The purpose of this study was to examine the perceptions of music teachers in urban elementary schools. Title-I public elementary schools (N = 135) in Miami-Dade County were surveyed for demographic information, and fifty-six of the music teachers from those schools participated in the survey designed for this study. The survey was intended to accumulate data regarding the independent variables of student demographics, teacher demographics, student/teacher demographic differences, teacher training, and teacher support; the dependent variables examined were teacher attitudes about urban elementary music teaching and teacher expectations of their urban elementary music students. Results demonstrated that demographic factors were correlated, and most of the teachers mismatched demographically with their students. Professional support and the percentage of students receiving free or reduced lunch correlated with attitudes. The variables did not correlate with expectations, but because of a strong correlation with attitudes, expectations may have been indirectly affected by support and the percentage of students receiving free/reduced lunch. Support was the single predictor for attitudes, and when computed as an independent variable, attitudes were the sole predictor for expectations. No significant main effects or interactions between the variables were found.

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 deconstruct the communication that occurs in the post-observation conference in music teacher evaluation. If music teachers and evaluators are to communicate effectively, demonstrate and assess various dimensions of music teaching, accurately judge the professional qualities and pedagogical actions of music teachers, and apply such judgements in measuring music teacher effectiveness, then the beliefs, thoughts, words, actions, habits, and values of those music teachers and evaluators must be appropriately and deeply understood. This study utilized aspects of ethnography and critical discourse analysis in examining the dialogue between sets of ensemble directors and their evaluators in the context of music teacher evaluation. The primary theoretical foundation of this study flows from James Paul Gee’s writings on the theory and practice of discourse analysis. Thus, I examined the attributes of discourse among evaluators and music teacher dyads and the means by which significance, social goods, and relationships shaped the music teacher evaluation process. The results indicated the language-in-use during the post-observation conferences in the music teacher evaluation process shaped the nature and quality of communication between music teachers and their evaluators. Music teachers and evaluators used language to indicate significance through repetition of and/or direct statements of importance. The results did not indicate any discrepancies on the situated meanings of terms associated with interpretation of the rubric when applied to the band rehearsal. Social goods, such as growth in band enrollment, teacher rating, and pay, were exchanged within the verbal and written discourse, or implied within the communication process itself. Relationships were more difficult to detect through the verbal language of the evaluative conferences. However, nonverbal clues during post-observation conferences offered insight into the type of relationship that had been built or was in place, and it was noted that the nonverbal language, such as eye contact and posture, reflected the quality of communication in these music teacher evaluation conferences. The importance of this study rests within the context of understanding the role of communication in music teacher evaluations

ABSTRACT Music and differences in knowledge – a study of music teachers experiences with differences in musical knowledge. The purpose of this paper is to, out of a music teacher’s perspective, see if the differences in music abilities between 7th grade students are at all, or in some ways connected to the previous schools they’ve attended. I will also research in what areas, in the subject of music, students are differing more, as well as less, in their knowledge.  The analysis is based on interviews with six 7th grade music teachers working in the Swedish nine-year compulsory school system. According to the teachers, the result of these interviews show that students do come from different music teaching backgrounds that can affect their skills in the subject. These teachers argue that students own music interest along with practicing in their free time, the pedagogues and access to material are all important components to why students differ in their music skills. According to the teachers, there is more of a difference in knowledge among the students when it comes to digital tools and ensemble playing and less of a difference when it comes to singing.

Thesis advisor: Andrew Hargreaves / Music teachers occupy a conflicted and contested position in many secondary schools, and music teacher education programs have been given the task of preparing students to enter this challenging environment. This qualitative dissertation study examined the explicit, implicit, and null curricula of music teacher preparation programs in Massachusetts, the processes involved in determining those curricula and the consequences of selecting certain music education content over others. Degree requirements and course descriptions were analyzed across all undergraduate music teacher preparation programs. In addition, a survey was administered to music and education faculty in all programs and members of five institutions participated in interviews. The explicit curriculum in most music teacher preparation programs emphasized the knowledge and skills of performance, specifically the performance of Western art music, as well as the isolation of music content knowledge from pedagogical knowledge. The implicit message delivered by the explicit curriculum was that advanced musical study was intended for the few, and that popular music, world music, and other genres that deviated from the western art music tradition (i.e. - the null curriculum) were of less value. Using Bernstein's and Young's theories from the sociology of knowledge, Goodson's theory of the status and evolution of school subjects, and Siskin's and Ball and Lacey's work in the culture of secondary school subjects as the theoretical framework, the position of music education was explained as a conflicted content area that demonstrated traits of both high- and low-status subjects. Music education's geographic isolation from general education faculty was magnified by the conflicting views that music educators held when compared with their music performance counterparts. The knowledge boundaries of music content had been defended for centuries, and music education's attempt to redefine what counts as valid music and music education knowledge was met with resistance from those who benefited from the familiarity offered by the conservatory-style model of postsecondary musical study. One outlier was identified, a program whose performance emphasis was not based on western art music. Tradition and reform proved to be challenging dual goals for music educators. / Thesis (PhD) — Boston College, 2012. / Submitted to: Boston College. Lynch School of Education. / Discipline: Teacher Education, Special Education, Curriculum and Instruction.

The purpose of our study is to find out how teachers can help their students to learn how to managestage fright. By interviewing high school teachers and high school students and also observe one oftheir classes, we wanted to find out how they think about the causes of stage fright and what youcan do to relieve it. We also wanted to find out how teachers are working to teach students how todeal with stage fright, and how they think that you also could work. As a teacher of music, among other things, the task is to assess and rate the students performancesin music. Several components are based on the students' courage to play on his or her instrument infront of other people. Those who suffer from stage fright find this in many cases hard, which bothinhibit the student's development and hampers the assessment for the teacher. It is assumed, however, implicit in the curriculum of music that stage fright does not exist or that students have thetools to manage it. We want our work to provide an input into how teachers in high school can work with stage frightwith their students and we believe that teachers in other subjects also can use this. There is some research on how to deal with stage fright as a musician, but a lot comes from thesport which for a long time has studied how to perform best under pressure. The results of our studyshow that stage fright can be caused by several things, and that there are also several ways to learn how to manage it. For example, to be well prepared and gain greater self-awareness. Much is basedon strengthening self-esteem and make sure the teacher sees each student's needs. But theinterviewed teachers also feel that they lack skills and education in the area, and they base their thoughts only on their own empirical data.

Thesis (doctoral)--Göteborgs universitet, 1995. / Includes bibliographical references (p. 273-287).

PENHA, Gabriel Petter. Tudo que aprendemos juntos: a representação social do professor de música no cinema. 2017. 101f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2017. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-10-09T19:10:18Z No. of bitstreams: 1 2017_dis_gppenha.pdf: 817362 bytes, checksum: 6fdfff79db6ea1a1ce606a0d67daa32b (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-10-10T12:23:18Z (GMT) No. of bitstreams: 1 2017_dis_gppenha.pdf: 817362 bytes, checksum: 6fdfff79db6ea1a1ce606a0d67daa32b (MD5) / Made available in DSpace on 2017-10-10T12:23:18Z (GMT). No. of bitstreams: 1 2017_dis_gppenha.pdf: 817362 bytes, checksum: 6fdfff79db6ea1a1ce606a0d67daa32b (MD5) Previous issue date: 2017 / This paper aims to understand the social representation of the music teacher on the cinema, an industrial art and a mass communication medium that influences the construction of representations that affect the dynamics of society. The problematic that guides our work lies on some issues related to the professional formation as well as the socio-cultural and symbolic dimensions of the cinema: What is the music teacher’s image in the movie Tudo que aprendemos juntos? How it can influence the construction of his professional identity? In order to reflect on these questions, we adopt the Theory of Social Representations as theoretical basis of our work, based on the assumption that representations form a system whose sharing leads to the formation of a vision, a consensus, an image, an element that searches the imagination for its own place of articulation. Our object of study is the feature movie Tudo que Aprendemos Juntos, whose theme is education in our country, and whose plot revolves around a young violinist who accepts, because of financial pressure, to teach music in the favela of Heliópolis, in a project sponsored by an ONG that works with a state school. Our methodology consists of a review of the literature about the problems related to our object of study and the analysis of the film in question, also supporting cinematographic works whose main character is the music teacher. In a context of progressive devaluation and proletarianization of the teaching activity, within a continuous process of dismantling of the State, it’s important to understand the building of social representations of teacher music as part of a discourse that emphasize the “redeemer” character of the teaching and of the music, which aims, ultimately, to the individualization of possible solutions to the problem of education in Brazil. / A presente pesquisa visa à compreensão da representação social do professor de música no cinema, arte de cunho industrial e meio de comunicação de massa influente na construção de representações que incidem na dinâmica social. A problemática que guia nosso trabalho radica em questões concernentes à formação profissional e à constituição identitária docente, bem como à dimensão sociocultural e simbólica da sétima arte: qual é a imagem do professor de música no filme Tudo que aprendemos juntos? Como ela pode influenciar na construção da sua identidade profissional? A fim de refletir sobre estes pontos, adotamos a Teoria das Representações Sociais como fundamentação teórica do nosso trabalho, partindo do pressuposto que as representações formam um sistema cujo compartilhamento leva à formação de uma visão, um consenso, uma imagem, elemento que busca na imaginação o seu próprio lugar de articulação. Nosso objeto de estudo é o longa-metragem Tudo que Aprendemos Juntos, cujo tema é a educação em nosso país e cujo enredo gira em torno de um jovem violinista que aceita, por necessidade financeira, lecionar música na favela de Heliópolis, num projeto patrocinado por uma ONG que atua junto a uma escola estadual. Nossa metodologia consiste na revisão de literatura acerca dos problemas atinentes ao nosso objeto de estudo e na análise do filme em questão, tendo também como suporte obras cinematográficas cujo personagem principal é o professor de música. Num contexto de progressiva desvalorização e proletarização da atividade docente, dentro de um contínuo processo de desmonte do Estado, importa que entendamos a construção de determinadas representações sociais do professor de música como parte de um discurso que enfatiza o caráter “redentor” da docência e da música, o que visa, em última instância, à individualização das possíveis soluções para a problemática da educação no Brasil

Teachers of rural K–12 music education are subject to attrition rates that are higher than many other professions or teaching specialties (Goldring, Taie & Riddles, 2014; Harmon, 2001; Ingersoll, 2001). Because of this, a large number of music teachers who are hired to teach in rural schools are inexperienced educators who are often unaware of the specific demands that are unique to these jobs. Upon earning a teaching certification, many new graduates get hired in rural locations with unfamiliar teaching conditions that could potentially lead to dissatisfaction in the workplace which could be a contributing factor to the higher than average attrition rates (Bates, 2013; Hancock, 2008; Monk, 2007; Isbell, 2005). This dissertation is a case study of in-service music educators in the rural Western United States designed to help understand the trend of higher than average attrition rates. With a theoretical framework of utility maximization to find a satisfactory person-job fit, I observed, interviewed, and collected journals from 5 participants with current or previous rural K–12 music teaching experience to determine: 1) what reasons do educators consider influential in a decision to stay in or move from a teaching position?, 2) what changes do teachers report in their perception of job utility maximization over their careers?, and 3) what are some benefits and challenges of teaching in a rural music teaching setting? Reasons for attrition specific to rural music education and generic to teaching were discussed in terms of a participant’s perception of job satisfaction and their decisions to stay in or leave rural K–12 music teaching jobs. Participants listed five themes as influential to their decisions for attrition: 1) disproportionate emphasis on athletics and pep band, 2) teacher and student absenteeism, 3) spillover work time 4) family, and 5) administrative rapport. No individual theme was a singular indicator of attrition, nor was any theme more prominent than others in influencing a participant to keep or leave a job. Rather, the perception of each reason for attrition had a cumulative effect and jobs were maintained or sought anew based on a combination of views of each theme. Also, participants reported steady inclinations of preferred musical specialty, but the perception of each theme as a reason for attrition changed with time and teaching experience. Ultimately, participants revealed that rural K–12 music teaching jobs can be highly rewarding if a person is professionally flexible, willing to regularly travel long distances (with students and alone), and can appreciate the idiosyncrasies of living in remote communities.

The purpose of this study was to investigate the development of higher music education in Iran and music teacher training from 1868 to 1978, prior to the establishment of the Islamic Republic.