Abstract
National Association of Schools of Music–accredited music education programs were investigated to determine how preservice students were equipped to address language arts within the general music classroom. The study began with a content analysis of degree programs (N = 100), followed by a survey taken by instructors of the general music course related to perceptions and attitudes toward reading integration. Interviews were conducted to examine how instructors addressed language arts within the general music course. Data indicated that more than half the institutions required a reading course. Additionally, instructor attitudes were favorable toward reading integration, and a majority of the instructors perceived an awareness of a national reading crisis. Interview results revealed consistent themes toward reading integration and preservice teacher preparation to include (a) an awareness of key concepts and vocabulary in reading instruction, (b) instructor modeling of reading strategies applied to music instruction, and (c) opportunities for students to demonstrate integrative practices through assignments.
The demand for higher literacy is ever increasing as the United States continues to develop into a technological society (Barton, 1997; Gee, 2005). However, researchers examining adult literacy have reported that reading levels failed to show improvement since 1992, in which 45 million adults were marginally illiterate and 21 million adults were completely illiterate (Kirsch, Jungeblut, Jenkins & Kolstad, 1993). Further evaluations of adult literacy demonstrate that approximately 30% of the United States population functioned with a Level 3 proficiency in reading, which indicates that 61 million adults can only functionally read and write (Kirsch, Jungeblut, Jenkins, & Kolstad, 2002). Such reports sparked national concern in which some argue a “reading/literacy” crisis exists (Barton, 1997; Chall, Jacobs, & Baldwin, 1991; Hull & Schultz, 2001). Gee (2005) suggested that although all Americans typically have skills and/or knowledge in literacy, many are found to be illiterate when competing in the global marketplace. According to Denny (1992), “researchers, practitioners, and policymakers in the area of adult literacy have highlighted the pressing need of millions of Americans in our society who have not learned to read or write” (p. 337). In response, there has been a national effort to foster and develop a more literate, more competitive society including increased accountability and high-stakes reading assessments in the K–12 education system (Afflerbach, 2002).
Though there has been progress in addressing reading concerns among young children (Bui, Craig, & Imberman, 2012; Hock et al., 2009; McCardle & Chhabra, 2004), recent adolescent literacy statistics indicated that “more than eight million adolescents have not mastered the reading skills necessary for them to successfully respond to the demanding secondary school requirements or compete for meaningful jobs in the workplace” (Hock et al., 2009, p. 22). Educators from all content areas are at risk of reduced teaching time and for some even elimination in order to make additional time for reading, writing, and math intervention (Abril, 2006; Hinde et al., 2007). More important, the plight of deficient readers affects all content areas.
A common complaint of middle level and high school teachers is that students do not know how to read content area text. Frustrated by their students’ apparent lack of critical reading skills—and not sufficiently trained in teaching content area reading strategies, themselves—many teachers resort to telling their student what they need to know than requiring them to read the text. (Barton, 1997, p. 23)
Wiggins (2001) suggested more integrated and interdisciplinary instruction may be necessary as educators search for successful remediation and intervention models to increase reading and there has been a growing number of studies on reading literacy integration in core subjects (Boyle-Baise, Hsu, Johnson, Serriere, & Dorshell, 2008; Burger & Winner, 2000; Hinde et al., 2007; Patrick, Mantzicopoulos, & Samarapungavan, 2009, Rabb, 2004). Even music education researchers have examined the effects of music instruction in its ability to assist, enhance, and teach essential reading components with varying results (Register, Darrow, Standley, & Swedberg, 2007).
Undoubtedly, music educators have mixed emotions on the topic of interdisciplinary curricula (Whitaker, 1996), including feelings of helplessness, frustration and/or concern that the value of music education may diminish as a result of classroom instruction time being relinquished to assist, tutor, or teach literacy (Bresler, 1995; Fisher, McDonald, & Strickland, 2001, Tytler, Peterson, & Radford, 2004). Music educators are also apprehensive about planning instruction for an interdisciplinary curriculum since they are not certified to teach other academic areas (Wiggins, 2001). O’Brien and Stewart (1990) found in-service music teachers felt inadequate incorporating language arts skills effectively and efficiently during music class while simultaneously providing music instruction because of the lack of instructional materials, insufficient training, and inadequate classroom teaching time. Some music educators express concern about whether the integrity of music is maintained when integrated with core academics (Barrett, McCoy, & Veblen, 1997; Veblen & Elliott, 2000).
Too often, well-meaning attempts to implement arts integration results in the arts being relegated to a supportive but subordinate role to other subjects. In these situations, music may be viewed as a useful tool for teaching other subject, but the intrinsic value of music education is disregarded. (Barry, 2008, p. 35).
Through her research, Bresler (1995) identified such an approach as the subservient (one-way integration) approach in which the arts serve the basic academic curriculum and its contents, pedagogies and structures. Kassner (2002) suggests that the concept of integration is not the problem; however, problems develop when too much emphasis is placed on one particular subject, unbalancing the curriculum and minimizing learning in other discipline areas.
Barry and Schons (2005) investigated four music teachers working in schools to implement a first-year language arts integrated curriculum. They found the music teachers’ response to the approach alternated between almost making no adjustments in their instructional approach to concession toward one-way integration design where music was used to reinforce language arts concepts with little to no focus on music learning. The outcome produced concerns that preservice music teachers who are not prepared to integrate music with other subjects may fall under that same fate and integrate where music objectives and content may be compromised. One of the recommendations from the study suggested that universities/colleges incorporate integration concepts and strategies into the teacher preparation programs. Specifically, Barry and Schons (2005) suggested that “music education programs should seek to inform future music teachers about integration concepts and strategies, and also prepare them to serve as peer educators” (p. 70). Her recommendations outlined three parameters for music education courses with regard to integration: information (knowledge of two-way integration), collaboration (the ability to work in partnership with colleagues from other disciplines), and advocacy (becoming an advocate on music’s place, purpose and benefit to the basic curricula). Snyder (2006) claims [ . . . ] the goal for the music and arts teachers is to understand the skills and understanding what the classroom teacher is delivering and to support these with a layered approach that addresses the music and other curricula simultaneously. When curricular knowledge is shared, many links become obvious and the resulting instructional changes lead to deeper student understanding. (p. 201)
She also warns that music teachers who are unprepared to address integration may fail to focus on music learning goals and objectives (Snyder, 1996).
Music education researchers who study integration often investigate how the integration process serves preservice education majors (Apfelstadt, 1989; Baker & Saunders, 1994; Barry, 1992; Byo, 2000; Choy & Kim, 2007; Kim & Choy, 2008), yet few examine the reciprocal process of integrating reading and other subjects in the music classroom for the preservice music education major. Therefore, the purpose of this study was to investigate how National Association of Schools of Music (NASM)–accredited colleges/universities prepare preservice music teachers to include reading/language arts into the elementary music classroom. The study was guided by the following questions: (a) What, if any, reading (language arts) course is currently included in the undergraduate music education degree program? (b) What are the attitudes and perceptions of music education professors toward music and reading integration within the music teacher preparation program? (c) What philosophical lens is used to develop a reading integrated curriculum for preservice music teachers and how is it interpreted in practice? (d) What content and experiences are included within the general music course (or course equivalent) that addresses reading (language arts)?
Method
This quantitative descriptive research design analyzed course content artifacts, surveys, and interviews to examine how reading integration is addressed within music education programs. Interviews were also conducted to further examine instructors’ personal experiences teaching language arts within the music education program. The target population was composed of 4-year NASM-accredited public and private universities from the top 100 largest cities in the United States offering a bachelor’s degree in music with an emphasis in music education (N = 100). The researcher chose to focus on this geographical spread because of the national emphasis on reading and reading intervention in the K–12 education system. The methodology was implemented in three stages.
Stage 1
A conceptual analysis of music education degree programs from each institution was performed to determine whether a reading course was required and under which department the course was provided. The examined texts were course titles listed from the degree program sheets obtained from the most recent catalog/bulletin from each college/university. A predetermined set of words most relevant to literacy and or literacy instruction was selected including literacy and literacy instruction, reading, language arts, and language explicitly. Coding was based on the existence and frequency of the concepts (predetermined categories or words) on the degree program sheets.
Stage 2
A cross-sectional survey was administered to the 100 instructors of the general music methods course from the target population. The purpose of the survey was to provide a “descriptive” overview of instructors’ attitudes and perceptions toward the inclusion of language arts content within the general music methods course. Survey questions were organized into three categories; demographics (e.g., specialization, current teaching position, public school teaching experience, college-level teaching experience), questionnaire (e.g., requested instructors to use a Likert-type scale to rate their perceptions and attitudes toward reading and its integration within the teacher education program, 1 = strongly agree and 5 = strongly disagree), and request (e.g., solicited further participation, via interview, on the instructor’s approach and demonstration of language arts integration within the general music methods course). A pilot survey was distributed to a similar population of music education coordinators. Revisions were made based on the recommendations received from the pilot population prior the final distribution. The survey was distributed and data were collected through Survey Monkey, an online survey software and questionnaire service. A response rate was predetermined at 30% to 35%. Each participant was contacted via e-mail requesting participation along with a link that connected them directly to the survey. A follow-up e-mail was sent 1 week after the initial email to encourage participants to complete the survey. The process yielded a return of 42 surveys, a 42% response rate.
Stage 3
Interviews were conducted to gather more detail about instructors’ (a) philosophical approach to reading integration, (b) background knowledge on reading content, and (c) integration strategies demonstrated in the general music methods course (a course required by the NASM for music teacher certification). Stage 2 participants who indicated interest in providing further information were asked to submit their current syllabus for a content analysis. The content analysis examined course descriptions, goals, objectives and other descriptive text to determine a theoretical or philosophical direction toward arts integration, specifically language arts, for the music education major. Those instructors whose syllabi included integration as determined by the content analysis were selected for interviews. Additionally, participants must have participated in all phases of the study; program analysis, survey, syllabi analysis (n = 3).
One 45-minute audio-taped telephone interview was conducted with each participating interviewee. Participants were interviewed using a semistructured approach consisting of five open-ended narrative-based questions. Data collected from transcribed interviews were analyzed with a relational content analysis method (Gallagher, Vail, Monda-Amaya, 2008; Strauss & Corbin, 1998), which organized similar data into particular themes. The researcher used Strauss and Corbin’s (1998) three steps of data coding to conduct the content analysis: open coding, axial coding, and selective coding.
Results
Of the 100 universities/colleges investigated, 53 music education degree programs required a literacy/reading course. Fifty-one programs offered at least one course; one program offered two and one program offered four courses. A majority of the courses (92%) were provided by the college of education. Three courses (6%) were provided by the music department/school/college. One course (1%) was provided under core requirements and one course (1%) was provided by a separate college that worked in conjunction with the university/college to offer certification.
Of the respondents (response rate = 42%), almost three fourths (74%) believed there exists a national reading crisis. Most of the participants (83%) believed it to be important that preservice teachers are knowledgeable about reading instruction issues/concerns that affect school curricula and 79% believed their college/university prepared preservice teachers in this regard. A great majority (93%) believed that music instruction had the capacity to serve as a support for other academic subjects; however, only 64% believed that content from other academic subjects (e.g., math, science, language arts, social studies, etc.) should be included within music instruction. Adversely, 74% believed reading content should be included in general music classrooms and 71% believed preservice music teachers should be knowledgeable in basic reading content. Fifty-four percent believed that music education teacher training programs should be structured to prepare preservice music students to support basic reading instruction in the music classroom. More than half (60%) felt confident instructing preservice music teachers on the process of reading integration in the general music course (or course equivalent), and 74% demonstrated reading integrated experiences in the general music course (or course equivalent). Demographic data are given in Table 1 and frequency distribution of survey responses appears in Table 2.
Frequency Distribution of Demographic Information (n = 42).
Frequency Distribution of Survey Responses (n = 42).
Analysis of interview responses revealed that instructors varied in their philosophical approach toward reading integration in the music classroom. One participant was guided by holistic learning, another by comprehensive musicianship and the third participant used sound ways of knowing. However different, in practice, each instructors approach involved reading integration where reading was seen, understood, and used through the context of musical understanding and applied when and if there was a natural fit. Significant themes that emerged from the data included (a) use of reading terminology that was embedded in the course, (b) use of reading strategies to assess music understanding, and (c) modeling how integrative strategies are implemented. All instructors interviewed had experience in collaborative meetings with other educators and could attest firsthand on how such experiences helped to better integrate practices within their own teaching. Instructors also had some background knowledge in reading content and approached integration as both content and a process. Instructor modeling involved the instructor providing students with a clear example of how reading processes and skills are reflected in music. Students then practiced the strategies through assignments. Table 3 indicates additional themes that emerged from the data.
Overview of Participant Responses to Interview Questions (n = 3).
Discussion
Results of the study confirm that music professors’ perceptions and attitudes toward reading integration are favorable. This outcome parallels the Gerber and Gerrity (2007) study of music teachers’ attitudes toward reading inclusion. From the survey responses, the majority of the survey participants were also aware of a national “reading crisis.” It is likely that these professors are cognizant of the current emphasis on reading in the K–12 school system through policies such as the No Child Left Behind Act of 2001, which initiated national assessments in reading and increased teacher accountability.
While reviewing the reading courses in music education degree programs, results indicated that the majority were offered through the college of education (92%). When analyzing the content of courses, all courses appeared to teach reading content and a little more than half of the courses (52%) implied that the course goal is for students to attain reading knowledge and learn how to implement the knowledge within their specific discipline area (i.e., Reading in the Content Area, Content Area Reading, Reading and Writing in the Content Area, Teaching Reading in the Content Areas). However, one might speculate that such courses are composed of education majors of various disciplines (music, art, science, math, etc.); therefore the probability of content focusing specifically on music and reading may be unlikely.
Seventy-one percent of the professors were in agreement that preservice music teachers should be knowledgeable about reading content. However, who should provide this content? It is probable that the student taking a reading content course in a college of education would be taught reading content by a reading specialist. It is also likely that this instructor would have little to no music knowledge and understanding. Students would receive very strong reading content knowledge but little understanding in regard to transferability of reading content into music content. On the other hand, students who may take such a class in a school/department of music would probably be taught by a music specialist with little or no reading content knowledge, therefore, may learn quite a bit about transferability and integrative activities but not receive adequate content in reading.
It is important to note that although the inclusion of reading content into the undergraduate music education degree program is becoming a standard occurrence, disparity concerning the quality of information students receive may be determined not only by where students take such a course but also by who teaches such a course. It would seem that the best instructor of such a course would be one that has content knowledge in both music and reading. Interestingly, interview results indicated that two reading courses were taught by music education faculty who taught preservice music teachers the process of reading and music integration.
The greatest disparity among survey responses occurred in connection with the belief that music education teacher programs should train preservice music students to support basic reading instruction in the music classroom; 55% agreed, whereas 26% disagreed and 19% had no opinion. Results could be attributed to the controversial discourse among music educators about the concern that music content could be placed in a subservient role to other subjects if they participate in integrative practices. Scholars also agree that music educators have mixed emotions on the topic of interdisciplinary curricula, which, in part, contribute to concerns that the value of music education may diminish as a result of classroom instruction time being relinquished to assist, tutor, or teach literacy (Barry, 2008; Berke, 2000; Bresler, 1995; Whitaker, 1996).
Interestingly, more instructors (74%) attest to demonstrating reading integrated experiences in the general music course. This is also quite similar to the results of Gerber and Gerrity (2007), who reported that 79% of the respondents agreed that they indeed teach language reading skills in music classrooms. Another aspect of the study was to determine specific content and experiences included within the general music course that addressed reading/language arts. The strategies used by the participants in this study suggest that music teachers can integrate under the self-contained model if the instructors have knowledge of both content areas being integrated. By modeling reading integration strategies, students garnered the information and techniques in which they were able to demonstrate through assignments. Furthermore, students were subsequently able to perform integrative strategies within their own teaching. With experience in reading and music integration within the degree programs, perhaps students may be able to effectively articulate how music enhances reading using terminology and content that is familiar to the language arts teacher, thereby advocating the importance of music education in the curriculum.
It must also be noted that while this study was in search of integration occurrences in the general music setting, the submission of syllabi for the music course structured for education majors suggests that integration within the music methods course for music majors is not a common practice. Of the total syllabi submitted, 50% were for courses taken by elementary majors. It is acknowledged that although course syllabi may not include integration explicitly within the text, there may be instructors who do include integration as part of the course components. With these results along with the number of studies that examine music integration by general educators, one could speculate that the perception of music integration is more of the responsibility of the general educator to incorporate music content within the teaching of other subjects. However, National Music Standard 8 recommends that students (K–12) should be trained in the relationships between music and other subjects and as indicated by the results of this study, integration is a process that has to be taught so that preservice music teachers know how to effectively do so without jeopardizing music content. Typically, the standard general music methods course instructs preservice music teachers with the content, methodology, and age-appropriate materials of an elementary school music curriculum. Because of the broad scope of content addressed in this course, how the course is approached as to whether to include integration is at the discretion of the instructor.
Implications
More than 50% of the colleges/universities include a reading course in the music education degree program which suggests that intuitively there is some value in understanding the structure and nature of reading. Barton (1997) contends that in addition to acquiring knowledge of their own content, teachers must be versed in “content area reading strategies” (p. 23). She also goes on to state that “unfortunately, many [teachers] have not been trained how to teach strategic informational reading skills” (p. 23). According to Barry (2008), music teacher education programs can play a vital role in preparing music educators to effectively integrate so that the music content will not be jeopardized. With the likelihood of facing the requirement of including reading instruction within music, music teacher training programs will need to examine how the degree program will equip students to be successful in handling this task. There is a valid assumption that reading (language arts) is reflected in music. Music teacher programs must inform preservice teachers how to make reading connections explicit within music content. Such distinctions may even prove beneficial in understanding music concepts. The path in doing so is patchy at best with an already overloaded curriculum, making the inclusion of integrative topics difficult to address. Perhaps a review of music education degree programs to include experiences where music education students can interact with other education majors (both arts and non-arts) through courses, colloquiums, and workshops on the topic of integration. Such experiences could provide opportunities for collaboration and scholarly dialogue on the skills needed for a child’s success in society—skills that transcend all subjects.
The outcomes of this study revealed several points related to reading integration and music instruction that are suitable for further discussion; the inclusion of reading courses within preservice music teacher preparation programs, music educators’ perceptions and attitudes toward reading integration, and actual practice of reading integration within general music methods courses. With respect to inclusion of reading courses: (a) when music education preservice teachers take reading courses outside school/department of music, what type of reading content is being taught and specifically how are preservice music teachers taught to incorporate such content within the context of the music classroom; (b) if the music education preservice teachers takes such a course in the school/department of music, what reading content is taught and specifically how are preservice music teachers taught to use such content and incorporate it within the context of the music classroom; and (c) do students learn more content in one form or type of class than the other? It is possible that music education majors who take an isolated reading course may learn some form of reading content, however, it was beyond the scope of this study to examine if and how the reading content is transferred from language arts context into music context and how preservice music teachers are explicitly taught to transfer such knowledge between the two areas.
As it relates to the music educator attitudes and perceptions toward reading integration: (a) is there a difference in perceptions and attitudes among instructors of the various music disciplines (general, band, choir, orchestra) who teach a general music class and (b) with proper training, do music education instructors feel more comfortable with teaching reading literacy and making the transfers to musical literacy with their students?
Finally, implementation and outcomes of an integrated program or course are best examined through an in-depth qualitative study to observe the strategies in context and practice. “Integration in its natural setting is best examined by qualitative methodologies that involve extensive observations and immersion in the setting” (Bresler, 1995, p. 32). Therefore, the categorized findings from interviews of three individuals cannot be generalized. As a limitation for this study, it is proposed for other researchers to continue longitudinal research on how reading integration within music is interpreted in practice.
Reading integration within music demands an expansion of attitudes and knowledge that requires continued study and contemplation about music and music learning. It also requires extensive risk taking in leaving the comfortable security of the known and proven method of teaching music content.
Footnotes
Declaration of Conflicting Interests
The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.
Funding
The author(s) received no financial support for the research, authorship, and/or publication of this article.