Preservice Teachers' Reactions to Aural Examples of Various Styles and Genres
Identifieur interne : 002608 ( Istex/Corpus ); précédent : 002607; suivant : 002609Preservice Teachers' Reactions to Aural Examples of Various Styles and Genres
Auteurs : Nancy H. Barry ; Kimberly C. WallsSource :
- Research studies in music education [ 1321-103X ] ; 1999-12.
English descriptors
- Teeft :
- Aaron copland, Albert mcneil jubilee singers, American college students, American folk song suite, American songs, Ancient ground, Arts education, Assistant professor, Auburn university, Aural examples, Basic song repertoire, Beatles, Bledsoe, Burdett, Carlos, Carlos nakai, Cassette recording, Chris valentino, College music society, Darrell bledsoe, Darrell bledsoe singers, Different cultures, Dinosaur, Distinct response trends, Dolly parton, Early childhood, Early childhood education majors, Early childhood majors, Education students, Elementary classroom, Elementary education majors, Elementary majors, Elli, Ellis marsalis, Ensemble experience, Excerpt, Free responses, Genre, Ginn, High ratings, Higher interest, Higher preference, Higher ratings, Instructional contexts, Instrumental selection, Instrumental selections, Janet wilson, Japanese bamboo flute, Keener interest, Linus, Linus lucy, Lower ratings, Lowest ratings, Madam butterfly, Majors, Many colors, Many subjects, Marsalis, Marty nelson, Mexican culture, Mister frog, Mountain king, Much uncertainty, Music connection, Music education, Music education majors, Music education program, Music educators, Music educators journal, Music experience, Music experiences, Music lessons, Music lessons table, Music majors, Music specialist, Music students, Music teacher education, Music teacher educators, Music teachers, Musical examples, Musical excerpt, Musical excerpts, Musical preferences, Musical selection, Musical style, Musical styles, Musical training, Nakai, Nashville choir, National standards, Other education students, Other groups, Other hand, Other subjects, Pearson statistics, Personal preference, Personal reaction, Pinball wizard, Placido domingo, Popular genres, Popular music, Popular music excerpts, Present study, Preservice, Preservice teacher, Preservice teachers, Private music lessons, Rank order, Research questions, Response form, Response trends, Significant differences, Significant statistics, Silver burdett, Silver burdett ginn, Snake dance, Specific strategies, Sweet chariot, Teacher education, Teacher education courses, Teacher educators, Texas hispanic choir, Traditional japanese, Undergraduate majors, Various styles, Violin sonata, Vocal examples, Vocal selections, Western european, Wide variety, World cultures, World music, World music preference, World music press, Wynton, Wynton marsalis.
Abstract
Despite strong supporting arguments, use of popular music and other diverse musical styles within the curriculum continues to be controversial. The purpose of this study was to obtain preservice teachers' reactions to aural examples of various musical styles and genres. Students (N = 323) enrolled in teacher education courses at a large southeastern university in the United States listened to an audiotape of 32 short musical examples, rating each example for their personal reaction and their interest in using the music in the elementary classroom. Students were also asked to describe how each excerpt could be used in the classroom. Popular music examples tended to be rated highest for personal reaction; instrumental selections from another culture and non-English songs received lowest ratings. In marked contrast with their expressed personal preferences, students were very conservative in their ratings for classroom use, expressing much uncertainty about the appropriateness of popular music and world music in favor of music perceived to be especially for children. Students with music experience gave higher ratings for instrumental and western art music and lower ratings for popular genres compared to students without music experience. The results suggest that having familiarity with, or even "liking" a musical selection does not ensure that a preservice teacher is comfortable with using the music in the classroom. It is recommended that music teacher educators equip preservice teachers with specific strategies and instructional contexts for using diverse musical genres and styles in their classrooms.
Url:
DOI: 10.1177/1321103X9901300103
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ISTEX:8B7B77E75682613C4F6A4DCF605BC9783131AD6ELe document en format XML
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The purpose of this study was to obtain preservice teachers' reactions to aural examples of various musical styles and genres. Students (N = 323) enrolled in teacher education courses at a large southeastern university in the United States listened to an audiotape of 32 short musical examples, rating each example for their personal reaction and their interest in using the music in the elementary classroom. Students were also asked to describe how each excerpt could be used in the classroom. Popular music examples tended to be rated highest for personal reaction; instrumental selections from another culture and non-English songs received lowest ratings. In marked contrast with their expressed personal preferences, students were very conservative in their ratings for classroom use, expressing much uncertainty about the appropriateness of popular music and world music in favor of music perceived to be especially for children. Students with music experience gave higher ratings for instrumental and western art music and lower ratings for popular genres compared to students without music experience. The results suggest that having familiarity with, or even "liking" a musical selection does not ensure that a preservice teacher is comfortable with using the music in the classroom. 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Walls</name><affiliations><json:string>Department of Curriculum and Teaching in the College of Education at Auburn University, Alabama, USA</json:string><json:string>Department of Curriculum and Teaching in the College of Education at Auburn University, Alabama, USA</json:string></affiliations></json:item></author><articleId><json:string>10.1177_1321103X9901300103</json:string></articleId><arkIstex>ark:/67375/M70-SV3M53K2-V</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>Despite strong supporting arguments, use of popular music and other diverse musical styles within the curriculum continues to be controversial. The purpose of this study was to obtain preservice teachers' reactions to aural examples of various musical styles and genres. Students (N = 323) enrolled in teacher education courses at a large southeastern university in the United States listened to an audiotape of 32 short musical examples, rating each example for their personal reaction and their interest in using the music in the elementary classroom. Students were also asked to describe how each excerpt could be used in the classroom. Popular music examples tended to be rated highest for personal reaction; instrumental selections from another culture and non-English songs received lowest ratings. In marked contrast with their expressed personal preferences, students were very conservative in their ratings for classroom use, expressing much uncertainty about the appropriateness of popular music and world music in favor of music perceived to be especially for children. Students with music experience gave higher ratings for instrumental and western art music and lower ratings for popular genres compared to students without music experience. The results suggest that having familiarity with, or even "liking" a musical selection does not ensure that a preservice teacher is comfortable with using the music in the classroom. It is recommended that music teacher educators equip preservice teachers with specific strategies and instructional contexts for using diverse musical genres and styles in their classrooms.</abstract><qualityIndicators><score>9.904</score><pdfWordCount>5983</pdfWordCount><pdfCharCount>38749</pdfCharCount><pdfVersion>1.4</pdfVersion><pdfPageCount>15</pdfPageCount><pdfPageSize>493 x 686 pts</pdfPageSize><refBibsNative>true</refBibsNative><abstractWordCount>242</abstractWordCount><abstractCharCount>1627</abstractCharCount><keywordCount>0</keywordCount></qualityIndicators><title>Preservice Teachers' Reactions to Aural Examples of Various Styles and Genres</title><genre><json:string>research-article</json:string></genre><host><title>Research studies in music education</title><language><json:string>unknown</json:string></language><issn><json:string>1321-103X</json:string></issn><eissn><json:string>1834-5530</json:string></eissn><publisherId><json:string>RSM</json:string></publisherId><volume>13</volume><issue>1</issue><pages><first>13</first><last>27</last></pages><genre><json:string>journal</json:string></genre></host><namedEntities><unitex><date><json:string>1960</json:string><json:string>1999</json:string><json:string>1990</json:string><json:string>1900</json:string></date><geogName></geogName><orgName><json:string>Both National Standards and state</json:string><json:string>American Folk Song Suite</json:string><json:string>African-American, American/Folk Songs, Western European Art Music</json:string><json:string>National Standards for Arts Education</json:string><json:string>and American Folk Song Suite</json:string><json:string>Department of Curriculum and Teaching</json:string><json:string>Purpose and Research Questions The</json:string><json:string>Old American Songs</json:string></orgName><orgName_funder></orgName_funder><orgName_provider></orgName_provider><persName><json:string>Roy Harris</json:string><json:string>R. Carlos</json:string><json:string>U.S. Government Printing Office</json:string><json:string>Joshua Fought</json:string><json:string>Kimberly C. Walls</json:string><json:string>Subjects</json:string><json:string>Candy Duffer</json:string><json:string>Chris Valentino</json:string><json:string>El Tirador</json:string><json:string>An Egyptian</json:string><json:string>Wynton Marsalis</json:string><json:string>Placido Domingo</json:string><json:string>J.S. Bach</json:string><json:string>Ellis Marsalis</json:string><json:string>Candy Dulfer</json:string><json:string>David A. 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The purpose of this study was to obtain preservice teachers' reactions to aural examples of various musical styles and genres. Students (N = 323) enrolled in teacher education courses at a large southeastern university in the United States listened to an audiotape of 32 short musical examples, rating each example for their personal reaction and their interest in using the music in the elementary classroom. Students were also asked to describe how each excerpt could be used in the classroom. Popular music examples tended to be rated highest for personal reaction; instrumental selections from another culture and non-English songs received lowest ratings. In marked contrast with their expressed personal preferences, students were very conservative in their ratings for classroom use, expressing much uncertainty about the appropriateness of popular music and world music in favor of music perceived to be especially for children. Students with music experience gave higher ratings for instrumental and western art music and lower ratings for popular genres compared to students without music experience. The results suggest that having familiarity with, or even "liking" a musical selection does not ensure that a preservice teacher is comfortable with using the music in the classroom. It is recommended that music teacher educators equip preservice teachers with specific strategies and instructional contexts for using diverse musical genres and styles in their classrooms.</p></abstract></profileDesc><revisionDesc><change when="1999-12">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/8B7B77E75682613C4F6A4DCF605BC9783131AD6E/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus sage not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="2.3" xml:lang="EN"><front><journal-meta><journal-id journal-id-type="hwp">sprsm</journal-id><journal-id journal-id-type="publisher-id">RSM</journal-id><journal-title>Research Studies in Music Education</journal-title><issn pub-type="ppub">1321-103X</issn><publisher><publisher-name>Sage Publications</publisher-name><publisher-loc>Sage CA: Thousand Oaks, CA</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1177/1321103X9901300103</article-id><article-id pub-id-type="publisher-id">10.1177_1321103X9901300103</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Preservice Teachers' Reactions to Aural Examples of Various Styles and Genres</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Barry</surname><given-names>Nancy H.</given-names></name><aff>Department of Curriculum and Teaching in the College
of Education at Auburn University, Alabama, USA</aff></contrib><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Walls</surname><given-names>Kimberly C.</given-names></name><aff>Department of Curriculum and Teaching in the College
of Education at Auburn University, Alabama, USA</aff></contrib></contrib-group><pub-date pub-type="ppub"><month>12</month><year>1999</year></pub-date><volume>13</volume><issue>1</issue><fpage>13</fpage><lpage>27</lpage><abstract><p>Despite strong supporting arguments, use of popular music and other diverse musical styles within the curriculum continues to be controversial. The purpose of this study was to obtain preservice teachers' reactions to aural examples of various musical styles and genres. Students (N = 323) enrolled in teacher education courses at a large southeastern university in the United States listened to an audiotape of 32 short musical examples, rating each example for their personal reaction and their interest in using the music in the elementary classroom. Students were also asked to describe how each excerpt could be used in the classroom. Popular music examples tended to be rated highest for personal reaction; instrumental selections from another culture and non-English songs received lowest ratings. In marked contrast with their expressed personal preferences, students were very conservative in their ratings for classroom use, expressing much uncertainty about the appropriateness of popular music and world music in favor of music perceived to be especially for children. Students with music experience gave higher ratings for instrumental and western art music and lower ratings for popular genres compared to students without music experience. The results suggest that having familiarity with, or even "liking" a musical selection does not ensure that a preservice teacher is comfortable with using the music in the classroom. It is recommended that music teacher educators equip preservice teachers with specific strategies and instructional contexts for using diverse musical genres and styles in their classrooms.</p></abstract><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value>13
Preservice
Teachers' Reactions to Aural Examples of Various Styles and Genres
SAGE Publications, Inc.1999DOI: 10.1177/1321103X9901300103
Nancy H. Barry
Department of Curriculum and Teaching in the College
of Education at Auburn University, Alabama, USA
Kimberly C. Walls
Department of Curriculum and Teaching in the College
of Education at Auburn University, Alabama, USA
Abstract
Despite strong supporting
arguments, use of popular music and other diverse musical styles within the
curriculum continues to be controversial. The purpose of this study was to
obtain preservice teachers' reactions to aural examples of various musical
styles and genres. Students (N = 323) enrolled in teacher education courses
at a large southeastern university in the United States listened to an audiotape
of 32 short musical examples, rating each example for their personal reaction
and their interest in using the music in the elementary classroom. Students
were also asked to describe how each excerpt could be used in the classroom.
Popular music examples tended to be rated highest for personal reaction; instrumental selections from another culture and non-English songs received
lowest ratings. In marked contrast with their expressed personal preferences,
students were very conservative in their ratings for classroom use, expressing
much uncertainty about the appropriateness of popular music and world music
in favor of music perceived to be especially for children. Students with
music experience gave higher ratings for instrumental and western art music
and lower ratings for popular genres compared to students without music experience.
The results suggest that having familiarity with, or even "liking" a musical
selection does not ensure that a preservice teacher is comfortable with using
the music in the classroom. It is recommended that music teacher educators
equip preservice teachers with specific strategies and instructional contexts
for using diverse musical genres and styles in their classrooms.
Background
Music education in the United States has gradually included increasingly diverse
musics. This trend began in the early 1900's when a period of European immigration
spurred inclusion of European folk songs and dances in the curriculum. Increasing
interest in and acceptance of examples of African-American and Native American
music also contributed additional variety to the school music curriculum.
However, interest in expanding the music education repertoire in the United
States did not take on real impetus until the 1960's with events such as the
International Seminar on Teacher Education in Music, and the Tanglewood Symposium.
Scholarly seminars and symposia coupled with other important social changes
such as the Civil Rights Movement prompted music educators to question the
validity of teaching a curriculum based exclusively upon the traditional Western
European canon. American society was becoming more and more diverse and a
much broader and inclusive view of music education began evolving, with folk,
popular, and ethnic genres appearing alongside Western European art music
(Volk, 1993, 1994). This trend has endured into the 1990's. Educators have
pointed out the potential of popular music as a valid and valuable resource
for the music class (e. g., Cooper, 1993; Fallis, 1996; Kuzmich, 1991) and
for other subjects such as language arts, history (e.g., Chilcoat, 1984; Cooper,
1993; Luebke, 1995; Reid, 1997), sociology (Martinez, 1994), and even for
mood management (Wells & Hakanen, 1991). Despite many strong supporting
arguments, use of popular music within the curriculum continues to be a controversial
matter. In contrast with the aforementioned examples, others have warned that
popular music may promote biased and inappropriate gender roles (Gow, 1996)
and violent behavior (U.S. Government Printing Office, 1997).
14
Perhaps
one reason that using popular music within the curriculum remains controversial
is that most music educators are not acquainted with appropriate teaching
strategies for popular genres: We have included pop music in the curriculum,
but for all the wrong reasons. Article after article, book after book, speaks
to the issue of using pop music only for social ends or as a bait-and-switch
technique to get the students involved with classical music. Even the best
suggestions for using pop music are far too often based on involving it as
a substitute for other types of music. (Cutietta, 1991, p. 26) In a similar
vein, Cooper (1993) suggests that music educators tend to emphasize the dichotomy
between the Western art music used in the classroom and the popular music
that students actually listen to as "a conflict between good and evil, a battle
over quality and squalor, a war of fine art against crass commercialism" (p.
272). Most certainly, American music educators will continue to grapple with
the challenge of including diverse musics in an already crowded curriculum
for many years to come. The National Standards for Arts Education (Music Educators
National Conference, 1994) outline a music education curriculum in which each
child has opportunities to experience music representing a variety of genres,
styles, and world cultures. Music teacher educators also acknowledge the importance
and challenge of preparing teachers for a multicultural society (Campbell,
1994; Sands, 1993). However, studies of what teachers actually practice in
the schools indicate that they generally rely upon a limited repertoire of
music selections drawn primarily from materials with which they are familiar
and comfortable (Apfelstadt, 1989; Barry, 1992; Kinder, 1987). A recent study
of American university music education/therapy and elementary education students'
familiarity with basic song repertoire revealed that, while music education/therapy
students had greater familiarity with standard songs, neither group had developed
an adequate song repertoire for teaching (Prickett & Bridges, 1998). Research
also reveals that teachers' attitudes about music may be shaped by their own
musical experiences and that those attitudes influence the extent to which
teachers use music in their classrooms and the type of music experiences that
they provide for their pupils (Kritzmire, 1992). If teacher educators are
to prepare preservice teachers to provide their pupils with appropriate music
experiences including a wide variety of musics, more must be learned about
education students' existing perceptions concerning various styles and genres
of music. Purpose and Research Questions The purpose of this study was to
obtain preservice teachers' reactions to aural examples of various musical
styles and genres. The following research questions were addressed to accomplish
the purpose: A What are preservice teachers' stated preferences for specific
musical examples from different musical styles and genres? B What are preservice
teachers' perceptions of the appropriateness of specific musical examples
from different musical styles and genres for classroom use? C What is the
relationship between preservice teachers' stated musical preferences and their
perceptions of classroom use of musical examples from different musical styles
and genres? D Are there any distinct response trends observed for musical
style, genre, or setting (vocal vs. instrumental)? E Are there any relationships
between response trends and background variables such as major, musical training
or participation in a musical ensemble?
15
Subject
Population Preservice teachers enrolled in teacher education courses in the
College of Education at a large southeastern university in the United States
were invited to participate in the study (N = 323). Permission was obtained
from course instructors to announce the opportunity to participate in the
study to students in various education classes offered within the Department
of Curriculum and Teaching. Experimental Methods and Procedures An audio tape
containing musical excerpts representing a wide variety of musical styles
and genres appropriate for use in the elementary classroom was prepared and
presented to a panel of experienced music educators for review. This process
resulted in the selection of 32 musical examples. (See Discography.) Excerpts
from each selection (approximately 30 seconds in length) were then digitally
recorded in random order and dubbed on audio tapes with a 10-second pause
between each excerpt. (Note: To control for possible listener fatigue or some
other "order effect" which could influence listeners' responses to the music,
two different versions of the tape were prepared with the same selections
presented in a different order.) Selections included both instrumental and
vocal examples of the following genres: Pop/Rock, Country/Western, Jazz, New
Age, Composed Children's songs, African-American, American/Folk Songs, Western
European Art Music/"Classical", African, Hebrew, Japanese, Mexican, and Native
American. Due to the nature of Rap music, only a vocal example was provided
for this genre. Vocal examples included selections in English as well as other
languages. Each tape also included brief verbal directions. Of course, there
is no way that one or two examples can truly represent a particular musical
style or genre. It is important to point out that this study did not aim to
represent every possible musical type or to suggest an "ideal" list of music
for the elementary classroom. A response form was also developed by the researchers
to obtain background information and to allow subjects to state their reactions
to each musical excerpt in a convenient and anonymous format. The form included
Likert-type response scales for subjects' personal reactions to the music
and for their interest in using the music in the elementary classroom. Musical
excerpts were identified on the response form by number only with no mention
of title or genre. An additional item asked subjects to identify the most
appropriate elementary school grade level for the piece. Each excerpt also
included a "free response" item prompting subjects to "Please describe how
you could use this music in the classroom." Both taped instructions and instructions
printed on the response forms included the following statement: The purpose
of this study is to gain information about preservice teachers' opinions of
different types of music. Your participation in this study is voluntary. All
responses are to be anonymous. Please do not write your name or any other
identifying information on your response sheet. The study was administered
in university classrooms in large group settings in which subjects listened
to the taped directions and completed the questionnaire indicating their responses
to each musical excerpt. Administration of the study and completion of the
questionnaire required approximately 30 minutes. Responses to Likert-type
and short answer items were coded and tabulated using SPSS procedures for
descriptive statistics, frequencies, cross tabulations and Pearson chi-square.
Responses to the "free-response" items were read by three judges who developed
categories independently. The judges then compared their categories, discussed
any differences, and agreed upon a set of appropriate categories for coding
those items.
16
Results
Researchers administered the Music Preference Inventory to 323 undergraduate
students. The majority of these students were elementary education majors
(54.5%, n = 176), 24.5% (n = 79) majored in early childhood education, 18%
(n = 58) majored in music education, and 3% (n = 10) majored in some other
related field, such as special education. Most of these students were female
(87.3%) which reflects typical enrollment in elementary and early childhood
programs at this university. The age of these students ranged from 19 (29%,
n = 94) to "29 or over" (2%, n =7) with the majority between 20 and 22 years
of age (62%, rr = 200). Most (81%, n = 262) had participated in some type
of school, community or church music ensemble, including band (16.4%, n =
53), choir (35.6%, n = 115), or both band and choir (24.5%, rt = 79). Many
of these students (63.5%, n = 205) reported having taken some type of private
music lessons. What are the subjects' stated preferences for specific musical
examples from different musical styles and genres? Examples from popular music,
Walk Like An Egyptian [The Bangles] and Birthday [Beatles] were the two selections
rated highest for personal reaction by all participants, with respective means
of 4.02 and 3.9. It is interesting to note that there were no foreign language
songs among the 13 selections ranked highest and that the five lowest-ranked
pieces were either instrumental selections from a non-western culture or a
song in a language other than English. The selections receiving the lowest
ratings for preference were Fumoll [The Art of the Japanese Bamboo Flute]
and Ancient Ground [R. Carlos Nakai] with respective mean ratings of 1.49
and 1.88. (See Table 1 for personal reaction means of selections in rank order.)
What are subjects' perceptions of the appropriateness of specific musical
examples from different musical styles and genres for classroom use? When
rating the musical excerpts for their "interest in using this music in your
elementary classroom," the preservice teachers preferred children's songs
(either those songs specifically composed for children's education or traditional
children's folk songs). Counting Up the Dinosaur [Eddleman, performed by the
Nashville Children's Choir] and Mister Frog Went A Courtin' [traditional American
folk song] received respective means of 4.28 and 4.25. Fumon [The Art of the
Japanese Bamboo Flute] and Ancient Ground [R. Carlos Nakai] again were ranked
lowest with respective means of 1.68 and 1.84. (See Table 2 for interest in
classroom use means of selections in rank order.) The majority of free responses
to the question "Please describe how you would use this piece in the classroom"
concerned non-instructional uses such as "background music." Another typical
use listed was to influence student mood and behavior such as "nap time,"
"get them excited," or to "get them ready" [for an activity]. Many respondents
wrote that they would use selections during "free time," "party," or "clean
up." Specific instructional relationships generally were not listed unless
lyrics had obvious connections such as math and science with Counting Up the
Dinosaur [Nashville Children's Choir]. The most frequently mentioned curricular
ties were those relating multicultural selections to "culture," social studies,
or foreign language. In contrast with positive personal preferences for songs
with lyrics related to Bible stories, many responded that these songs could
not be used in the public schools and/or that they would only be appropriate
for use in private schools. Music majors tended to have fewer qualms about
use of songs with sacred texts. The rap example, Give A Man [Arrested Development],
was rated very low for classroom use (M=2.15). Many subjects wrote free-response
comments indicating that they did not consider any form of rap music appropriate
for the elementary classroom. On the other hand, those few subjects expressing
interest in using this music wrote very
17
creative
and appropriate free-response descriptions of how this music could be used
in the classroom. What is the relationship between subjects' stated musical
preferences and their perceptions of classroom use of musical examples from
different musical styles and genres? Comparing mean ratings (on a scale of
1 - 5) for Personal Reaction with mean ratings for Interest in Using in the
Classroom indicated a high level of consistency between music that the students
disliked very much and music that they definitely would not use in the classroom.
The two excerpts ranked lowest over all were Fumon [The Art of the Japanese
Bamboo Flute] (Reaction: M = 1.49; Interest: M = 1.68) and Ancient Ground
[R. Carlos Nakai] (Reaction: M = 1.88; Interest: M = 1.84). In contrast, four
of the five excerpts ranked highest for Personal Reaction (Walk Like an Egyptian
[the Bangles], M = 4.02; Birthday [Beatles], M = 3.90; Violin Sonata [Franck],
M=3.78; Linus & Lucy [Wynton and Ellis Marsalis], M=3.70) differed from
four of the top ranked excerpts for Interest in Using (Counting Up the Dinosaur
[Nashville Children's Choir], M = 4.28; Mister Frog Went A Courtin' [traditional],
M = 4.25; Asi es mi tierra [Esperon], M = 3.89; and Old American Songs [Aaron
Copland], M = 3.84). The only excerpt ranking in the top five on both lists
was Grieg's In the Hall of the Mountain King (from Peer G,ynt), ranking third
for both personal reaction (M=3.87) and interest in classroom use (M=3.87).
Are there any distinct response trends observed for musical style, genre,
or setting (vocal vs. instrumental)? When mean ratings for all instrumental
selections are compared with mean ratings for all vocal selections, a personal
preference for instrumental selections seems to be indicated, particularly
among elementary and early childhood majors. However, when vocal selections
are broken down according to English and non-English examples, we see somewhat
higher personal reactions to vocal selections in English than for instrumental
selections, and consistently lower reactions to vocal selections in languages
other than English. Means indicate higher interest in classroom use for vocal
selections in English over instrumental selections. Non-English vocal selections
received lowest ratings for interest in classroom use. (See Table 3 for a
comparison of mean ratings for instrumental, vocal, vocal/English, and vocal/non-English
selections.) Are there any relationships between response trends and background
variables such as major, musical training or participation in a musical ensemble?
Comparison of group means revealed differences between the way that music
majors and early childhood and elementary majors rated these excerpts. Music
majors generally rated the musical excerpts higher for personal reaction than
did early childhood or elementary majors with only a few exceptions. The music
majors gave lowest ratings for personal reaction in comparison with the other
two groups in only seven cases: three pop/rock examples (Walk Like an Egyptian
[The Bangles], Birthday [Beatles], Lily Was Here [David A. Stewart and Candy
Dulfer]), a country/western example (Coat of Many Colors [Dolly Parton]),
a New-Age selection featuring nature sounds and harp (Musical Sea of Tranquillity
[Chris Valentino]), and two pieces composed specifically for children's education
(a song, Counting Up the Dinosaur [Nashville Children's Choir] and an instrumental
selection, 3/4 Rag [Hap Palmer]). Music majors generally indicated higher
preference for instrumental pieces and pieces from the Western-European classical
tradition. In contrast with the early childhood and elementary majors who
identified examples from popular music as their personal favorites (Birthday,
an instrumental selection from the Beatles, and a pop/rock song, Walk Like
an Egyptian [The Bangles]), the music education majors selected a jazz instrumental
(Linus Lucy) and an orchestral piece (In the Hall of the Mountain King [Grieg])
as their top choices.
18
Music
education majors expressed keener interest in using instrumental selections
in the classroom than elementary or early childhood majors, with Lirtus & Lucy [Wynton Marsalis and Ellis Marsalis] (M=4.4) and In the Hall of the Mountain
King [Grieg] (M=4.35) receiving highest ratings. Music majors more readily
endorsed songs with religious elements in the text for classroom use than
did elementary or early childhood majors. Otherwise, music majors' responses
were fairly consistent with those of elementary and early childhood majors
with a preference for English-language songs. Composed children's songs and
American folk songs received particularly high ratings from all groups. Crosstabulations
were carried out comparing response trends for personal reaction ratings by
students' major. These procedures revealed a number of statistically significant
trends (Pearson chi-square, p < =.05) with music education majors expressing
higher ratings for Pinball Wizard [The Who], El Tirador [Los Mariachis!],
Snake Dance [Traditional Native American], Sakura [Traditional Japanese],
Linus & Lucy [Wynton Marsalis and Ellis Marsalis], Minuet in G [J.S. Bach],
an aria from Madam Butterfly [Placido Domingo], and Swing Low Sweet Chariot
[Albert McNeil Jubilee Singers]. Music education majors had more mixed responses
than other groups to Nnoonya Mwana Wange [Songs and Stories from Uganda],
Atsiagbekor [Teaching the Music of Six Different Cultures], Ancient Ground
[R. Carlos Nakai], and Fumon [The Art of the Japanese Bamboo Flute]. Compared
to elementary and early childhood education majors, music education majors
gave significantly lower ratings for Lily Was Here [David A. Stewart and Candy
Duffer], Chanukah Hayon [Betty Roe Children's Choir], Coat of Many Colors
[Dolly Parton], and Counting Up the Dinosaur [Nashville Children's Choir]
(See Table 4 for significant chi-square statistics for Personal Preference
by Major) Subjects' ratings of the excerpts for classroom use tended to be
more consistent, but a comparison by major did reveal several significant
differences. Music education majors expressed higher interest in using El
Tirador [Los Mariachis!], Snake Dance [Traditional Native American], Sakura
[Traditional Japanese], In the Hall of the Mountain King [Grieg], and Linus
& Lucy [Wynton Marsalis and Ellis Marsalis]. Music education majors' responses
were more mixed than the other groups for Walk Like an Egyptian [The Bangles],
Atsiagbekor [Teaching the Music of Six Different Cultures], Ancient Ground
[R. Carlos Nakai], and the Minuet [J.S. Bach]. (See Table 5 for significant
chi-square statistics for Interest in Classroom Use by Major). Crosstabulations
were also carried out comparing responses of students who reported having
taken some private music lessons with those who had not. Students who had
taken private music lessons tended to rate instrumental pieces and "classical"
pieces (vocal and instrumental) higher for both personal reaction and interest
in classroom use than did students with no private lesson experience. Subjects
having had music lessons expressed significantly higher preference for American
Folk Song Suite [Roy Harris], Violin Sonata [Franck], In the Hall of the Mountain
King [Grieg], Linus & Lucy [Wynton Marsalis and Ellis Marsalis], Madam
Butterfly [Placido Domingo] and Swing Low, Sweet Chariot [Albert McNeil Jubilee
Singers]. Subjects with music lessons expressed keener interest in using American
Folk Song Suite [Roy Harris] and Linus Lucy [Wynton Marsalis and Ellis Marsalis]
in the classroom and lower interest in using Birthday [Beatles], and Coat
of Many Colors [Dolly Parton]. (See Tables 6 and 7 for significant chi-square
statistics for Music Lessons.) Possible relationships between subjects' responses
and ensemble participation were also explored via crosstabulations. Subjects
reporting some type of music ensemble experience gave significantly higher
personal preference ratings for Joshua Fought the Battle of Jerico [Darrell
Bledsoe Singers], and the Violin Sonata [Franck], and higher ratings for classroom
use for Sakura [Traditional Japanese] and American Folk Song Suite [Roy Harris].
(See Tables 8 and 9 for significant chi-square statistics for Ensemble Experience).
19
Discussion
All of the musical excerpts for this study had been screened and selected
by a panel of experienced music teachers and teacher educators as appropriate
for classroom use. However, the 323 education students in this study expressed
strong interest (mean of 3.75 or higher on a scale of 1-5) in using only 6
of the 32 excerpts in their classrooms. Subjects indicated that they "would
not use" (mean < 3) 12 of the 32 excerpts. Brittin's 1996 study of listener
preferences for music of non-western European cultures found no significant
differences attributable to level of music experience. In contrast, the present
study revealed significant differences between responses of students with
music experience (music majors and students having had music lessons and/or
ensemble experience) and students with no music experience. In general, music
majors' rankings of musical excerpts tended to be higher than other education
students. However, music education majors apparently held much uncertainty
as to which music is appropriate for classroom use, indicating that they "would
not use" 13 of the 32 excerpts. Music majors' strong preference for the jazz
excerpt, Linus & Lucy [Wynton Marsalis and Ellis Marsalis], for both personal
preference and classroom use is consistent with Murphy's (1999) findings.
In Murphy's study, American college students enrolled in music theory classes
identified jazz as one of their favorite types of music. Perhaps American
college students relate to jazz as an appropriate bridge between the popular
music favored by their collegiate peers and the Western European art music
emphasized in their college music curriculum. Subjects' low ratings for both
personal reaction and interest in classroom use for vocal, non-English selections
are consistent with Fung's (1994) study of undergraduate non-music majors'
world music preferences in which subjects expressed a significantly higher
degree of preference for instrumental excerpts than for vocal excerpts. Subjects'
comments on the "free response" items suggest high ratings for Interest in
Using may be related to either (a) students' memories of music from their
early education, or (b) selections easily linked to specific classroom uses.
Even when an excerpt was highly liked, if it had not been used in their own
early educational experiences and the content did not directly suggest a classroom
connection, subjects tended give it low rankings for classroom use. Humorous
lyrics and upbeat tempi also seemed to be factors in the Interest in Using
ratings. The five top-rated selections, Counting Up the Dinosaur [Nashville
Children's Choir], Mister Frog Went A-Courtin' [traditional], In the Hall
of the Mountain King [Grieg], Asi es mi tierra [North Texas Hispanic Choir],
and Old American Songs [Aaron Copland] all had bright tempi and offered clear
associations with children. Most students deemed these top-rated selections
appropriate for younger grade levels. Four of the five top-rated selections
for classroom use were songs featuring amusing lyrics and story plots with
sparkling accompaniments. (It is unlikely that most subjects were fluent enough
in Spanish to understand the lyrics of Asi es mi tierra, but since the recording
featured children's voices in a cheerful setting, connections with children
and classroom use were evident.) The only instrumental piece among the top-rated
selections, Greig's In the Hall of the Mountain King, is frequently heard
in cartoons, films, and children's television programs. It is not surprising,
therefore, that these subjects might also associate the Grieg piece with children.
On the other hand, those pieces ranked lowest for Interest in Using, Furrton
[The Art of the Japanese Bamboo Flute] and Ancient Ground [R. Carlos Nakai]
were described by many subjects as being too "dark" or "frightening" for children.
Students tended to recommend these selections for older grade levels. When
an ethnic derivation for the two recordings was indicated, it was usually
incorrect. With the exception of two lively selections from Mexico (Asi es
mi tierra, and El Tirador) subjects in this study generally did not "like"
(i.e., very low ratings for personal reaction) examples from world cultures
outside the United States and were very unsure
20
about
how to use examples of world music in the classroom. Free responses indicate
that most students were able to identify the language and national origin
of Asi es mi tierra and El Tirador with many students giving specific comments
about using these songs to help children learn about Mexican culture. It seems
likely that the two Spanish songs were exceptions because the students were
able to place them within a cultural context and could identify specific classroom
objectives related to the songs. It is also possible that students were more
comfortable with these songs because of the increasing presence and acceptance
of Mexican culture within the United States. These results are consistent
with Fung's (1994) study of world music preference in which he concluded that
undergraduate non-music majors "generally did not like these musical styles"
suggesting that the "world musical styles used in this study were foreign
to this sample of listeners" (p. 54). It seems that this generally was true
for the music education majors in the present study as well as for early childhood
and elementary education majors. This study indicated a relationship between
students' previous music experiences (such as private music lessons and/or
participation in some type of music ensemble) and their ratings for preference
and interest in using some excerpts. Subjects having had lessons and/or ensemble
experience generally gave higher ratings for instrumental and western art
music and lower ratings for popular genres such as pop/rock and country/western.
This may reflect the dichotomy between Western art music and popular music
that Cooper (1993) believes music educators reinforce. These results provide
an interesting contrast with Brittin's (1991) findings in which subjects with
musical experience responded more positively to popular music excerpts than
did other subjects. However, since Brittin's subjects only heard examples
of popular artists representing jazz, rock, rhythm and blues, and pop; caution
must be exercised in comparing her results with the present study. While a
comprehensive examination of participants' precollege music experiences was
beyond the scope of this study, review of the requirements and curriculum
for the Music Education program at the university provides strong evidence
that music education majors participating in this study had benefit of a fairly
extensive background in music. It is reasonable to conclude that this background
and training contributed to the differences observed between music preferences
of the music education majors and the other education students participating
in the study. In spite of these differences, however, the music majors tended
to be much more limited and conservative in their ratings of musical selections
as appropriate for classroom use. One of the most surprising findings of this
study was that high ratings for Personal Preference did not necessarily correspond
with high ratings for Classroom Use. This was particularly true of excerpts
representing popular genres. It seems that while students may have "liked"
many of the popular music excerpts, they were very uncertain about appropriate
ways to use that music in the classroom. These students' reactions seem to
mirror the same controversy and uncertainty about popular music in the classroom
that exists among professional educators (e.g., Cooper, 1991; Cutietta, 1991; Luebke, 1995). At the university where this research was conducted, the music
education program is charged with preparing both "classroom" teachers (elementary
and early childhood education majors) and music specialists (music education
majors) to teach music. Both National Standards and state curriculum guides
mandate that music instruction include a diverse repertoire of musics. If,
however, music teacher educators are to train teachers to use diverse musical
styles and genres in their classrooms, they must offer methods courses which
go far beyond mere "exposure" or "appreciation." Results of this study suggest
that having familiarity with, or even "liking" a musical selection does not
ensure that a preservice teacher is comfortable with the music for classroom
use. Music teacher educators must strive to equip preservice teachers with
specific strategies and instructional contexts for using diverse musical genres
and styles in
21
their
classrooms. Only then, will they feel comfortable in employing a wider variety
of music in their own teaching. Certainly, additional research is needed to
pinpoint the most effective approaches for achieving these goals. References
Apfelstadt, H.
(1989). Do we have to sing? Factors affecting elementary
education majors' attitudes toward singing. UPDATE: Applications
of Research in Music Education. (Fall-Winter): 24-26.
Barry, N.H.
(1992). Music and education in the elementary music methods
class. Journal of Music Teacher Education, 2(1), 16-23.
Brittin, R.V.
(1991). The effect of overtly categorizing music on preference
for popular music styles. Journal of Research in Music Education , 39(2), 143-151.
Brittin, R.V.
(1996). Listeners' preferences for music of other cultures:
Comparing response modes. Journal of Research in Music Education , 44(5), 328-340.
Campbell, P.S.
(1994). Multiculturalism and the raising of music teachers
for the twenty-first century. Journal of Music Teacher Education , 3(2), 21-29.
Chilcoat, G.W.
(1984). History of America: A popular music approach. Phoenix, Arizona: Rocky Mountain Regional Conference . (ERIC Document Reproduction Service No. ED
243 783)
Cooper, B.L.
(1993). Can music students learn anything of value by
investigating popular recordings? International Journal of
Instructional Media, 20 (3), 272-283.
Cutietta, R.A.
(1991, April). Popular music: An ongoing challenge. Music Educators journal, 77(8), 26-29.
Fallis, T.L.
(1996, April). Music appreciation: A living approach. Teaching Music, 3 (5), 32-33.
Fung, C.V.
(1994). Undergraduate non-music majors' world music preference
and multicultural attitudes. Journal of Music Education, 42(1), 45-57.
Gow, J. ( 1996, Summer). Reconsidering gender roles on MTV: Depictions
in the most popular music videos of the early 1990s. Communication
Reports, 9 (2), 152-162.
Kinder, G.
(1987). A survey of the musical activities of classroom
teachers with implications for undergraduate music courses for elementary
education majors. Dissertation Abstracts International 48/07, 1691A. Ann Arbor: University
Microfilms 87-23379.
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(1992, April). Elementary general music: What difference
does it make? An assessment of elementary school musical memories and attitudes
toward music of preservice and inservice classroom teachers. Paper presented at the Music Educator's National Biennial Conference , New Orleans, Louisiana.
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(1991, April). Popular music in your program: Growing
with the times. Music Educators journal, 77 (8), 50-55.
Luebke, S.R.
(1995). In defense of popular music. Paper presented at the Annual Joint Meetings of the Popular Culture/American
Culture Association, Philadelphia, PA, USA,
April 12-15.
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(1994). Popular music in the classroom: Teaching race,
class, and gender with popular culture. Teaching Sociology , 22 (3), 260-65.
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(1999, February). What are you listening to?: Students'
musical tastes and music in theory classes. Paper
presented at the College Music Society Southern Chapter Conference, Orlando, Florida.
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and be able to do in the arts. Reston, VA: MENC.
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& Bridges, M.S.
(1998). Familiarity with basic song repertoire: Music
education/therapy majors versus elementary education majors. Journal of Research in Music Education, 46(4), 461-468.
Reid, W., Jr.
(1997). Popular music in American history. (Revised.) Portland, ME: J. Weston Walch.
Sands, R.M.
(1993). Multicultural music teacher education. Journal
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(EDRS Accession Number ED418915).
22
Volk, T.M.
(1994). Folk musics and increasing diversity in American
music education: 1900-1916. Journal of Research in Music Education , 42(4), 285-305.
Volk, T.M.
(1993). The history and development of multicultural music
education as evidenced in the Music Educators journal, 1967-1992. Journal of Research in Music Education, 41(2), 137-155.
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& Hakanen, E.A.
(1991, Fall). The emotional use of popular music by adolescents . Journalism Quarterly, 68
(3), 445-54.
Discography
Listed in Order of Version 1 of Stimulus Tape
(Vocal, Non-English)
Nnoonya wwana wange. [Recorded by Moses W. Serwadda]. On Songs and stories
from Uganda [Cassette Recording]. World Music Press. (1986) (Vocal, English)
The Who. (1999). Pinball wizard. On Best of The Who [CD]. UNI/MCA.
(Instrumental) El tirador. On Harpole, Patricia, & Fogelquist, Mark,
Los mariachis! An introduction to Mexican mariachi music [Book
with Cassette Recording]. World Music Press. (1989) (Vocal-English) Sternberg.
(1987). Walk like an Egyptian [Recorded by The Bangles]. On Music Connection
[CD] 6th Grade, CD 4, track 1. Silver Burdett Ginn. (1995) (Instrumental)
Atsiagbekor. On George, Luvenia A., Teaching the Music of Six Different
Cultures [Book with Cassette Recording]. World Music Press. (1988) (Instrumental)
Stewart, David A., & Dulfer, Candy. (1997). Lily was Here. On Pure Moods:
Vol. I. Virgin Records America Inc. (Vocal, Non-English) Esperon,
Ignacio Fernandez. (n.d.) Asi es mi tierra [Recorded by the North Texas Hispanic
Choir, Douglas Pummil, Director]. On Music Connection [CD] 6th
Grade, CD 8, track 27. Silver Burdett Ginn. (1995) (Vocal, English) Arrested
Development. (1992). Give a Man. On Music Connection [CD] 6th Grade,
CD 4, track 1. Silver Burdett Ginn. (1995) (Vocal, Non-English) Snake dance.
[Recorded by The American Indian Dance Theater]. On Music Connection [CD]
2nd Grade, CD 2, track 8. Silver Burdett Ginn. (1995) (Vocal,
English) Harris, Roy. When Johnny comes marching home [Recorded by the Amercian
Festival Chorus and Orchestra, Vladimir Golschmann, Conductor]. On Folksong
Symphony [Record 347 SD]. Vanguard Everyman. (1975) (Instrumental) Weevly
wheat [Recorded by the Nashville Children's Choir, Janet Wilson, Director].
On World of Music [CD] 5th Grade, CD5, track 3. Silver Burdett.
(1991) (Vocal, English) Joshua fought the Battle of Jerico [Recorded by the
Darrell Bledsoe Singers, Darrell Bledsoe, Director]. On Music Connection
[CD] 6th Grade, CD 10, track 36. Silver Burdett Ginn. (1995)
(Instrumental) Franck. Sonata for Violin and Piano, Movement 4 [Recorded by
Itzhak Perlman, violin, and Vladimir Ashkenazy, piano]. On Music Connection
[CD] 4th Grade, CD 2, track 26. Silver Burdett Ginn. (1995) (Vocal,
Non-English) Hoyt (Trans.) & Burnett (Arr.). Sakura [Recorded by Sakura
Singers, Douglas Pummill, Director]. On World of Music [CD] 4th
Grade, CD 4, track 16. Silver Burdett. (1991) (Instrumental) The Beatles.
(1968). Birthday. On The Beatles (White Album) [Record]. Capitol.
(Instrumental) ben Avraham (Trans.). Awake! Awake (Achshav) [Recorded by Bledsoe
Children's Voices, Darrell Bledsoe, Director]. On Music Connection [CD] 2
nd Grade, CD 5, track 4. Silver Burdett Ginn. (1995) (Vocal) Mister
frog went a courtin' [Recorded by Guy Penrod, Darrell Bledsoe, and the Nashville
Children's Choir, Janet McMahan-Wilson, Director]. On World of Music [CD]
5th Grade, CD 8, track 4. Silver Burdett. (1991)
23
(Instrumental) Old Dan
Tucker [Recorded by Marty Nelson and the Houston Vocal Edition, Darrell Bledsoe,
Director]. On Music Connection [CD] 6th Grade, CD 10, track 27.
Silver Burdett Ginn. (1995) (Vocal, English) Copland, Aaron. I Bought Me
a Cat [Recorded by the Columbia Symphony Orchestra, Aaron Copland, Conductor,
William Warfield, baritone]. On Old American Songs, Columbia. [Record MS
6497]. (1963) (Instrumental) Greig, Edvard. In the hall of the mountain king
from Peer Gynt Suite No. 1 [Recorded by The New York Philharmonic, Leonard
Bernstein, Conductor]. On World of Music [CD] 7th Grade, CD 5,
track 23. Silver Burdett. (1991) (Vocal, Non-English) Chanukah hayom [Recorded
by Paige Valentine and the Betty Roe Children's Choir, Betty Roe, Director].
On World of Music [CD] Kindergarten, CD 5, track 40. Silver Burdett. (1991)
(Vocal, Non-English) Nakai, R. Carlos. (1991). Ancient ground. On Desert
Dance. Celestial Harmonies Records (Vocal, English) Parton, Dolly. Coat
of many colors. On Music Connection [CD] 6th Grade, CD 4, track
1. Silver Burdett Ginn. (1995) (Instrumental) Debussy, Claude. Clair de lune
[Recorded by Chris Valentino, harp]. On The Musical Sea Of Tranquility
[CD #4539]. Special Music Company. (1996) (Instrumental) Fumon. On The
Art of the Japanese Bamboo Flute [CD]. Legacy International. (Instrumental)
Linus & Lucy {Recorded by Wynton Marsalis and Ellis Marsalis]. On Joe
Cool's Blues [CD]. Columbia. (1995) (Vocal, English) Eddleman. (1991).Counting
up the dinosaur [Recorded by Marty Nelson and the Nashville Children's Choir,
Janet Wilson, Director]. On Music Connection [CD] 2nd Grade, CD
2, track 16. Silver Burdett Ginn. (1995) (Vocal, Non-English) Gar Dance-Creek,
On George, Luvenia A., Teaching the Music of Six Different Cultures [Book
with Cassette Recording]. World Music Press. (1988) (Instrumental) Bach,
Johann Sebastian. Minuet in G from Notebook for Anna Magdalena Bach
[Recorded by William Whitehead, harpsichord]. On Music Connection [CD] 4
TH Grade, CD 1, track 24. Silver Burdett Ginn. (1995) (Instrumental)
Palmer, Hap. (1974). Rag. On The Feel of Music [Record]. Activity Records.
(Vocal, Non-English) Puccini. Madam Butterfly from Act I [Recorded by Placido
Domingo and the Philharmonia Orchestra, Lorin Maazel, Conductor]. On Music
Connection [CD] 6TH Grade, CD 4, track 1. Silver Burdett Ginn.
(1995) (Vocal, English) Swing low, Sweet chariot [Recorded by the Albert
McNeil Jubilee Singers, Albert J. McNeil, Director]. On World of Music [CD],
6th Grade, CD 1, track 25. Silver Burdett. (1991)
About
the Authors
She received her bachelor's degree from Middle Tennessee State University
and was employed in the Rutherford County, Tennessee schools as a music specialist.
She earned the Master's and Ph.D. degrees in Music Education as well as certificates
in Electronic Music and Computers in Music from Florida State University.
Barry currently chairs the College Music Society Mentoring Committee and
is Vice President of the Alabama Music Teachers Association. She is a frequent
contributor at national and international meetings such as College Music
Society, Music Educators National Conference, and American Education Research
Association. Prof. Barry has published numerous articles in journals such
as Arts and Learning, Bulletin of Research in Music Education, Contributions
to Music Education, Journal of Music Teacher Education, Psychology of Music
and UPDATE: Applications of Research in Music Education.
She has a Ph.D. in Music Education and a Certificate in Computers
and Music from Florida State
24
University
(FSU). Teaching experience includes positions as Assistant Professor of Music
Education and Computer Technology Coordinator for the Department of Music
at the University of Texas at San Antonio, graduate assistant at FSU, and
music specialist in the Alabama public schools. Walls chaired the Technological
Directions in Music Education Conference in 1995, 1996, and 1997, and chairs
the 1999 NSMIT. She is a Technology Advisor for the Alabama American Choral
Directors Association and Music Educators National Conference. Prof. Walls
has published articles in journals such as Journal of Research in Music Education,
Journal of Music Therapy, Innovations in Music Teacher Education, Texas Music
Education Research, and Southwestern Musician. Table 1 PERSONAL REACTION TO
THE MUSIC Rank Order of Excerpts by Grand Mean (highest to lowest)
25
Table
2 INTEREST IN USING THE MUSIC IN THE CLASSROOM Rank Order of Excerpts by Grand
Mean (highest to lowest)
Table
3 COMPARISON OF MEAN RATINGS FOR INSTRUMENTAL, ALL VOCAL, VOCAL: ENGLISH,
AND VOCAL: NON-ENGLISH SELECTIONS
N=323
26
Table
4 SIGNIFICANT (p <= .05) PEARSON CHI-SQUARE STATISTICS FOR PERSONAL PREFERENCE
BY COLLEGE MAJOR
~ N=323
Table 5 SIGNIFICANT (p <= .05) PEARSON CHI-SQUARE STATISTICS FOR INTEREST
IN CLASSROOM USE BY COLLEGE MAJOR
N=323
27
Table
6 SIGNIFICANT (p <_ .05) PEARSON CHI-SQUARE STATISTICS FOR PERSONAL PREFERENCE
BY MUSIC LESSONS
N=323
Table 7 SIGNIFICANT (p <= .05) PEARSON CHI-SQUARE STATISTICS FOR INTEREST
IN CLASSROOM USE BY MUSIC LESSONS
N=323
Table 8 SIGNIFICANT (p <= .05) PEARSON C~II-SQUARE STATISTICS FOR PERSONAL
PREFERENCE BY ENSEMBLE EXPERIENCE
-
--- ~--_._--- --....--- ----- N=323 ___ _- _._ ._ _____ - _______ ___ __ _
_ _ Table 9 SIGNIFICANT (p <= .05) PEARSON CHI-SQUARE STATISTICS FOR INTEREST
IN CLASSROOM USE BY ENSEMBLE EXPERIENCE
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The purpose of this study was to obtain preservice teachers' reactions to aural examples of various musical styles and genres. Students (N = 323) enrolled in teacher education courses at a large southeastern university in the United States listened to an audiotape of 32 short musical examples, rating each example for their personal reaction and their interest in using the music in the elementary classroom. Students were also asked to describe how each excerpt could be used in the classroom. Popular music examples tended to be rated highest for personal reaction; instrumental selections from another culture and non-English songs received lowest ratings. In marked contrast with their expressed personal preferences, students were very conservative in their ratings for classroom use, expressing much uncertainty about the appropriateness of popular music and world music in favor of music perceived to be especially for children. Students with music experience gave higher ratings for instrumental and western art music and lower ratings for popular genres compared to students without music experience. The results suggest that having familiarity with, or even "liking" a musical selection does not ensure that a preservice teacher is comfortable with using the music in the classroom. It is recommended that music teacher educators equip preservice teachers with specific strategies and instructional contexts for using diverse musical genres and styles in their classrooms.</abstract><relatedItem type="host"><titleInfo><title>Research studies in music education</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">1321-103X</identifier><identifier type="eISSN">1834-5530</identifier><identifier type="PublisherID">RSM</identifier><identifier type="PublisherID-hwp">sprsm</identifier><part><date>1999</date><detail type="volume"><caption>vol.</caption><number>13</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>13</start><end>27</end></extent></part></relatedItem><identifier type="istex">8B7B77E75682613C4F6A4DCF605BC9783131AD6E</identifier><identifier type="ark">ark:/67375/M70-SV3M53K2-V</identifier><identifier type="DOI">10.1177/1321103X9901300103</identifier><identifier type="ArticleID">10.1177_1321103X9901300103</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/8B7B77E75682613C4F6A4DCF605BC9783131AD6E/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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