In this article, we present the results of a study about the perceptions of students studying for a degree in primary education about their music-teaching knowledge and their training needs in that area. The study was carried out in three public universities in Galicia (Spain). Using a quantitative methodological approach, a questionnaire was used to collect data from 302 participants. The results indicate some gaps in their practical, theoretical, and teaching knowledge related to musical expression which would have to be addressed through continued training during their professional practice. These gaps could also be considered in the design of teaching plans for teachers’ initial training. Considering that music is part of the primary education curriculum, and most people’s daily lives, careful thought is needed about the elements making up future teachers’ training. The measures which are adopted as a result will determine the use that will be made of music, both academically and as an interdisciplinary teaching resource.
AdamsM. (2016). Pedagogical foundations for social justice education. In BellL. A.AdamsM. (Eds.), Teaching for diversity and social justice (2nd ed., pp. 15–32).
Taylor & Francis.
2.
ArósteguiJ. (2006).
La Formación del Profesorado en Educación Musical ante la Convergencia Europea en Enseñanzas Universitarias [Music Teacher Training within the European Convergence in University Education]. Revista de Educación,
341, 829–844.
3.
BernabéM. (2012).
Importancia de la música como medio de comunicación intercultural. Teoría de la educación [Importance of music like way of intercultural communication in the educational process]. Revista Interuniversitaria,
24(2), 107–127. https://doi.org/10.14201/ted.10357
4.
BuonviriN. (2015).
Effects of music notation reinforcement on aural memory for melodies. International Journal of Music Education,
33(4), 442–450. doi.org/10.1177/0255761415582345
5.
CairesS.AlmeidaL.VieiraD. (2012).
Becoming a teacher: Student teachers’ experiences and perceptions about teaching practice. European Journal of Teacher Education,
35(2), 163–178.
6.
Cochran-SmithM.FriesK. (2008). Research on teacher education. Changing times, changing paradigms. In M. Cochran-Smith, S. Feiman-Nemser, J. McIntyre, & K. Demers (Eds.), Handbook of research on teacher education (pp. 1050–1093). Routledge.
7.
Cochran-SmithM.VillegasA. M.WhalenL.Chávez-MorenoL.MillsT.SternR. (2016). Research on teacher preparation: Charting the landscape of a sprawling field. In D. H. Gitomer & C. A. Bell (Eds.), Handbook of research on teaching (pp. 439–548). American Educational Research Association.
8.
DíazM.GiráldezA.(Coords.). (2007). Aportaciones teoricas y metodologicas a la educacion musical. Una seleccion de autores relevantes [Theoretical and methodological contributions to music education. A selection of relevant authors]. Graó.
9.
EliotD. (2009). La comprensión musical, las obras musicales y la expresión de sentimientos: implicaciones para la educación [Musical Understanding, Musical Works, and Emotional Expression: Implications for education]. en D. Lines (comp.). La educación musical para el nuevo milenio [Music Education for the New Millennium] (pp. 123–135). Morata.
10.
FubiniE. (2001). Musica y lenguaje en la estetica contemporánea [Music and language in contemporary aesthetics]. Alianza.
11.
GilJ. (2011). Metodologıa cuantitativa en educacion [Quantitative methodology in education]. UNED.
12.
González-SanmamedM.FuentesE. J. (2011).
El practicum en el aprendizaje de la profesión docente [Practicum in the learning of teaching professionals]. Revista de Educación,
354, 47–70.
13.
González-SanmamedM.SantosF.Muñoz-CarrilP. (2016).
Teacher education & professional development: A learning perspective. Lifewide Magazine,
16, 13–16.
14.
GutiérrezR.CremadesA.PereaB. (2011).
La interdisciplinariedad de la música en la etapa de educación primaria [The interdisciplinarity of music in the primary education stage]. Espacio y Tiempo, Revista de Ciencias Humanas,
25, 151–161.
15.
HormigosJ. (2010).
La creación de identidades culturales a través del sonido [The creation of cultural identities through sound]. Comunicar,
34(25), 91–98.
16.
IbarretxeG. (2006). El conocimiento científico en la investigación musical [Scientific knowledge in music research]. En M. Díaz (Coord). Introducción a la investigación en educación musical [Introduction to research in music education ] (pp. 8–30). Enclave Creativa.
17.
Jones, M., Fay, R., & Pooper, A. (Eds.) (2010). Music perception. Springer.
18.
JorqueraC. (2017).
Las buenas prácticas como reflejo del estado de la educación musical; una revisión bibliográfica [Good practices as the state of the art of music education: A literature review]. Revista Internacional De Educación Musical,
5, 71–83.
19.
LeglarM.CollayM. (2002). Research by teachers on teacher education. In ColwellR.RichardsonC. (Eds.), The new handbook of research on music teaching and learning (pp. 855–873).
Oxford University Press.
20.
Ley Orgánica 1/1990de 3 de octubre, de Ordenación General del Sistema Educativo (LOGSE).
21.
Ley Orgánica 4/2007de 12 de abril, por la que se modifica la Ley Orgánica 6/2001, de 21 de diciembre, de universidades.
22.
LinesD. (2009).
Introducción: La educación musical en la cultura contemporánea [Introduction: Music education in contemporary culture]. InD. Lines (Comp.). La educación musical para el nuevo milenio [Music Education for the New Millennium] (pp. 13–20). Morata.
23.
López de la CalleM. (2008).
La formación del maestro de educación infantil en la música y su enseñanza y su adecuación al espacio europeo de educación superior [The training of the early childhood teacher in music and its teaching and its adaptation to the European Higher Education Area]. Innovación Educativa,
18, 223–237.
24.
MarceloC.VaillantD. (2009). Desarrollo profesional docente [Professional teaching development]. Narcea.
25.
NapalF. R. (2015). La formación musical del futuro profesorado de Educación Primaria [Tesis doctoral] [The musical training of the future teachers of Primary Education. [Doctoral Thesis]]. Universidade da Coruña.
26.
NixonB.WillieK.WorthenC.PehrsonA. (2017).
An analysis of state music education certification and licensure practices in the United States. Journal of Music Teacher Education,
27(1), 65–88.
27.
QuintanaF.RobainaF.MatoM. (2012).
Instrumentos de medida de la habilidad musical: análisis de metodologías utilizadas [Musical ability measurement instruments: analysis of methodologies used]. El Guiniguada,
21, 105–115.
28.
RichmondJ.McLachlanN.AinleyM.OsborneM. (2016).
Engagement and skill development through an innovative classroom music program. International Journal of Music Education,
34(2), 143–160. https://doi.org/10.1177/0255761415584289
29.
RideoutR.FeldmanA. (2002). Research in music student teaching. In ColwellR.RichardsonC. (Eds.), The new handbook of research on music teaching and learning (pp. 874–886).
Oxford University Press.
30.
Ross HookeyM. (2002) . Profesional Develoment. En R. Colwell & C. Richardson (Eds.), The new handbook of research on music teaching and learning (pp. 887–902). Oxford University Press.
31.
ShulmanL. (1987).
Knowledge and teaching: Foundations of the new reform. Harvard Educational Review,
57, 1–22.
32.
SmythJ. (2011). Critical pedagogy for social justice. Continuum.
33.
SwanwickK. (1991). Música, pensamiento y educación [Music, mind and education]. Morata.
34.
TamirP. (2005).
Conocimiento profesional y personal de los profesores y de los formadores de profesores [Professional and Personal Knowledge of Teachers and Teachers Educators].Profesorado. Revista de currículum y formación del profesorado,
2(9), 1–10.
35.
TrainorL.CorrigallK. (2010). Music acquisition and effects of musical experience. In JonesM.FayR.PooperA. (Eds.) Music perception (pp. 89–127).
Springer.
36.
ValenciaS. W.MartinS. D.PlaceN. A.GrossmanP. (2009).
Complex interactions in student teaching: Lost opportunities for learning. Journal of Teacher Education,
60(3), 304–322.
37.
VaughanM.BurnafordG. (2016).
Action research in graduate teacher education: A review of the literature 2000–2015. Educational Action Research,
24(2), 280–299.
38.
VerniaA. (2016).
El maestro generalista como futuro docente en la especialidad de música [The generalist teacher as a future teacher in the specialty of music. Reflections on their skills].Reflexiones sobre sus competencias. Arte y movimiento,
14, 9–17.
39.
WillemsE. (2001). El oído musical: La preparación auditiva del niño [The musical ear: the child's hearing preparation]. Paidós.
Supplementary Material
Please find the following supplemental material available below.
For Open Access articles published under a Creative Commons License, all supplemental material carries the same license as the article it is associated with.
For non-Open Access articles published, all supplemental material carries a non-exclusive license, and permission requests for re-use of supplemental material or any part of supplemental material shall be sent directly to the copyright owner as specified in the copyright notice associated with the article.
