Journal of Music Teacher Education

The purpose of this study was to examine the sight-singing pedagogy content of choral methods textbooks, with the intent of determining what elements of sight-singing pedagogy are most commonly included in these resources. A content analysis was conducted to analyze information related to sight-singing pedagogy in 10 textbooks that are commonly used in undergraduate choral methods courses. Results of this content analysis indicated that although most choral methods textbooks contain some information about teaching sight-singing and music literacy skills, this information is often quite limited and does not include reference to helping students internally organize sound. In addition, information about concepts such as assessment and curriculum planning for sight-singing skills is included in only a small percentage of popular textbooks. Evaluation of these findings can help to illuminate the ways in which textbooks communicate the priorities and core values of a particular field of study, such as choral music education.

This literature review defines the field of micropolitics in education, presents empirical studies of micropolitics from both general education and teacher education research, and connects micropolitics research to music teacher education research. Suggestions for music teacher education include: (a) introducing policy in preservice education; (b) future studies of the micropolitical landscape of schools; (c) future studies on the attainment of micropolitcal literacy for new teachers; and (d) continued investigations of school reform, school climate, and school change as they relate to music teacher education.

Creativity research has a long history in music education, including the development of theories and strategies to foster the music creativity of students of all ages and levels. Underexplored is how teacher education programs can cultivate pre- and in-service teachers’ abilities to develop their educational creativity when designing curricula and delivering instruction. By reviewing key research in creativity and the traits of creative persons, this article demarcates characteristics of creative music teachers, as well as their instruction and curricula, in order to offer implications for music teacher education. This framework suggests that creative pedagogues (a) are responsive, flexible, and improvisatory; (b) are comfortable with ambiguity; (c) think metaphorically and juxtapose seemingly incongruent and novel ideas in new and interesting ways; and (d) acknowledge and use fluid and flexible identities. The article provides possible strategies music teacher educators can employ to help pre- and in-service educators develop the dispositions and core practices of creative music pedagogues.

The purpose of this study was to describe the reasons that two matriculated students had for enrollment into either an online or a traditional master of music in music education (MME) degree program. Research questions were the following: (a) What are the reasons each student gave for matriculating into either an online or a traditional MME program? (b) What are these students’ perceptions of both types of MME programs? How did those perceptions influence their decisions to matriculate into a respective program, if at all? Reasons for matriculating into a respective program included professional and financial obligations, creating relationships with faculty, perceived flexibility of the online program, and development of musician identity and musicianship. Implications include employing the hybrid course format to create a balance of both types of learning environments. Suggestions for future research include investigating the value that students find in an applied lesson and/or ensemble participation component of an MME program.

A nationwide sample of undergraduate music education majors (N = 260; 69% completion rate) completed an electronic survey to determine awareness of music and general education policy and advocacy efforts. Students reported concern with the impact of policy on school music programs and their future careers. They were informed about music education policy issues at the state level but less so at national and local levels. Although respondents indicated involvement with professional associations, they rarely or never participated in policy initiatives. Methods courses provided policy information; professional organizations effectively convey policy information to undergraduates. NAfME Collegiate chapters offer music and general education policy-based activities, though many respondents were uninformed of their chapters’ efforts. Students were unfamiliar with key buzzwords, people, and acronyms of present-day education policy. Involving students in educational policy endeavors will equip them with a knowledge base from which to speak and act, securing the future of music education.

The purpose of this pilot study was to examine the beliefs of applied music faculty on desirable traits of prospective music education majors. Researcher-designed surveys were sent electronically to applied music faculty at 12 National Association of Schools of Music–accredited institutions randomly selected from each of the four major divisions of the United States. Data from returned surveys were analyzed to describe the admissions process for music majors at each institution, in addition to respondents’ perceptions of the desirability of various professional dispositions and selection criteria for entering music education majors. Results suggest that music education faculty hold limited responsibility in the admissions process at the majority of respondents’ institutions and that admissions decisions are primarily determined by applied music faculty. In addition, respondents reported that certain professional dispositions and selection criteria were more important than others in admitting prospective music education majors. Implications for music teacher educators are discussed.

The purpose of this narrative research was to examine the musical paths of three music education majors enrolled in their first semester of aural skills at a large university. The semester-long, interview-based study centered on a theoretical framework of the reciprocal relationship between students’ self-perceptions and their academic success. Their stories highlight the complex paths that led each of them to the same introductory college course; their experiences during the first semester; and their reflection on the meaning of the coursework for their growth as musicians and educators. Participants developed unique perceptions about their aural skills abilities during precollege musical training, carried them into undergraduate studies, and may perpetuate them through their future teaching. Recommendations for further research include investigation of the following: alignment between high school and college aural skills curricula, effects of music education majors’ aural skills progress on their teacher education coursework, and music education majors’ readiness to teach theory and aural skills.