Papers by Daniel Albert
Music Education Research, 2023
The purpose of this study was to examine preservice music educators' perceptions of how the cultu... more The purpose of this study was to examine preservice music educators' perceptions of how the culture of a music teacher education programme and its embedded communities of practice influenced their occupational identity development. Research questions were (a) What specific cultural influences and communities of practice, if any, did the participants describe as particularly influential in regard to occupational identity development and why? (b) How did the participants describe their respective changes in occupational identities, if any? Participants were preservice music educators enrolled in an early childhood music education methods class with authentic-context learning (ACL) experiences. Data included audio recordings of classes, observational field notes, transcripts from multiple individual interviews and a focus group discussion, and students' reflection journals. Participants cited several music teacher education courses, embedded ACL experiences, and supportive interactions with peers and professors, as a constellation of factors that influenced an occupational identity transition within themselves to think more broadly about their identities as educators and the means through which music could be taught.
Journal of Music Teacher Education, 2022
Two university music education faculty aimed to expand mentoring beyond a oneto-one relationship ... more Two university music education faculty aimed to expand mentoring beyond a oneto-one relationship to a more collaborative approach by creating a year-long online mentoring network of experienced and novice music educators. The purpose of this article is to describe the network's structure and content, and discuss outcomes and recommendations based on participating teachers' perspectives and experiences. Network materials promoted discussion and reflection on various music teaching and learning topics; the sharing of strategies, ideas, and resources; and mutual support and encouragement. Participants discussed topics with direct application for their classes and shared rewarding teaching moments, student successes, positive assessment outcomes, and struggles with fatigue and lack of student engagement. They stated the network provided a supportive space that facilitated connection and reflection, empathetic feedback, and teaching strategy and resource suggestions. Recommendations included more active opportunities to engage with and build relationships with each other, synchronous activities via videoconferencing platforms, and more facilitator participation.
Arts Education Policy Review, 2023
The purpose of this quality improvement project was to examine a newly-implemented music admissio... more The purpose of this quality improvement project was to examine a newly-implemented music admissions assessment process at a small liberal arts university and students’ perceptions of that process, which was intended to provide a holistic view of prospective students’ pre-admission achievement and to offer feedback regarding their readiness and potential success for meeting degree requirements. Faculty designed a three-part assessment process, integrating an inclusive perspective to provide them with a more complete view of a student’s skills, strengths, and areas in need of development prior to initiating their music studies. This process was designed to place students at the center of the assessment process and ensure that they have the opportunity to demonstrate their broad scope of skills. Music, human development and learning (i.e., music education) and music therapy students were invited to be interviewed regarding their experiences of the revised assessment process. Nine students participated in a focus group and were interviewed individually. Data analysis revealed four themes: Connecting with Others; Professional Identity; Developing as a Musician; Seen as an Individual. This redesigned process provided students with opportunities to create connections with their peers and faculty, serving as a means of support and belonging in the social and academic environment.
International Journal of Music Education, 2020
The purpose of this study was to examine the culture of an American middle school music technolog... more The purpose of this study was to examine the culture of an American middle school music technology classroom based in musical composition. Research questions explored students’ perceptions of how they co-create the classroom culture with the teacher and how the classroom culture influences participation in musical composition activities, if at all. Data sources for this ethnographic case study included field notes from multiple class observations, audio- and video-recordings, and semi-structured interviews. Findings determined that teacher and students’ mutual use of constructive feedback in their discourse, the teacher’s role as co-learner, his facilitation of “messiness” as part of the learning process, and his pedagogical style helped to create an affirming classroom culture that motivated students to compose. Implications for teaching practice include critical examination of classroom cultures and thoughtful inclusion of technology in music education courses.
With the intent of helping to reconceptualize music teacher education programs and improve the qu... more With the intent of helping to reconceptualize music teacher education programs and improve the quality of music education for all students, the purpose of this study was to examine the interactions within the cultural cohort communities of a music teacher education program embedded within the culture of a school of music and the role that these interactions play in “disrupting,” or challenging, pre-service educators’ occupational identities and preconceptions of music education. Research questions for this explanatory sequential (Creswell & Plano Clark, 2011) mixed methods study focused on determining which structural components of a music teacher education program (e.g., course curricula, University/College of Education/School of Music/music education program requirements, music education program sequence), if any, assist with “disrupting” pre-service music educators’ occupational identities; why certain communities, interactions, and persons within the cultural cohort are the most significant “disruptive” influences on pre-service music educators’ occupational identities; and how these “disruptions” manifested themselves in pre-service music educators’ conceptions of and beliefs and attitudes about music education.
Participants completed a Pre-Service Music Educator Survey to help indicate which courses, persons, social interactions, or other influences within or outside of the School of Music most influenced them to change their beliefs of music education and identities as music educators between matriculation into the School of Music and the time of taking the survey. Following data collection and analysis of the Pre-Service Music Educator Survey, I created cohort groups of students from classes that were identified by undergraduate music education students as being highly “disruptive” to participate in focus group discussions. Additionally, all music education faculty members participated in a focus group discussion and each participated in an individual interview.
Results from the survey suggested changes in students’ occupational identities and preconceptions of music education during their time in the music teacher education program, changes in interests in occupational types of music teaching (e.g., early childhood music educator, high school performance-based ensemble teacher, etc.), and changes in means of teaching music (e.g., performance-based ensembles, teaching elementary general music, music technology, popular music, etc.). Additionally, focus group discussion revealed that several components of the music teacher education program are “disruptive” influences on students’ occupational identities and preconceptions of music education, including a “de-tracked” music teacher education curriculum, two introductory/foundational music education courses during the first and second years of study, and required fieldwork experiences embedded in most music education courses. Interactions within the “community” nature of the program between peers, faculty, and graduate student assistants also were “disruptive” influences.
Implications for music teacher education include creating opportunities for philosophical discussions regarding contemporary topics in music education throughout a music teacher education program, devoting time during music education courses for students to examine the present state of their occupational identities, facilitating fieldwork experiences in “disruptive” settings, and striving to create a sense of “community” within the music teacher education program.
The purpose of this study was to determine if participation in a composition competition influenc... more The purpose of this study was to determine if participation in a composition competition influenced four K–12 students' self-concepts as musicians. Research questions explored motivations for these four students to enter into a composition competition, influences of the competition on students' self-concepts as musicians (if at all), and effects of the competition besides those of self-concept as a musician (if at all). Data sources for this multiple case design study included semi-structured interviews, journals, and wiki interactions. Findings determined that acceptance to the competition, performance of students' works, and the reception that students received validated and strengthened their self-concepts as musicians. Suggestions for teaching practice include providing constructive feedback from competition adjudicators, creating face-to-face and online experiences for student composers to network, and offering non-adjudicated composition festival experiences for students.
Media arts has been familiar to many through television, film, and digital graphics, and often ap... more Media arts has been familiar to many through television, film, and digital graphics, and often appears as an extension of the four traditional arts disciplines: music, arts, theatre, and dance. As media arts continues to acquire its own unique identity, particularly through technological means, it has been included as a stand-alone discipline in the National Core Arts Standards with its own set of K–12 standards. However, K–12 educators and administrators may be unsure of what constitutes media arts, how to teach it, and how to address the Media Arts Standards within a K–12 arts curriculum. Richard Burrows, Media Arts co-chair to the National Coalition for Core Arts Standards and member of the Media Arts Standards writing team, recently provided his thoughts on how media arts can be defined for curricular purposes. The interview also included a discussion of the construction process of the Media Arts Standards, certification and licensure for teaching media arts, a possible media arts teacher education curriculum, and the purpose of Model Cornerstone Assessments.
The purpose of this study was to investigate the content and intended audiences for educational s... more The purpose of this study was to investigate the content and intended audiences for educational sessions offered at MENC biennial conferences in order to illuminate trends and topics in professional development. The researchers performed a content analysis of each session (N = 2,593) using program booklets from conferences between 1988 and 2008, creating a coding scheme with separate codes for audience focus and session content. After establishing sufficient interjudge agreement, the researchers coded all educational sessions offered at the conferences from 1988 to 2008. Results indicated that the number of sessions targeted at specific audiences (e.g., choral teachers only) remained small relative to those targeting broader audiences. Content coding revealed large increases in the number of sessions focused on technology and a slight decrease in the number of sessions focused on traditional large ensembles. Session content sometimes followed professional trends (e.g., the inception of the National Standards in 1994) but did not reflect increased attention in the profession to topics such as creativity and students with exceptionalities. These findings have important implications for those planning state and national music education conferences and for music educators who attend these professional development events.
Students in the United States use technology and social media platforms for both educational and ... more Students in the United States use technology and social media platforms for both educational and noneducational purposes. Integration of social media in music education classes can help facilitate learning experiences that would be less likely to happen in a brick-and-mortar setting. However, issues such as privacy and cyberbullying continue to make educators wary of using social media in formal educational settings. This article discusses why/ how to use social media in music education using select social media platforms, policy/ethical challenges with using social media in education, and how to avoid some of the potential problems of social media use in educational contexts.
Journal of Music Teacher Education, Oct 2015
The purpose of this study was to describe the reasons that two matriculated students had for enro... more The purpose of this study was to describe the reasons that two matriculated students had for enrollment into either an online or a traditional master of music in music education (MME) degree program. Research questions were the following: (a) What are the reasons each student gave for matriculating into either an online or a traditional MME program? (b) What are these students' perceptions of both types of MME programs? How did those perceptions influence their decisions to matriculate into a respective program, if at all? Reasons for matriculating into a respective program included professional and financial obligations, creating relationships with faculty, perceived flexibility of the online program, and development of musician identity and musicianship. Implications include employing the hybrid course format to create a balance of both types of learning environments. Suggestions for future research include investigating the value that students find in an applied lesson and/or ensemble participation component of an MME program.
The Instrumentalist, Jan 2009
A description of a collaborative student composition/commissioning works project between music te... more A description of a collaborative student composition/commissioning works project between music teachers of the Longmeadow, Massachusetts, Public Schools and Michael Colgrass, Pulitzer Prize winning composer.
Michigan Music Educator, Volume 51, Number 3, 2014
Michigan Music Educator, Volume 51, Number 2, 2014
Michigan Music Educator, Volume 51, Number 1, 2013
Contributions to Music Education, Volume 33, Number 2, 2006
The purpose of this study was to examine strategies for the recruitment and retention of band stu... more The purpose of this study was to examine strategies for the recruitment and retention of band students in low socioeconomic status (SES) school districts. Participants included three middle school instrumental music teachers of high participation programs in low socioeconomic school districts, their building administrators, and parents. Eligibility for participation included requirements that (a) 25-30% of the school population consistently participated in the school's instrumental music program and (b) 50% or more of the district's total school district student population was enrolled in the federal National School Lunch Program. Data were collected through interviews and classroom observations with field notes. Results suggest that proactive teacher strategies, culturally relevant ensembles, and student ownership of ensemble processes can aid in the recruitment and retention of students in low SES districts.
Update: Applications of Research in Music Education, Volume 25, Number 1, 2006
Conference Presentations by Daniel Albert
Agenda: How to successfully incorporate a student teacher into a music program ! For potential, n... more Agenda: How to successfully incorporate a student teacher into a music program ! For potential, novice, and seasoned cooperating teachers ! Our suggestions based on our experiences working with student teachers and informed by current literature ! Consider our suggestions based on your context (i.e. rural, suburban, urban) and who you are as a teacher Introductions -Where we are coming from
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Papers by Daniel Albert
Participants completed a Pre-Service Music Educator Survey to help indicate which courses, persons, social interactions, or other influences within or outside of the School of Music most influenced them to change their beliefs of music education and identities as music educators between matriculation into the School of Music and the time of taking the survey. Following data collection and analysis of the Pre-Service Music Educator Survey, I created cohort groups of students from classes that were identified by undergraduate music education students as being highly “disruptive” to participate in focus group discussions. Additionally, all music education faculty members participated in a focus group discussion and each participated in an individual interview.
Results from the survey suggested changes in students’ occupational identities and preconceptions of music education during their time in the music teacher education program, changes in interests in occupational types of music teaching (e.g., early childhood music educator, high school performance-based ensemble teacher, etc.), and changes in means of teaching music (e.g., performance-based ensembles, teaching elementary general music, music technology, popular music, etc.). Additionally, focus group discussion revealed that several components of the music teacher education program are “disruptive” influences on students’ occupational identities and preconceptions of music education, including a “de-tracked” music teacher education curriculum, two introductory/foundational music education courses during the first and second years of study, and required fieldwork experiences embedded in most music education courses. Interactions within the “community” nature of the program between peers, faculty, and graduate student assistants also were “disruptive” influences.
Implications for music teacher education include creating opportunities for philosophical discussions regarding contemporary topics in music education throughout a music teacher education program, devoting time during music education courses for students to examine the present state of their occupational identities, facilitating fieldwork experiences in “disruptive” settings, and striving to create a sense of “community” within the music teacher education program.
Conference Presentations by Daniel Albert
Participants completed a Pre-Service Music Educator Survey to help indicate which courses, persons, social interactions, or other influences within or outside of the School of Music most influenced them to change their beliefs of music education and identities as music educators between matriculation into the School of Music and the time of taking the survey. Following data collection and analysis of the Pre-Service Music Educator Survey, I created cohort groups of students from classes that were identified by undergraduate music education students as being highly “disruptive” to participate in focus group discussions. Additionally, all music education faculty members participated in a focus group discussion and each participated in an individual interview.
Results from the survey suggested changes in students’ occupational identities and preconceptions of music education during their time in the music teacher education program, changes in interests in occupational types of music teaching (e.g., early childhood music educator, high school performance-based ensemble teacher, etc.), and changes in means of teaching music (e.g., performance-based ensembles, teaching elementary general music, music technology, popular music, etc.). Additionally, focus group discussion revealed that several components of the music teacher education program are “disruptive” influences on students’ occupational identities and preconceptions of music education, including a “de-tracked” music teacher education curriculum, two introductory/foundational music education courses during the first and second years of study, and required fieldwork experiences embedded in most music education courses. Interactions within the “community” nature of the program between peers, faculty, and graduate student assistants also were “disruptive” influences.
Implications for music teacher education include creating opportunities for philosophical discussions regarding contemporary topics in music education throughout a music teacher education program, devoting time during music education courses for students to examine the present state of their occupational identities, facilitating fieldwork experiences in “disruptive” settings, and striving to create a sense of “community” within the music teacher education program.