The Musical Experiences,Career Aspirations,and Attitudes Toward the Music Education Profession of All-State Musicians

Abstract

Gaining insight into reasons student musicians choose or do not choose to pursue music education as a career is invaluable to our efforts to sustain and strengthen our discipline. This study sought to determine the musical experiences and motivating factors for outstanding high school musicians who might pursue a career in music education. A 21-question survey seeking demographic information, musical experiences, and future plans was administered to 1,205 all-state ensemble members. The results suggest that these student musicians are receiving many varied musical experiences and leadership opportunities. Whereas 65% anticipate majoring in some field of music, no fewer than 18% are specifically considering a career in music education. These students reported significantly greater involvement in summer music camps and musical leadership opportunities. Comments—both positive and negative—concerning the music education field reveal further differences between those interested and not interested in music education as a potential career path.

Keywords

music education majors music teacher identity recruitment teacher characteristics

As shortages of qualified teachers continue and recruitment and retention of outstanding musicians into the classroom remain a concern for the profession (Asmus, 1999; Bergee & Demorest, 2003; Krueger, 2000; MENC, 2000), information concerning the reasons that student musicians select music education as a career is invaluable to our efforts to sustain and strengthen music teacher preparation programs across the nation. Although much has been written about the teacher shortage in general—citing everything from low salaries and poor working conditions to increasing student populations and decreasing teacher populations (Bracey, 2002; Howard, 2003; Ingersoll, 2003; May, 2001; Tye & O’Brien, 2002)—music education researchers have investigated issues concerning the shortage specific to the music discipline. This research has focused on a variety of populations including current, former, and preservice music teachers, as well as potential future music educators in the form of secondary school musicians.

Current and Former Music Educators

Results of studies focusing on current and former music educators return to many of the same themes. Conway (2001) compiled a thorough review of studies concerning the beginning music teacher. She concluded that an intentional induction into the profession is essential for the success and well-being of these new teachers. While interviewing first-year teachers at the conclusion of the school year, Krueger (1999) found that many first-year music teachers experienced feelings of isolation. Jacobs (2008) developed a model for mentoring new music teachers that included a suggestion for completion of the mentoring process as a part of certification. An investigation of second-stage music teachers (Eros, 2013) found that more experienced educators value both formal professional development opportunities and informal interactions with other music teachers, as important means of staying current and engaged in the profession. Baker (2007), Hamann, Daughtery, and Mills (1987), Krueger (2000), and Madsen and Hancock (2002) each identified administrative support as an issue affecting teacher retention and burnout. Peer support (Baker, 2007; Hamann et al., 1987; Krueger, 2000), facilities/budget (Hamann et al., 1987; Krueger, 2000), financial issues (Baker, 2007; Hamann et al., 1987; Madsen & Hancock, 2002), parental support (Baker, 2007; Hamann et al., 1987), job recognition (Hamann et al., 1987), and classroom management (Baker, 2007; Krueger, 2000; Madsen & Hancock, 2002) were identified as additional concerns.

Preservice Music Educators

Studies focusing on preservice music educators have provided a wealth of information concerning those who enter music teacher training programs. Through surveys and interviews with music education majors, and in some cases former music education majors, researchers have explored factors influencing the decision to become a music education major, including influential individuals (Bergee, 1992; Bergee, Coffman, Demorest, Humphreys, & Thornton, 2001; Bright, 2006; Gavin, 2012; Hellman, 2008; Isbell, 2008), common experiences (Bergee et al., 2001; Gavin, 2012; Gillespie & Hamann, 1999; Isbell, 2008), motivational factors (Bright, 2006, Bergee et al., 2001; Gillespie & Hamann, 1999; Hellman, 2008), and the point at which the decision to become a music education major was made (Bergee et al., 2001; Gavin, 2012; Madsen & Kelly, 2002; Isbell, 2008).

Researchers consistently found that former music teachers, private teachers, and family members positively influenced the decision to pursue music education. Bergee (1992) also found that some of these same resources served as negative influences in some instances. Numerous and varied musical experiences, including school ensembles, honor events, competitive events, music camps and conventions, were available for those who entered into music teacher preparation programs. Perhaps the most consistently promising finding in these studies is the early opportunities that these music education majors had to teach music in some fashion—whether by conducting, rehearsing, mentoring, or giving private instruction to their peers. Bergee et al. (2001) reported that over 82% of their participants indicated that these teaching experiences had “some,” “significant,” or “very strong” influence in their decision to become a music educator. Likewise, Gillespie and Hamann (1999) advocated providing peer teaching opportunities as a means of attracting students to the music teaching profession.

When identifying reasons for wanting to become a music educator, consistent themes emerged across the studies: love of music, making a difference in people’s lives, and sharing music. Relatively few cited salary or benefits as influential in their decision to become a music education major (Bergee et al., 2001). Bright (2006) found the least amount of agreement between music education majors and nonmusic education majors on the importance of salary when choosing a career. Low pay, workload/stress, and lack of confidence in their teaching skills were reasons some music education majors had for not pursuing a career in music teaching (Hellman, 2008). Gavin (2012) explored reasons why individuals chose to leave the major, which included applied struggles, loss of confidence in their musical or teaching ability, and a loss of passion for teaching. Brown and Alley (1983) attempted to determine relationships between a number of predictor variables and persistence in completing a music education degree. Their results revealed the strongest relationship with overall GPA.

Although individual responses varied across the studies, generally speaking music education majors tended to decide on their career path earlier than the typical college student chooses a major. Seventy-eight percent of participants in Madsen and Kelly’s (2002) study reported choosing music education as a major prior to entering college. Bergee et al. (2001) found that although many students made the decision to be music educators during high school, considerable numbers of individuals made their decisions as early as elementary school or as late as midway through college. Although early decision making may seem to be an indicator of a trajectory toward a career in music education, Gavin (2012) found similarities in this between the aforementioned studies and the participants in his study, who had all chosen to withdraw from the music education major. Likewise, this population also had a high rate of opportunity for teaching prior to beginning college. Although perhaps positive teaching experiences and an early decision are enough to start down the path toward being a music education major, they are not sufficient indicators of persistence to complete the degree and enter the profession.

Potential Music Educators

Whereas the aforementioned studies looked at current and former music educators, as well as college music education majors, far less attention has been focused on secondary school music students as a potential recruiting ground for the profession. Draves (2012) interviewed and observed selected singers in a university outreach honor choir, all of whom had indicated their intention to pursue a career in music education. Much like the studies of current music education majors, these participants were influenced by their music teachers—high school, community, and private—and cited their varied music experiences and opportunities to teach music as influential in their decision to pursue music education. Draves’s study did not include participants not pursuing music education. Royer (2005) surveyed 2,005 high school all-state musicians across five northwestern states. Based on many of the criteria identified by Bergee et al. (2001), these student musicians were asked to comment on their musical backgrounds, their intended college majors and professions, with a specific interest in identifying reasons why the music education field was not an attractive career alternative. Results indicated overwhelmingly positive associations with a wide variety of musical experiences. Little or no opportunity to teach (conduct, rehearse, teach, or give private instruction) was reported by 72% of the responding all-state musicians. Only 28% were given some, regular, or frequent opportunities to teach. Of the 94% of all-state musicians planning to attend college, approximately 33% indicated that they planned to major in music or music education. Frequently cited reasons that made music education unattractive to these participants included the desire for more money, better students, better job security, and more recognition/respect/support. No separate analysis was provided of those specifically planning to major in music or music education.

Previous research investigated motivations, attitudes, and experiences of those involved and interested in music teaching. Current and former music teachers need intentional induction to the profession (Conway, 2001), mentoring during their initial years of teaching (Jacobs, 2008; Kruger, 1999), and continuing support, engagement, and recognition from administration, peers, and parents (Baker, 2007; Eros, 2013; Hamann et al., 1987; Krueger, 2000; Madsen & Hancock, 2002). Preservice music teachers cite many influences on their decisions to pursue a career in music teaching, including the encouragement of their own music teachers and family members, varied musical experiences, and leadership and teaching opportunities (Bergee, 1992; Bergee et al., 2001; Bright, 2006; Gavin, 2012; Gillespie & Hamann, 1999; Hellman, 2008; Isbell, 2008; Madsen & Kelly, 2002). Less research attention has focused on potential music educators. Those planning on majoring in music identify similar influences and experiences as preservice music teachers. Beyond a case study of those with an acknowledged interest in pursuing music education (Draves, 2012), which yielded many of the same motivations as the research with current music majors, only Royer (2005) has investigated both those interested and not interested in pursuing a career in music education. Although his survey identified musical experiences and leadership opportunities for these student musicians, it also solicited information on perceived unattractive features of a music-teaching career. However, the study did not include a comparison between those planning and not planning a career in music education, which could serve to uncover differences between the two populations.

The purpose of the current study was to continue the investigation of musical experiences and motivating factors of outstanding high school musicians who could potentially choose to enroll in music teacher preparation programs. Specifically, this study sought to identify contrasts between those who anticipate pursuing a career in music education and their peers who choose not to pursue music as a career option. Furthermore, the study sought to determine factors that might discourage outstanding musicians from pursuing a career in music education. Finally, the study sought to compare the current data to that of previous studies, in order to determine commonalities and differences among the responses, resulting in more effective advocacy strategies for the music education profession. Research questions for this study included the following:

Research Question 1: What are common demographic features and background experiences of highly skilled secondary school musicians?

Research Question 2: What are the musical experiences of highly skilled secondary school musicians?

Research Question 3: What are future career aspirations of highly skilled secondary school musicians?

Research Question 4: What do they find attractive and unattractive about a career as a music educator?

Research Question 5: Are there differences in responses to the questions posed above between those who are and are not considering a career in music education?

Method

A 21-question survey instrument was constructed for distribution to musicians in the 2007 Texas All-State ensembles. The instrument was based on the one used by Royer (2005) in his survey of all-state musicians in Minnesota, Montana, North Dakota, South Dakota, and Wyoming. From Royer’s 20-question survey, 17 questions were used without substantial alteration. One question was replaced, and 1 question was altered to elicit either positive or negative responses. In the previous survey, the wording suggested only negative responses. The final question from Royer’s survey was divided into two questions—1 eliciting positive responses, 1 eliciting negative responses. Of the 21 questions, 16 were close-ended and 5 were open-ended. However, 5 of the close-ended questions allowed for additional open-ended responses if answered in the affirmative. The entire survey can be found at jmte.sagepub.com/supplemental. The questions were grouped into three categories designed to gather demographic information, to determine musical experiences, and to discern future career aspirations. Demographic questions included gender, current year in school, voice part or instrument, and the musical experiences of parents (high school/college music experiences, major in music, professional music educator).

Questions to determine musical experiences included years of private lessons, years experience in any all-state group, years of high school choir participation, and years of high school band/orchestra participation. Students were also asked if they had participated in high school solo and ensemble contest, large group contest, and summer music camp. If the student answered yes to any of these questions, he or she was given the opportunity to describe what was most enjoyable about the experience. Students were asked if they participated in any musical activities outside of school. If the student answered yes, he or she was asked to describe the type of musical activity(ies). Students were asked about any opportunities for leadership in their high school music ensemble, including conducting, rehearsing the ensemble, rehearsing a sectional, or teaching another student individually. If the student answered “occasionally” or “often,” he or she was asked what was enjoyable about the experience.

To determine any future career aspirations in music, students were asked about their post–high school plans. Those planning to attend college were asked what their likely major would be. These students were also asked to estimate the certainty of their choice (0%, 25%, 50%, 75%, or 100% certain). All students were asked if they had ever considered a career in music or music education—why or why not. Finally, they were asked what was attractive to them about a career in music education and what was unattractive about a career in music education. Because of the close similarity of this survey to Royer’s (2005) in both substance and format, pilot testing was deemed unnecessary.

After receiving permission to administer the survey, an electronic version of the survey was included along with other documents to be completed by the all-state participants prior to their arrival at the all-state clinic and concerts in February 2007. Surveys were collected at registration, along with the other information forms. The survey did not request names or ask to which all-state ensemble the students belonged. Additionally, surveys were separated from all other documents at the point of collection, ensuring anonymity of all participants.

Results

A total of 1,307 students were selected for membership in the 2007 Texas All-State music ensembles from the 46,776 who auditioned (see Figures S1 and S2 at jmte.sagepub.com/supplemental for the breakdown of membership by ensemble, gender and grade level). A total of 1,205 surveys were completed and turned in, for a return rate of 92%. Because surveys did not request students’ all-state ensemble membership, information on return rate for individual all-state ensembles was not available. Although 1,205 surveys were completed, not every student chose to complete every question. Therefore, the total number of responses varies for each question.

Demographic Information

Table 1 contains a summary of the demographic information for the Texas All-State musicians who completed the survey. Participants represented a broad spectrum demographically, in terms of female to male ratio, year in school—although freshmen were predictably less represented—and primary instrument. Although 35 different instruments or voice types were identified, the results have been grouped here by instrument family.

Table 1.

Demographic Information for Texas All-State Musicians.

Question	N	Responses
Gender	1,204	Female 44%; male 56%
Year in school	1,205	Freshmen 6%; sophomore 16%; junior 31%; senior 47%
Primary instrument	1,190	Brass 19%; percussion 0.3%; piano 0.1%; string 18%; Vocal 39%; Woodwind 24%
Parent(s) high school music participation	1,192	Yes 52%; no 46%; did not know 3%
Parent(s) college music participation	1,182	Yes 22%; no 74%; did not know 4%
Parent(s) college major	1,197	Music 11%; not music 88%; did not know 1%
Parent(s) as music educators	1,201	Yes 9%; no 91%

Musical Experiences

Over 92% of survey respondents (n = 1,164) reported taking private lessons. Years of private lessons included 1 to 2 years (15%), 3 to 4 years (25%), 5 to 6 years (33%), 7 to 8 years (14%), and 9+ years (5%). Two percent reported no private lessons, and another 6% selected the “Other” response without indicating whether “Other” meant “other than the provided options” or “none.” The majority of respondents (62%) were performing in their first all-state ensemble. Second-year all-staters accounted for 26% of the population. Third-year all-staters represented 10%. Three percent were four-year all-staters. Table 2 contains a summary of participation in various school and out-of-school musical activities. Nine percent of the survey population indicated participation in both choral and instrumental school ensembles. Outside-of-school musical activities varied from organized activities such as church ensembles/solos, community ensembles, and musical theater, to very individual activities including performing at nursing homes, garage bands, auditions for American Idol, and so on.

Table 2.

Musical Experiences for Texas All-State Musicians.

Activity	N	% Participated	% Did Not Participate
Choral ensemble	1,155	58	42
Instrumental ensemble	1,179	69	31
Solo and ensemble contest	1,189	92	8
Large group contest	1,135	86	14
Summer music camp	1,191	70	30
Out-of-school music activity	1,174	76	24

Table 3 contains musical leadership experiences of the survey participants, divided out by type of activity. A post hoc analysis revealed differences in the types of leadership experiences for vocalists and instrumentalists. Vocalists reported significantly greater opportunities for rehearsing pieces, χ²(df = 1, N = 1,141) = 4.29, p < .05, and sectionals, χ²(df = 1, N = 1,161) = 7.82, p < .05, than instrumentalists. Instrumentalists reported significantly greater opportunities for giving private instruction, χ²(df = 1, N = 1,171) = 14.19, p < .05, than vocalists.

Table 3.

Leadership Experiences.

Activity	N	% Often or Occasionally	% Never
Conduct a piece	1144	29	71
Rehearse the ensemble	1150	38	62
Rehearse a sectional	1161	59	41
Give private instruction	1171	57	43

Future Career Aspirations

Almost 98% of survey participants (n = 1,195) indicated that they plan to attend either a 4-year or 2-year college. Less than 1% indicated plans to receive vocational training, begin work immediately, or enter the military. Less than 2% were uncertain of their post–high school plans. Sixty-five percent (n = 1,162) reported considering music of some kind as a possible college major, and 62% indicated no other major than music. Music Education was mentioned specifically by 18% (see Figure S3 at jmte.sagepub.com/supplemental for a visual breakdown). Seventy-seven percent (n = 1,162) reported considering Music Education as a career option. Five percent reported having considered it, but decided against it, whereas 17% reported never considering it.

The final two questions were open-ended. Responses for each question were analyzed for content and grouped together by topic. Many of the categories paralleled those from previous studies. Question 20 asked respondents to identify things that were attractive to them about a music education career. The 1,166 responses were separated into the following categories: Wanting to share music with others (427); Doing what I love (391); Wanting to teach/help (160); Nothing (109); Stability, schedule, and benefits (68); and Everything (11). All responses for the attractiveness question clearly fell into these six categories.

Question 21 asked respondents to identify things that were unattractive to them about a music education career. The 996 responses were separated into the following categories: Low pay and/or quality of life (414); Dealing with uncooperative students (178); Don’t like teaching/not challenging (154); Nothing (149); Miscellaneous specific features of teaching (55); and Advocacy and administration hassles (46). Responses for the unattractiveness question fell into five clearly discernable categories, with an additional category that accounted for a wide variety of responses, each relating to the teaching process itself.

Music Education Versus Non–Music Education Candidates

It was hypothesized that differences in responses between those intending to teach music and those not intending to teach music may exist. A closer examination of the 205 students planning on majoring in music education revealed two areas that differed from those who did not indicate music education as a major. Significantly more students planning on teaching music attended summer camps (79%) than those not planning to teach music (68%), χ²(df = 1, N = 1,191) = 8.65, p < .05. Significant differences were also found for musical leadership experience, including conducting a piece, χ²(df = 1, N = 1,144) = 26.68, p < .05; rehearsing the ensemble, χ²(df = 1, N = 1,150) = 23.74, p < .05; rehearsing a sectional, χ²(df = 1, N = 1,161) = 34.21, p < .05, and giving private instruction, χ²(df = 1, N = 1,171) = 18.09, p < .05 (see Figure S4 at jmte.sagepub.com/supplemental for a visual comparison).

Discussion

The continuing concern over the teacher shortage across the nation necessitates an investigation into experiences, opportunities, and perceptions of our most talented musicians and most promising population for the next generation of music educators. The results of 1,205 surveys from some of these accomplished high school musicians reveal that the vast majority of these students are participating in a variety of in-school and out-of-school musical experiences, including private lessons (92%), solo and ensemble contest (92%), large group contest (86%), summer music camp (70%), and other nonschool experiences (76%). These results were very similar to those found by Royer (2005), with the exception of summer music camp attendance, which was 8% higher in the current survey.

Opportunities for leadership, whether conducting, rehearsing, or teaching privately, were more plentiful for respondents to the current survey than in Royer’s (2005) findings. Fully 75% of those surveyed reported some opportunity to lead others. Furthermore, a significantly greater number of those planning to be music educators had been given these opportunities than those who were planning a career in another field. In comparison to the participants in Royer’s study, those in the current study were almost 3 times more likely to have leadership opportunity (75% compared to 28%). These results may also relate to the wide disparity between those considering a major in music in this study (65%) and those surveyed by Royer (33%). Regardless, the current results are in accordance with previous studies that cited a relationship between early music teaching experiences and the pursuit of music education as a career choice (Bergee et al., 2001; Draves, 2012; Gavin, 2012; Gillespie & Hamann, 1999; Isbell, 2008).

Most revealing were the comments concerning the music education field and students’ desire to enter this profession. In general, students were both passionately opinionated and well informed about the profession. Those planning on a career in music education were firm in their commitment. Three quarters of these students stated they were 100% certain about their chosen major, in comparison with only 21% who reported a 100% certainty about all other identified majors. The following comments are representative of those intent on a music education career:

I have had a taste of teaching others and I’m hooked.

I wish to pursue a career in music education because it is a privilege to share and teach music with a younger group of people and watching them appreciate music.

My experience in the 2006 All-State mixed choir inspired my love for choral music and made me consider first choral conducting, and then music education, as a field.

TMEA [Texas Music Educators Association] and the convention changed my entire aspect and I know that this is what I wanted to do with my life.

I have considered a career in music education because I was inspired by my band director.

I’m planning on majoring in music education because I have a passion for it and I want to teach other kids so maybe they will have the same passion for music.

I have always wanted to share music with other people. I especially want to give underprivileged children a chance to pursue and explore music.

I love music and have had a wonderful opportunity to work with great directors and they have inspired me to pass on my knowledge to future musicians.

I want to change the life of someone the way my music educators have changed my life.

I cannot see myself doing anything else.

I love music. I really want to share my love of music with the next generation. I want to inspire people like my teachers have done for me.

The music educators I have come to work with in my past were not only my teachers, but also my supporters, and believed in me more than I have believed in myself. They have helped me get to where I am today, and I hope to influence students in the same way.

Although fully committed to this path, these future music educators realize that the profession is not without its drawbacks. Although 25% identified nothing unattractive about music education as a career, 25% cited low pay, and 15% were concerned with quality of life issues. These are many of the same perennial issues for the teaching profession identified in previous research (Bright, 2006; Hellman, 2008; May, 2001; Royer, 2005). Yet, when compared to the responses of those not intending a career in music teaching, the numbers are surprisingly similar. The similar perspectives between those deciding for and against a music education career suggest that this is not the pivotal issue. The largest disparity between the two groups was their views on working with students, specifically on classroom management. Fully 87% (155/178) of those who identified discipline as a negative attribute planned not to go into music teaching. Only 13% of those who identified discipline as a drawback still planned on a career in music education. By their own admission, many of these accomplished musicians are uninterested in devoting their professional lives to what they perceive as the large number of uncooperative students that would come through their classrooms.

Implications

The results of this study suggest that students selected for membership in these all-state music ensembles received a variety of musical experiences and opportunities. A high percentage of these students also received opportunities for musical leadership. At least 18% (205) of these participants are seriously considering a career in music education. This number may be higher, as another 28% (326) identified music as a major without specifying a particular area of interest. Hellman (2008) summarized previous findings that suggest that many student musicians often first identify themselves as wanting to pursue a career in music, generally speaking, and later go on to identify themselves as interested in music education. Regardless, if the type of experiences and opportunities identified by these participants are related to the selection of music education as a career, these opportunities should be provided to an even greater number of our most talented and promising music students, both prior to and during collegiate study. As this study represents student musicians from a particular region of the country, it will be important for those involved in music teacher education to recognize the unique opportunities for gaining experiences and leadership that are available in their own region.

Greater effort might be given to promoting the positive aspects of the profession to secondary-level music students. Recent efforts in this area have begun within the state of Texas. In 2004, the TMEA began chartering chapters of the Texas Future Music Educators. Under the sponsorship of TMEA, the purpose of these chapters is “to support students who have an interest in a music education career.” Chapters frequently invite guest speakers to address topics such as auditioning, majoring in music education, or life as a music educator. Often, university music education faculty are invited as guest speakers, allowing for early contact and recruiting into music education programs. During the 2006-2007 school year, when these surveys were administered, there were 13 chapters in existence, with 226 total members. Because of the relatively small number of chapters at the time, no data were collected to determine how many of the All-State participants were members of a Texas Future Music Educators chapter. As of 2012, 36 chapters were active in the state of Texas, with over 800 members. In addition to promoting music education through a professional organization, those currently in the profession should continue to advocate for better compensation and working conditions, in order to increase the attractiveness of music education as a career.

Music teacher education programs and faculty should incorporate early music education coursework, field experiences, and leadership opportunities into their degree programs, to keep these future music educators identifying themselves as music educators early in their collegiate experiences and to prevent them from losing passion for teaching (Gavin, 2012). Programs may also consider increasing content or adding entire courses devoted to classroom management, as a means of better equipping preservice music teachers for dealing with discipline issues in the classroom and improving confidence in their ability to manage classroom behavior. Although recognizing the difficulty in adding required coursework to a degree program that is traditionally extremely full, it may be possible to offer courses like this as elective or supplemental options. Furthermore, in our continuing efforts to identify prospective music education majors and minimize attrition from our programs, music teacher education programs may consider including open-ended questions similar to those presented in this study, as a part of the application and audition process. A review of candidate responses may assist with admission decisions.

In terms of future research, longitudinal study of promising music students should be undertaken to determine other significant influences and to track their experiences, opportunities, attitudes, and perceptions throughout the various phases of their musical education and entry into the profession. Additionally, research into student perceptions of their peers—both low achieving and high achieving in the music classroom—may provide insight into ways to create a more positive and pleasurable learning environment for all parties—students and teachers. Further investigation into the motivating factors of students when choosing a career path is also warranted. Additional inquiry should also be made into the collegiate experiences of those who completed and those who began but did not complete music teacher preparation programs, to see if any differences in collegiate experiences arise.

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.

Supplemental Material

The online supplements are available at .

References

Asmus

E. P.

(1999). The increasing demand for music teachers. Journal of Music Teacher Education, 8(2), 5–6.

Baker

(2007). The relationship between job satisfaction and perception of administrative support among early career secondary choral music educators. Journal of Music Teacher Education, 17(1), 77–91.

Bergee

M. J.

(1992). Certain attitudes toward occupational status held by music education majors. Journal of Research in Music Education, 40, 104–113. doi:10.2307/3345560

Bergee

M. J.

Coffman

D. D.

Demorest

S. M

Humphreys

J. T.

Thornton

L. P.

(2001). Influences on collegiate students’ decision to become a music educator. Retrieved from http://www.menc.org/networks/rnc/Bergee-Report.html

Bergee

M. J.

Demorest

S. M.

(2003). Developing tomorrow’s music teachers today. Music Educators Journal, 89(4), 17–20.

Bracey

G. W.

(2002). About that teacher shortage. Phi Delta Kappan, 84, 331–334.

Bright

2006). Factors influencing outstanding band students’ choice of music education as a career. Contributions to Music Education, 33(2), 73–88.

Brown

Alley

J. M.

(1983). Multivariate analysis of degree persistence of undergraduate music education majors. Journal of Research in Music Education, 31, 271–281. doi:10.2307/3344630

Conway

(2001). What has research told us about the beginning music teacher? Journal of Music Teacher Education, 10(2), 15–22.

10.

Draves

T. J.

(2012). Teaching ambition: A case study of high school music students. Music Education Research, 14, 347–364.

11.

Eros

(2013). Second-stage music teachers’ perceptions of the professional development. Journal of Music Teacher Education, 20(2), 20–33.

12.

Gavin

R. B.

(2012). An exploration of potential factors affecting student withdrawal from an undergraduate music education program. Journal of Research in Music Education, 60, 310–323. doi:10.1177/0022429412454662

13.

Gillespie

Hamann

D. L.

(1999). Career choice among string music education students in American college and universities. Journal of Research in Music Education, 47, 266–278. doi:10.2307/3345784

14.

Hamann

D. L.

Daughtery

Mills

C. R.

(1987). An investigation of burnout assessment and potential job related variables among public school music educators. Psychology of Music, 15(2), 128–140.

15.

Hellman

D. S.

(2008). Do music education majors intend to teach music: An exploratory survey. Update: Applications of Research in Music Education, 27(1), 65–70.

16.

Howard

T. C.

(2003). Who receives the short end of the shortage? Implications of the U. S. teacher shortage on urban schools. Journal of Curriculum and Supervision, 18, 142–160.

17.

Ingersoll

R. M.

(2003). Is there a shortage among mathematics and science teachers? Science Educator, 12, 1–9.

18.

Isbell

D. S.

(2008). Musicians and teachers: The socialization and occupational identity of preservice music teachers. Journal of Research in Music Education, 56, 162–178. doi:10.1177/0022429408322853

19.

Jacobs

(2008). Constructing a model for the effective mentoring of music educators. Journal of Music Teacher Education, 17(2), 60–68. doi:10.1177/1057083708317645

20.

Krueger

P. J.

(2000). Beginning music teachers: Will they leave the professions? Update: Applications of Research in Music Education, 19(1), 22–36.

21.

Krueger

P. J.

(1999). New music teachers speak out on mentoring. Journal of Music Teacher Education, 8(2), 7–13.

22.

Madsen

C. K.

Hancock

C. B.

(2002). Support for music education; A Case study of issues concerning teacher retention and attrition. Journal of Research in Music Education, 50, 6–19. doi:10.2307/3345689

23.

Madsen

C. K.

Kelly

S. N.

(2002). First remembrances of wanting to become a music teacher. Journal of Research in Music Education, 50, 323–332. doi:10.2307/3345358

24.

May

W. V.

(2001). Our future threatened: The teacher shortage. Southwestern Musician, 70(3), 18–22.

25.

Music Educators National Conference. (2000). Recruiting for the profession. Teaching Music, 8(2), 24–31.

26.

Royer

R. D.

(2005, February). High School All-State Musicians Survey and their interest in the music professions. Paper presented at the Desert Skies Symposium on Research in Music Education, Tucson, AZ.

27.

Tye

B. B.

O’Brien

(2002). Why are experienced teachers leaving the profession? Phi Delta Kappan, 84, 24–32.

Supplementary Material

Please find the following supplemental material available below.

For Open Access articles published under a Creative Commons License, all supplemental material carries the same license as the article it is associated with.

For non-Open Access articles published, all supplemental material carries a non-exclusive license, and permission requests for re-use of supplemental material or any part of supplemental material shall be sent directly to the copyright owner as specified in the copyright notice associated with the article.

0.00 MB

0.10 MB

0.09 MB