<p> The diversity present within K-12 classrooms in the United States presents teachers with students from many backgrounds and musical traditions. Traditional undergraduate music education programs which prioritize the Western canon provide little opportunity for students to address diversity, both in pedagogy and in content. Prospective music teachers in the choral or general music areas experience vocal education that focuses primarily on the classical <i> bel canto</i> vocal technique. This education fails to prepare teachers to teach students from diverse backgrounds and musical traditions. Because music plays an important role in adolescents&rsquo; identity formation, teachers who are unprepared to recognize and teach diverse vocal styles may unknowingly alienate or silence their students. </p><p> The purpose of this study was to develop an understanding of how two groups of music students, in early adolescence, and from a diverse urban public school, perceive the singing and the music teaching in their general music classrooms. By discovering their perspectives, I hoped to shed light on the ways in which music teaching influenced their musical, vocal, and cultural identities, particularly during the malleable time of adolescence. </p><p> Over the course of three months, I conducted semi-structured interviews with 14 students and two teachers as well as twice-weekly classroom observations. Three research questions informed the data collection process: (1) How do students in a diverse urban public school describe their own singing and musical background? (2) How do they describe the vocal (and music) teaching in their general music class? (3) How do they describe an effective or ideal music teacher? </p><p> The interview data and field notes from the observations were coded, organized, and analyzed into the following categories: (1) Music and Self Expression; (2) Music and Family; (3) Culturally Congruent and Incongruent Teaching; (4) Student Vocal Profiles; (5) If They Could Teach the Music Class, How Would They Teach? The overarching conclusion from this study is that the congruence or incongruence of a teacher&rsquo;s musical epistemology &mdash; &ldquo;the norms, logic, values, and way of knowing&rdquo; music (Dom&iacute;nguez, 2017, p. 233) &mdash; along with the musical epistemologies of her students was the primary factor for student exclusion or empowerment in the classroom. </p><p>

This study examines the correlation between how certified music educators understand audio technology and how they incorporate it in their instructional methods. Participants were classroom music teachers selected from fifty middle schools in Miami- Dade Public Schools. The study adopted a non-experimental research design in which a survey was the primary tool of investigation. The findings reveal that a majority of middle school music teachers in Miami-Dade are not familiar with advanced audiorecording software or any other digital device dedicated to the recording and processing of audio signals. Moreover, they report a lack of opportunities to develop this knowledge. Younger music teachers, however, are more open to developing up-to-date instructional methodologies. Most of the participants agreed that music instruction should be a platform for preparing students for a future in the entertainment industry. A basic knowledge of music business should be delivered to students enrolled in middle-school music courses.

This study investigated the use of music listening maps to help learning and the preferences of second graders for orchestral music. Subjects were a population of four 2nd grade classes, and were randomly divided into two groups. The investigation was a counterbalanced, post-test only design, lasting for three consecutive classes. Two treatments/lessons were presented and a third lesson was a review. In Treatment 1 Group I used listening maps first, while Group II received instruction without listening maps. In Treatment 2, the order was reversed. Two post-tests and a comprehensive test were administered. An affective survey was administered after the treatments, measuring student preference and attitude. When listening maps were presented, scores were significantly higher. It did not matter whether the listening maps were presented first or not. Results of the survey show student preference will increase with music listening maps.

<p> The main purpose of this study was to investigate the impact of two methods of jazz instruction-theoretical-based and practice-based-on the improvisational development and performance of high school jazz musicians. Secondary purposes were to investigate (a) what instructional activities students in a jazz ensemble setting find useful in developing their performance and creative jazz improvisation skills; (b) how instruction in a jazz ensemble setting affects students' perceptions and attitudes towards cultural diversity in music; and (c) jazz band directors' perceptions of the effectiveness of the two types of jazz instruction. The study sample consisted of 10 high school jazz bands from the southeastern region of a Mid-Atlantic state. Participants were randomly assigned to either the theoretical-based control group or the practice-based experimental group. Both groups were given the same jazz composition and were recorded when sight-reading the piece for the pretest. Individual student soloists in the control (<i>n</i> = 13) and experimental (<i>n</i> = 21) groups improvised over a 32-measure section of the piece. After four weeks of instruction, both groups were again recorded for the posttest evaluation. All ensemble participants (<i>N</i> = 191) completed a questionnaire pertaining to pedagogical and cultural perspectives and band directors in the experimental group were interviewed to address the secondary purposes of the study. Recordings were evaluated by three experienced adjudicators using measures developed for this study. Mean gain was computed by subtracting pretest mean scores from posttest means for both jazz ensemble performance and jazz improvisation. Scores were compared between the control and experimental groups using a between-subjects repeated measures ANOVA. Responses to questionnaire items were examined using descriptive statistics. The results showed that the practice-based group achieved significantly greater gains in improvisation than the theoretical-based group. Participants indicated that listening activities were useful in helping them to improve their performance and improvisation skills. Practice-based participants indicated a stronger inclination to express themselves through improvisation and were more likely to listen to jazz outside school than were theoretical-based participants. </p><p>

The black musician in America has created a unique musical experience in a style peculiarly Afro-American, that is often identified as America's distinct contribution to world culture. Yet it has had little impact on the music curriculum of the American educational system. A major challenge for the music education profession has been in the area of curriculum development to meet the needs of urban schools. For the minority students, music education must include the musical activities and contributions of black Americans. In order to meet this challenge, music educators require access to special resources and teaching strategies for the urban classroom. The purpose of this study is twofold: (1)to establish a reference/resource guide in Afro-American music for classroom and individual study; (2)to introduce three instructional modules based on rhythm, melody and harmony in black music. The rationale for this study is based on the underlying assumptions that: (1)the need exists for up-to-date resource materials on Afro-American music; (2)self motivation toward the study of black music will be reinforced through a comprehensive listing of available aural and written resources; (3)a knowledge and understanding of the fundamentals of black music will motivate the student toward an appreciation and study of all music; (4)the keys to success in music education are innovative approaches to music instruction and sensitivity to student needs. Based on a review of the literature and currently available record albums, a discography of Afro-American music was compiled including over one thousand long playing records. Brief historical sketches and descriptions introduce each style listed in the discography. Among the many musical styles documented on recordings in this discography are jazz music from ragtime to jazz-fusion, blues forms from the country blues to rhythm and blues, gospel music, reggae, new wave rock and black concert music. Utilizing the information compiled in the discography and accompanying historical sketches, three instructional modules were created to explore the fundamental elements of rhythm, melody and harmony in Afro-American music. Each module was intended as an audio cassette tape presentation including brief histories and selected concepts of rhythm, melody and harmony with illustrative musical excerpts drawn from the discography. The module on rhythm in black American music introduces the rhythmic concepts of swing, snycopation, the "juba," "after-beat," "two and four," and "four on the floor." The module on melodic materials in Afro-American music examines the development and application of the scale constructions of the blues scale, the modes, pentatonic, hexatonic, and "gypsy" scales. The module on harmonic concepts in Afro-American music introduces the distinct "blue harmony," substitute harmony and "outside" harmonic and melodic practices. The instructional modules and listing of resouce materials are intended to increase recognition of Afro-American music as a major contribution to world culture. These material should help music educators overcome the biases of white racism in American schools and society.

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Abstract not available

The purpose of this empirical study, whose theoretical framework is based on Bandura’s (1986) social cognitive theory, was to investigate the effectiveness of including a metacognitive approach in teaching expressivity at the piano. The effect of metacognition, combined with that of aural modeling and aesthetic and stylistic mental representations, was assessed regarding the promotion of a higher-order thinking, one that fosters the development of musical expressivity in young pianists. From a social cognitive theory perspective, metacognition is defined as the aptitude to reflect on one’s own thinking to assess and find the most appropriate course of action to control performance of a task (Bandura, 1986; Flavell, 1979). Equally important in the social cognitive theory is the concept of modeling, which is based on the idea that one can learn new skills by observing another individual’s actions. In turn, the mental representations of the observed tasks function to guide the learner’s performance (Bandura, 1986). Results highlighted the central role played by aural modeling. The aesthetic and stylistic mental representations in the metacognitive process allowed young pianists to elicit an expressive musical idiom through a mental conversion process. The constructs of aural modeling and of aesthetic and stylistic mental representations, along with that of musical phraseology, functioned both independently and in conjunction with each other. They provided students with a mechanism with which to reflect on ways to adjust expressivity in their playing. Results also indicated a positive influence of the above constructs on the overall performance of young pianists.

Using the Technological Pedagogical Content Knowledge (TPACK) framework as the lens to develop, view, and analyze technological assimilation in education, I examined the integration of technology related to experience, curriculum development, and the pedagogy of several music educators who teach online instrumental music lessons. The investigation centered on how the integration of technology can provide a promising and possible future for sustainable online instrumental instruction through curriculum design. The use of TPACK as a research framework helps analyze not only what equipment can do, but how technology can help teachers achieve the integration of technology, content, and pedagogy. By investigating technology use with curriculum design through the perspective of instrumental online educators, hopeful pedagogical patterns emerge. As a result of each instructor’s background, musical knowledge, and technological experience, I addressed the following research questions. 1. In what ways do instrumental educators prepare online curriculum differently than in-person curriculum? 2. How do online instrumental educators integrate technology with curriculum development and pedagogy? 3. To what degree does the experience as a student influence the pedagogy used as educators in their curriculum? These questions delve into how online educators develop their curriculum, approach lessons with new students, compare online to in-person lessons, and factor technology in their teaching. The findings illuminate the role of technology and the extent to which each instructor related to and embraced technology. Every instructor studied, regardless of age or experience, designed their curriculum around technology and utilized smartphone applications and education-based computer software (Figure 4). Based on the findings, technology was seen as useful in how educators design, present, and teach their curriculum. However, not every educator utilized technology to interweave new material into their pedagogy. This finding indicates how the fundamentals of music curriculum are not changing from generation to generation of educators. The findings presented here are viewpoints of how the broad spectrum of technology provides insight into teaching online instrumental music lessons. With educators utilizing blended teaching methodologies, developments, and general trends in technology, I anticipate that someday, there will be an educational community with a broader acceptance of technology's use in curriculum design.

Multicultural education researchers have long argued the advantages of culturally based pedagogical strategies for the education of students with non-dominant cultural backgrounds. Gloria Ladson-Billings theoretical framework — culturally relevant pedagogy (CRP) — is one strategy that, though including acknowledgement of common characteristics of teachers implementing this critical pedagogy, is identified primarily by its results in students who display the three central tenets of CRP — academic achievement, maintained or enhanced cultural competence, and an understanding and critique of the existing social order. Seemingly in contrast to culturally based pedagogical strategies, I have observed Black band teachers who have engaged Hispanic students with pedagogy patterned after HBCU show-style marching bands. The purpose of this study was to investigate a Black band director’s use of show-style band pedagogy to engage Hispanic students as a possible example of CRP. The research questions centered around the three central tenets of CRP: 1. To what extent does the teacher consider students’ culture in the pedagogy in terms of students’ a. academic achievement; b. cultural competence, including i. navigation of and identification with their own culture, and ii. access of another culture; and c. sociopolitical consciousness? 2. What reactions do students have towards show-style pedagogy? 3. What perceptions do students have about the impact of show-style pedagogy on their: a. academic achievement; b. cultural competence, including i. navigation of and identification with their own culture, and ii. access of another culture; and c. sociopolitical consciousness? 4. What nexus exists between the teachers’ pedagogical intent in using show-style pedagogy and students’ a. academic achievement; b. cultural competence, including i. navigation of and identification with their own culture, and ii. access of another culture; and c. sociopolitical consciousness? This was an ethnographic case study executed at an urban high school in Texas with an African American band director and predominantly Hispanic band students. The director was interviewed; band classes, rehearsals, and performances were observed; and student informants along with representative caretakers of those informants were interviewed. Findings included evidence of the three tenets of Ladson-Billings’s culturally relevant pedagogy, though not always along the traditional cultural delineators of race, nationality, or ethnicity. Findings also included band as a culture as a salient theme; another was critique of the status of show-style band in the related milieus of music education and adjudicated scholastic performances The participating band director was found to have implemented some strategies in alignment with CRP independent of any consideration for the students’ Hispanic background. That finding aligned with Ladson-Billings’s own critique that many practices associated with CRP can be conceived of as universal pedagogical goals. The researcher concluded that the implementation of show-style band pedagogy was culturally relevant for the students in the study.