The Impact of National Standards on the Preparation, In-service Professional Development, and Assessment of Music Teachers

Shuler, Scott C.

doi:10.1080/10632913.1995.9934544

Cited by 23 publications

(17 citation statements)

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“…She goes on to describe the reformminded music teacher as making a commitment to student learning "informed by the continual adjustment, invention, and reconstruction" of practice (p. 21). Shuler (1995) also describes the need for teachers to adapt their practice over their years in the profession: "over the span of a career…there will be many changes in the nature of music, the nature of students, and the nature of schools. Even well-prepared teachers must therefore learn to adapt to change" (p. 10).…”

Section: Teachers and Professional Developmentmentioning

confidence: 99%

The Experiences of Elementary Music Teachers in a Collaborative Teacher Study Group

Stanley¹

2012

Bulletin of the Council for Research in Music Education

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Picture a group of three elementary music teachers and a university professor who meet weekly to eat, talk about music teaching practice, share stories from the week, and laugh. The group is close-knit; they enjoy getting together on Thursday afternoons to watch video from the teachers' classrooms. The teachers gather weekly because they have committed to making their classrooms places where students learn through collaborative, active music-making. They want to figure out ways to help their students to infuse class projects with creativity and energy. These teachers don't want to create an artificial or manufactured music environment for their students, with worksheets, or karaoke-style soundtracks. Instead, they want their students to watch, listen to, and respond to one another like musicians in a jazz quintet or symphony orchestra. All of them share a belief in Bruner's (1960) assertion that "any subject can be taught effectively in some intellectually honest form to any child at any stage of development" (p. 33). They want even their youngest students to learn musical skills and make real music, not just read about it or do make-believe, watered-down musical activities. None of the teachers has all the answers. In fact, all of them have struggled to incorporate their ideals within the real-world strictures of public school music. What they

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Section: Teachers and Professional Developmentmentioning

confidence: 99%

The Experiences of Elementary Music Teachers in a Collaborative Teacher Study Group

Stanley¹

2012

Bulletin of the Council for Research in Music Education

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“…He served as a role model for concerted planning, strategic scaffolding, and engaged learning experiences. Furthermore, while Lukas was not formally trained in improvisation (Shuler, 1995), he essentially utilized his musicianship to train himself, obviously recognizing the importance of the skill for future teachers rather than merely continuing to teach as he had been taught. Louth (2012) posed the question “ is it possible to teach someone to improvise creatively?” (p. 9).…”

Section: Discussionmentioning

confidence: 99%

“…If these skills were deemed important, then it would be prudent for music majors to receive concerted improvisation instruction in their degree programs. However, Shuler (1995) asserted that many music departments did not require faculty to teach improvisation to all students, and because of the cycle of training, most faculty members lacked experience in teaching improvisation. Five years later, Abrahams (2000) made a similar assessment, noting that faculty were deficient in improvisation training, resulting in limited offerings in improvisation for all students, and in these generally being reserved only for jazz students.…”

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Lessons from Lithuania: A pedagogical approach in teaching improvisation

Hedden

2016

International Journal of Music Education

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The purpose of this study was to uncover the approach that a professor in Lithuania utilized in successfully teaching undergraduate music education majors how to improvise during a onesemester course. The research questions focused on the participant's philosophy of teaching and learning, his methods for motivating students, the learning experiences he provided, and pedagogy that provided sequence of instruction and learning activities for the students. The research design consisted of a qualitative case study approach in which I interviewed the participant formally (three lengthy interviews), informally (seven casual conversations), and made six 90-minute observations of his improvisation classes. Inductive data analysis was employed to identify emergent themes. Those themes included (a) the freedom to create, (b) the act of convincing the students to engage, (c) the establishment of expectations, (d) the pedagogy and sequence of instruction that precipitated skill acquisition, and (e) the classroom environment that enhanced improvisational outcomes. The implications for teacher education are discussed.

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“…The standards least likely to be implemented on a consistent basis are improvising, composing, evaluating, and understanding music in relation to other content areas, history and culture (Schmidt, 2000). It has been suggested this may be due to lack of preservice preparation (Brophy, 2002), inexperience with improvisation (Shuler, 1995), or general attitudes toward teaching creativity (Forsythe et al, 2007).…”

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Early Socialization and Opinions of Musicianship Among Preservice Music Teachers

Isbell

2020

Journal of Music Teacher Education

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The development of musicianship is a fundamental learning outcome for music students. The purpose of this study was to examine the early socialization experiences of preservice music teachers, as well as their opinions about musicianship. A total of 138 undergraduate music education students completed a three-part online questionnaire. The large ensemble setting was the most common source of learning and participants believed this setting contributed to the development of overall musicianship more so than any other source of learning. “Learning songs from notation” and “Music analysis” were perceived as most valuable in developing musicianship. Kruskal–Wallis tests showed differences in conceptions of musicianship based on the instrument played, but not among other socialization variables. Based on the findings, I conclude that preservice music teachers are being socialized to conceive of musicianship in ways that suit an existing school model, rather than contemporary and evolving music cultures found outside of schools.

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The Impact of National Standards on the Preparation, In-service Professional Development, and Assessment of Music Teachers

Cited by 23 publications

References 0 publications

The Experiences of Elementary Music Teachers in a Collaborative Teacher Study Group

The Experiences of Elementary Music Teachers in a Collaborative Teacher Study Group

Lessons from Lithuania: A pedagogical approach in teaching improvisation

Early Socialization and Opinions of Musicianship Among Preservice Music Teachers

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