrumental learning, and their beliefs about developing musical abilities in children. One main educational implication emerged from the results was the importance of modification of beliefs for educating teachers in university courses, which poses a major problem because changing teachers’ beliefs is a complex process.
The purpose of this instrumental case study was to observe music educators and special education paraprofessionals (SEPs) in a learning community that examined their perceptions and necessary practices needed to teach music to students with disabilities. The primary question of this study was: How may a community of practice (CoP) offer collaboration and instructional support for music educators and SEPs? Participants found the collaborative nature of the group to be the most beneficial. While instructional practices were moderately impacted, participants’ perceptions of their colleagues were changed. Participants also discovered similarities between their positions and shared concerns over systemic issues in education which impacted their positions within their school communities.
The first official works about the teacher competencies in Turkey were began in 1998 and many revisions made since then. In this framework, subject-specific competencies were prepared for some areas for primary education in 2008 and secondary education in 2011. This research aimed to review and analyze studies about music teacher competencies between 2008 and 2017 when music teacher competencies were in effect. For this purpose, the studies conducted during this period in Turkey were scanned, and the thematic content analysis was carried out within the framework of the method/design, sample group, data collection tools, aims, results, and recommendations. One of the research findings showed that the studies concerned were particularly related to the competency areas of planning and regulation, the theoretical-applied knowledge and skill, and professional development. Another finding pointed out that the vast majority of the studies employed a descriptive survey model. Last but not least, it was found that the samples of the studies were mostly constructed from pre-service teachers rather than in-service teachers. This current research suggests that further studies should give priority to choose in-service teachers as samples rather than pre-service teachers and also suggests more functional courses for both undergraduate program and in service training.
I investigated how preservice instrumental music teachers understand and describe their teacher identity through the use of metaphor in a one-semester instrumental methods course emphasizing authentic context learning. Twenty-five third-year instrumental methods course music education students created a personal metaphor to explore their professional identity construction. Preservice teacher metaphors were revisited throughout the semester while students participated in an authentic context learning experience in an urban instrumental music classroom. Data sources included student artifacts, informal interviews, and observation/field notes. The impact of teaching within an authentic learning context appears to enrich the ways in which preservice teachers are able to articulate details of their metaphor descriptions. Through their reflections across the semester, preservice teachers demonstrated how personal metaphors were used to restructure their understandings of teacher identity and capture some of the complexities of becoming teachers.
A major component in the socialisation of teachers is the development of a belief system, which is closely related to their identities. A better understanding of the belief systems and identities of preservice teachers when they begin the process of secondary socialisation could influence approaches to teacher preparation. The purpose of this study was to understand preservice teachers’ initial beliefs about music education as well as their conceptualisations of their identities. Data were drawn from selected assignments completed by students who were enrolled in an introductory-level music education course at a university in the northeastern United States. Through an analysis of the data using a constant comparative approach, three broad themes emerged: A desire to share and develop passion; expressing, feeling, and emotional growth; and providing opportunities for all students. Implications for teacher educators and suggestions for further research are discussed.
Proceedings of the seminar organized by the ISME Music in School and Teacher Education Commission (MISTEC) in Curitiba (Brazil) between the 14th and the 18th of July, 2014.
Many teacher candidates (preservice teachers) in a Bachelor of Education degree cross the threshold into an elementary music methodology course with trepidation. Thus, teacher educators (music education professors) ought to explore the ways in which they can attend to students’ music experiences so as to increase teacher competence. This article explores three relevant areas of literature: fear of teaching music, relevance of informal music learning on influencing teacher identity, and influence of such experiences on teacher education programs. Building on this literature, the article concludes with highlighting a 2-year narrative inquiry exploring how the daily music experiences of teacher candidates’ inform their teaching practices. Through the use of visual narratives (body maps), oral and written narratives, and conversational interviews, 20 participants gave voice to their multilayered experiences that influenced their perceptions about music teaching. Findings deepen conceptualizations concerning the power of informal music learning in shaping teacher identity and practice.
Purpose – This chapter focuses on how teacher candidates engage in a process of body mapping to narratively inquire into how their daily informal and formal music experiences inform elementary music teaching practices.
Methodology and findings – In a primary/junior music education course at Brock University, teacher candidates utilize a course assignment to create a visual narrative (body map), along with oral and written narratives that outline their music experiences. Through this narrative inquiry, teacher candidates become aware of how their personal lived experiences influence their perceptions about elementary music teaching. This chapter offers conceptualizations of five threads that emerged from the narratives: process of body mapping and musical experience, music everywhere, school influences, family, and fear.
Value – This inquiry deepens understandings of curriculum making possibilities in elementary music teacher education as teacher candidates begin to form their music teacher identity based on their lived experiences. Such visual, oral, and written narratives contribute to increased narrative understandings by demonstrating the power teacher candidates' personal music experiences have in shaping teacher identity and, in turn, teaching practice.
This study aims to assess the perceived impact of Post-Graduate Certificate in Education (PGCE) music students' engagement in music making outside school on their teaching. Fifty-one students training to become secondary school music teachers in England were asked to report on the perceived impact that their participation in music making outside school had on their lives during their training and on its expected impact as a qualified music teacher. They believed that being musically involved outside school has both personal and professional benefits for them as it has the potential to increase their anticipated job satisfaction as qualified teachers and help them become better teachers. They all expressed a desire to be involved in such musical activities as qualified music teachers because they felt that these can help them maintain their enthusiasm, be more confident and motivated, and keep their technique and performance standards to a high level.
We all have very clear images of what teachers look like. After all, we have experienced teachers formally and informally for most of our lives. In addition to the many teachers that we hold in our memories from our schooling, we have accumulated a vast number of fictional teachers—teachers portrayed in art, in film, in theatre, and many other areas of popular culture [Weber & Mitchell (1995) ‘That's Funny, You Don't Look Like a Teacher’ (London, Falmer Press)]. Working from within qualitative frameworks, teacher educators are helping teachers to uncover their images of teaching as a way of understanding their practice, and explicitly seeking a link between image and practice. The application of this body of research to the study of music education has been generally overlooked.As with other teacher education candidates, music education students come to formal teacher education with a wealth of personal practical knowledge about teachers and teaching built up over the many years of study in school and studio. Traditionally, however, music education courses, particularly methods courses, have not considered the prior knowledge of students as a significant component of course content. Instead, courses have concentrated on building new competencies, skills, or formal knowledge about teaching. Such curriculum models neglect the central place of the individual in teacher education.This paper will explore the rich treasury of knowledge that music education students hold implicitly in the form of ‘images’ about teachers and teaching, and their impact on the practice of teacher education in music. I will describe a variety of means of uncovering and analysing personal images as a component of formal study in music education; and, explore some of the teacher images that emerged in a continuing study into the role of ‘image’ as a component of constructing professional knowledge in music teaching.
This paper reports on a longitudinal project with Swedish music teachers-in-training and their first phase of working life. In the project both qualitative and quantitative data are collected and analysed. The paper reports various findings, among them, the importance of the student values and norms. During the music teacher education program the students have to find a position somewhere between a teacher's and a musician's ideal. They also have to make a decision on how broad their musical competence should be in order to master their future proposed occupation.
This is a sociolinguistic study of how people create and exchange coherent oral life stories. Linde claims such stories serve a number of psychological and social purposes, including the development and expression of a sense of self and the solidification and definition of relationships and group memberships. Linde analyses a series of oral interviews with middle-class Americans who were asked to explain their choice of profession. She focuses on the means by which the speakers give coherence to their stories. The most basic level of coherence, she finds, comes from the structure of the narrative. The next level is that of causality and continuity. Linde identifies the ways in which speakers attempt to demonstrate an adequate chain of causation for their choice of profession and to explain apparent discontinuities. At the highest level, the stories are shaped by “coherence systems”—explanatory systems of assumptions about the world. Coherence systems used by Linde’s subjects include versions of Freudian and behavioural psychology, astrology, feminism and Catholic confessional practice. The most pervasive coherence systems, however, proves to be “common sense”: the set of beliefs which are assumed to be shared by any competent member of the culture. Common sense assumptions held by those interviewed include the belief that “You can be whatever you want to be,” subject only to personal—as opposed to economic or class—limitations, and that personal desire, rather than obligations, family ties or tradition, should determine professional choice. Linde points out the peculiarly American nature of these assumptions and examines their history within ourpopular culture. systems, including `common sense’ and its peculiarly American nature.
The need for understanding the issues facing beginning teachers is well documented in the education literature. Within music education, there is also growing interest in the challenges of the first years and the overall life cycle of a music teacher. However, few sources have used the stories of beginning teachers themselves to illustrate the issues. This article presents the stories of four beginning music teachers as a way of illustrating new teacher successes and concerns.
The purpose of this research was to gain an understanding of how music education students come to think of themselves as music educators. Guided by the thematic framework, "learning from experience", which draws upon research relating to constructivist theory and biographical inquiry, as well as literature pertaining to construction of images of self, this study explored four music education students' perceptions of themselves as musicians and as educators. Believing that self-perceptions are rooted in personal biographies, autobiographical and journal writings were investigated to establish links between participants' perceptions and biographies. Issues encountered by participants as they began to think of themselves as music educators were uncovered. Participants' perceptions of their "selves" were rooted in childhood memories and models of practice. They interpreted, internalized and practised the tacit expectations of their models of practice. Subsequently, participants' images of self-as-musicians and self-as-educators were connected by a common thread, that of image of self. Participants who viewed self-as-performer encountered conflict between their identities as musician and as educator. Other participants constructed images of self-as-participants. As such, they experienced a sense of unity and resonance between their identities as musicians and as educators. Issues directly related to their self-perceptions surfaced as participants began to think of themselves as music educators. The study considered the implication of these issues for teaching practice, and the relationship between these issues and preservice teacher training. This study concludes with a discussion of research implications and directions for reforming music teacher education.
Includes abstract. Thesis (Ph. D.)--North Texas State University, 1983. Includes bibliographical references (leaves 225-232). Microfilm of typescript. s
Identity work’ in music teacher education
- R Bernard
A dissonant duet: Personal meanings of music and music teaching
- R Bernard
School music teachers as musicians: Professionals with an alternate relationship to traditional school knowledge . Paper presented at Commission for Continuing Professional Education of the AAACE
- B Roberts
Making music, making selves: A call for reframing music teacher education, action . Criticism, and Theory for Music Education
- R Bernard