The purpose of this study was to engage preservice teachers in thoughtful examination of teaching and learning in music classrooms through application of ethnographic and portraiture techniques, and to ascertain the efficacy of this approach in undergraduate music teacher preparation courses. Participants included faculty members at three universities and the preservice students enrolled in elementary general music methods courses. Students were coached in ethnographic data collection techniques (e.g., observations and field notes, memos, peer debrief, collection of artefacts) by their respective professors. Schwab's (1973) four curriculum commonplaces served as frames for students' observations in music classrooms. Students constructed ethnography-portraiture projects based on their data records and participated in exit interviews at the end of the semester. Data, comprised of students' projects and interviews, were analysed by the faculty participants for evidence of preservice teachers' ability to engage in the ethnography process, their thoughtful critique of the culture of the music classrooms and the teachers and children they observed, and changes in preservice teachers' perceptions and thinking about music teaching and learning. Analysis indicated that ethnographic techniques enabled the preservice teachers to articulate a multi-layered picture of teaching and learning in elementary music classrooms, to engage in nuanced reflections about their identity as teachers, and to provide detailed descriptions that were both analytical and critical as supported by data and informed by connections made with material from their methods coursework. Additional findings include evidence of insightful learning characterised by clarification of career goals, appreciation of the unexpected, changes in perspective, and emerging teacher identities.
The purpose of this study was to examine the implications of Developmentally Appropriate Practice (DAP) for the kindergarten general music classroom. Ethnographic procedures (classroom observations, interviews, and artifact collection) were used to collect data in three kindergarten music classrooms throughout an academic year. Data were coded using five global dimensions of DAP (creating a caring community of learners, teaching to enhance development and understanding, constructing appropriate curriculum, assessing children's development and learning, and establishing reciprocal relationships with families), as published by the National Association for the Education of Young Children (NAEYC). Findings included practices congruent with DAP such as engagement as co-learners, inclusion of children's requests, inclusion of play, adjustment to individual needs, assessment in authentic contexts, and respect for family contexts. Incongruent practices included favoritism, lack of response to developmental needs, inflexible curricular decisions, and sparse communication with families. Implications included the need for early childhood coursework and mentorship.
Pedagogical practices in a Yamaha Music School were explored using ethnographic techniques to collect data during one semester of instruction. Two groups of participants served as informants in this study: (1) children 4-6 years of age, who were enrolled in the Yamaha Junior Music Courses, and (2) their teachers and parents in the setting. Developmentally Appropriate Practice (DAP) guidelines as published by the National Association for the Education of Young Children were the theoretical grounding for the study. The following question guided the investigation: In what ways are the events and interactions in a Yamaha music class congruent or incongruent with DAP guidelines ? Congruent events and interactions were the pace and variety of instructional activities, recognition of individuals, involvement of parents, and inclusion of dramatic play. Incongruent events and interactions were the approach to two-hand playing, fixed accompaniment tempos, minimal peer interactions, and fixed curricular goals.
For many young children who are English language learners (ELLs), the transition from home to kindergarten can be challenging. Music teachers face the challenge of working with all individuals in a student population and often engage with children who represent home environments whose native language is not English. As ELL students adjust to the new school environment, adults and peers can provide support in learning the new language. Tabors and Snow identify four periods of language use by ELL students: use of the home language, a nonverbal period, participation through use of short phrases, and use of productive language. This article addresses the context for supporting oral language development through an examination of common strategies demonstrated by ELL students. Through the lens of one case study, general music teachers can gain an understanding of ELL strategies and consider instructional practices that support sequential language acquisition for ELL students and for all learners. KeywordsEnglish language learners, kindergarten, music, oral language development For many young children, the transition from home to kindergarten serves as the introduction to formal structures and school cultures. However, for English language learners (ELLs) not enrolled in a bilingual environment, the challenges are magnified. Although ELLs can enter a single language environment at any grade level, these learners often begin immersion in an English language setting during the kindergarten year when they begin school. Bredekamp and Copple (1997) suggest that "during the preschool and kindergarten years, interactions with adults . . . play an important role in supporting children's growing ability to communicate" (p. 104). Music teachers face the challenge of working with all students in a student population and often teach students that represent home environments whose native language is not English. This article addresses the context for oral language development and specific strategies music teachers can use in the context of the kindergarten general music classroom.Several researchers (Bird, 2007;Hong, 2003;Scherler, 2005) observe that literacy-based music experiences can provide a risk-free environment where children can practice English, improve social skills, build self-confidence, and initiate interactions. Regardless of experience level (novice to veteran), finding effective ways to facilitate communication and support the learning experiences of ELLs is often a trial-and-error process, as each child brings varied experience levels into the environment of the music room. Tabors and Snow (1994) suggest, "The sequential acquisition of a second language occurs, for instance, when a child enters preschool [or grade school] where the home language is not the language used in the classroom" (p. 105). The authors are quick to point out that from their perspective, the goal of understanding how to support second language learning is not to replace a child's first language but to find ways to address the challenges of th...
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