Researchers are increasingly interested in the psychological and sociological processes by which college students develop competence and confidence as musicians. We surveyed 454 undergraduate music majors enrolled in one of three NASM-accredited music schools in the US. Participants completed a questionnaire that addressed beliefs about influential people and experiences, occupational roles within music, and music career commitment. Studio teachers were viewed as the strongest musician and teacher role models, studio teachers and parents had the most positive influence on pursuit of a music degree, and most performance-related activities were considered extremely important. People and experiences merged to exert influence through multiple contexts (both within and outside the music school environment), and occupational identity was multi-dimensional in nature (corresponding to different musical roles/occupations). Social influences, as well as teacher and musician identity, contributed to music career commitment prediction. We found evidence of some institutional differences and strong degree program effects, implying that decisions about which music school to attend and degree program(s) to pursue may have important consequences for socialization and occupational identity construction. We concluded that the presence of diverse but mutually supportive socialization structures may facilitate the integration of music, teacher and scholar identities among undergraduate music majors.
This study was designed to investigate the socialization and occupational identity of undergraduate music education majors enrolled in traditional preservice teacher education programs. Preservice music teachers (N = 578) from 30 randomly sampled institutions completed a 128-item questionnaire. Descriptive statistics were computed for all variables, and factor analysis was used to explore the underlying structure of occupational identity. Correlational and regression analyses revealed relationships among socialization influences and occupational identity. Descriptive findings surrounding various aspects of primary and secondary socialization revealed that parents, school music teachers, and private lesson instructors exerted a positive influence on student decisions related to participating in music and pursuing a music education career. Factor analysis results indicated that occupational identity consisted of three constructs: musician identity, self-perceived teacher identity, and teacher identity as inferred from others. Correlations between secondary socialization and occupational identity were slightly stronger than those between primary socialization and occupational identity, and influential experiences were more predictive of occupational identity than influential people.Many music education majors enter college with strong musician identities that reflect the influence of significant people and events from their youth (
ommaity dynamics play a major role 1 z educatr do each day can vary greatly deF decpin in suburban New York is likely The typical rural music teacher is just ti many areas of music, not just band, cho responsibilities that are unrelated to music often be seen driving school buses, coachi Rural music educators may also be reqi of grade levels, which often means teach rewarding as watching a senior graduate ; years earlier. The opportunity to get to ki and scenic surroundings, can make a rura of students c_ eni which Instruments are often in disrepair, and the al facilities, if they exist, may be inadequa While the above conditions certainly dc ence of one or more of these situations re and creativity, not to mention a strong se these difficult conditions, effective rural small-town life work in their favor. Overcoming Low EnrollmentCombining Groups. The first challenge f ers will probably be low enrollment. They sibly put on a good band concert with c school band. Locating other musicians groups is one solution to this common prc more middle school students than high scl consolidating the two groups can ofter Scheduling issues and geographic separat group from being a daily class, so it may school. If student conflicts make this diff group requires or can afford.MUSIC EDU i n Rural Areas: A Few 11 in determining the duties of music educators.' What music ?ending on their location. A middle school band director's job y to look nothing like that of a music educator in rural Iowa. hat, a music teacher. These teachers are often required to teach ir, or orchestra. Rural music teachers may also have other c. After teaching a variety of music classes each day, they can ng sports teams, or advising student clubs. uired to travel among several schools and teach a wide range ling the same students year after year. There is nothing as whom you can remember starting out on the clarinet several now students over many years, coupled with the often quiet 1d community a special place to guide and influence the lives There is a substantial lack of literature to help teachers who hoose to work in rural schools. This is surprising, since twothirds of all public schools in this country are, by some definitions, considered rural and are responsible for educating one-quarter to one-third of all school-age children.2 Insufficient resources, geographic isolation from other music teachers, and other specific challenges of a rural setting can overwhelm even the most experienced music teacher. Low enrollment can place strains on the performance abilities of instrumental and choral groups and force rural teachers to be creative with instrumentation, repertoire choices, and scheduling conflicts. The problem of low rollment is often exacerbated by frequent teacher turnover, typically results in students leaving the program. :re are no funds to fix them. Performance spaces and rehearste or out-of-date.4 o not apply to all rural locations, they are common. The pres-:quires a music teacher with immense talents ense of humor. Rather than lamenting...
The purpose of this study was to examine music education students' experiences (N = 64) in courses designed to develop vernacular musicianship and expand understandings of informal music making. Students participated in one of two classes (undergraduate/graduate), formed their own small ensembles, chose their own music and instruments, led their own rehearsals, and played without using notation. Data sources included written reflections, class observation notes, video recordings of rehearsals and performances, composition artifacts, and formal course evaluations. Participants indicated that they were comfortable working in small peer-led groups, yet they were challenged to learn without notation. Participants believed that their musicianship developed during the course, they learned new pedagogical methods, and they gained comfort working without notation in collaborative groups. Though they believed that these experiences were valuable, participants remained uncomfortable with the idea of placing students in similar settings. Graduate students appeared to be more comfortable with the experience than were undergraduate students.
Many institutions provide an undergraduate experience that can lead to professional certification to teach music. Each institution provides a unique socialization experience in the music teaching profession. In this literature review, studies are presented that provide information on the decision to become a music teacher, the early socialization of music teachers, the culture within schools of music, and models of music teacher identity.
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