The Complexity of the Teaching Profession in Music Education

Author: Tímea Szűcs

DOI: 10.5434/9789634902263/7

 

 

Abstract

The complexity of the teaching profession can be seen in the relationship between various people as they work together with students, colleagues, management and office staff. In addition, the different personalities and attitudes of the children fundamentally determine the structure and effectiveness of lessons as well as applied pedagogical methods. The complexity can also be approached through the diversity of teaching activities. Besides lessons and administration, the duties of the teacher include organizing various school and city events, competitions, programs, trips and camps. The music teacher’s individual lessons involve yet another type of interaction between teacher and student, and this special situation adds complexity to a teaching career. This essay explores the specific situations and challenges that characterize a music teacher's career.

Keywords: teaching, complexity, pedagogical methods, music education, primary schools of arts

 

Introduction

The objective of this study is to introduce the components of the complexity of the teaching profession and to uncover the specific traits, challenges, and expectations of music instructors’ careers.
I explore the complexity of the teaching profession from multiple aspects, review the building blocks, and detail their components. In addition, I present the unique and special tasks and situations of music education, which present challenges specifically for music teachers.

 

The Diversity of Teachers’ Communication

During their work, teachers come into contact with many actors of education. There is a need to find common ground not only with children but also with students’ parents as well as with colleagues, management, and authorities.
Students’ diverse personality, diverging individual abilities, different socio-economic status all influence the effectiveness and success of teachers’ communication. Consequently, teachers need to be sensitive to these differences and must strive to get to know the children they teach to the best of their ability. In addition, special treatment is needed for children with special educational needs, which requires extraordinary knowledge and attention from teachers. It is worth highlighting this phenomenon in the context of art education, since primary institutions of art education must allow students with multiple disadvantages, disadvantages, physical, sensory, intellectual, and autistic disabilities to study free of charge (Act CXC of 2011). This gives them the opportunity to evolve, and because of the legislation, an increasing number of affected children apply to delve into and master different branches of art.
Teachers usually meet the students’ parents at parent meetings and designated consultations. Beyond these events, teachers and parents come often into contact only when parents visit the school about a specific problem. These are often tense situations, where the teachers’ primary goal is to clarify and solve the problem. This requires mature teachers, both in their personality and communication, to find the right tone with the parents as well as creative and effective solutions. As for music education, the parent-teacher relationship is somewhat different. Young children are often accompanied by their parents to primary institutions of art education, allowing frequent contact. Parents can also meet teachers during concerts and various events, either in the audience or as helpers. Thus, in this type of institution, the points of connection which characterise parent-teacher relationships are more numerous and diverse.
Other types of communication are required for the correspondence with colleagues and management. Teachers meet with colleagues every day and spend time together in the teachers’ room. Both cheer and tension can be felt more strongly in such a closed community. It is essential to achieve cohesiveness and attention among the teachers of each class. Experiences of success and problems occur on a daily basis, which need to be addressed individually or collectively. Colleagues should feel a sense of partnership among themselves. But just as students have very different personalities and styles, so do teachers. It is therefore important to pay attention to each other and to communication. Music teachers meet each other less frequently in their daily work because they spend most of their time in their classroom, where the children come to. This warrants less confrontation among them.
The relationship with management is not that close. Often, discussions take place only in relation to substitutions, assignments, and official documentation. This requires both humility and integrity from teachers. Humility is necessary to accomplish a variety of tasks quickly, while integrity is needed for avoiding subjection and allowing everybody to be fulfilled. Collaboration is essential: it is crucial for teachers to help each other, because this is the only way for the school to function smoothly.
Teachers may come into contact with several official organisations in the course of their work, in particular as a headteacher (e.g., Family Assistance and Child Welfare Service, Pedagogical Service, etc.). In children’s best interests, it is important to foster good cooperation with these institutions and professionals, as the students’ future and development is at stake. Therefore, it is essential to know the possibilities and regulations so that teachers may act appropriately in the case of any student.

 

Teachers’ Diverse Activities

Teaching requires solutions for many tasks: firstly, preparing the necessary lessons and documents, secondly, the administration related to teaching, and thirdly, getting acquainted with the official documents of the institution. In addition, teachers are also responsible for organising various school and town events, programs, excursions, and camps. Last but not least, their activities also comprise the preparation of students for competitions, organising competitions, talent development, or even providing extra classes to students with difficulties. In this chapter, I review these activities and present the diversity and challenges of being a teacher.
The preparation for lessons is important not only for beginners but also for experienced teachers. After all, thorough preparation is required from all teachers with respect to updating curricula, reflecting on previous work, adapting to changing textbooks, new ICT tools and capabilities corresponding to technological advances, scientific research and findings, as well as the differences of capabilities for each class. When preparing the lesson plan, it is necessary to consider not only the structure of the curriculum, questions, and tasks, but also the forms of activity, tools, and auxiliary material needed for the given lesson. The lesson plan is more like a kind of “cheat sheet” to work seamlessly for teachers and a logical structure assisting the preparation at home for students.
Teaching involves many administrative activities, for example, filling out registers, grade books, certificates, registry sheets, etc. Managing these accurately and flawlessly is a fundamental requirement for teachers.
For an institution to function, it must have a number of official basic documents, familiarity with which is also an essential criterion. These include, for example, the Pedagogical Program, the Organisational and Operational Regulations, the Rules of Conduct, and the local curricula.
Schools, especially primary institutions of art education, play an important role in the life and cultural programs of a town. They have a rather dominant role in smaller towns, as there are fewer cultural institutions, while larger towns have a better distribution of these tasks between different institutions. Whether it is a school-level or community-level event or program, it requires thorough preparation from the initial organisation through practice to actual implementation. For this, teachers need systemic and logical thinking as well as creativity and good communication skills.
Excursions and camps always give children great joy and excitement. They cannot yet see what complex activities lie behind them. Planning the entire program, making financial decisions, informing parents, booking accommodation, arranging travel, etc. are all part of this task. Of course, the execution is also stressful, even if we only consider the complications as regards sleeping, sneaking into other rooms, and talking at night.
It is always a great pleasure for a teacher to have an outstanding student with whom it is possible to prepare for competitions. On the one hand, this requires a lot of extra work from both the teacher and the student. On the other hand, it provides a novelty and change in the monotony of everyday life, as both teachers and students can deal with tasks which are not part of students’ ordinary activities. Furthermore, it is a great challenge to persevere mentally and keep going along the way, but it is also a source of recognition and honour for both parties.

 

Effects and Significance of Music Education

Before discussing the specifics of music teaching and the expectations faced by music teachers, it is worth devoting some thought to the effects and significance of music education.
Students of the 21st century, who are largely members of generation Z, differ significantly from those of earlier generations. Their lives are heavily intertwined with the digital world; they are digital natives (Prensky, 2001). For them, the primary source of information is the Internet, and many of them live in fascination of technology. They also deem necessary the use of ICT tools in their education, and music education is no exception. However, the use of these tools and methods can only be successful in combination with traditional methods of music pedagogy. The use of digital tools develops digital competencies, supports student motivation (Condie and Mundro, 2007; Sheldon et al., 1999), enhances creativity (Ferrari et al., 2009), and promotes collaborative work.
We often observe in this fast-paced world that it is a serious challenge not only for adults but also for children to find balance and their own personality. Music education, which allows for increased attention through individual education, can be of great help in this. Personalised teaching and flexible curricula adapted to the student’s pace and abilities, provide, within certain limits, an opportunity for experience pedagogy (Váradi, 2016). Most children in music education (about 95%) do not wish to become a professional musician (Association of Secondary Vocational Art Schools, 2013), but they can attend concerts, can be members of amateur bands, and can show the beauty of music and the joy of music education to their own children. It is this active inclusion and value attitude which must be passed on to students in primary music education.
In music education, students can acquire skills and abilities which, through transfer effects (Kokas, 1972; Laczó, 2001; Molnár, 2006; Woodworth and Schlossberg, 1966), may influence both their academic and non-academic performance.
When examining transfer effects, it is useful to characterise specific fields where the effects of music education can be observed: 1. physical development, dexterity, health; 2. cognitive skills; 3. personality development and emotional intelligence; 4. community building; 5. disadvantage compensation.
Several studies confirm that music education has a positive effect on the body as it relieves tension and causes physiological changes (Bálint, 1983; Clift and Hancox, 2001; Dingle et al., 2012; Gick, 2011; Kreutz et al., 2003; Urbánné, 1999; Varvasovszkyné, 1996; Young, 2009), thus contributing to physical and mental health. The level of physical development and dexterity has been studied both in Hungary and abroad. It has been found that children in music specialisation perform physical aptitude tasks better and also have a higher score in physical development assessment (Barkóczi and Pléh, 1977; Kokas and Eiben, 1964; Kokas, 1972). With the advancement of imaging techniques, it has also been observed that musicians’ brain functions and structure have changed as a result of their studies. For example, the cortex between the two hemispheres has thickened, the cerebellum, responsible for fine motor movements, has grown, and the primary auditory cortex has also thickened (Altenmüller, 2006; Balogh and Turmezeyné, 2009; Gaser and Schlaug, 2003; Schneider et al., 2002).
The literature about impact of music education on cognitive abilities is extensive both in Hungary and internationally. On the one hand, studies have found that music education helps in the development of skills which are useful in learning any subject, e.g., increased attention, faster and more accurate work, better observational abilities, better solution strategies, or increased intelligence (Kokas, 1972; Laczó, 2001; Schellenberg, 2006; Schumacher, 2014; Váradi, 2015). On the other hand, this positive effect can be observed for several specific subjects, including mathematics, spelling, reading, foreign languages (Asztalos, 2016; Hallam, 2010; Janurik, 2008; Kokas, 1972; Laczó, 2001; Milovanov et al., 2008, 2010; Zanutto, 1997).
During music education, a significant personality development is observed in children. Institutions of primary art education provide a new socialisation environment for students and surround them by a new community, new expectations and tasks, and a new set of values. Children need to adapt and find their place. Meanwhile, their personality and emotional world evolve, that is, they undergo a major transformation (Chambra and Misra, 2012). When performing, students strive to interpret musical pieces as authentically as possible, with a pleasing tone and through an original and deep experience. In this process, their self-reflective abilities are improved and strengthened, while they also become more determined, goal-oriented, disciplined, and committed. Regular practising requires perseverance, precision, and a strength of will. The successes and failures of concerts help the evolution of self-awareness as well as routine acquisition in stress management and in overcoming anxiety. Success strengthens self-confidence, helps students accept themselves, and assists them in finding their own temperament. While playing music, self-expression can provide students with flow experiences (Custodero, 2002; Csíkszentmihályi, 2001), filling them with contentment and happiness. Meanwhile, students experience the joy of complete involvement (Csíkszentmihályi, 2013, 2015). The emotions experienced while playing music assist the development and fulfilment of emotional intelligence (Barkóczi and Pléh, 1977; Bredács, 2009; Solymosi, 2003; Uzsalyné, 2010). Such experiences can contribute not only to the success of music education but also to a stronger connection towards the institution. The listed qualities support both primary education and the integration into the larger community and later into society.
During music education, students often have the opportunity to play music collectively, even with their teachers (chamber music, choir singing, etc.). On the one hand, this facilitates the development of abilities and skills such as attention, concentration, tolerance, creativity, and playfulness (Vercseg, 2014). On the other hand, it can be an enjoyable experience for students, which enhances the sense of community. This social competence is needed not only for collective performances but also in the family, at school, and later in the workplace. Students can learn about group dynamics with respect to group members and the group leader as well as about the internal expectations and unspoken rules which determine group members’ behaviour (Kertész, 2015). The “sense of us” and serious bonds and friendships can remain not only throughout primary music education, but even throughout life (L. Nagy, 2004).
Institutions of primary art education pay particular attention to the education of children with disadvantages and multiple disadvantages, special educational needs (SEN), and disabilities, for whom individual education, experiences of success, and experience pedagogy are crucial to counter the difficulties of their everyday life. Because of the increased personal contact and attention between teachers and students in music education, it is a prominent environment for children with disabilities and special needs. They can be assisted in personality development and in achieving a sense of success surrounded by a tolerant and accepting environment. Teachers might find it a novel challenge to pay special attention, to foster co-operation, and to adapt to the child’s needs and abilities, but the protected milieu allows these children to feel liberated and be themselves.
Music education can elevate the level of students’ resilience[1], which helps them make progress despite their disadvantages (Ceglédi, 2012; Masten, 2001; Pikó and Hamvai, 2012). In art education, students can adopt a set of values and methodological tools which can be applied well also in their academic work (L. Ritók, 2010).
The thoughts above reinforce the legitimacy of music education in the fast-paced technical world of the 21st century. This form of education is especially suitable now due to the personal attention and the relationship between the teacher and student. This is not only unique for students but also for music teachers, who need to know the didactic characteristics of both classroom instruction and individual education.

 

Teacher Training, Prospective Music Teachers’ Tasks

Higher education students take a number of courses during their studies, which shape and improve their thinking and attitudes, and are ultimately aimed at preparing them for the teaching profession. Psychological subjects include talent care, familiarisation with students, school performance, and so on. Pedagogical subjects include teaching, process design, measurement and assessment, ICT tools in education, learning methodology, and complex issues of the teaching profession. In addition, prospective music teachers also learn about various special musical topics, e.g., music psychology, psychology of musical performance, talent care, music pedagogy, concert pedagogy. It is of utmost importance for prospective music teachers to learn didactic methods related to individual teaching as this is a unique element of music education. These are important milestones of and are necessary for the process of becoming valuable vocal and music teachers, both professionally and personally.
The biggest challenge for prospective teachers is the completion of Type B and Type C teaching practice, whereby they participate in sessions, teach on their own, become familiar with institutional documents, and participate in school life. One of the most difficult tasks during teaching practice is changing roles, that is, the transition from student to teacher. Initially, former favourite teachers often serve as examples and role models for teacher candidates, and later on, they gradually find their own voice and style. This requires a major shift in attitudes, which can take years. Initially, prospective teachers are more focused on their own activities and are less able to deal and familiarise themselves with children’s reactions. Later, of course, this improves, and the children genuinely become the centre of attention. In addition, it is important to find the right proportions between scientific and theoretical studies and practical experience. This is worth the attention as early as teacher training. It is important to present as many situational tasks and actual situations as possible to the prospective teachers. Essentially, both instincts and the theoretical material learned should be brought to the surface in practical execution, and theory should be combined with practice (Brezsnyánszky and Holik, 2009).
A highly experienced professional mentor can be of great help. Regular communication is a key part of working with teacher candidates, where both positive and negative facts and events need to be discussed to assist professional development. However, tone and style also deserve great attention. It is prospective teachers’ essential task to exercise self-reflection, which is the basis of their development. In addition to classroom activities, teacher candidates participate in the life of the school and in extra-curricular activities, and learn about the organisational structure and key documents of the institution.

 

Expectations Faced by Music Teachers

“There is music, there is a musical instrument, there is a child, there am I, and this must be solved” (Dolinszky, 2004, p.7). This quote refers to the challenges music teachers have to tackle. In this chapter, I review the expectations faced by music teachers, including those which specifically apply to music teachers.
If we were to compile a list of attributes of a good teacher, or a good music teacher in particular, it would be long. It includes qualities that are important to all teachers, and some that are essential to music teachers specifically. This is because of the one teacher-one student arrangement in music education, which requires didactic and personal competencies that are unique to this field.
Teachers are expected to be professionally prepared, and prospective teachers also consider this one of their most important tasks. Preparation includes instrumental and vocal proficiency, knowledge of the repertoire, musical literacy, etc. Self-education, learning about new research findings, discovering technical tools and opportunities, and the ability for continuous renewal set a good example to students and inspire them in their education. The role of performing art teachers is worth addressing separately. It is exciting for students to see their teacher on stage, which sets a great example and makes the teacher credible with respect to the demands and expectations of the performances. It is important, however, to make up for the sessions missed due to the concert performance, and the student should always be kept informed. Professional competence includes teachers’ ability to transfer their knowledge and experience to their students. It is important to take into account the student’s personality and disposition. The choice of musical pieces also depends on students’ personality and taste. Accordingly, the repertoire is always personalised. The selected pieces also correspond to the student’s level of technical abilities. It is also important to consider the student’s opinion when designing the repertoire, which may include material provided by the student. This is of central importance for achieving motivation. Teachers have to carry out continuous research to expand and update the repertoire. This also requires continuous practice, as they are expected to know the selected works well and to be able to play them to students.
It has been mentioned with regard to professional competence that it is essential for music teachers to pass on their knowledge and experience to their students. This requires an advanced and diverse methodological culture, which teachers can use to adapt to children’s varied personality and socio-economic background. There are also general principles in the methodology of music teaching which are independent of the instrument, e.g., taking into account educational levels, conscious awareness of technical and musical elements, appropriately designed repertoire for practising, transfer of knowledge about style and performance, highlighting parallels in music history, etc. Explanation and illustration by the teacher are essential for this. The opportunities provided by ICT tools can also be used for illustration, but the teacher’s presentation is central. However, in addition to the general principles, each instrument or group of instruments has its own special methodological approach that differs from the others.
In line with individual teaching, music teachers should create a personal development plan for each student, reflecting session by session on the extent to which they can develop their students as well as the pieces and technical exercises planned for the given academic year. However, in the teaching process, they should be able to deviate flexibly from the plans if the student’s physical or mental condition so requires. The pace of progress can also be significantly influenced by teachers’ ability to motivate and encourage their student during the session.
A relaxed and harmonious learning environment can further contribute to the success of music education. It is the music teacher’s task to achieve this. This is not manifested primarily in the outward appearance, but rather in the friendly and supportive atmosphere in which the session is spent. In a supportive environment, students can feel liberated from their daily burdens and freely talk about music and feelings. Regular breaks and relaxation exercises which help prevent injuries are also important (Kolbné, 2010). The individual session offers the opportunity to do this, which makes the relationship between teacher and student more direct.
There are numerous opportunities during music education for the evaluation of students’ work. Just as in the classroom context, music education has at its disposition all three forms of assessment: diagnostic, formative, and summative (Golnhofer, 2003). In diagnostic assessment, children’s skills and abilities are assessed to determine how well they can meet the demands of music education. Formative evaluation is the most important part of the process. Sessions provide continuous opportunity for evaluation and improvement, accompanied by explanation, demonstration, and presentation. This immediate reflection and correction facilitates continuous improvement and the development of self-reflection among students. In addition, students learn the phases of work during sessions which should be followed when practising at home. Summative assessment is conducted at the end of a process, as its name implies, with a concluding and qualifying purpose. This type of evaluation is performed in music education during examinations, concerts, and competitions.
Practising at home in the adequate quantity and quality is essential for students’ successful music education. As I have mentioned earlier, students can learn the necessary elements during the lesson, but it is very important to make the process conscious. This requires attention from both the teacher and the parents. Through the teacher’s demonstration and practising together, the method, the consistency, and the pace of work become obvious to the student, and the proper learning habits are formed.
A special situation for children in music education is the performance in front of others. Performances are often accompanied by excitement and stress, which students must learn to cope with. Coping takes more than a large number of performances and significant routine. It is necessary to talk consciously about these emotions and the techniques to overcome them. This also depends to a great extent on the personality of the child, which is why music teachers must know their students very well. In addition, it is necessary to develop and strengthen traits which help in preventing and overcoming stress, e.g., self-confidence, self-discipline, concentration, strength of will, etc. Playing with others can help a lot, because if students do not have to get on stage alone, the trust in their companion might ease their nervousness. In addition, close human relationships and unforgettable musical experiences can develop during collective music performances, which can play a decisive role in developing attitudes towards music and performance.
Music education allows for a special relationship between participants due to the one teacher-one student arrangement, as Margit Varró puts it: “I personally believe that teaching music and arts is a quite intimate relationship – from soul to soul. An individually teaching music teacher can be closer to the student than any other teacher. The context is music; and in music the immediate emotional reactions are more evident than in any other teaching situation. So there are few things that a teacher and a student can hide from each other” (Ábrahám ed., 1991, p.153). Thus, in music education, the role of personal and human factors is reinforced due to the relationship between teacher and student. This relationship requires great responsibility, which is perhaps even more apparent in the 20th and 21st centuries. Expectations for teachers have grown: what used to be learned by children in the family, such as lifestyle, behaviour, etc., is often not passed on in the family, shifting more responsibilities to teachers. The personal relationship further enhances teachers’ role as a substitution for mothers and fathers, for which there is great demand from students. In this “role”, music teachers need a great deal of empathy, patience, discretion, and sense of responsibility.
Due to individual teaching, music teachers’ expected personality traits and attributes are of great importance. Positive attention and acceptance of the students’ personality are essential in the process of collective music performance. Credibility, enthusiasm, openness, ability for renewal, good communication skills, creativity, flexibility, balance, and humour are also indispensable in the profession of teaching music. The presence of experience pedagogy in music education is even more important than in public education, as music education is not a compulsory but an optional activity; if there is no sense of success and students do not enjoy the sessions, they are likely to drop out and leave music education. For this reason, it is important to judge expectations correctly and to choose the optimal pace of work. It is useful for determining music teachers’ desirable traits to consult what qualities are deemed important by students. Such traits include, among others, professional knowledge, justice, consistency, kindness, patience, understanding, humour, and cheerfulness (Kertész, 2015). To execute sessions in practice, music teachers also need to possess the proper strategy of asking questions, continuous communication, shared attention, correct assessment, and the ability to differentiate. Patience, adaptability, and empathy for students are helpful in developing a partnership between teachers and students. In addition, it is also an important task to improve and encourage self-reflection in children.
Although music education is fundamentally personalised, it is still necessary for the teacher to take the place of a group leader. This applies not only to lessons of solfeggio, music literature, etc., but also to chamber music and to orchestral or choral performance. In such situations, teachers have to prove themselves as group leaders, which requires different qualities and a different mentality from them. Processes of group dynamics are greatly influenced by the leader’s reactions, relationships with members, communication skills, and discretion. Responsiveness, flexibility, tolerance, and sense of humour are even more needed in a collaborative environment than in individual sessions. Group members also evolve if they see their group leader’s example of self-criticism, self-reflection, and work ethic.
Music education improves musical abilities as well as emotional intelligence (Uzsalyné, 2010). Learning to play musical pieces and experiencing the deep emotions conveyed by them facilitate EQ growth. This is crucial for the development of children’s personality, which is why it is worth putting emphasis on this.
Talent management is also a pivotal point. On the one hand, professional preparation is a major task, but at the same time music teachers need to recognise the point until which they can accompany their students, where they must be able to release them to assist further improvement. On the other hand, affected teachers need to be committed, reflective, captivating, and expressive individuals, who are able to make decisions continuously, have sufficient confidence, and can manage their students.
The emergence of popular music is a controversial area in both public education and primary art education. There has been a clear social demand to include jazz and electro-acoustic music in the portfolio of the institutions. I believe that music teachers can do a lot to help children develop the right system of musical values so they can recognise and select valuable popular music.

 

Summary

In this study, I reviewed the complexities of the teaching profession and the specifics of the profession of music teachers. In doing so, I examined the versatility of teacher communication and teachers’ diverse pedagogical activities. Preparation for the teaching profession begins as early as teacher training, so I also analysed courses and student assignments included in music teacher training. The diverse expectations faced by music teachers were discussed in the last chapter, further exploring the complexity of the teaching profession. When studying the career path of music teachers, it is inevitable to talk about the importance of music education, so I described the effects of music education by distinguishing groups of transfer effects. As a result, one can sense the complex task faced by instructors, both as teachers and as music teachers.

 

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[1] the ability of toughness and flexibility

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