The music educator's professional knowledge

Objectives Intellectual humility refers to a tendency to recognize and accept that one’s personal beliefs or knowledge may be fallible and limited. The purpose of this study is to examine whether preschool teachers’ intellectual humility predicts self-development needs and teamwork, which in turn, predict professional knowledge. In other words, the current study investigates the dual mediating effects of self-development needs and teamwork in the relationship between intellectual humility and professional knowledge in preschool teachers. Methods A total of 206 teachers across 32 preschools participated in this study. The participating teachers completed questionnaires on intellectual humility, self-development needs, teamwork, and professional knowledge. SPSS 25.0 was used to test the mediating effect of self-development needs and teamwork on the relationship between intellectual humility and professional knowledge in teachers. In addition, PROCESS macro version 3.4 (Hayes, 2017) was used to confirm the indirect effect. Results The teachers’ intellectual humility predicts professional knowledge via self-development needs and teamwork. In other words, teachers who acknowledge their own intellectual limits and are open to new experiences and learning opportunities have a higher level of professional knowledge in teaching, and this relation is mediated by both self-development needs and teamwork. The bootstrapping results also suggest that the indirect effect is statistically significant. Conclusion This study is the first to introduce and apply a new concept of intellectual humility in a Korean sample. By showing the relationship between intellectual humility, self-development needs, teacher teamwork, and professional knowledge, the study highlights the importance of intellectual virtue in preschool teachers. Keywords: intellectual humility, self-development needs, teacher teamwork, professional knowledge

SECTION ONE: ISSUES AND RESEARCH 1. Policy Frameworks, Research and K-12 Schooling 2. MENC: A Case in Point 3. Recent Trends and Issue in Policy-making 4. Law Research and Music Education INTRODUCTION: TOWARD AN UNDERSTANDING OF THE 'AIMS OF MUSIC EDUCATION' 1. Contemporary Curriculum Practices and Their Theoretical Bases 2. Theory, Research, and the Improvement of Music Education 3. A Comparative Review of Human Ability Theory: Context, Structure, and Development 4. Critical Thinking 5. Improvisation 6. Improvisation and Curriculum Reform 7. Adult Education 8. Music and Early Childhood Education 9. Systematic Research in Studio Instruction in Music 10. Philosophical Issues in Curriculum 11. Educating Musically 12. Distance Learning and Collaboration in Music Education SECTION THREE: MUSICAL DEVELOPMENT AND LEARNING Introduction: Issues in Perception, Cognition, and Development 1. Learning Theories as Roots of Current Musical Practice and Research 2. Systematic Instruction 3. Behavioural Research on Direct Music Instruction 4. Self-Regulation of Musical Learning: A Social Cognitive Perspective 5. Motivation and Achievement 6. Developmental Characteristics of Music Learners 7. Creative Research in Music, Visual Arts, Theater, and Dance 8. Computer-based Technology and Music Teaching and Learning SECTION FOUR: MUSICAL COGNITION 1. The Neurobiology of Music Cognition and Learning 2. Cognitive Constraints on Music Listening 3. The Development of Musical Abilities 4. Making Music and Making Sense of Music: Expressive Performance and Communication 5. Taking an Acquired Skills Perspective on Music Performance SECTION FIVE: SOCIAL AND CULTURAL CONTEXTS 1. The Sociology of Education and Connections to Music Education Research 2. Sociology of Music 3. Social Psychology and Music Education 4. Music, Culture, Curriculum and Instruction 5. Feminism, Feminist Research and Gender Research in Music Education 6. The Social Construction of Music Teacher Identity in Undergraduate Music Education Majors 7. Transforming Research in Music Education History 8. Music Transmission and Learning: A Conspectus of Ethnographic Research in Ethnomusicology and Music Education 9. Community Music: Toward an International Overview SECTION SIX: TEACHER EDUCATION Introduction: Fuzzy Teacher Education 1. Reform-minded Music Teachers: A More Comprehensive Image of Teaching for Music Teacher Education 2. Teaching as a Profession: Two Variations on a Theme 3. Changing Concepts of Teacher Education 4. Strengthening the Teaching of Music Educators in Higher Education 5. Research by Teachers on Teacher Education 6. Research in Music Student Teaching 7. Professional Development SECTION SEVEN: MUSIC EDUCATION CONNECTIONS Introduction: The Growing Impact of Partnerships: A Reason for Research 1. Policy Issues Connecting Music Education and Arts Education 2. The Evaluation of Arts Partnerships and Learning Through the Arts 3. The 'Use and Abuse' of Arts Advocacy and its Consequences for Music Education 4. Research in Visual Arts Education: Implications for Music Education 5. A Review of Research in Theater, Dance, and Other Performing Arts Education: Implications for Music SECTION EIGHT: NEUROSCIENCE, MEDICINE, AND MUSIC 1. Music and Neuroscience 2. Performing arts Medicine 3. Musicians' Health MIRIAM HENOCH, AND JOHN HIPPLE SECTION NINE: INSTRUMENTAL OUTCOMES 1. Nonmusical Outcomes of Music Education: Historical Considerations 2. Teaching Other Subjects Through Music 3. Research: A Foundation for Arts Education Advocacy SECTION TEN: RESEARCH DESIGN, CRITICISM, AND ASSESSMENT IN MUSIC EDUCATION 1. Philosophical Perspectives on Research 2. Maintaining Quality in Research and Reporting 3. Trends in Data Acquisition and Knowledge Development 4. Assessment's Potential in Music Education 5. Contemporary Issues in Qualitative Research and Music Education

Preservice teachers enter professional teacher education programs with personally constructed (but often implicit and unexamined) knowledge of what good teaching is and what kind of teachers they wish to become. If they are unable to connect new and/or expanded professional knowledge of teaching with their own unexamined narrative knowledge of teaching, professional knowledge presented in courses remains decontextualized theory; their personal narrative knowledge of teaching remains implicit and unexamined; and they teach as they believe they were taught. Here the use of four versions of narrative inquiry with preservice teachers are examined. Each one—Response to Practicum Experiences, Responses to Readings, Small and Large Group Discussions, and Reflection Papers—is intended to enable students to explore narrative assumptions that contribute to their images of teaching. Each form of narrative inquiry enables students to explore unexamined parts of their personal and professional knowledge of teaching and link these in explicit ways.

Rural schools in the United States are facing an increase in the number of Emergent Bilinguals (EBs). Teachers in rural communities must facilitate learning for EB students whose linguistic and cultural backgrounds differ from the mainstream. However, rural teachers are less prepared to address EBs’ educational needs, and little is known about the actual teacher knowledge (TK) required to provide effective EB instruction in secondary rural settings. Grounded in teacher knowledge and place-based education frameworks, this qualitative study examined what teachers say they know related to the teaching and learning of EBs in a rural secondary school community. The study addressed two main questions: (1) What personal and professional knowledges do secondary teachers reveal about teaching EBs in rural settings? and (2) What place-based knowledges do secondary teachers reveal about their work with EBs? Primary data from four secondary teachers teaching EBs in a rural school in the southeastern United States consisted of video-recorded interviews and photo elicitation that illuminated teachers’ told narratives of their personal, professional, and place-based experiences via stories. Thematic data analysis followed an iterative approach. Findings from this study demonstrated that the teachers’ personal and place-based knowledges emerged as the most prominent influences in their work. Teachers’ bilingualism, hispanidad, and faith were leveraged to build relationships with their rural secondary EBs. Thus, relationship-building was central to teachers’ knowledge-base of working with EBs. A four-dimensional teacher knowledge model is proposed. Findings may inform teacher education programs and extend the research base on rural secondary EB education

Professional knowledge is an important source of science teachers' actions in the classroom (e.g., personal professional content knowledge [pedagogical content knowledge, PCK] is the source of enacted PCK in the refined consensus model [RCM] for PCK). However, the evidence for this claim is ambiguous at best. This study applied a cross‐lagged panel design to examine the relationship between professional knowledge and actions in one particular instructional situation: explaining physics. Pre‐ and post a field experience (one semester), 47 preservice physics teachers from four different universities were tested for their content knowledge (CK), PCK, pedagogical knowledge (PK), and action‐related skills in explaining physics. The study showed that joint professional knowledge (the weighted sum of CK, PCK, and PK scores) at the beginning of the field experience impacted the development of explaining skills during the field experience (β= .38**). We interpret this as a particular relationship between professional knowledge and science teachers' action‐related skills (enacted PCK): professional knowledge is necessary for the development of explaining skills. That is evidence that personal PCK affects enacted PCK. In addition, field experiences are often supposed to bridge the theory‐practice gap by transforming professional knowledge into instructional practice. Our results suggest that for field experiences to be effective, preservice teachers should start with profound professional knowledge.

The article examines regional folklore as a field of interaction between academic musical culture in the Far East of Russia and China. The beginning of the systematic study of the academic musical culture of the Russian Far East is associated with the formation of the regional creative association of composers of the Far East (Union of Composers), which is succeeded today by the Far Eastern Branch of the Union of Composers of Russia. The article notes the multi-ethnicity of the region and the special role of the “dialogue of cultures” in the composers’ works. The author analyzes the culture of indigenous peoples and the East Slavic migratory culture of the Russian Far East, as well as the original culture of the countries of the Asia-Pacific region outside the Russian borders. There is highlighted the commonality of some features of the traditional Far Eastern folklore of Russia and China. The article considers the concept of “academic musical culture”, which includes the composers’ works successively connected with the foundations of Western European music formed in the period of the 17th—19th centuries, the composers’ works of the 20th century, including modern techniques, the musical performance, musical performance infrastructure, educational space and academic musicology.The paper highlights the composers of the region, the main focus of their work, the researchers of the academic musical culture of the region, whose works are significant in understanding the processes of development of modern national musical culture. The article covers the Chinese academic compositional works known in Russia, as well as the range of scientific interests of Russian researchers-orientalists and researchers of musical culture from China.There is recognized the need for cultural understanding of the stated problem through the study of academic music art, traditional music culture, music science, and music education. The author interprets the role of music and computer technologies in musical culture and education in the Far East of Russia and China as the most important component for interaction in the field of academic musical culture, focuses on the problems of informatization of modern music education.The article draws a conclusion about the unique experience of composing in China based on the traditional music of the Russian Far East. The pentatonic basis of Chinese music is especially distinguished as being close to the modal organization of the music of Far Eastern ethnic groups, which is also the basis of the folklore music of Russian Far Eastern composers. The author sees such a palatal proximity as a basis for the interaction of the cultures of the Far Eastern region. The article recognizes this aspect as important from the point of view of creating an integral multicultural space based on the principles of humanism.

There exist some evidence that research on knowledge of teachers has led to new insights and that studies on teachers’ professional identity is of increasing interest for research in the field of education. In reality, there has been no attempt documented in opening the black box of teachers’ professional identity and professional knowledge to see how they actually internally related. The current paper fills this gap and bases its reasoning of teachers’ professional knowledge presumably seen as the reflection of their professional identity on 3 central parts of teachers’ professional knowledge (conceptions, relations, conditions) and 3 aspect of their professional identity (subject matter experts, pedagogical experts and didactic experts). Significantly potential implication can be drawn for the identification of instructor’s trends of teaching through having a sufficient and comprehensive understanding about what they believe about them as the instructors. Also to be considered is its potential contribution to the advancement of educational studies regarding proposing the new pedagogical and didactical intervention and adapting the currently-employed measures for quality assurance to approach the teaching development.

The purpose of the present study was to: (a) examine music educators' perceptions regarding the practice of full inclusion, (b) conduct a descriptive analysis of their perceptions, and (c) compare and contrast choral, instrumental, and general music educators' perceptions regarding the practice of inclusion. The data collection technique used in the study was personal interviewing. Participants were instrumental, choral, and general music educators (N = 35) in a midwestern school district that supports the practice of full inclusion. Written transcripts of the 35 interviews were coded and analyzed for recurring themes and patterns using content analysis. Music educators identified 13 critical issues related to the inclusion of students with disabilities. The need for collaboration or consultation with special educators, music therapists, or others knowledgeable about students with disabilities was identified as a critical issue by nearly all of the participants. Many participants also identified as critical issues: the need for more information about the students included in their music classroom, the amount of time required to successfully include students with disabilities, and the range of abilities often found in the inclusive classroom. Most music educators felt that inclusion has had a positive impact on students both with and without disabilities, though reservations were also expressed by some of the music educators. Subject responses were also analyzed for frequency of: disabilities mentioned, positive and negative statements made regarding inclusion, personal anecdotes, and references to music therapy. Suggestions are given for the role music therapists can play in facilitating the inclusion of students with disabilities.

For over a decade, school‐based mentoring has been employed as a key strategy in initial teacher training programmes. The diversity apparent in training settings as well as trainees' backgrounds raises questions in relation to the mentoring practice and the knowledge base that underpins it. By adopting a phenomenological, social constructivist approach the study aims to investigate mentors' perceptions of the relationship between their professional practice and the knowledge that informs it. It seeks to construct a typology of mentors' professional knowledge in relation to Shulman's (1987) model of teacher knowledge and the statutory standards framework for initial teacher training and induction in England, which serves as a point of reference for all those involved in the assessment of professional competence during initial training and induction. The findings of this study suggest that in their work with trainee teachers and newly qualified teachers the majority of mentors draw on their teacher knowledge without sufficiently taking into account the specific aspects of adult learners and the generic principles underpinning mentoring.

The purpose of this study is to dialectically examine the direction of knowledge education for cultivating musical competencies in the practice of the music curriculum. This is based on a review of the ‘powerful knowledge’ in music education, which is centered on the ‘concept-based curriculum’ by Graham McPhail. To this end, the powerful knowledge based on social realism and the powerful knowledge in music education were reviewed, and then a critical review was then attempted focusing on issues related to the contextuality of musical knowledge, the universality of musical concepts, and the nature of musical knowledge to draw conclusions dialectically. As a direction for knowledge education for cultivating musical competencies, following were proposed: the balance between context-independent musical knowledge and context-dependent musical knowledge, the importance of the concept of Korean traditional music in the context of Korea, the presentation of meta-concepts considering the universality and specificity of music, and the balance between conceptual musical knowledge and procedural musical knowledge.

This study utilized the descriptive survey method of research which tried to assess the shipboard training profile and performance of maritime cadets of Palompon Institute of Technology, Palompon, Leyte as inputs to improve the maritime education program of the Institute. The subjects were the deck and engine cadets who completed their 3-year curricular academic requirements who were qualified to take their 1-year shipboard apprenticeship on board Dutch ships from 2014-2015. The main instrument used in this study was the standardized survey questionnaire taken from the International Shipping Federation (ISF) logbook contained in the Quality Management System Manual of PIT College of Maritime Education (COMEd) which was approved and accepted by the Det Norske Veritas (DNV), an International consulting firm and Commission on Higher Education ( CHED). Findings showed that the cadets were above average when it came to their personal qualities and their professional knowledge and skills. Most of them were assigned in a general cargo including Ro-ro (roll on- roll off) and big lift. Moreover, both deck and engine cadets were only average when it came to their task performance at the operational level. When each of the profile indicators of the cadets was related to their task performance, only the personal qualities and professional knowledge and skills revealed a significant relationship to their task performance. Likewise, the safety of onboard practices of the engine cadets in terms of marine engineering and controlling the operation of the ship and care for persons on board was significantly related to the profile in terms of personal qualities and professional knowledge and skills so as their task performance. Thus, it is recommended that the apprenticeship program should be treated seriously and with sincerity, since this is the only form of a training program that the school can offer that will help them enhance their knowledge and skills thereby making them more effective and productive seafarers. It is also recommended to adopt the training model and identify its loopholes to pave the way for further improvements.

This paper explores how music education affects preservice teachers' learning ability. A review and analysis of relevant research literature found that music education positively affects preservice teachers' learning ability. Specifically, music education can improve preservice teachers' cognitive, emotional, and creative thinking abilities. The enhancement of these competencies mainly stems from the emotional experience, cognitive training, and creative thinking that music education has. In addition, there are differences in the impact of music education on the learning abilities of different types and levels of preservice teachers, which are related to factors such as individual differences, educational background, and music education approaches. Therefore, differentiated teaching regarding individual differences and educational backgrounds is needed in music education. Finally, this paper suggests applying music education in preservice teacher training, including increasing the time and content of music education and encouraging preservice teachers to participate in music composition. These suggestions can provide reference and guidance for applying music education in preservice education.

This article reports on a case study involving 44 adults based in Belfast, Northern Ireland for the research project Bridging Musical Knowledge. Data were gathered via project website creation and an online survey carried out during early stages of the COVID-19 pandemic. Developing an interdisciplinary epistemic framework that draws on theory from music education, ethnomusicology and musicology in conjunction with the analysis of qualitative data, it finds two major tendencies across multiple perceptions/experiences of musical knowledge as reported by participants: first, to value formal and practical aspects in the attainment of musical knowledge, and second, to consider familial, communal and other sociocultural contexts as central to musical knowledge development. Interpreting a dialectical tension between reified and experiential accounts as reflective of historically embedded distinctions, the authors propose a relational model of musical knowledge, encompassing comparative conceptions of music theory and discourse.

The orientation of music teachers’ talent training and the construction of talent training models are the core issues of concern for the reform of music education majors. Facing the new requirements of society for music education professional talents training in the new period, this paper proposes an improved talent training model based on the ADDIE model by studying the current situation of music education professional talents training from the perspective of adapting to the development needs of music curriculum reform in basic education. From the assessment of students’ and teachers’ evaluation and acceptance of the model, the mean value of students’ evaluation scores increased from 64.7 to 75.7 compared with the original training model, an increase of 17.00%. The mean teacher evaluation score increased from 67.0 to 72.7, an increase of 8.51%. It is evident that the talent development model has improved and is accepted by students and teachers. In terms of the acceptance of the training model proposed in this paper, the percentage of students who strongly agree with it has increased by 19.8%, the percentage of students who can accept it has increased by 20.2%, and the percentage of students who cannot adapt to the teaching model has decreased by 6.1 percentage points, with a comparative decrease of 20.3%. Teachers were also more accepting of the new training model, and the percentage of those who could accept it increased by 5.3 percentage points and 7.17% in comparison. In conclusion, the talent cultivation model of music education based on the ADDIE model can be well adapted to the teaching classroom of colleges and universities and also meets the needs of the country and society for music teachers in the new era, which is conducive to the cultivation of composite talents who are highly educated and have a solid theoretical foundation and excellent practical ability.

An established tool for collating secondary teachers’ pedagogical content knowledge (Loughran's CoRe) has been adapted for use by tertiary educators. Chemistry lecturers with a range of levels of experience were invited to participate in workshops through which the tool was piloted, refined and applied. We now present this refined tool for the tertiary teaching community to consider adopting. The teaching approaches of over 80 workshop participants were collected using the tool in a broad survey of tertiary chemistry teaching strategies. Participation in the workshops led to a significant gain in personal PCK for some individuals. Analysis of responses received in the workshops revealed that the consensus model of secondary teacher professional knowledge and skill is also applicable to the tertiary level, and that the CoRe is a useful way to gain insight into the knowledge bases and topic-specific professional knowledge of tertiary chemistry teachers. The data were aggregated and coded inductively to distil the types of strategies commonly found to be useful for teaching particular tertiary chemistry topics. This resulted in collation of over 300 teaching strategies for 19 different chemistry topics, representing significant topic-specific professional knowledge of tertiary practitioners. To share and sustain this collection of teaching strategies, a website was built that is searchable by either chemistry topic or by type of teaching strategy, making it immediately useful to practitioners. Usage analytics data for the website confirm that many users have accessed the resource, showing that this is a practical way to transfer information between chemistry educators.