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This article, titled "Who Are the Music Teacher Educators? Part 1," discusses the various members of the music education community who contribute to the training of future music teachers. The author explores the roles and challenges faced by different groups, including P-12 music educators, non-music education college and university faculty, and cooperating teachers. The article emphasizes the need for shared understandings and dialogue among these "teacher educators" to effectively prepare preservice teachers. It also highlights the importance of communication, flexibility, and collaboration between music education faculty and other faculty members outside of the music education department. [Extracted from the article]

The purpose of this study was to investigate secondary instrumental music education in rural Mississippi. This descriptive study investigated the experiences, attitudes, beliefs, and perceptions that rural instrumental music educators (N = 58) held about their schools, students, and communities. Furthermore, we examined how participants defined success for their programs, what challenges and rewards they experienced in their positions, and what skills they considered most important for rural music educators. Results indicated that while rural music educators find the musical aspects of their positions rewarding, such as fostering a love of music in their students, they believe that non-musical skills related to teaching were more important than their own musical skills. The three greatest challenges named by participants were limited funding, lack of resources, and little support. Conversely, the most frequently reported reward was student personal growth. Implications for music teacher education are discussed. [ABSTRACT FROM AUTHOR]

The purpose of this self-study was to explore how a college-level vernacular music course might have played a part in shaping inservice music educators' teaching practices. Nineteen music teachers who graduated from the same teacher preparation program completed a 23-item researcher-constructed questionnaire that identified how they viewed, incorporated, and negotiated vernacular music practices in their classrooms. Overall, participants indicated that incorporating vernacular approaches in school music programs was important and that the vernacular music course positively impacted how they conceptualized music teaching. Participants reported including a wide variety of informal learning activities that involved technology, aural learning, and student-directed music projects. Conversely, participants identified time limitations, lack of resources, classroom management, and performance tensions as distinct challenges. Future directions include documenting turning points in students' vernacular learning, monitoring curricular changes in PK–12 music programs, and fortifying preservice music teachers' preparation in multimusical learning. [ABSTRACT FROM AUTHOR]

The purpose of this study was to explore the experiences of Black doctoral students in music education in terms of their motivations to pursue doctoral studies, educational and social experiences while enrolled, and emerging information literacy. Qualitative techniques based on phenomenology were employed to document and better understand the experience of a small, purposive sample of Black doctoral students (n = 14) enrolled at universities throughout the United States. A variety of techniques ensured trustworthiness, including data triangulation, member checking, and use of an external interviewer. After data analysis, four core essences emerged: (a) Familial support and formative experiences during childhood, (b) Overload of information and frustration in conducting research, (c) Prejudice and lack of Black representation in the academy, and (d) Change-oriented motivations beset by barriers to access. Findings revealed commonalities in participants' lived experiences that could inform efforts to recruit and retain Black doctoral students, develop curricula that takes into account their experiences and goals, stem systemic racism, and promote equity and inclusion in the academy. [ABSTRACT FROM AUTHOR]

Lack of relevancy, administrative support, collegial support, and time are just a few of the many barriers that prevent practicing music teachers from accessing relevant professional development (PD) and taking steps to improve their practice. Quality music education PD should help teachers transform practice to improve student learning. Some characteristics of impactful PD include long-term engagement, teacher-to-teacher collaboration, and context-specific classroom implementation and documentation. In this intrinsic case study, we examined the role of a collaborative PD group designed to guide music teachers in using the reflection-on-action cycle to make improvements in their middle-level general music practice. Results from this project suggest that the reflection-on-action cycle is useful for PD projects that focus on improving classroom practice and empowering teachers with autonomy and choice. Teacher-to-teacher collaboration may also support teacher resilience during project difficulties. [ABSTRACT FROM AUTHOR]

The purpose of this study was to consider how the experiences of nine preservice music educators who participated in the development of Project B impacted their understandings of and participation in policy. Project B is an after-school program that seeks to provide music education classes for children at several metropolitan elementary schools as part of an arts partnership program. Drawing from the four dispositions of policy consciousness, I considered how preservice educators grappled with their complex roles as policy actors within this setting. In particular, I focused on the dispositions cultivated by these preservice teachers as they developed this program, as well as the ways in which participating in the creation of this program impacted how they engaged as policy actors and leaders as inservice music educators. Participants' experiences offer implications related to the importance of participating in contextualized policy-oriented experiences for preservice music educators. [ABSTRACT FROM AUTHOR]

This collective case study aimed to explore the various expected roles for parents of preschool children in group music lessons in the Klang Valley of West Malaysia, the area located around Kuala Lumpur. We collected data by conducting two semi-structured interviews with 10 parents and three teachers of three preschool group music classes. Four broad themes emerged. Participants viewed parents as playing the roles of supporters, practice supervisors, role models, and consumers. We propose that a flexible understanding of role is essential in crafting meaningful relationships between parents and teachers and suggest the approaches that might assist future music educators to develop such a perception. [ABSTRACT FROM AUTHOR]

The purpose of this study was to examine music education faculty members' perceptions of admissions and selection criteria for entering master's students in music education degree programs. Using multistage sampling, we distributed a questionnaire to music education faculty at National Association of Schools of Music (NASM)-accredited institutions in the United States that offered master's degrees in music education. Results indicated that music education faculty were involved in most admission decisions, and that transcripts, interviews, and letters of recommendation were the most common materials submitted for review. In response to open-ended questions, participants reported that their admission decisions are usually determined by four criteria: academic skills, demonstration of potential as a graduate student, demonstration of teaching ability, and less measurable indicators. This exploration of the admissions and selection criteria that music education faculty use when making admission decisions provides music teacher educators a greater understanding of this important transition point. [ABSTRACT FROM AUTHOR]

Music teachers commonly lack basic awareness of and skill in navigating various education policy areas. One explanation for this lack of policy acumen is the general absence of policy content within the preservice music teacher curriculum. While music teacher educators have primary responsibility for curricular decisions, music education program leaders and music school administrators who regularly operate within policy realms might be expected to indirectly influence policy integration as part of undergraduate and graduate music education courses. To test this theory, we surveyed administrators who influence and finalize these curricular decisions. Respondents tended to have modest policy dispositions, which was consistent with similar work done with different populations and stakeholders. Given this finding, we provide suggestions to help garner more interest in policy among music teacher educators and administrators in an attempt to make the topic more germane to both pre- and inservice music teachers. [ABSTRACT FROM AUTHOR]

The purpose of this study was to explore the experiences of preservice minority music teachers at Minority Serving Institutions (MSIs). Six undergraduate music education majors at two MSIs classified as Historically Black Colleges & Universities (HBCUs) completed field observations as a part of their music education requirements. I conducted individual interviews with each participant to uncover how preservice music teachers who attend MSIs describe their experiences as they matriculate through a music education program. Data were analyzed and coded to generate three themes: (a) stressful demands of the music education major, (b) immersion in school settings develops confidence, and (c) critical faculty mentoring and peer support. The experiences of preservice music teachers at MSIs are shared along with implications and recommendations for future research. [ABSTRACT FROM AUTHOR]

The purpose of this study was to examine the psychometric quality of Educative Teacher Performance Assessment (edTPA) scores for 136 preservice music teachers at a Midwest university. I addressed the factor structure of the edTPA for music education, the extent to which the edTPA fits the one- and three-factor a priori models proposed by the test authors, and the reliability of edTPA scores awarded to music education students. Factor analysis did not support the a priori one-factor model around teacher readiness, or the three-factor model based on the edTPA tasks of Planning, Instruction, and Assessment. Internal consistency was acceptable for all rubrics together and for the Instruction task. However, estimates of interrater reliability fell substantially below those reported by test administrators. These findings indicate the need for revision of the edTPA for music education and call into question its continued use among music teacher candidates in its current form. [ABSTRACT FROM AUTHOR]

Are the negative trends related to teacher education program enrollment and completion also evident for I music i teacher education programs? Pondering Recent Enrollment and Completion Trends for Teacher Education Programs Moreover, during the past decade, there has been a 35% decline in the number of people completing traditional teacher preparation programs - programs that still supply the vast majority of teachers for American schools. [Extracted from the article]

In the late 1990s, one of my University of Colorado music education colleagues and I began conversing about the lack of racial/ethnic diversity within our student body and the music education profession writ large. Depending on the nature of their school music program and personal economic circumstances, our outreach program attendees may not have experienced music education in a way that motivated them to consider a music career. The situation appears no better within music teacher education, with an estimated 80% of prospective music education majors ([12]) and 86% of music teacher licensure candidates identifying as White ([6]). [Extracted from the article]

The purpose of this narrative inquiry was to explore the story of a secondary ensemble teacher who experienced burnout and chose to remain in the profession. Eleanor and I met for three semistructured interviews and two observations. I used Clandinin and Connelly's three-dimensional inquiry space as a framework for this study. Narrative analysis revealed that Eleanor experienced symptoms of burnout during a first teaching position that was a poor fit for her. Her passion and enthusiasm for teaching were reignited during a period of long-term music substitute teaching in a successful program surrounded by a supportive community. The importance of recognizing burnout, finding support systems, and identifying hegemonic assumptions about teaching emerged as critical points in Eleanor's narrative. This arc became visible through narratively coding the field texts, and thoroughly reviewing data obtained from interviews and observations. [ABSTRACT FROM AUTHOR]

Music educators must meet the needs of students with diverse characteristics, including but not limited to cultural backgrounds, musical abilities and interests, and physical, behavioral, social, and cognitive functioning. Music education programs may not systematically prepare preservice teachers or potential music teacher educators for this reality. The purpose of this study was to examine how music teacher education programs prepare undergraduate and graduate students to structure inclusive and responsive experiences for diverse learners. We replicated and expanded Salvador's study by including graduate student preparation, incorporating additional facets of human diversity, and contacting all institutions accredited by National Association of Schools of Music to prepare music educators. According to our respondents, integrated instruction focused on diverse learners was more commonly part of undergraduate coursework than graduate coursework. We used quantitative and qualitative analysis to describe course offerings and content integration. [ABSTRACT FROM AUTHOR]

I investigated how preservice instrumental music teachers understand and describe their teacher identity through the use of metaphor in a one-semester instrumental methods course emphasizing authentic context learning. Twenty-five third-year instrumental methods course music education students created a personal metaphor to explore their professional identity construction. Preservice teacher metaphors were revisited throughout the semester, while students participated in an authentic context learning experience in an urban instrumental music classroom. Data sources included student artifacts, informal interviews, and observation/field notes. The impact of teaching within an authentic learning context appears to enrich the ways in which preservice teachers are able to articulate details of their metaphor descriptions. Through their reflections across the semester, preservice teachers demonstrated how personal metaphors were used to restructure their understandings of teacher identity and capture some of the complexities of becoming teachers. [ABSTRACT FROM AUTHOR]

Generational labels such as digital native and the "net" generation may obscure the gap that exists between preservice music teachers' personal uses of technology and how they will use technology professionally. The study's purpose was to examine preservice music teachers' personal use of technology, views toward technology in music teaching and learning, and experience with music technology. We distributed an online survey to collegiate members of the National Association for Music Education, with 360 undergraduate students providing responses. Participants reported using technology for a variety of purposes on a daily basis, but mostly in passive ways. Preservice music teachers were most comfortable using music technology common to undergraduate music curricula and less familiar with technology used in K–12 music classrooms. Skilled use of music technology in music teaching and learning situations requires meaningful and intentional facilitation in music teacher education curricula. [ABSTRACT FROM AUTHOR]

We examined the experiences of 95 lesbian, gay, bisexual, transgender, and queer (LGBTQ+) music education majors, along with 39 heterosexual allies, who were student members of the Texas Music Educators Association. Participants addressed curricular practices and institutional factors that lend themselves to LGBTQ+ inclusion and safety among students, faculty, and staff. We collected data through an anonymous online survey, which included questions related to LGBTQ+ students' experiences in their programs and across campuses. Five students participated in follow-up interviews designed to provide more in-depth information about their classroom experiences and campus-level actions taken to promote systemic change. Through multivariate analyses, as well as content analysis of the qualitative data, we found that although preservice music teachers in Texas feel accepted and supported in their music teacher education programs, they are entering the field feeling underprepared to address LGBTQ+ issues and support students who identify as such. [ABSTRACT FROM AUTHOR]

The primary purpose of this article was to establish the current state of mental health among music education majors. Music education majors across the United States (N = 1137) self-reported indicators of depression, anxiety, and stress. According to the results, music education majors are highly busy, enrolling in an average of 16.5 credit hours (not including zero-credit courses) and rehearsing 9.75 hours a week; a majority of them also work for an average of 13 to 15 hours a week. Participants reported elevated levels of stress, with 57% exhibiting moderate to severe depression and over 70% exhibiting moderate to severe anxiety. We discuss the findings, provide implications for music teacher education, and share suggestions for future research. [ABSTRACT FROM AUTHOR]

The key research question for this qualitative study was as follows: How do program directors in selected schools describe the successes and challenges related to the design of their Master of Music degree in music education? Data sources included website content for 21 NASM-accredited programs and individual interviews with program directors from seven institutions. Program directors outlined several challenges associated with program development, including how to address the practical needs of music teachers in a flexible, accommodating, and efficient manner while maintaining the highest standards for coursework so as to prepare some masters students for the possibility of doctoral work. We discuss major themes in relation to past studies of graduate education in music. [ABSTRACT FROM AUTHOR]

In the fall of 2016, leadership in the Oklahoma Music Educators Association (OkMEA) recognized the need for a formal, music mentorship program for beginning educators. I provide a detailed description of how the mentorship co-chairs, president, immediate past president, and president-elect of OkMEA designed and implemented a statewide music teacher mentorship program. Interviews, documents, and participant survey responses highlighted the rationale for program creation as well as characteristics of program design, recruitment, and implementation that resulted in successes and challenges during the first year. Music teacher educators and music education leaders charged with designing MEA-sponsored mentorship programs in other states should carefully consider how they address participant recruitment, mentor preparation, communication with and among program participants, community-building among beginning teachers, and long-term funding needed for program sustainability. [ABSTRACT FROM AUTHOR]

Shared leadership can positively influence a community of teachers by "reducing teacher isolation and increasing commitment to the common good" ([2], p. 461). Neighborhood governance also describes a kind of flat organization in which the spirit of community is valued and the leadership is distributed. Even more exciting to me is that while those in the formalized leadership positions were tending to the needs of the group, there were many forms of leadership bubbling up within the ASPAs as well - I witnessed shared leadership and neighborhood governance. [Extracted from the article]

The typical undergraduate music education student is focused on developing their musicianship and leadership abilities, professional education competencies, and specific pedagogical expertise. While these are desirable outcomes of a music education degree, music teachers must learn how to effectively interact with a range of policies that will influence how they navigate their professional and private lives. The purpose of this article is to outline and explore mechanisms to engage preservice teachers with educational policies and policy-related practices. We discuss resources for learning about federal and state policies related to education and music education and strategies for interfacing with policymakers. We suggest models that integrate policy topics into existing coursework and new curricular structures that may facilitate the development of "scholar-musicians." Implications of music teacher educators bringing their role as politically active citizens into the classroom and adding political knowledge to the expectations placed on new teachers are considered. [ABSTRACT FROM AUTHOR]

As I was wrapping up my fall teaching term this past December, my social media feed suddenly exploded with responses to an opinion piece published in the I Wall Street Journal i . The author of that piece deliberately insults educator Dr. Jill Biden while trotting out many of the sad sexist tropes and language that women in professional fields are unfortunately familiar with, including addressing her as "kiddo." Clearly there are those who would prefer that Dr. Biden hide her extensive education and experience and just perform an identity of "Mrs. Biden", minimizing herself to a subsidiary role in the same way that I just deliberately referred to the 46th President of the United States as merely "her husband.". [Extracted from the article]

A nationwide sample of undergraduate music education majors (N = 260; 69% completion rate) completed an electronic survey to determine awareness of music and general education policy and advocacy efforts. Students reported concern with the impact of policy on school music programs and their future careers. They were informed about music education policy issues at the state level but less so at national and local levels. Although respondents indicated involvement with professional associations, they rarely or never participated in policy initiatives. Methods courses provided policy information; professional organizations effectively convey policy information to undergraduates. NAfME Collegiate chapters offer music and general education policy-based activities, though many respondents were uninformed of their chapters’ efforts. Students were unfamiliar with key buzzwords, people, and acronyms of present-day education policy. Involving students in educational policy endeavors will equip them with a knowledge base from which to speak and act, securing the future of music education. [ABSTRACT FROM AUTHOR]