This study compared self-reported music class activity time use and actual time use of general music teachers. Responses from a questionnaire provided self-report data regarding general music instruction from 45 elementary general music teachers participating in a one-day Orff-Schulwerk workshop, whereas observed data were obtained by time analysis on videotaped lessons taught by 19 teachers from the same group. Variables observed included student activities and teacher behaviors. Student activities were measured as the amount of time spent in reading, listening, singing, describing, playing, creating, and moving to music; teachers were observed for the amount of talking or modeling as well as the provision of academic and social reinforcement. Comparison of self-reported activity estimates and time-analyzed data indicate that the teachers' own estimate of time use is greater than is the actual time recorded for each music activity. Additional findings related to general music teaching, teaching intensity, and effectiveness. Correlations among activities are also reported.
The purpose of this study was to observe string instrumentalists' intonational performances within the duration of selected pitches. Additional aspects of the study included the effects of directionality of performed pitch sets, intonational tendencies associated with vibrato versus no vibrato, and differences in intonational performance among specific instrument groups. Forty-eight string players were randomly selected as subjects. Each subject performed pitch sets ascending and descending with vibrato and without vibrato. Performance tones were tape-recorded and analyzed for the highest and lowest points (pitch location 1 and pitch location 2) in order of occurrence within each tone according to cents sharp or flat relative to equal temperament. Results indicated that pitch location 2 was performed significantly sharper than pitch location 1; however, a significant interaction was found among pitch location, pitch set direction, and individual tones. Descending pitch sets were performed significantly sharper than ascending pitch sets, which were also sharp. All stringed instrument groups performed sharp relative to equal temperament.
Researchers have examined successful teaching using various models. Some models focus on teacher processes, including teacher styles, teacher interaction, and teacher characteristics; other models focus on teacher products, such as student outcomes and teacher effects (e.g.proposed a conceptual model based on the premise that expert teachers share certain similarities. This model remains conceptual in nature and is yet to be explored. In general, expert teachers possess a large amount of domain-specific knowledge, are efficient in their teaching, and demonstrate insight in solving teaching-related problems. Expertise includes knowledge the teacher can employ to make quick and correct inferences. This allows the teacher to efficiently solve different classroom problems. Currently, there is no working model of expertise for teachers of the arts. This study is an attempt to explore whether factors from existing models can be used to differentiate expert music teachers from nonexpert music teachers through self-reports of how they perceive teaching expertise in light of their own teaching practice.Previous investigations have focused on the identification of expert classroom teachers and their ability to use unique sets of skills in the classroom (Berliner, 1976;Brandt, 1986). The results of these studies show that expert teachers make inferences when describing classroom action and interaction, while novices tend to describe the action in a more literal manner. Expert teachers tend to view the long term and the need to plan for several types of responses during an instructional period, but the novice teachers take almost a knee-jerk approach to fixing a problem. Experts are continuously analyzing and altering their teaching routines. That is, they are able to assume a flexible posture that they can modify to fit different teaching situations.Several theoretical models regarding teaching practices have been introduced and have served as tools for research (e.g.
This study examined the effects of different styles of background music on task performances of college students. In addition, students' perceptions of the music and the effect these perceptions had on performance were investigated. 96 undergraduate nonmusic majors were randomly assigned to one of four experimental groups: task only, task and classical background music, task and jazz background music, and task and popular background music. The performance task consisted of 220 eye/hand coordination problems, and a questionnaire was subsequently administered to the task plus background music groups to assess perception of the background environment. Analysis indicated that the experimental conditions had no significant effect on task performance.
The purpose of this study was to examine music activities occurring in the music classroom of teachers who received different levels of training in Orff Schulwerk. The subjects ( N = 49) were teachers participating in three training levels at a summer Orff Schulwerk certification program in a university in the USA. Teachers were asked to report the types and amount of musical activities in their own classroom. A questionnaire modeled after one used in a published research study was used to obtain the data. Results from the selfreport of participants indicate that there were similarities as well as differences among music teachers of three levels of Orff training. Similarities were found in the amount of time devoted to reading, listening, and singing. The impact of the Orff Schulwerk was detected in increased amount in playing, creating and moving for teachers with advanced training. It appears that with increased training teachers increase the amount of activities with the children without replacing any of the activities. There was also an increase in student participation in decision making for teachers with more advanced Orff training.
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