Music education in homeschooling: A phenomenological inquiry

Nichols, Jeananne Arizona State University 2006 해외박사(DDOD)

The purpose of this study was to explore the music education practices of eight homeschooling families in the metropolitan Phoenix area of Arizona and to provide a better understanding of music education in the homeschooling community for those who are not familiar with this educational subculture. Participants in this phenomenological inquiry were the parents, and children of homeschooling families, and the music education providers retained by the families. Data were drawn from in-depth interviews with these informants, observations of music classes and ensembles in which the homeschool students participated, and artifacts pertinent to these activities. The overarching research questions which guided this study were: (1) Why do parents elect some form of music education in the homeschool curriculum and what do they believe their children will gain from music study? (2) What are the homeschooled students' responses to music education as a part of their studies, and to what extent do these experiences affect continued participation in musical activities? (3) How do families provide music education for the children, and who does the teaching? (4) If the homeschool families engage music teachers outside the home, what are the educators' responses to homeschoolers participating in their music classes and ensembles?. These homeschool families have access to a wide variety of options for musical learning: resources provided by the homeschool community, resources provided by the church, public school resources, and civic or community resources. In discussing why they value the study of music for their child as a part of the homeschool, homeschool parents offer explanations that appear to articulate one of three broad ideas: music is an essential part of the whole, be it a whole person or a whole program of study; music enables connectivity between persons, either through shared knowledge or experience; and that music is an important component of religious expression. The students who participated in this study are generally affirming of their music classes and ensembles; however their motivations for participation vary.

A history of music in the Edmonton (Alberta) Public School System, 1882--1949

Howey, Robert John Arizona State University 2003 해외박사(DDOD)

The purpose of this study was to document the history of music education in the Edmonton Public School System (EPSS) from its establishment in 1882 until 1949. The study covered the most influential antecedents of this history (the histories of music in Canada, general education in Quebec and Ontario, and music education in Ontario), and investigated the following related topics: (1) an historical overview of church, community, and school music in Edmonton from 1880–1901; (2) Northwest Territories and Alberta Department of Education normal and summer school music instruction and directions in music education; and (3) relevant events in the history of the EPSS and the city of Edmonton. The five main historical topics were as follows: (1) EPSS music education before the appointment of the first music supervisor (1882–1909); (2) EPSS music education from the music supervisors' perspectives (1909–49); (3) music curriculum in the EPSS; (4) high school music programs; and (5) EPSS system-wide projects in music education: Piano Class Teachers' Association, EPSS participation in the Alberta Musical Festival and EPSS Festival, string teaching and the Edmonton Public Schools Orchestra, the Edmonton Schoolboys' Band, and school radio broadcasts. Two of the main figures in the history were James Norman Eagleson, who was employed as music supervisor from 1912–49 and regarded as one of Canada's leading music educators, and Thomas Vernon Newlove, who founded the Edmonton Schoolboys' Band in 1935. This band was considered one of the best and largest of its kind in Canada until the early 1950s. Only a relatively small number of historical research projects have been undertaken on music education in Canada. This study is one of the first to document the history of music education in a Western Canadian school system.

Teacher preparation, methods and materials for music education in rural and one-room schools in selected areas of the Midwest (1890--1950) (Illinois, Wisconsin, Iowa)

Stover, Pamela Jo Indiana University 2003 해외박사(DDOD)

This dissertation explores the status and growth of music education in rural and one-room schools from 1890–1950, limited to English-speaking public schools in selected areas of the Midwest especially Illinois, Wisconsin, and Iowa. Chapters on teacher preparation, teaching methods and materials follow an overview of rural education. This study utilized historical methods including archival and oral history analysis. Eight one-room school students and teachers from Winnebago County, Iowa were interviewed in addition to Eunice Boardman, Judith Svengalis and Stanley Schleuter, who earned music education doctorates and attended rural or one-room schools. Photographs, ephemera, teaching licenses, exams, course notes, scrapbooks, letters, manuscripts, unpublished reports and dissertations of the time were also examined. Music was occasionally included in preparing rural teachers at county institutes, extension and correspondence courses, normal schools and colleges. Music was sometimes included on eighth grade, county and state teacher's examinations for initial certification or continuing education. Teaching methods besides the recitation were utilized in one-room schools. During the Progressive Education movement, music programs, pageants and projects were common teaching methods. In Iowa, the Choir and Phonograph Plans of Charles Fullerton were designed for rural teachers. Edgar B. Gordon pioneered vocal music radio broadcasts for Wisconsin school children. Both Fullerton and Gordon instituted rural choir festivals. Teaching materials were varied, but scarce. The Victrola, pump organ, piano and rhythm or homemade instruments were available. Innovative Victrola recordings corresponded with Fullerton's textbook. Grade books, daily schedules, standardized school regulations, written curriculum, teacher magazines and journals guided rural teachers. Early textbooks were typically glee club songbooks or graded series books, designed for trained musicians. A content analysis of eleven rural music books is included in this study. Rural school innovations such as recordings and textbooks designed for nonmusic specialists, distance education and improvements in teacher licensure continue today. Further research in rural music education should include other geographical areas and diversity in religion, language and race.

Listening to Music Educators in Sonora, Mexico While Challenging My Privilege: An Autoethnographic Account

Luque Karam, Andrea The Ohio State University ProQuest Dissertations & 2023 해외박사(DDOD)

The problem addressed in this critical autoethnographic study concerns the lack of higher education opportunities for musicians in the state of Sonora, Mexico and the ways in which that impacts music educators from the region. In particular, I look at the different paths music teachers take to follow their vocation by critically examining my privileged music education story. I base this critical lens on a framework of capital to understand the types of resources and forms of capital that are needed to study music professionally in Sonora. This study is presented through stories and poems that reflect the realities of my music education journey as well as the stories of this study's participants. The primary research question was: What factors, including social class, impact the availability and accessibility of resources and professional development opportunities for music educators in Sonora, Mexico? To collect my data, I employed individual/personal and what I call "collective" forms of data collection through journaling/creative writing and interactive focus groups. The creative writing I engaged with included letter-writing, poems, and vignettes. I did some of my personal writing before and after conducting the interactive interviews to constantly reflect and embody the practice of meaning-making. This study included 19 participants who are active music educators in Sonora and who were assigned to three focus groups. Upon completion of the nine interview sessions (three per group), I began to engage with the collected data by relistening to interviews, reading Spanish transcriptions and thinking about the possibilities for selecting and translating such stories. After identifying important moments in participants' narratives, I reread my selections to identify different forms of capital that were represented. The four forms of capital with which I framed my analyses are economic, social, cultural, and human capital, which I based on literature by Becker (1964), Bourdieu (1986), Coleman (1988), Lin (2001), Portes (1998), and Schultz (1971).Based on this study's data and my personal reflections, I concluded that the factors that positively impact the accessibility of resources to study music in the state of Sonora are mostly tied to social and cultural capital. Those who studied music at the college level had some kind of support system that influenced when and how they started learning music, as well as providing them with information about where they could continue studying music. When it comes to professionalization, however, social and economic capital seem the most impactful based on our reflections. I consider my family's economic capital as an ultimate differentiator between the schools I had access to at the elementary and college level, informal education settings like private lessons, and those schools and opportunities accessed by participants. Furthermore, I share how it was evident in participants? interactions that western music education practices are what they consider as legitimate, regardless of their education attainment or the musical genres that they engage with.

Disruptions and transformations: The influences of culture and community on pre-service music educators' occupational identities

Albert, Daniel Joseph Michigan State University ProQuest Dissertations & 2016 해외박사(DDOD)

With the intent of helping to reconceptualize music teacher education programs and improve the quality of music education for all students, the purpose of this study was to examine the interactions within the cultural cohort communities of a music teacher education program embedded within the culture of a school of music and the role that these interactions play in "disrupting," or challenging, pre-service educators' occupational identities and preconceptions of music education. Research questions for this explanatory sequential (Creswell & Plano Clark, 2011) mixed methods study focused on determining which structural components of a music teacher education program (e.g., course curricula, University/College of Education/School of Music/music education program requirements, music education program sequence), if any, assist with "disrupting" pre-service music educators' occupational identities; why certain communities, interactions, and persons within the cultural cohort are the most significant "disruptive" influences on pre-service music educators' occupational identities; and how these "disruptions" manifested themselves in pre-service music educators' conceptions of and beliefs and attitudes about music education. Participants completed a Pre-Service Music Educator Survey to help indicate which courses, persons, social interactions, or other influences within or outside of the School of Music most influenced them to change their beliefs of music education and identities as music educators between matriculation into the School of Music and the time of taking the survey. Following data collection and analysis of the Pre-Service Music Educator Survey, I created cohort groups of students from classes that were identified by undergraduate music education students as being highly "disruptive" to participate in focus group discussions. Additionally, all music education faculty members participated in a focus group discussion and each participated in an individual interview. Results from the survey suggested changes in students' occupational identities and preconceptions of music education during their time in the music teacher education program, changes in interests in occupational types of music teaching (e.g., early childhood music educator, high school performance-based ensemble teacher, etc.), and changes in means of teaching music (e.g., performance-based ensembles, teaching elementary general music, music technology, popular music, etc.). Additionally, focus group discussion revealed that several components of the music teacher education program are "disruptive" influences on students' occupational identities and preconceptions of music education, including a "de-tracked" music teacher education curriculum, two introductory/foundational music education courses during the first and second years of study, and required fieldwork experiences embedded in most music education courses. Interactions within the "community" nature of the program between peers, faculty, and graduate student assistants also were "disruptive" influences. Implications for music teacher education include creating opportunities for philosophical discussions regarding contemporary topics in music education throughout a music teacher education program, devoting time during music education courses for students to examine the present state of their occupational identities, facilitating fieldwork experiences in "disruptive" settings, and striving to create a sense of "community" within the music teacher education program.

審美的 音樂敎育의 方法的 硏究

정순형 漢陽大學校 敎育大學院 1993 국내석사

Popular music ensembles in post-secondary contexts: A case study of two college music ensembles

Powell, Bryan James Boston University 2011 해외박사(DDOD)

The incorporation of popular music into music education settings can provide music educators with a way to stay relevant with the changing times, to recruit students who would-otherwise be excluded by traditional school music ensembles, and to engage students in meaningful musical experiences. The presence of popular music in American school music programs; however, has traditionally been limited to a fringe element of the school music program, or not included at all. A large body of extant literature addresses the inclusion of popular music in school music. Studies examining popular music ensembles in college music programs; however, are sparse. In this qualitative study I examined popular music ensembles in two college music education settings in the Northeastern United States. The purpose of this study was to examine the perspectives and experiences of the participants with respect to the inclusion of popular music ensembles in colleges. I used a multiple case study design within qualitative methodology and utilized ethnographic techniques including formal interviews, informal conversations, classroom observations, audio and video recordings of student ensemble rehearsals, activities, and performances. Data analysis employed interpretive coding guided by a constant comparative approach. Data analysis revealed themes with regards to the challenges of implementing popular music ensembles in college settings and from the narratives of the participants. Challenges for the participants in this study included: lack of administrator support; insufficient rehearsal space; expectations of students and colleagues; issues of authenticity; gender inequality; and codifying informal learning practices in college settings. Themes that emerged from the participant narratives included: student benefits; previous experiences that shaped the instructors' approaches to popular music ensembles; and, a need for rethinking music education in American schools. Suggestions for the music education profession included: rethinking common approaches to music education; including a wide variety of musical genres in school music programs; integrating informal learning practices; learning from other countries that are successfully integrating popular music into music education settings; using jazz as a cautionary tale when examining how popular music should be included in music education practices; and embracing the social benefits of popular music integration in school music programs.

Student Citizens: Whiteness, Inequality, and Social Reproduction in Marketized Music Education

Stoumbos, Mary Catherine Columbia University ProQuest Dissertations & These 2023 해외박사(DDOD)

Music education policy and administration attempts to shape the musical sensibilities of young people. Yet, the logics of music education from a socioeconomic standpoint are inadequately understood. This dissertation focuses on the relationship between music education nonprofits and public schools and on the public and private policies that have shaped the formation and perpetuation of these relationships. I analyze the logics of policy documents alongside the discourses and narratives of private organizations that support music education within the specific contexts of New Jersey, a state that mandates music education access for all students, and the COVID-19 pandemic, which has exacerbated societal inequalities, to illuminate how policy makers and administrators shape student experiences in the proto-democratic space of the classroom.I use policy analysis and institutional ethnography, approaching data primarily through the lenses of neoliberal critiques of marketization, critical whiteness studies, and analyses of the intersection of class and race, which I outline in chapter one. I also consider the design of music education programs within the theoretical framework of culturally relevant pedagogy. Education systems are adapting to shifting racial discourses as schools continue to construct citizens within racialized and classed hierarchies. Music historically has been invoked in the construction of societal stratifications to mark ethnic and cultural boundaries. In chapter two, I examine these narratives that have shaped the formation of music education in the United States as a culturally hegemonizing force and persist in debates around the purpose of music education in under-resourced schools that mainly serve students from minoritized communities. Music education remains a site at which policy makers, administrators, educators, and community members negotiate the role of culture in shaping new citizens. State music education policy in New Jersey specifically struggles to support the progressive vision it professes as it continues to suggest a strongly hegemonic curriculum and perpetually underfunds music programs in schools.Within this context, the third chapter considers how funders and advocacy groups are so frequently focused on short-term funding needs that they persistently struggle to address systemic issues in music education, such as issues with administrations that do not represent the communities being served, colonial content and pedagogy, and unsustainable funding solutions. As such, the limited services and non-democratic leadership of privately funded music education programs in public schools reinforce the role of public schools as gate-keepers of exclusionary citizenship norms. At the same time, privatization has also opened opportunities for non-normative, anti-oppressive forms of music pedagogy to enter public schools. In the fourth chapter, I investigate how, though their very existence reinforces the marketizing trends that rank and exclude, some nonprofits do attempt to serve students in culturally relevant ways within this environment, and can even work in ways that support publicly funded programs.Altogether, my research provides insight into the role that the privatization of public spaces within neoliberalism plays in the formation and reproduction of classed and raced citizens, as policy makers, funders, and program administrators determine which young people are given access to which forms of education.

A matter of race and gender: An examination of an undergraduate music program through the lens of feminist pedagogy and black feminist pedagogy

Grissom-Broughton, Paula A Boston University 2015 해외박사(DDOD)

Theoretical perspectives of feminist pedagogy provide an alternative lens to examine the teaching and learning process within music education programs in higher education. Music programs have traditionally emphasized formal constructions and static content, which typically are associated with Western European, patriarchal ideologies. Feminist pedagogy, originating in social constructivism and critical theory, offers an instructional approach for a more democratic and diverse curriculum and pedagogy. Extending from feminist pedagogy is Black feminist pedagogy, which offers a more specialized instructional approach for underrepresented populations in education. Both feminist pedagogy and Black feminist pedagogy foster a unique intersection for institutions of higher education whose historic mission integrates race and gender as part of its targeted efforts. When examining the music education literature, particularly as it relates to diverse groups, a feminist instructional approach addresses the interconnections of race and gender as social and cultural constructions, which are almost absent from higher education research altogether. Using the intrinsic case study model and qualitative data, I examine ways feminist pedagogy and Black feminist pedagogy, are integrated into the undergraduate music program at Spelman College, a historically Black college for women. I also investigate how course curricula are inclusive of both traditional feminist and Black feminist pedagogical principles. I explore how discourses of gender, as well as race, play a role in the pedagogical practices of teachers within a single-sex institution committed to the education and empowerment of women of color. Furthermore, I describe ways in which students are influenced by both traditional feminist and Black feminist pedagogical approaches, and how music educators are fulfilling the need to teach music outside their own experiences, which are in some cases, a Western European patriarchal approach. Using Barbara Coeyman's (1996) four principles of traditional feminist pedagogy for women's studies in music and the general music major curriculum (i.e., diversity, opportunities for all voices, shared responsibility, and orientation to action), as a theoretical framework the following three components were examined in this study: context (structural influences of gender and race), content (curriculum and course design), and pedagogy (classroom instruction and goals). Data was ascertained through triangulated measures of interviews with faculty and students, observations of class time and performances, and document collection of relevant data sources (e.g., course syllabi, music department handbook, and performance programs). I used findings from the research to demonstrate how discourses of gender and race permeate the institutional environment at Spelman College, and have direct links to curricula structure, as well as the institutional mission of the teaching and learning process of its students. I also used findings to further enhance the knowledge base of music education literature and implications for African-American females in higher education. Finally, suggestions were given as to how music educators can design and teach within a music environment that is socially and culturally inclusive for all students.

북한의 음악예술인 양성 연구

이효주 북한대학원대학교 2020 국내석사

본 연구는 ‘주체음악’ 구현에 결정적 역할을 하는 북한 음악예술인 양성체계와 교육과정, 그리고 이들의 역할과 활동 등을 분석하는 것을 목적으로 한다. 음악예술인을 양성하는 북한의 음악예술교육기관은 전문 음악예술교육기관과 보통교육의 소조활동으로 양분되어 있으며, 이들 기관과 교육체계는 음악예술의 특성을 감안한 ‘특수교육’을 수행한다. 북한에서는 정권 수립 초반부터 정치적 수단으로 음악예술에 주목하고 음악예술인 양성에 관심을 가졌다. 본 연구를 통해 도출한 결과는 다음과 같다. 첫째, 주체음악은 혁명적 수령관에 바탕을 두며 김일성의 항일혁명음악을 기원으로 삼는다. 즉 조직화된 예술선전대를 통해 예술의 대중화를 실현하고자 한다. 주체음악은 ‘내용이 혁명적이며, 형식이 인민적’인 것으로 ‘내용의 혁명성’의 핵심은 수령을 향한 충실성의 반영이며 ‘인민적 형식’은 김일성의 항일무장투쟁시기 창조한 음악예술분야를 전형으로 삼는다. 이러한 주체음악의 특성을 기반으로 각 행정단위별로 예술선전대를 조직하고 각 기구별로 조직화된 예술선전대 활동을 통해 예술의 대중화를 실현한다. 둘째, 북한의 전문 음악예술교육기관은 ‘독연가’라는 특출한 인재를 양성하는 것을 목적으로 한다. 전문 음악예술교육기관은 보통교육부문과 고등교육부문을 아우르는 특수교육기관으로서 조기교육체계, 피라미드식 교육체계를 운영한다. 예술인의 전문성 확보를 위해 교육성 산하 일반 교육부문과는 달리 문화성 관할 하에서 실전경험을 쌓는 것을 교육과정의 일부로 한다. 연속고등교육체계를 갖춘 김원균명칭 음악종합대학의 박사원은 북한 내 독연가 양성의 최고 단계이다. 셋째, 전문 음악예술인은 전문 음악예술교육기관을 통해 양성되며 노동당 선전선동부(이하 중앙당) 직속 및 총 정치국, 문화성 소속 예술단체에서 활동한다. 전문 음악예술교육기관인 김원균명칭 음악종합대학, 인민군예술학원, 각 도 예술학원은 대상자선발을 엄격히 하고 있으며 교육방법은 특수교육기관의 성격에 걸맞게 1:1개별교수제로 운영한다. 교육과정 이수 이후 전문 음악예술인은 전문 예술단체에서 일반공연과 계획적인 예술선전 등의 활동을 한다. 넷째, 비전문 음악예술인은 보통교육부문의 음악예술소조활동을 통해 양성되며 각 행정단위 및 기관·기업소 당위원회 소속 비전문 예술단체에서 활동한다. 북한은 음악예술의 대중적 참여도를 이끌어내기 위해 각 기관·기업소별 예술소조와 예술선전대를 조직하였다. 중등교육부문 학교음악소조와 사회교양거점인 학생소년궁전(회관)을 통해 양성되는 비전문 음악예술인들은 기동예술선동대와 예술선전대에서 경제선동을 수행한다. 다섯째, 보통교육부문의 개인경연을 통해 전문 음악예술교육기관으로의 편입이 가능하다. 북한은 특출한 재능을 가진 독연가 양성을 목적으로 매해 정례적으로 진행하는 전국학생소년예술개인경연 입선자들에게 김원균명칭 음악종합대학, 또는 금성학원(평양제2음악학원) 입학자격을 부여한다. 이는 보통교육부문과 특수교육부문을 연결하는 통로이다. 체제 운영에 있어서 음악의 중요성은 정권 수립 초반부터 강조되었다. 김정일은 ‘전국의 예술화, 예술의 대중화’라는 기치 아래 ‘음악정치’를 강조하면서 음악예술인 양성 및 교육을 중요하게 다루었다. 북한 음악예술인 양성체계의 시행은 북한 정권의 주도로 이루어지고 있다. The purpose of this study is to analyze music education system, its curriculum, roles and activities of the North Korean music artists, which play decisive roles in implementing ‘Juche Music' in North Korea. North Korean music arts institutions educating music artists are classified into professional music arts institutions and normal education activities in small groups, and these institutions and educational systems perform special education considering its characteristics of music arts. Since the beginning of the administration, North Korea has been interested in training music artists, focusing on music arts as a political tool. The following results are obtained through this study. First, Juche music is based on the revolutionary ideology of the leader and is aimed to originate from the anti-Japanese revolutionary music of Kim Il-Sung. In other words, it seeks to realize the popularization of art through the organized propaganda squad of art. Content of the Juche music is revolutionary and its form is for the people. The core of ‘the revolutionary content' is the reflection of faithfulness for the leader, and ’the form of the people’ refers to the field of music art created in the era of Kim Il-Sung’s anti-Japanese armed struggle. Based on these characteristics of Juche music, the propaganda squad of the art is organized in each administrative unit and the popularization of art is accomplished by activities of each organized propaganda squad. Second, North Korean professional music art institutions aim to cultivate outstanding talented musicians called 'soloist'. North Korean professional music art institutions are special education institutions that cover the general education and higher education sectors and operate an early education and a pyramid education system. To promote the professionalism of artists, practical experience is required under cultural jurisdiction unlike the general education sector under the Ministry of Education. The Ph.D. course at Kim Won Gyun University of Music which has a continuous higher education system is considered to be the highest stage in soloist training system. Third, professional music artists are trained through professional music art institutions, and they work directly with the Labor Party's Propaganda Department, the Political Bureau, and the Ministry of Culture. Professional music arts institutions― Kim Won Gyun University of Music, People's Army Arts Academy, and each do art academy are very strict to accept admissions of highly qualified applicants only and operate its education system for 1:1 individual tutoring system per the characteristics of special education institutions. After completing the course works, professional music artists engage in activities such as general performances and planned art propaganda in professional art organizations. Fourth, non-professional music artists are trained through small group activities in the general education sector. And they work in non-professional art organizations in each administrative unit, and party committees of institutions-enterprise. North Korea has organized small art groups and art propaganda squads for each institution-enterprise to encourage public participation in music art. Non-professional music artists educated in the small group of secondary education sectors and the Students Children's Palace(Hall) which is the base for social education. They carry out economy-related campaigns at the Mobile Arts Instigation and the Arts Propaganda. Fifth, it is possible for students to transfer to professional music art institutions through individual contests in the general education sector. North Korea grants admission to the Kim Won Gyun University of Music or the Kumsung Academy(Pyongyang 2nd Music Academy) for winners of the national students and youth individual art contest. The purpose of the annual art contest is to develop soloists with outstanding talents. This is a channel bridging the general education sector and the special education sector. The importance of music in operating the political system was emphasized since the beginning of the North Korean regime. Under the slogan of “The Art of Whole Country and Popularization of the Art,” Kim Jong-il emphasized “music politics” and considered training and education of the music artist as an important matter. The North Korean regime has been proactive to implement education system for North Korean music artists.