The purpose of this study was to investigate the development of occupational identity in undergraduate music education majors using a Symbolic Interactionist theoretical framework. Three research problems were formulated: (1) The identification of occupational norms and values of undergraduate music education majors; (2) The determination of the commitment of under graduate music education majors to specific skills and knowledge of music education; (3) The determination of career commitment to music education by undergraduate majors. The sample consisted of undergraduate music education majors enrolled in North Texas State University; Denton, Texas, during 1981 and 1982. A questionnaire and interview schedule, which had been developed in a pilot study, were used to gather data. Questionnaire responses from 165 students were analyzed by comparing selected variables by area and by class year. These data were further clarified by information from thirty-eight interviews conducted by this researcher.

M.Ed. (Media Studies) / Please refer to full text to view abstract

Frequent changes in the school music curriculums in South Africa necessitated changes in teaching music in schools. Music teachers in secondary schools who are responsible for teaching music as a subject have been confronted with the challenges presented in such a changing educational climate and often found that their pre-service teacher training did not sufficiently prepare them for changing syllabi. The quality of teaching in schools is directly linked to the quality of teacher training at universities and when institutional policies prohibits pre-service teachers from qualifying themselves sufficiently for their in-service careers, frustration and disillusionment sets in. This study explores the perceptions of music teachers of the effectiveness of their pre-service training. It also explores the content of university music degree courses and whether it is in line with school music curricula. The study addressed the research questions through the use of questionnaires and interviews. The finding suggested that there is a need for teacher training courses to be adapted and contextualised so that there is continuum between university and school curriculums. This research also exposed the policies barring music graduates from fully qualifying themselves as teachers and raised important issues that music teacher educators need to address in order to ensure that music graduates are adequately prepared for classroom music teaching.

Riffs of Change is a storied dissertation that researches the inherent shifts and extensions in musicians' identities as they transform into school teachers. My research explores literary studies, arts-based research and feminist-based literature. I investigate musicians' lives in practicum, university, and schoolbased contexts. I discuss the nature of institutional education and the musicians' conflicts with love, loss, pain, wisdom, and change. The musicians even draw me into my own autobiographical journey. I rediscover that my identity is constructed poetically, psychologically, educationally and philosophically by music and reflect on how this changes the trajectory of my life. I represent my research in the form of eight short stories and an autobiographical account of my experience. The stories are considered creative non-fiction. My dissertation seeks to demonstrate the creation of stories, pedagogy, and research shaped by constructivist philosophy. I examine musicians' beliefs, education, and experiences focusing on their identity issues as they transform into music teachers. The stories confront and challenge, chime wisdom, and steer readers into critical places of thought and unexpected spaces of change. My research found several results. First, some musicians could overcome their conflict if they collaborated in the story writing process, and was mentored by a school advisor that was also a professional musician. Second, story and autobiographical writing were found to be rich research methodology tools. While story writing helped some musicians, autobiography helped me resolve earlier conflicts which drew me back into music. Story authorship has helped me to understand my questions and musings about musicians, music educators, musicians as educators, and musicians becoming music educators. I gained a fresh voice and embraced the notion that I could explore issues from multiple viewpoints and writing styles. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

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The problem of this study was to determine the perceptions of music educators at selected United Negro College Fund colleges and universities concerning the importance of music teaching competencies and courses for prospective public school music teachers, it was further designed to (a) determine if the music educators were in agreement with the published competency recommendations of the National Association of Schools of Music and the Music Educators National Conference for preparing prospective public school music teachers and (b) to discover if there were significant differences in UNCF music educators' perceptions across selected independent variables concerning the importance of those competencies and courses.

The preparation of prospective music educators is a very complex undertaking that culminates with the student teaching practicum. However, the music student teaching experience may have less predictable expectations and results than the curriculum that precedes the event. The two-fold purpose of this study was (a) to investigate the music student teaching practicum in the State of Texas in an effort to establish current levels of success as perceived by the music educators involved in the process and (b) to identify any potentially problematic areas which might be in need of attention or revision. Thirty-six music educators (12 university supervisors, 12 cooperating teachers and 12 student teachers) who were recently involved in the music student teaching practicum in Texas were chosen as the sample in this two-round Delphi study. The first round Delphi survey, based on related literature, achieved consensus on 79% of the 108 item responses, and 15 of the 22 unresolved items reached consensus in round two of the Delphi process. The 34 sample members who completed the study ranked a final item in the second Delphi round concerning suggestions for the improvement of student teaching. The respondents showed a very high opinion of the music student teaching practicum. However, the cooperating teachers' responses were often lower, hence the recommendation that collaborative efforts between universities and public schools be strengthened. Recommendations for improvement were also made advocating: (a) adequate rehearsal time to be afforded the student teacher, (b) expectations to be clearly defined and articulated, (c) classroom management, measurement and media, and content area reading classes to be taught by music faculty, (d) videotaping to be used in the teacher-training and student teaching process, and (e) the length of the student teaching practicum to be extended. Five additional recommendations for improvement were made in areas deemed less urgent.

Student teaching is recognized as the culminating and seminal experience of preservice teacher education. It is a unique time when preservice teachers are fully engaged in daily responsibilities of P-12 music educators, while under direct supervision of a mentor, often referred to as the cooperating music teacher (CMT). CMTs have immense influence on student teachers during this pivotal point in their education. The purpose of this convergent mixed methods study was to explore preferences and practices of music teacher educators (MTEs) in the United States with regards to the selection, preparation, and education of CMTs, through the lens of Abramo and Campbell’s Four Notions Framework. Data were collected through a document search of state administrative codes, rules, and regulations regarding selection criteria for CMTs, a national survey of MTEs (n = 104), and semi-structured follow-up interviews of survey participants (n = 10). This study demonstrated the importance of MTE agency and student involvement in the selection process and selection criteria that is responsive to diverse and localized needs of institutions of higher education, P-12 schools, and individual student teachers. Findings argue against universal criteria for CMTs in favor of policies that are appropriate and sensible for diverse teaching and learning contexts. Findings indicate a prevalence of published criteria for the selection of CMTs across the United States, paired with a disconnect between the prevalence of policy and MTEs knowledge of those state policies, and a lack of published policy at institutions of higher education. MTEs in the study reported community building and individual relationships as important elements that facilitate the selection, preparation, and education of CMTs. MTEs also demonstrated strong agreement with the importance of the Four Notions Framework and indicated student involvement dispositional criteria for CMTs (e.g., good role model, willingness to discuss feedback) to be elements of the selection process they valued most. The strong agreement with the Four Notions Framework positions it as a useful tool to evaluate effectiveness of selection criteria and available professional development. Availability of professional development for CMTs appears to be an important area of growth for the profession. MTEs identified themselves as primary providers of professional development, through informal and formal individualized interactions they have with CMTs. While handbooks for CMTs appear to be prevalent, findings demonstrate they are an underutilized tool for preparation and education of CMTs. MTEs shared mixed perceptions about alignment of available professional development with the Four Notions Framework, indicating effectiveness of those opportunities, in helping to promote dispositions and qualifications MTEs value, is another area of growth. The availability of qualified and effective CMTs emerged as a primary barrier, alongside other expected barriers such as geographic contexts, time, funding, staffing, and full workloads. MTEs in this study also identified institutionalized structures and policies intended to support CMTs that sometimes act as barriers to selection, preparation, and education. A lack of common terminology in the field of music teacher education may also act as a barrier to collaboration and communication about policies and processes. Implications and recommendations are offered for further exploration of selection criteria, advancement of professional development, and further lines of inquiry.

This autoethnographic study explores a space for aesthetic education in a Western classical music conservatory setting. It examines my own teaching of a graduate-level elective course called Modernism: Art and Music over the span of three years under the zero-Covid policy in China. Through my own attending as a teacher, I explore areas of wide-awakeness, imagination, and pluralism found within the framework of Maxine Greene’s aesthetic education philosophy. By documenting my transformative and reflexive journey, I hope to shed light on the possibilities for educators and policymakers to consider a wider implementation of aesthetic education approaches in the conservatory to better support students’ personal, musical, and career developments.

D.Ed. (Media Studies) / In-Service Class Music Training and relevant programming is addressed in this research. The Class Music requirements in die Junior Primary phase were established by the present researcher in her M.Ed. investigation (1986). The target group involved were Grade 1 teachers who had no or inadequate Class Music training and who had to be responsible for their own music presentation.