Teaching Music in Higher Education


Book Description

With five newly written chapters and sizable additions to nine original chapters, this second edition of Teaching Music in Higher Education provides a welcome update to author Colleen M. Conway's essential guide. In the book's new chapters, Conway offers insights beyond music and cognition including gender identity, sexual identity, and issues of cultural diversity not addressed in the first edition. Conway also covers technology in instructional settings and includes new references and updated student vignettes. Designed for faculty and graduate assistants working with undergraduate music majors as well as non-majors in colleges and universities, the book is designed to fit within a typical 15-week semester. The book's three sections address concerns about undergraduate curricula that meet National Association of School of Music requirements as well as teacher education requirements for music education majors in most states. Part I includes chapters on assessment and grading in music courses; understanding students' cognitive, musical, and identity growth; and syllabus design. Part II focuses on creating a culture for learning; instructional strategies to facilitate active learning; and applied studio teaching. Part III addresses growth in teaching practices for the college music professor and focuses on the job search in higher education, feedback from students, and navigating a career in higher education. The book features highly useful templates including a departmental assessment report, forms for student midterm and final evaluation, a Faculty Activities Report for music professors, and a tenure and promotion materials packet. Each of the three sections of the book makes reference to relevant research from the higher education or learning sciences literature as well as suggestions for further reading in the various topic areas.




Teaching Music in Higher Education


Book Description

"This book is designed for faculty and graduate assistants working with undergraduate music majors as well as non-majors in colleges and universities in the United States. It includes suggestions for designing and organizing music courses (applied music as well as academic classes) and strategies for meeting the developmental needs of the undergraduate student. It addresses concerns about undergraduate curricula that meet National Association of School of Music requirements as well as teacher education requirements for music education majors in most states. A common theme throughout the book is a focus on "learner-centered pedagogy" (Weimer, 2013) or trying to meet students where they are and base instruction on their individual needs. The text also maintains a constant focus on the relationship between teaching and learning and encourages innovative ways for instructors to assess student learning in music courses. Teaching is connected throughout the book to student learning and the lecture model of "teaching as transmission of information" (Bain, 2004) is discouraged. Activities throughout the book ask instructors to focus on what it means to be an effective teacher for music courses. As there is limited research on teaching music in higher education, we have relied on comprehensive texts from the general education field to help provide the research base for our definition of effective teaching (Davis, 2009; Svinicki & McKeachie, 2014)"--




Learning to Teach in Higher Education


Book Description

This bestselling book is a unique introduction to the practice of university teaching and its underlying theory. This new edition has been fully revised and updated in view of the extensive changes which have taken place in higher education over the last decade and includes new material on the higher education context, evaluation and staff development. The first part of the book provides an outline of the experience of teaching and learning from the student's point of view, out of which grows a set of prinicples for effective teaching in higher education. Part two shows how these ideas can enhance educational standards, looking in particular at four key areas facing every teacher in higher education: * Organising the content of undergraduate courses * Selecting teaching methods * Assessing student learning * Evaluating the effectivenesss of teaching. Case studies of exemplary teaching are used throughout to connect ideas to practice and to illustrate how to ensure better student learning. The final part of the book looks in more detail at appraisal, performance indicators, accountability and educational development and training. The book is essential reading for new and experienced lecturers, particularly those following formal programmes in university teaching, such as courses leading to ILT accreditation.




The Art of Teaching Music


Book Description

Opens a conversation about the life and work of the music teacher. The author regards music teaching as interrelated with the rest of lived life, and her themes encompass pedagogical skills as well as matters of character, disposition, value, personality, and musicality. She urges music teachers to think and act artfully.










World Music Pedagogy Volume VII


Book Description

World Music Pedagogy, Volume VII: Teaching World Music in Higher Education addresses a pedagogical pathway of varied strategies for teaching world music in higher education, offering concrete means for diversifying undergraduate studies through world music culture courses. While the first six volumes in this series have detailed theoretical and applied principles of World Music Pedagogy within K-12 public schools and broader communities, this seventh volume is chiefly concerned with infusing culture-rich musical experiences through world music courses at the tertiary level, presenting a compelling argument for the growing need for such perspectives and approaches. These chapters include discussions of the logical trajectories of the framework into world music courses, through which the authors seek to challenge the status quo of lecture-only academic courses in some college and university music programs. Unique to this series, each of these chapters illustrates practical procedures for incorporating the WMP framework into sample classes. However, this volume (like the rest of the series) is not a prescriptive "recipe book" of lesson plans. Rather, it seeks to enrich the conversation surrounding cultural diversity in music through philosophically-rooted, social justice-conscious, and practice-oriented perspectives.




Advanced Musical Performance: Investigations in Higher Education Learning


Book Description

To reach the highest standards of instrumental performance, several years of sustained and focused learning are required. This requires perseverance, commitment and opportunities to learn and practise, often in a collective musical environment. This book brings together a wide range of enlightening current psychological and educational research to offer deeper insights into the mosaic of factors and related experiences that combine to nurture (and sometimes hinder) advanced musical performance. Each of the book's four sections focus on one aspect of music performance and learning: musics in higher education and beyond; musical journeys and educational reflections; performance learning; and developing expertise and professionalism. Although each chapter within its home section offers a particular focus, there is an underlying conception across all the book’s contents of the achievability of advanced musical performance and of the important nurturing role that higher education can play, particularly if policy and practice are evidence-based and draw on the latest international research findings. The narrative offers an insight into the world of advanced musicians, detailing their learning journeys and the processes involved in their quest for the development of expertise and professionalism. It is the first book of its kind to consider performance learning in higher education across a variety of musical genres, including classical, jazz, popular and folk musics. The editors have invited an international community of leading scholars and performance practitioners to contribute to this publication, which draws on meticulous research and critical practice. This collection is an essential resource for all musicians, educators, researchers and policy makers who share our interest in promoting the development of advanced performance skills and professionalism.




World Music Pedagogy, Volume VII: Teaching World Music in Higher Education


Book Description

World Music Pedagogy, Volume VII: Teaching World Music in Higher Education addresses a pedagogical pathway of varied strategies for teaching world music in higher education, offering concrete means for diversifying undergraduate studies through world music culture courses. While the first six volumes in this series have detailed theoretical and applied principles of World Music Pedagogy within K-12 public schools and broader communities, this seventh volume is chiefly concerned with infusing culture-rich musical experiences through world music courses at the tertiary level, presenting a compelling argument for the growing need for such perspectives and approaches. These chapters include discussions of the logical trajectories of the framework into world music courses, through which the authors seek to challenge the status quo of lecture-only academic courses in some college and university music programs. Unique to this series, each of these chapters illustrates practical procedures for incorporating the WMP framework into sample classes. However, this volume (like the rest of the series) is not a prescriptive "recipe book" of lesson plans. Rather, it seeks to enrich the conversation surrounding cultural diversity in music through philosophically-rooted, social justice-conscious, and practice-oriented perspectives.




Teaching and Evaluating Music Performance at University


Book Description

Fresh perspectives on teaching and evaluating music performance in higher education are offered in this book. One-to-one pedagogy and Western art music, once default positions of instrumental teaching, are giving way to a range of approaches that seek to engage with the challenges of the music industry and higher education sector funding models of the twenty-first century. Many of these approaches – formal, informal, semi-autonomous, notated, using improvisation or aleatory principles, incorporating new technology – are discussed here. Chapters also consider the evolution of the student, play as a medium for learning, reflective essay writing, multimodal performance, interactivity and assessment criteria. The contributors to this edited volume are lecturer-practitioners – choristers, instrumentalists, producers and technologists who ground their research in real-life situations. The perspectives extend to the challenges of professional development programs and in several chapters incorporate the experiences of students. Grounded in the latest music education research, the book surveys a contemporary landscape where all types of musical expression are valued; not just those of the conservatory model of decades past. This volume will provide ideas and spark debate for anyone teaching and evaluating music performance in higher education.