The intention of this study was to understand public school educators' perceptions of music education. This mixed methods study utilized a survey, interviews, and artifacts to interpret to what extent teachers and principals value music education as a contributing component of the academic program. The researcher aimed to comprehend how educators perceive music when compared to other academic subjects, how underlying factors and experiences contribute to perceptions of music education, and how perceptions align between teachers and principals. The data gathered for this study drew upon practicing educators from Pennsylvania public schools who serve in primary and middle years schools. 135 participants responded to a survey distributed via email, and 10 of the respondents were selected for follow up interviews.The findings of the study indicated that classroom teachers and principals generally perceive music to be less important that other academic subjects. The findings of the study also indicated that an educator's background in music and exposure to music have an impact on their perceptions of music education, although the level of impact varies depending on the specific type of musical undertaking. The findings of the study also showed that the perceptions of the importance of music education aligned between teachers and principals: teachers and principals agreed that music was a vital component to the academic curriculum. Lastly, the findings of the study indicated that educators in K-8 schools generally value music education more than educators in K-5 schools.

General music is informed by a variety of teaching approaches and methods. These pedagogical frameworks guide teachers in planning and implementing instruction. Established approaches to teaching general music must be understood, critically examined, and possibly re-imagined for their potential in school and community music education programs. Teaching General Music brings together the top scholars and practitioners in general music education to create a panoramic view of general music pedagogy and to provide critical lenses through which to view these frameworks. The collection includes an examination of the most prevalent approaches to teaching general music, including Dalcroze, Informal Learning, Interdisciplinary, Kodály, Music Learning Theory, Orff Schulwerk, Social Constructivism, and World Music Pedagogy. In addition, it provides critical analyses of general music and teaching systems, in light of the ways children around the world experience music in their lives. Rather than promoting or advocating for any single approach to teaching music, this book presents the various approaches in conversation with one another. Highlighting the perceived and documented benefits, limits, challenges, and potentials of each, Teaching General Music offers myriad lenses through which to re-read, re-think, and re-practice these approaches.

This qualitative case study identifies perspectives that have not yet been explored and documented concerning the difference in attention across school levels when it comes to offering professional development opportunities for music teachers. The majority of previous studies have focused on STEM programming, not the arts. In this study, the researcher interviewed six K-12 principals who aided in deciding whether to include music programs to students and professional development opportunities to teachers. Two principals were interviewed in the different K-12 school levels: elementary, middle, and high schools. The results of this study add to the literature and can foster an increase in advocacy to ensure that the arts are included in STEM educational programming and are a part of what schools are doing to better support their music educators. The results of this study will additionally benefit and advance music education by expanding research to include how different school levels promote music education in their curriculum with science, technology, engineering, arts, and mathematics (STEAM), as well as demonstrating the need for music educators to be supported through professional development opportunities.

Statistical information to help educators assess information needs and trends in music and art education is presented. The first of five sections contains information on occupational conditions. Charts and graphs depict occupational distribution and average annual salaries of recent bachelor's degree recipients, certification in the field of music education, elementary and secondary teaching status of recent bachelor's degree recipients qualified to teach art and music, teacher layoffs and shortages in public and private school art education, relative demand for teachers by teaching area and year, and relative supply and demand of teachers by field and geographic region. Section 2 contains five charts depicting associate, bachelor's, master's, and doctoral degrees conferred in selected art fields. Section 3 consists of charts and graphs showing results of the National Assessment of Educational Progress in art and music and the Scholastic Aptitude Test. Section 4 focuses on participation in the arts. Charts and graphs in this section cover data on student participation in art, student extracurricular art and music activity, public involvement with the schools, and adult education courses. The final section presents data on attitudes and opinions on music hobbies and music-related activities and school coursework. Appendices contain information sources and error estimation tables.

Editorial Board: William Bauer, Case Western Reserve University, Cleveland, OH. Susan Wharton Conkling, Eastman School of Music, University of Rochester, Rochester, NY. Colleen Conway, University of Michigan, Ann Arbor, MI. Regina Murphy, St. Patrick's College, Dublin City University, Dublin, Ireland. Kathy Scherler, University of Texas at Arlington, Arlington, TX. Research Perspectives: Thought and Practice in Music Education calls attention to various theoretical and methodological aspects within the expanding field of research in music education. Perspectives presented in this volume offer readers a host of ideas and practices that range from international and historical to empirical and philosophical. Of special interest is a set of invited essays. Collectively, these essays illuminate our understanding of the peer review process, the importance of artistic vision in research and education, and the notion of complementarity – a recognition of the validity of diversity of thought and practice in music education research. The studies in Part 1 of Research Perspectives include early childhood musical development, an international comparison of early childhood preservice teacher knowledge and skills, and a psychohistoric examination of developmentally appropriate practice. Part II is comprised of studies focused on psychometrics of motivation, and professional development of practicing music educators. This volume is a significant addition to the libraries of Colleges of Education and Schools of Music, as well as an important reference for music scholars and educators, researchers, and graduate students who are concerned with advancing both the scope and quality of research in the study of music teaching and learning.

General Music: Dimensions of Practice is a practical guide for music teachers and teaching artists who strive to teach music holistically. The book begins by framing general music as a holistic music education that is comprehensive, meaningful, and relevant to diverse learners in school and community settings. It is followed by chapters that are organized into one of four dimensions of music practice: performing, connecting, creating, and responding. Chapter authors share creative and innovative teaching ideas, for both elementary and secondary school students, that focus on a wide range of topics, including: songwriting, composing, improvising, singing, moving, playing, listening, analyzing, contextualizing, and connecting. Each chapter provides (a) a rationale for a given area of music study, establishing its importance and relevance; (b) a research or theoretical background, to inform and guide practice; and (c) a pedagogical model or framework illustrated through lesson ideas, curriculum units, or vignettes. The ideas in this book seek to inspire and guide teachers as they build comprehensive music programs that are informed by students and communities.