The purpose of this study was to determine if 1-week technology workshops can be an effective means for the professional development of music teachers in using technology for instruction. The results indicate that three indicators of effectiveness—teacher knowledge, teacher comfort, and frequency of teacher use—can he significantly improved in these settings. Participants ( N = 63) were music teachers enrolled in summer music technology workshops. At the beginning of the workshops, participants completed a questionnaire designed to provide demographic information and assess their knowledge of music technology, degree of comfort with music technology, and the frequency with which they used music technology in their teaching. Following an intensive weeklong workshop dealing with strategies for teaching music to K—12 students using music technology, participants completed a second questionnaire that was parallel to the first. Participants completed another similar questionnaire 9 to 10 months after the workshop. Significant differences were found between the pre-and. postworkshop questionnaires, between the preworkshop and follow-up questionnaires, and, between the postworkshop and follow-up questionnaires in all three areas. There was also a moderate correlation ( r = .43, p = .00) between participants' frequency of technological use and the degree to which they reported their access to technological resources.

The purpose of this study was to determine what effect, if any, music teacher classroom delivery skills or lesson content had on university music students' perceptions of lesson or teacher appeal by student academic standing. Subjects were 511 university students studying music at three moderate-size universities located in the American Midwest and East. Subjects viewed one of two videotapes that contained four randomly placed teaching episodes of approximately 4 minutes in duration. Each of the two tapes contained four lessons, as follows: one lesson with good classroom delivery skills and good lesson content, one with good skills and poor content, another with poor skills and good content, and one with poor skills and poor content. Subjects were directed to evaluate each teaching episode immediately after it was viewed using a researcher-developed questionnaire. Significant differences found among subject responses indicated that student interest and preference ratings varied not only by student academic standing but also by music teacher classroom delivery technique and lesson content quality.

The Junior Eysenck Personality (Questionnaire was administered to 668 instrumental students in Grades 7 through 12 from eight different schools to determine whether (1) there is a propensity for certain personality types to begin instrumental study in the schools, (2) certain personality types are more likely to continue in instrumental music, (3) there is a trend toward homogeneity of personality type among students who choose to continue in instrumental music across grade levels, and (4) there is a relationship between personality type and continuation on a specific musical instrument. Results revealed that instrumental students are very similar to their noninstrumental counterparts on the personality variables measured across all grades, but some minor differences can be found. Educational implications are drawn and discussed.