Individuals looking to enter the field of education often begin by selecting a college or university to complete undergraduate studies. Some college and university programs include the elements for a teaching license while other programs only meet the requirements of a Bachelor’s degree. The list of variations between university programs is extensive and often depends on the individual professors. An individual must decide which program will fit their personal needs and which program will best prepare them for a career in the music classroom. An educator’s training does not stop with a degree, once they enter the classroom music educators attend hours of professional development that is specific to their district, administration, and personal requests. The purpose of this literature review is to determine how music teacher training both pre-teaching and during their career affect retention of music educators.
Effective Music Education
The ultimate goal of an individual’s education is preparation for a career, but it is hard to determine what preparation is needed without defining the ideal career for the music educator. An effective classroom environment for the music educator would include the teacher developing a method to assess, evaluate, and communicate student achievement (Kay, 2000). Many elementary methods such as Kodaly, Orff Schulwerk, Dalcroze, and Gordon provide detailed approaches for general music instruction that can be adapted to teach many musical concepts across grade levels and disciplines. Kay (2000) continues to stress the importance of teachers improving the way music is taught and learned in the music classroom. This increase in music standards for students would mean an increase in standards f...
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Eros, J. (2011). The career cycle and the second stage of teaching: Implications for policy and professional development. Arts Education Policy Review, 112(2), 65-40. doi:10.1080/10632913.2011.546683
Kay, A. (2000). What is effective music education?. Teaching Music, 8(1). 50. Retrieved from: http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=3393603&site=ehost- live
Smith. M. V., & Haack, P. (2000). The long view of lifelong learning. Music Educators Journal. 87(3), 28. Retrieved from: http://search.ebscohost.com/login.aspx?direct=true&db= a9h&AN=3735866&site=ehost-live
Spurgeon, A. (2004). Proposed changes for the undergraduate elementary music education curriculum. General Music Today, 17(3), 28-32. Retrieved from: http://search.
ebscohost.com/login.aspx?direct=true&db=a9h&AN=13641916&site=ehost-live
When asked to choose skills, I selected performing arts, problem solving, and speaking, all of which I would use in a career as a music educator. I also selected creativity, independence and prestige as the most important values to me. Again, these values are all applicable in a career in music education.
It is a well-known fact that students entering higher education increasingly lack the academic skills necessary to succeed in their collegiate endeavors. It goes without saying that this is largely due to the widespread substandard education provided by legions of mediocre teachers—teachers who deliver shoddy instruction due to their own innately inferior academic abilities. At least, these facts are what Notre Dame Professor of Philosophy Gary Gutting would have readers of The Chronicle of Higher Education believe in his article “Why College Is Not a Commodity.” Although he makes many points that, if true, would be damning of the elementary and secondary teaching professions, Gutting stops short of proving his arguments logically or empirically. He claims today’s budding K-12 teachers often come from the bottom of the heap academically, directly leading to poor teaching—yet he provides no research to back up this connection. Furthermore, Gutting attempts to provide a solution to this so-called travesty by recommending that teaching be “professionalized,” ignoring the already-present professional practices and standards present. Gutting’s critiques, though thought-provoking, ultimately are logically and statistically unsatisfying in both their explanations of the state of teacher qualifications and in their calls to action.
Lebuta, Joseph A. & Smith, Deborah A. Music Education: Historical Contexts and Perspectives. (1997) Upper Saddle River, NJ. Prentice Hall.
As a musician you are exposed to many different types of terminology, ideas, debates and concepts most people are not. There are Interest and topics that we find appealing like the different language that we use to communicate with each other, are very different from someone that is heavily invested in other activities likes sports or even knitting . With these differences we have formed our own social group. The definition of an music educator is a field that touches on all domains of learning, including the psychomotor domain, the cognitive domain, and, in particular and significant ways, the affective domain, including music appreciation and sensitivity In our community we strive to achieve the goals set in this definition and also to move forward in our advancement of music in the world
Whether the student is a beginner, or someone who has studied music for a number of years, the way in which one views oneself as a musician can be an important factor in the kinds of experiences one has with music. A quality music education is one that challenges students to set clear and achievable goals, think musically and critically, and apply what one has learned in a meaningful way. If a musician harbors a negative view of his or her musical abilities, the lasting effects of this view on his or her musical experiences and achievement could be challenging to overcome.
166-173). Linda Darling-Hammond (2000) discusses how teacher education has changed and how it has affected our education system (p. 166). The author also notes how even the most intelligent people found it hard to prosper in the field without the right skills and preparation (Darling-Hammond, 2000, p. 166-173). In the article, she presents how post baccalaureate programs are carefully structured, versus alternative routes which can be no more than backup employment options. Darling-Hammond (2000) also addresses how it becomes difficult for aspiring teachers to learn both subject matter and pedagogy (p.
Marsh, C. (2010). Becoming a teacher: Knowledge, skills and issues. 5th Ed. Frenchs Forest, NSW: Pearson.
Sheftel, B. (2002). Music Education Curriculum in Public Schools. PageWise, Inc, Retrieved August 6, 2003
Marsh, C.J. (2010). Becoming a teacher: Knowledge, skills and issues. Frenchs Forest, Sydney, NSW: Pearson Australia
Steven, Kelly, N. (2002). A Sociological Basis For Music Education. International Journal of Music Education. 43. Pp. 40-49
middle of paper ... ... Music was not taught in the high school I was in. To satisfy my interest in learning about music and how to play musical instruments, I had to find a source of education other than school; a great depiction in agreement with Graff’s claim that students are being limited by not considering their interests when creating curricula (Graff 197). In conclusion, education is broader than just falling into what the contemporary school system has to offer. Both Gatto and Graff proved this by explaining how conforming students to certain perspectives of education limits their potential in other educational branches that interest the students.
Brown, L. L. (2012, May 25). The Benefits of Music Education. Retrieved September 29, 2017.
In a society where kids must go to school up to the collegiate level, teaching is an impactful career choice. Teachers help contour the minds of future leaders of the world. Furthermore, teachers play a crucial role in guiding students to the knowledge, skills, and abilities they need to succeed in life, and teachers lead students to make informed decisions on any topic the meet in the future. As a teacher, a person must relinquish their knowledge onto students. Finally, they must prepare their students for all the obstacles they will face later in life.
Music education plays an enormous role in student’s overall well being, outweighing the costs of it. In 1994, Congress passed the Improving America’s Schools Act, concluding that “...the arts are forms of understanding and ways of knowing that are fundamentally important to education” (Ford, AdamMcMahon, Maureen). Congress recognized the importance of music education. Now the effort must be made to make a difference. If people really do want the best for the future, music education is key. Ramon Cortines, former chancellor of the New York City public schools stated, “We engage in the arts, we ought to teach the arts, because this is part of what it means to be human” (“Arts Education”). When people eventually realize this, the benefits will be vast.
In recent years, the cliché image of a teacher has come under attach. Research has shown that teachers often work in an isolated setting in which they are considered experts in their specific area; however they often lack the support and equipment needed to do their jobs effectively. As a result, to the inadequate working environment new teachers often leave the profession within the first five years. These conditions often exist because the educational system fails to prepare our teachers with the proper tools and experience needed to do their job well (U.S. Department of Education, 2010).