MSU RETURNING MATERIALS: PIace in book drop to LJBRAfiJES remove this checkout from ” your record. FINES wil] be charged if book is returned after the date stamped beIow. §3fi¥éfifftzgg— A DESCRIPTIVE STUDY OF COLLEGE LEVEL MUSIC COURSES FOR ELEMENTARY EDUCATION MAJORS AT NASM INSTITUTIONS IN THE WESTERN GREAT LAKES REGION OF THE UNITED STATES by Richard Lee Brown A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY School of Music 1988 ABSTRACT A DESCRIPTIVE STUDY OF COLLEGE LEVEL MUSIC COURSES FOR ELEMENTARY EDUCATION MAJORS AT NASM INSTITUTIONS IN THE WESTERN GREAT LAKES REGION OF THE UNITED STATES BY Richard Lee Brown Many colleges and universities in the United States offer one or more music courses to elementary education majors. The techniques used in teaching these courses are varied. A major limitation of the existing research on this topic is that the information is based on studies of a few institutions. No descriptive data exist that present information concerning various techniques used in teaching these courses at several institutions. The purpose of this study was to determine the nature of music courses for elementary education majors in National Association of Schools of Music member institutions (N=105) in the Western Great Lakes region of the United States, including Ohio, Michigan, Indiana, Illinois, Wisconsin, and Minnesota. The survey technique was determined to be the most effective manner of data-gathering for this descriptive study. A l4-page questionnaire was prepared, piloted, and approved for the purpose of surveying the population Richard Lee Brown identified above. A total of 80 (76.1%) institutions responded to the study. Responses on the questionnaire were treated by computing descriptive statistics using SL-MICRO on an ONSITE XT III (IBM compatible) personal computer. The most striking result from this study was the wide variety of methods and approaches used to teach these courses at the responding institutions. For instance, there were 11 different categories of course offerings identified and 27 different texts used. No definitive method or technique was prevalent among the institutions studied, and no significant relationships existed among any of the course designs or methods of instruction and institution sizes. Most institutions agreed that their courses were considered to be a valuable part of their students' general education and provided their elementary education majors with the knowledge to present at least a minimal musical experience to elementary age children. The general indication from this study is that each institution presented a course to students that was designed to fit that institution's consideration of what a course should offer. A prototype music curriculum for .elementary education majors, based on this research, is included in the study. Copyright by RICHARD LEE BROWN 1988 ACKNOWLEDGMENTS My sincere gratitude is expressed to Dr. Robert Erbes, Chairman of my guidance committee and dissertation supervisor, for his assistance and encouragement throughout my doctoral studies. To committee members Dr. Charles McDermid, Dr. Charles Ruggiero, Dr. Dale Bonge, Dr. Theodore Johnson, and Professor Ethel Armeling, I am appreciative for their many contributions during the completion of my dissertation. A special thank you goes to my wife, Mary, and my sons, Andy and Rob, for their support and love as we all worked together to accomplish this goal. iii TABLE OF CONTENTS Page LIST OF TABLES Vii LIST OF APPENDICES ix Chapter I. Introduction . . . . . . . . . 1 Background of the Study . . . . 1 The Problem and the Subproblems . . 4 Need for the Study . . . . . . 4 Limitations 0 O O O O O O O 5 Assumptions . . . . . . . . 6 Procedures . . . . . . . . . 6 Definitions 0 O O O O O O O 6 Overview . . . . . . . . . 8 II. Review of Related Literature . . . 9 Introduction . . . . . . . . 9 Evaluation of Teaching Success, Prior Music Training, and The Attitude Toward Public School Music of Elementary Education Majors . . . . . . . . . 11 The Use of Videotapes and Observations in the Courses . . l4 Techniques used in Teaching Music Fundamentals Courses . . . . . 16 Separate or Concurrent Instruction of Music Fundamentals Courses . . 22 The Incidence of Successful Music Teaching by Elementary Teachers Who Have Successfully Completed a Music Course as Part of Their Teacher Training . . . . . . 23 Conclusion . . . . . . . . . 24 iv Chapter Page III. Methodology and Procedures . . . . 26 Introduction . . . . . . . . 26 Methods of Institution Selection . 26 Development of the Survey Instrument . . . . . . . . 27 Administration Procedures . . . . 32 Data Analysis . . . . . . . . 34 IV. Presentation of Data . . . . . . 36 Introduction . . . . . . . . 36 Responses from Institutions That Offered Music Courses for Elementary Education Majors . . 36 Responses to Part One of the Questionnaire . . . . . . 37 Responses to Part Two of the Questionnaire . . . . . 40 Responses to Part Three of the Questionnaire . . . . . . 50 Responses to Part Four of the Questionnaire . . . . . . 81 Responses from Institutions That Did Not Offer Music Courses for Elementary Education Majors . . 82 Responses to Part One of the Questionnaire . . . . . 82 Responses to Part Four of the Questionnaire . . . . . . 84 Discussion . . . . . . . 84 V. Summary, Conclusions, and Recommendations . . . . . . . 88 Introduction . . . . . . . . 88 Summary . . . . . . . . . . 88 Methods of Institution Selection . . . . . . . . 88 Development of the Survey Instrument . . . . . . . 89 Administration Procedures . . . 90 Data Analysis . . . . . . . 91 Conclusions . . . . . . . . 91 Prototype Music Curriculum for Elementary Education Majors . . 96 Chapter Page V. (cont.) Recommendations for Further Research . . . . . . . . . 101 Appendices . . . . . . . . . . . . 103 References . . . . . . . . . . . . . 128 vi Table 11. 12. 13. 14. 15. LIST OF TABLES Representation of Responses from Each Individual Regarding Their Belief of Course Requirements . . . Percentages for Emphasis of Various Musical Concepts . . . . . . . Instructional Methods Used in Courses . . . . . . . . . Breakdown of the Specific Numbers and Classifications of the Instructors by Title 0 O I O O O I I O 0 Number of Years Since a Major Review of Curriculum Occurred at the Institution 0 O O O O O O O 0 Credits Awarded for Courses . . . . Number of Sessions per Week That Classes Meet . . . . . . . . . Frequency of Course Offerings . . . Evening Offerings of Courses . . . Length of Time in Minutes per Session That Courses Meet . . . . . . . Number of Sections per Term . . . . Average Number of Students per Section . . . . . . . . . Number of Tests Given Each Term . . Procedures Used to Grade Students . . Grade Classification of Students in Each Section . . . . . . . . vii Page 43 49 53 56 61 63 64 65 66 68 69 70 72 73 75 Table 16. 17. 18. Page Musical Instruments Taught in Courses . . . . . . . . . 77 Methodologies and Approaches to Music Teaching Presented in the course 0 O O O O O O O O O O 78 Special Areas Taught in Courses . . 80 viii LIST OF APPENDICES Appendix Page A. Pilot Test Cover Letter . . . . . 103 B. Initial Mailing Cover Letter . . . 104 C. Survey Instrument . . . . . . . 105 D. Follow up Mailing Cover Letter . . . 119 E. Alphabetical Listing by State of Institutions that Responded to the Study . . . . . . . . . . 120 F. Alphabetical Listing and Frequency of Choice of Texts Used in the courses 0 O O O O O O O O O 124 G. Additional Comments by Respondents . . . . . . . . . 126 ix CHAPTER I Introduction Background of the Study Many colleges and universities in the United States offer one or more music courses to elementary education majors as a requirement for graduation, teacher certification, or as an elective. The techniques used in teaching these courses are varied: some fundamentals courses have an orientation toward music theory or performance skills, while others stress teaching methodology. The techniques used in these courses may range from student viewing of videotapes of music teachers in actual music classes to teaching peers in a laboratory setting or with actual elementary students during a school visit. The number of music courses available for elementary education majors varies from one course to as many as three or more. Textbooks used in these courses may be as diverse as the teaching approaches employed. Some institutions permit students with prior ,music training to waive required music courses, or to substitute other courses for these required courses, allowing students to benefit from previous musical experiences such as private piano lessons or a music theory course in high school. Other institutions make no attempt to evaluate or recognize prior musical experience, even though their students received excellent musical training and exhibit a high degree of musical ability. Extensive research indicates that many individual techniques are used in teaching these courses. Tanner (1982) investigated the effect of prior musical training on the achievement of music skills by elementary education majors. Holz (1978) and Bergman (1974) surveyed the attitudes toward music by elementary education majors participating in a required music class, and Nelson (1980) and Tunks (1973/1974) addressed the use of videotapes as teaching aids in required music courses for elementary education majors. Actual individual teaching methodologies were studied by Wilson (1981), Meyer (1981/1982), Drew (1974) and Dodson (1980), who addressed such techniques as computer-assisted instruction and performance studies for elementary education majors in a required music class. Wollman (1972) even utilized aleatoric .compositional techniques to improve sight-singing skills of elementary education majors in an elective music class. Hudson (1973/1974) studied whether or not music fundamentals and music teaching methodologies should be taught separately or concurrently to elementary education majors. A major limitation of existing research is that the information is based on studies at single institutions. No descriptive data exist that present information concerning various techniques used in teaching a music class to elementary education majors at several institutions. Discussions with instructors of these courses indicate many similarities and differences are apparent among techniques used for teaching music courses to elementary education majors. It is also evident that instructors are interested in learning about how others present music courses to elementary education majors. A study of a large sample of music courses for elementary education majors would document information ranging from teaching techniques to the texts used in this type of course(s). This information could be used in a variety of ways by instructors currently teaching music courses to elementary education majors, or provide models for instructors who may be considering _introducing this course type at their institution. For these reasons the researcher has chosen to undertake a descriptive study of music courses for elementary education majors in NASM institutions in the United States' Western Great Lakes region. The Problem and Subproblems The problem of this study is to determine the nature of music courses for elementary education majors offered by National Association of Schools of Music (NASM) institutions in the Western Great Lakes region of the United States. The subproblems of this study are to: (a) ascertain a description of the various types of courses; (b) determine the design and content of the courses; and (c) develop a questionnaire which provides a concise, thorough examination of the various techniques used in such courses. Need for the Study The need for this study is based on the lack of existing published research concerning comparisons of music courses for elementary education majors. This researcher found only one study from the last 25 years that focuses on this subject. However, an interest in this topic is evident when talking with other college and university (instructors who teach these courses. Also, music courses for elementary education majors are frequently included A.“ in sessions at state and national music education conferences. This is due, at least in part, to the expected growth of the elementary teaching market and subsequent increase in the number of college students deciding to major in elementary education. Stern (1987) reported a renewed interest by undergraduates who chose to major in elementary education and forecast an increasing need for elementary teachers in the late 19808 and early 19905. Gerald (1985) also projected a need for elementary teachers through 1992. Hirschorn (1987) suggested that the trend toward an increase in college enrollment in the late 19805 may be linked to an increased job market involving university training in specific fields. This would include a major in elementary education. It is possible that the effect of recent reform movements may change state teacher certification procedures for elementary education majors. These conditions provided the impetus for pursuing this topic. Limitations The study will be limited to NASM institutions in the Great Lakes region of the United States, and may not be generalized to any population other than the one (studied. Assumptions For the purposes of this study, it is assumed that the questionnaire comprises a viable research tool which will elicit accurate responses from the instructors participating in the study. Procedures Procedures for the study included the design of a survey instrument that contained questions pertinent to music courses for elementary education majors and other supporting materials such as cover letters and instructions for participating institutions. Additional considerations involved determining which institutions would be included in the study, and deciding which statistical procedures would be used in the treatment of data. Definitions For the purposes of this study the following definitions will be considered: NASM institution -- a college or university of varying size that is a current member of the National Association of Schools of Music. Elementary education major -- a college or university student pursuing a bachelor's degree and certification to teach elementary students (K-6th grade) in accordance with requirements of his/her respective institutions and/or states. Required music course -- a music course that is part of a student's required curriculum for completion of a degree program or state teacher certification procedures. Elective music course -- a music course that students are not required to take but may select to take as part of their teacher preparation. Music fundamentals course -- a music course that presents information that emphasizes one or more of the following aspects of music: (a) basic music theory including major and minor scales, key signatures, and other information about the elements of music; (b) basic performance skills on instruments such as piano, guitar, and recorder; or (c) basic information in music history or music literature. Music teaching methodologies course -- a music course that presents specific information including various techniques and approaches used for teaching music to elementary children. Description of required or elective music courses -- information of a general nature concerning music courses for elementary education majors. Design and course content of required or elective music courses -- information of a specific nature concerning music courses for elementary education majors. Overview The remainder of this study comprises four chapters, references, and appendices. Chapter II presents a review of literature describing various studies concerning music courses for elementary education majors. Chapter 111 includes a description of procedures used in the study. Chapter IV consists of an analysis of data, and Chapter V contains a summary, conclusions, and recommendations for further research. The appendices present tables and documents pertinent to the study. CHAPTER I I Review of Related Literature Introduction The review of literature reveals that many approaches are used in teaching music fundamentals and methodologies to elementary education majors. The literature is divided into five areas: (1) the evaluation of teaching success, the effects of prior music training, and the attitude of elementary education majors toward public school music; (2) the use of videotapes and observations in courses; (3) the utilization of different techniques in teaching courses; (4) the separation or amalgamation of instruction of music fundamentals and methods; and (5) the evaluation of music teaching by elementary teachers who have completed a music course as part of their teacher training. The first area provides information that addresses the problem of evaluating the elementary education major in teaching a music class. Prior music training and .success of learning music fundamentals by the elementary education majors are also discussed, and the attitude 10 toward the value of elementary school music training for themselves is considered. The use of videotapes of actual music classes and peer teaching by elementary education majors as evaluation devices is presented in the second area. Changes in music achievement and attitudes toward elementary music training of college students are also considered in relation to the observation of successful music lessons taught by music specialists. Several techniques for teaching music fundamentals and methods courses are discussed in area three. These include: (a) computer-assisted instruction; (b) performance-approach instruction; and (c) creative-approach instruction, including aleatoric composition techniques. Area four reviews the results of a study that determines whether music fundamentals and methodologies courses should be taught separately or concurrently. The final reviews of this chapter contain information about three studies that addressed the success of elementary teachers in teaching music after they completed a music course as part of their teacher training. 11 Evaluation of Teaching Success, Prior Music Training, and The Attitude Toward Public School Music of Elementary Education Majors One problem faced by the instructor of a music methods course for elementary education majors is how to evaluate the teaching success of student enrollees. Wood (1978) addressed this problem in a study at The Ohio State University. Ten elementary education student teachers presented three mini-lessons to fourth-grade general music classes. These lessons, designed by Wood, included: (1) a pretest for the elementary students; (2) instructional objectives for lessons that were taught; (3) suggested teaching strategies; and (4) a posttest for the elementary students. After the lessons were presented by the elementary education majors, a criterion-referenced posttest was administered to the elementary students they were teaching to determine the success of the presentation by the student teachers. The results of the data showed no significant difference (p.> .05) in the teaching success of any of the elementary education majors. Another study investigated the effect that prior musical training had on the achievement of music skills .of elementary education majors. Tanner (1982) tested 227 students enrolled in a required music fundamentals 12 class for elementary education majors. The results, significant at the .05 level, indicated that students with prior music training were superior in learning fundamentals to those who had none. Also, there was some indication that pupils with instrumental training evidenced slightly better achievement in music skills than students with training in choral music. It also appears that students with formal music training prior to college performed more efficiently on music achievement tests than students with no prior training. Results of this study suggest that early music training is essential in the general education of elementary age children and should be used to promote quality music performance in schools and communities. An earlier study by Eby (1969) of the same topic indicated little relation between students' musical backgrounds and their final achievement in a music course for elementary education majors. Additional findings in this study indicated that, although elementary education majors who participated in a music class tended to exhibit a more positive attitude toward the value of music in the elementary schools, this positive attitude did not appear to have any noticeable . effect on the course's final grades. McGlothlin (1970) attempted to determine if ability 13 grouping on the basis of prior music experience had any effect on students' success in a music course for elementary education majors. His findings indicated ability grouping did not result in any significant differences in achievements or grades between students in ability grouped classes and heterogeneous classes. A number of studies surveyed the attitudes toward music of students in elementary education training. Holz (1978) develOped a Personalized System of Instruction (P31) in which each student was provided an individualized course of study for music methods. This involved self-pacing, peer proctors, and frequent quizzes. Instruction on playing a recorder was included as a reward factor. The results indicated a significant difference (p.< .05) in positive performing abilities of the PSI students over those taught by standard procedures. A study by Bergman (1974) measured the attitudes of college students enrolled in a methods block of instruction. The findings showed no significant difference in attitude between subjects in either a block type of instruction or a traditional presentation. A summary of information of the preceding research indicates that it is difficult to evaluate the teaching 14 success of elementary education majors. Prior music training results in superior learning of music fundamentals, but not necessarily superior teaching ability by these students. The type of instruction received by these students had little effect on their attitudes toward music training. The Use of Videotapes and Observations in the Courses Studies were conducted that involved the use of videotapes for the presentation of teaching methodologies to elementary education majors. Nelson (1980) measured the responses of students who viewed videotapes of themselves teaching a five-minute prepared lesson. The researcher used the results to formulate procedures that evaluated the success in learning by elementary education majors. These included: (a) self-observation of videotaped lessons using specific criteria for evaluation, (b) self-observation of videotaped lessons with no guidance, and (c) instructor verbal feedback with no videotaped observation. No significant difference was found in the effectiveness of the three methods compared. Subjects in a similar study by Tunks (1973/1974) included students from twenty-four different music .fundamentals classes for elementary education majors at Michigan State University. Results indicated the use of 15 videotapes had no significant effect on student's final attitudes toward the value of music instruction in the elementary school. One possible contribution to music education from this study was the development of an Attitude Behavioral Scale for Elementary General Music. Holt (1973) used three different instructional groups and a control group of elementary education majors at The Ohio State University to assess the value of observations in music courses for elementary education majors. Training sessions consisted of instruction in teaching methods relative to standard presentation-participation methods (e.g., teacher lectures, students perform), and an observation-discussion method (e.g., students observe the presentation and discuss and evaluate strengths and weaknesses of the presentation). Group one received presentation-participation method instruction and reviewed videotapes of four forty-minute music lessons taught by a music specialist. Group two received only presentation-participation sessions, and group three only observation-discussion lessons. Group four served as a control and received no special treatment. Results indicated no significant difference in the final , achievement between the control group and any of the other groups. 16 A comparison of live and videotaped observations was studied by Kelly (1984/1985), with the conclusion that live and videotaped models were equally effective in demonstrating teaching techniques to prospective elementary teachers. However, observation of either live or videotaped presentations had no measurable effect on either the confidence level or actual teaching ability of students involved in the study. A summary of studies in this area indicated that the use of videotapes by elementary education majors produced no measurable change in attitudes toward elementary music instruction. Also, no measurable increase in teaching ability was evidenced in students who viewed videotapes of themselves or music specialists presenting a music class. Techniques Used in Teaching_Music Fundamentals Courses The use of computer-assisted instruction in music fundamentals for elementary education majors is a relatively new concept and has not been studied extensively. However, Wilson (1981) did address this issue and presented a course-of-study for computer- assisted instruction for elementary education majors. The researcher cited the need for additional studies in .this area to determine both the relative success of such programs and disadvantages and misconceptions about 17 computer-assisted instruction. Jacobsen (1986/1987) involved the use of computer- assisted instruction to teach note names, key signatures, and rhythm examples to elementary education majors. Results indicated that no significant difference existed between music achievement test scores of students using computer-assisted instruction and students not involved in this learning mode. A performance-approach to teaching music fundamentals and methodologies that used musical instruments as reinforcement was another pedagogy utilized for students learning music fundamentals. Meyer (1981/1982) investigated the relative effectiveness of two instructional methods upon sight-singing achievement by elementary education majors. The project involved 121 students enrolled in music fundamentals courses for elementary education majors at the University of Iowa. Students in these courses varied in levels of music experience, and were placed in six homogeneous groups, i.e., two groups with a limited music background, two groups with a moderate background, and two groups with extensive music training prior to enrolling in college. A control group at the (moderate background level received no sight-singing instruction. 18 Students participated in a twelve-week "lesson set" (Meyer's term) that included music fundamentals and sight-singing instruction. Vocal instruction groups received singing instruction using "movable Do" with no instrumental reinforcement. Instrumental-vocal groups received the same singing instruction, and also learned to play the recorder to reinforce singing skills by using a melody instrument. The two sight-singing groups showed greater ability to sight-sing than the control group with no training in sight-singing. However, no significant differences in basic musicality were found between the vocal-only and vocal-instrumental groups at any level. This suggests that both approaches were equally effective in developing subjects' singing skills. Several researchers experimented with creativity-based instruction. Three such studies involved some aspect of the Manhattanville Music Curriculum Program (MMCP) as a model for action learning with elementary education majors. Drew (1974) introduced the MMCP into a music fundamentals discovery-based experience by using a spiral curriculum. A control group included 103 students _ who received a drill-based approach to instruction in music fundamentals. A number of significant differences 19 (p.< .05) were observed in this study between the performance success of students with prior music training and those with none. Although the MMCP course of study increased the performing ability of the experimental groups somewhat, no significant difference occurred between the overall performance of the MMCP groups and the control groups in learning music fundamentals. Daugherty (1977/1978) also implemented the MMCP in a music fundamentals class comprising fourteen students at the University of Illinois at Urbana-Champaign. No control group was included in this study. Results indicated students responded favorably to the MMCP course of study and considered using some aspect of it when teaching in the public schools. However, implementation of the course did not significantly affect students' attitudes toward the value of music in elementary schools. Dodson (1980) compared a creative-comprehensive approach and a performance approach of teaching music fundamentals to determine what effects a creative-comprehensive approach might have on teaching music fundamentals to non-music college majors. The study involved two experimental sections of ten and eleven students respectively, and two control sections 20 of thirteen and sixteen students. Experimental groups were taught music fundamentals that used a drill-based approach of teaching plus MMCP methods to create original compositions. Control groups received only drill-based methods of instruction. At the completion of the study, no significant difference was found in achievement levels of the education majors in learning either music fundamentals or methods. However, the experimental groups did exhibit a somewhat higher level of self-confidence in learning music fundamentals. One study addressed composing original music as a part of teaching music fundamentals and sight-singing skills to elementary education majors. Wollman (1972) tested the effectiveness of aleatoric compositional techniques on sight-singing skills of elementary education majors enrolled in an elective music course. Experimental and control groups of twenty-eight students each were given the Seashore Measures of Musical Talents as a pretest. The Seashore battery includes six tests in the areas of pitch, loudness, rhythm, time, timbre, and tonal memory. Both groups received similar instructions during the semester, but the experimental . group received additional instruction in the form of selected contemporary aleatoric compositional 21 techniques. When the Seashore battery was administered at the completion of the semester, the experimental group exhibited a significant improvement (p.< .05) in only the tonal-memory test. Pfeil (1972) reviewed ideas and experiments dealing with a creativity-based approach of teaching music fundamentals. He subsequently devised a curriculum for a college-level introductory course in music appreciation. His research indicated that students involved in a creativity-based class (a) were more sensitive to the emotional aspects of music and (b) produced more original music than the non-creative classes. But, Pfeil found no significant difference in learning was exhibited by either group as measured in a test devised by the researcher. A comparison of programmed and creative teaching methodologies by Madachy (1978) also showed no significant difference in learning between groups (total N=123). The creative group did, however, show an increased proficiency in using keyboard instruments. Mulligan (1973/1974) presented an instructional design based on the principles of Carl Rogers and Jerome Bruner in a student-centered approach that utilized the . instructor as a facilitator. Grades were minimized, and students were encouraged to choose their own goals and 22 set their own priorities in an informal laboratory setting. The course was considered as effective as any other in reaching final objectives, but no conclusive evidence was found to show that it was any more effective than other methods. Research reviewed in this section concerned various techniques used in teaching music fundamentals to elementary education majors. Although some produced a slight improvement in certain areas of learning, no one technique was found superior in teaching music fundamentals to elementary education majors. Separate or Concurrent Instruction of Music Fundamentals and Methods Hudson (1973/1974) considered whether music fundamentals and teaching methodologies courses should be taught separately or concurrently to elementary education majors. He placed 185 students into six groups. One group of students received combined instruction in music fundamentals and pedagogical methodologies concurrently, while another group of students received instruction sequentially, first in music fundamentals and then in teaching methodologies. The results of the study revealed that the combined approach was better for learning teaching methodologies, and the separate approach was better for learning 23 fundamentals. The overall mean gain for the fundamentals' first approach was statistically significant at a more conservative level (p.< .001) than the overall mean gain for teaching methods (p.< .05). The Incidence of Successful Music Teaching by Elementary Teachers Who Have Successfully Completed a Music Class as Part of Their Teacher Training Three studies addressed the success of elementary teachers in teaching music after completion of a music course as part of their training. Bryson (1982/1983) studied 332 teachers from 31 schools in Mississippi. Her findings indicated that over 90 percent of the teachers had taken a music methods course, and over 65 percent of the teachers felt well- or adequately- prepared to teach some aspects of music learning activity such as singing or music listening to students. However, most musical experiences provided were used to develOp learning skills as they related to the correlation of music to other subjects. Bryson emphasized that music educators were better prepared than classroom teachers to teach music skills to elementary students. A similar study by Smith (1985/1986) involved 435 . elementary teachers in Maryland. Only 20 percent of the teachers in this study were responsible for presenting 24 music instruction to their students. Of this group, there were significant correlations between prior music experience, including positive aspects of college training, and the attitudes of elementary teachers toward teaching music. Goodman (1985/1986) questioned 159 elementary teachers in Ohio regarding their perceptions of their preparedness to teach music. His findings indicated that classroom teachers perceived themselves as being somewhat effective in teaching music. He concluded that music specialists are more effective than classroom teachers in presenting music to elementary students. One additional aspect of his study was that private music instruction helped elementary education majors to be more confident in their presentations of music to elementary students. This indicates a need for more individual music instruction for elementary education majors in a music course. Conclusion The review of research included a variety of approaches used in presenting music fundamentals and methods to elementary education majors. Difficulties in evaluating these students' abilities to impart musical knowledge and techniques exist, and additional studies concerning evaluation are warranted. Approaches used in 25 teaching fundamentals courses are varied, but no approach studied could be considered superior. Videotapes in music classes for elementary education majors provide no significant improvement in the learning of presented materials or teaching ability by elementary education majors. Separation of music fundamentals and methods instruction measurably increases the learning of music fundamentals, but not methods. CHAPTER III Methodology and Procedures Introduction This chapter contains a discussion of institution selection, the develOpment of the survey instrument, procedures for implementation of the study, and the data analysis technique. Methods of Institution Selection Only NASM institutions were selected for this study in order to provide a reasonable sample of institutions with similar acceptable standards of instruction. Initially, the study was to include all NASM institutions in the United States. However, the expense and scope of this size study was considered to be too great. A decision was then made to include only one region of the United States, with the understanding that other regions might be included in subsequent studies. The Western Great Lakes region of the United States was chosen because it is an easily recognizable region in the United States in proximity to Michigan State University and represents a reasonable cross-section of institutions of varying enrollment sizes, 26 27 communities, and educational goals. This geographic area includes a sample of 105 NASM institutions. Development of the Survey Instrument The survey technique is the most effective method of data-gathering for descriptive studies that include a large range of territory or a great number of respondents (Good and Scates, 1954, pp. 606-607). Since this study included 105 institutions in six states, it was determined that a survey was the most appropriate technique to use. A questionnaire was prepared for the purpose of surveying music courses for elementary education majors of the population identified above. Most questions were designed to be multiple choice that could be answered by the placement of an X on the appr0priate space. A few questions, such as identification of textbooks used in the courses or course design, required short written responses. Some questions included a category marked "Other" and asked for a specification of the individual's response. The first step in designing the questionnaire was to produce a list of questions considered pertinent to the study. These questions were transferred to 4 X 6 file cards with one question per card. Cards were categorized into groups that pertained to instructors of 28 the courses, size and type of institutions, and the design of courses. Cards were checked for similarities, duplication of questions, and relevance to the study. Following this procedure, some questions were either eliminated or revised. Cox (1958, pp. 137-139) explained that an effective manner of handling a large number of questions or variables was to divide them into two or three smaller categories of similar types of questions or variables. Good and Scates (1954, p. 618) indicated that categories should be reasonably complete, moderately detailed, and basically non-overlapping. Three categories were identified for the purposes of this study: (1) questions that pertained to demographics of institutions, (2) questions that pertained to descriptions of music courses at institutions, and (3) questions that pertained to the design of music courses at institutions. Cards that contained the questions were sorted into the three categories, and a three-part questionnaire was created. Part One included questions designed to identify types of institutions and classification of instructors that responded to the study, and whether or not institutions offered a music course for elementary education majors. Part Two included questions about the 29 descriptions of the institution's required or elective music courses for elementary education majors. Part Three included questions relevant to the design and content of the institution's music courses for elementary education majors. Questions were placed in logical order within each category, and were again checked for duplication, similarities, and relevance. A draft of the questionnaire was created, with six questions in section one, 13 in section two, and 38 in section three. A Part Four was added that included an opportunity to request an abstract and contained space for additional comments, bringing the total number of questions to 58 and the questionnaire length to 14 pages. At this point in the study, the questionnaire's length became a concern. It was felt by this researcher that some respondents might hesitate to answer a l4-page questionnaire. Good and Scates (1954, p. 615) stated a questionnaire should be short enough so that persons will not reject it completely without even attempting it. However, they also stated that it should include as many pertinent questions as possible. Consideration was given to restructuring the questionnaire so that questions could be included in fewer pages; however, this would have produced a very cluttered format. 30 Babbie (1973, p. 145) stated it is better to have a long questionnaire that is easy to respond to than a short cluttered-looking questionnaire that frustrates or confuses respondents. If the questions are clearly stated and easily answered, respondents will realize the survey instrument may not require a great amount of time to complete. An added bonus is that a longer simple questionnaire will have fewer response errors and require less time for recording data for statistical treatment. With these thoughts in mind, the decision was made to use the 14-page survey in the study. A draft of the questionnaire was presented to the thesis advisor and the staff of six individuals in the Michigan State University (MSU) School of Music who teach a music class for elementary education majors. Suggestions for clarity and relevance were accepted, and the draft was revised and prepared for a pilot mailing. Seven instructors of music courses for elementary education majors at institutions other than MSU were contacted by telephone, and asked to pilot the survey instrument. These institutions will not be identified in this study in order to assure guaranteed confidentiality. Some, but not all, were members of NASM institutions in the Great Lakes Region of the United States. The institutions included in the final 31 study were informed that their participation in the pilot would not be included in the final study, and they would receive the same revised questions mailed to all participants. They agreed to participate in a pilot study. A questionnaire, cover letter (see Appendix A), and self-addressed, postage-paid envelope was mailed to each participant. Returned questionnaires were studied, and several changes and clarifications made in the design and content of the questionnaire. Major changes in questionnaire design included the addition of several categories having to do with the size of institutions being studied, clarification of terminology regarding the type of testing presented in the music course(s), and revision of the question about the number and type of music course(s) offered by institutions that permitted the respondents to describe their course(s) rather than choose from a prepared list. Instructions were also included to allow institutions with more than one course to designate which of their courses pertained to specific questions. Minor changes were made regarding ordering, terminology, and syntax of some questions. Any research at Michigan State University that involves human subjects must be approved by the University Committee on Research Involving Human 32 Subjects (UCRIHS). The finished l4-page questionnaire was presented to the UCRIHS committee, and approved. The questionnaire was then presented to the researcher's thesis committee for final approval, and prepared for mailing. Administration Procedures Institutions designated to receive the questionnaire were determined by first identifying the states to be included in the study, and then by obtaining information on the NASM institutions in those states. States designated as being in the Western Great Lakes region of the United States were Ohio, Michigan, Indiana, Illinois, Wisconsin, and Minnesota. A current listing of NASM institutions in those states was obtained by consulting the 1987 issue of the NASM Directory and locating a current listing of NASM institutions. A total of 106 institutions from the six states in the Western Great Lakes region were identified as members of NASM. The states included the following number of institutions: Ohio (30), Michigan (13), Indiana (14), Illinois (20), Wisconsin (14), and Minnesota (15). The next step was to identify specific individuals to receive questionnaires at the identified institutions. A list of prospective recipients was made 33 by consulting The College Music Society Directory (1987) and choosing individuals considered most likely to be instructors of a music course for elementary education majors. If there was no likely choice, the mailing was addressed to either a music education professor or department head, with the hope that these individuals would forward the questionnaire to the appropriate instructors, as requested in the cover letter. In a further attempt to reach the appropriate individual, the statement "or Instructor of Elementary Music Methods” was also included in the mailing address of each questionnaire. An acceptable response rate for the questionnaire was considered. Obviously, the most desirable response rate would be 100%; since this rarely occurs, a decision concerning a desired and acceptable rate of return was made. Babbie (1973, p. 165) stated that a response rate of at least 50% is adequate for statistical analysis and reporting, a response rate of at least 60% is 399g, and a response rate of 70% or better is considered yegy 322g. The researcher set a desired return rate of 80% for the questionnaire. The initial mailing of the questionnaire was made on April 5, 1988, with each institution receiving a cover letter (Appendix B), a questionnaire (Appendix C), 34 and a self-addressed, postage-paid envelope for reply. A total of 55 institutions responded to the initial mailing. A follow-up mailing was made on April 24, 1988, to institutions not responding to the initial mailing. This follow-up mailing included a different cover letter (Appendix D), a questionnaire, and a self-addressed, postage-paid envelOpe for reply. Twenty-five additional responses were received, for a total number of 80 responses, or a response rate of 75%. As this was more than the 70% return rate listed as very good by Babbie (1973, p.165), this response rate was considered acceptable for the study, and data analysis was performed on the responses. An alphabetical listing by state of institutions responding to the study may be found in Appendix E. Data Analysis Questionnaire responses were treated by computing descriptive statistics using SL-MICRO on an ON-SITE XT III (IBM compatible) personal computer. Statistical procedures included FREQUENCIES on all responses, CROSSTABS (with accompanying Chi-Square tests) on selected responses dealing with comparisons based on the types of institutions or instructors and course presentations, CONDESCRIPTIVE on variables relative to 35 time spent in class and percentages of types of materials offered, and PEARSON CORRELATION on selected questions that dealt with the size of institutions and numbers and types of courses offered. CHAPTER IV Presentation of Data Introduction A total of 70 of the 80 institutions that responded to the study offered one or more music courses hereafter identified as the "course" or "courses” to elementary education majors hereafter identified as the ”student” or "students". The first section of this chapter presents information from these institutions. The second section contains information from the ten responding institutions that do not offer these courses, and the third section presents a discussion concerning similarities and differences among the courses. Responses from Institutions That Offered Music Courses for Elementary Education Majors Data in this section are organized into four parts which correspond to the four parts of the questionnaire (see Appendix C). Responses to Part One of the Questionnaire present responses to questions pertaining to all institutions regardless of whether or not they offered a music course for elementary education majors. 36 37 Responses to Part Two of the Questionnaire includes answers to questions concerning the description of required or elective courses. Responses to Part Three of the Questionnaire addresses the information collected about the course content of required or elective music courses. Responses to Part Four of theguestionnaire provides the number of persons who requested an abstract of the study and presents additional comments made by respondents. In order to facilitate the presentation of data in this section, each question from the questionnaire is stated before responses are discussed. These questions appear as an indented, underlined, lowercase paragraph headings, ending with a period (see 1.1 below). Please note that some questions are paraphrased. Tables also accompany some responses. Responses to Part One of the_Questionnaire The first category of questions was designed to identify the classification of instructors who responded to the study, present the types of institutions involved, and determine whether or not they offered any of the courses to students. 38 1.1 Please identify your institution. The first question involved identification of institutions included in the study. An alphabetical listing of these institutions may be found in Appendix E. 1.2 What title dogyou hold? The title or rank of the individuals who responded to the questionnaire was as follows: Eighteen (25.7%) of the respondents were professors; 24 (34.3%) were associate professors; 18 (25.7%) were assistant professors; 4 (5.7%) were instructors; 1 (1.4%) was considered to be visiting faculty; 1 (1.4%) was adjunct faculty; and 4 (5.7%) were lecturers. None were graduate teaching assistants. 1.3 How many undergraduates are enrolled at your institution? The breakdown of the 70 institutions that offered the courses to students included six classifications. Seven (10%) of the institutions reported 1,000 undergraduates or less. Twenty-three (32.9%) of the groups reported undergraduate student populations between 1,001 and 3,000. Eight (11.4%) were in the 3,001 to 5,000 category, and 10 (14.3%) reported between 5,001 and 10,000 undergraduate students. There were 12 (17.1%) institutions with 10,001 to 20,000 students, and 39 10 (14.3%) institutions enrolled more than 20,000 undergraduate students. 1.4 Are there any music courses specifically designed for elementary education majors at your institution? This section of the chapter presents the responses of the 70 institutions that have these courses. 1.5 What is your Opinion concerning the value of a music course for elementary education majors? In response to this opinion question, none of the respondents replied that the course is unnecessary, 68 (97.1%) believed that a music course should be required of all elementary education majors, and two (2.9%) responded that this type of course should be only offered only as an elective. 1.6 Would you like to see a music course for elementary education majors offered at your institution? Question 1.6 was directed to institutions that did not have these courses, and is not addressed in this section. Responses in Part One indicated a fairly diverse representation of faculty titles and institution sizes. The variety of responses was considered very favorable for presenting an accurate representation of music courses at varying sizes and types of institutions. 40 Responses to Part Two of thegguestionnaire Part Two of the questionnaire contained questions that concerned the general description of required or elective music courses for the students. 2.1 What is/are the number and type/types of music course/courses offered to elementary education majors by your institution? Eleven categories of course offerings for students were identified from the 70 institutions responding to the study. Four (5.7%) of the institutions offered only one course, oriented primarily toward teaching only music fundamentals. One (1.4%) individual indicated that they offered a single course directed toward music teaching methodologies. Twenty-four (34.3%) institutions offered only one course which included both music fundamentals and music teaching methodologies. One (1.4%) institution's curriculum consisted of a single course directed toward the functional use of music in the elementary classroom. Institutions that offered two courses to students included 29 (41.4%) which first presented a music fundamentals course and then a music teaching Inethodologies course. One (1.4%) institution indicated 'that students were offered a basic piano course and then .a course presenting a mixture of music fundamentals and 41 music teaching methodologies. Three (4.3%) institutions presented a music appreciation course followed by a music teaching methodologies course. Two (2.9%) institutions presented both music fundamentals and music teaching methodologies, followed by a second course devoted entirely to additional music teaching methodologies. A similar number presented a music fundamentals course followed by one devoted to teaching elementary education majors the method of integrating music into the general elementary education curriculum. Two (2.9%) institutions offered three courses to students. These courses presented a mixture of music fundamentals, music theory, piano proficiency, and music teaching methodologies in an integrated and sequential manner throughout each course. Two institutions (2.9%) failed to designate the number or design of their courses. Subsequent responses by these institutions were treated as if they offered one course oriented toward a mix of music fundamentals and music teaching methodologies, as based on various responses from their questionnaires. A summary of the number of courses offered by institutions indicated that 32 (45.7%) offered only one course, 36 (51.4%) offered two courses, and two (2.9%) offered a total of three courses. 42 2.2 How many of your institution's courses are required? Information about the number of courses required by institutions showed that 26 (37.1%) required only one course, 35 (50%) required two courses, and one institution (1.4%) required three courses. This indicated that a total of 62 (88.5%) institutions required at least one music course for elementary education majors. 2.3 If a music course is required, how is it required? Of these 70 institutions, 39 (55.7%) were reported as being required for state teacher certification procedures, and 13 (18.6%) were required only by the institution. Five (7.1%) institutions that offered two courses indicated that only one of their courses was required by the state, and the other was required by their institution. One (1.4%) institution that offered three music courses indicated that one was state-required, and the other two were required by the institution. Some discrepancies in these findings appeared upon closer scrutiny. Results of the study indicated that Michigan was the only state of the six included in the study that did not require a music course for elementary education majors. However, this 43 was not indicated in the responses from various institutions. It became evident that some respondents were not sure of state requirements or their institution's requirements regarding the courses. This is indicated by data presented in Table 1. Table 1 Representation of Responses from Each Individual Regarding Their Belief of Course Requirements State Required Required by Not Sure Total by state institution Illinois 4 1 2 8 Indiana 6 1 2 9 Michigan 1 2 5 8 Minnesota 8 3 0 11 Ohio 18 5 0 23 Wisconsin 8 1 3 12 Total 45 13 12 70 44 2.4 How many of your institution's courses are elective? Ten (14.3%) institutions responded that they offered only one elective music course for students, while three (4.3%) offered two such courses, and one (1.4%) offered three elective music courses. 2.5 In your opinion, would elementary education majors benefit from more than one course? Six (8.6%) persons indicated they believed one course was sufficient, 44 (62.9) indicated two courses would be better, and 13 (18.6%) believed that three courses would be more beneficial. Three (4.3%) persons replied the scope of the courses might be more important than the number of courses offered, and one (1.4%) person felt that other elective music courses might supplement the elementary education major's musical training better than an increased number of required music fundamentals or music teaching methodologies courses. Three (4.3%) individuals chose not to answer. 2.6 Is there an evaluation of students' musical abilities for admittance to an elective course? None of the institutions that offered elective music courses presented any type of placement test or entrance requirements for admittance into their courses. 45 2.7 Are there any procedures to waive a required music course at your institution? Thirty-one (44.3%) persons indicated that there were no such procedures to waive a required music course at their institutions. Four (5.7%) stated that a written test was used, and three (4.3%) said that a performance competencies test on a musical instrument was used. Twenty (28.6%) institutions presented a written and performance test to waive a required music course, three (4.8%) allowed the instructor to make the decision, and one (1.4%) permitted students to substitute another music course in place of the required music course. 2.8 If a student is permitted to waive the course, are the course credits awarded to the student, or is the student required to take additional courses? Eighteen (25.7%) of the institutions that permitted students to waive a required course awarded the course credits to the students. Ten (14.3%) did not award the credits, but did not require additional credits in lieu thereof. Two (2.9%) institutions required additional courses outside of the music department, and five (7.1%) respondents indicated that they were not sure if additional credits were required. 46 2.9 In your opinion, should elementary education majors be permitted to waive a required music course? Fourteen (20%) individuals responded in the affirmative to this question, 35 (50%) believed that a waiver should not be permitted, and 16 (22.9%) were undecided. Five (7.1%) persons stated their beliefs that elementary education majors should be permitted to waive a music fundamentals course, but not a music teaching methodologies course. 2.10 In_your opinion, do_you believe that your institution's course presentation is a valuable part of the general education of your elementary education majors? In response to this question, sixty-six (94.3%) persons answered in the affirmative and four (5.7%) were undecided. No respondents answered in the negative. 2.11 In your opinion, do you believe that your institution's course presentations adequately prepare your students to teach music to elementary children? Three (4.3%) individuals indicated that their course presentation was not designed for that purpose, and a similar number indicated that their course or courses did not present sufficient training for music instruction to elementary age children. Fifty-one 47 (72.9%) of the instructors believed their institution's music course or courses prepared elementary education majors to present at least a minimal musical experience to elementary age children, and 13 (18.6%) felt that their institution's graduates could present adequate musical experiences to elementary age children. 2.12 In your Opinion, what musical concepts should a music course for elementary education majors emphasize? Fifty-nine (84.3%) persons indicated that a mix of music fundamentals, consumer-oriented instruction, the learning of children's songs, information pertaining to teaching methodologies, peer teaching situations to build confidence, and a knowledge of curriculum would be best. One (1.4%) individual felt that music fundamentals instruction alone was the most important aspect, while another stressed peer teaching, and three (4.3%) stressed teaching methodologies. Six (8.6%) persons indicated other suggestions such as learning to play instruments, presenting cognitive teaching strategies, elaborating on presentations by music specialists, and integrating music with general education curriculum. 48 2.13 If you indicated that a mix approach was best on question 2.12, please indicate what percentage out of 100 each of the considerations should receive. Results of this question are presented in Table 2, with a listing of the mean and median percentages and standard deviation. It is interesting to note the similarities that exist among the percentages occurring in the first six categories. A brief summary of responses from Part Two reveals that the number of courses offered were fairly evenly divided; nearly half (45.7%) offered one course and slightly more than half (51.4%) offered two courses. Required courses were also fairly evenly distributed, as approximately one-third of the institutions required only one course, and one-half required two courses. Nearly two-thirds (62.9%) of the respondents believed that two courses would be most beneficial to the students. Exactly oneahalf of the 62 institutions that required one or more courses of students did not allow the students to waive the course or courses, while the other 31 institutions provided some manner for waiving courses, with 18 institutions awarding some form of credit to the students. Table 2 Percentages for Emphasis of Various Musical Concepts Types of Mean % Median % Standard Instructions Emphasis Emphasis deviation Music Fundamentals/ and Theory 22.4 20.27 17.95 Consumer-oriented Music Training 9.44 9.71 9.14 Learning Children's Songs and Games 15.07 14.44 11.49 Music Teaching Methodologies 10.58 9.88 9.02 Peer Teaching 12.12 10.03 10.92 Music Curriculum 9.61 9.84 8.42 Other Considerations 5.10 0.29 14.57 Note. Totals will not equal 100% Half of the respondents indicated they believed students should not be permitted to waive the courses, ‘while one-fifth felt that a waiver was permissible, and slightly more than one-fifth were not sure. One out of 50 ten believed that students should be permitted to waive only a music fundamentals course. Nearly all respondents indicated that they believed their course(s) to be a valuable part of the students' general education, with no negative responses. Only four persons indicated that they were not sure. Nearly three-fourths of those who responded believed that their course offered only minimal music training to the students, while nearly one-fifth believed that their students received adequate training. Nearly 85% indicated that a course should emphasize a mixture of many types of instruction and teaching methodologies, with a fairly even distribution of percentages for each method. Responses to Part Three of theguestionnaire The third category of questions concerned the specific design and content of music courses for elementary education majors. Provisions were made for institutions that offered more than one course to indicate which course the responses pertained to by placing a number that indicated the specific course rather than an X in the appropriate space. Since this provision was an option, some persons chose simply to mark responses that pertained to their institution without designating specific courses. Therefore, data 51 in some of the tables, such as Table 3, includes four columns. The first column includes one of the following: (a) responses from an institution that offered only one course; (b) responses that specifically pertain to the first course at an institution that offered more than one course; or (c) the only response given to a question by an institution that offered more than one course. The second column contains only information specifically addressed to the second and/or third course of an institution that offered more than one course. The third column includes only responses that indicated an item or procedure was used in both the first and second/third courses at an institution that offered more than one course. An institution's response to the question appears in only one of the first three columns. The reader will be able to determine whether a procedure was used in the first course, the second course, or both/three courses. The fourth column indicates the total number of institutions that responded to the question. Although this leads to some ambiguity as to the design of specific courses at some institutions that offered more than one course, it does present an accurate record of the types of curricula offered at the institutions, which was the primary purpose of this study. 52 3.1 What instructional methods does your course/courses normally use? The first question of Part Three asked which of a list of instructional methods were used in the courses. Results of this question presented in Table 3 indicated that nearly all institutions (63 of 70) used some form of peer teaching in at least one of their courses, and nineteen of the institutions provided the students with the opportunity to teach music to elementary-age children. 3.2 If students are involved in the actual teaching of a music class, is the experience recorded by videotape or audio tape for later evaluation? Twelve of these institutions recorded the teaching experience on either audio or video tape for later review or evaluation by students. 3.3 Do students observe an actual class of elementary-age children in a music setting as part of their course requirements? Nearly half (34) of the 70 institutions required their students to visit an elementary school to observe a music class. An additional 11 institutions provided videotapes of actual music classes for their students to observe, and six brought a group of elementary age students to the institution for a demonstration lesson. Table 3 53 Instructional Methods Used in Courses First Second Both/All Total Course Course Courses Institutions Methods No. (%) No. (%) No. (%) No. (%) Computers 18 (25.7) -- -- 18 (25.7) Programmed Texts 19 (27.1) 1 (1.4) 1 (1.4) 21 (30) Films or Videotapes 25 (35.7) 7 (10) 1 (1.4) 33 (47.1) Guest Lectures 17 (24.3) 6 (8.6) 2 (2.9) 25 (35.7) Visits to Schools 24 (34.3) 9 (12.6) 1 (1.4) 34 (48.6) Review Sessions 1 (1.4) 14 (20) 4 (5.7) 19 (27.1) Counselling 26 (37.1) 1 (1.4) 12 (17.1) 39 (55.7) Peer Teaching 44 (62.9) 18 (25.7) 1 (1.4) 63 (90) Teaching El. Students 12 (17.1) 7 (10) -- 19 (27.1) Other 8 (11.4) 1 (1.4) -- 9 (12.9) 54 3.4 How many observations are requireduper term or semester? Responses to this question indicated that eight (11.4%) institutions required one observation, a similar number required two observations, five (7.1%) required three observations, two (2.9%) required four observations, and six (8.6%) required six or more observations per term or semester. Thirty-two (45.7%) institutions indicated that they did not require any observations, and nine (12.9%) chose not to answer this question. 3.5 Who is primarily responsible for teaching the course or courses? The teaching in 52 (74.3%) institutions was done by one faculty member only, while three (4.3%) institutions used a team-teaching approach with a graduate student assisting the faculty member. One (1.4) institution used only graduate students to teach the course, and nine (12.9%) used graduate students for some sections and faculty for other sections. A total of 13 (18.6%) institutions used graduate students in some manner in the courses. Five (7.1%) schools indicated that the sole responsibility for teaching the course or courses was a visiting faculty member such as a local public school music teacher. 55 3.6 Specify the number and classification of teachers of these courses at your institution. A breakdown of the total number of instructors listed by classification is found in Table 4. 3.7 If graduate assistants are solely responsible for teaching a section of the course! are they observed or evaluated? Six of the 13 institutions that employed graduate teaching assistants presented an orientation program to these students prior to their teaching a section of the course. Four of these institutions reviewed the grading policies of teaching assistants before grades were recorded and three held weekly meetings between the university faculty member responsible for the course and the teaching assistants. The teaching assistants were periodically observed by university faculty at two of the schools. 3.8 Is it standard procedure within your institution to provide students with an opportunity to present a written evaluation of the course and/or instructor? All (100%) of the institutions responded in the affirmative to this question. Table 4 Breakdown of the Specific Numbers and Classifications of Instructors by Title. Title by highest No. % degree held Faculty with Doctorate 55 35.95 Faculty with Masters 57 37.25 Faculty with Bachelors 3 1.96 Doctoral Student Teaching Asst. 24 15.68 Masters Student Teaching Asst. 14 9.16 Total 153 100.00 57 3.9 Is there a required text for your course/courses? The choice of a specific text for a music course provided the widest variety of responses in the study. This may be attributed to the individuality of instructors who teach the courses. Thirty-one texts were identified as being used by the 68 institutions that reported the use of a required text or texts. Five individuals did not identify their text/texts. Forty-five institutions listed only one required text, 15 required two texts, and three required three texts for the courses. Three institutions that offered only one course required two texts; one institution presented two courses and required three texts; and one institution that had three courses required three texts for its first course and then used all three texts in the subsequent courses. The remainder of the institutions required only one text per course. 3.10 Please identify the text or texts you use. An alphabetical listing of these texts that includes the frequencies of choice by institutions may be found in Appendix F. 58 3.11 Are students required to purchase any other materials such as recorders or record collections? Several institutions required students to purchase various instructional items in addition to a text. Thirty-five (50%) institutions requested that students purchase recorders or song-flutes, and one (1.4%) institution indicated that students must obtain a record collection or cassette tape of required listening materials. One (1.4%) institution required a song collection materials packet, two (2.9%) required unspecified supplementary texts, three (4.3%) required either piano or recorder instruction books, one (1.4%) required rhythm and tonal worksheets, another used a workbook designed for the required text, and one asked students to purchase blank cassette tapes for the purpose of creating a listening lesson. 3.12 Is there a prepared syllabus presented to the class at the beginning of the term or semester? All (100%) institutions indicated that a prepared syllabus was presented to students. 3.13 Who prepares the syllabus? Forty-nine (70%) individuals responded that the syllabus was prepared by either the senior professor supervising the course, or by the only person teaching the course. One (1.4%) individual indicated that a 59 committee of some of the course instructors prepared the syllabus, and 20 (28.6%) persons indicated that all of the teachers of the course were involved in the preparation of the syllabus. 3.14 Is the syllabus revised annually? Fifty-four (77.1%) persons indicated their institution's syllabus was revised annually, and 15 schools (21.4%) did not provide an annual review. One (1.4%) person chose not to answer this question. 3.15 Is there a pre-test measuring musical knowledge of ability or a musical experience questionnaire presented to the students? Sixteen (22.9%) individuals responded that a musical experience questionnaire was administered, and seven (10%) presented a pre-test. Eleven (15.7%) combined a musical experience questionnaire and a pre-test to assess students' musical abilities. 3.16 Is the_pre-test ever given as a post-test? Only two (2.9%) institutions readministered the pre-test as a post-test to evaluate students' progress. 3.17 Are students grouped or_placed in sections on the basis of musical experience or a test score? A total of 57 (81.4%) persons indicated their institution did not group students in any manner. One (1.4%) institution grouped students based on responses 60 on a music experience questionnaire, one (1.4%) grouped students based on a pre-test, and five (7.1%) used both methods for placing students in sections. One school encouraged students to place themselves in a specific section. Five (7.1%) persons chose not to answer the question. 3.18 How long has it been since your institution's elementary education music curriculum has completed what you would consider to be a major revision? Results of this question may be found in Table 5. 3.19 Is there any review of music education curriculum or observation of courses done by the College of Education or department controlling the elementary education majors' curriculum? Replies to this question revealed that 38 (54.3%) institutions provided no review of curriculum or observation of students. Eighteen (25.7%) institutions reported only a review of curriculum, and four (5.7%) indicated that courses were observed. Seven (10%) said that their college or department of education reviewed curriculum and observed courses, and one (1.4%) did not know. Two (2.9%) persons chose not to answer this question. 61 Table 5 Number of Years Since a Major Review of Curriculum Occurred at the Institutions No. of Years No. of Institutions % 1 23 32.9 2 8 11.4 3 10 14.3 4 6 8.6 5 2 2.9 6 or more 17 24.3 Not sure 2 2.9 No response 2 2.9 3.20 Is there any manner of control by the college of education or another department on the elementary education majors' music curriculum? Six (8.6%) reSpondents indicated that a few constraints were placed on the course or courses by another department, and three (4.3%) indicated that curriculum decisions were shared by music education faculty and another department. One (1.4%) institution's curriculum was completely controlled by 62 its education department. 3.21 Are you on a quarter, semester, or trimester system? Eighteen (25.7%) institutions Operated on the quarter system, 45 (65.3%) were on the semester system, four (5.7%) used the trimester system, and two (2.9%) employed a semester-interim-semester design. One (1.4%) chose not to respond to this question. 3.22 How many credits are awarded for each course per term? The number of credits awarded to students in the courses varied from only one to as many as six, with two credits the most frequent response and three credits next. Data in Table 6 present a detailed listing of course credits at institutions that responded to the study. Please note that quarter system credits were not transformed into semester system credits for this study. 3.23 How many sessions per week does each course M Responses to this question indicated that the number of sessions varied from one to five sessions per week. One institution indicated its course met three times per week, but only for half of the term. Table 7 presents information from this question. Table 6 Credits Awarded for Courses 63 First Second Total Course Course Institutions Credits No. (%) NO. (%) NO. (%) 1 2 (2.9) 2 (2.9) 4 (5.7) 2 27 (38.6) 7 (10) 34 (48.6) 3 24 (34.3) 6 (8.6) 30 (42.9) 4 15 (21.4) 2 (2.9) 17 (24.3) 5 1 (1.4) -- l (1.4) 6 —- 2 (2.9) 2 (2.9) 64 Table 7 Number of Sessions per Week That Classes Meet First Second Total Course Course Institutions Sessions NO. (%) NO. (%) NO. (%) 1 6 (8.6) 1 (1.4) 7 (10) 2 22 (31.4) 7 (10) 29 (41.3) 3 26 (37.1) 7 (10) 33 (47.1) 4 13 (18.6) 2 (2.9) 15 (21.4) 3 Times/ for half term 1 (1.9) -- 1 (1.9) 3.24 How Often is the course/courses Offered? There was a variety of designs that concerned the number of times per year a course was Offered. Some institutions presented the course only once per year during a specific term; others presented the course only when it was needed; and a few institutions also presented the course during summer term. Several 65 institutions on the quarter system Offered the course or courses only two of the three terms. Table 8 presents the frequency Of course Offerings. Table 8 Frequency of Course Offerings First Second Total Course Course Institutions Category NO. (%) No. (%) NO. (%) Once per year 17 (24.3) 6 (8.6) 23 (32.9) Every term except Summer 27 (38.6) 4 (5.7 31 (44.3) Every term plus Summer 20 (28.6) 6 (8.6) 26 (37.1) As needed 1 (1.4) -- 1 (1.4) Two Of Three Quarters 4 (5.7) 1 (1.4) 5 (7.1) Two quarters and Summer 1 (1.4) -- 1 (1.4) 66 3.25 Are the course/courses ever Offered in the evening? A question concerning evening Offerings of courses indicated that some institutions presented evening courses every term, others occasionally, and some never. A few institutions Offered evening classes only when necessary. Three persons chose to not respond to this question. Table 9 presents information about evening courses at the 70 schools that participated in the study. Table 9 Evening Offerings of Courses First Second Total Course Course Institutions Category No. (%) No. (%) NO. (%) Never 40 (57.1) 6 (8.6) 46 (65.7) Every term 10 (14.3) 4 (5.7) 14 (20) Sometimes 17 (24.3) -- 17 (24.3) 67 3.26 How many minutes does each session meet? Although there was a wide variety of responses that concerned the length Of time in minutes per session that courses met, a majority (80%) of the sessions were 50 minutes in length. The instance Of courses meeting longer than one hour may be attributed to their meeting only once or twice weekly. Table 10 indicates the length of time that these courses meet each session. 3.27 How many sections Of the same course were Offered per term during the 1986-1987 academic year? Although many institutions (47.1%) offered only one section of a music course per term, some had as many as six or more, and one (1.4%) reported ten sections. Three (4.3%) individuals chose not to answer this question. Table 11 presents a breakdown of the number of sections Offered each term or semester at institutions responding to the study. 3.28 What is the average number of students per section? The average number of students per class was divided into six classifications ranging from 15 or less students, to 41 or more students. Results of this question appear in Table 12. Table 10 Length of Time in Minutes per Session That Courses Meet 68 First Second Total Course Course Institutions Minutes NO. (%) NO. (%) NO. (%) 45 1 (1.4) l (1.4) 2 (2.9) 50 50 (71.4) 6 (8.6) 56 (80) 55 1 (1.4) -- 1 (1.4) 60 5 (7.1) -- 5 (7.1) 65 2 (2.9) -- 2 (2.9) 70 1 (1.4) -- 1 (1.4) 75 3 (4.3) 1 (1.4) 4 (5.7) 90 2 (2.9) 2 (2.9) 4 (5.7) 100 1 (1.4) -- 1 (1.7) 110 1 (1.4) -- 1 (1.4) 120 or more 3 (4.3) -- 3 (4.3) 69 Table 11 Number of Sections per Term First Second Total Course Course Institutions Sections NO. (%) No. (%) No. (%) 1 33 (47.1) 5 (7.1) 38 (54.3) 2 11 (15.7) 6 (8.6) 17 (24.3) 3 8 (1.4) 3 (4.3) 11 (15.7) 4 4 (5.7) 2 (2.9) 6 (8.6) 5 5 (7.1) -- 5 (7.1) 6 or more 6 (8.6) 1 (1.4) 7 (10) Table 12 Average number of Students per Section First Second Total Course Course Institutions Students NO. (%) (%) NO. (%) 15 or less 14 (20) (2.9) 16 (22.9) 16 to 20 12 (17.1) (2.9) 14 (20) 21 to 25 22 (31.4) (8.6) 28 (40) 26 to 30 11 (15.7) (5.7) 15 (21.4) 31 to 40 8 (11.4) (2.9) 10 (14.3) 41 or more 3 (4.3) -- 3 (4.3) 71 3.29 Have you seen an increase in enrollment in your courses during the past three years? Forty-six (65.7%) individuals indicated in the affirmative, and 22 (31.4%) said no. One (1.4%) institution experienced a 10% decrease in enrollment Of music courses, and one (1.4%) chose not to answer. 3.30 What is the percentage of your increase? The percentages of increase ranged from 3% to 100%, with a mean increase of 14.5%, a mode of 14%, and a standard deviation of 21.5. 3.31 How many tests are students required to take per term? Table 13 presents the results of this question, with a range from no tests to as many as five tests per term. Three (4.3%) individuals chose not to answer this question. 3.32 What procedures are used to grade your students? The procedures listed included: (a) writing formal research papers, (b) writing lesson plans, (c) class presentations to peers, (d) designing hand-outs for elementary children, (e) singing performance, (f) instrumental performance, (g) written Observations of children's music classes, and (h) other presentations. Specific results are found in Table 14. Table 13 Number of Tests Given Each Term First Second Total Course Course Institutions NO. of Tests NO. (%) (%) NO. (%) 0 -- (2.9) 2 (2.9) 1 3 (4.3) (2.9) 5 (7.1) 2 14 (20) (10) 21 (30) 3 18 (25.7) (7.1) 23 (32.9) 4 21 (30) -- 21 (30) 5 11 (15.7) (2.9) 13 (18.6) Table 14 73 Procedures Used to Grade Students First Second All/Both Total Course Course Courses Institutions Procedures NO. (%) NO. (%) NO. (%) NO. (%) Research papers 16 (22.9) 2 (2.9) -- 18 (25.7) Lesson plans 43 (61.4) 14 (20) (1.4) 58 (82.9) Presentations to class 47 (67.1) 13 (18.6) (5.7) 64 (91.4) Hand-outs 23 (32.9) 6 (8.6) (2.9) 31 (44.3) Singing performance 35 (50) 3 (4.3) (5.7) 42 (60) Instrumental performance 51 (72.9 4 (5.7) (7.1) 60 (85.7) Observations 21 (30) 8 (11.4) (1.4) 30 (42.9) Tests/quizzes 50 (71.4) 3 (4.3) (11.4) 61 (87.1) Other 9 (12.9) 5 (7.1) -- 14 (20) 74 3.33 DO you use a standardized final exam, or is a new exam created for each term? Responses to this question indicated that 40 (57%) institutions created a new final exam each term, 12 (17.1%) used a standardized test that was periodically reviewed, and four (5.7%) used a standardized test that was rarely revised. Seven (10%) institutions did not administer a final exam, and two (2.0%) provided an Optional standardized exam for its instructional staff. Three (4.3%) institutions indicated the following: (Institution 1) a standardized fundamentals test is used, but not a standardized methods test; (Institution 2) it varies with instructors; and (Institution 3) the students are graded on a performance-based mini-lesson to peers. Two (2.9%) chose not to answer the question. 3.34 Describe your grading system. Responses to this question revealed that 60 (85.7%) institutions used a letter grade system: A, B, C, D, E or F; nine (12.9%) used a numerical system: 4.0, 3.5, 3.0, etc.; and one (1.4%) used a satisfactory-unsatisfactory rating for students. 3.35 75 Describe the grade classification of students in your course/courses. There was a variety of grade classifications reported for these courses. The results, as presented in Table 15, indicated more juniors and seniors than freshmen and SOphomores enrolled in the classes. Table 15 Grade Classification of Students in Each Section First Second Total Course Course Institutions Classification No. (%) No. (%) NO. (%) Fr. & Soph. 14 (20) 1 (1.4) 15 (21.4) Jr. & Sr. 26 (37.1) 11 (15.7) 37 (52.9) Soph. & Jr. 5 (7.1) 1 (1.4) 6 (8.6) Soph., Jr., & Sr. 1 (1.4) -- 1 (1.4) Soph. only 1 (1.4) -- 1 (1.4) Fairly even 11 (15.7) 1 (1.4) 12 (17.1) Will differ 9 (12.9) -- 9 (12.9) Not sure 2 (2.9) -- 2 (2.9) 76 3.36 Which musical instruments are normally taught to or used by students in your course/courses? Nearly all institutions provided instruction on playing autoharp or a similar instrument; most presented instruction on playing tone bells, Orff instruments, rhythm instruments, and singing or voice production techniques. Only slightly more than one-half presented piano instruction, and less than one—fourth discussed electronic pianos or synthesizers. Nearly one-third taught either guitar or ukulele performance skills. Table 16 identifies the various musical instruments that were taught to students in the courses. 3.37 Which teaching methodologies or approaches are normally taught or discussed in your course/courses? The penultimate question in Part Three requested information about the various teaching methodologies or approaches presented to students in the courses. Only three (4.3%) institutions did not present any instruction in these areas. The remainder presented a variety of methodologies and approaches, as demonstrated in Table 17. Table 16 77 Musical Instruments Taught in Courses First Second All/Both Total Course Course Courses Institutions Instruments NO. (%) NO. (%) NO. (%) NO. (%) Autoharp 52 (74.3) 7 (10) 5 (7.1) 64 (91.4) Tone Bells 46 (65.7) 8 (11.4) 4 (5.7) 58 (82.9) Orff Inst. 46 (65.7) 10 (14.3) 4 (5.7) 60 (85.7) Electronic Piano 21 (30) 2 (2.9) 1 (1.4) 24 (34.3) Piano 37 (52.9) 1 (1.4) 1 (1.4) 39 (55.7) Guitar or Ukulele 18 (25.7 2 (2.9) 1 (1.4) 21 (30) Recorder 48 (68.6) 3 (4.3) 3 (4.3) 54 (77.1) Rhythm Inst. 49 (68.6 7 (10) 6 (8.6) 62 (88.6) Vocal/singing techniques 47 (67.1) 6 (8.6) 6 (8.5) 59 (84.3) Others 2 (2.9) -- -- 2 (2.9) 78 Table 17 Methodologies and Approaches to Music Teaching Presented in the Courses First Second All/Both Total Course Course Courses Methodologies/ Institutions Approaches No. (%) NO. (%) No. (%) NO. (%) Listening lessons 45 (64.3) 11 (15.7) 2 (2.9) 58 (82.9) Call charts 31 (44.3) 7 (10) 3 (4.3) 41 (58.6) Children's voices 45 (64.3) 9 (12.9) 3 (4.3) 57 (81.4) Song teaching techniques 51 (72.9) 11 (15.7) 4 (5.7) 66 (94.3) Conducting 35 (50) 4 (5.7) -- 39 (55.7) Kodaly 42 (60) 13 (18.6) 1 (1.4) 56 (80) Orff 44 (62.9) 13 (18.6) 1 (1.4) 58 (82.9) Dalcroze 23 (32.9) 7 (10) 1 (1.4) 31 (44.3) Lesson plan construction 47 (67.1) 14 (20) -- 61 (87.1) Others 11 (15.7) 4 (5.7) -- 15 (21.4) 79 Nearly every institution presented information about teaching songs to young children, problems concerning voice production by young children, lesson plan construction, and music listening lessons. The Kodaly and Orff approaches to music education were fairly equally presented, although fewer than half of the institutions discussed Dalcroze techniques. Almost half of the institutions taught conducting skills, and slightly more than half discussed call charts. 3.38 Which special areas are normally taught or discussed in your course/courses? The final question in Part Three considered special tOpics such as develOpmentally impaired children, or aesthetic music education. Results indicated that only three areas were presented in more than half of the institutions (see Table 18). These included: (1) mainstreaming special students; (2) evaluation Of children's musical abilities; and (3) the musical preferences of young children. Aesthetic music education was discussed at nearly half of the institutions; and slightly more than one-third offered information that concerned music for mentally-impaired students, physically-impaired students, and gifted and talented students. Table 18 80 Special Areas Taught in Courses First Second All/Both Total Course Course Courses Institutions Areas No. (%) No. (%) NO. (%) No. (%) Mentally impaired 21 (30) 5 (7.1) -- 26 (37.1) Physically impaired 21 (30) 5 (7.1) -- 26 (37.1) Mainstreaming 35 (50) 6 (8.6) -- 41 (58.6) Gifted and talented 21 (30) 5 (7.1) -- 26 (37.1) Aesthetic music ed. 26 (37.1) 7 (10) -- 33 (47.1) Musical preference 29 (41.4) 8 (11.4) 1 (1.4) 38 (54.3) Preschool 23 (32.9) 6 (8.6) 1 (1.4) 30 (42.9) Evaluating abilities 32 (45.7) 7 (10) -- 39 (55.7) Other 5 (7.1) -- -- 5 (7.1) 81 Information from Part Three of the questionnaire included an overview of the various methods and approaches used to teach music to students at the institutions that responded to the study. Although each program differed from institution to institution, there were also many similarities, as demonstrated by a comparison of the various tables throughout this section. A general comparison of the programs is discussed in the final chapter of this paper. Responses to Part Four Of thegguestionnaire Part Four of the questionnaire contained three items. The first item provided each respondent the Opportunity to request an abstract of the study; the second item asked for the name and address of the individual to receive the abstract; and the third item contained space for additional comments by the respondents. A total Of 59 (84.3%) individuals requested an abstract of the study. Their identities will not be revealed, as confidentiality was guaranteed. Fifteen (21.4) individuals chose to provide additional comments at the end of the questionnaire. Some of these responses are provided in Appendix G. 82 Responses from Institutions That Did Not Offer Music Courses for Elementary Education Majors Individuals were requested to answer Part One of the questionnaire even if their institutions did not Offer music courses for elementary education majors. Ten of the 80 institutions that responded to the study were in this category. Their responses are presented in this section. Responses to Part One Of the Questionnaire This category Of questions was designed to identify the classification of instructors who responded to the study, present the types of institutions involved, and determine whether or not they Offered any courses. 1.1 Please Identify your institution. The first question involved the identification of the institutions included in the study. An alphabetical listing of these institutions may be found with the list of institutions Offering courses in Appendix E. 1.2 What title do your hold? The titles of individuals from institutions that did not offer courses follows: Two (20%) were associate professors; three (30%) were assistant professors; one (10%) was an instructor; one (10%) was considered to be adjunct faculty; and three (30%) did not indicate their titles in the response. 83 1.3 How many undergraduates are enrolled at your institution? The institution's sizes included one (10%) with less than 1,000 undergraduates, four (40%) in the 3,001 to 5,000 students range, and one (10%) in the 5,001 to 10,000 students range. Four (40%) individuals did not indicate their institution's size. 1.4 Are there any music courses specifically designed for elementary education majors at your institution? This section of the chapter presents the responses of the 10 institutions that do not have these courses. 1.5 What is your Opinion concerning the value of a music course for elementary education majors? In response to this Opinion question, one (10%) person indicated such a course was unnecessary, five (50%) believed the course should be required, and one (10%) said the course should be elective. Three (30%) persons did not answer the question. 1.6 Would you like to see a music course for elementary education majors Offered at your institution? This question, directed specifically to the institutions that did not offer a course, revealed that two (20%) individuals answered in the affirmative and a similar number answered in the negative. Six (60%) 84 individuals indicated that there were no elementary education majors at their institution, and therefore no course was needed. Responses to Part Four of thegQuestionnaire. Part Four of the questionnaire contained three items. The first item provided the respondents the Opportunity to request an abstract of the study; the second item asked for the name and address of the individual to receive the abstract; and the third item contained space for additional comments by the respondents. Persons whose institutions did not offer music courses to students were given the Opportunity to request an abstract and provide additional comments. One (10%) individual requested an abstract of the study, and two (20%) individuals provided additional comments. Discussion The main point which comes out of this study is the fact that there are many different ways to teach music courses to elementary education majors. No definitive method or technique is prevalent among the institutions studied. In fact, variety rather than conformity seems to be the rule. A series of cross-tabulations, Pearson Correlations, and Chi-Square tests were made on various 85 factors to establish any consistencies. These treatments are discussed in this section of the chapter. A cross-tabulation (CROSSTABS) was made between the title of the person responsible for the course and the size of the institution Offering the course. A Chi-Square test revealed no significance between the size of the institution and the title of the person teaching the course other than the Obvious fact that there were few teaching assistants at the smaller institutions. Two comparisons were considered that involved the specific course designs at each institution. A CROSSTABS between the design Of the courses and various instructional methods used at the institutions indicated no significant relationships existed between the course designs and methods of instruction as found by the use Of a Chi-Square test. Nor was there any significant relationship between the design of the courses and student's grade level classifications involved in the course or courses. Although there were more juniors than any other classification, their enrollment in the courses did not exhibit any specific pattern. A comparison of the size of the institutions and how often the courses were offered failed to produce any significant interactions. 86 Although one might believe that the size of the school would have an influence on the number Of students in a course, this was not found to be so. A CROSSTABS and Chi-Square test on these relationships indicated no significant interactions. A surprising discovery was the lack of a significant relationship between the size of the school and the number of course sections Offered each term or semester. One would tend to assume that the larger institutions would probably have more sections of a course than the smaller schools. Although the smallest institutions Offered only one section per term, the larger institutions provided a wide variety of responses to this question. A similar lack of relationship was evidenced in a CROSSTABS and Chi-Square test that compared the increase in enrollment at institutions Of varying sizes. Results indicated that enrollment increases were fairly consistent in those institutions studied. The lack of any significant results Of Pearson Correlations, Chi-Square tests, or any other comparisons in responses to the questionnaire emphasized the wide variety of techniques and approaches used by all the institutions as they present these courses to students. Similarities existed in many of the methods or approaches to the courses, but these similarities cannot 87 be attributed to the size of the institutions or the design of the courses. In fact, results of this study indicated that the size of the school had very little influence on the design of the course or courses. The general indication is that each institution presented a course to students designed to fit that institution's consideration of what a course should Offer. The similarities and differences of these courses were outlined in this chapter without any value judgement added. It is left to the reader to make any decisions as to the desirability of any one design or approach over any others. CHAPTER V Summary, Conclusions, and Recommendations Introduction The final chapter of this study includes a review of the purpose of the study, the procedure followed, conclusions, a prototype music curriculum for elementary education majors based on responses to the questionnaire, and recommendations for further research. Summary The purpose of this study was to determine the nature of music courses for elementary education majors at NASM institutions in the Western Great Lakes region of the United States. Methods of Institution Selection This region was chosen because it was an easily recognizable region in the United States in proximity to Michigan State University, and it represented a reasonable cross-section of institutions of varying enrollment sizes, communities, and educational goals. The states designated part Of this region were Ohio, Michigan, Indiana, Illinois, Wisconsin, and Minnesota, and included a sample of 105 institutions. 88 89 Development of the Survey Instrument The survey technique was determined the most effective manner of data-gathering for this descriptive study. A questionnaire was prepared for the purpose of surveying music courses for elementary education majors of the population identified above. The questionnaire, divided into four parts, included: (1) questions designed to identify types of institutions, data on the instructors responding to the study, and whether or not the institutions offered a music course for elementary education majors; (2) questions that concerned descriptions of the institution's required or elective music courses for elementary education majors; (3) questions relevant to the design and content of the institution's music courses for elementary education majors; and (4) an Opportunity to request an abstract that contained space for additional comments by those who responded to the study. A draft Of the questionnaire was presented to the thesis advisor and the staff Of six individuals in the Michigan State University (MSU) School of Music who teach a music class for elementary education majors. Suggestions for clarity and relevance were accepted, and the draft was revised and prepared for a pilot mailing to seven instructors of music courses for elementary . r f L) - '7 90 education majors at institutions other than MSU. The returned questionnaires were studied, and several changes and clarifications were made in its design and content. The finished 14-page questionnaire was presented to the University Committee on Research Involving Human Subjects (UCRIHS) and approved. The questionnaire was then presented to the researcher's thesis committee for final approval, and prepared for mailing. Administration Procedures Institutions designated to receive the questionnaire were determined by consulting the NASM Directory (1987) and locating a current listing of NASM institutions in the identified states. A list of prospective recipients was made by consulting The College Music Society Directory (1987) and choosing individuals considered most likely to be instructors of a music course for elementary education majors. The initial mailing of the survey instrument occurred on April 5, 1988, with a return Of 55 questionnaires. A follow-up mailing on April 24, 1988, provided 25 additional replies for a total Of 80 :returns. This response rate of over 75% was considered acceptable for the study, and data analysis was performed on the responses. \/.'\ N 91 Data Analysis Responses on the questionnaire were treated by computing descriptive statistics using SL-MICRO on an ON-SITE XT III (IBM compatible) personal computer. Statistical procedures included FREQUENCIES on all responses; CROSSTABS (with accompanying Chi-Square tests) on selected responses that concerned comparisons based on the types Of institutions or instructors and course presentations; CONDESCRIPTIVE on variables relative to time spent in class and percentages of types of materials Offered; and PEARSON CORRELATION on selected questions that dealt with the size of institutions and numbers and types of courses offered. Conclusions The most striking result from this study was the discovery of a wide variety Of methods and approaches used to teach a music course(s) for elementary education majors at the institutions that participated. Of the 70 institutions that Offered a course(s), no two were identical, and yet, many similarities were presented. Although there were 11 different categories of course Offerings, fully 97% of those who responded stated they believed two courses were better than one. Other points most of the respondents agreed upon were that the courses presented were considered a valuable 92 part Of their students' general education; and the courses provided elementary education majors with the knowledge to present at least a minimal musical experience to elementary age children. Several discoveries were considered to be of special interest to the researcher. One was the variety of texts (27) used in the course. An earlier study by the researcher (Brown 1985) reviewed 24 texts that could be used to teach the course. Only seven of those texts were used by institutions in this study. This presented the researcher with 20 additional texts that could be used in this type of class. Of further interest was the fact that six institutions developed their own text or extended syllabus for their course, and there were 14 different texts used at one institution alone. It would be interesting to review the 20 texts and six original materials not included in the earlier study. The indication that nearly 80% of the institutions did not group students by musical ability or prior training was considered unusual. Part Of the reason for this was that 38 institutions offered only one section of a course per term or semester and the grouping of students might not be practical, although six of these institutions did group students. In fact, only five Of the 32 institutions that Offered more than one section 93 per term grouped their students by ability or experience. Thus, more of the single-session institutions grouped students than did the multiple-session institutions. This point could be researched further by interviewing the respondents to discover their preferences. Several considerations that concerned the approaches used in presenting the courses to students merit some discussion. For instance, 90% of the institutions involved their students in peer-teaching and song-teaching techniques. This high percentage was somewhat of a surprise, although the value of peer- teaching to increase students' confidence to teach music is certainly understood. It was also interesting to note that nearly one-half of the institutions required their students to visit elementary schools and observe actual music classes. Part of the reason for this was the requirements in Ohio and other states for "field experience” by students. Another notable discovery was that most courses met either two or three times per week for 50-minute sessions. Most schools Offered either one course which presented a fairly equal mix of music fundamentals and music teaching methodologies, or two courses, the first a music fundamentals course, and the second a music 94 teaching methodologies course. Most students in these courses were either juniors or seniors. In addition, two-thirds Of the institutions have shown an increase in the number of students enrolled in the courses, with a mean increase of nearly 15% in the last two years. This researcher believes there are two instructional procedures for the courses that require more consideration. The first is the use of computer assisted instruction in the presentation of music fundamentals to elementary education majors, and the second is the use Of electronic keyboards in elementary classrooms. Computer technology has advanced at an astounding rate in today's world. Music educators should familiarize themselves with the use Of personal computers and synthesized keyboards in the presentation of music to students. However, only 18 (25.7%) of the institutions used computers in the classes and only 24 (34.3%) provided instruction about the use of synthesizers or electronic keyboards. Computer assisted instruction could provide a valuable addition to the teaching Of music fundamentals to students by presenting additional drill and response practice to aid students in understanding music. A good program frees valuable class time spent in review and 95 practice of fundamentals, and allows more time for either teaching methodologies or enrichment lessons. It also provides students who are unsure about certain aspects of music fundamentals a chance to reinforce their training. Instruction in the use of synthesized keyboards could also enhance the musical training of students. Although more than 80% of the institutions taught students how to play autoharp as part of the course instruction, fewer than one-third presented information about the use of electronic keyboards in music classes. The modern electronic keyboards offer the same ease of playing chord progressions to provide accompaniment to songs as the autoharp. However, the electronic keyboards have added advantages such as embellished chordal accompaniment patterns, added rhythm accompaniments, and the ability to play melodic lines as well as harmonic accompaniments. The procedures for using these instruments are not very complicated, and could easily be taught to students as part of their course work. Also, most of these instruments come with a headphone attachment that enables them to be played without annoying persons nearby. This would allow these instruments to be included in a music enrichment area in a classroom and permit students to experiment with 96 various sounds and rhythms without disturbing class members as they worked on other projects. The cost of these electronic keyboards are quite reasonable. It is this researcher's Opinion that instruction on electronic keyboards would provide the students with a valuable tool for teaching music to elementary age children. One final aspect of this study considered significant was the request for an abstract by nearly 85% of the respondents. This indicated a serious interest in the subject by individuals who teach music courses to elementary education majors. Prototype Music Curriculum For Elementary Education Majors The following is a prototype music curriculum for elementary education majors based on a compilation of responses from the questionnaire and the Opinion Of the researcher. Although this prototype reflects a majority Of choices by teachers Of these courses, it is not intended to imply this is an ideal or even practical design of music courses for elementary education majors at specific institutions. The prototype curriculum would incorporate two required courses. The first course would offer music fundamentals instruction and the second course would present music teaching methodologies. Ideally, the 97 music fundamentals course would be presented to students during the first semester or quarter of their junior year and the teaching methodologies course would immediately follow. Each course would meet three times weekly for 50-minute sessions; each would be taught by a full-time music department instructor who holds a doctorate or master's degree in music education. Students would receive either two or three credits for each course. Class size would be limited to 25 students per section. Students with musical training would be permitted to waive the fundamentals course upon successful completion Of a standardized test which would evaluate prior musical knowledge and abilities. Students would not be permitted to waive the methodologies course, nor would they be grouped or placed in specific sections based on musical experience. The design of the courses would be the responsibility of the music department, based on guidelines set by the College of Education or department controlling the elementary education majors' curriculum. Guidelines and syllabus would be reviewed annually. Two to four tests would be administered each term. If a final exam was given, a new exam would be created for each term. Students would be given an Opportunity to 98 present a confidential written evaluation of each course and instructor. These evaluations would be reviewed by the music department chair-person, and would not be presented to the instructor until after grades were reported to the registrar. The music fundamentals course would present information concerning the following aspects of music: (a) basic music theory including major and minor scales, key signatures, rhythm and meter; (b) other information about the elements of music such as color, form, melody, and harmony; (c) basic performance skills on instruments such as piano, guitar, and recorder; and (d) basic information about music history and literature. A required text for the fundamentals course should provide basic music theory instruction in a concise manner that is easily understood by persons with limited musical experiences. This text should also include sections explaining various aspects of the elements of music, instructions on playing piano and other melodic instruments such as recorder or song flute, simple instructions concerning accompanying songs with autoharp and piano, and information about using electronic keyboards in music classes. In addition, the instructor would supplement textual content with hand-outs, assignments, and listening sessions concerning music 99 history and music literature. The main goal of the music fundamentals course would be to present the students with basic musical knowledge and provide them with essential musical background and skills to participate successfully in the pedagogy course that would follow. A methodologies course could present information concerning various techniques and approaches used for teaching music to elementary children, and would include content about (a) designing listening lessons and call charts; (b) song teaching techniques and problems concerning children and voice production; (c) descriptions and instructions explaining the Kodaly and Orff approaches in teaching music; (d) lesson planning; (e) music learning strategies for mentally and physically impaired students; (f) mainstreaming the special student; (9) goals for aesthetic music education; and (h) integrating music into the elementary curriculum. A separate, required text could be supplemented with additional materials such as hand-outs or additional readings. For example, the required text from the music fundamentals course could also be used to provide songs, accompaniments, and other materials for music lessons. Students would be actively involved in designing 100 and implementing music lessons by writing lesson plans and then teaching their peers. If at all possible, students should visit an actual elementary school and Observe a music teacher working with one or more elementary classes. An ideal situation would permit the elementary education major to Observe an elementary music class, design a music lesson and teach it to peers, and then reteach the lesson to elementary children. However, this may not be possible in all situations due to time or logistical constraints or the availability of elementary schools willing to participate in a program such as this. The purpose of the two-course music teaching curriculum would be to provide elementary teachers with the knowledge and specific competencies to present minimal music instruction to children when required to do so; and/or to reinforce music instruction in a school where there is an elementary music specialist by integrating music with general classes such as social studies or history. An additional positive aspect of these courses would be the increased understanding of music acquired by elementary education majors in the pursuit Of a college education. 101 Recommendations for Further Research The results from this study suggest the following recommendations: 1. The study could be replicated in other regions of the United States to see if responses could be generalized for all music courses for elementary education majors. A survey could be sent to a selected group of graduates from these institutions who currently teach in elementary schools in order to determine which Of the approaches were considered by them to be most effective. Personal interviews could be conducted with instructors Of these courses in order to Obtain more specific information about these types of courses. Results of this study could be used to design what might be considered to be a "model” music course for elementary education majors. An investigation could be made to determine what musical experiences and music coursework are most effective in preparing elementary education majors to teach music, and at what levels -- primary or intermediate. 102 A survey could be made that determined what percentage Of elementary education majors are actually required to teach music in their school settings, including the grade levels. A study could be undertaken to determine whether one course, two courses, or three or more courses are most effective for presenting a music course to elementary education majors. A study could be designed to determine the most effective course design as it relates to number of times per week and hours per session that these courses meet. APPENDICES APPENDIX A PILOT TEST COVER LETTER APPENDIX A PILOT TEST COVER LETTER March 17, 1988 Dr. Joseph Howard 3 Stooges Drive Hollywood, CA 00000 Dear Dr. Howard: Thank you for agreeing to pilot this questionnaire concerning a descriptive study of music courses offered to elementary education majors. Your comments will be a valuable part of the design Of the final questionnaire that will be mailed to NASM institutions in the Western Great Lakes region of the United States. I want the questionnaire to be easy to understand, to complete, and be relevant to the study. Any comments that you make will be considered in the final design of the questionnaire. Feel free to mark the questionnaire in any manner that you choose, eliminating questions that you feel are irrelevant or inappropriate, or changing wording in a manner that would increase clarity. You do not have to actually answer the questionnaire. Data derived from the pilot will not be included in the study. Your institution will receive the revised questionnaire with the general mailing in early April. Your anonymity in participating in this pilot is guaranteed. As I stated in our telephone conversation, I am a doctoral candidate in music education at Michigan State University. I sincerely thank you for taking your valuable time to help a student from another institution. I hope to have the revised questionnaire in the mail by April 1, 1988, and I will appreciate your prompt reply in the postage-paid envelope provided. Feel free to call me collect at the number given below if you have any questions concerning the questionnaire or the study. Again, I thank you for helping me to complete my dissertation project. Sincerely, Richard L. Brown 1527 Spartan Village - Apt. J Michigan State University East Lansing, MI 48823 (517) 355-2853 103 APPENDIX B INITIAL MAILING COVER LETTER APPENDIX B INITIAL MAILING COVER LETTER April 5, 1988 Dear Colleague: Many instructors of music courses for elementary education majors are interested in how others teach a similar course. Preliminary research concerning various approaches to teaching these courses has disclosed the fact that no descriptive study of the nature of these courses exists for a large sample of institutions. Therefore, I have chosen to do a descriptive study of college music courses for elementary education majors at NASM institutions in the Western Great Lakes region of the United States. If you do not teach a music course to elementary education majors, would you please forward this letter and questionnaire to the appropriate person. My research focuses directly upon the description as well as the design and content of music courses for elementary education majors. In addition, many questions provide you with the opportunity to express your opinion concerning various aspects of these courses. I am asking that you complete the enclosed questionnaire, even if your institution does not offer any music courses specifically designed for elementary education majors. All results will be treated with strict confidence and all participants will remain anonymous in subsequent reports. Your identity will not be used in any way in the dissertation or in any subsequent published materials. Your institution will be identified only as participating in the study with no specific references made to any institutions. The coded number on the questionnaire is only for the purpose of follow-up, if necessary. The final page of the questionnaire provides you with the Opportunity to receive an - abstract of the study and include additional comments you may consider pertinent to the study. A self-addressed stamped envelope is enclosed for your convenience. Your participation in this study is voluntary: you may elect not to participate, or not to answer certain questions without penalty. Your agreement to participate is indicated by returning the completed questionnaire. I hope you will find it possible to respond by April 20, 1988. If you have any questions regarding the questionnaire or the study, please feel free to contact me at (517) 355-2853, or my major advisor, Dr. Robert Erbes, Department of Music Education, Michigan State University (517) 355-7658. Thank you for taking the time and energy to assist us with this study. Sincerely, Richard Lee Brown Ph.D. Candidate School of Music Michigan State University East Lansing, MI 48824 104 APPENDIX C SURVEY INSTRUMENT APPENDIX C SURVEY INSTRUMENT Page 1 QUESTIONNAIRE FOR A DESCRIPTIVE STUDY OF COLLEGE LEVEL MUSIC COURSES POR ELEMENTARY EDUCATION MAJORS AT NASM INSTITUTIONS IN THE WESTERN GREAT LAKES REGION OF THE UNITED STATES Instructions For Completion of the Questionnaire Most responses are multiple-choice. A few responses may require a short answer. 1. Place an 'x' in the space provided for the answer to questions that you are able and willing to answer, including any additional requested information you consider pertinent. If more space is needed, identify the question number and write on the back of the questionnaire. 2. Place no mark at all in the space provided for the answer to any question which does not apply to your institution or any questions you do not care to answer. You are 525 asked to explain this type of response. Part One of the questionnaire pertains to all institutions regaraIess of whether or not they offer a music course for elementary education majors. Part Two includes questions concerning the description of requIr33 or elective music courses for elementary education majors. Part Three includes questions on the design and course content of requIred or elective music courses for elementary education majors. Part Four provides an opportunity for you to request an abstract of tEe completed study, and contains space for additional comments that you may consider pertinent to the study. PART ONE - To be completed by all participants 1.1 Please identify your institution. 1.2 What title do you hold? Professor Graduate Assistant Associate Professor Visiting Faculty Assistant Professor Other (specify): Instructor 105 106 Page 2 1.3 How many undergraduates are enrolled at your institution? less than 1,000 5,001 to 10,000 1,001 to 3,000 10,001 to 20,000 3,001 to 5,000 more than 20,000 1.4 Are there any music courses specifically designed for elementary education majors at your institution? YOU NO 1.5 In your opinion, a music course for elementary education majors: is unnecessary. should be required of all elementary education majors. should be offered as an elective only. Other (specify): 1.6 If your institution does not offer a music course to elementary education majors, would you like to see such a course offered? Yes No Other (specify): This concludes Part One of the questionnaire. If your institution does not offer any required or elective music courses designed specIfIcaIIy for elementary education majors, please skip to Part Four on page 14 and complete the information concerning the request for an abstract of the study. If your institution offers a required or elective music course designed specifically for elementary education majors, please turn the page and continue with Parts Two, Three, and Four. 107 Page 3 Part Two - To be completed by participants at all institutions offerIng music courses to elementary education majors. Question 2.1 concerns the number and type of music courses offered to elementary education majors by your institution. Please indicate the number of music courses that your institution offers, and supply a brief description of the course/courses, indicating whether orIentation is toward music fundamentals, music teaching methodologies, both fundamentals and methodologies, or other aspects of musical instruction. 2.1 What is/are the number and type/types of music course/ courses offered to elementary education majors by your institution. (Choose only one reply) Only one course: Oriented toward Two courses: Course One Oriented toward Course Two Oriented toward Three or more courses: (please indicate on the back of this page the design of these courses, and follow the directions below regarding two courses) Instructions for completing the rest of the questionnaire: If your institution offers only one music course to elementary education majors, answer the folIowing questions by placing an x in the appropriate space/spaces for each question. If your institution offers 532 or more music courses to elementary education majors, answer the following questions by indicating which of the two courses you described in question 2.1 applies by using the number 1 to indicate course one and the number 3 to indicate course two. Use an 5 or supply the apprOpriate response for questions that are not course specific. It is understood that you may have more than one number in some spaces provided for responses due to the fact that both of your institution's courses may apply to that question. 2.2 2.5 108 Page 4 How many of your institution's courses are required? MOne Two One Three or more If a music course is required, is it: required for state certification? only required by your institution? How many of your institution's courses are elective? None TWO One Three or more In your opinion, would elementary education majors benefit from more than one course? (check only one reply) One is sufficient Two classes would probably be better Three or more classes would probably be better Other (specify): If your music course/courses for elementary education majors is elective, is there some manner of evaluation for entrance to the course? There is no manner of evaluation for admittance Students must pass a written test for admittance Students must pass a performance test for admittance Students must pass a written and performance test for admittance Other (specify): If your music course/courses for elementary education majors is required, is there a procedure for waiving the requirement by a written test, a performance test, or a combination of both? There is no procedure for waiving the course A written test is used for waiving the course A performance competencies test on instruments such as piano or guitar is used for waiving the course A combined written test and performance test is used Other (specify): 2.11 2.12 109 Page 5 If a student is permitted to waive the course. are the course credits awarded to the student, or is the student required to take additional courses? Course credits are awarded to the student Course credits are not awarded, and no additional credits are required of the student Additional music credits must be earned Additional credits outside of the music department must be earned at the discretion of the student's academic advisor I am not sure In your opinion, should elementary education majors be permitted to waive a required music class? YO. Undecided IO In your opinion, do you believe that your institution's course presentation is a valuable part of the general education of elementary education majors? Yes Undecided NO In your opinion, do you believe that your institution's Our course is not designed for this purpose No, the preparation is not sufficient for presenting music teaching training to elementary education majors The teachers could present minimal musical experiences to pupils, K - 5 The teachers could present adequate musical experiences to pupils, l - S In your opinion, which one of the following should a music course for elementary edEEation majors emphasise? Music fundamentals, based on instruction concerning music theory Consumer-oriented music instruction based on listening exercises with listening literature The learning of children's songs and games A strong orientation toward teaching methodologies such as Kodaly and Orff Peer teaching situations to build confidence A knowledge Of curriculum materials A mix of all or most of the above Other (specify): 110 Page 6 2.13 If you marked 'A mix of all or most of the above“ on question 2.12, please indicate what percentage out of 100 each of the considerations should receive. t music fundamentals and theory instruction t consumer-oriented music instruction based on listening exercises with listening literature t learning of children's songs and games | strong orientation toward teaching methodologies such as Kodaly and Orff t peer teaching situations to build confidence : knowledge of curriculum materials 8 other considerations (specify): This concludes Part Two of the questionnaire. Please continue with Part Three. Part Three - The design and course content of required or eIectIve music courses for elementary education majors at your institution. Remember that if your institution offers more than one music course to elementary education majors, you may use your designation numbers from question 2.1 to specify which of your courses pertain to specific questions. 3.1 Does your institution's music course or courses normally make use of any of the following instructional methods? all that apply) 8' Computer assisted instruction Programmed texts Pilms or videotapes Guest lecturers Visits to elementary schools Extra review sessions One-on-one counselling with the instructor Teaching an elementary music lesson to peers Teaching an elementary music lesson to an actual elementary class Other (specify): 3.5 111 Page 7 If students are involved in the actual teaching of a music class to their peers or an actual elementary class, is it recorded by videotape or audio tape for later evaluation? Does not apply The teaching situation is not recorded The teaching situation is recorded by audio tape The teaching situation is recorded by videotape Do students observe an actual class of elementary-age children in a music setting as part of their course requirements? (check all that apply) Mo observations of elementary-age children occur A film or videotape of an actual class is viewed A group of elementary-age children are brought into institution for a demonstration lesson presented to the elementary education majors The elementary education majors visit an elementary school and observe an actual music class How many observations are required per term or semester? None Three One Four Two _____ Five or more Whom of the following is primarily responsible for teaching the music course/courses for elementary education majors at your institution? (check only one response) A faculty member only A faculty member and graduate teaching assistant in a team-teaching situation A graduate teaching assistant only Some sections by a faculty member and some sections by a graduate teaching assistant A visiting faculty member, such as a local public school music teacher Other (specify): Specify the number of individuals in each category whom are primarily responsible for teaching one or more sections of a music course for elementary education majors. (place the appropriate number of individuals in each space) Faculty or visiting faculty with Doctorate Degree Faculty or visiting faculty with Master's Degree Faculty or visiting faculty with Bachelor's Degree Teaching assistant in Doctoral program Teaching assistant in Master's program Other (specify): 3.7 3.12 3.13 112 Page 8 If a graduate assistant is solely responsible for a section, which of the following occur? (check all that apply) an orientation or instruction seminar is presented to the teaching assistant before the first class there is a review of the teaching assistant's grading procedures before the grades are reported Other (specify): Is it standard procedure within your program to provide the students with an opportunity to present a written evaluation of the course and/or instructors? XII NO Is there a required text or texts for your course? Yes No If you answered Yes to question 3.9, what text or texts do you use? (place additional information of back of page) Author: Title: Publisher Are students required to purchase any other materials such recorders or record collections? (check all that apply) Students are not required to purchase additional materials Students must purchase recorders or song-flutes Students must purchase a record collection or a cassette tape of required listening material Other materials (specify): Is there a prepared syllabus presented to the class at the beginning of the term or semester? YO. NO If you answered Yes to question 3.12, how many of the following apply to the prepared syllabus? The syllabus is prepared by the senior professor The syllabus is prepared by a committee made up of some, but not all, instructors of the course The syllabus is prepared by all instructors who teach the course Other (specify): 3.14 3.16 3.18 3.19 113 Page 9 If you answered Yes to question 3.12, is the syllabus revised at least annually? (merely changing dates and room number assignments is not considered a revision) XII NO Is there a pre-test measuring musical knowledge or ability or a musical experience questionnaire presented to the elementary education majors at the beginning of the course? No Only a musical experience questionnaire Only a pre-test measuring musical knowledge Both a questionnaire and a pro-test If there is a pre-test, is it ever readministered and evaluated as a post-test? Does not apply Yes No Are students grouped or placed in sections on the basis of their musical experience or test scores? Students are not grouped on the basis of experience or test scores Students are grouped by the use of an experience level questionnaire Students are grouped by the results of a pre-test Students are grouped by both an experience level questionnaire and a pre-test Students are grouped by another means (specify): How long has it been since your institution's elementary education music curriculum has completed what you would consider to be a major revision? One year Four years Two years Five years Three years Six or more years Is there any review of music education curriculum or observation of music classes done by the college of education or department controlling the elementary education major's curriculum? There is no review of curriculum or observations There is only a review of curriculum There is only an observation of music classes There is both a review of curriculum and observations 3.21 3.22 3.23 3.24 3.26 114 Page 10 Is the curriculum of the class controlled in any manner by the college of education or department controlling the elementary education major's curriculum, or is it solely the responsibility of the music faculty? There is no curriculum control placed on the music faculty concerning the design of the course There are a few constraints placed on the music faculty by another department Curriculum decisions are shared by music education faculty and general education faculty The music faculty are required to follow curriculum set by persons outside of the music department At. you on I QUIItOI' IOIOItOI, or trimester IYItII? Trimester system Other (specify): Quarter system Semester system How many credits are awarded for each course per term? One credit Four credits Two credits Five credits Three credits Six or more credits How many sessions per week does each course meet? Once Four times Twice Five times Three times Other (specify): How often is the course or courses offered? Only one time per year Every term except Summer Every term, including Summer Other (specify): Is the course or courses ever offered in the evening? Never Every term Sometimes (specify): Other (specify): How many minutes per session does each course meet? 30 minutes 60 minutes 45 minutes 90 minutes 50 minutes Other (specify): 3.31 3.32 115 Page 11 How many sections of the same course were offered per term during the 1986-1987 academic year? Only one section Four sections Two sections Five sections Three sections Six or more sections What is the average number of students per section? 15 or less 26 to 30 16 to 20 31 to 40 21 to 25 41 or more Have you seen an increase in enrollment in these courses during the past three years? YOU NO If you answered Yes to question 3.29, approximately what is the percentage of increase? How many tests are students required to take per term? (do not count a pre-test or placement test) One test Two tests Three tests Four tests Other (specify): How many of the following are used in the grading of elementary education students? (check all that apply) Written research papers Written lesson plans Class presentations such as peer teaching Design of hand-outs or work-sheets for use by elementary age students Singing performance Performance on an instrument such as piano, recorder, autoharp, tone-bells, or guitar Written evaluations of Observations Formal tests or quizzes Other (specify): 3.33 3.34 3.35 3.36 116 Page 12 Is the final exam standardized, or is a new exam created for each term? (check only one) Which There is no final exam for the course The final exam is standardized and used for all sections of the course each term, and is rarely revised The final exam is standardized and used for all sections of the course each term, and is periodically revised There is no standardized final exam, a new exam is created for each section each term A standardized exam is Optional, individual instructors my choose to use or not to use the exam Other (specify): one of the following best describes your grading system? Which A, E, C, D, E or F ‘eO' 3eSp 3eo' 2a,, .tce Pass - fail Satisfactory - unsatisfactory Credit - no credit Other (specify): one of the following approximately describes the classification of students taking your course? Which Primarily freshmen and sophomores Primarily juniors and seniors A fairly even distribution of all classifications No definite grouping, it will vary between sections I am not sure of the grouping of the following musical instruments are normally taught to or used by students in your course. (check all that apply) No instruments are taught to or used by students Autoharp Tone bells Orff instruments Electronic piano or synthesizer Piano Guitar or ukulele Recorder or song flute Rhythm instruments Vocal techniques or voice instruction Other (specify): 117 Page 13 3.37 Which of the following methodologies or approaches are normally taught or discussed in your course? (check all that apply) We teaching techniques or approaches are presented Listening lessons Call charts Voice production pertaining to young children Song teaching techniques Musical conducting techniques Eodaly approach to music education Orff approach to music education Dalcroze Eurhythmics Lesson plan construction Other (specify): 3.38 Which of the following special areas are normally taught or discussed in your course? (check all that apply) Music for the mentally impaired Music for the physically impaired Mainstreaming of the special student Music for the gifted and talented Aesthetic music education Musical preferences of young children Music for preschool children Evaluation of young’children's musical abilities Other (specify): This concludes Part Three of the questionnaire. Please turn the page and complete Part Four which provides an opportunity to request an abstract of the completed study, and contains space for additional comments that you may consider pertinent to the study. 118 Page 14 Part Four - Request for an abstract of the study, and any aaaItIonal comments that you may consider pertinent to the study. Do you wish to receive an abstract of the completed study? YO. NO If you answered Yes, please complete the following information concerning where the abstract should be sent. This section will be removed from the questionnaire before any of the responses are processed. Address Please return this questionnaire in the supplied postage-paid envelope to: Richard Lee Brown School of Music Michigan State University East Lansing, MI 48823 Please use the remaining space on this page to include any additional remarks that you may have pertaining to this study. You may use the back of the page if you need more room. APPENDIX D FOLLOW UP MAILING COVER LETTER APPENDIX D FOLLOW UP MAILING COVER LETTER April 24, 1988 Dear Colleague: Recently your department received a questionnaire seeking information concerning music courses for elementary education majors at your institution. The initial response to this study has been very good, with nearly sixty percent of the questionnaires returned. Since the study involves all NASM institutions in the Western Great Lakes region, your response to this questionnaire constitutes a valuable and essential contribution to this study. I have included a new questionnaire in case the first one was misplaced or lost in the mail. If you have already responded, please disregard this mailing. My research focuses directly upon the description as well as the design and content of music courses for elementary education majors. In addition, many questions provide you with the opportunity to express your opinion concerning various aspects of these courses. I am asking that you complete the enclosed questionnaire, even if your institution does not offer any music courses specifically designed for elementary education majors. All results will be treated with strict confidence and all participants will remain anonymous in subsequent reports. Your identity will not be used in any way in the dissertation or in any subsequent published materials. Your institution will be identified only as participating in the study with no specific references made to any institutions. The coded number on the questionnaire is only for the purpose of follow—up, if necessary. The final page of the questionnaire provides you with the opportunity to receive an abstract of the study and include additional comments you may consider pertinent to the study. A self-addressed stamped envelope is enclosed for your convenience. Your participation in this study is voluntary: you may elect not to participate, or not to answer certain questions without penalty. Your agreement to participate is indicated by returning the completed questionnaire. I hope you will find it possible to respond by May 3, 1988. If you have any questions regarding the questionnaire or the study, please feel free to contact me at (517) 355-2853, or my major advisor, Dr. Robert Erbes, Department of Music Education, Michigan State University (517) 355-7658. Thank you for taking the time to assist us with this study. Sincerely, Richard Lee Brown Ph.D. Candidate School of Music Michigan State University East Lansing, MI 48824 119 APPENDIX E ALPHABETICAL LISTING BY STATE OF INSTITUTIONS THAT RESPONDED TO THE STUDY APPENDIX E ALPHABETICAL LISTING BY STATE OF INSTITUTIONS THAT RESPONDED TO THE STUDY Illinois Bradley University, Peoria Illinois Wesleyan University, Bloomington Northern Illinois University, Dekalb Northwestern University, Evanston Olivet Nazerene University, Kankakee Quincy College, Quincy Southern Illinois University, Edwardsville University Of Illinois, Urbana Vandercook College of Music, Chicago Wheaton College, Wheaton Indiana Butler University, Indianapolis Indiana State University, Terra Haute Indiana University, Bloomington Indiana University/Purdue University, Fort Wayne Saint Mary—of-the-Woods College, Saint Mary-of—the-Woods Taylor University, Upland University of Evansville, Evansville 120 121 University of Indianapolis, Indianapolis University of Notre Dame, Notre Dame Valparaiso University Michigan Alma College, Alma Calvin College, Grand Rapids Eastern Michigan University, Ypsilanti Grand Valley State College, Allendale Hope College, Holland Northern Michigan University, Marquette University of Michigan, Ann Arbor University of Michigan, Flint Wayne State University, Detroit Western Michigan University, Kalamazoo Minnesota Augsburg College, Minneapolis College of Saint Catherine, Saint Paul College Of Saint Teresa, Winona Concordia College, Moorhead Gustavus Adolphus College, Saint Peter Mankato State University, Mankato Saint Olaf College, Northfield Southwest State University, Marshal University of Minnesota, Duluth University of Minnesota, Minneapolis 122 Winona State University, Winona Ohio Ashland College, Ashland Baldwin-Wallace College, Berea Bluffton College, Bluffton Bowling Green State University, Bowling Green Capital University, Columbus Case Western Reserve University, Cleveland Central State University, Wilberforce Cleveland State University, Cleveland College Of Wooster, Wooster Dana School of Music, Youngstown Denison University, Granville Heidelberg College, Tiffin Hiram College, Hiram Kent State University, Kent Miami University, Oxford Muskingum College, New Concord Mount Saint Joseph College, Mount Saint Joseph Oberlin College, Oberlin Ohio Northern University, Ada Ohio State University, Columbus Ohio University, Athens Ohio Wesleyan University University of Akron, Akron 123 University of Dayton, Dayton University of Toledo, Toledo Wittenburg University, Springfield Wright State University, Dayton Wisconsin Alverno College, Milwaukee Carthage College, Kenosha Silver Lake College, Manitowoc University University University University University University University University University of of of of of of of of of Wisconsin, Wisconsin, Wisconsin, Wisconsin, Wisconsin, Wisconsin, Wisconsin, Wisconsin, Wisconsin, Eau Clair Green Bay La Cross Madison Milwaukee Oshkosh Stevens Point Superior Whitewater APPENDIX F ALPHABETICAL LISTING AND FREQUENCY OF CHOICE OF TEXTS USED IN THE COURSES APPENDIX F ALPHABETICAL LISTING AND FREQUENCY OF CHOICE OF TEXTS USED IN THE COURSES Titles and Authors of Texts Frequency of Choice The institution prepares their own text or extended syllabus for the course 6 Basic Music for Classroom Teachers 4 Bergethon & Nye Basic Recorder Techniques - Vol. 1 1 Berandel Encountering the Fundamentals of Music 1 Cutietta & Mead Fundamental Classroom Music Skills 1 Wachaus & Kuhn Fundamentals of Music Theory 1 Duncan & Ochse Holt Music, Teacher's Edition (Grade 2 ) 1 Meske, Andress, Pauty, & Willman Integrating Music into the Classroom 12 Anderson & Lawrence Introduction to Music Fundamentals 1 Andrews & Wardian Keyboard Experience for Classroom Teachers 1 Burning & Fred Listen 2 Kerman Music as Experience 1 Beall 124 125 Titles and Authors of Texts Music for Elementary Classroom Teachers Hoffer Music for Classroom Teachers Gelineau Music in the Elementary School Nye & Nye Music Skills for Classroom Teachers Winslow & Dalin The Musical Classroom Hacket & Lendemen Musical Growth in the Elementary School Bergethon, Meske, & Montgomery Musical Growth in the Elementary Classroom Bergethon & Boardman New Approaches to Teaching Music in the Elementary Schools Raebeck & Wheeler The Teacher, The Child, and Music Irwin & Nelson Teaching Children Music Newman & Grant Teaching Music Beer & Hoffman Teaching Music O'Brien Teaching Music in the Elementary Classroom Hoffer & Hoffer Teaching Music in the 20th Century Choskey, Abramson, Gillespie, & Woods Tometics: Music Library Volume 1 De Yanman & Charles Frequency of Choice 1 11 APPENDIX G ADDITIONAL COMMENTS BY RESPONDENTS APPENDIX G ADDITIONAL COMMENTS BY RESPONDENTS I am very much opposed to the change "mandated" by our education department, causing two separate two-hour courses to be combined into one three-hour course. Our elementary education students are planning on always having a music specialist in their building, and thus, never having to use most Of what I teach them. Several Of your questions focus on areas of need within our program, particularly as to planning and special population areas. I answered only from the vantage point of what I cover in my section of the methods course. I want to congratulate you on the format of your questionnaire. It was very logical and easy to use. It seems to me the basic thrust of these courses should be not to overwhelm the student with the intricacies of the field, but to provide a wide ranging set of experiences, to add to existing concepts the students have by association, so that they might exit the course/courses with a positive attitude and special skills. Were I not doing doctoral studies, I would not have taken the time to answer such a long questionnaire. I know how much people want good returns and valid comments. I firmly believe that music should be taught by a music specialist. These students might benefit more from a course in music appreciation or history to expand their 222 musical interest. I encourage incorporating music into their curriculum - even if they teach at a school with a music teacher. You have raised some thoughts on approach that I might try. 126 127 If I had received this survey four months ago, I would have indicated that we require three courses. The number of elementary teachers is growing very fast. Many are Older adults returning. The choices are "food for thought” for other possible ways to teach the class. It also indicates we are on the right track. The topic of your study is an interesting one, in that it is almost completely ignored in the literature. REFRENCES References Babbie, E. R. (1973). Survey research methods. Belmont, CA: Wadsworth. Bergman, R. P. (1974). An investigation of attitude change Of college students participating in an elementary education methods block. (Doctoral dissertation, The University of Rochester, 1974). (From Dissertation Abstracts International, 1974, 3;, 15401) Brown, R. L. (1985). A comparative study of methodologies and texts used in teaching a music methods course to elementarypeducation majors. Unpublished master's thesis, Bowling Green State University, Bowling Green, Ohio. Bryson, E. (1982/1983). A study of the use of music activities by classroom teachers. (Doctoral dissertation, The Florida State University, 1982). (From Dissertation Abstracts International, 1983, 4;, 2269A) College Music Society. (1987). Directory of faculties in colleges and universities: 0.8. and Canada, 1984-86. Boulder, CO: The College Music Society. Cox, D. R. (1958). Planning of experiments. New York: John Wiley & Sons. 128 129 Daugherty, E. L. (1977/1978). The application Of Manhattanville Music Curriculum Program strategies in a music class for elementary education majors. (Doctoral Dissertation, University of Illinois at Urbana-Champaign, 1977). (From Dissertation Abstracts International, 1978, 381 5979A) Dodson, T. (1980). The effects of a creative-comprehensive approach and a performance approach on acquisition of music fundamentals by college students. Journal Of Research in Music Education, 28, 98-116. Drew, E. (1974). An application of the Manhattanville Music Curriculum Program to the preparation in music of elementary school classroom teachers. (Doctoral dissertation, Boston University, 1974). (From Dissertation Abstracts International, 1974, 35, 1540A) Eby, J. (1969). The relationship between selected factors concerning elementary education majors and their achievements in specified music fundamentals classes. (Doctoral dissertation, Indiana University, 1969). (From Dissertation Abstracts International, 1969, 30, 750A) Gerald, D. E. (Ed.). (1985). Projections Of education statistics to 1992-93. Washington, DC: U.S. 130 Government Printing Office. Good, C. V., & Scates, D. E. (1954). Methods of research. New York: Appleton-Century-Crofts. Goodman, J. (1985/1986). Perceived music and music-teaching competencies of classroom teachers in the state of Ohio. (Doctoral dissertation, The Ohio State University, 1985). (From Dissertation Abstracts International, 1986, 33, 3642A) Hirschorn, M. W. (1987, June 17). A weird year in college admissions leaves Officials groping for explanations. Chronicle of Higher Education, pp. 1, 28. Holt, D. (1973). An evaluation study Of two units of instruction for providing prospective elementary teachers with an orientation to selected aspects of general music teaching and learning. (Doctoral dissertation, The Ohio State University, 1973). (From Dissertation Abstracts International, 1973, 33, 4823A) Holz, R. (1978). The effects of behavioral instruction on music achievement, attitudes, and music selection behavior in an introductory college music course. (Doctoral dissertation, Columbia University Teachers College, 1978). (From Dissertation Abstracts International, 1978, 33, 6012A) 131 Hudson, L. (1973/1974). A study of the effectiveness of teaching music fundamentals and methods to prospective elementary school classroom teachers using two different approaches within a course. (Doctoral dissertation, Indiana University, 1973). (From Dissertation Abstracts International, 1974, 33, 4824A) Jacobsen, J. (1986/1987). Effectiveness of a computer-assisted instruction program in music fundamentals applied to instruction for elementary education majors. (Doctoral dissertation, University of Northern Colorado, 1986). (From Dissertation Abstracts International, 1987, 31, 3350A) Kelly, M. (1984/1985). 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