Factors Which Motivate Music Teachers’ Training in Their Working Environment

Abstract

Aim of the study was to identify the factors that motivate teachers' learning in their work environment Participatory photography method is the kind of method where the participants of the research reply to the questions of the researcher by taking photographs. Later, the photographs are defined, explained and analyzed, while sharing the insights with the researcher. Every participant of the research was contacted prior to the research by telephone or e-mail. They were asked to take photographs of the factors that motivate them to study in their workplace; the time of the interview was arranged also. Some participants of the research invited the researchers to their schools because they wanted to take the pictures right before the interview. Others came to the interview with pictures they have already taken. 10 music teachers, who work at their institution for not less than three years, were chosen for the research. After the teachers submitted their photographs, they were asked a few main questions: Why did you take a photograph of this particular phenomenon? Why does it motivate you to learn in your work environment?How do you learn? Why do you learn in your workplace? Every research participant was personally introduced to the goal of the research and got their questions answered. Participation was voluntary. To endure the confidentiality of the participants, they were not asked to provide any personal or other kind of information that would help to identify them. The research was limited by the fact that the teachers represented different institutions and worked with students of different age, that is why only common tendencies were distinguished, no comparison or evaluation was performed. Findings: three groups of factors that encourage learning in a workplace were identified: evaluation (taking part in projects, competitions, received awards); functional (information technology use, workplace, tools (course books, traditional and untraditional instruments); structural (colleagues, students, going to concerts, trips, taking part in master classes). Conclusion: Teachers do not link "workplace", only with their work in class. Going to concerts, taking part in seminars, projects, student preparation for competitions, trips were also mentioned as learning factors. Teachers' learning in their workplace is encouraged by their desire to improve in their professional work, confidence in themselves and their opportunities, desire to feel good in their work environment.

Viewing the Parent-Teacher Relationship in Music Education Through the Lens of Role Theory: A Literature Review

“…Researchers concerned with teachers as educators have placed the emphasis on the teacher as a good presenter (Ballantyne et al, 2012), facilitator (MTNA, 2004; Swanwick, 2008), assessor (Mills, 1991), guide (Jorgensen, 2011), contributor to the teaching profession (Swanwick, 2008), and self-evaluator and learner (Bukantaitė & Kubiliūtė, 2015; Swanwick, 2008). This is supported by statements from various professional bodies for music teachers in the United States such as the MTNA (2004) and the National Board for Professional Teaching Standards (2016).…”

Exploring the Role of the Music Teacher from the Perspectives of Parents and Teachers in West Malaysia

“…Representationality can clearly be seen in the literature where the teacher -represented as a guide -is not only expected positionally to be a capable leader, but is expected personally to have tact, resilience, a sense of humour and the ability to motivate others (Jorgensen, 2011). The principle of tenability means the teacher's role as a professional is subject to a balancing of costs and benefits, as the teacher strives to be a good instructor by being a constant learner in order to improve her own competences in teaching skills and knowledge, while being limited by her abilities and resources (Bukantaitė & Kubiliūtė, 2015).…”

“…Although almost no research exists that addresses role theory within music education (the exceptions are: Cramer, Million & Perreault, 2002;Miksza, 2007;Scheib, 2003), several emergent roles of teachers can be identified when the music education literature is read through the lens of role theory, such as, the roles of a professional musician and educator (Ballantyne et al, 2012, Bouij, 2004, partner in education (Bukantaitė & Kubiliūtė, 2015) and role model (Ballantyne et al, 2012).…”

“…Secondly, as educators, teachers are also seen as: good presenters who plan their pupils' courses of study and implement the lessons accordingly (Ballantyne et al, 2012); facilitators who have developed a range of resources, teaching approaches and strategies to motivate their pupils' learning (Ballantyne et al, 2012;Music Teachers National Association, 2004); assessors who have developed and validated measures to assess musical performance (McPherson, 1995;Mills, 1991); and guides (Cain, 1985;Jorgensen;2011) who instruct, enable and display organisational skills, "tact, resilience, a sense of humour, and the ability to motivate others" (Jorgensen, 2011, p. 218). Moreover, as educators, teachers are also viewed as contributors to the teaching profession (Swanwick;, self-evaluators and learners (Bukantaitė & Kubiliūtė, 2015;Swanwick, 2008). In a study evaluating teaching and learning in music education, Swanwick (2008) discovered that teachers who continued their professional development were able to be constructive contributors to their musical environment.…”

“…Research suggests that teachers can play multiple roles in music education, such as: professional musician (Bouij, 2004), good presenter and facilitator (Ballantyne, Kerchner & Aróstegui, 2012), assessor (Mills, 1991), contributor to the profession (Swanwick, 2008), self-evaluator and manager (Bukantaitė & Kubiliūtė, 2015), role model (Isbell, 2015), and advocate and disciplinarian (Fischler, 2007). Therefore, the multiple roles that teachers can play in music education contribute to the complexity of the teacher's job.…”