Issues in Educational Research, 9(1), 1999, 23-31.

The plight of novice music teachers in Australia: Initial preparation and workplace expectations

Sam Leong
The University of Western Australia
Initial music teacher education in Australia faces enormous challenges in the new millennium. The Finn (1991) and Mayer (1992) reports, the Arts Profile (1994), the move toward outcomes-based education (Willis & Kissane, 1995) and other workplace expectations require music teacher education to review its current curriculum offerings in order to prepare future music teachers for new professional expectations in the next millennium. With the educational landscape being altered so rapidly, how well prepared are novice music teachers to handle the realities of workplace demands?

This paper examines the relevance of initial teacher education in preparing novice music teachers for the challenges of the workplace and looks at the conditions which they may have to work under. Two studies undertaken in Australia are presented - the first is more 'empirical', involving five states; this is complemented by three case studies of music teachers (at the end of their first year of teaching) constituting the second study. The main research questions are: How useful is initial teacher education in preparing novice music teachers for the realities of Australian public schools? What conditions might novice music teachers operate under in their first teaching position?


Introduction

Initial music teacher education in Australia faces enormous challenges in the new millennium. The Finn (1991) and Mayer (1992) reports, the Arts Profile (1994), the move toward outcomes-based education (Willis & Kissane, 1995) and other workplace expectations require music teacher education to review its current curriculum offerings in order to prepare future music teachers for new professional expectations in the next millennium. With the educational landscape being altered so rapidly, how well prepared are novice music teachers to handle the realities of workplace demands?

This paper examines the relevance of initial teacher education in preparing novice music teachers for the challenges of the workplace and looks at the conditions which they may have to work under. Two studies are presented - the first is more 'empirical', involving five states; this is complemented by three case studies of music teachers (at the end of their first year of teaching) constituting the second study. The main research questions are: How useful is initial teacher education in preparing novice music teachers for the realities of Australian public schools? What conditions might novice music teachers operate under in their first teaching position?

Research seems to indicate that novice teachers may not be fully effective in the workplace for sometime after graduation. Stone (1987), Ligon (1988), Rosenholtz (1989), and Warren (1991) found that novice teachers needed help from mentor teachers and administrators in the areas of effective teaching practices and methods. Common problems included the pacing of activities, transitions within a lesson, classroom organisation and management, selection of appropriate music or activities, and the identification of a hierarchy of problem solving (Fallin & Royse, 1994). Richards and Killen (1993) lamented the fact that initial music teacher education failed to address 'directly' many issues affecting the teaching effectiveness of novice music teachers. The unmet expectation that initial teacher education could fully prepare students for the complex demands of teaching was identified as a strong reason for novice teachers dropping out of teaching (Nemser, 1983; Ward, 1987; Howey and Zimpher, 1987; Moran, 1990; Brause, 1992).

Study one

Participants

The participants in this study were 59 school principals and 59 music teachers from four states (Victoria, New South Wales, Queensland and Western Australia) as well as 102 final year music education undergraduates from nine universities in five states (Victoria, New South Wales, Queensland, South Australia and Western Australia). Only public schools located in the metropolitan area of the four states were involved.

Method

After the initial trailing and pilot study, the final questionnaire was approved by the relevant State Education Departments. On receiving a list of schools from the relevant authorities, the questionnaire was sent to a stratified random sampling of 451. Participants' perceptions of the "importance" of selected competencies were sought using a 5-point Likert scale (5= v. important; 4= important; 3= neutral; 2= fairly unimportant; 1= unimportant). Each page of the questionnaire which consisted 138 items was preceded by the statement: "A secondary school music teacher in the first three years of music teaching should be able to ...". Participants in the pilot study were eliminated from the main study.

Music teachers were also requested to rate the 'frequency of use' of selected competencies (5= daily; 4= frequently; 3= occasionally; 2= rarely; 1= never) as well as the 'usefulness' of teacher preparation (5= of great use; 4= of considerable use; 3= of some use; 2= of little use; 1= of no use) in developing those competencies. In addition, teachers were asked to provide information related to themselves and their schools as well as comment on any aspect of initial teacher preparation and their teaching experiences.

Response rate

Two hundred and twenty (220) participants of the 451 in the sample returned the completed questionnaire, representing a return rate of 52.3%. The 23 schools who declined to participate in the study were eliminated from the final count. Respondents included 59 principals, 59 teachers and 102 music undergraduates.

Findings

Australian music teachers were expected to perform a wide range of tasks in their appointment, including teaching general and elective music, staging a musical, conducting a choir, concert band and swing band, and teaching a variety of instruments. They were not very positive about their initial teacher education experience - more than a quarter (28.8%) indicated low or poor level of satisfaction with their pre-service teacher preparation. Only a quarter of the music teachers (25.5%) were highly or very highly satisfied with that experience. Twenty-one items considered by them to be important in their job received low mean ratings of less than 2.5 (5= very useful). Only four of the 138 items received a 'usefulness' mean rating greater than 4.0. These related to more conventional aspects of music teaching.

Table 1 shows the rankings given by music teachers, principals and final year music education undergraduates regarding the importance of selected competencies required by a music teacher in the first three years of music teaching. The data reveal that novice music teachers do not see eye to eye with their school principals and their more experienced colleagues in important matters regarding music education. There were clear differences in the importance placed by principals and undergraduates regarding creativity, developing student self-discipline, ability to identify intonation problems, an integrated and balanced curriculum, upper secondary music requirements and communicating needs of the music program to the school administration.

Table 1: Comparison of rankings by music teachers, principals and undergraduates of the perceived importance of selected music teaching competencies (Mean = 4.0)

Teacher's
Ranking
Competency (ref. no.) PR's
Ranking
UG's
Ranking
1Set clear guidelines for student assignments (53)22
2Create and maintain a co-operative learning environment in the classroom (3)119
3Express ideas clearly (1) 41
4Establish positive relationships with students (67)13
5Utilise strategies that develop in students creativity (18f)212
5Utilise strategies that develop in students self-discipline (18c)116
6Deal appropriately with students who are constantly disruptive (70)55
7Demonstrate familiarity with current upper secondary music requirements (50f)2615
8Teach musical performance, listening and creating as integrated components of the curriculum (14) 257
8Keep accurate records (83) 1411
9Maintain a balance between music performance, listening and creating (13)189
10Identify intonation problems (23)4024
10Define musical terms, signs and expression marks used in scores (42)206
10Design and administer teacher-made tests (59) 1929
11Identify elements of musical style (29)3232
12Evaluate student achievement (58b)1513
12Communicate needs of the music to the school administration (77)106
13Select music repertoire which optimises the learning experiences of students (11a)611
13Utilise strategies that develop in students self-motivation (18b)175
13Demonstrate familiarity with current lower secondary music requirements (50e)3314
14Encourage students to express themselves through musical performance (21d)2923
14Understand the developmental problems of students (52)175
15Sequence instruction to optimise the learning experience of students (7)94
15Plan student assignments in a progressive manner (54)38

However, principals and undergraduates place similar importance on guidelines for student assignments, expressing ideas clearly, establishing positive relationships with students, dealing appropriately with students who are constantly disruptive and planning student assignments in a progressive manner. Major differences were found between undergraduates and practising teachers valuing of selected competencies such as: identifying intonation problems, design and administer teacher-made tests, and demonstrating familiarity with current upper secondary requirements.

Implications

Music teachers in this study indicated that their initial teacher education failed to fully prepared them for the realities of the workplace. This suggests a need for teacher education to review its course content and practices so as to better prepare novice teachers for professional expectations at the coalface.

The reality of having a great diversity of professional expectations as well as initial teacher education programs is likely to result in the mismatching of teacher expertise and the needs of a particular school music program. Novice teachers might be thrown in the deep end in some situations and would require some form of assistance such as mentoring. Novice teachers may need to work at establishing and maintaining professional dialogue with their colleagues and finding more effective means of communicating with their principals. They also need to be stronger advocates of music in schools, articulating the benefits and needs of the music program as well as the rationale of what they do professionally. Principals may need help to become more familiar with the specific demands of music teaching (especially creative activities) as well as the nature and value of music in schools. Novice teachers need their support to become future master teachers. Some attention must also be given to encourage and motivate practising teachers to keep abreast of contemporary developments in educational thinking and practices and to be more supportive of novice teachers.

In the light of the above, policy makers may need to take stock of 'hindrances' to policy implementation such as inadequate teacher preparation, uninformed or weak school leadership and poor collegial relationships. The dilemmas and angst experienced by those working at the knife-edge need to be properly considered and addressed in order to achieve the visions of curricular reform. A truly effective and comprehensive educational system can only be realised through a synergistic co-operation of key stake-holders. Some immediate questions that deserve consideration are: What do lecturers, principals and teachers lack that prevented them from being more effective in their roles? How could they be more efficient and effective? Why are teachers not integrating cutting-edge research into classroom practices? Could the 'shelf-life' of novice teachers be extended? And if so, how?

Study two

Background

To provide a deeper insight into the work experience of novice music teachers, three novice music teachers were selected from Study One as case studies. All Australian-born, each had one year's teaching experience after graduation from the same institution, and taught in public secondary schools of the Perth (Western Australia) metropolitan area.

Seven questions pertaining to six areas of music teaching were formulated by the researcher and reviewed by a number of practising lecturers and the three teachers interviewed. The six areas were

Findings

In their first teaching appointment, each novice teacher was placed in a unique professional setting requiring them to function within certain specified and sometimes unspecified expectations. Besides class music, each teacher also directed a school band and were very positive about teaching instrumental group lessons. Each had to work with instrumental peripatetic music teachers. The professional activities undertaken by each teacher varied according to the requirements of the particular school situation. Teacher C virtually became the 'head of music' in the first year of teaching. In their first year of teaching, the three novice teachers had to contend with a range of challenges. These included All three novice teachers had to cope with very stressful working conditions on their own. They did not have immediate access to any experienced guidance most of the time and seemed rather unprepared for the negative attitude of secondary school music students towards music. They also felt unprepared for assuming the responsibilities of band director. Two teachers found the education courses at university to be somewhat 'irrelevant' to music teaching, pointing out that areas such as conducting, assessment criteria and methods, practical teaching tips, and resource materials could be better covered. All three teachers voiced their concerns about the way class music was expected to be taught in a 'traditional' (non-creative) manner. No one seemed interested in their 'fresh' ideas.

The three case studies illustrate the plight of novice music teachers in Australia: (1) initial teacher education did not fully prepare novice teachers for the broad range of expectations and conditions which they experienced professionally in their first year of teaching; (2) they did not receive the necessary assistance to cope with a wide range of professional expectations in their first year of teaching; and (3) they were not provided with the resources and opportunities to employ and apply newly acquired skills such as the use of music technology.

Implications

The less than satisfactory conditions experienced by novice music teachers might adversely affect their excitement for teaching and commitment to music education. Schools should be more sensitive to the needs of these fresh graduates and do more to encourage their youthful energies and ideas. As these novice teachers are potential master teachers of the future, the quality of professional development and nurture need to be carefully considered.

The fact that the professional expectations of novice music teachers could vary so much from one position to another might pose a serious problem for initial music teacher education and the assessment of professional quality. Moreover, the multifaceted roles played by novice music teachers could create unrealistic expectations of the average music teacher's competency, resulting in confused perceptions of professional quality in music education by both principals and the public at large.

Conclusions

Novice music teachers in Australia often find themselves unprepared for the tough challenges and constraints imposed upon them immediately upon graduation. More has to be done to cater for their needs. Novice teachers are worth investing in and practices such as mentoring and professional development have been suggested as possible ways to help them. Universities, principals, district education offices, professional education organisations and policy makers should collaborate to implement a more effective initial teacher preparation and facilitate a smoother transition of novice teachers into the teaching profession. Unless the needs of novice teachers are addressed, the music teaching fraternity might not attract quality entrants and could see many of our younger colleagues choosing to leave music teaching.

References

Brause, R.S. (1992). Enduring schools: Problems and possibilities.

Curriculum Corporation. (1994a). A statement on the arts for Australian schools. Carlton, Victoria: Curriculum Corporation.

Curriculum Corporation. (1994b). The arts - a curriculum profile for Australian schools. Carlton, Victoria: Curriculum Corporation.

Eshelmann, D. & Nelson, J. (1994). A teacher's guide to first-year survival. Music Educators Journal, 18(1), 29-31, 47.

Fallin, J. & Royse, D. (1994). Common problems of the new music teacher. Journal of Music Teacher Education, Fall, 4(1), 13-18.

Finn, B. (1991). Young People's Participation in Post-Compulsory Education and Training - Report of the Australian Education Council Review Committee. Canberra: Australian Government Publishing Service.

Howey, K.R. & Zimpher, N.L. (1987). The role of higher education in initial year of teaching programs. In G.A. Griffin & S. Millies (Eds.), The first years of teaching. Chicago: University of Chicago.

Ligon, J.A. (1988). Four ways to reduce worry for new teachers. American School Board Journal, March, 175, 50.

Mayer Committee (1992a). Employment-related Key Competencies: A proposal for consultation. Canberra: Australian Government Publishing Service

Mayer Committee (1992b). Putting general education to work - The Key Competencies report. Canberra: Australian Government Publishing Service.

Nemser, S.F. (1983). Learning to teach. In L.S. Schulman & G. Sykes (Eds.), Handbook of Teaching and Policy. New York: Longman.

Richards, C. and Killen, R. (1993). Problems of beginning teachers: Perceptions of pre-service music teachers. Research Studies in Music Education, 1, 40-51. http://www.usq.edu.au/faculty/arts/music/RSME/ABS1.HTM#Problems

Rosenholtz, S. (1989). Teachers' workplace: The social organization of schools. New York: Longman.

Stone, B. (1987). Why beginning teachers fail - and what you can do about it. Principal, 67, 52-57.

Ward, B. (1987). State and district structures to support initial year of teaching programs. In G.A. Griffin & S. Millies (Eds.), The first years of teaching. Chicago: University of Chicago.

Warren, D.G. (1991). The effectiveness of preparation programs for elementary school teachers in Texas as viewed by elementary school principals and beginning elementary school teachers. Unpublished doctoral dissertation, East Texas State University.

Willis, S. & Kissane, B. (1995). Outcome-based education: A review of literature. Perth, Western Australia: School of Education, Murdoch University.

Author: Dr Sam Leong is the Director of Music Education Studies and Senior Lecturer in the School of Music, Faculty of Arts, The University of Western Australia. He serves on the editorial board of the refereed journals Research Studies in Music Education and Sound Ideas, and is a Special Advisor to the Commission for Music in Schools and Teacher Education of the International Society for Music Education.

Please cite as: Leong, S. (1999). The plight of novice music teachers in Australia: Initial preparation and workplace expectations. Issues in Educational Research, 9(1), 23-31. http://www.iier.org.au/iier9/leong.html


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