The purpose of this study was to understand the process of music teacher large-scale conference professional development (PD) implementation (i.e., the integration of conference-derived learnings into classroom practice). The context of this investigation was two national music conferences, the Midwest Clinic and the National Association for Music Education National In-Service Conference, and one state music conference, the Texas Music Educators Association Clinic/Convention. Using purposive maximum variation sampling, active music teachers (n = 32) who each attended one of these conferences were recruited. Data collection occurred in a series of three participant interview phases, staggered according to which conference participants attended and when each conference was held. Twenty-eight participants were interviewed twice, and four participants were interviewed once, yielding a total of 60 interview transcripts, which were then openly, axially, and selectively coded in accordance to grounded theory method. The principal finding, the cycle of music teacher large scale conference professional development implementation (C-MTPDI), revealed an implementation process in three phases. First, the consideration phase (before/during conference) entailed needs assessment, direct engagement, change articulation, and, for some participants, deterrent factors/contingencies. Second, the realization phase (immediate post-conference) included translation, integration, and recalibration. Third, and finally, the decision phase (3-5 weeks post-conference) included evaluation. The core category, or main theme of the research, was seeking convergence: relevance, practicability, and impact. Contextual conditions included PD worldview and PD policy environment. Avenues for future scholarship include clarifying differences in design and effectiveness among and within music-specific PD models, more fully understanding the status of large-scale conference PD in music education and its effect on practice, and theorizing PD implementation in non-conference contexts. Practical implications include developing new theory-aligned PD policies, putting into place more robust infrastructures of implementation support for large-scale conference attendees, addressing PD funding inequities between teachers in music and non-music disciplines, and helping practitioners to newly conceive "one-off" PD events (e.g., large-scale conferences) as sustainable investments in long-range professional growth.

This multiple-bounded case study explored charter-school music teacher practitioners’(MTPs’) and instructional leaders’ (ILs’) perceptions of professional development (PD) in four charter management organizations (CMOs). The purpose was to provide a rich description of these practitioners’ professional development, with the goal of spurring policy conversations and further research on music teachers and their experiences in the charter domain. Over two months in the fall of 2023, the researcher conducted one-on-one interviews with eight participants, which focused on ways of making change, methods of delivery, beneficial components of the methods of supporting music literacy, and forms of PD assessment from the perspectives of MTPs and ILs. In addition to holding two focus groups (one with each case), the researcher conducted four classroom and debrief observations. The interviews and observations were analyzed using the participants’ words as first-cycle analysis themes; these were then filtered through the study’s conceptual framework of Desimone’s (2009) core elements of effective professional development: content focus, active learning, coherence, sustained duration, and collective participation. The findings illustrate the participants’ experience with the professional development phenomenon through a series of main themes: instruction is classroom management, except PROFESSIONAL DEVELOPMENT IN CHARTER SCHOOLS when it is not, (b) the many moods of instructional coaching and workshops, (c) content expertise via cycles of inquiry, and (d) reflection is essential. Implications include framing future empirical research in this usually guarded sector as a partnership to identify best and emergent practices for practitioners that directly affect students and families. Framing research in this manner may resonate with charter management organizations that adhere to more formative professional development practices. Additionally, cycles of inquiry in which self-reflection can occur may be a way forward for myriad non-content-expert instructional leaders who support the professional development of music teacher practitioners in charter schools or traditional public schools. Further suggestions for future practice include hosting charter-specific sessions at music education conferences, which could be framed as dialogic sessions to foster collegial inquiry concerning practices at both charter and public schools. Because CMOs’ system structures are different, practitioners there experience some aspects of teaching and professional development differently than their traditional public counterparts. Offering sessions specifically tailored to charter practitioners’ needs could help ensure that their needs, as well as those of the ILs that support them, are met. Keywords: Professional Development, Charter Schools, In-Service Music Teacher Practitioners, Instructional Leaders, Instructional Coaching, Mentors, Workshops.

Esta dissertação se insere no campo de estudos sobre a formação inicial de professores/as de música e teve como objetivo geral investigar como os/as licenciandos/as percebem a formação musical no curso de licenciatura na sua articulação com a função de ensinar. Os objetivos específicos buscaram compreender como os/as licenciandos/as percebem as finalidades e a organização do curso; que sentidos atribuem à formação musical vivenciada no curso; e que saberes identificam como específicos da profissão professor/a de música. Os estudos sobre profissionalidade docente, desenvolvidos por Maria do Céu Roldão, constituíram o referencial teórico do trabalho. Adotando uma abordagem qualitativa de pesquisa, foram desenvolvidos três grupos focais com licenciandos/as de dois cursos de licenciatura em música de instituições federais de ensino superior do Rio Grande do Sul, matriculados em diferentes etapas de seus cursos. A análise dos dados foi elaborada a partir de categorias que emergiram dos próprios dados, em diálogo com proposições acerca da profissionalidade docente. Os resultados evidenciam distintas percepções entre os/as licenciandos/as que participaram da pesquisa, decorrentes não somente da etapa do curso em que estavam matriculados/as, mas, também, de suas trajetórias e perspectivas futuras. A maioria, entretanto, reconhece a licenciatura em música como um curso de formação de professores, que se organiza a partir de eixos distintos – música, educação e educação musical –, que, no entanto, nem sempre se articulam. A formação musical é condição necessária, mas não suficiente, para se ensinar música. Ao saber música, é preciso articular outros saberes, construídos por meio da formação pedagógica e da pedagógico-musical, saberes necessários à docência, independentemente do que se ensina. Críticas tecidas e lacunas percebidas pelos/as licenciandos/as acerca da formação musical parecem diretamente vinculadas à relação dessa formação com o ensinar música. A formação, tanto musical quanto pedagógica e pedagógico-musical, faz sentido especialmente quando os/as licenciados/as vivenciam práticas de ensino e, principalmente, quando iniciam suas atividades de estágio. Os resultados revelam ainda a identificação da maioria dos/as licenciandos/as em música com a profissão docente, já que nenhum/a dos/as participantes afirmou não pretender trabalhar com o ensino de música, apesar de alguns/mas apontarem que a docência de música não é suficientemente valorizada. Por fim, embora a ênfase na música erudita, a permanência da organização da matriz curricular por disciplinas e as desarticulações entre os eixos de formação do/a professor/a de música, apontadas como questões problemáticas pela literatura, sejam corroboradas por esta pesquisa, os resultados apontam para o fortalecimento da identidade da licenciatura em música como um curso de formação de professores/as de música. / This Master Dissertation focuses the initial education of music teachers. It aimed at to investigate how music student teachers perceive their musical training and its relationship with the teaching function in bachelor degree programs in music education. More specifically, it aimed to understanding how the music student teachers perceive the purposes and organization of the programs; which meanings they attribute to the musical training experienced in their initial education program; and which body of knowledge they identify as being specific of the music teaching profession. The theoretical framework is constituted by the studies on teachers professionality developed by Maria do Céu Roldão. Adopting a qualitative approach, three focal groups where carried out with music student teachers enrolled in different stages of two bachelor degree programs in music education offered by federal universities of the state of Rio Grande do Sul, southern Brazil. Data were analyzed from the dialogue between emerging categories and propositions about teaching professionality. The results show different perceptions among the music student teachers. These differences are related not only to the different stages in which the student teachers were enrolled, but also to their individual trajectories and future perspectives. Most of the music student teachers, nonetheless, recognize the programs aims to educate music teachers, being organized in three axes – music, education and music education –, which, however, are not always well articulated. Musical training is considered a necessary but not sufficient condition to teach music. Musical knowledge needs to be articulated to other types of knowledge, constructed by means of pedagogical and music-pedagogical training. These are necessary knowledge for teaching, independently on the subject that will be taught. Criticisms and gaps perceived by the music student teachers about their musical training seem to be related to the perceived demands of teaching music. Training, be it musical, pedagogical or music-pedagogical, makes sense especially when the student teachers experience teaching practice and, primarily, when they begin their internship activities. The results also reveal that most of the music student teachers identify themselves as music teachers, as no one said he/she do not intend to work teaching music, even though some pointed out that music teacher profession is not well valued. Finally, although results corroborate problems currently pointed by the literature, such as the emphasis on classical music, the fragmented curricular organization by disciplines and the non-articulation between training axes, they also indicate the consolidation of the identity of bachelor degree in music education as programs specifically designed to the training of futures music teachers.

Graduates who responded to the survey indicated that the undergraduate music education curriculum between 1967 and 1972 was generally adequate in preparing students to teach music in the public schools. Areas such as administration, supervision, student teaching, and professional education were deemed weaker than other areas by both the vocal and instrumental graduates. In comparing vocal and instrumental graduates' responses in certain areas of the questionnaire it was found that in most cases opinions of both groups agreed regarding importance of listed competencies. The curriculum was equally effective in training vocal and instrumental teachers, with the exception of secondary instrumental methods, which appeared to be an outstanding weakness. A low positive correlation (r=.107) existed between selected graduates' academic success and their success as teachers in public schools. This correlation was, however, not statistically significant and it was accepted that there was only a slight relationship between students' success in undergraduate training at North Texas and their success as public school music teachers. Graduates who responded to the survey indicated that the undergraduate music education curriculum between 1967 and 1972 was generally adequate in preparing students to teach music in the public schools. Areas such as administration, supervision, student teaching, and professional education were deemed weaker than other areas by both the vocal and instrumental graduates. In comparing vocal and instrumental graduates' responses in certain areas of the questionnaire it was found that in most cases opinions of both groups agreed regarding importance of listed competencies. The curriculum was equally effective in training vocal and instrumental teachers, with the exception of secondary instrumental methods, which appeared to be an outstanding weakness. A low positive correlation (r=.107) existed between selected graduates' academic success and their success as teachers in public schools. This correlation was, however, not statistically significant and it was accepted that there was only a slight relationship between students' success in undergraduate training at North Texas and their success as public school music teachers.

Esta dissertação se insere no campo de estudos sobre a formação inicial de professores/as de música e teve como objetivo geral investigar como os/as licenciandos/as percebem a formação musical no curso de licenciatura na sua articulação com a função de ensinar. Os objetivos específicos buscaram compreender como os/as licenciandos/as percebem as finalidades e a organização do curso; que sentidos atribuem à formação musical vivenciada no curso; e que saberes identificam como específicos da profissão professor/a de música. Os estudos sobre profissionalidade docente, desenvolvidos por Maria do Céu Roldão, constituíram o referencial teórico do trabalho. Adotando uma abordagem qualitativa de pesquisa, foram desenvolvidos três grupos focais com licenciandos/as de dois cursos de licenciatura em música de instituições federais de ensino superior do Rio Grande do Sul, matriculados em diferentes etapas de seus cursos. A análise dos dados foi elaborada a partir de categorias que emergiram dos próprios dados, em diálogo com proposições acerca da profissionalidade docente. Os resultados evidenciam distintas percepções entre os/as licenciandos/as que participaram da pesquisa, decorrentes não somente da etapa do curso em que estavam matriculados/as, mas, também, de suas trajetórias e perspectivas futuras. A maioria, entretanto, reconhece a licenciatura em música como um curso de formação de professores, que se organiza a partir de eixos distintos – música, educação e educação musical –, que, no entanto, nem sempre se articulam. A formação musical é condição necessária, mas não suficiente, para se ensinar música. Ao saber música, é preciso articular outros saberes, construídos por meio da formação pedagógica e da pedagógico-musical, saberes necessários à docência, independentemente do que se ensina. Críticas tecidas e lacunas percebidas pelos/as licenciandos/as acerca da formação musical parecem diretamente vinculadas à relação dessa formação com o ensinar música. A formação, tanto musical quanto pedagógica e pedagógico-musical, faz sentido especialmente quando os/as licenciados/as vivenciam práticas de ensino e, principalmente, quando iniciam suas atividades de estágio. Os resultados revelam ainda a identificação da maioria dos/as licenciandos/as em música com a profissão docente, já que nenhum/a dos/as participantes afirmou não pretender trabalhar com o ensino de música, apesar de alguns/mas apontarem que a docência de música não é suficientemente valorizada. Por fim, embora a ênfase na música erudita, a permanência da organização da matriz curricular por disciplinas e as desarticulações entre os eixos de formação do/a professor/a de música, apontadas como questões problemáticas pela literatura, sejam corroboradas por esta pesquisa, os resultados apontam para o fortalecimento da identidade da licenciatura em música como um curso de formação de professores/as de música. / This Master Dissertation focuses the initial education of music teachers. It aimed at to investigate how music student teachers perceive their musical training and its relationship with the teaching function in bachelor degree programs in music education. More specifically, it aimed to understanding how the music student teachers perceive the purposes and organization of the programs; which meanings they attribute to the musical training experienced in their initial education program; and which body of knowledge they identify as being specific of the music teaching profession. The theoretical framework is constituted by the studies on teachers professionality developed by Maria do Céu Roldão. Adopting a qualitative approach, three focal groups where carried out with music student teachers enrolled in different stages of two bachelor degree programs in music education offered by federal universities of the state of Rio Grande do Sul, southern Brazil. Data were analyzed from the dialogue between emerging categories and propositions about teaching professionality. The results show different perceptions among the music student teachers. These differences are related not only to the different stages in which the student teachers were enrolled, but also to their individual trajectories and future perspectives. Most of the music student teachers, nonetheless, recognize the programs aims to educate music teachers, being organized in three axes – music, education and music education –, which, however, are not always well articulated. Musical training is considered a necessary but not sufficient condition to teach music. Musical knowledge needs to be articulated to other types of knowledge, constructed by means of pedagogical and music-pedagogical training. These are necessary knowledge for teaching, independently on the subject that will be taught. Criticisms and gaps perceived by the music student teachers about their musical training seem to be related to the perceived demands of teaching music. Training, be it musical, pedagogical or music-pedagogical, makes sense especially when the student teachers experience teaching practice and, primarily, when they begin their internship activities. The results also reveal that most of the music student teachers identify themselves as music teachers, as no one said he/she do not intend to work teaching music, even though some pointed out that music teacher profession is not well valued. Finally, although results corroborate problems currently pointed by the literature, such as the emphasis on classical music, the fragmented curricular organization by disciplines and the non-articulation between training axes, they also indicate the consolidation of the identity of bachelor degree in music education as programs specifically designed to the training of futures music teachers.

Esta dissertação se insere no campo de estudos sobre a formação inicial de professores/as de música e teve como objetivo geral investigar como os/as licenciandos/as percebem a formação musical no curso de licenciatura na sua articulação com a função de ensinar. Os objetivos específicos buscaram compreender como os/as licenciandos/as percebem as finalidades e a organização do curso; que sentidos atribuem à formação musical vivenciada no curso; e que saberes identificam como específicos da profissão professor/a de música. Os estudos sobre profissionalidade docente, desenvolvidos por Maria do Céu Roldão, constituíram o referencial teórico do trabalho. Adotando uma abordagem qualitativa de pesquisa, foram desenvolvidos três grupos focais com licenciandos/as de dois cursos de licenciatura em música de instituições federais de ensino superior do Rio Grande do Sul, matriculados em diferentes etapas de seus cursos. A análise dos dados foi elaborada a partir de categorias que emergiram dos próprios dados, em diálogo com proposições acerca da profissionalidade docente. Os resultados evidenciam distintas percepções entre os/as licenciandos/as que participaram da pesquisa, decorrentes não somente da etapa do curso em que estavam matriculados/as, mas, também, de suas trajetórias e perspectivas futuras. A maioria, entretanto, reconhece a licenciatura em música como um curso de formação de professores, que se organiza a partir de eixos distintos – música, educação e educação musical –, que, no entanto, nem sempre se articulam. A formação musical é condição necessária, mas não suficiente, para se ensinar música. Ao saber música, é preciso articular outros saberes, construídos por meio da formação pedagógica e da pedagógico-musical, saberes necessários à docência, independentemente do que se ensina. Críticas tecidas e lacunas percebidas pelos/as licenciandos/as acerca da formação musical parecem diretamente vinculadas à relação dessa formação com o ensinar música. A formação, tanto musical quanto pedagógica e pedagógico-musical, faz sentido especialmente quando os/as licenciados/as vivenciam práticas de ensino e, principalmente, quando iniciam suas atividades de estágio. Os resultados revelam ainda a identificação da maioria dos/as licenciandos/as em música com a profissão docente, já que nenhum/a dos/as participantes afirmou não pretender trabalhar com o ensino de música, apesar de alguns/mas apontarem que a docência de música não é suficientemente valorizada. Por fim, embora a ênfase na música erudita, a permanência da organização da matriz curricular por disciplinas e as desarticulações entre os eixos de formação do/a professor/a de música, apontadas como questões problemáticas pela literatura, sejam corroboradas por esta pesquisa, os resultados apontam para o fortalecimento da identidade da licenciatura em música como um curso de formação de professores/as de música. / This Master Dissertation focuses the initial education of music teachers. It aimed at to investigate how music student teachers perceive their musical training and its relationship with the teaching function in bachelor degree programs in music education. More specifically, it aimed to understanding how the music student teachers perceive the purposes and organization of the programs; which meanings they attribute to the musical training experienced in their initial education program; and which body of knowledge they identify as being specific of the music teaching profession. The theoretical framework is constituted by the studies on teachers professionality developed by Maria do Céu Roldão. Adopting a qualitative approach, three focal groups where carried out with music student teachers enrolled in different stages of two bachelor degree programs in music education offered by federal universities of the state of Rio Grande do Sul, southern Brazil. Data were analyzed from the dialogue between emerging categories and propositions about teaching professionality. The results show different perceptions among the music student teachers. These differences are related not only to the different stages in which the student teachers were enrolled, but also to their individual trajectories and future perspectives. Most of the music student teachers, nonetheless, recognize the programs aims to educate music teachers, being organized in three axes – music, education and music education –, which, however, are not always well articulated. Musical training is considered a necessary but not sufficient condition to teach music. Musical knowledge needs to be articulated to other types of knowledge, constructed by means of pedagogical and music-pedagogical training. These are necessary knowledge for teaching, independently on the subject that will be taught. Criticisms and gaps perceived by the music student teachers about their musical training seem to be related to the perceived demands of teaching music. Training, be it musical, pedagogical or music-pedagogical, makes sense especially when the student teachers experience teaching practice and, primarily, when they begin their internship activities. The results also reveal that most of the music student teachers identify themselves as music teachers, as no one said he/she do not intend to work teaching music, even though some pointed out that music teacher profession is not well valued. Finally, although results corroborate problems currently pointed by the literature, such as the emphasis on classical music, the fragmented curricular organization by disciplines and the non-articulation between training axes, they also indicate the consolidation of the identity of bachelor degree in music education as programs specifically designed to the training of futures music teachers.

The purpose was to analyze Turkey's current music teacher training curriculum as situated in the centralized educational system, focusing on the extent to which the written document (1) reflects the core elements of the overall centralized educational system; (2) prescribes the nature of teaching materials and methods, assessment tools and other forms of evaluating and monitoring performance as teachers and musicians; and (3) acknowledges cultural diversity by addressing repertoire, musical activities and concepts according to geographic and cultural regions. Qualitative-descriptive and quantitative content analysis, including the methods of (a) Inverse document frequency and (b) relevance feedback model, were the analytic tools. Of the required 147 credit hours, 138 are the core. The music core consists of 87 (63%) and the non-music core of 51 credit hours (37%). On paper, there is a conceptual overlap in wording between the music core, the general core, and the teacher training core, suggesting curricular cohesion and consistency. Noticeably less cohesion exists between the document and three major policy papers on teacher competencies. By word count, preparing teachers for instruction in Turkish folk music and multicultural issues appears to hold a low priority in the curriculum. However, course descriptions, where they exist, speak to skills and knowledge linked to performing and understanding Turkish folk and art music, not Western art music alone. Missing from those descriptions is any reference to teaching materials and methods, specific assessment tools, and other forms of evaluating and monitoring students. With reference to works by Max Weber, Karl Mannheim, and Robert Merton, the study concludes with a discussion about issues and problems inherent in a centralized teacher program that seeks to prepare music teachers for a culturally diverse society.

Please read the abstract in the section 00front of this document / Thesis (DMus)--University of Pretoria, 2007. / Music / unrestricted

Academic research in the area of music and learning has proven that there is both a deficiency and need for classroom music education commencing at the primary grade levels. The research has shown that by incorporating music education into the academic curriculum the arts can be more effectively taught and other academic subject areas can gain from the diverse teaching strategies the arts bring to education. There are two goals of this project. One is to demonstrate to teachers what primary grade level students should be learning in music. A second goal of this project is to design a music education handbook for primary teachers that can serve as a basis for intergrating music into the curriculum. This handbook takes into consideration the general lack of sufficient teacher training in music instruction, along with teaching time constraints, and potential roadblocks, such as the acquisition of music and instrumental supplies.

Attrition rates among students in music teacher training programs have contributed to a shortage of qualified music teachers for the nation's schools. The purpose of this study was to investigate the predictive relationship of academic variables in three different learning environments and the intent of a select population of music education majors to leave the degree program. The study drew upon the work of Tinto, Bean and Astin to form a theoretical foundation for examining variables unique to student withdrawal from the music education degree plan. Variables were examined within the context of three different learning environments: (1) applied lessons, (2) ensembles and (3) non-performance courses. Participants were 95 freshmen and sophomore music education majors at a public university who were enrolled in the music education degree program during the spring semester, 2002. Data included participant responses on the Music Student Inventory (MSI), a questionnaire developed specifically for the study, and grade data from university records. Independent variables in the study included participants' perceptions of (1) Ensemble experiences, (2) Applied lesson experiences, (3) Non-performance music course experiences, (3) Course requirements, and (4) Performance growth. Additional variables included: (1) Ensemble placement, (2) Course grades for music theory, applied lessons and aural skills, and (3) cumulative grade point averages. Gender interactions were also examined. The dependent variable in the study was intent to withdraw from the music education program. Data were analyzed using a binary logistic regression procedure. Results of the analysis indicated that none of the variables tested were statistically significant predictors of subjects' intentions to withdraw from the music education degree program. Gender interactions were not evident among the variables. Although statistically insignificant, the strongest predictor of the variables represented by questionnaire responses was lesson experiences. The ana ysis of course grades for music theory, applied lessons and aural skills failed to produce a statistically significant main effect, but applied lesson grades produced the strongest effect in the model. Results of the study suggest that students' intentions to withdraw from the music education program are related to variables other than those representing the academic component of the music education program.