The purpose of this study was to investigate secondary instrumental music education in rural North Carolina. This descriptive study investigated the experiences, attitudes, beliefs, and perceptions that rural instrumental music educators (n = 55) held about their schools, students, and communities. Furthermore, the researchers examined how participants defined success for their programs, what challenges and rewards they experienced in their positions, and what skills they considered most important for themselves as teachers. Results indicate that although rural music educators find the musical aspects of their positions rewarding, they believe that their nonmusical skills related to teaching, such as developing relationships with students and advocating for their programs, were more important than their own musical skills. Participants also considered student personal growth and experiences to be larger markers of success than musical performance abilities and reported moderately high levels of job satisfaction. The three greatest challenges named by participants were lack of support, limited funding or resources, and limited student involvement. Conversely, the most frequently reported rewards were musical experiences with students and witnessing students’ musical growth. Implications for music teacher education and recommendations for future research are discussed.
{"title":"Instrumental Music Education in Rural North Carolina: A Descriptive Study","authors":"Melody Causby, Catheryn Shaw Foster","doi":"10.5406/21627223.234.04","DOIUrl":"https://doi.org/10.5406/21627223.234.04","url":null,"abstract":"\u0000 The purpose of this study was to investigate secondary instrumental music education in rural North Carolina. This descriptive study investigated the experiences, attitudes, beliefs, and perceptions that rural instrumental music educators (n = 55) held about their schools, students, and communities. Furthermore, the researchers examined how participants defined success for their programs, what challenges and rewards they experienced in their positions, and what skills they considered most important for themselves as teachers.\u0000 Results indicate that although rural music educators find the musical aspects of their positions rewarding, they believe that their nonmusical skills related to teaching, such as developing relationships with students and advocating for their programs, were more important than their own musical skills. Participants also considered student personal growth and experiences to be larger markers of success than musical performance abilities and reported moderately high levels of job satisfaction. The three greatest challenges named by participants were lack of support, limited funding or resources, and limited student involvement. Conversely, the most frequently reported rewards were musical experiences with students and witnessing students’ musical growth. Implications for music teacher education and recommendations for future research are discussed.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42192209","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article considers challenges and possibilities that narrative researchers in music education might encounter when attempting to recount stories of Madness. Narrative restorying often follows a three-dimensional space structure that includes the commonplaces of temporality, sociality, and place (Clandinin, 2016; Clandinin et al., 2016; Clandinin & Connelly, 2000). Mad stories, however, do not easily restory into this structure. I center my own experiences of being bipolar to explore how such experiences particularly disrupt dimensions of temporality and sociality and assert that narrative researchers might learn to make room for Madness when telling stories. Moreover, I reflect on the impact of sanism—the oppression that Mad people experience—on Mad stories. In considering how narrative researchers might make space for Mad stories, I offer an expanded four-dimensional narrative structure alongside critical storytelling and draw upon the work of Patricia O'Toole (1994) and Roberta Lamb (1993–1994) to explore how researchers might represent such stories.
{"title":"Sanism and Narrative Research: Making Room for Mad Stories","authors":"Juliet Hess","doi":"10.5406/21627223.234.02","DOIUrl":"https://doi.org/10.5406/21627223.234.02","url":null,"abstract":"\u0000 This article considers challenges and possibilities that narrative researchers in music education might encounter when attempting to recount stories of Madness. Narrative restorying often follows a three-dimensional space structure that includes the commonplaces of temporality, sociality, and place (Clandinin, 2016; Clandinin et al., 2016; Clandinin & Connelly, 2000). Mad stories, however, do not easily restory into this structure. I center my own experiences of being bipolar to explore how such experiences particularly disrupt dimensions of temporality and sociality and assert that narrative researchers might learn to make room for Madness when telling stories. Moreover, I reflect on the impact of sanism—the oppression that Mad people experience—on Mad stories. In considering how narrative researchers might make space for Mad stories, I offer an expanded four-dimensional narrative structure alongside critical storytelling and draw upon the work of Patricia O'Toole (1994) and Roberta Lamb (1993–1994) to explore how researchers might represent such stories.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48463246","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article provides a counterstory of a formerly undocumented Latina student's experiences navigating school and music education in the United States. Using tenets of undocumented critical theory (UndocuCrit) and counter-storytelling, I share Vivian's journey through secondary and postsecondary education as she encountered systemic barriers in pursuit of a career in music education. Vivian's narrative revealed institutional hindrances that disrupted access to music education at both secondary and postsecondary levels. Notably, shifting policies, misinformation, limited access to funding, and issues with immigration documents interfered with Vivian's aspirations of becoming a certified, full-time music educator. Unwavering familial support and legal assistance from a skilled attorney aided her pursuit of higher education. Eventually, Vivian fashioned a new path in a different field of study and now uses her experiential knowledge to assist others who are undocumented. Possibilities for working with undocumented immigrant students and families are discussed in light of fluid immigration policies and the ongoing sociopolitical climate.
{"title":"“Denying America”: Vivian's Counterstory of Undocumented Status","authors":"C. Gerrard","doi":"10.5406/21627223.233.01","DOIUrl":"https://doi.org/10.5406/21627223.233.01","url":null,"abstract":"\u0000 This article provides a counterstory of a formerly undocumented Latina student's experiences navigating school and music education in the United States. Using tenets of undocumented critical theory (UndocuCrit) and counter-storytelling, I share Vivian's journey through secondary and postsecondary education as she encountered systemic barriers in pursuit of a career in music education. Vivian's narrative revealed institutional hindrances that disrupted access to music education at both secondary and postsecondary levels. Notably, shifting policies, misinformation, limited access to funding, and issues with immigration documents interfered with Vivian's aspirations of becoming a certified, full-time music educator. Unwavering familial support and legal assistance from a skilled attorney aided her pursuit of higher education. Eventually, Vivian fashioned a new path in a different field of study and now uses her experiential knowledge to assist others who are undocumented. Possibilities for working with undocumented immigrant students and families are discussed in light of fluid immigration policies and the ongoing sociopolitical climate.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43386755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this multiple case study was to gather musical and nonmusical perspectives from three experts on teaching Black gospel music in the African American aural-oral tradition. Research questions included: (a) What is the process Black gospel music experts engage in when preparing for and teaching gospel music in the aural-oral tradition? (b) In the view of Black gospel music experts, how does race intersect with the preparation, teaching, and performance of gospel music? (c) How do Black gospel music experts advocate for incorporating gospel music into public school vocal music programs? Participants were purposively selected, and data collection included observations, researcher-singer participation, and multiple interviews. Expert agreement emerged regarding teaching processes as a nonmusical “state of being” deeply infused with cultural, community, and spiritual values. Rehearsals were uninterrupted musical experiences with limited nonverbal instruction made possible from robust aural-oral immersion preparation. While participants insisted race was not a prerequisite for engagement in gospel music, they agreed the influence and mediation of race plays an active role, citing the proliferation of anti-Blackness in the academy as foremost among the barriers to rigorous preparation to teach Black gospel music. Experts advocated for teaching gospel music in schools to offer students the opportunity to participate in the accessible, inclusive, participatory, and communal experience available in gospel music.
{"title":"Three Black Gospel Music Experts on Preparing, Teaching, and “Being” in the African American Aural-Oral Tradition","authors":"Whitney A. Covalle","doi":"10.5406/21627223.233.03","DOIUrl":"https://doi.org/10.5406/21627223.233.03","url":null,"abstract":"\u0000 The purpose of this multiple case study was to gather musical and nonmusical perspectives from three experts on teaching Black gospel music in the African American aural-oral tradition. Research questions included: (a) What is the process Black gospel music experts engage in when preparing for and teaching gospel music in the aural-oral tradition? (b) In the view of Black gospel music experts, how does race intersect with the preparation, teaching, and performance of gospel music? (c) How do Black gospel music experts advocate for incorporating gospel music into public school vocal music programs? Participants were purposively selected, and data collection included observations, researcher-singer participation, and multiple interviews. Expert agreement emerged regarding teaching processes as a nonmusical “state of being” deeply infused with cultural, community, and spiritual values. Rehearsals were uninterrupted musical experiences with limited nonverbal instruction made possible from robust aural-oral immersion preparation. While participants insisted race was not a prerequisite for engagement in gospel music, they agreed the influence and mediation of race plays an active role, citing the proliferation of anti-Blackness in the academy as foremost among the barriers to rigorous preparation to teach Black gospel music. Experts advocated for teaching gospel music in schools to offer students the opportunity to participate in the accessible, inclusive, participatory, and communal experience available in gospel music.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46960601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In popular music education, there has been an increase in the amount of literature, pedagogical resources, and organizations that are available, and two pedagogical approaches for teaching popular music are informal music learning (IML) and modern band (MB). However, there is little existing scholarly critical analysis comparing these approaches. The purpose of this qualitative directed content analysis was to explore the similarities and differences between IML and MB in kindergarten through 12th-grade settings and examine how major characteristics of each approach are represented in scholarly and curricular resources. While similarities exist in the literature on these approaches, there are also distinct differences between them, such as orientation toward process or performance, use of composition and improvisation, and teacher role and approach. Moreover, the representation of the principles of both IML and MB were not always consistent in the resources we examined, with some aspects highly represented and others rarely mentioned. Learning more about both approaches could be beneficial to scholars and teachers interested in popular music pedagogy and how they are implemented in classrooms.
{"title":"Making the Schoolhouse Rock: A Content Analysis of Two Popular Music Pedagogies","authors":"Sara K. Jones, Julie D. Derges","doi":"10.5406/21627223.233.04","DOIUrl":"https://doi.org/10.5406/21627223.233.04","url":null,"abstract":"\u0000 In popular music education, there has been an increase in the amount of literature, pedagogical resources, and organizations that are available, and two pedagogical approaches for teaching popular music are informal music learning (IML) and modern band (MB). However, there is little existing scholarly critical analysis comparing these approaches. The purpose of this qualitative directed content analysis was to explore the similarities and differences between IML and MB in kindergarten through 12th-grade settings and examine how major characteristics of each approach are represented in scholarly and curricular resources. While similarities exist in the literature on these approaches, there are also distinct differences between them, such as orientation toward process or performance, use of composition and improvisation, and teacher role and approach. Moreover, the representation of the principles of both IML and MB were not always consistent in the resources we examined, with some aspects highly represented and others rarely mentioned. Learning more about both approaches could be beneficial to scholars and teachers interested in popular music pedagogy and how they are implemented in classrooms.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44607786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This narrative case study explores the practices, experiences, and perceptions of Charlie, a White music teacher in upstate New York, who is striving to do anti-racist work in a majority Indigenous teaching context. Through the philosophical lens of White music teachers as “becoming”—growing, striving, changing, learning—the author suggests that White teachers can and should strive to do anti-racist work. Employing narrative inquiry, the author highlights ways in which Charlie grapples with his Whiteness while striving toward anti-racist practices by seeking Indigenous knowledge from culture bearers, collaborating with an Indigenous musician, problematizing surface-level multiculturalism within the school, and reaching for deeper curricular engagements with students’ lives inside and outside of school.
{"title":"“This Is Going to Be a Learning Curve, Especially Because You're White”: Becoming an Anti-Racist Music Teacher in a Majority Indigenous Classroom","authors":"M. Scarlato","doi":"10.5406/21627223.233.02","DOIUrl":"https://doi.org/10.5406/21627223.233.02","url":null,"abstract":"\u0000 This narrative case study explores the practices, experiences, and perceptions of Charlie, a White music teacher in upstate New York, who is striving to do anti-racist work in a majority Indigenous teaching context. Through the philosophical lens of White music teachers as “becoming”—growing, striving, changing, learning—the author suggests that White teachers can and should strive to do anti-racist work. Employing narrative inquiry, the author highlights ways in which Charlie grapples with his Whiteness while striving toward anti-racist practices by seeking Indigenous knowledge from culture bearers, collaborating with an Indigenous musician, problematizing surface-level multiculturalism within the school, and reaching for deeper curricular engagements with students’ lives inside and outside of school.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48049812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The drum kit is a musical instrument comprising various items of percussion. It is ubiquitous in popular music (the majority of music produced and consumed by contemporary society) but is largely excluded as a requirement in the collegiate percussion studio. The authors contextualize this phenomenon in the wider cultural disparity between music in society (99% rock, pop, hip-hop and other contemporary styles) and music in higher education (almost exclusively Western art music and jazz). We ask the following four research questions: (1) How frequently is drum kit taught in the collegiate percussion studio, relative to other percussion instruments? (2) If drum kit is taught, what topics are taught? (3) If the participants play drum kit themselves, how did they learn? (4) What opportunities and/or challenges exist for drum kit instruction in the percussion studio? Fifty collegiate percussion instructors completed an online survey. Participants agreed that drum kit is important for music-making and teaching after leaving college, but for most, drum kit takes a backseat to snare drum, timpani, and marimba as foundational instruments of Western art music. We argue that including drum kit in the collegiate studio would require a shift in pedagogy and aesthetic orientation, but that such shifts are necessary in order for the collegiate percussion studio to remain relevant. Further research is required to understand how the percussion studio and higher music education more broadly can better serve students and society, including in music teacher education and in kindergarten through 12th grade schools. This article's exploration of drum kit and percussion underscores the importance of discussing the places and purposes of myriad musics and musicians throughout music education contexts.
{"title":"A Critical Examination of Percussion and Drums in the Collegiate Curriculum","authors":"G. Smith, V. Davis","doi":"10.5406/21627223.231.02","DOIUrl":"https://doi.org/10.5406/21627223.231.02","url":null,"abstract":"\u0000 The drum kit is a musical instrument comprising various items of percussion. It is ubiquitous in popular music (the majority of music produced and consumed by contemporary society) but is largely excluded as a requirement in the collegiate percussion studio. The authors contextualize this phenomenon in the wider cultural disparity between music in society (99% rock, pop, hip-hop and other contemporary styles) and music in higher education (almost exclusively Western art music and jazz). We ask the following four research questions: (1) How frequently is drum kit taught in the collegiate percussion studio, relative to other percussion instruments? (2) If drum kit is taught, what topics are taught? (3) If the participants play drum kit themselves, how did they learn? (4) What opportunities and/or challenges exist for drum kit instruction in the percussion studio? Fifty collegiate percussion instructors completed an online survey. Participants agreed that drum kit is important for music-making and teaching after leaving college, but for most, drum kit takes a backseat to snare drum, timpani, and marimba as foundational instruments of Western art music. We argue that including drum kit in the collegiate studio would require a shift in pedagogy and aesthetic orientation, but that such shifts are necessary in order for the collegiate percussion studio to remain relevant. Further research is required to understand how the percussion studio and higher music education more broadly can better serve students and society, including in music teacher education and in kindergarten through 12th grade schools. This article's exploration of drum kit and percussion underscores the importance of discussing the places and purposes of myriad musics and musicians throughout music education contexts.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47815504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pedagogical creativity is the development of flexible practices that are responsive to student inquiry, oriented toward risk-taking, and grounded in conceptions of pedagogues as curricular authors. In light of the COVID-19 pandemic, pedagogical creativity may be one way to navigate uncertain educational terrain. This article explores the findings of a qualitative case study that examined the pedagogical practices of six music educators during the COVID-19 pandemic. Data from semistructured interviews were analyzed through a theoretical framework of pedagogical creativity (Abramo & Reynolds, 2015). Attention was paid to the types of practices music educators were exploring, how pedagogical creativity was being implemented within the school culture, and the impact such practices had on music educators’ understandings of educational purpose. Findings indicate that participants found teaching during the unique context of the pandemic to be an opportunity to explore pedagogical creativity, particularly as public performance pressures were alleviated and social-emotional learning was emphasized. In particular, pedagogical creativity was often practically implemented out of a desire to remain responsive toward who and where participants were teaching, suggesting that responsiveness may be a criterion of pedagogical creativity.
{"title":"Teaching in a Time of Crisis: Pedagogical Creativity in Music Education","authors":"K. Bylica, B. Bauman","doi":"10.5406/21627223.231.01","DOIUrl":"https://doi.org/10.5406/21627223.231.01","url":null,"abstract":"\u0000 Pedagogical creativity is the development of flexible practices that are responsive to student inquiry, oriented toward risk-taking, and grounded in conceptions of pedagogues as curricular authors. In light of the COVID-19 pandemic, pedagogical creativity may be one way to navigate uncertain educational terrain. This article explores the findings of a qualitative case study that examined the pedagogical practices of six music educators during the COVID-19 pandemic. Data from semistructured interviews were analyzed through a theoretical framework of pedagogical creativity (Abramo & Reynolds, 2015). Attention was paid to the types of practices music educators were exploring, how pedagogical creativity was being implemented within the school culture, and the impact such practices had on music educators’ understandings of educational purpose. Findings indicate that participants found teaching during the unique context of the pandemic to be an opportunity to explore pedagogical creativity, particularly as public performance pressures were alleviated and social-emotional learning was emphasized. In particular, pedagogical creativity was often practically implemented out of a desire to remain responsive toward who and where participants were teaching, suggesting that responsiveness may be a criterion of pedagogical creativity.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49291063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As a result of the COVID-19 pandemic, teachers across the world shifted from in-person to online instruction. Almost instantaneously, educators were forced to rethink how they delivered instruction, managed their classes, and assessed student learning. This multiple case study examined the perspectives of 13 music educators from across the United States as they engaged in teaching music during a pandemic and how these teachers adapted and responded to a prolonged stressful teaching situation. Data collection included an entrance questionnaire, monthly semistructured interviews in fall 2020, and an exit questionnaire. Data were analyzed for themes through a theoretical lens of a four-cycle resilience theory. Findings were grouped into themes: the failure of administration, mental perseverance, the importance of music in everyone's lives, a love of children, and being on emotional rollercoaster. Insights from this study may demonstrate ways music educators might adapt to crisis and adversity. The results may also prove relevant to music educators as they reflect on their teaching practice and consider ways to nurture resilience in future stressful situations.
{"title":"Teaching Music During COVID-19: Teachers’ Perceptions of Personal and Professional Effects","authors":"Erika J. Knapp","doi":"10.5406/21627223.231.04","DOIUrl":"https://doi.org/10.5406/21627223.231.04","url":null,"abstract":"\u0000 As a result of the COVID-19 pandemic, teachers across the world shifted from in-person to online instruction. Almost instantaneously, educators were forced to rethink how they delivered instruction, managed their classes, and assessed student learning. This multiple case study examined the perspectives of 13 music educators from across the United States as they engaged in teaching music during a pandemic and how these teachers adapted and responded to a prolonged stressful teaching situation. Data collection included an entrance questionnaire, monthly semistructured interviews in fall 2020, and an exit questionnaire. Data were analyzed for themes through a theoretical lens of a four-cycle resilience theory. Findings were grouped into themes: the failure of administration, mental perseverance, the importance of music in everyone's lives, a love of children, and being on emotional rollercoaster. Insights from this study may demonstrate ways music educators might adapt to crisis and adversity. The results may also prove relevant to music educators as they reflect on their teaching practice and consider ways to nurture resilience in future stressful situations.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45600828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Following more than half a century of resistance to popular music in the classroom, modern band programs have proliferated in the United States since the early 2000s. Supported in part by the music education nonprofit Little Kids Rock (LKR), proponents of modern band aim to engage more students in school music and to support creative, student-centered music-making. The present study examined responses to the 2019 LKR end-of-year teacher survey and found that program participation has grown substantially in recent years, but is concentrated in a few urban areas. Teachers perceived that modern band expanded access to music education by engaging more students while also making themselves more committed to the teaching profession. With respect to student learning, teachers perceived that modern band allowed for nonmusical outcomes, including academic motivation and the creation of classroom social bonds. To a lesser extent, teachers perceived that students achieved creative outcomes, such as composition and improvisation.
在经历了半个多世纪对课堂流行音乐的抵制之后，自21世纪初以来，现代乐队项目在美国激增。在音乐教育非营利组织Little Kids Rock (LKR)的部分支持下，现代乐队的支持者旨在让更多的学生参与到学校音乐中来，并支持创造性的、以学生为中心的音乐制作。本研究调查了对2019年LKR年终教师调查的回应，发现近年来参与该计划的人数大幅增加，但主要集中在少数城市地区。教师们认为，现代乐队通过吸引更多的学生来扩大音乐教育的机会，同时也使他们更加致力于教学职业。在学生学习方面，教师认为现代乐队允许非音乐的结果，包括学术动机和课堂社会关系的建立。在较小程度上，教师认为学生取得了创造性成果，如作曲和即兴创作。
{"title":"National Profile of Teacher Perceptions of Teaching and Learning in Modern Band Programs in the United States","authors":"David H. Knapp, Bryan Powell, G. Smith","doi":"10.5406/21627223.231.05","DOIUrl":"https://doi.org/10.5406/21627223.231.05","url":null,"abstract":"\u0000 Following more than half a century of resistance to popular music in the classroom, modern band programs have proliferated in the United States since the early 2000s. Supported in part by the music education nonprofit Little Kids Rock (LKR), proponents of modern band aim to engage more students in school music and to support creative, student-centered music-making. The present study examined responses to the 2019 LKR end-of-year teacher survey and found that program participation has grown substantially in recent years, but is concentrated in a few urban areas. Teachers perceived that modern band expanded access to music education by engaging more students while also making themselves more committed to the teaching profession. With respect to student learning, teachers perceived that modern band allowed for nonmusical outcomes, including academic motivation and the creation of classroom social bonds. To a lesser extent, teachers perceived that students achieved creative outcomes, such as composition and improvisation.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45597927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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