Describing Elementary Certification Methods Across the Elementary Music Career Cycle

Abstract

The purpose of the study was to describe elementary music method choice and certification method choice overall and across the elementary music career cycle. Participants (N = 254) were categorized as Level I or Elementary Division in a southwestern music education association database. The questionnaire included 25 four-point Likert-type items that measured music curriculum alignment to given methods and agreement with statements concerning respondent school district curriculum, personal method practices, and motives concerning the pursuit of one or more method certifications. Gathered information was converted into descriptive statistics. Kodály and Orff were the method certifications of choice overall and across the elementary music career cycle. Perceptions and motives varied little across the career cycle. Conclusions include suggestions concerning professional development.

Keywords

career cycle curriculum elementary music general music professional development

Professional development in the field of music education should be important. Many states require continuing education hours for certification renewal, and yearly public school evaluations often include professional development requirements or commitments. Additionally, countless teaching organizations offer hours through conferences and workshops. As well as meeting the needs of requirements, professional development might also provide a vehicle for personal, professional, and music growth with the intention of increasing teaching effectiveness. “Music educators must continue to expand their knowledge while developing new skills and strategies in emerging areas to maintain effective and long-term success” (Moore, 2009, p. 319).

Elementary music educators may seek professional development pertaining to one or more elementary music methodologies. Certification courses in methodologies such as Orff-Schulwerk, Kodály, Dalcroze, and Music Learning Theory can provide elementary music teachers with an environment appropriate for professional, pedagogical, and music development in teacher education. Elementary music teachers with varying amounts of experience in the field spend precious time over multiple summers earning method certifications, and many spend conference time in method-specific clinics. Justification for choosing one method over another seems unclear. Additionally, little research exists related to the blending of methods (sometimes referred to as eclecticism) and whether opinions might vary by experience. Learning more about certification method perceptions, overall and across experience levels, might yield important implications for elementary music professional development.

Studies about teachers and elementary music methods have encompassed topics including curricular differences (Sogin & Wang, 1990), methodology preference (Johnson & Rack, 2004), and professional growth (Junda, 1994; Tarnowski & Murphy, 2002). Sogin and Wang (1990) found no significant pedagogical or curricular differences between teachers with varying Orff level certifications; perceptions concerning music as subject matter, however, were significantly different. Johnson and Rack (2004) found that teachers tended to favor Kodály and Orff over Dalcroze and Music Learning Theory.

Existing research concerning certification method experiences have indicated positive professional growth (Junda, 1994; Tarnowski & Murphy, 2002). Junda (1994) implemented a yearlong graduate study program that mirrored the instruction of a Kodály certification course. Participants ranged from 1 to 24 years of experience. They were provided with Kodály-specific sequencing strategies for kindergarten through third-grade students. Results indicated an increase in the participants’ skill development as well as the skill development of the participants’ students.

Tarnowski and Murphy (2002) surveyed Wisconsin and Minnesota elementary music teachers. Over half of the teachers received retraining in Orff and Kodály, a fourth received retraining in Dalcroze, and fewer received retraining in Music Learning Theory. Retraining implied that teachers had previously received certification levels within the method. When asked about future professional development activities, most teachers chose Orff, Kodály, or Dalcroze. Further research is needed to support method-specific certifications as potential professional development opportunities.

Studies about professional development opportunities have implicated results to preservice music educators or in-service music educators (Moore, 2009). Other studies have compared the values of preservice music educators with the values of in-service music educators (Abril & Gault, 2005). The career cycle literature, however, has categorized teachers based on experience, maturity, and actions (Conway, 2008, 2012; Steffy, Wolfe, Pasch, & Enz, 2000). Career cycle categories have been labeled as first-stage (having between 1 and 5 years of teaching experience), second-stage (having between 5 and 10 or 11 years of teaching experience), and veteran teachers (having at least 11 years of experience; Eros, 2011, 2013).

First-stage, second-stage, and veteran teachers have been represented within music education research concerning focus (Conway, 2012; Eros, 2013), values (Abril & Gault, 2005; Conway, 2012; Steffy et al., 2000), strengths (Bowles, 2002; Sogin & Wang, 2002; Steffy et al., 2000), and needs (Conway, 2008; Eros, 2011). First-stage teachers have tended to focus on themselves with regard to their role in the environment and classroom management (Eros, 2013). First-stage teachers have also tended to value entertainment, recreation, creativity, and expression in their classrooms (Steffy et al., 2000), especially in comparison with second-stage teachers (Abril & Gault, 2005). Second-stage teachers have tended to shift their focus from themselves to their students and how best to meet the pedagogical and educational needs of each individual learner (Conway, 2012; Eros, 2013). Veteran teachers have been considered expert pedagogues in their field (Conway, 2008), most likely to hold positions in organizations, masterful in providing appropriate instruction for meeting individual student needs (Bowles, 2002; Sogin & Wang, 2002; Steffy et al., 2000), and reflective about their role in the school system as a social environment (Conway, 2012).

Conway (2008) and Eros (2011) both found that professional development needs may vary across the career cycle. In Conway’s (2008) phenomenological study, expert or distinguished teachers (also referred to as second-stage) were described as having between 5 and 11 years of teaching experience, and veteran teachers were described as having 16 or more years of experience. Results indicated a change in professional development needs; expert teachers seemed to understand the importance of seeking their own professional development that would be most specific to their desires. Veteran teachers, however, tended to serve as instructors or sought professional development that might better inform them as teacher educators. Eros (2011) found that first-stage teachers tended to seek certification levels partially due to their needs not being met at workshops and state conferences. Once entering the second stage, teachers indicated a need to be more involved politically and to lead or serve.

Previous research exists concerning elementary music method certifications across the music teacher career cycle. There seems to be little research, however, on the intersection of method certification choice and the career cycle. Therefore, the purpose of this study was to describe elementary music certification method choice and gain clarity as to why method choices were made across the elementary music career cycle.

Specific research questions:

Research Question 1: What elementary music method certifications have teachers earned overall and across the career cycle?

Research Question 2: What are teachers’ motives for their method choice?

Research Question 3: What are teachers’ motives for seeking one or more method certifications overall and across the career cycle?

Research Question 4: What are teachers’ perceptions concerning their method practices overall and across the career cycle?

Research Question 5: What are teachers’ perceptions concerning the extent of alignment to various elementary music methods and curricula overall and across the career cycle?

Method

Career cycle categories (first-stage, second-stage, and veteran) were applied to teachers based on years of experience as represented in previous literature (Eros, 2011, 2013). For the current study, first-stage teachers were defined as having between 1 and 4 years of teaching experience. Second-stage teachers were defined has having between 5 and 10 years, and veteran teachers were defined as having 11 or more years of experience.

A researcher-developed Internet questionnaire was sent to 1,079 educators listed as either Level 1 or Elementary as categorized within the 2011–2012 Texas Music Education Association Database. Specific divisional information included elementary (n = 998), vocal (n = 36), band (n = 8), orchestra (n = 26), college (n = 3), and all (n = 8). Of the 254 total respondents in this cross-sectional survey research study, 44 did not provide information on years of teaching experience. First-stage teachers (n = 31) had a mean age of 33.18 (range_age = 23–60, SD = 9.64). Second-stage teachers (n = 52) had a mean age of 38.20 (range_age = 27–58, SD = 9.00). Veteran teachers (n = 127) had a mean age of 52.93 (range_age = 34–72, SD = 7.44).

The 46-item questionnaire used a 4-point Likert-type scale to gather information. Items either questioned the teacher’s perception of his or her curriculum alignment (strongly unaligned to strongly aligned) or agreement to statements (strongly disagree to strongly agree). Six items measured how aligned the teacher’s elementary music curriculum was to Orff, Kodály, Gordon/Music Learning Theory, Dalcroze, self-directed, and textbooks. Items measuring agreement included the following: 2 items concerning school district curriculum, 5 items concerning personal method practices, and 12 items concerning the pursuit of method certification. The non-Likert-type demographic items included three multiple-choice items concerning years taught and degrees earned and 18 open-ended items concerning previous college experience, method certification information, age, and gender. The SurveyMonkey version of the questionnaire is available on request from the researcher.

The instrument was revised based on results from a content validity panel of three elementary music certification methodology experts (defined as having taught certification levels), then field-tested by three practicing elementary music specialists. Participants for the pilot study (N = 55) were drawn from a list of 1,134 Texas Music Education Association Elementary or Division I educators by simple random sampling. Neither pilot data nor pilot participants were used in the main study. Items analyzed in SPSS were estimated as reliable using test-retest reliability (r = 0.79–1.00), and the questionnaire was sent to the remaining target population (N = 1,079) for the full study administration. Both pilot and main study data were collected via SurveyMonkey (2009–2015) due to user-friendliness and high-confidentiality standards. Additionally, both the pilot and main study aligned with and fulfilled institutional review board requirements. In the full study, respondents were contacted five times across 2 weeks through a prenotice e-mail, an invitation e-mail, two reminder e-mails, and a thank-you e-mail.

The main study yielded a less than tenable response rate of 23% (N = 254) of the target population (N = 1,079). Dillman, Smyth, and Christian (2009) provided a formula used to calculate the minimum sample needed taking into account sampling error, confidence level, population variability, and population size. The current sample (N = 254) was slightly below the needed sample size of 284 with a 5% margin of error and 95% confidence. Invalid e-mail addresses (n = 42), spam filters (n = 48), opt-out participants (n = 10), and nonconsent participants (n = 6) were noted in SurveyMonkey and contributed to nonresponse. Nonresponse factors were unknown for the remaining nonrespondents (n = 719). Caution is recommended when making generalizations from the results.

Results

Questionnaire responses were analyzed and converted into frequencies to answer Research Question 1: What elementary music method certifications have teachers earned overall and across the career cycle? Overall, 155 participants reported receiving 429 method-specific certifications. The highest reported certifications earned included Kodály (n = 220; 51.28%) and Orff (n = 178; 41.49%). First-stage teachers who reported earning one or more certifications (n = 20) accounted for 9.32% of the total certifications earned. The highest reported certifications earned by first-stage teachers included Kodály (n = 21; 52.5%) and Orff (n = 16; 40%). Second-stage teachers who reported earning one or more certifications (n = 31) accounted for 19.81% of total certifications earned. The highest reported certifications earned by second-stage teachers included Kodály (n = 59; 69.41%) and Orff (n = 23; 27.06%). Veteran teachers who reported earning one or more certifications (n = 101) accounted for 304 or 70.86% of total certifications earned. The highest reported certifications earned by veteran teachers included Kodály (n = 140; 46.05%) and Orff (n = 139; 45.72%). See Table 1 for a complete list of reported method certifications.

Table 1.

Frequencies of Method Certifications Earned Overall and Across the Career Cycle.

Certification	Level/certificate	N	%	Career cycle
Certification	Level/certificate	N	%	First	%	Second	%	Veteran	%
Kodály	Level I	102	23.78	11	27.5	24	28.24	67	22.04
	Level II	62	14.45	6	15	20	23.53	36	11.84
	Level III	48	11.19	4	10	15	17.65	29	9.54
	Level IV	7	1.63					7	2.3
	Advanced	1	0.23					1	0.34
	Total	220	51.28	21	52.5	59	69.41	140	46.05

Orff-Schulwerk	Level I	88	20.51	10	25	14	16.47	64	21.05
	Level II	54	12.59	5	12.5	4	4.71	45	14.8
	Level III	31	7.23	1	2.5	4	4.71	26	8.55
	Master class	5	1.17			1	1.18	4	1.32
	Total	178	41.49	16	40	23	27.06	139	45.72

Gordon/MLT	Early Childhood I	2	0.47					2	6.58
	Early Childhood II	1	0.23					1	0.33
	Elementary I	2	0.47					2	0.66
	Elementary II	2	0.47					2	0.66
	Total	7	1.63					7	2.3

Dalcroze	Introductory Level I	1	0.23					1	0.33
	Certificate
	License
	Diploma
	Total	1	0.23					1	0.33

Other certifications mentioned
World Music Drumming	Level I	6		1	2.5	1	1.18	4	1.32
	Level II	2				1	1.18
	Total	8		1	2.5	2	2.35	5	1.64

Conversational Solfege		4				1	1.18	3	0.99
First Steps in Music		1	0.23	1	2.5
Phyllis Weikart		5						5	1.64
Kindermusik		2						2	0.66
Musikgarten		1	0.23					1	0.33
Church/Sacred		1	0.23	1	2.5
Suzuki		1	0.23					1	0.33

Overall total		429		40		85		304

Note. MLT = Music Learning Theory. Percentages are of bold (Overall total).

Questionnaire responses were analyzed and converted into means and standard deviations to answer Research Question 2: What are teachers’ motives for their method choice? Overall, teachers reported highest agreement with the items my certification preference is based on what was financially possible in my budget (M = 2.56, SD = 0.91) and my certification preference is based on what my school district required or suggested (M = 2.20, SD = 0.89). Teachers reported lowest agreement with the items my certification preference is based on elementary methods classes in college (M = 2.07, SD = 0.82) and my certification preference is based on what my supervising teacher taught (M = 1.94, SD = 0.79). Similar trends were reported across the career cycle. See Table 2 for descriptive statistics for all items.

Table 2.

Overall and Across the Career Cycle Standard Deviations, Means, and Ranges.

Categories	Overall (N = 254)		Career cycle
	Overall (N = 254)		First (n = 31)			Second (n = 53)			Veteran (n = 127)
	M	SD	M	Rg	SD	M	Rg	SD	M	Rg	SD
Curriculum Alignment

Kodály	3.23	0.74	3.20	1–4	0.76	3.29	1–4	0.82	3.25	2–4	0.69
Orff-Schulwerk	3.02	0.82	2.77	1–4	0.77	2.96	2–4	0.73	3.09	1–4	0.89
Self-directed	2.95	0.97	2.96	1–4	1.06	2.98	1–4	0.95	2.91	1–4	1.04
Textbooks	2.31	0.88	2.39	1–4	0.92	2.17	1–4	0.90	2.37	1–4	0.87
Dalcroze	2.20	0.78	2.14	1–3	0.67	2.28	1–4	0.89	2.16	1–4	0.78
Gordon/MLT	2.07	0.78	2.21	1–3	0.80	2.29	1–4	0.83	2.01	1–4	0.75

Certification Choice Motive

Choice based on budget	2.56	0.91	2.68	1–4	0.90	2.76	1–4	0.98	2.42	1–4	0.89
Choice based on district suggestion/requirement	2.20	0.89	2.08	1–3	0.83	2.16	1–4	0.89	2.26	1–4	0.92
Choice based on college elementary methods	2.07	0.82	2.30	1–4	0.93	1.89	1–4	0.72	2.07	1–4	0.84
Choice based on supervising teacher	1.94	0.79	2.17	1–3	0.76	1.80	1–3	0.69	1.90	1–4	0.81

Certification Motive

I am a lifelong learner	3.57	0.61	3.59	3–4	0.50	3.43	1–4	0.81	3.63	2–4	0.52
To energize my music teaching	3.32	0.76	3.48	2–4	0.59	3.18	1–4	0.90	3.39	1–4	0.68
Unprepared to teach elementary music after college	2.55	0.92	2.92	1–4	0.84	2.63	1–4	0.95	2.46	1–4	0.93
Encouragement from college music education professors	2.23	0.84	2.48	1–4	0.79	2.17	1–4	0.83	2.17	1–4	0.82
Did not pursue method certification because college courses provided me with sufficient tools	1.78	0.78	1.88	1–4	0.74	1.70	1–4	0.74	1.76	1–4	0.82

Multiple Certification Motive

So I may use the best components of each	3.18	0.86	3.38	2–4	0.62	3.00	1–4	0.95	3.24	1–4	0.81
Each method is insufficient in one or more areas	2.27	0.80	2.69	1–4	0.79	2.18	1–4	0.85	2.24	1–4	0.76

Method Practice

I pull resources from various methods	3.57	0.60	3.58	2–4	0.56	3.58	1–4	0.64	3.59	2–4	0.58
Through workshops/staff development, I find and use components from various methodologies	3.48	0.64	3.53	2–4	0.57	3.48	1–4	0.73	3.48	2–4	0.55
Certification method courses have been more valuable than other professional development experiences	3.27	0.88	3.39	2–4	0.66	3.40	1–4	0.93	3.25	1–4	0.87
I pull from various methods because the one in which I am certified is insufficient in at least one area	2.41	0.86	2.54	1–4	0.84	2.30	1–4	0.85	2.41	1–4	0.88

Note. MLT = Music Learning Theory.

Questionnaire responses were analyzed and converted into means and standard deviations to answer Research Question 3: What are teachers’ motives for seeking one or more method certifications overall and across the career cycle? Concerning motives in the pursuit of method certification, teachers reported highest agreement with the items I felt it important to pursue elementary music certification training because I am a lifelong learner (M = 3.57, SD = 0.61) and I felt it important to pursue elementary music certification because I was looking to energize my music teaching (M = 3.32, SD = 0.76). Teachers reported lowest agreement with the items I felt it important to pursue elementary music certification training because of encouragement from my college music education professors (M = 2.23, SD = 0.84) and I did not pursue method certifications because my college method courses provided me with sufficient tools (M = 1.78, SD = 0.78). Similar trends were reported across the career cycle.

With regard to why teachers sought certifications in multiple methods, teachers reported highest agreement with the item I sought certification in more than one elementary music method so I may use the best components of each (M = 3.18, SD = 0.86) and lowest agreement with the item I sought certification in more than one elementary music method because each is insufficient in at least one area (M = 2.27, SD = 0.80). See Table 2 for descriptive statistics for all items.

Questionnaire responses were analyzed and converted into means and standard deviations to answer Research Question 4: What are teachers’ perceptions concerning their method practices overall and across the career cycle? Concerning method practices overall, teachers reported highest agreement with the items I pull resources from Kodály, Orff, Music Learning Theory, or Dalcroze to teach my curriculum (M = 3.57, SD = 0.60) and through workshops/staff development, I find and use components from various methodologies (M = 3.48, SD = 0.64). Teachers reported lowest agreement with the items certification method courses have been more valuable than other professional development experiences (M = 3.27, SD = 0.88) and I pull from various methods because the one(s) I am certified in is(are) insufficient in at least one area (M = 2.41, SD = 0.86). Similar trends were reported across the career cycle. See Table 2 for descriptive statistics for all items.

Questionnaire responses were analyzed and converted into means and standard deviations to answer Research Question 5: What are teachers’ perceptions concerning the extent of alignment to various elementary music methods and curricula overall and across the career cycle? Overall, Kodály (M = 3.23, SD = 0.74) and Orff (M = 3.02, SD = 0.82) were the highest reported methods with which teachers aligned their curricula. Across the career cycle, first-stage, second-stage, and veteran teachers reported the highest curriculum alignment with Kodály (first-stage: M = 3.20, SD = 0.76; second-stage: M = 3.29, SD = 0.82; veteran: M = 3.25, SD = 0.69). First-stage teachers reported the lowest curriculum alignment with Dalcroze (M = 2.14, SD = 0.67), second-stage teachers reported the lowest with the district-adopted textbook series (M = 2.17, SD = 0.9), and veteran teachers reported the lowest curriculum alignment with Music Learning Theory (M = 2.01, SD = 0.75). See Table 2 for descriptive statistics for all items.

Discussion

The purpose of the current study was to describe elementary music certification method choice and gain clarity as to why method choices were made across the elementary music career cycle. Given the low response rate, implications from the current study should be observed with caution. Results from the questionnaire indicated that Kodály and Orff-Schulwerk were the methods with which teachers most often perceived their curriculum in alignment overall and across the career cycle. Other studies have yielded similar findings (Johnson & Rack, 2004; Tarnowski & Murphy, 2002).

Given the tendency toward preference in Kodály and Orff as indicated by both teacher-reported curriculum alignment and earned certifications, teachers may benefit from professional development grounded in method-specific practices. Previous findings have also suggested positive professional growth from method-specific professional development (Junda, 1994; Tarnowski & Murphy, 2002). Providing opportunities for various method-specific training may also be beneficial given that teachers tended to have high agreement with using components from multiple methods.

The results indicating that Kodály and Orff were the most commonly chosen methods should not be generalized to populations outside of the current pool of participants due to (a) the small sample size and (b) participant proximity to certification courses. Results from the current study were representative of one southern state where Kodály and Orff certification programs are offered annually, but other methods, specifically Music Learning Theory, are not. It might be of interest to compare the current results with results from different states across the regions and further investigate how proximity to certification programs may influence certification choice. Additionally, the percentage of teachers seeking certification may also vary elsewhere given educational climates in different parts of the country.

In the current study, teachers tended to prefer method certifications more than local professional development experiences due to the highly specific nature of method certification instruction. To enhance professional development experiences, school districts may benefit from hiring certification teacher-trainers to lead workshops or financially supporting teachers through method certification trainings. Further research is needed to investigate how many districts currently provide funding for teachers to seek certification levels.

Analyzing the data based on represented district and certification programs was outside of the scope of the current study but might be valuable to include as a research question in subsequent studies. The state from which the population was sampled currently includes several certification programs that are either funded or supported by a school district. Some districts have been known to pay into programs so that their teachers may attend certification courses at little or no personal cost. Other districts have been known to host and partially, or completely, fund certification courses. Interestingly, the mean response indicated some disagreement to items suggesting that their method certification choice was influenced by the school district.

Both Kodály and Orff-Schulwerk were rated higher than a curriculum based on textbooks. Given the financial investment of the cost of textbooks, it may be beneficial for school districts to survey within-district teachers’ use of textbooks compared with teachers’ use of other materials. With regard to the districts that have participated in this practice, further research is needed on the positive and negative consequences of forgoing the traditional textbook adoption.

More investigation is needed with regard to why teachers choose a given method. In the current study, responses tended to fall between disagree and agree, yielding inconclusive results. Open-ended questions may provide important insight as to why teachers choose specific methods.

Although previous research has suggested differences in perceptions based on the career cycle (Abril & Gault, 2005; Bowles, 2002; Conway, 2008, 2012; Eros, 2013; Sogin & Wang, 2002; Steffy et al., 2000), responses from the current study yielded similar means across all stages. The current study, however, also yielded limited information related to the career cycle. More research, perhaps including open-ended items and/or parametric analyses, might provide more information.

Implications for future research may be made about undergraduate music teacher education. In the current study, teachers tended to respond with disagreement to their method certification choice being based on undergraduate coursework and student teaching; however, young teachers sought certification training. Further investigation is needed on how undergraduate experiences intersect with pedagogical preference and if there are advantages or disadvantages to undergraduate method courses being grounded in a specific elementary music methodology.

Although the response rate in the current study was less than tenable, a generalization might still be made that professional development and specific training beyond the college degree appears to be important to many elementary music educators. Little research exists on why, or if, elementary music teachers prefer specific methods of teaching music. This study sought to explore perceptions, and in doing so, offers additional questions.

Footnotes

Declaration of Conflicting Interests

The author declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Funding

The author received no financial support for the research, authorship, and/or publication of this article.

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