Voices of Music Teachers Regarding Professional Development

Conway, Colleen M.; Hibbard, Shannan; Albert, Dan; Hourigan, Ryan M.

doi:10.3200/aepr.107.1.11-14

Cited by 21 publications

(30 citation statements)

References 1 publication

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“…In two articles devoted to music teacher professional development that appeared in Arts Education Policy Review in 2005, my colleagues and I addressed music teacher professional development as framed by the No Child Left Behind (NCLB) legislation and as understood at the time (Conway et al 2005a;Conway et al 2005b). The first article offered an overview of policy statements within NCLB regarding teacher professional development and suggested that "professional development is a foundation of NCLB and is cited quite often within its language" (2005a, 3).…”

Section: Overview Of Special Focus Issuementioning

confidence: 98%

“…In this introduction, I provide a brief overview of each article in the issue. I then chart the evolution of music education professional development literature by examining recommendations on music teacher professional development from a 2005 issue of this journal (Conway et al 2005a;Conway et al 2005b) and a 2007 issue of the Journal of Music Teacher Education (Conway 2007a). The final section of this introduction connects the five feature articles with recommendations from a 2009 National Governor's Association policy brief devoted to teacher professional development (Hirsch 2009).…”

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confidence: 99%

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Professional Development of Experienced Music Teachers: Special Focus Issue

Conway¹

2011

Arts Education Policy Review

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Section: Overview Of Special Focus Issuementioning

confidence: 98%

mentioning

confidence: 99%

Professional Development of Experienced Music Teachers: Special Focus Issue

Conway¹

2011

Arts Education Policy Review

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“…Respondents to surveys of music teacher professional development have revealed that music teachers appreciate topics such as technology, methodology, and assessment (Bernard, 2009;Bowles, 2002;Tarnowski & Murphy, 2002); prefer to attend professional development within 100 miles of home (Bowles, 2002); and appreciate opportunities for autonomy (Ferrara, 2009). Researchers have also found that elementary teachers prefer attending professional development specific to elementary general music, as opposed to those focused on music more broadly (Bowles, 2002;Conway, Hibbard, Albert, & Hourigan, 2005).…”

Section: P R O F E S S I O N a L D E V E L O P M E N Tmentioning

confidence: 99%

Exploring Informal Music Learning in a Professional Development Community of Music Teachers

Kastner¹

2014

Bulletin of the Council for Research in Music Education

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The purpose of this instrumental case study was to explore the perceptions and practices of four music teachers as they participated in a professional development community (PDC) to discuss and implement informal music learning practices. Participants met bimonthly as a PDC to discuss research articles on informal music learning, share student work, socialize with peers, and develop ideas to use in their classrooms. Data included video recordings of PDC meetings, audio recordings of semistructured interviews, in-school observations of informal music learning activities, field notes, and written artifacts; these were coded and analyzed for emerging themes. Three themes that emerged from the data included experiments and modifications, pedagogical practices, and finding value. The participants implemented a variety of activities using informal processes, which they developed by modifying ideas presented in research articles they read and lessons they taught previously. They used many pedagogical practices during informal activities, which fell on a continuum of teacher and student control and a continuum of teacher scaffolding. The participants found value in informal music learning because it provided a new avenue for them to help students develop independent musicianship. Exploring informal music learning in the PDC helped participants feel validated in using this new pedagogical approach. Implications for the use of informal music learning with younger students and suggestions for professional development are also discussed. My kids were really proud of themselves.. .. That process was really fun to watch, but I think that what they came up with, they had ownership of it in a way that they wouldn't have had if I would've been like, "Play the drum part like this." So that ownership piece, I think, was huge for my kids, and the permission to experiment and to take ownership of it.-Cara (a participant) Recent scholars in music education have advocated for the inclusion of musical genres and practices used by popular musicians and garage band musicians as well as from vernacular traditions (

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“…The strategy focuses on curricular themes rather than discipline-based arts learning and has been employed in schools to promote literacy (O'Brien, 1997), improve educational outcomes (Allison, 1978), develop student potential (Carter & Adams, 1978), improve the students' quality of life (Kristen, 1983), and assist students in the transition from elementary to high school (McVey & Wilson, 1992). However, teachers require an understanding of the basic elements in the arts disciplines to successfully use an integrated arts strategy (Best, 1995;Kindler, 1987), as generic teaching skills are simply not sufficient (Clark, 1995;Conway, Hibbard, Albert & Hourigan, 2005). For example, learning about the East-coast fishing industry by watching and discussing The Perfect Storm (film), role-playing a day on the high seas (dramatic play), singing sea shanties (music), imitating the rising and falling of the Atlantic (creative movement), and creating costumes for the dramatic play (visual arts) requires basic knowledge of media literacy, plot development, choral direction, dance, and costume-making, respectively, in addition to instructional skills.…”

Section: Professional Development Contextmentioning

confidence: 99%

Seeking Harmony: Teachers' perspectives on learning to teach in and through the arts

Andrews

2010

EOE

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This inquiry examined teachers' perspectives on learning to teach in and through the arts by administering multiple protocols - a focus group, questionnaire and survey - throughout an integrated arts professional development program involving artists. Findings indicate that when artists are involved in professional upgrading, teachers acquire the confidence to express themselves freely, they are willing to teach the arts in their own classrooms, they realize the potential and value of the arts within the school curriculum, and they develop arts-specific teaching expertise. Further, the teachers' sensitivity to their own creativity and openness to experimentation is heightened, and an awareness of the potential of the arts to develop a student's imagination, intuition and personal expressiveness is developed.

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Voices of Music Teachers Regarding Professional Development

Cited by 21 publications

References 1 publication

Professional Development of Experienced Music Teachers: Special Focus Issue

Professional Development of Experienced Music Teachers: Special Focus Issue

Exploring Informal Music Learning in a Professional Development Community of Music Teachers

Seeking Harmony: Teachers' perspectives on learning to teach in and through the arts

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