This article deals with the differences of a performance-based approach of music education in the USA and a reflection-based approach in Germany. The lessons represent very different ways to reach students through music. The students respond either more enthusiastic or more rational, but always positively.

Master of Arts / Department of Music / Jana Fallin / This report presents a feasibility study of operating constructivism in Chinese music education. Major problems have been discussed in each chapter, including the historical background of music education in China, and a philosophical rethinking of current situations in China. Questions have arisen: what is constructivism? Why would it be a new changing point for Chinese music education? What needs to be done to apply constructivism in China? China has a strong background of behavior-focused education. Because of that, music education falls into a teacher directed model, and often loses its impact in public schools for students. But as the development of economy in a worldwide context and a collaboration of multi-cultural environments, music should be recognized as an important role for promoting active learning and cultural understanding. Therefore, music educators in China need to start exploring in new directions for development of music education. Constructivism, as a learning theory provides an understanding of how students learn. Based on constructivism, students would develop their own understanding of knowledge, and build their independent learning skills. Constructivism presents how students truly learn, and it could lead to a new paradigm of music education in China.

The purpose of this collective case study was to examine the perceptions of reflective dialogue by members of two student teaching triads. The triads each consisted of a music student teacher, cooperating teacher, and college supervisor. The data was gathered over fourteen weeks through recorded reflective sessions, participant journals, and a group interview session. The research questions were: What are the student teaching triad members' perceptions of the nature and use of intentional reflective dialogue during the music student teaching experience? What are each of the student teaching triad members' perceptions of his or her role in engaging in intentional reflective dialogue? Five themes emerged after an analysis of the data: conversations, feedback, relationships, self-realization and mentoring. The use of intentional reflective dialogue within the student teaching triad aids in the professional and personal growth of the pre-service music teacher by providing a vehicle through which the student teacher can explore her feelings about her teaching experiences. The conclusions suggest that student teachers place great value on the reflective conversations and that growth in the student teachers occurs as a result of consistent intentional reflective dialogue.

The problem of this study was the inconsistency between perceptions of secondary choral music educators and college and university choral music professors pertaining to needed leadership and administrative training in undergraduate music teacher education programs. The main purpose of this study was to attempt to develop a list of recommendations pertaining to necessary leadership and administrative tasks of music education majors. Two subpurposes of this study were: to help university and college school officials evaluate the present curriculum and adjust it to help meet the needs of their music education graduates; and to help expand the limited literature base concerning administrative and leadership tasks that are required of bachelor of music education degree graduates. This descriptive study was conducted to attempt to identify administrative and leadership tasks necessary for secondary choral music educators. A four point Likert-type scale was used to identify the importance level of administrative and leadership tasks of secondary choral music educators. A preliminary questionnaire was developed and mailed to a selected panel. After changes were made based on respondents suggestions, two pilot studies were conducted. The results were tested for reliability and validity. It was then sent to 899 secondary choral music educators (25.0% of the population) and to all 131 college and university choral music educators within the Southern Division of the Music Educators National Conference. The conclusions of this study were based on 486 responses from secondary choral music educators and 63 college and university choral music educators. No significant difference existed between the two groups. Developing rapport with parents and conducting fund-raisers were the only two tasks that obtained absolute significant differences. This analysis provided the rationale that 49 of the 51 tasks are basically valued at the same level of importance by secondary choral music educators and college and university choral music educators. All of the tasks, except for attending school board meetings and employing special service personnel received a majority percentage level from both groups for inclusion in a music teacher education program. Recommendations were based on the analyses that the majority of tasks were important and should be included in a teacher education program.

Within the last 30 years the music departments in the schools of the Southeastern Idaho areas have grown tremendously. With the mushrooming of the band programs within these music departments many problems appear. They arise primarily from inadequate funds.

<p> Since being introduced into classrooms in the late 1990s, online instruction has grown substantially both in student enrollment and the number of programs offered at state, district, and multi-district levels. Although having been applied liberally to all core subjects and many supplemental subjects, online instruction has yet to be utilized extensively in the musical arts. Courses in music performance present a unique set of technological and logistical challenges when adapted to an online setting. Nevertheless, private music teachers have utilized Internet resources extensively. Similar techniques applied to public school music programs, however, have yet to be explored thoroughly. Utilizing a combination of asynchronous instruction and synchronous instruction for teaching online music performance courses offers a potential for study and development. </p><p> The purpose of this study was to establish the feasibility of an online music performance course that included both asynchronous and synchronous instruction. An approach that utilized both a multimedia blog format and real-time video instruction was developed, implemented, and delivered to a limited group of trombone students as a pilot study. Nine students participated in online trombone lessons that focused primarily upon the development of performance fundamentals. The delivery of content was assessed to determine a feasible format for music performance instruction in an online setting. Although typical technological shortcomings were experienced during instructional settings, students were able to identify, explain, and apply concepts gleaned from the blog and real-time video lessons. </p><p> Internet-based resources have been applied to independent and collegiate music performance instruction; pedagogical approaches, however, have not been developed for use in secondary level online learning programs. Consequently, online music performance instruction has not evolved as rapidly as online instruction of core academic subjects. As technological advances become available, the possibility for delivering online instruction in areas of the performing arts, and especially in music performance, becomes more feasible and likely will be integrated into the curricula of many online learning programs. Until such time, the implementation of viable online instructional models is essential for the development of traditional music performance courses.</p>

Thesis (Ph. D.)--University of Hong Kong, 1998. / Includes bibliographical references (leaves 350-368).

The purpose of this thesis is to point out the importance of music in the religious education of children and to encourage the church to become aware of its task and its possibilities with its music so that music becomes a more effective aid in religious training.

Mentoring first-year teachers has become a standard induction practice in most public school systems. To enhance this practice, in 2005 the Florida Bandmasters Association established a mentoring committee to oversee district sponsored mentoring programs. Unfortunately, since that time, mentoring among secondary band directors in the state of Florida has not made much progress. The FBA program did not have guidelines for the mentor or mentee, or a system of evaluation to monitor or assess the benefits and quality of the program. This study used a phenomenographic lens and case study approach to view the lived experiences of mentors and protégés in the Florida Bandmasters Association. Suggestions and guidelines are also offered to improve the quality of mentoring among mentors and novice directors. The comprehensive goal of this study was to illuminate issues, practices, and relationships in mentoring among secondary band directors. The study specifically explored: In what ways do mentors and protégés describe their lived experience and perceived roles in mentor-protégé pairings? In what ways do mentors and protégés value mentoring as a component of a novice director's induction into the music education profession? How do mentors and protégés perceive and describe the collective mentoring relationship? This study adds to the evidence on effective mentoring and effective mentors. Mentoring among secondary band directors in the state of Florida is, at the very least, moderately effective. However, moderately effective mentors will not be the transformational leaders that can prepare novice music educators for success in the future. The Florida Bandmasters Association must take a comprehensive look at the needs of its novice educators and the needs of the career educators expected to guide them.

ABSTRACT In an effort to meet students' arts education needs, the New York City Department of Education (NYCDOE) collaborated with various community organizations to develop the Blueprint for Teaching and Learning in the Arts in 2004. In 2008, the NYCDOE updated the music portion with a publication known as the Blueprint for Teaching and Learning in Music PreK-12. After designing the new "Standards and curriculum guide" with the intention of changing arts education in New York City public schools, the NYCDOE organized various professional development workshops to prepare music teachers. Although the responsibility of music teachers was obvious, the role of assistant principals, who evaluate the performance of music teachers, was not apparent. In this study, I employed questionnaire, interview, observation, and document analysis as data gathering instruments to investigate the implementation and supervision of the music education portion of The Blueprint standards. I used a collective case study approach to conduct the study in the public high schools of New York City in light of the changing conditions of education in the NYCDOE. I found that in the New York City public high schools, not every music educators was familiar with The Blueprint, and the NYCDOE did not make its implementation mandatory to all music educators. Implementation of The Blueprint depended on individual teachers' choice. Because the NYCDOE did not train music supervisors how to supervise and evaluate the implementation of The Blueprint, they did not use the criteria from The Blueprint to evaluate music teachers. Data from classroom observation of music teachers indicated that they were implementing some of The Blueprint's strands. Music educators that were apprehensive about using The Blueprint believed that their established method of teaching music was sufficient, and that the NYCDOE does not always follow through with its policies. Administrative support and resources were not significant barriers except in one case, but time was an obstacle to the implementation of The Blueprint, especially the rehearsal time. Time for other subjects took precedence over music.