Bulletin Boards and Classroom Decorations: A Visual Representation of Your Music Teaching Philosophy
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| Title: | Bulletin Boards and Classroom Decorations: A Visual Representation of Your Music Teaching Philosophy |
|---|---|
| Language: | English |
| Authors: | Sangmi Kang (ORCID |
| Source: | Music Educators Journal. 2024 110(4):43-50. |
| Availability: | SAGE Publications. 2455 Teller Road, Thousand Oaks, CA 91320. Tel: 800-818-7243; Tel: 805-499-9774; Fax: 800-583-2665; e-mail: journals@sagepub.com; Web site: https://sagepub.com |
| Peer Reviewed: | Y |
| Page Count: | 8 |
| Publication Date: | 2024 |
| Document Type: | Journal Articles Reports - Descriptive |
| Descriptors: | Music Education, Educational Philosophy, Music Teachers, Social Justice, Social Emotional Learning, Teaching Methods, Educational Benefits, Bulletin Boards, Classroom Environment, Aesthetics, Musicians, Emotional Response |
| DOI: | 10.1177/00274321241236413 |
| ISSN: | 0027-4321 1945-0087 |
| Abstract: | In this manuscript, we introduce four philosophical camps and provide bulletin board and classroom decoration examples of how music teachers can visually communicate their teaching philosophies to their students, parents, colleagues, and administrators. The categories emerged from our review of bulletin board examples created by our music teacher colleagues and include (1) music, emotion, and expression; (2) praxialism; (3) extramusical benefits; and (4) social justice. Bulletin boards may indirectly represent teachers' philosophies when compared with explicit curricula, such as lesson plans, textbooks, and other instructional materials. However, teachers can foster holistic learning experiences for students by harmonizing their implicit messages on bulletin boards and classroom decorations with the explicit curriculum. |
| Abstractor: | As Provided |
| Entry Date: | 2024 |
| Accession Number: | EJ1441600 |
| Database: | ERIC |
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| FullText | Links: – Type: pdflink Url: https://content.ebscohost.com/cds/retrieve?content=AQICAHj0k_4E0hTGH8RJwT4gCJyBsGNe_WN95AvKlDbXJGqwxwHkke_YRMYL3OMXMhSzbbdZAAAA4zCB4AYJKoZIhvcNAQcGoIHSMIHPAgEAMIHJBgkqhkiG9w0BBwEwHgYJYIZIAWUDBAEuMBEEDCzeffhtk-T4MNkvHwIBEICBmw1OIlYtztnSE0ec4HwujJFsG_jU40v5Y5uB3NVF-EKH6B8DmRsuevt9ui9kuRyJWL-bGYIQPEJhry5NMFxrHkfrGvje5P3tfW7rJjwzW7k_wPxeqTv9J1_s64tO60WbuMSjx2_wMT0TOBNyrlB1TcDmh_l3H8g7SafX5LG7lbKMB1UV-wHjHOnTeQY3K2YdoNqd_ypjbdO60v9y Text: Availability: 1 Value: <anid>AN0179974545;mue01jun.24;2024Oct01.06:05;v2.2.500</anid> <title id="AN0179974545-1">Bulletin Boards and Classroom Decorations: A Visual Representation of Your Music Teaching Philosophy </title> <p>In this manuscript, we introduce four philosophical camps and provide bulletin board and classroom decoration examples of how music teachers can visually communicate their teaching philosophies to their students, parents, colleagues, and administrators. The categories emerged from our review of bulletin board examples created by our music teacher colleagues and include (<reflink idref="bib1" id="ref1">1</reflink>) music, emotion, and expression; (<reflink idref="bib2" id="ref2">2</reflink>) praxialism; (<reflink idref="bib3" id="ref3">3</reflink>) extramusical benefits; and (<reflink idref="bib4" id="ref4">4</reflink>) social justice. Bulletin boards may indirectly represent teachers' philosophies when compared with explicit curricula, such as lesson plans, textbooks, and other instructional materials. However, teachers can foster holistic learning experiences for students by harmonizing their implicit messages on bulletin boards and classroom decorations with the explicit curriculum.</p> <p>Keywords: aestheticism; praxialism; social justice; culturally responsive teaching; social emotional learning</p> <p>Graph: Photo of Sangmi Kang, Rachael D. Sanguinetti, and Samantha C. Webber courtesy of Nick German</p> <p>As music educators, we each have our own teaching philosophies that reflect our beliefs and value systems as they relate to music teaching and learning. Conscientiously developing teaching philosophies can help us clarify our perspectives on why we do what we do and how we do what we do. Thus, philosophies support our long-term and short-term decision-making in planning and executing lessons and curricula, meeting students' needs, and evaluating our practices coherently.[<reflink idref="bib2" id="ref5">2</reflink>]</p> <p>We authors have all experienced opportunities to write our teaching philosophies. In our teacher education programs, we went over philosophical ideas, such as aestheticism, pragmatism, and praxialism, to explore and establish our own philosophical stances. Then we were required to write papers on our own music teaching philosophies. The daunting task of refining our philosophies continued when we applied for student teaching placements, jobs, graduate school programs, and promotions. We often felt overwhelmed when communicating abstract philosophical concepts in writing regardless of their connections to our daily practice.</p> <p>It is thus crucial to provide step-by-step guidance for developing music teachers' educational philosophies. According to Julie Song, teachers can establish their teaching philosophies through the process of (<reflink idref="bib1" id="ref6">1</reflink>) discovery, (<reflink idref="bib2" id="ref7">2</reflink>) articulation, (<reflink idref="bib3" id="ref8">3</reflink>) application, and (<reflink idref="bib4" id="ref9">4</reflink>) reflection and revision.[<reflink idref="bib3" id="ref10">3</reflink>] During the <emph>discovery</emph> phase, broader explorations of various philosophical ideas can be helpful. Once teachers have chosen an idea, they <emph>articulate</emph> and <emph>apply</emph> it to their pedagogical actions. Afterward, they <emph>reflect</emph> on the process and <emph>revise</emph> their philosophical ideas. In the same way that music students require visual, aural, and kinesthetic aids for their learning, it can also be beneficial for preservice and in-service teachers to use such aids to explore various ideas and establish their music teaching philosophies.</p> <p>We, the authors, suggest that creating bulletin boards and classroom displays can assist teachers in establishing, evolving, and communicating their teaching philosophies. Although teachers agree on the educational value of bulletin boards to help students "feel welcome in the classroom"[<reflink idref="bib4" id="ref11">4</reflink>] and improve their "classroom thinking and deeper learning,"[<reflink idref="bib5" id="ref12">5</reflink>] periodic creation of such visual displays can be a heavy burden for them. Through the aforementioned process of (<reflink idref="bib1" id="ref13">1</reflink>) discovery, (<reflink idref="bib2" id="ref14">2</reflink>) articulation, (<reflink idref="bib3" id="ref15">3</reflink>) application, and (<reflink idref="bib4" id="ref16">4</reflink>) reflection and revision, teachers can evolve their philosophical outlooks to stay relevant and meet their current students' needs. Therefore, we encourage teachers to consistently develop their philosophies and communicate them visually with students, parents, colleagues, and administrators. The periodic reevaluation and adaptation of music teachers' philosophies can be demonstrated by changing bulletin boards and visual displays in classrooms.</p> <p>In this article, we introduce four philosophical camps and provide bulletin board and classroom decoration examples of how music teachers can visually represent their teaching philosophies. The categories emerged from our review of bulletin board examples created by our music teacher colleagues. We reviewed sixty-five pictures of classroom displays created by twenty-nine general music teachers teaching K–12 students and identified four overarching categories: (<reflink idref="bib1" id="ref17">1</reflink>) music, emotion, and expression; (<reflink idref="bib2" id="ref18">2</reflink>) praxialism; (<reflink idref="bib3" id="ref19">3</reflink>) extramusical benefits; and (<reflink idref="bib4" id="ref20">4</reflink>) social justice. It is worth noting that some philosophical concepts may span multiple categories. Nevertheless, to help music teachers organize their thoughts, we used umbrella terms to introduce bulletin board examples under the most aligned category. In the following sections, we unpack each cluster of philosophical ideas and share examples from actual music classrooms. We hope our examples also stimulate you to clarify your own teaching philosophy and incorporate your unique philosophical dispositions into your bulletin boards and classroom decorations.</p> <hd id="AN0179974545-2">Music, Emotion, and Expression</hd> <p>Music's power over human emotion and expression is perhaps one of the most well-known philosophical stances, as people around the world experience music's effects in diverse music-making settings.[<reflink idref="bib6" id="ref21">6</reflink>] Because of this, music's impact on human emotion and expression was one of the prevalent themes among the examples of music teachers' bulletin boards in our review. Historically, multitudes of philosophers from ancient Greek to contemporary music education contexts have discussed how music impacts or elicits human emotions and how people express themselves through music.[<reflink idref="bib7" id="ref22">7</reflink>]</p> <p>Ancient Greek philosophers Plato and Aristotle asserted that musical modes and rhythms elicit emotions and feelings; thus it is important to discern among types of music to cultivate moral characteristics.[<reflink idref="bib8" id="ref23">8</reflink>] However, the Greek philosophers' approaches to music and emotion were confined to the moral function, and as a result, their applications appeared rigidly focused on eliciting targeted emotions considered "good" and "appropriate." In the late twentieth century, Bennett Reimer proposed the notion of music education as aesthetic education and emphasized that music educators can cultivate students' feelings to elicit their aesthetic experience.[<reflink idref="bib9" id="ref24">9</reflink>] His aesthetic focus stood against prevalent utilitarian approaches and advocated teaching music for its own sake, consequently securing music as a subject in school music curricula.[<reflink idref="bib10" id="ref25">10</reflink>] However, in later years, aestheticism encountered many criticisms; one of them was its limitation in promoting individual and subjective exploration of emotions due to its exclusive focus on patterns and forms exhibited by the arts.[<reflink idref="bib11" id="ref26">11</reflink>]</p> <p>Current philosophical discussions on music's impact on emotion and expression linger on existential approaches to education.[<reflink idref="bib12" id="ref27">12</reflink>] Existential educators believe that every student is uniquely different, so education needs to maximize student potential and cultivate individualities. In the existential setting, students express their unique feelings, emotions, existential selves, and identities through music.[<reflink idref="bib13" id="ref28">13</reflink>] By sharing vulnerable emotions within musical activities, teachers and students can create an intimate learning community. As the range of discussions on music's role to human emotions and expressions are historically broad, various bulletin board and decoration ideas are associated with this category. We share an example from Hannah Dittloff, a music teacher at Oakhill Academy in New Jersey, who emphasized music's power to heal, express, and touch people by presenting a quote from American singer Billy Joel (Figure 1). Likewise, music teachers can reflect on quotes that emphasize music's connection to human emotions and display them prominently in their classroom to encourage students to express themselves through music. Teachers may also choose to share students' reflections on what music means to them in visual displays throughout the classroom.</p> <p>Graph: Figure 1 "Music in Itself Is Healing," by Hannah Dittloff</p> <hd id="AN0179974545-3">Praxialism</hd> <p>In contrast to the aesthetic- and emotion-focused views of music education, praxial approaches privilege direct, contextual music-making over intellectual or emotional contemplation of music. Advocates for this philosophical approach emphasize the music-making acts and processes required in various musical situations as well as the actual humans who engage in them.[<reflink idref="bib14" id="ref29">14</reflink>] David Elliott, a prominent praxialist, outlined his philosophy of praxial music education, or PME, in several books. Music teachers who find their values aligned with PME may choose to design their curricula around "all five forms of music making: performing, improvising, composing, arranging, and conducting."[<reflink idref="bib15" id="ref30">15</reflink>]</p> <p>We found several examples of bulletin boards that suggested a favorable disposition toward praxialism. Lynn Grossman, an elementary music teacher from the Pittsford Central School District in New York State, created a display called "Musicians," in which she laminated the words <emph>listen, sing, move, create, play</emph>, and <emph>read</emph> (Figure 2). These action verbs illustrate what the teacher aims for the student to do in music class. If this philosophical outlook appeals to you, you may wish to reflect on the musical actions that students engage in in your class and highlight them through visual displays.</p> <p>Graph: Figure 2 "Musicians," by Lynn Grossman</p> <p>In another example, Hannah Warren, an elementary music teacher at Spring-Ford Area School District in Pennsylvania, showed her belief that musical actions are a central part of her classroom culture through her door decorations. She shared a display called "When You Enter This Room" (Figure 3). This decoration contains the sentences "You are composers," "You are performers," "You are singers," and "You are creators," among others. The display references many of the components central to a praxialism-inspired curriculum. Teachers can communicate their beliefs about students' capabilities to engage in music through displays such as this.</p> <p>Graph: Figure 3 "When You Enter This Room," by Hannah Warren</p> <p>Finally, many teachers use bulletin boards as anchor charts to facilitate making music. For example, teachers commonly display solfège hand signs. While these types of charts are not necessarily philosophical in nature, they do demonstrate the teacher's desire to promote musical understanding by direct engagement in singing, which is consistent with praxial views of music education.</p> <hd id="AN0179974545-4">Extramusical Benefits</hd> <p>Throughout the world, there is a long history of including music in schooling to achieve extramusical goals. As previously mentioned, the ancient Greeks believed that different musical modes could affect human behavior, and they also saw music as intricately connected to science and mathematics.[<reflink idref="bib16" id="ref31">16</reflink>] Likewise, ancient Confucian philosophers viewed music as a "tool to educate."[<reflink idref="bib17" id="ref32">17</reflink>] In the nineteenth century, Lowell Mason, one of the founders of public school music education in the United States, argued that singing belonged in the curriculum because of its positive effect on intellectual and moral development and physical health.[<reflink idref="bib18" id="ref33">18</reflink>]</p> <p>While music educators may be familiar with the assertion that music education can boost test scores in math and reading, researchers have found mixed results regarding the relationship between music training and academic achievement.[<reflink idref="bib19" id="ref34">19</reflink>] Recently those ideas have been folded into popular initiatives, such as music and STEAM (science, technology, engineering, arts, and mathematics) education and emphasis on twenty-first-century skills.[<reflink idref="bib20" id="ref35">20</reflink>] While teachers certainly should have an interest in students' academic growth, throughout the past decades, educators have also begun to prioritize students' emotional well-being. The present emphasis on social-emotional learning (SEL) in music education echoes enduring beliefs about extramusical benefits.</p> <p>Many researchers have found positive effects of SEL programs in schools. SEL programs have been associated with improved academic outcomes for students,20 and an increasing body of research suggests that SEL programs in schools can lead to an increase in prosocial behaviors among students and even reduce conduct and discipline issues.[<reflink idref="bib22" id="ref36">22</reflink>] SEL programs may emphasize skills such as self-awareness, self-management, social awareness, relationship skills, and responsible decision-making.[<reflink idref="bib23" id="ref37">23</reflink>]</p> <p>We found many examples of commitment to SEL in the bulletin boards we reviewed. For example, we found a bulletin board called "Let Your Kindness Break Records," by Kelly Zuzic at Stafford Township School District in New Jersey, which promoted prosocial behaviors in the classroom (Figure 4). Having such a prominent display devoted to kindness shows the importance of this concept in Ms. Zuzic's choral classroom. Additionally, the use of records could promote an awareness of historical technology and provide an example of recycling. Such examples devoted to SEL exhibit the natural connections between music education and social-emotional skills, which become a meaningful resource to cultivate self-management, social-awareness, and decision-making skills.</p> <p>Graph: Figure 4 "Let Your Kindness Break Records," by Kelly Zuzic</p> <hd id="AN0179974545-5">Social Justice</hd> <p>Social justice is a topic that is currently front of mind for many music educators. In our review of bulletin boards and class decorations, many examples conveyed this theme. In recent publications, authors have encouraged teachers to address topics of equity in the music classroom and to consider all forms of oppression their students may face outside of the music classroom.[<reflink idref="bib24" id="ref38">24</reflink>] According to Randall Everett Allsup and Eric Shieh, the first step toward social justice in education is to notice and respond to inequities and injustices in music learning spaces.[<reflink idref="bib25" id="ref39">25</reflink>] Current music students are living in the era of movements such as Black Lives Matter and #MeToo while witnessing a tense social and political climate outside of school. These social justice movements and challenges are opportunities for conversations and lessons in the music classroom, and they provide inspiration for a variety of bulletin board and decoration options.</p> <p>Teachers can express their support for students and their openness to these topics by prominently displaying artists and musical selections to prompt discussions of historical events and contemporary movements. For example, music from social justice movements throughout history can be displayed as a supplement to in-class conversations about musicians who were activists as well as artists. These can include historical artists, such as Nina Simone, Josephine Baker, Woody Guthrie, and Pete Seeger, or living artists, such as Stevie Wonder, Joan Baez, Rage Against the Machine, Dolly Parton, Billie Eilish, and Queen Latifah. Bulletin boards and class decorations can also feature recommended playlists of protest songs from social movements and the artists who created these songs.</p> <p>An example of featuring musicians and activists of color on a bulletin board came from Jude Olney at St. Hilda's and St. Hugh's School and Shane Peters at Warwick Valley Central School District, New York (Figure 5). This board, created to celebrate Black History Month, features musicians from a variety of genres, including jazz, hip-hop, and classical music, while also including a mix of both male and female artists. A bulletin board featuring Black artists during Black History Month is a great place to include these artists and provides a starting point for further exploration throughout the school year. Teachers may also consider including living musicians to make the display more impactful, contemporary, and relevant to their students.</p> <p>Graph: Figure 5 "Celebrating Black History Month," by Jude Olney and Shane Peters</p> <hd id="AN0179974545-6">Culturally Responsive Teaching</hd> <p>Empowering marginalized students is a critical theme in social justice that can be addressed through culturally responsive teaching (CRT). Geneva Gay introduced the term "culturally responsive teaching" in 2002 and defined CRT as teaching that uses the cultural knowledge, frames of reference, and prior experiences of a diverse body of students to make learning in the classroom relevant and effective for all students.[<reflink idref="bib26" id="ref40">26</reflink>] According to Gay, CRT embodies the following components: social and academic empowerment, validation of students' cultures, multidimensionality in their abilities to engage cultural knowledge, social comprehensiveness, and the emancipation of oppressive educational practices. Bulletin board displays and classroom decorations provide opportunities to empower students' musical passions, honor students' prior musical knowledge and frames of reference, and introduce a variety of musical styles and genres enjoyed and performed by members of the school community.</p> <p>One opportunity for this type of bulletin board is the creation of a class playlist. Through a class survey, suggestion box, or in-class discussion, students can share the songs, musicians, and genres of music they enjoy outside the classroom. The teacher can compile these suggestions into a class or school playlist that honors and represents the diverse musical interests of the class or music community. The song titles and artist photos can be displayed on a bulletin board along with a QR code linking to the playlist. Nichola Lampe at Centennial School District and Palmer Haffner at Confident Voice Studio in Oregon created a bulletin board in this style to honor the diverse musical interests of their students and to value many musical genres (Figure 6). Their display also connects to students' sense of place, as the "Keep Music Weird" title on the bulletin board references a famous sign in Portland. Teachers can also create an artistic representation of the diversity in music like the example created by Morgan Harris at Point Pleasant School District in New Jersey (Figure 7). All the colors are meant to represent and honor students' differences and strengths and to recognize everyone in her classroom as unique and necessary.</p> <p>Graph: Figure 6 "Keep Music Weird," by Nicole Lampe and Palmer Haffner</p> <p>Graph: Figure 7 "Music Makes the World Colorful," by Morgan Harris</p> <hd id="AN0179974545-7">Popular Music Pedagogy</hd> <p>Another theme in social justice is the goal of broadening classroom repertoire beyond the standard Western classical tradition and instead including more varied genres and musicians. Popular music pedagogy (PMP), as defined by Donna Weston, includes the "design, practices, methods, and approaches to the learning of the practice of popular music."[<reflink idref="bib27" id="ref41">27</reflink>] Carlos Xavier Rodriguez defined PMP as instructional approaches that include nonformal teaching practices and informal learning opportunities for students.[<reflink idref="bib28" id="ref42">28</reflink>] For much of the twentieth century, popular music was excluded from K–12 curriculum in the United States, with Western classical music often being at the center and other types of music existing on the outskirts if at all. PMP has been gaining momentum in the classroom since the 1960s and has been aided in recent years by the modern band movement. Other classroom curricular shifts, such as the inclusion of digital music-making, recording, and genres such as hip-hop, have also supported the inclusion of PMP in schools. Since the early 2000s, many school music curricula have begun to include popular music genres and have increased the use of instruments common in popular music.[<reflink idref="bib29" id="ref43">29</reflink>]</p> <p>Bulletin boards for teachers who include PMP as part of their practice could include references to common popular music instruments, such as guitar, bass, or keyboard, or could reference popular songs and musical artists who are included in the curriculum or enjoyed by students in the classroom. The bulletin board shown in Figure 8, created by Meaghan O'Connor-Vince at Barnstable School District in Massachusetts, features popular music artists, such as Jay-Z and the Beatles, as well as popular music genres, such as hip-hop, electronic, and ska. These images and texts remind students of all different types of music that can exist and be enjoyed within the umbrella of popular music in the class. It is a teacher's responsibility to identify the music that is popular with the students and find ways to incorporate these musicians into their classroom displays and teaching practice. Even though PMP embraces informal learning and a teacher-as-facilitator mentality, bulletin boards can still reflect the learning process and the music that is performed or created in the classroom.</p> <p>Graph: Figure 8 "Popular Artists both Past and Present," by Meaghan O'Connor-Vince</p> <hd id="AN0179974545-8">Epilogue</hd> <p>In our exploration of bulletin boards, it was inspiring to see how music teachers have already recognized their educational values and actively incorporated their music teaching philosophies into classroom visual displays. By collecting and analyzing the examples, we rediscovered that bulletin boards and class decorations are not only a visual representation of one's teaching philosophy but also a form of curriculum. Visual elements in classrooms can function at the intersection of the explicit and implicit curriculum. Bulletin boards and classroom decorations may indirectly represent teachers' philosophies when compared with explicit curricula, such as lesson plans, textbooks, and other instructional materials. However, teachers can use visual displays to create holistic learning experiences for students by harmonizing implicit messages and the explicit curriculum. Music teachers can also utilize bulletin boards and classroom decorations to accompany their evolving philosophies to better serve the students in the current generation and to come.</p> <ref id="AN0179974545-9"> <title> Footnotes </title> <blist> <bibl id="bib1" idref="ref1" type="bt">1</bibl> <bibtext> Sangmi Kang</bibtext> </blist> <blist> <bibtext>Graph https://orcid.org/0000-0001-7818-7459</bibtext> </blist> <blist> <bibl id="bib2" idref="ref2" type="bt">2</bibl> <bibtext> Estelle R. Jorgensen, "Philosophy and the Music Teacher: Challenging the Way We Think," <emph>Music Educators Journal</emph> 76, no. 5 (1990): 17–23.</bibtext> </blist> <blist> <bibl id="bib3" idref="ref3" type="bt">3</bibl> <bibtext> Julie Myung Ok Song, "Strategies for the Development of Music Education Philosophy for Preservice Music Teachers: A Literature Review," <emph>Update: Applications of Research in Music Education</emph> 41, no. 1 (2022): 7–15.</bibtext> </blist> <blist> <bibl id="bib4" idref="ref4" type="bt">4</bibl> <bibtext> Sapna Cheryan, Sianna A. Ziegler, Victoria C. Plaut, and Andrew N. Meltzoff, "Designing Classrooms to Maximize Student Achievement," <emph>Policy Insights from the Behavioral and Brain Sciences</emph> 1, no. 1 (2014): 9.</bibtext> </blist> <blist> <bibl id="bib5" idref="ref12" type="bt">5</bibl> <bibtext> Gregory Schraw and Aaron S. Richmond, "Using Visual Displays to Improve Classroom Thinking," <emph>Educational Research: Theory and Practice</emph> 33, no. 2 (2022): 80.</bibtext> </blist> <blist> <bibl id="bib6" idref="ref21" type="bt">6</bibl> <bibtext> Patrik N. Juslin and John A. Sloboda, <emph>Music and Emotion</emph> (Cambridge, MA: Elsevier Academic Press, 2013).</bibtext> </blist> <blist> <bibl id="bib7" idref="ref22" type="bt">7</bibl> <bibtext> Donald A. Hodges, <emph>A Concise Survey of Music Philosophy</emph> (New York: Taylor &amp; Francis, 2016).</bibtext> </blist> <blist> <bibl id="bib8" idref="ref23" type="bt">8</bibl> <bibtext> William Lowe Bryan and Charlotte Lowe Bryan, <emph>The Republic of Plato: With Studies for Teachers</emph> (New York: C. Scribner's Sons, 1898); Lelouda Stamou, "Plato and Aristotle on Music and Music Education: Lessons from Ancient Greece," <emph>International Journal of Music Education</emph> 39, no. 1. (2002): 3–16.</bibtext> </blist> <blist> <bibl id="bib9" idref="ref24" type="bt">9</bibl> <bibtext> Bennett Reimer, "Music Education and Aesthetic Education: Past and Present," <emph>Music Educators Journal</emph> 75, no. 6 (1989): 22–28.</bibtext> </blist> <blist> <bibtext> Paul Woodford, "On the Education of Bennett Reimer," <emph>Philosophy of Music Education Review</emph> 23, no. 2 (2015): 142–54; Michael L. Mark, "The Evolution of Music Education Philosophy from Utilitarian to Aesthetic," <emph>Journal of Research in Music Education</emph> 30, no. 1 (1982): 15–21.</bibtext> </blist> <blist> <bibtext> David J. Elliott, "Rethinking Music: First Steps to a New Philosophy of Music Education, <emph>International Journal of Music Education</emph> 24, no. 1 (1994): 9–20.</bibtext> </blist> <blist> <bibtext> Donald L. Foster, "Existentialism and Music Education," <emph>Music Journal</emph> 29, no. 7 (1971): 36; Viktoriia Poliuha, "Existential Value of Musical Creativity (Characteristics and Semantic Orientation)," <emph>Lubelski Rocznik Pedagogiczny</emph> 37, no. 2 (2018): 153–162.</bibtext> </blist> <blist> <bibtext> Elizabeth Cassidy Parker, <emph>Adolescents on Music</emph> (New York: Oxford University Press, 2020).</bibtext> </blist> <blist> <bibtext> Philip Alperson, "What Should One Expect from a Philosophy of Music Education?" <emph>Journal of Aesthetic Education</emph> 25, no. 3 (1991): 215–242.</bibtext> </blist> <blist> <bibtext> David J. Elliott, <emph>Music Matters: A New Philosophy of Music Education</emph> (New York: Oxford University Press, 1995), 41.</bibtext> </blist> <blist> <bibtext> Hodges, <emph>A Concise Survey of Music Philosophy</emph>.</bibtext> </blist> <blist> <bibtext> C. 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Webber is a PhD student at the Eastman School of Music, University of Rochester, New York.</p> </aug> <nolink nlid="nl1" bibid="bib10" firstref="ref25"></nolink> <nolink nlid="nl2" bibid="bib11" firstref="ref26"></nolink> <nolink nlid="nl3" bibid="bib12" firstref="ref27"></nolink> <nolink nlid="nl4" bibid="bib13" firstref="ref28"></nolink> <nolink nlid="nl5" bibid="bib14" firstref="ref29"></nolink> <nolink nlid="nl6" bibid="bib15" firstref="ref30"></nolink> <nolink nlid="nl7" bibid="bib16" firstref="ref31"></nolink> <nolink nlid="nl8" bibid="bib17" firstref="ref32"></nolink> <nolink nlid="nl9" bibid="bib18" firstref="ref33"></nolink> <nolink nlid="nl10" bibid="bib19" firstref="ref34"></nolink> <nolink nlid="nl11" bibid="bib20" firstref="ref35"></nolink> <nolink nlid="nl12" bibid="bib22" firstref="ref36"></nolink> <nolink nlid="nl13" bibid="bib23" firstref="ref37"></nolink> <nolink nlid="nl14" bibid="bib24" firstref="ref38"></nolink> <nolink nlid="nl15" bibid="bib25" firstref="ref39"></nolink> <nolink nlid="nl16" bibid="bib26" firstref="ref40"></nolink> <nolink nlid="nl17" bibid="bib27" firstref="ref41"></nolink> <nolink nlid="nl18" bibid="bib28" firstref="ref42"></nolink> <nolink nlid="nl19" bibid="bib29" firstref="ref43"></nolink> |
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| Items | – Name: Title Label: Title Group: Ti Data: Bulletin Boards and Classroom Decorations: A Visual Representation of Your Music Teaching Philosophy – Name: Language Label: Language Group: Lang Data: English – Name: Author Label: Authors Group: Au Data: <searchLink fieldCode="AR" term="%22Sangmi+Kang%22">Sangmi Kang</searchLink> (ORCID <externalLink term="https://orcid.org/0000-0001-7818-7459">0000-0001-7818-7459</externalLink>)<br /><searchLink fieldCode="AR" term="%22Rachael+D%2E+Sanguinetti%22">Rachael D. Sanguinetti</searchLink><br /><searchLink fieldCode="AR" term="%22Samantha+Webber%22">Samantha Webber</searchLink> – Name: TitleSource Label: Source Group: Src Data: <searchLink fieldCode="SO" term="%22Music+Educators+Journal%22"><i>Music Educators Journal</i></searchLink>. 2024 110(4):43-50. – Name: Avail Label: Availability Group: Avail Data: SAGE Publications. 2455 Teller Road, Thousand Oaks, CA 91320. Tel: 800-818-7243; Tel: 805-499-9774; Fax: 800-583-2665; e-mail: journals@sagepub.com; Web site: https://sagepub.com – Name: PeerReviewed Label: Peer Reviewed Group: SrcInfo Data: Y – Name: Pages Label: Page Count Group: Src Data: 8 – Name: DatePubCY Label: Publication Date Group: Date Data: 2024 – Name: TypeDocument Label: Document Type Group: TypDoc Data: Journal Articles<br />Reports - Descriptive – Name: Subject Label: Descriptors Group: Su Data: <searchLink fieldCode="DE" term="%22Music+Education%22">Music Education</searchLink><br /><searchLink fieldCode="DE" term="%22Educational+Philosophy%22">Educational Philosophy</searchLink><br /><searchLink fieldCode="DE" term="%22Music+Teachers%22">Music Teachers</searchLink><br /><searchLink fieldCode="DE" term="%22Social+Justice%22">Social Justice</searchLink><br /><searchLink fieldCode="DE" term="%22Social+Emotional+Learning%22">Social Emotional Learning</searchLink><br /><searchLink fieldCode="DE" term="%22Teaching+Methods%22">Teaching Methods</searchLink><br /><searchLink fieldCode="DE" term="%22Educational+Benefits%22">Educational Benefits</searchLink><br /><searchLink fieldCode="DE" term="%22Bulletin+Boards%22">Bulletin Boards</searchLink><br /><searchLink fieldCode="DE" term="%22Classroom+Environment%22">Classroom Environment</searchLink><br /><searchLink fieldCode="DE" term="%22Aesthetics%22">Aesthetics</searchLink><br /><searchLink fieldCode="DE" term="%22Musicians%22">Musicians</searchLink><br /><searchLink fieldCode="DE" term="%22Emotional+Response%22">Emotional Response</searchLink> – Name: DOI Label: DOI Group: ID Data: 10.1177/00274321241236413 – Name: ISSN Label: ISSN Group: ISSN Data: 0027-4321<br />1945-0087 – Name: Abstract Label: Abstract Group: Ab Data: In this manuscript, we introduce four philosophical camps and provide bulletin board and classroom decoration examples of how music teachers can visually communicate their teaching philosophies to their students, parents, colleagues, and administrators. The categories emerged from our review of bulletin board examples created by our music teacher colleagues and include (1) music, emotion, and expression; (2) praxialism; (3) extramusical benefits; and (4) social justice. Bulletin boards may indirectly represent teachers' philosophies when compared with explicit curricula, such as lesson plans, textbooks, and other instructional materials. However, teachers can foster holistic learning experiences for students by harmonizing their implicit messages on bulletin boards and classroom decorations with the explicit curriculum. – Name: AbstractInfo Label: Abstractor Group: Ab Data: As Provided – Name: DateEntry Label: Entry Date Group: Date Data: 2024 – Name: AN Label: Accession Number Group: ID Data: EJ1441600 |
| PLink | https://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=eric&AN=EJ1441600 |
| RecordInfo | BibRecord: BibEntity: Identifiers: – Type: doi Value: 10.1177/00274321241236413 Languages: – Text: English PhysicalDescription: Pagination: PageCount: 8 StartPage: 43 Subjects: – SubjectFull: Music Education Type: general – SubjectFull: Educational Philosophy Type: general – SubjectFull: Music Teachers Type: general – SubjectFull: Social Justice Type: general – SubjectFull: Social Emotional Learning Type: general – SubjectFull: Teaching Methods Type: general – SubjectFull: Educational Benefits Type: general – SubjectFull: Bulletin Boards Type: general – SubjectFull: Classroom Environment Type: general – SubjectFull: Aesthetics Type: general – SubjectFull: Musicians Type: general – SubjectFull: Emotional Response Type: general Titles: – TitleFull: Bulletin Boards and Classroom Decorations: A Visual Representation of Your Music Teaching Philosophy Type: main BibRelationships: HasContributorRelationships: – PersonEntity: Name: NameFull: Sangmi Kang – PersonEntity: Name: NameFull: Rachael D. Sanguinetti – PersonEntity: Name: NameFull: Samantha Webber IsPartOfRelationships: – BibEntity: Dates: – D: 01 M: 06 Type: published Y: 2024 Identifiers: – Type: issn-print Value: 0027-4321 – Type: issn-electronic Value: 1945-0087 Numbering: – Type: volume Value: 110 – Type: issue Value: 4 Titles: – TitleFull: Music Educators Journal Type: main |
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