This mixed methods study investigates an aspect of learning which is often overlooked: that of gender interaction in one-to-one instrumental music lessons. The gender of teacher and pupil may contribute to differences in behaviour and expectations, which could impact upon teaching and learning processes and outcomes. The study asks the following questions: ‘Do instrumental teachers and pupils hold gendered beliefs about each other and about their lessons, and if so, how do these beliefs affect their interactions, and what might be the consequences for learning?’ Three linked studies - a teachers’ and pupils’ questionnaire study, a lesson observation study, and an interview study - were conducted to offer different perspectives on these research questions. The questionnaire studies found that participants held several stereotypical expectations. Teachers believed that girls were more conscientious than boys; pupils believed that male teachers were more ‘likely to set challenges’ than female teachers, who were more likely to be characterised as ‘patient’. The observation study found many similarities in the ways men and women interacted with boys and girls. Some important variations were identified, however, including the findings that during lessons male teachers were likely to play their instruments more frequently than female teachers, and that boy pupils were less likely than girls to look at their teacher's face. In the interview study, teachers and pupils offered background information and opinions which helped to contextualise the earlier findings. A ‘good’ relationship was seen by all participants as a key factor for successful teaching and learning, but this was defined in different ways. Men and boys were most concerned with the technicalities of playing the instrument well. Women and girls, while valuing skill, also maintained the importance of more affective issues, such as mood, personal likes and dislikes. As well as contributing to educational psychology by exploring an under-researched area, the findings will be of practical use to instrumental teachers and to conservatoires, universities and teacher educators in general education. Awareness of gender issues, and particularly of the need to avoid stereotypical expectations, will help teachers to provide equity for pupils, in order that all can achieve their potential.

Abstract A basic interpretive qualitative research design (Merriam, 2002) was used to explore the perceptions and observations of volunteer piano teachers providing weekly piano lessons to at-risk youth. Four volunteer piano teachers from two prairie cities who volunteered teaching three twenty-minute piano lessons a week for at least one year in a local school-based program, Heart of the City Piano Program, were interviewed. Data were analyzed using thematic analysis. Findings included three themes about the perceived benefits of piano lessons for the students –student self-motivation, student confidence, student sense of accomplishment – as well as three themes about distinguishing characteristics of the piano lessons – student focussed lessons, allowing students to be themselves, and positive role model relationships. Findings are discussed in relation to current research on at-risk youth and music education, and recommendations for further research and implications for practice are included.

This quantitative study explores string teachers’ perceptions of citizenship education and its use in the private lesson. Guided by Westheimer and Kahne’s (2004) model of citizenship education the study sought to identify (a) how private string teachers perceive citizenship education, and (b) the factors that influence these perceptions. Four hundred and fifteen (415) members of the American String Teachers Association (ASTA) participated in this study by completing an on-line survey that contained both closed and open-ended questions. The resulting data was coded and organized according to the survey questions and the conceptual framework. Research findings revealed that, although teachers did not explicitly consider citizenship education a part of their lessons, their intentions and their report on pedagogical practices could be described as citizenship education when viewed through the conceptual framework used in the study. Indeed, nearly all of the participant responses revealed intentions to include attributes of what Westheimer and Kahne refer to as the Personally Responsible Citizen in their music lessons with students. Educating for traits of other types of citizenship was also reported. Factors deemed influential in string teachers’ perceptions of citizenship education included the following: If the teachers had earned certification in Suzuki pedagogy; the number of years of teaching experience; if teachers self-identified as primarily educators, performers, or both; the age of the students who are taught. Additionally, the study addresses teachers’ statements about the use of competitions, dialogue in lessons, and general attitudes about the appropriateness of citizenship education in several different learning environments. The study findings add to a small but growing body of research that furthers understandings of the links between citizenship education and music education. In addition, the findings contribute to our understanding of the complexity of the relationship between private teachers and their students.

This quantitative study explores string teachers’ perceptions of citizenship education and its use in the private lesson. Guided by Westheimer and Kahne’s (2004) model of citizenship education the study sought to identify (a) how private string teachers perceive citizenship education, and (b) the factors that influence these perceptions. Four hundred and fifteen (415) members of the American String Teachers Association (ASTA) participated in this study by completing an on-line survey that contained both closed and open-ended questions. The resulting data was coded and organized according to the survey questions and the conceptual framework. Research findings revealed that, although teachers did not explicitly consider citizenship education a part of their lessons, their intentions and their report on pedagogical practices could be described as citizenship education when viewed through the conceptual framework used in the study. Indeed, nearly all of the participant responses revealed intentions to include attributes of what Westheimer and Kahne refer to as the Personally Responsible Citizen in their music lessons with students. Educating for traits of other types of citizenship was also reported. Factors deemed influential in string teachers’ perceptions of citizenship education included the following: If the teachers had earned certification in Suzuki pedagogy; the number of years of teaching experience; if teachers self-identified as primarily educators, performers, or both; the age of the students who are taught. Additionally, the study addresses teachers’ statements about the use of competitions, dialogue in lessons, and general attitudes about the appropriateness of citizenship education in several different learning environments. The study findings add to a small but growing body of research that furthers understandings of the links between citizenship education and music education. In addition, the findings contribute to our understanding of the complexity of the relationship between private teachers and their students.

This quantitative study explores string teachers’ perceptions of citizenship education and its use in the private lesson. Guided by Westheimer and Kahne’s (2004) model of citizenship education the study sought to identify (a) how private string teachers perceive citizenship education, and (b) the factors that influence these perceptions. Four hundred and fifteen (415) members of the American String Teachers Association (ASTA) participated in this study by completing an on-line survey that contained both closed and open-ended questions. The resulting data was coded and organized according to the survey questions and the conceptual framework. Research findings revealed that, although teachers did not explicitly consider citizenship education a part of their lessons, their intentions and their report on pedagogical practices could be described as citizenship education when viewed through the conceptual framework used in the study. Indeed, nearly all of the participant responses revealed intentions to include attributes of what Westheimer and Kahne refer to as the Personally Responsible Citizen in their music lessons with students. Educating for traits of other types of citizenship was also reported. Factors deemed influential in string teachers’ perceptions of citizenship education included the following: If the teachers had earned certification in Suzuki pedagogy; the number of years of teaching experience; if teachers self-identified as primarily educators, performers, or both; the age of the students who are taught. Additionally, the study addresses teachers’ statements about the use of competitions, dialogue in lessons, and general attitudes about the appropriateness of citizenship education in several different learning environments. The study findings add to a small but growing body of research that furthers understandings of the links between citizenship education and music education. In addition, the findings contribute to our understanding of the complexity of the relationship between private teachers and their students.

The purpose of the study was:1. To develop an inventory of music teacher roles which pertained to the setting, community schools of the arts (CSAs).2. To discover how music teachers perceive their actual job roles vs. their ideal job roles in CSAs.An instrument was structured using the roles found in the work of Onderdonk (1995), Barnes (1972), Moller (1981), White (1964), and input from experts. Roles were categorized into three areas: community, school, and professional. The population of teachers was drawn from member schools of the National Guild of Community Schools of the Arts (NGCSA) for the year 2005-2006. The final study population consisted of 139 CSA teachers from 16 schools across the USA.Overall, teachers indicated that roles in the professional category were and should be performed more often than community and school roles. The school and community categories were deemed equal to each other (actually and ideally). Teachers indicated that community, school, and professional roles in CSAs were complex, consisting of 31 roles (7 community, 10 school, and 14 professional). A ranked and tiered inventory of the 31 valid roles and a portrait of the CSA music teacher were created. As an aggregate, teachers ideally desired to increase the frequency with which they performed the following roles: Advocate, Attendee of Faculty/Committee Meetings, Attendee of School Activities, Performer/Demonstrator/Coach, and Student/Lifelong Learner. As an aggregate, teachers desired to decrease the frequency with which they performed the role of School Leader. Teachers indicated balance in regard to modeling, performing, parental education, discipline, tradition, and leadership.Implications for CSA administrators, personnel of the National Guild of Community Schools of the Arts, teacher educators and trainers, and future research include: finding paths to develop part-time leaders, developing content for coursework and professional development specific to CSA teachers, and promoting awareness that investment in current/future teachers should be given similar value and energy to fundraising efforts. In order to educate/train future CSA teachers, coursework which includes preparation as instrumental/pedagogical experts, as well as content which provides training in educational philosophy, history, curriculum development, role modeling, culture, and technology were recommended.

The purpose of this study was to examine the presence of Schön's concept of reflective conversation as a defining component in the applied studio music lesson. The research problems were (1) to determine the presence of complete and incomplete reflective conversations; (2) to determine the verbally exhibited knowledge base within complete conversations in relationship to conversation length; and (3) to establish an instructional profile of stable behaviors based on reflective conversation as a distinguishing characteristic among selected teachers. Videotapes of twenty-six applied studio music lessons of thirteen university teachers were analyzed according to problem solving, on-the-spot experimentation, and evaluation. An observation form was developed and was a reliable tool to collect information concerning number and type of reflective conversations, conversation length, and the teachers' verbally demonstrated knowledge base. Knowledge base was obtained by using the procedural model of Flanagan's critical incident technique. Reflective conversations existed and were a distinguishing characteristic of the teachers. With the exception of two teachers, a stable use of both number and length of reflective conversations, and knowledge base areas, was found. A discernible difference in the teachers' knowledge base within conversation length existed, and thus established instructional profiles for the teachers. Complete reflective conversations ranged from one-sixth to over half of total lesson time. Within instrument categories, teachers generally revealed a dissimilar knowledge usage. Some teachers exhibited fast-paced problem solving, in one minute or less, and named one or two knowledge areas. Others had longer conversations, up to five minutes, with more deliberate problem solving, and as many as twelve knowledge areas named. Results indicated that a practically significant situation can be examined by establishing teacher instructional profiles based upon reflective conversation. Methods employed in this study could be used to document teacher problem-solving and teacher knowledge in a variety of settings.

Effective practice determines the quality of a performance and it is essential to improving a musician's overall level of playing. Studies show that experts in the field of music display superior metacognitive skills, or the ability to think about one's thinking. Metacognition is an important skill that needs to be developed in order for a student to become a self-regulated, or independent learner. Effective practice can be improved by learning and developing metacognitive and self-regulated learning skills. An important component of self-regulated learning is reflective thinking. Reflective thinking is a mental process that contributes to deeper learning experiences, improves problem solving skills, and enhances creativity. Reflective thinking can be stimulated with writing activities. Research and theories of reflective practices informed the creation of the Reflective Writing Prompts. The Reflective Writing Prompts stimulate reflective thinking as they teach and develop metacognitive and self-regulated learning skills to make practice more effective. Each exercise prompts the student to think and write a response to questions focused on a specific skill. These prompts are based on research in music psychology and reflective thinking, with special focus on metacognition, self-regulated learning, practice habits, and reflective journaling. The pertinent studies and theories in these areas will be examined and explained in relation to each other. With this foundational knowledge in place, the Reflective Writing Prompts will be presented. The prompts are designed to support first or second year music students in their development as independent learners who practice effectively.

The study addressed the problem of recurring technical and musical errors exhibited by students in their private lessons. In an effort to remedy this problem, an attempt was made to structure the entry and exit environment of the private lesson in such a way as to increase the improvement in performing skills by scheduling thirty minutes of practice immediately before and immediately after the private lesson. The purpose of the study was to determine the effect on growth in performing skills (as measured by sight performance) of this arrangement called the Structured Border Lesson (SBL).

This essay examines where students gain their knowledge of exercising a musical instrument before they choose aesthetic focus of music in high school, on an instrument used in today’s symphony orchestras. In elementary school curriculum there is no room for students to learn to play an orchestra instrument, you have to obtain your music lessons outside compulsory school. Despite this, there is a vocational training in music in high school where you get individual teaching on your musical instrument, the course Instrument or song. This can be understood through curriculum theory. I used a quantitative method. The empirical data is based on a survey. All students in this survey have received their education outside primary school. 73% of the students have received their education through the cultural school. 50% of the students that play a string instrument had taken Suzuki education and started their education in preschool age. The knowledge legitimized through the formulations of curriculums are political decisions that are about what the state believes citizens should be able to perform to develop a well functioning society. As long as the teaching is not free and does not fall under Swedish National Agency for Education's regulations, all children do not have the same opportunities for learning to play a music instrument. This becomes a social ethical problem when it comes to the accessibility for everyone to play a musical instrument and perhaps especially an orchestra instrument.