Myth, Maxims,

1
Myth, Maxims, Moxie
Using Research to Support Music in Urban Schools

• MENC Southwestern Division Symposium
• in Urban and Rural Schools
• Dallas, Texas
• June 11, 2007

Dr. Carol Frierson-Campbell, William Paterson
University Handout available at http//euphrates
.wpunj.edu/faculty/friersoncampbellc
2
Overview of Session

• Look at ways research supports or refutes common
  myths about music education
• Consider actions music educators can take in and
  out of classroom to make change.

3
MYTH

• . . . a myth is a sacred story . . . believed to
  be true by people who attach significance to it.
  Use of the term by scholars does not imply that
  the narrative is either true or false.
• Wikipedia.com

4
MAXIM

• Oxford Concise Dictionary
• noun a short statement expressing a general
  truth or rule of conduct.
• ORIGIN from Latin propositio maxima most
  important proposition.
• http//www.askoxford.com/concise_oed

5
MOXIE

• Britanica.com
• Main Entry moxie Pronunciation
  'mäk-sEFunction nounEtymology from Moxie, a
  trademark for a soft drink1 ENERGY, PEP2
  COURAGE, DETERMINATION3 KNOW-HOW, EXPERTISE
• http//www.m-w.com/dictionary/moxie

6
Myth, Maxims, Moxie . . .

• Myths are our sacred narratives
• Maxims are the truths and clarifications
  uncovered by research
• Moxie is what music teachers need to improve
  music in urban schools.

7
Music Education Myths

• MYTH 1
• Theres no one way to teach music.
• MYTH 2
• Children are children wherever you go.
• MYTH 3
• Good teachers are color-blind.
• MYTH 4
• Good teachers are born, not taught.

• MYTH 5
• Good teachers can teach anywhere.
• MYTH 6
• Administrators and non-music educators do not
  care about music in school.
• MYTH 7
• Music makes you smarter.

8
MYTH 1

• Theres no one way to teach music

9
MAXIMS FOR MYTH 1

• Modeling (demonstrating)
• Cooperative Learning
• Sight-reading
• Accompaniment
• Movement

10
Modeling (Demonstrating)

• Nonverbal teacher modeling is effective in
  promoting musical skills across a wide age
  distribution. The better the model, the better
  students perform.
• Henley, P. T. (2001). Effects of Modeling and
  Tempo Patterns as Practice Techniques on the
  Performance of High School Instrumentalists.
  JRME, 49 (2), 169-80.
• Dickey, M. R. (1992). A Review of Research on
  Modeling in Music Teaching and Learning. Bulletin
  of the CRME, 113, 27-40.
• Sang, R. C. (1987). A Study of the Relationship
  Between Instrumental Music Teachers' Modeling
  Skills and Pupil Performance Behaviors. Bulletin
  of the CRME, 91, 155-59.

11
Sight Reading

• Sight-reading accuracy of high school singers was
  significantly higher with 30-second preparation
  time. Less accurate singers did not benefit from
  extra time.
• High scorers established key vocally, used hand
  signs, sang out loud during practice, kept beat
  physically, and sang the melody significantly
  more frequently than did low scorers during
  practice.
• Sight-singing system used made no difference.
• Killian, J. N. Henry, M. L. (2005). A Comparison
  of Successful and Unsuccessful Strategies in
  Individual Sight-Singing Preparation and
  Performance. JRME, 53 (1), p. 51-65.

12
Cooperative Learning

• In a 1995 study, cooperative learning techniques
  (student/student interaction) were related to
  higher achievement in an urban secondary piano
  class.
• The data revealed a decrease in absenteeism,
  classroom behavior, tardiness, and cutting class.
• Goliger, J. M. (1995). Implementation of a
  program of cooperative learning in an urban
  secondary piano laboratory. Doctoral-dissertation,
  Teachers College, Columbia University.

13
Accompaniment for Young Singers

• Harmonic accompaniment (defined as a root melody
  accompaniment) had no significant effect on the
  tonal achievement of children in K and 1
  however, children who received song instruction
  with root melody accompaniment improvised
  melodies w/ better intonation.
• Guilbault, D. M. (2004). The Effect of Harmonic
  Accompaniment on the Tonal Achievement and Tonal
  Improvisations of Children in Kindergarten and
  First Grade. JRME, 52 (1) (Spring 2004) p. 64-76.

14
Movement in Music Class

• Movement helps children to developing mental
  frames for understanding music. Therefore,
• . . . the continued use of movement in the music
  classroom should strongly be encouraged. . . .
• Ample classroom space is important
• Preservice and in-service teacher training for
  planning appropriate movement activities is
  needed.
• Ferguson, L. (2005). The Role of Movement in
  Elementary Music Education A Literature Review.
  Update Applications of Research in Music
  Education (Online), 23 (2), 23-33.

15
MOXIE for MYTH 1

• Use research-based practice to improve students
  musical achievement.
• Remember ENERGY, PEP, COURAGE,
  DETERMINATION,KNOW-HOW, EXPERTISE

16
MYTH 2

• Children are children wherever you go.

17
MAXIMS for MYTH 2

• Five recent themes have changed our conceptions
  of learning     
• Memory and structure of knowledge
• Analysis of problem solving and reasoning
• Early foundations
• Metacognitive processes and self-regulatory
  capabilities
• Cultural experience and community participation
• How People Learn Brain, Mind, Experience, and
  School http//books.nap.edu/html/howpeople1/

18
Memory and structure of knowledge

• Knowing how learners develop structures of
  information helps teachers understand how
  different learners organize the knowledge that
  underlies effective comprehension and thinking.

19
Problem solving and reasoning

• There is a clear difference between the ways
  novice learners solve problems and the ways
  proficient experts in particular subjects
  organize knowledge.

20
Early foundations

• There is a strong relationship between children's
  early learning experiences and the ways they
  learn to organize and coordinate information,
  make inferences, and discover strategies for
  problem solving.

21
Metacognition and self-regulation

• Individuals can be taught to regulate their
  behaviors, and these activities enable students
  to understand what they have learned and how well
  they have learned it.
• Knowing how to teach these skills is a hallmark
  of successful urban teachers.

22
Cultural experience

• Learning is promoted by social norms that value
  the search for understanding.
• Learning involves becoming attuned to the
  constraints and resources, the limits and
  possibilities, that are involved in the practices
  of the community.

23
MOXIE for MYTH 2

• Learn to recognize stages of development among
  students
• Teach self-regulation along with skills and
  knowledge
• Familiarize yourself with the social norms your
  students are immersed in

24
MYTH 3

• Good teachers are color-blind

25
MAXIMS for MYTH 3

• Are multiple diversities in U.S. schools
• There are also cultural differences between
  teachers and students.
• This necessitates cultural consciousness
• Its important to challenge perspectives of
  normal

26
Diversities in U.S. Schools

• 100 largest school districts in the United States
  educate 23 of US students
• 15 of these districts are in Texas, 2 are in
  Arizona, and Kansas and New Mexico each have 1.
• (58 of 500 largest school districts are in Texas)

27
Large Texas School Districts

• 8 Houston ISD
• 13 Dallas ISD
• 35 Fort Worth ISD
• 38 Austin ISD
• 53 Northside ISD (San Antonio)
• 54 Cypress-Fairbanks ISD (Houston)
• 57 El Paso ISD
• 65 Arlington ISD

• 68 San Antonio ISD
• 73 Fort Bend ISD (Sugar Land)
• 76 Aldine ISD (Houston)
• 81 North East ISD (San Antonio)
• 83 Garland ISD
• 92 Plano ISD
• 97 Ysleta ISD (El Paso)

28
Diversities in U.S. Schools

• In 2003-2004, among the 100 largest school
  districts
• 47 of students eligible for free and
  reduced-price lunches, (national average 37 )
• Avg. school size was 697 students (national avg
  503 students)
• 63 have a non-White majority in 36 of these
  school districts, students of color make up 75
  of student population.
• Approx. 20 had Black majority another 20 had
  a Hispanic majority (Hoffman Sable, 2006, p.
  6).
• Large schools w/high minority populations have
  the fewest music ed resources (Frierson-Campbell,
  in press).

29
U.S. School Personnel

• Educators of Color
• 10 of secondary teachers
• 14 of K6 teachers
• 16 of principals
• 4 of superintendents
• 6 of music educators
• U.S. teachers and many of their students lie in
  geographically, ethnically, linguistically and
  socioeconomically different worlds.
• Robinson, K. (2006). White teacher, students of
  color Culturally responsive pedagogy for
  elementary general music in communities of color.
  In Teaching Music in the Urban Classroom, v. 1.

30
Cultural Consciousness

• Children experience frustration when there is a
  disconnect between their home culture and the
  school culture. This puts them at a disadvantage
  (Sheets, 1999 Irvine, 2001 Delpit, 1995
  Ladson-Billings, 1998).

31
Perspectives of Normal

• Research has indicated that many well-meaning
  teachers who have difficulty accepting
  differences may be assuming that normal
  students are White, middle class, heterosexual,
  and at least outwardly well adjusted to
  schoolthe presumed majority.
• Darling-Hammond, French Garcia-Lopez, 2002, p.
  9

32
MOXIE for MYTH 3

• Use culturally responsive teaching
• Develop a knowledge base about cultural diversity
• Include ethnic and culturally diverse content in
  the curriculum
• Demonstrate caring in the learning community
• Develop cross-cultural communications
• Use cultural congruity in classroom instruction
• Geneva Gay (2000). Culturally Responsive
  Teaching Theory, Research, and Practice.
• Kindall-Smith, M. (2006). I Plant My Feet on
  Higher Ground Music Teacher Education for Urban
  Schools. In Teaching Music in the Urban
  Classroom, v. 2.

33
MYTH 4

• Good teachers are born, not taught.

34
MAXIMS for MYTH 4

• Teacher training matters
• There are predictors of success for urban
  teachers
• PD works for music teachers
• Some issues are more difficult than others.

35
Teacher Training Matters

• Preparation and certification in both a
  discipline and in education correlates with
  highly rated and successful teachers.
• Teachers who have spent more time studying
  teaching are more effective overall, and
  strikingly so in developing higher-order thinking
  skills and in meeting the needs of diverse
  students (p. 4).
• Darling-Hammond, L. Loewenberg Ball, D. (2004).
  Teaching for high standards What policymakers
  need to know and be able to do. Philadelphia, PA
  Consortium for Policy Research in Education.

36
Predictors of Urban Teacher Success

• 4 dimensions of excellence for urban teacher
  prep
• Choose adultsbest if over age 30
• Have candidates demonstrate rapport with
  low-income children of diverse ethnic backgrounds
• Base admission on valid interviews Habermans
  specialty,
• Involve effective urban teachers in selecting
  candidates.
• The selection and training of successful urban
  teachers is best accomplished in the worst
  schools and under the poorest conditions of
  practice.
• Haberman, M. (1995). Selecting Star' Teachers for
  Children and Youth in Urban Poverty. Phi Delta
  Kappan, 76, 740-740. Retrieved from
  www.wilsonweb.com on June 10, 2007.

37
PD Works for Music Teachers

• Three indicators of effectiveness--teacher
  knowledge, teacher comfort, and frequency of
  teacher use--can be significantly improved in a
  1-week workshop setting. (Technology)
• Music educator participants were tested before,
  immediately after, and 10 months after the
  workshop.
• Moderate correlation between participants'
  frequency of technological use and the degree to
  which they reported their access to technological
  resources.
• Bauer, W. I. Reese, S. McAllister, P. A.
  (2003). Transforming Music Teaching via
  Technology The Role of Professional Development.
  JRME, 51 (4), 289-301.

38
Music Teacher Difficulties

• Emerging as a Teacher What Gets Easier?
• Security and self-confidence, Classroom
  management, Administrative organization
  (preparing a budget, and so forth), Lesson
  planning, Finding materials and resources for
  lessons, Community relations/parent interactions.

39
Music Teacher Difficulties

• Career-long music teacher challenges
• Time management, Advocacy, Isolation (left out of
  decision making), Curriculum concerns (choosing
  literature and classroom activities), Scheduling,
  Keeping up with educational trends, Finding time
  for one's own musical growth.
• Conway, C. M. Hibbard, S Albert, D. Hourigan,
  R. (2005). Professional Development for Arts
  Teachers. Arts Education Policy Review, 107 (1),
  3-9.

40
MOXIE for MYTH 4

• Professional development Find university courses
  that help you target areas of need.
• Mentoring Make a point of developing a
  relationship with a more experienced teacher who
  is successful.
• Learning Take responsibility for your own
  learning.
• Administrators Use tools to help determine who
  will be successful.

41
MYTH 5

• Good teachers can teach anywhere

42
MAXIMS for MYTH 5

• School facilities impact teaching
• Urban teachers face more stresses with less
  reinforcement

43
School facilities impact teaching

• Teachers in Chicago, IL and Washington, DC rated
  the impact of working conditions on job
  performance and teaching effectiveness.
• Inadequate science, music, and art classrooms.
• 40 of classrooms wrong size for instruction.
• Over 25 of classes in non-classroom spaces.
• About 1/3 of teachers had little or no teacher
  workspace.
• Other issues
• Fair or poor indoor air quality.
• Poor thermal comfort, lighting, levels of
  cleanliness and general maintenance.
• Many indicated that school conditions affected
  their career decisions. Schneider, Mark. (2003).
  Linking School Facility Conditions to Teacher
  Satisfaction and Success. ED480552. Web site
  http//www.edfacilities.org/pubs

44
Urban music teacher stress

• The factors that most impact music teachers are
  time, student apathy, and inadequate salary.
• Urban teachers reported significantly greater
  differences in discipline and motivation issues
  as well as with the lack of professional
  improvement opportunities. Additionally,
  inadequate preparation, insufficient program
  budgets and facilities . . . and lack of
  collegial and administrative support were
  reported to be large sources of stress.
• Gordon, D. G. (1997). An investigation and
  analysis of environmental stress factors
  experienced by k-12 music teachers (stress). DAI,
  58, no. 11A, (1997) 4171.

45
MOXIE for MYTH 5

• Work to make the whole school environment better
• Get involved with your union
• Document everything
• Consider a new placement

46
MYTH 6

• Administrators and non-music educators do not
  care about music in school.

47
MAXIMS for MYTH 6

• Know your building administrators perceptions
  and communicate often.
• Help grade-level teachers with interdisciplinary
  integration.
• Cultivate Social Capital.
• Be a music teacher leader.

48
Building Admin Perspectives

• 2004 survey Elementary school principals
  believed music teachers were meeting educational
  standards and that standards were important.
• Principals had the following priorities
• understand music in relation to other subjects,
  (more emphasis)
• create and compose music, (less emphasis)
• analyze, evaluate, and describe music verbally
  and in writing, (more emphasis) and
• understand music in relation to history and
  culture. (more emphasis)
• The lowest rating was for "provide students with
  a pleasant diversion during the school day."

49
Building Admin Perspectives

• Principals believed the following factors
  negatively impacted music programs
• No Child Left Behind Act,
• budget,
• standardized tests,
• scheduling.
• Music teachers might consider finding more
  effective ways to share student achievements in
  these areas in order to provide administrators
  with an accurate perception of learning arising
  from music education (Discussion, 2).
• Abril, Carlos R. Gault, Brent M. (2006). The
  state of music in the elementary school The
  principal's perspective. Journal of Research in
  Music Education, 54 (1), 6-20. Retrieved from
  www.wilsonweb.com on December 3, 2006.

50
Grade-level teachers perceptions

• Instruction
• 1990 survey of elementary teachers in Illinois
  about the value of arts instruction in their
  classes.
• Participants ranked the fine arts last in
  importance when compared to other areas of
  development, and rarely used them in their
  classes.
• Kriehbiel, H. J. (1990). Illinois fine arts
  Elementary classroom teachers perceptions of
  music instruction. DAI, 51 (3a), 778.
• BUT . . .

51
Grade-level teachers perceptions

• Interdisciplinary integration
• A 2004 study in central Florida indicated that
  grade-level teachers DO believe that music
  integration is beneficial to students.
• Key findings indicate that awareness and
  training were the 2 most important issues
  affecting music integration.
• Shuck, C. M. (2005). Music integration
  Educators perceptions of implementation and
  student achievement in public school elementary
  education. DAI, 66 (03a), 901.

52
Social Capital

• 2003 study of teachers in urban schools in
  Chicago noted that teachers constructed other
  teachers as leaders on the basis not only of
  cultural capital, but of human and social
  capital (p. 2).
• Ordinary (i.e., grade-level) teachers did not
  see specialist teachers as leaders that is, as
  people who had the capacity to help them learn
  about and change their teaching practices (p.
  11).
• The lack of social capital among specialist
  teachers gave them lower status in the school.
• Spillane, J. P., Hallett, T. Diamond, J. B.
  (2003). Forms of capital and the construction of
  leadership Instructional leadership in urban
  elementary schools. Sociology of Education, (76),
  1-17.

53
Music Teacher Leadership

• A 2000 study of an urban high school in Toronto
  that made a decision to support arts
  participation by all students.
• The arts were credited with turning the school
  climate from failure to success.
• Individual arts teachers had a significant impact
  on the strength of the programs and of the school
  itself.

54
Arts Teacher Leadership

• Result of specific actions and behaviors on the
  part of arts teachers
• Program excellence,
• Accessibility,
• Authentic arts-based learning,
• Changes in arts teacher roles
• Part of shared vision
• Involved in /flexible about scheduling
• Had visible programs
• Providers of essential curricular knowledge (for
  students and colleagues).
• Zederayko, M. W. (2006). The power of arts
  teacher leadership. In Teaching Music in the
  Urban Classroom, v. 2.

55
MOXIE for MYTH 6

• Communicate with administrators.
• Provide resources for non-music colleagues.
• Become a school leader.

56
MYTH 7

• Music makes you smarter

57
MAXIMS for MYTH 7

• Arts study improves non-arts study
• Visual arts
• Music
• Multi-Arts
• There are cautions to be considered
• Missing Links

58
Visual Arts Critical Links

• Drawing Content and organization of writing
• Visualization training Sophisticated reading
  skills/interpretation of text.
• Reasoning about art Reasoning about scientific
  images.
• Instruction in visual art Reading readiness

59
Music Critical Links

• Early childhood music training Cognitive
  development
• Music listening Spatial reasoning, Spatial
  temporal reasoning, Quality of writing.
• Piano/keyboard learning Mathematics
  proficiency, Spatial reasoning.
• Piano and voice Long-term spatial temporal
  reasoning.
• Music performance Self-efficacy, Self-concept.
• Instrument training Reading, SAT verbal scores.
• Music with language learning English skills for
  ESL learners.

60
Multi-arts Programs Critical Links

• Integrated arts/academics Reading, verbal and
  mathematics skills.
• Creative thinking Achievement motivation,
  Cognitive engagement, Instructional practice in
  the school, Community engagement and identity.
• Intensive arts experience Self-confidence,
  Risk-taking, Paying attention, Persevering,
  Empathy for others, Ownership of learning,
  Collaboration skills, Leadership, Reduced dropout
  rates, Educational aspirations, Higher-order
  thinking skills.
• Arts-rich school environment Creativity,
  Engagement/attendance, Range of personal and
  social developments, Higher-order thinking
  skills.

61
Sources of information

• James Catterall, "The Arts and the Transfer of
  Learning," in Critical Links Learning in the
  Arts and Student Academic and Social Development.
  
• Critical Links http//www.aep-arts.org/PDF20File
  s/CriticalLinks.pdf
• Chart http//www.michigan.gov/documents/CLTransfe
  rChart2_103474_7.pdf

62
Cautions Missing Links

• Research linking arts and academic achievement
  may not meet rigor of scientific proof.
• The Arts and Academic Achievement What the
  Evidence Shows http//www.pz.harvard.edu/Research/
  Reap/REAPExecSum.htm

63
Cautions Missing Links

• Three areas w/reliable Causal Links
• Listening to Music and Spatial-Temporal Reasoning
• Learning to Play Music and Spatial Reasoning
• Classroom Drama and Verbal Skills

64
Cautions Missing Links

• Seven Areas w/o reliable Causal Links
• Arts-Rich Education and Verbal and Mathematics
  Scores/Grades
• Arts-Rich Education and Creative Thinking
• Learning to Play Music and Mathematics
• Learning to Play Music and Reading
• Visual Arts and Reading
• Dance and Reading
• Dance and Nonverbal Reasoning

65
MOXIE for MYTH 7

• Understand what the research says.
• Share the wealth with administrators and
  colleagues
• Be aware of the limitations of current research
  (and consider doing research of your own!)

66
Myth, Maxims, and Moxie

• Whats most important for teachers?
• Continued professional development makes teachers
  more effective at teaching and more highly rated
  by students
• Making curricular and professional connections
  w/music and non-music colleagues can strengthen
  the role of music in your school.

67
Myth, Maxims, and Moxie

• Whats most important for students?
• Learn students developmental needs.
• Learn students cultural mores for learning.
• Consider using research-based strategies.

68
Myth, Maxims, and Moxie

• Whats most important for administrators?
• Provide music teachers with opportunities for
  professional growth and collegiality.
• Consider using the Haberman interview or similar
  tool to hire new teaching prospects.

69
Myth, Maxims, and Moxie

• So what?
• Music teachers who are knowledgeable about
  research and practice
• Are better teachers
• Are seen by peers as leaders
• Have a greater chance of making a difference for
  music students and all students.

70
Our Most Essential Task

• The most essential long-term task facing our
  profession involves enrolling parents,
  colleagues, administrators, politicians, and
  others in the quest to make schools more
  educational in nature and, therefore, more
  hospitable for music teaching and learning (p.
  306).
• Elliott, D. J. (1995). Music matters A new
  philosophy of music education. New York Oxford
  University Press.

71
Myth, Maxims, Moxie
Using Research to Support Music in Urban Schools
Thank you! Any questions?
http//euphrates.wpunj.edu/faculty/friersoncampbel
lc
72
References

• Modeling (Demonstrating)
• Henley, P. T. (2001). Effects of Modeling and
  Tempo Patterns as Practice Techniques on the
  Performance of High School Instrumentalists.
  JRME, 49 (2), 169-80.
• Dickey, M. R. (1992). A Review of Research on
  Modeling in Music Teaching and Learning. Bulletin
  of the CRME, 113, 27-40.
• Sang, R. C. (1987). A Study of the Relationship
  Between Instrumental Music Teachers' Modeling
  Skills and Pupil Performance Behaviors. Bulletin
  of the CRME, 91, 155-59.
• Sight Reading
• Killian, J. N. Henry, M. L. (2005). A Comparison
  of Successful and Unsuccessful Strategies in
  Individual Sight-Singing Preparation and
  Performance. JRME, 53 (1), p. 51-65.

73
References

• Cooperative Learning
• Goliger, J. M. (1995). Implementation of a
  program of cooperative learning in an urban
  secondary piano laboratory. Doctoral-dissertation,
  Teachers College, Columbia University.
• Accompaniment for Young Singers
• Guilbault, D. M. (2004). The Effect of Harmonic
  Accompaniment on the Tonal Achievement and Tonal
  Improvisations of Children in Kindergarten and
  First Grade. JRME, 52 (1) (Spring 2004) p. 64-76.
• Movement in Music Class
• Ferguson, L. (2005). The Role of Movement in
  Elementary Music Education A Literature Review.
  Update Applications of Research in Music
  Education (Online), 23 (2), 23-33.

74
References

• How People Learn Brain, Mind, Experience, and
  School http//books.nap.edu/html/howpeople1/
• Information about the 100 largest US districts
• Hoffman, L., Sable, J. (2006). Public
  Elementary and Secondary Students, Staff,
  Schools, and School Districts School Year
  200304 (NCES 2006-307). U.S. Department of
  Education. Washington, DC National Center for
  Education Statistics.

75
References
76
(No Transcript)
77
References

• Working with students from a different culture
• Robinson, K. (2006). White teacher, students of
  color Culturally responsive pedagogy for
  elementary general music in communities of color.
  In Teaching Music in the Urban Classroom, v. 1.
• Learning to teach for social justice
• Darling-Hammond, French Garcia-Lopez. (2002).
  New York Columbia University Press.
• Culturally Responsive Pedagogy
• In General Ed Geneva Gay (2000). Culturally
  Responsive Teaching Theory, Research, and
  Practice.
• In Music Ed Kindall-Smith, M. (2006). I Plant My
  Feet on Higher Ground Music Teacher Education
  for Urban Schools. In Teaching Music in the Urban
  Classroom, v. 2

78
References

• Importance of Teacher Training
• Darling-Hammond, L. Loewenberg Ball, D. (2004).
  Teaching for high standards What policymakers
  need to know and be able to do. Philadelphia, PA
  Consortium for Policy Research in Education.
• Predicting Urban Teacher Success
• Haberman, M. (1995). Selecting Star' Teachers for
  Children and Youth in Urban Poverty. Phi Delta
  Kappan, 76, 740-740. Retrieved from
  www.wilsonweb.com on June 10, 2007.
• Music Teacher Growth and Development
• Conway, C. M. Hibbard, S Albert, D. Hourigan,
  R. (2005). Professional Development for Arts
  Teachers. Arts Education Policy Review, 107 (1),
  3-9

79
References

• School Facilities Impact Teachers
• Schneider, Mark. (2003). Linking School Facility
  Conditions to Teacher Satisfaction and Success.
  ED480552. Web site http//www.edfacilities.org/pu
  bs
• Factors of Music Teacher Stress
• Gordon, D. G. (1997). An investigation and
  analysis of environmental stress factors
  experienced by k-12 music teachers (stress).
  Dissertation Abstracts International, 58, no.
  11A, (1997) 4171.
• Building Administrators Perspectives about Music
• Abril, Carlos R. Gault, Brent M. (2006). The
  state of music in the elementary school The
  principal's perspective. Journal of Research in
  Music Education, 54 (1), 6-20. Retrieved from
  www.wilsonweb.com on December 3, 2006.

80
References

• Developing Positive Perspectives among
  Grade-Level Teachers
• Shuck, C. M. (2005). Music integration
  Educators perceptions of implementation and
  student achievement in public school elementary
  education. Dissertation Abstracts International,
  66 (03a), 901.
• Arts Teacher Leadership
• Zederayko, M. W. (2006). The power of arts
  teacher leadership. In Teaching Music in the
  Urban Classroom, v. 2.

81
References

• Arts Study and Non-arts Learning
• James Catterall, "The Arts and the Transfer of
  Learning," in Critical Links Learning in the
  Arts and Student Academic and Social Development.
  
• Critical Links http//www.aep-arts.org/PDF20File
  s/CriticalLinks.pdf
• Chart http//www.michigan.gov/documents/CLTransfe
  rChart2_103474_7.pdf

82
References

• The Arts and Academic Achievement What the
  Evidence Shows (Cautions about claims for
  arts-related links to other subjects)
• http//www.pz.harvard.edu/Research/Reap/REAPExecSu
  m.htm