No description available.

No description available.

No description available.

No description available.

Local education agency (LEA) administrators often require elementary teachers of standardized tested subjects English Language Arts, math, science, and social studies to use pre-published pacing guides and scripted lesson plans. These administrators do not require the same of music educators. As such, elementary general music educators often create and use their own lesson plans with the same cohort of students over multiple years. They are responsible for the liberating yet daunting task of helping students meet local or state standards with few to no mandates for short- or long-term planning.Elementary music teachers may draw from published music curriculums or create their own based on established music pedagogical frameworks (Bresler, 1995; Bugos, 2011; Hernandez, 2022; Mynatt, 2018). As an elementary general music teacher, I have drawn heavily from Gordon’s (2012) Music Learning Theory (MLT) as my pedagogical basis for music instruction. MLT-based materials I have used for kindergarten through 4th grade include Jump Right In: The Music Curriculum, Revised Edition (Taggart et al., 2000, 2001, 2004, 2006, 2010). However, I have found that I need to supplement Jump Right In with contemporary materials to craft a modern curriculum fitting my unique teaching context and students. When I looked to the literature to understand how other MLT elementary general music teachers have written their own curriculum, my searches yielded no results. To improve instruction in elementary general music, the purpose of this qualitative research was to understand the experiences of elementary general music educators who created and used LEA-wide elementary MLT-based curriculums. The single question guiding my study was, how do MLT-based, elementary general music teachers describe their experiences writing and implementing a formal curriculum in their LEA? I selected a qualitative, interview-based design for my study. I used purposeful sampling to recruit three elementary general music teachers who had worked with colleagues in their LEA to write and implement an MLT-based curriculum. Using Seidman’s (2006) three-interview design, I gathered information from the participants. Because of my personal connection to the study, I used Braun and Clarke’s (2013, 2022) six-phase iterative approach to conduct reflective thematic analysis: familiarizing myself with the data; coding; generating initial themes; developing and reviewing themes; refining, defining, and naming themes; and writing up. While analyzing the data, I developed codes from which sixteen subthemes emerged. I assigned each of these subthemes to one of three emergent themes: (a) teachers were steadfast and determined, (b) teachers were advocates, and (c) LEA policies helped and hurt. Participants’ data became organized by one overarching theme, instigators of and obstacles to change. For these three teachers, the experience of creating and using LEA-wide elementary MLT-based curriculums was hard to earn and easy to lose. I present implications for music educators and their LEA administrators who aim to undertake similar projects. I discuss personal implications, and I make recommendations for future research. Keywords: Music Learning Theory, elementary general music, teacher-created curriculum, reflexive thematic analysis, critical qualitative approach / Music Education

In diesem Beitrag werden eine videographierte Musikstunde und Interviews, die mit den Schülerinnen und Schülern sowie mit der Lehrerin über die Stunde geführt wurden, in Beziehung gesetzt zu einem Modell „Dimensionen von Unterrichtsqualität“. In diesem Modell, das im Rahmen der TIMSS-Video-Studie entwickelt wurde, wird zwischen Angebot, Nutzung und Wirkung von Unterricht unterschieden. Deshalb wird das Lernangebot der videographierten Stunde mit Hilfe von Unterrichtsbeobachtung und von Äußerungen der Lehrerin erschlossen; Nutzung und Wirkung dieses Angebots werden durch eine Analyse der Schülerinterviews rekonstruiert. Im Ergebnis klaffen Angebot und Nutzung auseinander; Leistung, Verständnis und Motivation als erwünschte Wirkungen von Unterricht haben sich nicht in wünschenswertem Umfang eingestellt. In den Äußerungen der Schülerinnen und Schüler offenbart sich eine enge Verbindung zwischen der Angemessenheit des Anforderungsniveaus, ihrem Lernen und ihrer Motivation. / This article relates a videotaped lesson of general music education to a model of teaching quality that was developed within the TIMSS Video Study. The model differentiates between teaching offers, the way students make use of them and students’ learning outcomes. The teaching offer is made accessible not only by video analysis but also by evaluating a teacher interview. Student interviews allow the reconstruction of both students’ usage and outcomes. The results reveal a big difference between the learning offers on the one hand and the students’ usage of those on the other hand. Achievement, comprehension and motivation were not accomplished as desired. The student interviews show a correlation between an adequate level of requirements, the learning process and motivation.

In the process of reform and development in South Africa, set in motion after its first democratic elections (1994), educators have the unique opportunity to re¬think, re-plan and re-structure the music education system holistically within the context of formulating unit standards now required by the South African Qualifications Authority (SAQA) for all learning areas. This thesis addresses two aspects in this process, against the background of the broader MEUSSA (Music Education Unit Standards for Southern Africa) Research Project, namely the development of a model for music education in Southern Africa and its application in a General Music Appraisal Programme (GMAP) for all learners. The MEUSSA Model, developed in this thesis, captures and displays the key elements necessary to compile unit standards across the board in music education, as identified by the author and endorsed by the MEUSSA team. These standards are grouped together in a musically logical way under collective headings. The three-dimensional model in the form of a cube can be manipulated according to the needs of the specific music practice involved, at the same time keeping the broader context of music education in Southern Africa in perspective. The MEUSSA Model is intended by the author to keep the standards generating process together cohesively. The author implements the MEUSSA Model in the GMAP, which she compiled with the aim of providing a general music education background for all learners in Southern Africa. The learning outcomes (unit standards) address music-¬specific skills, knowledge and attitudes with their related assessment criteria. / Thesis (DMus)--University of Pretoria, 2006. / Music / unrestricted

No description available.

Please read the abstract in the section, 00front, of this document / Thesis (DMus)--University of Pretoria, 2005. / Music / unrestricted

In diesem Beitrag werden eine videographierte Musikstunde und Interviews, die mit den Schülerinnen und Schülern sowie mit der Lehrerin über die Stunde geführt wurden, in Beziehung gesetzt zu einem Modell „Dimensionen von Unterrichtsqualität“. In diesem Modell, das im Rahmen der TIMSS-Video-Studie entwickelt wurde, wird zwischen Angebot, Nutzung und Wirkung von Unterricht unterschieden. Deshalb wird das Lernangebot der videographierten Stunde mit Hilfe von Unterrichtsbeobachtung und von Äußerungen der Lehrerin erschlossen; Nutzung und Wirkung dieses Angebots werden durch eine Analyse der Schülerinterviews rekonstruiert. Im Ergebnis klaffen Angebot und Nutzung auseinander; Leistung, Verständnis und Motivation als erwünschte Wirkungen von Unterricht haben sich nicht in wünschenswertem Umfang eingestellt. In den Äußerungen der Schülerinnen und Schüler offenbart sich eine enge Verbindung zwischen der Angemessenheit des Anforderungsniveaus, ihrem Lernen und ihrer Motivation. / This article relates a videotaped lesson of general music education to a model of teaching quality that was developed within the TIMSS Video Study. The model differentiates between teaching offers, the way students make use of them and students’ learning outcomes. The teaching offer is made accessible not only by video analysis but also by evaluating a teacher interview. Student interviews allow the reconstruction of both students’ usage and outcomes. The results reveal a big difference between the learning offers on the one hand and the students’ usage of those on the other hand. Achievement, comprehension and motivation were not accomplished as desired. The student interviews show a correlation between an adequate level of requirements, the learning process and motivation.