Most research in music education using the Communities of Practice (CoP) framework (Wenger, 1998) has focused on analyzing the creation or existence of a CoP. In contrast, this study used the CoP framework as a means to analyze and explore the potential of music education field experiences as boundary encounters—experiences where an individual engages with an unfamiliar CoP. The purpose of this descriptive collective case study was to investigate the tensions that occur at the boundary between music student and music teacher practices. Research questions explored (a) how undergraduate field experiences served as productive encounters for negotiating and exploring the boundary between music student and music teacher practices, (b) the tensions that occur at the boundary between music student and music teacher practices, (c) which boundary objects helped coordinate music student practices with music teacher practices, and (d) who acts as brokers at the periphery of music teacher practice, and how. Three undergraduate music education majors enrolled in a secondary music education methods course participated in this semester-long study. Analysis of interview transcripts, participant journals, course assignments, and observations revealed how undergraduate field experiences in this course served as productive encounters for negotiating the boundary between music student and music teacher practices. Practicum encounters and attendance at a professional arts conference provided the strongest opportunities to engage with the music teaching practice, whereas observations were less productive. Pursuant to Wenger-Trayner and Wenger-Trayner (2015), tensions were explored as learning assets. Findings highlight how the school check-in process, relationship with cooperating teachers, opportunities to participate, and lack of brokering generated tension for the participants. Further analysis revealed a general lack of boundary objects between practices and an absence of brokers beyond the university supervisor. Findings support the need for authentic field experiences, with sustained access to the CoP. Moreover, the identification of brokers to facilitate and coordinate these experiences emerged as paramount. Given the unique positionality of university supervisors, they appear ideally positioned to serve as brokers. Finally, results also offer insights into how the timing, type, and student placement in field experiences may impact their productiveness.

Most states in the country have adopted a broad P-12 licensure for music teacher certification (Henry, 2005). This broad licensure puts a strain on music teacher education programs. Faculty create degree programs which must include coursework from internal and external influencers, all while trying to create a curriculum for preservice teachers that incorporates a wide breadth of topics, balanced with enough depth for teachers to be prepared for success in the profession. Harsh criticisms have risen about music teacher education programs shortfalls in trying to strike a balance between breadth and depth (Forsythe, et. al., 2007; Legette, 2013; Leonhard,1985). Much of the content within a music teacher education program reflect guidance from and is approved by a single external influence–the National Association of Schools of Music (NASM). The NASM is the national accrediting agency for schools of music who voluntarily choose to subscribe to this oversight. Their accreditation standards are the most recognized and supported in the country, and because of that accrediting function, NASM has great power and influence over music programs in higher education (Ester & Brinkman, 2005). However, research informing the requirements from the NASM and their effectiveness are scarce (Forsythe et. al., 2007). The purpose of this research is to explore early-career music educators' perceptions of the value, effectiveness, and relevance of their NASM accredited undergraduate music studies in preparation for teaching. A marketing research approach and subsequent analysis provides empirical evidence of novice music educator's perception of the efficacy of teacher preparation curricula as they correspond to each NASM guideline. Study participants (n=36) were early-career teachers (1-3 years professional experience) from the National Association for Music Educators Northeast Region who responded to a survey request. In the survey, participants used a 1-5 Likert-type scale to rate the importance of NASM competencies to their first years of teaching and the instructional performance of their music teacher education program. Lastly, participants rated the overall importance and performance of their music teacher education programs. Survey results indicate the overall average perceived importance of all music competencies from the NASM in music teacher education programs (MTEP) are rated higher than the overall perceived performance of instruction (3.61, 2.81). Analysis of the results also revealed a discouraging gap between the high importance of general, vocal, and instrumental music curriculum knowledge and the less than sufficient performance by music teacher education programs. A similar gap in laboratory and field teaching experiences in individual, small group, and whole group settings was identified. The results of this study indicate a need for more reflective research into music teacher education programs and the competencies required by the National Association of Schools of Music. / Music Education

The purpose of this study was to investigate and compare pre-service and in-service music teachers' perceptions of readiness to teach East Asian vocal music. Through a survey design, the study focused on pre-service and in-service music teachers' preparation, satisfaction, and self-confidence to explore the extent to which the two groups of music teachers feel ready to teach East Asian vocal music. A web-based survey was developed to explore pre-service music teachers' perceptions of readiness to teach East Asian vocal music. It was sent to 149 pre-service music teachers who were undergraduate music education majors at eight northeastern NASM accredited universities. A similar web-based survey was developed to explore in-service music teachers' perceptions of readiness to teach East Asian vocal music. It was sent to 132 in-service music teachers who were K-12 public school certified music teachers in Mid-Atlantic states. The two surveys were designed for pre-service and in-service music teachers to rate their multicultural/world music training regarding East Asian vocal music in order to reflect their preparation, satisfaction, and self-confidence in teaching East Asian vocal music. Data regarding participants' demographic information (e.g., gender, age, ethnicity, educational background, second language learning), collegiate course work, music education faculty, and musical experiences were also collected to investigate what factors influenced pre-service and in-service music teachers' preparation, satisfaction, and self-confidence in relation to their perceptions of readiness for teaching East Asian vocal music. Descriptive statistics (e.g., frequency distribution, central tendency, and dispersion) were used to analyze demographic data, responses to questions in Preparation component, Satisfaction component, and Self-Confidence component, and responses for the questions reflected participants' beliefs about teaching world music and East Asian vocal music. Inferential statistics (Cronbach's Alpha Coefficient, Pearson Correlation, and Independent-Sample T-Test) were used to analyze factors that influenced participants' perceptions of readiness to teach East Asian vocal music, and to compare the differences in perceptions of readiness to teach East Asian vocal music between pre-service music teachers and in-service music teachers. Data revealed that both pre-service and in-service music teacher participants felt they received inadequate preparation for teaching East Asian vocal music from their college training and professional development experiences, they felt dissatisfied with their college programs and training experiences in relation to teaching East Asian vocal music, and they did not feel confident to teach East Asian vocal music. The results of the t-tests suggested that no significant differences existed in the perceptions of readiness to teach East Asian vocal music between pre-service and in-service music teachers. / Music Education

<p>Tivenius, Olle (2008): Musiklärartyper: En typologisk studie av musiklärare vid kommunal musikskola. (Music Teacher Types: A Typological Study of Music Teachers at Municipal Music Schools.) Örebro Studies in Music Education, 230 pp.</p><p>The aim of this study is to establish a typology for instrumental music teachers at Swedish municipal music schools, and to describe different types, generated from questionnaire-answers, regarding how their attitudes and valuations in matters concerning democracy in broad sense are reflected in their pedagogical activity.</p><p>I address the following concrete questions.</p><p>• From where do music teachers at Swedish municipal music and culture schools get their attitudes and valuations, what circumstances lie behind, and are there specific circumstances that explain attitudes and valuations that are not embraced by most of them?</p><p>• How can different types of music teachers be described?</p><p>• How do the attitudes and valuations differ between different types?</p><p>• How are the attitudes and valuations of the different types reflected in their respective work?</p><p>In the first place I try to answer the questions by using questionnaires which I analyse with methods including factor and cluster techniques. In order to generate intelligible pictures of the types I also interpret, by mean value and correlation analyses, quantitatively dependent data with hermeneutical tools.</p><p>The population is about 5 000 individuals, represented by 834 informants.</p><p>The results show that each subject (singing, strings, brass, etc.) has its own inherited culture, with its own set of attitudes and valuations These attitudes and valuations are, in the first place, transmissioned within the subjects.</p><p>The questionnaire answers have generated eight different types: MISSIONARY, GATE KEEPER, MUSIC MAKER, MASTER TEACHER, MUSIC DIRECTOR, REFORMIST, ANTI-FORMALIST, and PEDAGOGUE. Each of them has their own set of attitudes and valuations, which are based on the four factors MISSION, FEELING, FOUNDATION, and STUDENT-FOCUS. The eight types and their significant qualities, can be described, in reasonable and recognized ways. Different discourses can also be discerned.</p><p>Most types seem to have a given position at music school. THE REFORMIST, however, appears to be dissatisfied. He or she is rooted in classical music, but wants to teach the children to play music of their own, although he or she is lacking the didactical tools for this kind of teaching. THE REFORMIST constitutes 19 % of the population and is thereby the largest group.</p><p>Among other things, one conclusion drawn from the discussion is that the conservatory discourse is a cement keeping together the whole field of music education, and without it the structure and organisation of music school as well as college of music would collapse into a messed-up activity beyond defini¬tion. Another conclusion is that education of music teachers must be reformed with the starting point in democracy and philosophy, if discoursive isolation of music school should not become total—with fatal consequences for music school. These two conclusions stand for opposite poles, which must be balanced to each other.</p>

The aim of this study is to establish a typology for instrumental music teachers at Swedish municipal music schools, and to describe different types, generated from questionnaire-answers, regarding how their attitudes and valuations in matters concerning democracy in broad sense are reflected in their pedagogical activity. I address the following concrete questions. • From where do music teachers at Swedish municipal music and culture schools get their attitudes and valuations, what circumstances lie behind, and are there specific circumstances that explain attitudes and valuations that are not embraced by most of them? • How can different types of music teachers be described? • How do the attitudes and valuations differ between different types? • How are the attitudes and valuations of the different types reflected in their respective work? In the first place I try to answer the questions by using questionnaires which I analyse with methods including factor and cluster techniques. In order to generate intelligible pictures of the types I also interpret, by mean value and correlation analyses, quantitatively dependent data with hermeneutical tools. The population is about 5 000 individuals, represented by 834 informants. The results show that each subject (singing, strings, brass, etc.) has its own inherited culture, with its own set of attitudes and valuations These attitudes and valuations are, in the first place, transmissioned within the subjects. The questionnaire answers have generated eight different types: MISSIONARY, GATE KEEPER, MUSIC MAKER, MASTER TEACHER, MUSIC DIRECTOR, REFORMIST, ANTI-FORMALIST, and PEDAGOGUE. Each of them has their own set of attitudes and valuations, which are based on the four factors MISSION, FEELING, FOUNDATION, and STUDENT-FOCUS. The eight types and their significant qualities, can be described, in reasonable and recognized ways. Different discourses can also be discerned. Most types seem to have a given position at music school. THE REFORMIST, however, appears to be dissatisfied. He or she is rooted in classical music, but wants to teach the children to play music of their own, although he or she is lacking the didactical tools for this kind of teaching. THE REFORMIST constitutes 19 % of the population and is thereby the largest group. Among other things, one conclusion drawn from the discussion is that the conservatory discourse is a cement keeping together the whole field of music education, and without it the structure and organisation of music school as well as college of music would collapse into a messed-up activity beyond defini¬tion. Another conclusion is that education of music teachers must be reformed with the starting point in democracy and philosophy, if discoursive isolation of music school should not become total—with fatal consequences for music school. These two conclusions stand for opposite poles, which must be balanced to each other.

De flesta av oss har säkert erfarenhet av hur digitala verktyg kan vara en hjälp på många områden i vardagen. Det går att fastslå att fler och fler funktioner och tjänster i vårt samhälle digitaliseras på olika sätt och i många yrkesgrupper verkar digitala hjälpmedel vara ett självklart inslag. Syftet med detta arbete är att öka kunskapen om vilken syn musik- och instrumentallärare har på användningen av digitala verktyg i undervisningen. För att uppnå detta syfte har jag ställt ett antal frågor till några musiklärare i olika läromiljöer. Resultat visar bland annat att användandet av digitala hjälpmedel styrs till viss del av musikalisk genre, det vill säga om en lärare arbetar med klassisk musik eller med rock- och popmusik. Tydligt i resultatet är också att musiklärarna vill öka både sin kunskap och sitt användande av digitala verktyg. En av mina viktigaste slutsatser är att de lärare som på ett personligt plan använder digitala verktyg utanför skolan också använder dem i sin undervisning. / Most of us have probably experienced how digital tools can help us in many areas of everyday life. The intent of this paper is to increase knowledge concerning the attitudes of music and instrumental teachers' towards the use of digital tools in their pedagogical methodology. To achieve this aim, I have posed a number of questions to a small selection of music teachers, working within different learning environments. The results show that the implementation of computer and digital media in teaching is dependent upon whether the type of music taught is classical or pop/rock. The results furthermore indicate that music teachers are keen to increase both their knowledge and use of digital tools. One of the most important conclusions that I have reached is that there is a strong correlation between the personal and private use of computers and digital tools by teachers, and whether or not they are utilized as teaching aids.

Music production is a relatively new subject in upper secondary school who place high demands on the teacher's expertise in many areas of knowledge, such as sound technology, composition, arranging and leadership. A music teacher education by deepening specialization in music production was not started until 2011, as teacher graduates before 2015 lack formal training in the subject. The purpose of the study is to highlight the teacher's view of what it takes to teach the subject music production in upper secondary school and how the application of their skills may seem teaching. The study consists of four interviews with teachers who teach music in upper secondary school. The study shows that teachers need to be multi-skilled to teach the subject music production. In addition to traditional music skills they must have significant knowledge of music technology, and be familiar with today's musical trends and cultures. The study shows that there are great advantages to being able to play one or more instruments as music production teacher, and having experience in the music industry is considered a must in order to make the lessons as realistic as possible. The challenge for today's music teachers is the need to constantly develop their skills to contribute in a meaningful and reality-grounded education in a constantly changing music industry. / Musikproduktion är ett relativt nytt ämne på gymnasiet som ställer höga krav på lärarens kompetens inom många kunskapsområden, till exempel ljudteknik, komposition, arrangering samt ledarskap. En musiklärarutbildning med fördjupad inriktning mot musikproduktion startades inte förrän 2011 så undervisande lärare med examen före 2015 saknar formell utbildning i ämnet. Syftet med studien är att belysa lärares syn på vad som krävs för att undervisa i ämnet musikproduktion på gymnasiet samt hur tillämpningen av deras kunskaper kan te sig i undervisningen. Studien består av fyra kvalitativa intervjuer med lärare som undervisar i musikproduktion på gymnasiet. Studien visar att lärare behöver vara multikompetenta för att undervisa i ämnet musikproduktion. Utöver sedvanliga musikkunskaper så måste de ha betydande kunskaper om musikteknologi samt vara insatta i dagens musikaliska trender och kulturer. Studien visar att det finns stora fördelar med att kunna spela ett eller flera instrument som musikproduktionslärare och att ha erfarenhet av musikbranschen anses vara ett måste för att kunna göra undervisningen så verklighetstrogen som möjligt. Utmaningen för dagens musikproduktionslärare är att de ständigt måste utveckla sina kunskaper för att bidra med en meningsfull och verklighetsförankrad undervisning i en ständig föränderlig musikbransch.

Esta dissertação é um recorte de uma pesquisa desenvolvida pelo grupo FAPROM. A amostra analisada aqui é formada por professores que se identificam com a educação infantil. O ensino da música na educação infantil está previsto nos documentos oficiais e é trabalhado predominantemente pelo professor unidocente. Entretanto, muitos desses profissionais não recebem formação e não se sentem devidamente capazes para lecionar esse conteúdo. Com isso, muitas escolas optam por contratar professores com formação específica em música. Todavia, não temos muitas informações acerca de quem são esses profissionais e quão capazes estes se sentem para lecionar música nesta etapa do ensino. O objetivo desta pesquisa foi investigar o perfil e as crenças de autoeficácia dos profissionais que atuam com o conteúdo de música na educação infantil. As crenças de autoeficácia são as percepções que uma pessoa possui acerca de suas próprias capacidades para realizar uma ação. O método utilizado foi o survey baseado na internet. A técnica de coleta de dados constituiu-se de um questionário dividido em duas partes: a primeira visa conhecer o perfil do professor e a segunda investiga suas crenças de autoeficácia para lecionar. Os resultados indicaram que os professores que compõem a amostra são mais jovens e atuam em mais escolas se comparados à média nacional. Embora a amostra seja formada em sua maioria por mulheres, a presença masculina foi consistentemente maior se comparado à média nacional de professores do sexo masculino que atuam com esta faixa etária. As mulheres, por sua vez, demonstraram sentirem-se mais autoeficazes para gerenciar o comportamento dos alunos. Professores com mais tempo de experiência na docência possuem maiores crenças de autoeficácia para motivar, gerenciar o comportamento dos alunos e lidar com mudanças e desafios no ambiente escolar. A partir dos resultados desta pesquisa foi possível obter mais informações sobre o perfil dos professores de música que estão atuando na educação infantil, e assim, espera-se contribuir para o debate acerca da formação inicial e continuada destes profissionais. / This dissertation is a cutout of a research developed by FAPROM Research Group. Teachers who identify themselves with early childhood education composed the sample. Music teaching at early childhood education is part of the education law and predominantly taught by generalist teacher. However, many of these teachers are not trained and do not feel able to teach music. Many schools hire teachers with specific music training, but there is not much information about these teachers and how confident they feel to teach music at early childhood level. This research aimed to investigate the profile and self-efficacy beliefs of teachers who work with music in early childhood education. Self-efficacy beliefs are perceptions that a person has about his own abilities to perform some action. Method was the internet-based survey. Data collection was a questionnaire divided into two parts: the first aims to know the profile of the teacher and the second investigates their self-efficacy to teach. Results indicate that teachers surveyed are younger and work in more schools compared to the national average Despite a sample mostly composed by women, a male presence was consistently higher when compared to a national average of male teachers who work at childhood education. Women, on the other hand, demonstrate more self-efficacy in dealing with student behavior. Teachers with more length of professional experience have greater self-efficacy beliefs to motivate, deal with student behavior and deal with changes and challenges in the school environment. From the results of the research, we obtained more information about music teachers who work at early childhood education, and thus, we hope to contribute to the debate about the initial and continual training of these teachers.

O objetivo geral desta pesquisa foi investigar o perfil e as crenças de autoeficácia dos professores de música que atuam nos anos finais do ensino fundamental. O referencial teórico baseou-se na Teoria da Autoeficácia de Albert Bandura (1997). A Autoeficácia refere-se à percepção da pessoa sobre sua capacidade para aprender ou desempenhar uma determinada tarefa. As crenças de autoeficácia são formadas através de quatro fontes principais: experiência de domínio, experiência vicária, persuasões sociais e estados somáticos e emocionais. O presente trabalho utiliza um recorte de dados da pesquisa intitulada “Mapeamento dos Professores que Trabalham com Ensino de Música nas Escolas de Educação Básica: Um Survey sobre sua Formação, Atuação e Crenças de Autoeficácia”, realizada pelo grupo de pesquisa Formação e Atuação do Profissional em Música (FAPROM), coordenado pela professora doutora Liane Hentschke. A abordagem metodológica é de caráter quantitativo, utilizando como método o survey baseado na internet. Para a coleta de dados, foi utilizado um questionário autoadministrado de caráter fechado, armazenado na plataforma online SurveyMonkey. A amostra da presente pesquisa é composta por 161 professores de música que atuam nos anos finais do ensino fundamental de todas as regiões do Brasil. Os resultados desta pesquisa demonstraram que os professores que compõem a amostra, em geral, apresentam níveis elevados de crenças de autoeficácia, pois atribuíram altos índices aos itens de cada dimensão investigada. Foi possível inferir que os professores possuem crenças de autoeficácia mais enfraquecidas na dimensão “Lidar com Mudanças e Desafios”, uma vez que a foi atribuído o escore menos elevado. Os dados levantados indicaram que os professores de música com mais de 40 anos de idade e mais de 11 anos de experiência docente atribuíram escores mais elevados às dimensões das crenças de autoeficácia investigadas. Este trabalho contribui para a ampliação do pequeno conjunto de dados disponível a respeito do perfil dos professores de música em nosso país. Além disso, traz novos dados que podem auxiliar nas discussões sobre políticas públicas de incentivo à formação inicial e continuada desses professores. / The main objective of this research was to investigate the profile and beliefs of self-efficacy of music teachers who work in the final years of elementary school in Brazil. The theoretical background was based on Albert Bandura's Theory of Self-efficacy (1997). According to this author, self-efficacy refers to a person's perception of their ability to learn or perform a particular task. The beliefs of self-efficacy are based in four sources principles: enactive mastery experience, vicarious experience, verbal persuasion and physiological and affective states. The present work uses a dicing of data from a biggest project entitled "Mapping of Teachers Working with Music Teaching in Basic Education Schools: A Survey on Their Formation, Performance and Beliefs of Self-efficacy", carried out by the Professional Training and Acting Research group In Music (FAPROM), coordinated by the professor doctor Liane Hentschke. The methodological approach is quantitative and applies internet-based survey. A self-administered closed-ended form stored online at SurveyMonkey platform was used for data collection. The sample of the present research is composed of 161 music teachers who work in the final years of elementary education in all regions of the country The results of this research indicated that, in general, the interviewed teachers presented high levels of self-efficacy beliefs, as they attributed high indexes to the investigated items in each dimension. The lowest score was attributed to the dimension “Dealing with Changes and Challenges” and, thus, it was possible to infer that the teachers have weaker beliefs of self-efficacy in this dimension. The collected data showed that music teachers with more than 40 years of age and more than 11 years of teaching experience are those who attributed higher scores to the dimensions of self-efficacy beliefs. This work contributes to the expansion of the small dataset available regarding the profile of music teachers in our country. In addition, it brings new valuable data, which may contribute to discussions about public policies to reformulate the initial and encourage the continuous formation of these teachers.

<p>The purpose of this study is to shed light on how teachers on the upper secondary Arts with Music programme use movement in their teaching of music, and how they approach movement as an educational tool, by investigating the following three issues:</p><p>1. What significance does movement have for teachers on the Arts with Music programme?</p><p>2. How do teachers on the Arts with Music programme regard movement as an educational tool in the teaching of music?</p><p>3. How do teachers on the Arts with Music programme use movement as educational tool?</p><p>The methodology used is a combination of focus group interviews and observations. The aim was to connect data collected from focus groups interview with observations in order to look into how things were said by the teachers seemed to be employed in their practice.</p><p>The values of different cultures and ages and their significance for our choice of methods as teachers, and our view of music and the consequences it has for our role in the learning process are the key areas of this study. I selected to dispose the content in informal and formal learning (Davidsson & Correia, 2002, Lilliestam, 2006), absolute and realtivistic views of musicality (Brändström, 1997), high and low (Klingfors, 2003), nature and culture (Ehn & Löfgren, 1982), male and female (Bouij, 1998, O´Neill 1997; Lenz Taguchi, 2003), mind and body (Gustavsson, 2000; Davidsson & Correia, 2002).</p><p>The informants maintain that movement could have performance purposes, physical purposes and educational purposes, as a tool in the teaching of music.</p><p>What I consider the most salient aspect of my study is that although the informants consider movement as important in both teaching and artistic contexts, they did not use it to any significant extent as a teaching aid.</p>