Masters In Music Education Salary – Please note: We are not currently accepting new applications for the Online Masters in Music Education. You can find more information about the individual program in our Department of Music’s Master’s Degree in Music Education.
The MM in Music Education is designed to meet the needs of music teachers who already have a teaching certificate and are currently teaching in elementary and middle schools. MM students are challenged to develop a better understanding and control of music teaching-learning processes, to develop as individual musicians, to become leaders in the profession, and to deepen their understanding of critical issues in music education.
Masters In Music Education Salary
Expand your performing and teaching skills with a deeper understanding of how students learn music. This graduate degree is designed to help K-12 music teachers develop their professional and personal musicianship skills while expanding their career opportunities in music education. The 100% online format gives working professionals the flexibility to complete classes and courses as per their schedule.
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For many educators, a master’s degree is associated with a higher salary. This degree will help you achieve excellent career opportunities in schools and other music education settings, or set you on the path to continuing your studies at a doctorate.
The 30-credit online Master of Music in Music Education degree program provides a comprehensive understanding of how students learn music from a variety of academic perspectives, including history, philosophy, and psychology. You develop your musicianship and professional skills by studying music literature and music theory used in elementary school, and learn to integrate technology into the music curriculum. At the end of the program, you must complete a capstone project that applies the concepts you learned to a real-life situation. Our interdisciplinary curriculum includes 18 credits of music education studies and 12 credits of music history, music theory, and ethnography.
Choosing the right quality literature for orchestras is a challenge for both young and experienced directors. Adding to the challenge are the various demands and responsibilities that must be met within a tight schedule, as well as the large number of overarching publications that are released each year. This course provides a brief introduction to the study of criteria of artistic merit to help identify and define ideal wind ensembles. We look at several pieces that are considered artistically valuable and a standard set for elementary, middle, and high school ensembles (grades I-V). Includes software resources, curriculum and programming ideas, and a historical overview.
This course for music education majors explores important topics in music theory from the Middle Ages to the 18th century. Beginning with the development of musical notation, we follow the progression of Western music from song to the beginning of the common practice period. Although this is not a history of theory subject, we will study and discuss the most important theorists of the 16th, 17th and 18th centuries. Emphasis is placed on the practical application of concepts learned in class, as students learn the basics of 16th- and 17th-century counterpoint, figured bass four-part vocal leading, and complete a formal analysis of Baroque and Early Classical music. Period.
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Cognitive psychology is a broad subfield within the broader field of psychology that focuses on the study of mental processes. Topics covered include attention, memory, problem solving, imagery, optimal experience, information presentation, language, and comprehension. This course provides an overview of the field specifically related to music and music education. To add more depth, the second half of the course focuses on the study of one subsection: differential theories of individual differences.
This course provides an intensive study of behavioral teaching techniques in music education. Focus is on developing and fostering effective behavior management practices in music classes and coaching.
The student shows evidence of critical thinking in music education by demonstrating the ability to logically analyze, critique, and/or select informed alternatives applied to behavior.
By completing a variety of learning activities and projects, the student develops specific techniques related to communicating musical and non-musical ideas and organizing time and materials to enhance musical learning experiences.
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Students develop an understanding of human musical behavior through assigned readings, analysis and review of relevant research, and group discussion.
A course designed to stimulate interest in systematic research in music education, students are challenged to think critically about how they approach ideas about teaching and learning while examining all the major peer-reviewed journals in the field of music education. . Through research and class discussion, students will learn to identify and analyze research articles related to specific topics of interest in music education and reflect on their findings according to APA writing style guidelines. Finally, the main focus of the curriculum is the transfer of knowledge from one concept to another, for example, curriculum development, assessment, sequencing methods and feedback.
The Choir Literature Seminar is a focused study of choral literature for school choirs. A major focus of the course is the selection and assessment of choral music appropriate for grades 1-12. Principles of choral music selection and evaluation are also discussed.
The aim of the course is to explore the relationship between form (phrases, motifs) and structure (harmony, key parts, modulations) as they relate to the standard patterns of common rehearsal periods, and to learn how to perform accurate formal analyzes and presentations. In clear and useful articles. Students analyze compositions and demonstrate key concepts through formal diagrams, short essays, and analytical papers. The purpose of the readings is not only to provide information related to the unit in which they appear, but also to serve as models for students’ essays and writings.
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The course is divided into two parts. Lectures provide general information on the form and structure of compounds in the categories covered by each unit. It provides short examples and links to longer examples are provided to students. Analytical essays are long units, each of which explores a specific concept in depth. These essays are not comprehensive, but should focus on one or two important elements of the subject. For example, our analysis of Chopin’s Prelude in A minor focuses on harmonic ambiguity and the breakdown of tonic-dominant form, while our analysis of Beethoven’s Waldstein Sonata examines the expansion of sonata form in the late Classical period.
This course provides music teachers and students with experience in three key uses of technology: preparation of instructional materials, management of classroom activities, and student use of technology. A course based on the belief that technology can:
This course provides an overview of the major historical and contemporary philosophical positions that have influenced music education, particularly as they relate to the purpose and value of formalized music education over the past two centuries. Students will familiarize themselves with the writings of prominent music education philosophers such as Bennett Reimer, David Eliot, and Estelle Jorgensen as they consider the best ways to move music education forward. In addition, the student uses key philosophical writings to develop a foundation of music education based on potential musical, aesthetic, and/or practical benefits for the student and society as a whole. At the end of the course, students will discuss the most important musical and non-musical people and events that shaped music education as we know it today.
This course is a chronological study of music history, covering all periods of Western music history from approximately 1000-1950. We examine the social, cultural, and historical contexts in which music was composed and performed, with a primary focus on art music in Europe and America. We will look at the stylistic features, forms and presentation practices common to each era and how they relate to the wider context of the era. We discuss how these qualities evolved over time and how this evolution was driven by the changing context and apparent goals of composers and performers. Finally, we place the music in the context of other contemporary art movements.
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Accordingly, each unit consists of two parts: a study and discussion of works listed in this syllabus, followed by a study and discussion of works selected by students to perform in class.
This course aims to introduce the discipline of ethnomusicology as a means of learning about music practices from around the world and related to your own background and experience.
This course will provide you with an introduction to the field of ethnography, including its intellectual history, key theoretical premises, analytical techniques, and research methods. We will explore different case studies that look at music as social life in different societies around the world and use them as a way to expand on the topics presented. During this lesson
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