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Sociology For Music Teachers Ppt



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  • 1.
    • Chapter 1 Presented by
    • Amanda Zweck
    • And
    • Silky Carter
  • 2.
    • “ We learn to understand our own actions as the results of larger, cultural, political, and economic constellations that shape our country's societal values and socio-cultural traditions.” -Froehlich
  • 3.
    • Musical Identities- relationship of an individual to music and the impact that relationship has on an individuals personal development
    • Occupational identity
    • -working musicians have
    • constructed of them-
    • selves participants of
    • the workforce
  • 4.
    • Everyone has an identity and it’s formed through socialization
    • Primary Socialization -occurs earliest, usually controlled by those closest to us, parents, guardians, and other primary givers
    • Baby preacher video
    • Regular preacher Typical of most not all black churches usually Baptist and` gospel
    • Secondary Socialization -begins with as we enter school, be it pre-school or kindergarten prom these young stages through high school
    • Occupational Socialization -The stage at which we leave high school enter college and begin making decisions about our profession/career goals
  • 5.  
  • 6.
    • Froehlich argues that the majority of music teachers in schools relate more closely to the identity of a professional musician rather than to that of a music educator
    • Is this an accurate statement? Where do you fit?
    • Can you be both? Should you be?
    • How are we socialized as pre-service music teachers? How does this effect the development of our occupational identity?
    • How does this happen? Can it/should it be prevented?
  • 7.
    • “ The fact that comparatively few music teachers join purely educational organizations indicates a strong allegiance to their subject matter. Their musician identities out weighs their identity as an inspiring educator”
    • Do music teachers as a group have distinctive qualities that distinguish them from both, musician and teacher?
      • What are they?
      • Can this be dangerous or do we use it as a sort of shield?
    • Are music teachers who strongly identify with their musician identity able to function well within the interactive emotion work environment?
  • 8.
    • Froehlich supposes that there are two sides to how music is viewed in sociology.
    • -The first is music as a social force in the world of entertainment.
    • -The other is music as a complex system of musical aesthetics.
    • Froehlich says musical instruction is based upon curriculum committees, text books, subject matters, and advocates, as well as political, cultural, and economical influences mandate.
    • How do we re-guide these influences and create musical instruction that fosters self-identity and self-determination?
    • Does this change our approach to music as a subject?
  • 9.
    • Out-of-School
    • Satisfies the user's personal and emotional goals
    • Individualistic
    • Makes use of technology to connect to mavens across distances
    • Primarily non-classical
    • De-emphasize formal concert attendance, enabling a performance to be experiences over time and distance
    • Often Homemade
    • Makes wide use of guitar and key board, allowing for a life time of musical involvement, alone or with others
    • In-School
    • Satisfies curricular goals
    • Large-group oriented
    • Makes little use of technology to connect students to others
    • Primarily classical
    • Emphasizes one-time concerts, requiring the audience to be present in a single location at a specified time
    • Usually composed by others
    • Makes limited use of guitar and keyboard, instead focusing on instruments that restrict musical involvement after graduation except in large ensembles
    “ Music Education at the Tipping Point” ~John Kratus
  • 10.
      • How does an understanding of our identity affect how we approach these differences?
        • -An understanding of our students’ identites?
    • Do we approach these differences differently based on our personal social positions (race, class, gender etc.)?
      • -the social positions of our
      • students?
      • -their parents?
      • -school systems?
  • 11.
    • An interesting video related to identity/influence
    • Some articles addressing Musician/Teacher socilization:
    • Hellman, Daniel. “Impediments to the Development of the Music Teacher: Impact of the Social Context in the music School on the Emerging Identity of Future Music Educators.” N.d. Unknown . Web. 29 Oct. 2009.
    • Isbell, Daniel S. “Musicians and Teachers The Socialization and Occupational Identity of Preservice Music Teachers.” Journal of Research in Music Eduacation 56.2 (2008): 162-178. Print.
    • Pellegrino, Kristen. “Connections Between Performer and Teacher Identities in Music Teachers: For setting an Agenda for Research .” Journal of Music Teacher Education I.19 (2009): 55. Electronic. Sagepub .
    • Regeski, Thomas. “’Music Teacher’ - Meaning and Practice, Identity and Position.” Mayday . N.p., 20007. Web. 29 Oct. 2009. <>.
    • An article advocating change in music education
    • Kratus, John. “Music Education at the Tipping Point .” Music Educators Journal (Nov. 2008): 42-48. Print.