adults is mainly to develop musical skills that allow them playing music for fun and in small groups, yet research and methodological advances suggest that adults can accom- plish a level of performance suited to the competitive field. Among other implications discussed in the paper are the use of folk song material and group instruction to meet dif- ferent interests of adult beginning pianists.


Phillip M. Hash, Calvin College Music Educator Vacancies in Faith-Based K-12 Schools in the United States: 2013-2014


The purpose of this study was to analyze and summarize characteristics of music educator vacancies in faith-based K-12 schools in the United States for the 2013-2014 academic year. Data extracted from placement notices and supplemental sources included demographic informa- tion, job responsibilities, and employment requirements for 153 listings in 41 states and the District of Columbia. The majority of openings sought music teachers capable of articulating a personal faith and working with multiple grade levels (elementary, middle school, high school) and content areas (general, choral, instrumental). Additional findings related to certification, religious affiliation, full- time equivalent status, previous experience, and non-music duties. This research will help specify requirements and expectations for music teachers in faith-based schools in order to (a) identify qualified candidates, (b) aid potential applicants in the job search process, and (c) inform music teacher educators how best to advise and prepare students for these educational settings.


Stuart Chapman Hill, Michigan State University Review of the Literature on Vision, Coherence, and Music Teacher Education


This poster presents a review of literature on the concept of “vision” in education, beginning with the broader arena of teacher education and moving toward related ideas in music education research. The goal of this review is to prepare the way for an investigation of vision as it relates specifically to music teacher education, so we can learn how integrated, coherent program visions influence music teachers’ devel- opment of their own teaching visions, which then inform classroom practice and commitment to the profession.


Hammerness (1999) described vision as a combination of teachers’ foresight about ideal teaching practice and insight that reveals deep-seated understandings of teaching and learning. She identified three main dimensions of vision: focus, or the ideas and interests that form the center of one’s vision and how clearly defined and specific they are;


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range, or the scope of the vision (as narrow as one group of students or as broad as the entire nation); and distance, or how far away one’s vision is from one’s current practice.


Recent work has applied this concept of vision, previously aimed at teachers’ visions of their practice, to teacher edu- cation programs, many of which have revised their cur- ricula in hopes of becoming more integrated and cohesive. Studies have examined how such reforms have influenced the in-service teaching of these programs’ graduates: Hammerness (2006) found, for example, that a coherence- oriented revision of Stanford University’s teacher education program (STEP) resulted in observable reflections of the program’s vision in its graduates’ in-service teaching.


Similar thought processes have emerged around music teacher education reform. Campbell, Thompson, and Bar- rett (2012) proposed adopting a “personal orientation” as the overarching framework for designing curricula, which places students’ preconceptions and established beliefs at the center of the music teacher education program, such that these can be examined, evaluated, challenged, and even revised as the preservice teacher learns his/her craft. Such a conception and approach to music teacher education resonates strongly with the idea of vision, particularly to the “vision as insight” concept that Hammerness (1999) has identified. Haston and Russell (2012) explored the impact of authentic context learning experiences in professional development school settings on preservice teachers’ devel- opment of occupational identity, which could help them achieve success as they enter the classroom and become in-service teachers. Their study offers an example of one structural program element that has important influence over teachers’ identity formation and perhaps, in turn, their visions. One must wonder, then, whether the effect of such a curricular decision might be magnified if it were part of a larger, integrated, coherent vision for the music teacher education program.


Further research is needed to determine how program vi- sion and coherence might impact music teachers as they develop and enact their own visions. This review examines the growing body of general educational research on vi- sion and coherence in teacher education, as well as studies in music education whose aims are related, with an eye toward charting a path for music education scholars who wish to pursue this line of inquiry.


Michael Hopkins, University of Michigan Collaborative Composing in High School String Chamber Music Ensembles


(Abstract provided above under Research Symposium)


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