Most information concerning teachers' attitudes regarding inclusion is dated. The present study used the interview methodology to examine issues prevalent in previous studies (e.g., support services) and issues not yet studied (e.g., parent contact, effects on teachers). Research questions focused on (a) information, support, resources, and placements; (b) parent contact and involvement; (c) outcomes on students with disabilities, typical students, and teachers; and (d) teachers' advice. Individual interviews were conducted with 43 teachers (16 elementary, 15 orchestra, & 12 band). Perceived emotional content for teachers' responses was also assessed. Results show that teachers have generally positive attitudes concerning inclusion and their access to support. Attitudes were also positive regarding outcomes for both students with and without disabilities. Several differences and consistencies among the groups lead to questions that merit the study of possible relationships among variables (parent contact, type of support, teacher attitudes).
String musicians put a high priority on ear training in order to be successful on their instruments. Research suggests that delaying music reading to teach by ear does not negatively affect sight-reading performance in the long term, may improve music literacy skills, and also may improve student perceptions of accomplishment. The pedagogy of learning by ear, which is distinctly different than learning by rote, may be unfamiliar to many string teachers, regardless of their experience in the classroom. The purpose of this research-to-resource article is to provide string teachers with strategies to teach repertoire by ear with the intention of strengthening students’ aural acuity, problem-solving skills, and knowledge of the fingerboard.
labelling. It is not always immediately evident where longer quotations begin and end. The relevance of the book to music education history is clear. It offers a fascinating collection of different historical approaches to conceptualizing music and teaching singing. It provides translations of a range of European texts with accessible introductions noting their contexts and importance. Friddle's immersion in the choral and organ worlds, as well as his scholarly experience, shine through in the close attention to musical examples and practical exercises, as well as some comment on their particular relevance for modern-day practice. It is this turn towards practitioners, rather than scholars, which perhaps characterizes the emphasis of the book on sources and factual information, rather than narrative and argument. Despite this, however, the book provides an important resource for performers, educators and researchers, and this reviewer has no doubt it will act as a valuable springboard for further research in this area.
Desegregation in the south had many goals, among them was creating equitable opportunities for students in schools. Much of the literature on desegregation efforts are focused on general education and little research has been done on the effects it had on school orchestra programs. Orchestra programs in Texas schools have had a historically strong presence, but opportunities for Black string players had been rare and limited by segregation. It wasn’t until 1963 that Black students could participate in Texas All-State ensembles and 1968 before school ensemble competitions were integrated. Newspaper articles, archives, and voices of individuals that lived through these experiences were examined to gain a better understanding of what occurred during the time of desegregation in Texas schools. The predominantly Black orchestra program at Dunbar High School in Lubbock thrived despite segregation; however, it would later struggle to recover after integration plans were enacted. In an effort to satisfy desegregation laws, Black students and teachers were bussed to white schools dissolving the Black nucleus that contributed to their previous success. A historical examination of Texas string orchestra programs, competitions, and lived experiences of Black stakeholders revealed issues surrounding representation and the importance of strong role models in music.
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