Teaching music in our time: student music teachers' reflections on music education, teacher education and becoming a teacher

Abstract

This article concerns students of music education in Sweden. It investigates the student teachers' perceptions of their ongoing music teacher education, with a particular focus on the task of teaching music today. It considers whether they believe their teacher education prepares them for this undertaking, and in that case, how. Their various experiences from their school-based in-service education are considered, and the findings lead to a discussion of ideological issues with a bearing on democracy, the value of music, and the function of music as a curriculum subject. About the authorsEva Georgii-Hemming is Reader at the School of Music, Örebro University, Sweden.She received her PhD in Music Education from Örebro University in spring 2005. She teaches both undergraduate and graduate courses in qualitative research methodology, philosophy of music and sociology of music. Previously Georgii-Hemming has been an instructor in teaching methods and ensemble conducting in music teacher education and for 14 years she worked as a music teacher at upper secondary school. Research interests include questions about the concepts of knowledge and learning, the relation between theory and practice in music education, narrative inquiry and life history research. Earlier studies contend with questions about musical identities, young people, popular music and learning in formal and informal contexts and music teachers' work

Exploring Student Learning and Leadership through a University-Community Choral Initiative

“…I think even if you had to tell me now, 'oh teach a choir lesson right this minute', I could do it off the top of my head. (B.Ed3,FG1) This level of self-confidence and preparedness is most unusual for generalist student teachers as seen in previous literature (Finney & Philpott, 2010;Georgii-Hemming & Westvall, 2010;Hennessey, 2000;Kenny, 2014bKenny, , 2015Kenny, , 2017Kokotsaki, 2012). That these students felt prepared to teach a choral lesson 'off the top of their heads' is a remarkable achievement considering they are not fully qualified teachers as yet.…”

“…. as an interaction between the past, the present and the future’ (Georgii–Hemming & Westvall, 2010, p. 359). The importance of both active and reflective musical experiences within education programmes then is highlighted.…”

Activity and Competences of a Music Education Teacher: Expectations of Lithuanian and Foreign Students

“…It is worth noting that development and application of musical abilities and competences are not ignored in the university; moreover, in the context of the university mission, the academic component (general education studies) is more strongly accentuated (Georgii-Hemming & Westvall, 2010). On the other hand, developing the 'musician' side of music teachers' identities may ensure the depth of musical experience and content knowledge needed in developing confidence in novice teachers entering the music education profession (Ballantyne et al, 2012).…”

“…Both extremes are not productive under contemporary conditions (Otacıoğlu, 2016;Menezes, 2015). Thus, the attitudes (ideas, expectations) of student music teachers to their professional activity and competences of music teacher are highly important (Legette & McCord, 2015;Georgii-Hemming & Westvall, 2010). The data on such expectations would allow not only for a better understanding of students' interests, needs and motivations, but also for a critical analysis of the acceptance of the changes entailed by music teacher education.…”

Assessment in Music Education: from Policy to Practice

“…Ultimately, there is broad agreement in the literature that the master-apprentice relationship is core to the studio lesson where the master directs the majority of the lesson activities and experiences, with the student assuming a directed role which at times can be passive (Burwell, 2005(Burwell, , 2012Creech, 2012;Donald, 2012;Georgii-Hemming & Westvall, 2010;Haddon, 2009;Lebler, 2005;Wöllner & Ginsborg, 2011). Further, while there is a developing body of research and literature that interrogates the studio lesson in general, to a large extent it remains an underresearched area with many questions unanswered, no doubt to some extent due to the fact that the studio lesson is an isolated experience and one that occurs behind closed doors Collens & Creech, 2013;Daniel, 2008;Gaunt, 2011;Gaunt & Westerlund, 2013;Hallam, 1998;Parkes & Wexler, 2012;Serra-Dawa, 2010;Zhukov, 2009).…”