Researching Teaching & Leaning 2

Assessment 2 – Literature Review Alper Karabork 17796675

Engagement: Effective classroom management in music classes

PART A
Regardless of the subject or grade level taught, discipline is consistently a major concern for
all educators, but for music educators, teaching a disruptive student can be a special
challenge. (Buck, 2002). Music is constantly around us, whilst being played at most places
we go, it has become almost impossible to avoid listening to music. However, teaching
music to most students doesn’t come as easily as it is to listen to your favourite song.
‘Activities and tasks that are too difficult for students will frequently result in acting out or
aggressive or withdrawn behaviour.’ (Buck, 2002). An ongoing struggle that is experienced
by majority of music educators, is not only the teaching of music itself, but the idea that not
all students are going to enjoy or want to participate in the musical activity regardless of the
outcome. This in return creates for a more hostile and difficult classroom environment.

‘The quality of teaching in schools is directly linked to the quality of preservice preparation
that teachers receive. This is particularly important in music teacher education, given the
unique challenges that classroom music teachers commonly face.’ (Ballantyne 2004). There
is specific literature that explains how certain classrooms and schools face certain
difficulties, in which there are specific ways and methods to help promote teachers to face
and overcome these problems. A greater influence needs to be placed on music teachers to
not only succeed, but over achieve within their field to be able to effectively manage and
teacher their classes. Teaching any subject for students throughout K – 12 does present
itself with many challenges, however these challenges are made harder when students
suddenly discover the difficulty that comes with creating music. With no real specific
strategy or pedagogy set in place for music educators, the approach that teachers take isn’t
very clear. ‘The troubled waters of music education make the need for new concepts
imperative’ (Fowler). With music teachers having no set guidelines or direction, the
responsibility falls upon themselves to create and implement their own unique style and
pedagogy to teach music to students. This in turn allows each teacher to practise their own
teaching philosophy as well as trial and error with other styles until they find one they can
effectively implement. ‘In music as a required subject, the value systems of music teachers
tend to be at odds with each other’. (Froehlich, 2007). This inevitably leaves many teachers
in the dark, with no reliable source or materials to fall and look back on to help improve
their own work. This in return leaves many grey areas amongst teachers in the music faculty
and creates unnecessary work for teachers. ‘While there is an established body of literature
on teacher stress and on the factors that may make music teaching uniquely stressful, there
has been little or no research on how the recent era of accountability influences music
teacher stress.’ (Shaw, 2016).

There are studies that intend to help develop the level of education and training that pre-
service teachers receive throughout their development. ‘Given the complexity of the
settings in which music teachers work, effective pre-service teacher education programs
must be accompanied by appropriate mentoring and professional development experiences
if high teacher attrition rates in music education are to be addressed.’ (Roulston, 2007). In
order to help promote successful educators and music teachers, the focus could be to place
more importance on pre-service teachers and the processes they go through in order to
become qualified teachers. Some steps or mentoring teachers that accompany many pre-
service teachers struggle themselves with their own classroom management. The important
implications this leaves on a pre-service teacher could ultimately encourage or destroy their
student-teacher experience. ‘Little, if any, pre-service preparation is devoted to classroom
management, the teachers are not equipped to deal with management and must learn
while on the job.’ (Gordon, 2010). The responsibilities that are placed upon pre-service
teachers could be one to re-evaluate, which resolving this issue will eventually result in
teachers that are confident and can maintain a steady and effective classroom. Pre-service
preparation could be improved by instituting management classes and practical application
of that management coupled with focused training in methodology and pedagogy. (Gordon,
2010). The studies furthermore highlight the effects of the new ‘wave’ of music teachers
coming though the educational system, and the impact that this may have on the next
generation of students that plan to continue with their studies within music. ‘Pupils' musical
identities are strongly bound up with the importance of pop music outside school, and the
distinction between ‘music in school’ and ‘music outside school’ may be very significant for
them. Many secondary school music teachers, on the other hand, are trained in the
Western classical tradition, and so the congruence between the musical identities of pupils
and teachers is very likely to influence the success of school music.’ (Marshall, 2010).
Certain literature can help develop future educators, more so than what is being taught in
the music class. Pre- service teacher’s pedagogies and philosophies are heavily shaped by
what they are taught and experience through their teacher-student stage, and with an
effective mentor teacher and system in place this can see the next generation of educators
achieve higher standards than what is currently being taught. By showing how the concept
of musical identities might enable us to understand people's musical behaviour ‘from the
inside’, as well as in developing broader conceptions of the scope of music education.’
(Hargreaves, 2010).

From some literature that help attempt classroom management in music classrooms, ‘The
four Cs of classroom management - commendation, communication, consistency, and
content - represent one of the quickest and most successful ways to establish a safe,
healthful, and fun environment at any level’ (Jill, 2007). Refers to a broad method of
classroom engagement that highlights that the ‘4 C’s’ could be used in any classroom and
not only for music. ‘The management philosophy focuses on creating a successful
environment and preventing problems from occurring, and it includes several techniques for
intervention in ordinary classroom disruptions.’ (Jill, 2007). As mentioned, from the vague
amount of study that is available, the teaching strategies found specifically for music
classroom have been generalized to cater for all classrooms. These methods can be
moulded to be used particularly in music, however aren’t specific enough for every music
educator. ‘Teachers in the arts uniquely develop students as individuals by actively teaching
creativity, teamwork, critical thinking, and personal expressions. Music education in
particular fosters these personal traits through a diverse curriculum ranging from ensemble
singing to composition.’ (Spicer, 2014). The focus around this purpose doesn’t take into
account the theory component that surrounds students. Throughout music in all years,
theory and musicology accounts for 50% of the overall curriculum, leaving such a heavily
weighted component out does leave some questions for teachers using these techniques. ‘A
proactive approach will be stressed and effective interventions will be presented for a
variety of classroom situations’ (Spicer, 2014). With the focus only applicable for specific
scenarios and cases, the examples within the literature haven’t been specified enough to
apply for all concepts.

Therefore, overall there seems to be a lack of specification and more so an overall guide to
general classroom management and engagement. Through my examination of classroom
management in music classes revealed many common themes. The little explanation of
exactly how a music class could be further engaged and managed cannot be fully employed.
Majority of the literature provided generalized methods for all subject classes, and a
strategy to better educated pre-service teachers alone, with only little or no mention of
current educators and teachers. Teachers must understand that to implement these
strategies provided could only be used as a basis rather than a complete outline of how to
engage a music class, only then could the teacher progress and engage students through
their own personalized method.
 REFERENCES

Reese, J. (2007). The Four Cs of Successful Classroom Management. Music Educators

Journal,94(1), 24-29. doi:10.1177/002743210709400106

Middle School and Classroom Management. (n.d.). The SAGE Encyclopaedia of Classroom
Management. doi:10.4135/9781483346243.n210

Hargreaves, D. J., & Marshall, N. A. (2003). Developing identities in music education. Music
Education Research,5(3), 263-273. doi:10.1080/1461380032000126355

Roulston, K., Legette, R., & Womack, S. T. (2005). Beginning music teachers’ perceptions of
the transition from university to teaching in schools. Music Education Research,7(1), 59-82.
doi:10.1080/14613800500042141

Shaw, R. D. (2016). Music teacher stress in the era of accountability. Arts Education Policy
Review,117(2), 104-116. doi:10.1080/10632913.2015.1005325

Gordon, D. G. (2002). Discipline in the Music Classroom: One component contributing to

teacher stress. Music Education Research,4(1), 157-165. doi:10.1080/14613800220119831

D. G., Gordon. (2001). Basic Classroom Management Strategies. Behaviour and Classroom
Management in the Multicultural Classroom: Proactive, Active, and Reactive Strategies,115-
135. doi:10.4135/9781483366647.n6

Frisque, J., Niebur, L., & Humphreys, J. T. (1994). Music Mainstreaming: Practices in
Arizona. Journal of Research in Music Education,42(2), 94. doi:10.2307/3345494

Linsin, M. (2014). Classroom management for art, music, and PE teachers. San Diego, CA:
JME Publishing.
PART B – Data collection protocol

Dear Potential Participant:

I am working on a project titled Classroom Management within the Music classroom for the class,
‘Researching Teaching and Learning 2,’ at Western Sydney University. As part of the project, I am
collecting information to help inform the design of a teacher research proposal.
My project involves gathering information to understand how Music teachers and educators keep their
classrooms engaged using different methods and pedagogies. I hope to find and gather the information
from this to use and teach to other pre-service teachers that aspire to teach within the Music industry.
By signing this form, I acknowledge that:
 I have read the project information and have been given the opportunity to discuss the
information and my involvement in the project with the researcher/s.
 The procedures required for the project and the time involved have been explained to me, and
any questions I have about the project have been answered to my satisfaction.
 I consent to being observed and/or interviewed.
 I understand that my involvement is confidential and that the information gained during this
data collection experience will only be reported within the confines of the ‘Researching Teaching
and Learning 2’ unit, and that all personal details will be de-identified from the data.
 I understand that I can withdraw from the project at any time, without affecting my relationship
with the researcher/s, now or in the future.

By signing below, I acknowledge that I am 18 years of age or older, or I am a full-time university student
who is 17 years old.
Signed: __________________________________
Name: __________________________________
Date: __________________________________
By signing below, I acknowledge that I am the legal guardian of a person who is 16 or 17 years old, and
provide my consent for the person’s participation.
Signed: __________________________________
Name: __________________________________
Date: __________________________________
Observation protocol:
Layout
Date: 01/01/2019 Period: 1/5 Lesson: Music Class: 7A Taught By: Teachers name

8:00

8:15

8:30

8:45

8:50

Findings:

I aim to observe each music class and analyse how each teacher attempts to keep their
classroom managed and engaged. I have broken down the class times for every 15mins, this
will allow me to consistently take notes of what/how the teacher attempts to maintain their
class. Each teacher will be observed at least twice and at different times and with a different
class for each lesson.
Note: Try to understand why each teacher has used a specific method and how they felt it
suited that specific class.
Prior to the observation, I plan gain background knowledge of each teachers that I will be
analysing.
Age
Teaching history
Previous education
Time spent at each school
Each teacher will be observed at least twice and at different times and with a different class
for each lesson.
Interview protocol:

Using the same background knowledge gained from the observation protocol, I would
provide each participant with the WSU protocol attached for full understanding of each
procedure. Interviews will run for approx. 10 – 15 mins and in a quiet and non-disruptive
environment. The purpose of these interviews in to gain a better understanding of how and
why teachers use certain methods, which methods work best, and in what way could they
potentially improve their work.
Possible questions include: (No order)

- When students enter the class, what do you find is the best method for them to enter in?
- Do you find that incorporation technology throughout your lesson are beneficial?
- Do you feel all teachers have their own method/s?
- What factors are important when considering each teaching method?
- What do you think is the best method of teaching?
- How do you keep the classroom best engaged?
- What external factors influence the classroom behaviour most?
- Do you implement certain pedagogies or ideologies into your teaching?
- How do you feel you differ from other teachers? Do you feel that students respond
differently to this?
- What time of the day do you find easiest to teach music?
- Is every student separated to perform at their own ability, or does everyone move at the
same pace?
- Are all music teachers aware of the difficulties that are faced when trying to teach music?
- Are there any method you wish to apply to your teaching methods?
- What is the biggest struggles that you face as a music teacher?
- Do you feel all teachers from other subjects face the same problems as you?
- Do you often reflect on past classes to help benefit your teaching?
- Do you take students opinions and advice to teach?
- Do teachers discuss and plan how to approach each class?
- Is each student approached uniquely or generally with each lesson?
- Why did you chose to pursue a teaching career?
- Do you find there is enough external information on Music education, particularly with
classroom engagement?
Data collection protocol explanation:

The data collection protocol for the analysis relies on self-analysis and judgment, as well
as the judgement of other teachers and educators. The purpose of the research is to be
able to collect and contrast several different teaching methods and pedagogies, whilst
gathering information regarding which process they feel is most effective. By gathering
this data, the research will be able to determine which strategy works most effectively
for music classrooms.

By using the survey questions, certain information will be allowed to be managed and
gathered, this method will also help in discussing and answers more specific to the topic.
Along with the analysis of different classroom strategies and methods, the information
gathered will be able to be contrasted with current literature. Along with this
information, teachers will be also being asked to attach any resources or past research
they have done or participated in regarding this topic. While this data is collected, the
aim is to implement these strategies into some of the teacher’s classrooms and test the
effectiveness with students.

All parties involved in the data collection will be informed and have consent forms. This
will apply to both teachers and students involved in the research. There will not be any
students work attached or involved with this research, while an explanation of each step
and procedure will also be available for participants.