Merit Pay and the Music Teacher

Current proponents of education reform are at present seeking to fundamentally change the system of teacher compensation by eliminating the traditional single salary schedule and instituting a merit pay system that directly links teacher pay to student achievement. To date, the scholarly literature in music education has been silent on the subject of teacher compensation reform. This article reviews the political arguments and empirical evidence on teacher merit pay while considering these reforms’ potential deleterious effects on music educators. After examining the potential pitfalls of a merit pay system for music educators, I propose one possible framework for evaluating music teachers in a merit pay system.     

Hints for Beginning China Painters

The need for music educators to become more actively involved in policy issues, including analysis, design, implementation, and research, is critical to the future of music education. Bridging the gap between policy and practice requires a collaborative effort among music professionals. This article explores the inclusive use of policy studies in a music teacher education curriculum within a school-university partnership context. The process of creating a secondary instrumental music partnership is used to illustrate specific examples of how policy can be included in music teacher education programs. I demonstrate how the partnership created a curricular opportunity for preservice music teachers to investigate policy in an authentic context. Planning time, curricular scope and sequence, and the negative impacts of the curricular incorporation of policy on the self-efficacy of the preservice music teachers emerged as concerns for future consideration and review. Recommendations to address these concerns are included.     

Reflections on music teacher professional development: Teacher-generated policies and practices

Abstract

The purpose of this article is to make policy recommendations based on the authors’ experiences with, and research about, reflective, differentiated, and teacher-generated music teacher professional development (PD). By doing so, we argue for a bottom-up process that capitalizes on our music teacher and music teacher educator expertise along with the research literature in music teacher PD. We explore music teachers’ PD needs considering four career stages to explain how knowledge generated at each level informs our understanding of differentiated PD. From preservice music teachers and music teacher candidates, to in-service and veteran teachers, our discussion explores meaningful and effective ways to engage in deep, reflective thinking about the music teaching and learning process. Accordingly, we provide specific policy recommendations for music teachers at each career stage so that they might take greater ownership of their own learning, growth, and development through local, reflective, self-initiated, and differentiated PD opportunities.     

Public Policy and Music Education in Norway and Finland

This article applies the Toulmin argument model of rhetorical analysis—which features identification and dissection of the components of prominent enthymemes—to scrutinize concepts within both educational policy documents and relevant music education literature from Norway and Finland across the past decade. Our analysis examines how understandings of “music education” are formulated through the cosmopolitan rhetoric of public policy, enabling rigorous assessment of relationships between the prospective limitations of these formulations and the actual concerns of music teachers evident in professional periodicals since the start of the twenty-first century.     

The Gentle Art of Criticism

Although much has been written about professional development in general education and music education literature, little has addressed the benefits of music-making as meaningful professional development for music teachers. For music teachers, music-making and meanings of music-making have been connected with teachers' identity, well-being, beliefs, and effectiveness, as well as being a powerful pedagogical tool and a way to develop presence in teaching. Presence in teaching is linked with self-awareness, attentiveness, and pedagogical knowledge. The purpose of this article is to explore the benefits of music-making for music teachers in order to convince policymakers of the value of music-making as a professional development activity for music teachers. This article explores theories from psychology and education that link engagement, well-being, and identity to lay the foundation for a justification of broadening professional development policies. Then, literature is presented that connects teachers' art-making experiences (past and present), identity, teaching, and student learning. The third section draws on my previous work to illustrate the intersections between teachers' music-making and teaching. Then, suggestions for implementing professional development programs with music-making components are made. Although there are many ways music-making could be included as professional development, I offer four suggestions: including music-making in departmental or district-wide meetings, granting professional development credit to music teachers who make music outside of the classroom, setting up in-classroom reflection opportunities/action research based on integrating music-making and music teaching, and initiating a collaborative teacher study group that includes chamber music collaboration.     

Buttons of Wood

As a result of Race to the Top, states across the country vied for school improvement grants in order to advance educational reforms including effective professional development and teacher collaboration within their school districts. Requirements of the grant included the development of teacher evaluation systems and a professional development model to support teacher growth and efficacy. Grant recipients unanimously chose to incorporate some type of professional learning community (PLC) and selected models that emphasized increasing and sustaining teacher collaboration in all disciplines. PLCs offer an opportunity for music educators to receive pedagogy specifically tailored to their discipline. Music teachers and arts supervisors should consider incorporating online PLCs into their programs not only to address professional development, but also to address teacher isolation and attrition and student achievement and, ultimately, to enact fundamental changes in their districts.     

“Whoever decides for you without you,s/he is against you!”: immigrant activism and the role of the Left in political racialization

Much of the migration literature neglects the questions of why and how “native” allies obstruct activism by immigrants and ethnic minorities. Left-wing organizations in particular are often assumed to be supportive of inclusion, and little research exists on the ways they have prevented the migrant population from having a voice in the political arena and from taking part in society as equals. Drawing on the critical theory literature, I introduce the concept of political racialization. This concept refers to mechanisms whereby political actors, in order to legitimize their work on immigration, have partially included immigrants in the political sphere, but in a relationship of “ethnic” or “racial” subordination. Through the analysis of 57 in-depth interviews with immigrant activists, I show how political racialization works within the Italian Left and how it contributes to marginalize the migrant population. I further explain how immigrant activists have challenged political racialization through their activism.     

Lessons from EEO: Toward a Universal Evolutionary Curriculum

We propose a human-centered evolutionary curriculum based around the three questions: Who am I? Where do I come from? How do I fit in? We base our curriculum on our experiences as an evolutionary biologist/paleontologist (NE) and as a secondary level special education science teacher (GE)—and not least from our joint experience as co-editors-in-chief of this journal. Our proposed curriculum starts and ends with human biology and evolution, linking these themes with topics as diverse as the “tree of life” (systematics), anthropology, Charles Darwin, cultural evolution, ecology, developmental biology, molecular evolution/genetics, paleontology, and plate tectonics. The curriculum is “universal” as it is designed to be taught at all levels, K–16. The curriculum is flexible: “modules” may be expanded and contracted, reordered, or modified to fit specific grade level needs—and the requirements and interests of local curricula and teachers. We further propose that students utilize workbooks from online or printed sources to investigate the local answers to the general questions (e.g., “Who am I?”), while classroom instruction is focused on the larger scale issues outlined in the modules of our curriculum.     

Do You Really Want to Know? Elementary Music Personnel and Potential in Utah

This is the second of two articles reporting the results of a study by the author regarding the status of elementary music education in the state of Utah. This article focuses on the qualifications of Utah's elementary music teachers (music certified, elementary classroom certified, artists-in-residence, volunteers, and paraprofessionals) and the conditions under which they teach. Interactions among teacher qualifications and teaching status are explored. Paraprofessionals play a significant role in Utah's elementary music programs. While over 90 percent of elementary schools in the United States provide regular music instruction taught by certified music specialists, less than 10 percent of Utah's elementary population receives such instruction. Nearly half of the elementary students in the state receive no designated music instruction beyond that provided by their regular elementary classroom teacher. The influence of school funding, No Child Left Behind and other accountability measures, high-stakes testing, urban/rural populations, and leadership are highlighted. Policy considerations are discussed.     

Wood and Paper Cut-Outs

Prior research suggests that the No Child Left Behind Act (NCLB) is having an adverse effect on school music programs, particularly in schools that have not made “adequate yearly progress.” In many instances, music programs are being reduced or eliminated, music teachers are being required to assist with the teaching of other subjects, academically low-achieving students are being precluded from participating in music, and the overall time allotted for music is being reduced. Because the arts are excluded from NCLB's list of tested subjects—that is, subjects for which schools are held accountable—music has been relegated to a noncore status, even though the law identifies the arts as a core academic subject. This article discusses changing paradigms within music education and how some music teachers are adapting to these shifts.     

Four notions on the qualities of cooperating music teachers

This article develops criteria for the selection, professional development, and assessment of cooperating teachers through four “notions.” These notions suggest that cooperating teachers might (1) possess knowledge of educational theory and practice; (2) understand the importance of context in education; (3) understand narrative's role in the process of learning to teach; and (4) critically reflect on teaching practice. We explore these notions as qualities that may guide cooperating teachers’ work in facilitating student teachers’ development. We discuss specific ideas and strategies for mentoring and modeling within various theoretical frameworks and selected research that supports each notion. Throughout the article, we outline policy and practice implications for music teacher preparation programs, including aligning them with current accreditation standards and assessments.     

大学化学知识融入本科核心课程生物化学的教学刍议

本科的化学基础知识是生命科学专业的核心课程"生物化学"的重要基础.本文在对生物化学与大学化学知识的密切关系进行学理分析的基础上,对无机化学、有机化学、分析化学和物理化学四门课中与生物化学内容密切相关的知识点进行梳理和总结.以肽键、酶作用机制、蛋白质纯化为例,给出化学基础知识对生物化学知识点的关联性.借助第二课堂启迪学生...     

Inclusive education policy in the Hong Kong primary music classroom

An education reform policy and inclusive education policy have been implemented in Hong Kong for over a decade. As more students with special educational needs have entered the mainstream education system under these policies, Hong Kong's primary music classrooms offer a site where three policies interact—the education reform policy entitled “Learning to Learn,” the policy of inclusive education, and the undeclared “policy” of making savings in the government budget. This article seeks to explore the results of the interaction of these three policies. A qualitative study was carried out to investigate the views of Hong Kong primary school music teachers on the policy of inclusion in relation to music teaching. Insufficient support in inclusive learning in “non-core” subjects, such as music, is evidenced.     

Perceptions…

Strong school-university partnerships yield effective music teachers. However, music teacher preparation curriculum has undergone little reform over the years, resulting in a homogeneous P–12 curriculum. Encouraging preservice music teachers to consider cultural and pedagogical differences holds promise for changing music teacher preparation and preservice music teachers’ views regarding content and contextually relevant practice. In this article, an international collaborative course is presented as one model to help preservice teachers confront previously held attitudes regarding music education, develop flexible cultural competency, and become more open to curricular innovation. Recommendations for policy that would enact an international partnership agenda for music teacher preparation to meet these aims are provided.     

A View of Current Evaluative Practices in Instrumental Music Teacher Education

The purpose of this study was to examine how instrumental music educator skills are being evaluated in current undergraduate programs. While accrediting organizations mandate certain elements of these programs, they provide limited guidance on what evaluative approaches should be used. Instrumental music teacher educators in the College Music Society (n = 303) supplied data about their respective programs through an online survey. Participants reported using written and verbal feedback, self-evaluation, and rubrics most frequently. Similar evaluation processes used across program courses or experiences, such as rubrics and ePortfolios, were described by 35 percent of the music teacher educators. Most programs culminated in a semester-long student teaching period, during which preservice teachers were observed and evaluated by university supervisors three to four times. Weak correlations were indicated between some evaluative practices and music teacher educators’ expectations for program graduates’ music educator skills. Implications for music teacher education programs and suggestions for establishing evaluation policies are discussed.     

Reimagining policy: Power,problems, and public stories

The authors of various practitioner and scholarly documents suggest markedly contrasting understandings about the nature of “policy.” These divergent conceptions raise the question: What is at stake by understanding the nature of policy in one way as opposed to another? The purpose of this philosophical inquiry is to interrogate the nature of “policy” as it relates to music education and to question the values that do and might underlie and propagate through contrasting understandings of “policy.” Subsequently, I examine two aspects of policy, problem identification and meaning-making, that have gone largely unexplored in the arts education literature.

Using Foucault's writings, I argue that power-laden policy texts often have the greatest impact, not when they are mandated, but when they go misrecognized as common sense. I also advocate for the consistent use of the terms “policy texts” and “policy actions,” including as an alternative to the imbalanced designations of “soft policies” and “hard policies.” Drawing on Dewey arts educators might form “publics” around problems having consequences that they deem far-reaching, recurrent, and irreparable. Individual and collective political narratives, including what Ganz explains as “stories of self,” “stories of us,” and “stories of now,” can foster the meaningful connections necessary for forming “publics” who address pressing problems in arts education.     

Tensions and perplexities within teacher education and P–12 schools for music teachers with visual impairments

We have written this article seeking to connect societal perceptions of disability with P–12 schools and higher education institutions toward the goal of greater understanding and equitable employment opportunities for music teachers with disabilities, specifically teacher candidates with visual impairment. In our investigation, we examine the following questions: (a) How have special education programs within P–12 schools, universities, and schools of music reflected societal perceptions of persons with disabilities and how do those in turn influence perceptions of teacher candidates? (b) How have the essential functions of teaching been articulated by accreditation programs and what tensions arise when music teachers with visual impairments are considered for employment? and (c) What are potential ways forward for P–12 education, teacher education programs, and schools of music? To disrupt binaries between able and disabled in schools, we recommend embracing a broader, interdependent view of music education, one that is defined by and includes all teaching professionals and school communities. Additionally, we support recruitment of teacher candidates with disabilities to music education programs and consistent advocacy through matriculation and job placement to encourage entry into P–12 schools.     

Autism Crises: Music Therapeutic Practice & Research at the Social Care Centre Tloskov,Czech Republic. A Short Report

CSS Tloskov is a social pediatric care center and a leading institution in the Czech Republic. Sixty-five percent of its clients are diagnosed with autism spectrum disorder (ASD) and receive usually music therapy as a main constituent of individually designed pedagogical and therapeutic programs. In contrast to numerous music therapeutic concepts that are based on musical improvisation, the Tloskov model advocates a complex approach involving favorite songs, instrumental improvisation, and body-oriented modalities such as muscle relaxation and breathing techniques.

Clinical analyses allow us to distinguish typical psychiatric exacerbations in our ASD-clients. These “autistic crises” comprise an “onset phase,” a “gradation phase,” a “culmination phase,” and a “subsiding phase,” which can be partly controlled by music therapeutic interventions. On the basis of Grounded Theory we used qualitative methods to examine system compatibility between clinical data and the 4-phase autism crisis theory and to generate hypotheses about mechanisms of successful music therapy.

Outcomes involve five main principles: identification and avoidance of specific stimuli and cues that trigger autism crises; direct musical “sedation”; acquisition of music-behavioral skills to “auto-regulate” pathological developments; and a sort of music therapeutic emotional re-balancing and consolidation of an inner equilibrium. The “right moment” of intervention and adjustment of musical experiences within a narrow range of the client’s aesthetic-emotional intensity tolerance are critical to therapeutic outcomes. Possible music therapeutic contra-indications have to be taken into consideration.     

Making Illuminated Parchments

The author describes how contemporary music education at the secondary level has fallen short of Dr. Charles Leonhard's vision for developing musical understanding and musical responsiveness in all students and cites several historical events as pivotal in promoting the profession's current path. The author then challenges this generalization by describing the professional practices of a forward-thinking high school band director who epitomizes Leonhard's ideal of a music teacher and serves as a model for professional dispositions. The author also offers social interaction theory as a promising foundation on which to assemble a music teacher education program capable of producing teachers with dispositions that serve the highest goals of the music education profession.     

Nikolai N. Konstantinov’s Authorial Math Pedagogy for People with Wings

This special issue is dedicated to an innovative pedagogy by Soviet-Russian math educator Nikalai Nikolaevich Konstantinov. Diverse and at times contradictory interviews with Konstantinov, math teachers involved in his pedagogy, and former students, available sources in Russian and English, and my own memoirs as a former student of Konstantinov, I tried to reconstruct, define, analyze, evaluate, and problematize his innovative pedagogy. Konstantinov himself defined his innovative pedagogy as promoting “people with wings” – promoting initiative, creativity, ownership, critical thinking, and self-realization among students in math and other areas. In math instruction, Konstantinov focuses on providing students with choices of math problems, interrogating students’ math solutions, and offering guidance in a direct response to the questions and difficulties that the students experience in their particular math problems. I demonstrate his pedagogical approach is integrative aiming not only at math. Emerging tensions between students’ curricular choice and teacher’s imposition, educational elitism and social equality, and teacher’s authorial freedom and Konstantinov’s support are discussed.