In the subject areas of performing and visual arts, most teaching and learning take place in the traditional classroom, with face-to-face instruction methods but as a result of the COVID-19 pandemic the University of Visual and Performing Arts (UVPA) promptly moved the delivery of all of its undergraduate courses to an online format. During the COVID-19 period, the UVPA, like other Sri Lankan universities, began to use emerging technologies and tools such as Zoom and a Learning Management System (LMS) for pedagogical intent. The goal of this study is to find out what teaching strategies can be applied to improve music teaching and learning in an online environment and how faculty staff experienced teaching music online. This research is designed as a Multiple Case Study. Depending on the purpose of the research, structured interviews were conducted to collect feedback from randomly selected faculty members. The participants were eight faculty members from the Faculty of Music engaged in teaching during the 2018/2019 academic year. Previously, the Faculty of Music has underutilized e-learning and the use of an LMS. However, the recent COVID-19 outbreak has forced them to rely on e-learning/online learning in order to ensure the continuity of educating the students enrolled in the degree programmes offered by the faculty. The results revealed that most of the teaching staff were new to teaching music online; however, they learned how to teach online given the circumstances which had left them with no other feasible solution. According to this study, the online music teaching activities utilized have improved teaching performance and technological skills and abilities, saved time, allowed participants to complete tasks more quickly, enhanced productivity of work, and increased educational values.
{"title":"Strategies of Online Music Teaching: The Story of Eight Cases during the COVID–19 Lockdown in Sri Lanka","authors":"Kamani Samarasinghe, Rohan Nethsinghe","doi":"10.4038/jrm.v1i1.2","DOIUrl":"https://doi.org/10.4038/jrm.v1i1.2","url":null,"abstract":"In the subject areas of performing and visual arts, most teaching and learning take place in the traditional classroom, with face-to-face instruction methods but as a result of the COVID-19 pandemic the University of Visual and Performing Arts (UVPA) promptly moved the delivery of all of its undergraduate courses to an online format. During the COVID-19 period, the UVPA, like other Sri Lankan universities, began to use emerging technologies and tools such as Zoom and a Learning Management System (LMS) for pedagogical intent. The goal of this study is to find out what teaching strategies can be applied to improve music teaching and learning in an online environment and how faculty staff experienced teaching music online. This research is designed as a Multiple Case Study. Depending on the purpose of the research, structured interviews were conducted to collect feedback from randomly selected faculty members. The participants were eight faculty members from the Faculty of Music engaged in teaching during the 2018/2019 academic year. Previously, the Faculty of Music has underutilized e-learning and the use of an LMS. However, the recent COVID-19 outbreak has forced them to rely on e-learning/online learning in order to ensure the continuity of educating the students enrolled in the degree programmes offered by the faculty. The results revealed that most of the teaching staff were new to teaching music online; however, they learned how to teach online given the circumstances which had left them with no other feasible solution. According to this study, the online music teaching activities utilized have improved teaching performance and technological skills and abilities, saved time, allowed participants to complete tasks more quickly, enhanced productivity of work, and increased educational values.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"199 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168394","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-13DOI: 10.1177/00224294231202399
Bradley J. Regier
The purpose of this study was to examine relationships between high school concert band directors’ self-efficacy for classroom management, efficacious sources, and classroom management behaviors. Participants ( N = 271) completed the Band Director Self-Efficacy for Classroom Management scale and responded to items about their demographic and school characteristics, formal preparatory experiences, stress from student behavior, support and trust, and satisfaction with recent classroom management. Additionally, participants rated their effectiveness for using classroom management behaviors. Participants’ level of satisfaction with their recent classroom management was the strongest positive predictor of their self-efficacy for classroom management scores, followed by their ratings of parent resource support. When participants indicated higher stress from student behavior or higher administration resource support, they also had lower self-efficacy for classroom management scores. Results indicated that several classroom management behaviors predicted participants’ self-efficacy, including establishing routines and procedures, keeping students on task, and rarely referring to the music score or lesson plan. Implementing and refining effective classroom management behaviors may improve the likelihood of directors gaining positive mastery experiences and lessen the influence of stress from student behavior on their self-efficacy for classroom management.
{"title":"High School Concert Band Directors’ Self-Efficacy for Classroom Management","authors":"Bradley J. Regier","doi":"10.1177/00224294231202399","DOIUrl":"https://doi.org/10.1177/00224294231202399","url":null,"abstract":"The purpose of this study was to examine relationships between high school concert band directors’ self-efficacy for classroom management, efficacious sources, and classroom management behaviors. Participants ( N = 271) completed the Band Director Self-Efficacy for Classroom Management scale and responded to items about their demographic and school characteristics, formal preparatory experiences, stress from student behavior, support and trust, and satisfaction with recent classroom management. Additionally, participants rated their effectiveness for using classroom management behaviors. Participants’ level of satisfaction with their recent classroom management was the strongest positive predictor of their self-efficacy for classroom management scores, followed by their ratings of parent resource support. When participants indicated higher stress from student behavior or higher administration resource support, they also had lower self-efficacy for classroom management scores. Results indicated that several classroom management behaviors predicted participants’ self-efficacy, including establishing routines and procedures, keeping students on task, and rarely referring to the music score or lesson plan. Implementing and refining effective classroom management behaviors may improve the likelihood of directors gaining positive mastery experiences and lessen the influence of stress from student behavior on their self-efficacy for classroom management.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135858919","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-19DOI: 10.1177/00224294231190404
Ryan D. Shaw
When teachers and school staff work together, it inevitably involves issues of power, influence, diplomacy, and cooperation; this has been termed “micropolitics,” and the ability to read situations with micropolitics in mind has been identified as “micropolitical literacy.” The purpose of this year-long case study was to explore one beginning music teacher’s micropolitical literacy development with explicit connections to the framework put forth by Kelchtermans and Ballet. The research questions were (1) How does the participant describe their micropolitical understanding? (2) How does the participant describe their micropolitical strategies? and (3) How does the participant feel about their micropolitical literacy? Qualitative analysis of interview transcripts suggested themes aligned with the theoretical framework’s aspects of know (understanding), do (strategies), and feel (experiential). The participant’s knowledge development focused on power dynamics, structures, and relationships. Strategies included gaining clout and reframing situations. Furthermore, the participant’s experience of micropolitical literacy development was fraught with negative emotions and uncertainty. Overall, literacy development was stymied by systemic challenges in the district.
{"title":"A Beginning Music Teacher’s Micropolitical Literacy Development","authors":"Ryan D. Shaw","doi":"10.1177/00224294231190404","DOIUrl":"https://doi.org/10.1177/00224294231190404","url":null,"abstract":"When teachers and school staff work together, it inevitably involves issues of power, influence, diplomacy, and cooperation; this has been termed “micropolitics,” and the ability to read situations with micropolitics in mind has been identified as “micropolitical literacy.” The purpose of this year-long case study was to explore one beginning music teacher’s micropolitical literacy development with explicit connections to the framework put forth by Kelchtermans and Ballet. The research questions were (1) How does the participant describe their micropolitical understanding? (2) How does the participant describe their micropolitical strategies? and (3) How does the participant feel about their micropolitical literacy? Qualitative analysis of interview transcripts suggested themes aligned with the theoretical framework’s aspects of know (understanding), do (strategies), and feel (experiential). The participant’s knowledge development focused on power dynamics, structures, and relationships. Strategies included gaining clout and reframing situations. Furthermore, the participant’s experience of micropolitical literacy development was fraught with negative emotions and uncertainty. Overall, literacy development was stymied by systemic challenges in the district.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46975598","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-04DOI: 10.1177/00224294231187860
C. Gerrard, Rey
This article provides a counterstory to damaging, dominant narratives concerning migrant experiences and border crossings. Through counter-storytelling, I share Rey’s lived experiences as a transfronterizx (transborder) student who crossed the United States–Mexico border daily to attend school and eventually, participate in school music. The overarching question guiding the study was: What are a transfronterizx student’s experiences navigating school and school music in the United States? Based on the findings, Rey encountered literal and metaphorical barriers as he pursued an education in the United States. In particular, navigating language, deficit-based teaching practices, surveillance, and policing were key in his narrative. Currently as a music educator, Rey draws from his personal transfronterizx background to inform his music teaching practices in a predominantly Latine school community. Considerations for working with migrant students and families are discussed in light of ongoing sociopolitical issues, including the need for more culturally and linguistically responsive practices.
{"title":"“A Completely Different World”: A Counterstory of Transfronterizx Experiences","authors":"C. Gerrard, Rey","doi":"10.1177/00224294231187860","DOIUrl":"https://doi.org/10.1177/00224294231187860","url":null,"abstract":"This article provides a counterstory to damaging, dominant narratives concerning migrant experiences and border crossings. Through counter-storytelling, I share Rey’s lived experiences as a transfronterizx (transborder) student who crossed the United States–Mexico border daily to attend school and eventually, participate in school music. The overarching question guiding the study was: What are a transfronterizx student’s experiences navigating school and school music in the United States? Based on the findings, Rey encountered literal and metaphorical barriers as he pursued an education in the United States. In particular, navigating language, deficit-based teaching practices, surveillance, and policing were key in his narrative. Currently as a music educator, Rey draws from his personal transfronterizx background to inform his music teaching practices in a predominantly Latine school community. Considerations for working with migrant students and families are discussed in light of ongoing sociopolitical issues, including the need for more culturally and linguistically responsive practices.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41743699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-31DOI: 10.1177/00224294231189603
Peter Miksza
{"title":"Editor’s Forum","authors":"Peter Miksza","doi":"10.1177/00224294231189603","DOIUrl":"https://doi.org/10.1177/00224294231189603","url":null,"abstract":"","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135209313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-21DOI: 10.1177/00224294231186528
Quinton D. Parker
The purpose of this hermeneutic phenomenological study was to understand how Black undergraduate music education students make meaning of their lived experiences in predominantly White schools of music (PWSOM). The study was guided by the overall research questions: (1) What makes the lived experience of Black undergraduate music education students unique? and (2) What meaning(s) and understanding(s) do Black undergraduate music education students ascribe to their experiences in PWSOM? Data were collected primarily through open-ended interviews with nine Black undergraduate music education students in PWSOM in the United States. Data analysis revealed seven emergent themes, including (a) navigating the negative perceptions of White people; (b) making White people comfortable; (c) working harder to prove myself; (d) “Do I belong here?”; (e) a climate of racial and cultural insensitivity; (f) distrust of White faculty; and (g) sacrifice and survival. Findings were interpreted using Du Bois’s theory of double consciousness and van Manen’s four existentials of lived experience. Interpretation revealed the essence of the phenomenon to be living a dissonant existence.
{"title":"We Wear the Mask: The Lived Experiences of Black Undergraduate Music Education Students in Predominantly White Schools of Music","authors":"Quinton D. Parker","doi":"10.1177/00224294231186528","DOIUrl":"https://doi.org/10.1177/00224294231186528","url":null,"abstract":"The purpose of this hermeneutic phenomenological study was to understand how Black undergraduate music education students make meaning of their lived experiences in predominantly White schools of music (PWSOM). The study was guided by the overall research questions: (1) What makes the lived experience of Black undergraduate music education students unique? and (2) What meaning(s) and understanding(s) do Black undergraduate music education students ascribe to their experiences in PWSOM? Data were collected primarily through open-ended interviews with nine Black undergraduate music education students in PWSOM in the United States. Data analysis revealed seven emergent themes, including (a) navigating the negative perceptions of White people; (b) making White people comfortable; (c) working harder to prove myself; (d) “Do I belong here?”; (e) a climate of racial and cultural insensitivity; (f) distrust of White faculty; and (g) sacrifice and survival. Findings were interpreted using Du Bois’s theory of double consciousness and van Manen’s four existentials of lived experience. Interpretation revealed the essence of the phenomenon to be living a dissonant existence.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45281976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-21DOI: 10.1177/00224294231185321
Steven J. Morrison, Aaron D. Himes, M. Montemayor, D. G. Springer
Although music education researchers often utilize music major status as a single-item proxy variable for musician status—and with this designation presume musical competencies or abilities of research participants—there is a lack of research demonstrating links between status as a music major and those assumed competencies. In this study, we compared undergraduate music majors and non-music majors ( N = 237) at the group and individual levels using Goldsmiths Musical Sophistication Index (Gold-MSI), a well-established measure of multiple ways in which people report engaging with music. Comparing group means, we found that music majors scored higher than non-music majors on each Gold-MSI subscale. Moderate distribution overlap suggested that these results should be considered cautiously. A logistic regression analysis further suggested the complexity of using music major status as a single-item measure, given that music major status was only strongly predicted by the musical training subscale. Measures such as Gold-MSI may provide a viable and psychometrically sound way of determining musical sophistication that will allow more granular and refined analyses of studies relating to musical competencies.
{"title":"Is Major Minor? The Relationship Between Music Major Status and a Measure of Musical Sophistication","authors":"Steven J. Morrison, Aaron D. Himes, M. Montemayor, D. G. Springer","doi":"10.1177/00224294231185321","DOIUrl":"https://doi.org/10.1177/00224294231185321","url":null,"abstract":"Although music education researchers often utilize music major status as a single-item proxy variable for musician status—and with this designation presume musical competencies or abilities of research participants—there is a lack of research demonstrating links between status as a music major and those assumed competencies. In this study, we compared undergraduate music majors and non-music majors ( N = 237) at the group and individual levels using Goldsmiths Musical Sophistication Index (Gold-MSI), a well-established measure of multiple ways in which people report engaging with music. Comparing group means, we found that music majors scored higher than non-music majors on each Gold-MSI subscale. Moderate distribution overlap suggested that these results should be considered cautiously. A logistic regression analysis further suggested the complexity of using music major status as a single-item measure, given that music major status was only strongly predicted by the musical training subscale. Measures such as Gold-MSI may provide a viable and psychometrically sound way of determining musical sophistication that will allow more granular and refined analyses of studies relating to musical competencies.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47804624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-11DOI: 10.1177/00224294231183903
B. Silvey, M. Montemayor, D. G. Springer, Faith Hall, Robert Fears
The purpose of this study was to determine the effects of model recordings on undergraduate conductors’ tempo decisions for selected wind band excerpts. Participants ( N = 42) studied three music score excerpts for 5 minutes each either (a) with an increased-tempo recording, (b) with a decreased-tempo recording, or (c) with a metronome set to the faster, printed tempo in the score, followed by a tapping task to demonstrate their preferred tempo. Participants returned 48 hours after their score study session for retention testing in the form of a second tapping task. Results indicated that for two of the three pieces, participants tapped faster in response to the metronome compared to both the decreased- and increased-tempo model recordings. Participants’ tempo choices at the first testing session were most often not significantly different than the tempos they heard during study. However, we found that participants’ preferred tempos did not vary as a function of study conditions during the retention testing session that occurred 48 hours later, where tempos trended toward moderation across all three musical selections. We speculate that pedagogical recommendations to avoid using model recordings may have limited empirical support, at least among novice conductors and at least in terms of possible long-term effects from short-term use.
{"title":"Effects of Model Recordings on Undergraduate Conductors’ Tempo Selections","authors":"B. Silvey, M. Montemayor, D. G. Springer, Faith Hall, Robert Fears","doi":"10.1177/00224294231183903","DOIUrl":"https://doi.org/10.1177/00224294231183903","url":null,"abstract":"The purpose of this study was to determine the effects of model recordings on undergraduate conductors’ tempo decisions for selected wind band excerpts. Participants ( N = 42) studied three music score excerpts for 5 minutes each either (a) with an increased-tempo recording, (b) with a decreased-tempo recording, or (c) with a metronome set to the faster, printed tempo in the score, followed by a tapping task to demonstrate their preferred tempo. Participants returned 48 hours after their score study session for retention testing in the form of a second tapping task. Results indicated that for two of the three pieces, participants tapped faster in response to the metronome compared to both the decreased- and increased-tempo model recordings. Participants’ tempo choices at the first testing session were most often not significantly different than the tempos they heard during study. However, we found that participants’ preferred tempos did not vary as a function of study conditions during the retention testing session that occurred 48 hours later, where tempos trended toward moderation across all three musical selections. We speculate that pedagogical recommendations to avoid using model recordings may have limited empirical support, at least among novice conductors and at least in terms of possible long-term effects from short-term use.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49223842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-05DOI: 10.1177/00224294231181509
Donna J. Gallo, A. Kruse
To investigate how music educators engage their students with Hip-Hop, we adopted a “research remix” approach, combining elements of case study and constructivist grounded theory. This approach allowed us to privilege Hip-Hop culture and to construct new understandings about Hip-Hop teaching and learning. Six elementary and middle school music teachers implemented Hip-Hop-focused instruction in their classrooms while also attending professional development workshops. Data included videos of classroom instruction, participant interviews, and videos of the workshops with co-facilitation from Hip-Hop artists and the researchers. Educators encountered tensions and challenges related to a perceived Hip-Hop “realness” and a lack of musical and pedagogical skills. To address these challenges, participants remixed their approaches by blending elements of Hip-Hop music and culture with their established teaching strategies. Teachers’ dispositions and feedback from students and colleagues engendered critical reflections about their positionalities in relation to Hip-Hop. We constructed a visual model of a DJ as a metaphor to describe participants’ approaches to remixing their teaching with Hip-Hop within their contexts. Implications include a need for increased emphasis on Hip-Hop in U.S. music teacher education programs and institutional pathways for Hip-Hop musicians to become music educators.
{"title":"Music Educators as DJs: Remixing Teaching With Hip-Hop","authors":"Donna J. Gallo, A. Kruse","doi":"10.1177/00224294231181509","DOIUrl":"https://doi.org/10.1177/00224294231181509","url":null,"abstract":"To investigate how music educators engage their students with Hip-Hop, we adopted a “research remix” approach, combining elements of case study and constructivist grounded theory. This approach allowed us to privilege Hip-Hop culture and to construct new understandings about Hip-Hop teaching and learning. Six elementary and middle school music teachers implemented Hip-Hop-focused instruction in their classrooms while also attending professional development workshops. Data included videos of classroom instruction, participant interviews, and videos of the workshops with co-facilitation from Hip-Hop artists and the researchers. Educators encountered tensions and challenges related to a perceived Hip-Hop “realness” and a lack of musical and pedagogical skills. To address these challenges, participants remixed their approaches by blending elements of Hip-Hop music and culture with their established teaching strategies. Teachers’ dispositions and feedback from students and colleagues engendered critical reflections about their positionalities in relation to Hip-Hop. We constructed a visual model of a DJ as a metaphor to describe participants’ approaches to remixing their teaching with Hip-Hop within their contexts. Implications include a need for increased emphasis on Hip-Hop in U.S. music teacher education programs and institutional pathways for Hip-Hop musicians to become music educators.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46037189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-02DOI: 10.1177/00224294231180084
Justin J. West
The purpose of this study was to describe music teacher professional development (PD) in the United States and to chart potential differences between the experiences of music teachers, other arts teachers (visual art, theater, dance), and teachers in low-stakes (natural and social sciences) and high-stakes (math, English language arts) academic disciplines. Using data from the 2017–2018 National Teacher and Principal Survey, I evaluated PD practices, perceptions, and policies against six consensus criteria for effective PD: content specificity, social interaction, sustained duration, relevance, agency, and policy support. Findings showed music teacher participation in content-specific and socially interactive PD was robust and that the vast majority of music teachers described their PD as relevant. Cross-comparisons revealed discipline associations as to some criteria (social interaction, relevance, agency) but not others (content specificity, sustained duration, policy support). Although music teachers achieved parity or were advantaged in some areas (e.g., access to content-specific PD), they consistently reported less access to socially interactive PD, spent less overall time in PD, and were considerably less likely to exercise agency in support of their PD endeavors. Music teachers—along with their art, theater, and dance colleagues—generally, although not overwhelmingly, operated on less favorable PD terrain in 2017–2018.
{"title":"Professional Development Among U.S. Music and Non-Music Teachers: Comparative Evidence From the 2017–2018 National Teacher and Principal Survey","authors":"Justin J. West","doi":"10.1177/00224294231180084","DOIUrl":"https://doi.org/10.1177/00224294231180084","url":null,"abstract":"The purpose of this study was to describe music teacher professional development (PD) in the United States and to chart potential differences between the experiences of music teachers, other arts teachers (visual art, theater, dance), and teachers in low-stakes (natural and social sciences) and high-stakes (math, English language arts) academic disciplines. Using data from the 2017–2018 National Teacher and Principal Survey, I evaluated PD practices, perceptions, and policies against six consensus criteria for effective PD: content specificity, social interaction, sustained duration, relevance, agency, and policy support. Findings showed music teacher participation in content-specific and socially interactive PD was robust and that the vast majority of music teachers described their PD as relevant. Cross-comparisons revealed discipline associations as to some criteria (social interaction, relevance, agency) but not others (content specificity, sustained duration, policy support). Although music teachers achieved parity or were advantaged in some areas (e.g., access to content-specific PD), they consistently reported less access to socially interactive PD, spent less overall time in PD, and were considerably less likely to exercise agency in support of their PD endeavors. Music teachers—along with their art, theater, and dance colleagues—generally, although not overwhelmingly, operated on less favorable PD terrain in 2017–2018.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48018720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：