Colleen Conway

Perceptions of Beginning Teachers, Their Mentors, and Administrators Regarding Preservice Music Teacher Preparation

The purpose of this study was to evaluate the preservice music teacher preparation program at a large midwestem university (in this article called “BTU” for “Big Ten University”) through an examination of the perceptions of beginning teachers and their mentors and administrators. Primary research participants included seven first-year teachers from BTUs class of 1999 and seven first-year teachers from the class of 2000. Data from these participants included individual interviews, focus group interviews, teacher journals, classroom observations by the researcher, mentor interviews, administrator interviews, and responses on an open-ended “End-of-Year Questionnaire.”In addition, secondary participants (n = 11) completed the End-of Year Questionnaire regarding their first-year experiences and the teacher preparation program. Results and discussion include descriptions of the perceptions regarding the most valuable parts of preparation and the least valuable parts of preparation, as well as suggestions for preservice teacher preparation made by teachers, mentors, administrators, and the researcher. Issues of validity of results and transferability of findings to other settings are discussed in addition to possible implications for teacher education and music education program evaluation research.

An Examination of District-Sponsored Beginning Music Teacher Mentor Practices

The purpose of this inquiry was to examine the beginning music teacher mentor practices in 13 school districts in mid-Michigan. Data included beginning teacher interviews, teacher journals, focus-group meetings, mentor interviews, administrator interviews, and the principal investigators log. Profiles of the teachers show a lack of consistency in the types of mentor programs in the schools and varying degrees of teacher satisfaction with the programs. The lack of consistency is discussed in relation to the type of school, the teaching responsibility and classroom setting, the type of mentor assigned, and the degree to which that mentor was paid or trained. Teacher perceptions of the value of the program are discussed in relation to the degree and type of contact with the assigned mentor. The content of mentor interactions included administrative duties, classroom management, parent interaction, building and district policies, and personal issues. The need for music mentors is discussed, and the article concludes with general suggestions for mentor practices, including early identification of mentor, scheduling so mentors can observe, and opportunities for mentors and mentees to get to know each other.

Professional Development for Arts Teachers

he No Child Left Behind Act (NCLB), signed into law on January 8, 2002, states that its primary purpose is “to close the achievement gap through accountability, research-based instruction, flexibility and options for parents, so that no child is left behind.”1 The goals of NCLB, according to the U.S. Department of Education, include improving the academic achievement of children in high-poverty schools, using scientifically based research to provide high-quality reading instruction for grades K–3, supporting charter schools, improving math and science education, supporting the use of education technology, and providing states with grants to help fund teacher professional development and training. In a recent Arts Education Policy Review issue, Laura Chapman shared her concerns regarding some of the implications of NCLB for arts education.2 Our article will focus specifically on professional development policy within NCLB. Professional development is a foundation of NCLB and is cited quite often within its language. To receive federal educational grant funding, a district must follow NCLB’s regulations regarding professional development, which include:

Action Research in Music Education

he music education research community works hard to reach out and connect with K–12 music educators; Update: Applications of Research in Music Education itself is an example of this dialogue. Yet, despite these efforts, as Edwards (1992) suggests, “Research is not viewed as being in the mainstream of either music or music education. Most musicians and music teachers have little interest in what music researchers do, how they do it, or the conclusions that they reach” (p. 5). Even when music education research is presented in a practitioner-friendly way, problems arise because most research ideas and designs come from the university community. One way to make connections between research and teaching practice is through action research. When applied to music education, action research refers to studies of music teaching and learning that are designed and implemented by K–12 music teachers or in equal collaboration with them. Colleagues in educational research currently place increased emphasis on exploring designs that involve K–12 music teachers in the process. Many teachers in general education have become involved in identifying research problems, collecting and analyzing data, and writing research reports. The field of music education has just begun to take an active interest in promoting this type of research (Bresler, 1995). Practicing music teachers, therefore, can benefit from the results of action research; this account of a recent action research study serves as an example.

Instrumental Music Education Students' Perceptions of Tensions Experienced during Their Undergraduate Degree.

In response to recent concern regarding music education major retention and as an effort to contribute to the “lives of teachers” scholarship in music education, the primary research question for this study was: How do undergraduate students describe their lived experiences within the instrumental music education community? Data included a questionnaire from sophomore, junior, and senior undergraduate students (N = 34); researcher journals; 12 undergraduate student interviews; an undergraduate student focus group; and 6 study team meetings. What the authors learned from this inquiry is organized by the following themes: (a) participants perceive themselves as “different” from other music students; (b) participants perceive music education to be “different” within the music school; and (c) participants’ musician/ teacher identity changed throughout their experience.

Perceptions Of An Instrumental Music Teacher Regarding Mentoring, Induction, And The First Year Of Teaching

In a collaboration between teacher (Tavia Zerman) and researcher (Colleen Conway) we examined Tavias perceptions of mentoring, induction and teaching in the first year. Data included Tavias handwritten journal, mentor/mentee email communication, teacher observations and interviews, principal and mentor interviews, and teacher questionnaire responses. Findings highlight the challenges faced by Tavia including being overwhelmed, working very long hours, feelings of self-doubt, isolation from other teachers, large numbers of students in classes, varying levels of student ability and content-needs, high profile public performances, and many extra-curricular responsibilities. These findings support the need for music content-related induction and mentor initiatives. Discussion includes possible transferability of these findings to other beginning music teaching settings and recommendations for teaching practice and research.

The Development of Teaching Cases for Instrumental Music Methods Courses

The purpose of this study was to develop teaching cases for instrumental music education methods courses through analysis of current teaching practice. A qualitative case study research design was used to document the daily interactions, decision-making skills, and use of pedagogical content knowledge of four experienced instrumental music teachers (one elementary, two middle school, and one high school teacher). Observation and interview data were analyzed and coded, categories were identified, and teaching cases were developed. The teaching case categories documented in this project include curricula and objectives, program administration, recruitment and balanced instrumentation, scheduling, choosing literature, classroom management in rehearsals, motivation, assessment and grading, musicianship, and rapport with students. Implications of this project for music teacher education and music education research are discussed.

Setting an Agenda for Professional Development Policy, Practice, and Research in Music Education

In my concluding remarks for this special focus issue, it is my goal to provide suggestions for music teachers, music teacher educators, music supervisors, state music organizations, and researchers regarding future initiatives for music teacher professional development. I have organized these remarks around key quotes and suggestions from the four papers in this issue including: the variety of professional development needs, designs for professional development offerings, the relationship between professional development and career stages and career growth, the potential of teacher research or teacher inquiry as professional development, and the effect of professional development on the music learning of PreK–12 students.

Perceptions of Experienced Music Teachers Regarding Their Work as Music Mentors

The purpose of this study was to examine the perceptions of experienced music teachers regarding their preparation for and experience of mentoring in a 2-year mentor project focusing on the support of teachers in Title I schools in Orlando, Florida. Data included the following: initial expectations of mentoring from Year 1 (note cards), biggest challenges from Year 2 (note cards), mentor development session interactions from Years 1 and 2, interviews with mentors at the end of the study period, and research logs from the two researchers. Findings suggest that mentors need mentors; time management is a challenge for mentors; communication with the mentee is a challenge; observations of the mentees are necessary but difficult; technology can be a positive resource for mentor and mentee interaction; and mentors struggle to keep mentee interactions in the realm of support and not evaluation.

Ten Years Later Teachers Reflect on “Perceptions of Beginning Teachers, Their Mentors, and Administrator Regarding Preservice Music Teacher Preparation”

The purpose of this inquiry was to examine the current reflections of experienced teachers on their past perceptions of preservice music teacher preparation as documented in the author’s previous research. Research questions included the following: (a) How would participants describe their reactions to a present-day examination of 1999 or 2000 data (journals, individual and focus group interviews, and two questionnaires) and 2002 study findings? (b) How had their perceptions regarding preservice music teacher preparation changed since 1999-2000? and (c) On the basis of their recent work with preservice interns and student teachers, what could these experienced teachers say about preservice music teacher preparation today? Data collected in 2010 included participant journals and individual interviews. Findings categories include (a) general agreement with 2002 study findings regarding best and worst facets of preservice preparation, (b) experience is the best teacher, (c) teacher education is doing the best it can do, (d) preservice students will get out of teacher education what they put into it, and (e) specific suggestions for teacher education provided by participants.