Steven N. Kelly

Authentic-Context Learning Activities in Instrumental Music Teacher Education

The purpose of this study was to examine the relationship between the frequency of particular authentic-context learning (ACL) activities during undergraduate instrumental music teacher training and the initial teaching performance (ITP) of undergraduate instrumental music student teachers. Subjects (N = 30) were instrumental music student teachers at four major universities. Four ACL activities, identified from the literature and limited to instrumental music settings, included (a) early field experience teaching episodes, (b) peer-teaching episodes, (c) episodes of subjects watching videotapes of their teaching, and (d) episodes of subjects watching videotapes of their teaching with a coaching instructor. ITP was determined by evaluating teaching episodes, which occurred within the first 3 weeks of student teaching, using the Survey of Teaching Effectiveness (Hamann & Baker, 1996). Significant correlations were found between ITP and three of the four ACL activities. In addition, an overall ACL experience value was calculated and categorized into high, medium, and low levels. Those with a high level of ACL experiences were significantly better teachers than those with medium or low levels of ACL experiences.

Preschool Classroom Teachers' Perceptions of Useful Music Skills and Understandings

The primary purpose of this study was to identify the music skills and understanding taught during preservice training that in-service preschool classroom teachers perceived, as practical and beneficial. A 31-item questionnaire was developed and mailed to directors of 89 public and. private preschool programs where music specialists were not used. The mailing resulted in a return of 210 individually returned forms, representing 66% of the total mailing. Results demonstrated that the teacher skills and. understandings that were considered most useful were those that provided students with direct music experiences. These skills, which teachers learned in preservice training, included movement activities, using rhythm instruments, and singing experiences. More traditional music skills and understandings, such as those taught in courses such as music theory and. history, were not perceived to be useful to preschool instructors. Descriptive information revealed that although most teachers held a college degree and a teaching certificate, the majority were unaware of and none had read the Performance Standards for Music: Grades PreK-12.

Gender Associations with World Music Instruments by Secondary School Music Students from the USA.

This article investigated possible gender associations with world music instruments by secondary school-age music students from the USA. Specific questions included: (1) Do the primary instruments played by the students influence gender associations of world music instruments? (2) Does age influence possible gender associations with world music instruments? (3) Does students’ gender affect possible gender associations? (4) Do presentation modes of visual only, instrument timbre, or a combination of visual and timbre influence gender associations? (5) What variables may influence possible gender association with world music instruments? Participants (N = 455) were band and string students attending a large university-based summer music camp. Participants were randomly divided into three treatment groups: visual only, audio only, and visual/audio combination and exposed to 10 world music instruments that have specific sex-role associations in the culture of which they are a part. Participants completed a survey to indicate their perception of the extent of gender association with each instrument. Results showed that students were influenced by similar variables regarding gender associations with world music instruments as they are with traditional public school instruments typically found in the USA.

A Sociological Basis for Music Education

This paper seeks to illustrate that the social contributions of music education are vital to the justification of music in the schools. This position is based on the following: 1) Music behaviors are global behaviors associated with the earliest human existence; 2) If humans have maintained music, then some manner of music education has always been associated with humans; 3) If music is a global behavior, then some form of music education is a global practice; 4) If music and music education are globally associated with humans, it seems appropriate both should be part of a school curriculum.

Rehearsal Characteristics of "Superior" Band Directors.

The purpose of this study was to investigate the rehearsal characteristics of “superior” middle and high school band directors. A total of 131 respondents from Florida, Kentucky, and North Carolina who received a “superior” rating for 4 out of the past 5 years, completed an open-ended essay question online asking them to describe which aspects and/or elements they considered to be the most important during their music rehearsal. Using a previously established descriptive approach consisting of qualitative coding techniques, responses were analyzed and placed into a taxonomic structure according to similar themes that emerged from the data. Results from the 792 comments listed indicate that both middle and high school directors spend the most time working on “Music Fundamentals,” with “Tone Quality/Production” listed as the most frequent response for both groups. Additionally, directors placed importance on “Conductor/Teacher Behaviors,” “Teaching Techniques,” “Classroom Environment/Behavior,” “Use of Specific Warm-ups to Teach,” “Selecting Literature,” and “Good Relations with Students.”

A Comparison of Nationally Ranked High Schools and Their Music Curricula

This study compared selected musical, educational, and social characteristics of high schools ranked highest in Newsweek and U.S. News & World Report. Questions addressed were (a) How are the top-ranked schools similar or different in educational, musical, and social characteristics? (b) What music courses are offered at each high school? (c) What types of performances do the music classes present each year? (d) What (if any) are the qualifications for students to be enrolled in music classes at each school? (e) How many students are enrolled in each school and in the corresponding music classes? (f) How do the music programs reflect each school in general? Results of questionnaires indicated music programs were a viable curricular component of each school, including the International Baccalaureate and science, technology, engineering, and math campuses. Most schools and their music programs were educationally and culturally diverse. Music curricula were varied and considered important to the total school environment.

Teaching teachers: Methods and experiences used in educating doctoral students to prepare preservice music educators:

This investigation addressed methods and experiences used to educate doctoral music education students to work as university college professors. Selected faculty representing every institution offering a Ph.D. in music education in the United States and Canada (N = 46) were sent an online questionnaire concerning (1) the extent respondents believed doctoral music education students should perform student/class observations, teach music education classes, supervise field-teaching experiences, participate in teacher-related activities, and participate in scholarly activities; and (2) whether respondents’ institutions had doctoral music education students perform student/class observations, teach music education classes, supervise field/student teaching experiences, participate in teacher-related activities, and participate in scholarly activities. Respondents strongly believed music education doctoral students should observe and assist in undergraduate classes, supervise field-teaching experiences, and conduct scholarly activities. Respondents placed less value on students interacting with public school teachers, teaching graduate music education courses, and participating in school/college committees. Respondents indicated their institutions did have students perform student/class observations, teach music education classes, supervise field-teaching experiences, participate in teacher-related activities, and participate in scholarly activities. However, interactions with public school teachers, teaching a graduate class, and participating in school/college committees were performed less.

The Influence of Student Teaching Experiences on Preservice Music Teachers’ Commitments to Teaching

This study concerned preservice students’ commitments to teaching music by comparing potential influencing factors encountered during the student teaching experience. Specific questions were as follows: (a) How committed to teaching were preservice students at the beginning of their student teaching experiences compared with at the end of their experiences? (b) What extent do certain factors influence preservice music teachers’ commitments to teaching at the beginning and at the end of their student teaching experiences? (c) What extent do certain factors influence preservice teachers from not becoming a teacher at the end and at the beginning of their student teaching experiences? (d) What extent would an opportunity to perform on a regular basis influence a preservice teachers’ decision to become a music teacher? Participants completed a pre-/postexperience survey indicating the extent that a variety of factors may influence their commitments to teaching music. Findings showed participants remained committed to teaching after their student teaching experiences and would most likely choose to teach than perform.