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.     

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.     

Teaching music in the flat world: Reflections on the work of Darling-Hammond and Rothman

Authors and scholars published within Arts Education Policy Review have been diligent to investigate various topics surrounding music educator preparation, mentoring, retention, as well as avenues for continued professional development and growth. Linda Darling-Hammond and Robert Rothman, along with various chapter authors, address education reform on an international level within Teaching in the Flat World: Learning from High-Performing Systems (2015 Rothman, R., & Darling-Hammond, L. (2015). Teaching quality initiatives in the United States. In L. Darling-Hammond & R. Rothman (Eds.), Teaching in the flat world: Learning from high-performing systems (pp. 6–27). New York, NY: Teachers College Press. [Google Scholar]). The purpose of this article is to examine the recommendations presented by Darling-Hammond, Rothman, and colleagues through the lens of music education research and policy review. Specific areas of focus include: (a) recruitment and rigor of teacher education programs, (b) alternative routes into the teaching profession, (c) teacher induction and new teacher support, (d) career advancement and professional development support, and (e) teacher evaluation.     

Paint and Paper Creations

This article investigates generalist kindergarten teachers’ academic music training based on data collected from students undertaking an undergraduate degree in preschool (kindergarten) education (students aged 4–6 years) in Greece. The study was carried out through a questionnaire survey that addressed students’ aspirations when entering the university and the real learning outcomes by the end of their studies. This article seeks to find relationships between students’ academic experiences and their level of confidence and enthusiasm to teach music in kindergarten. The findings suggest that higher education provides students with most of the learning outcomes that they anticipate. However, students lack adequate practical experiences in terms of observing lessons in real educational settings, which can significantly affect their confidence levels. Finally, the author explores some implications for higher education policy and teaching practice.     

Spare-time Art Jobs

Music teaching and learning are socially situated activities. School-university partnerships have the potential to impact preservice teachers’ identities and level of socialization. Thus, a sociologically based belief system for establishing and maintaining school-university partnerships may provide cooperating teachers and university faculty members with purpose and direction for meeting the needs of stakeholders. This article explores the sociological and pedagogical implications of school-university partnerships and illustrates how these underpinnings function in two middle school band collaborations. Specifically, this article examines how partnerships can be viewed through three sociological perspectives, how sociological experiences might impact preservice teachers’ futures, and how policymaking endeavors could impact the strength and continuance of school-university partnerships. What we learn from existing collaborations and how stakeholders respond to this information has the potential to reshape music teaching and learning in our society.     

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.     

Music teachers' perceptions of high stakes teacher evaluation

Recent corporate education reform policies have replaced relatively informal systems of principal observations that had been familiar to many teachers for much of their professional careers with high-stakes teacher evaluation (HSTE) systems that now determine who is allowed to remain in the profession and who gets terminated. Many education scholars have found current teacher evaluation systems to be lacking in validity and reliability. This article examines the perspectives of music teachers working within HSTE systems through a policy lens, identifying the major challenges these systems pose for music educators and offering policy recommendations for improving the evaluation of music teachers.     

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.     

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.     

Integrating Art and Aesthetics

Educational quality is a central issue in higher education and music teacher education. In this article, the author discusses problems concerning the development of and research into quality in music teacher education in Western societies' contemporary socio-cultural dynamics. He begins with a presentation of the concept of educational quality, its importance for music teacher education, and traditional designs for this inquiry. Thereafter, he discusses the promotion of educational quality as an external, political initiative, as a meeting between a traditionally modern project and a condition of late modernity, as well as focusing on particularly illustrative areas. The author details challenges inherent in the development of and research into educational quality as a late modern project and presents recommendations and strategies.     

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.     

The True Meaning of Design

Recently, state and federal legislators have emphasized teacher quality in their efforts to improve public education. Many reformers believe that merit pay may prove invaluable in attracting highly qualified educators to the workforce and retaining them, as well as in improving students’ test scores. While merit pay's ability to recruit and retain great teachers is as yet unproven, recent studies have found little evidence that merit pay improves students’ test scores. The following article seeks to inform merit pay policies by offering insight from research in educational psychology and outlining possible implications for music education.     

Ping Pong Dolls

This article examines ways in which music education advocacy efforts have become disconnected from the unified visions and declarations of music educators espoused in the Tanglewood and Housewright declarations and are thus reifying the disconnect between what we value and what we say we value. We first analyze the policies posited by the recently formed Music Education Policy Roundtable and consider several counterarguments. Second, we suggest new directions in music education advocacy by discussing ways to make our programs more culturally relevant and valuable to our schools and communities. Finally, we conclude with a call for our professional organization to take a leadership role in situating the arts as an important element of American public school education by reigniting national aims discussions that lead to liberal and humanistic education policies.     

Intersections between music education and music therapy: Education reform,arts education,exceptionality, and policy at the local level

In this article, a music teacher educator and a music therapy clinician and educator discuss special education policy and arts instruction at the district level. To illustrate the gulf between federal and local policies with regard to exceptional learners and arts instruction, we examine the intersections of music therapy and music education with regard to self-contained classes of students with moderate to severe disabilities. Our discussion focuses on provision of services and opportunity to learn, and results in specific policy suggestions, including: (a) increasing administrators' understanding of music therapy, adaptive music education, and music education, so that decisions regarding arts instruction can be better-informed and more child-centered, (b) treating music therapists as allied health professionals who do not need to be certified teachers to practice in schools, and (c) improving initial music teacher preparation and providing opportunities for professional development to increase awareness of necessary information and effective strategies to improve music teaching and learning for students with special needs.     

Five Minute Dog Feeder

In this article, the author explores music education counterforces, examining whether and how (a) federal and state education policies can better address the in-service needs of special area teachers, particularly music teachers, in the school setting; and (b) policy organizations in the music education profession (i.e., The National Association for Music Education, the National Association of Schools of Music, the College Music Society, the Society for Music Teacher Education, and the Music Education Research Council) might also address the inherent tensions between music education and schooling.     

Art-Educators Birthday Calendar

Creativity is the cultural capital of the twenty-first century. This article presents an argument for the arts to lead a new wave of education reform that repositions creativity as the centerpiece of an education that prepares a generation of change agents for doing good.     

Community arts: (Re)contextualizing the narrative of teaching and learning

ABSTRACT

Education in the United States is often characterized by testing and standardized outcomes, and bears little relevance to the culture and the community that surrounds both students and teachers. Conversely, community arts connect the philosophies of art and education to the larger spheres of culture and community. The community thus becomes an educational space in which both the teachers and students are motivated to learn from each other through a reciprocal relationship that changes the dynamic of both teaching and learning. Consequently, the (re)contextualization of art and education within culture and community has distinct policy implications regarding both what we teach and the way we teach it. There is an opportunity to increase the significance of art education in a democratic society if we embrace practices that empower preservice teachers to analyze how artmaking practices shape their own sensibilities and those of the communities in which they live. This article suggests a field experience model for informing cross-cultural understandings of community-based pedagogy, participation, and collaboration that challenges existing educational policy while informing the values and beliefs of the preservice teacher. It presents the opportunity to develop socially relevant programs for use in the teaching of art that include community, social justice, democracy, collective responsibility, activism, and equity—among others—that confront established perceptions of both art and education.     

A Plan to Coordinate the Culture of the Three Americas

Music education has always required advocacy to solidify its place in the school curriculum. Music teachers are increasingly called on to justify their existence and importance in the schools, and yet, are often unprepared to advocate on their own behalf without the use of advocacy materials that are created on the basis of questionable research, questionable interpretations of valid research, or materials that demean the profession. This practical advocacy crisis is created by the lack of a solid philosophical basis for music education advocacy, the profusion of questionable advocacy materials available, and the lack of lobbying at the federal and state levels for meaningful laws that give arts education true core status. In the article, the author discusses suggestions for improving advocacy methods and materials.     

Looking Toward the Future

Changes in education policy—particularly at the federal and state levels—during the current era of ideologically and profit-driven “education reform” threaten balanced education in general and music/arts education in particular. Emerging answers to a number of pivotal questions will determine the future of the arts, arts education, and public education in general. Music educators and other advocates of quality arts education must not only adapt their curricula and instructional practices to reach students in a twenty-first century context, but also develop effective communications systems and organize coalitions powerful enough to influence policymakers and thereby shape policies supportive of quality music/arts education. Recent advocacy efforts by the National Association for Music Education (NAfME) provide examples of how supporters of arts education might accomplish these goals.     

The evolutionary roots of creativity: mechanisms and motivations

We consider the evolution of cognition and the emergence of creative behaviour, in relation to vocal communication. We address two key questions: (i) what cognitive and/or social mechanisms have evolved that afford aspects of creativity?; (ii) has natural and/or sexual selection favoured human behaviours considered ‘creative’? This entails analysis of ‘creativity’, an imprecise construct: comparable properties in non-humans differ in magnitude and teleology from generally agreed human creativity. We then address two apparent problems: (i) the difference between merely novel productions and ‘creative’ ones; (ii) the emergence of creative behaviour in spite of high cost: does it fit the idea that females choose a male who succeeds in spite of a handicap (costly ornament); or that creative males capable of producing a large and complex song repertoire grew up under favourable conditions; or a demonstration of generally beneficial heightened reasoning capacity; or an opportunity to continually reinforce social bonding through changing communication tropes; or something else? We illustrate and support our argument by reference to whale and bird song; these independently evolved biological signal mechanisms objectively share surface properties with human behaviours generally called ‘creative’. Studying them may elucidate mechanisms underlying human creativity; we outline a research programme to do so.