UNIVERSITY OF GONDAR

COLLEGE OF SOCIAL SCIENCE AND HUMANITIES

DEPARTMENT OF MUSIC

PRIMARY MUSIC TEACHERS BELIEF, PRACTICE, AND CHALLENGES IN

THE DELIVERY OF THE PRACTICAL CONTENTS OF MUSIC EDUCATION
IN THE CASE OF GONDAR CITY ELEMENTARY SCHOOLS

By

MEBITU CHAMARGACHEW

A THESIS PROPOSAL SUBMITTED TO GONDAR UNIVERSITY COLLEGE

OF SOCIAL SCIENCE AND HUMANITY DEPARTMENT OF MUSIC IN
PARTIAL FULFILMENT OF THE REQUIRMENTS FOR THE DEGREE OF
MASTER OF ART IN MUSIC

ADVISOR: EBABUSH YERDAW (PhD)

Gondar, Ethiopia

February 2022
 Table of Contents

CHAPTER ONE........................................................................................................................................1

1. INTRODUCTION.................................................................................................................................1

1.1 Background of the study.............................................................................................................................1

1.2 Statement of the problem............................................................................................................................4

1.3 Research Questions......................................................................................................................................6

1.4. Objectives of the Study..............................................................................................................................7

1.4.1 General Objective......................................................................................................................7

1.4.2 Specific Objectives...................................................................................................................................7

1.5 Significance of the study.............................................................................................................................7

1.6 Delimitation of the study............................................................................................................................8

1.7 Organization of the Study...........................................................................................................................8

1.8 Operational definition of key terms...........................................................................................................8

2. REVIEW OF RELATED LITERATURE.............................................................................................9

2.1 Concept of Music Education......................................................................................................................9

2.2 Theoretical Framework.............................................................................................................................10

2.3 Music and Its Elements.............................................................................................................................11

2.4. The Impact of Teacher Beliefs On the delivery of the practical content of music education........12

2.5 The Impact of Talent Beliefs in Music Education.................................................................................13

2.6 Talent Beliefs Held by Music Teachers..................................................................................................13

2.7 Teacher beliefs about the purpose of elementary general music.........................................................14

2.8 Teacher beliefs about assessment/evaluation in elementary general music......................................15

University of Gondar I
 2.9 primary school music teachers’ practices in the delivery of the practical contents of music
education............................................................................................................................................................16

2.10 Connections between Teacher Beliefs and Practice............................................................................16

2.11 The challenges of primary Teacher in the delivery of the practical content of music education. 17

2.12 Conceptual framework............................................................................................................................18

2.13 Summary and implication.........................................................................................................20

CHAPTER THREE..................................................................................................................................21

3. RESEARCH DESIGN AND METHODOLOGY...............................................................................21

3.1 History and origin of music in Gondar...................................................................................................21

3.2 Research Design.........................................................................................................................................21

3.3 Sources of Data..........................................................................................................................................22

3.4 Data Collection instruments.....................................................................................................................22

3.4.1 Questionnaire...........................................................................................................................22

3.4.2 In-depth Interview...................................................................................................................22

3.4.3 Focus group discussion (FGDs)...............................................................................................23

3.4.4 Observation..............................................................................................................................23

3.6 Methods of data analysis...........................................................................................................................23

4.Work plan.......................................................................................................................................................25

5.Budget plan...........................................................................................................................................26

References.........................................................................................................................................................27

University of Gondar II
University of Gondar III
 CHAPTER ONE
1. INTRODUCTION

1.1 Background of the study

It is a well-known fact that education is the basis for the development of a country. A country can
grow when there is a qualified human resource that can be engaged in every field of work.
Education contributes to the improvement of citizens' lives and to having a good life (Batlls and
Lewis, 2003).

Stokes .M (1994) stated that Music is a way for human beings to describe the course of life.
Sadness, joy, love, hate, heroism, and good news could express in a combination of voices. Music is
invariably communal activities that bring people to gather in specific alignments, whether as
musicians, dancers or listening audiences.

Among education Music education is the one that provides the basis for moral and character
training and development of sound. It plays important roles in all spheres of life-education, politics,
economy, religion, democracy etc. And it has generally been accepted the world over because it
develops the human personality and makes people more complete. A nation that neglects skill
oriented education as in music education is far from the path of growth.

One of the ongoing challenges for music education internationally is how to ensure that Primary
school-aged children experience high quality music education each week. Music is one strand of the
creative Arts in which many teachers displays a low level of confidence and competence to teach.
This trend has been evident in many primary schools and has resulted in a decline in status of
general school curriculum and its relegation to the periphery of curriculum importance. Yet music is
considered to be an important subject that contributes significantly to the Childs total development
(Button, 2010).

In a series of semi-structured interviews designed to reveal prior experience and beliefs conducted
with primary music teachers, Hennessy (2000) showed the following three factors which
contributed to confidence: prior personal experience, university course and school-based experience.
Prior personal experiences include aspects such as practical engagement and participation,
schooling, and beliefs and values. The university course includes development of subject

University of Gondar 1
knowledge, pedagogical knowledge, practical participation, ideas and resources for teaching.
School-based experience includes opportunities to teach, opportunities to observe, support and
feedback from teachers, feedback from children and support from peers. In relation to the beliefs,
primary school teachers believe that unless one has good performance skills and musical literacy,
one will not be able to teach music effectively (McPherson, G. 1997).

Indeed adequate knowledge and skills is required of one to be able to provide appropriate and
adequate music education for primary school students. And also all teachers are expected to cover
all the content aspects adequately through the use and application of appropriate teaching strategies.
But most teachers have the belief that they have limited abilities and content knowledge to teach
music. And some cluster Primary teachers have demonstrated negative attitudes towards music as a
curriculum subject and they may not have an understanding of the different ways that music
education can be approached within the Primary school (Fautley& Henley, 2010).
Due to this primary music teacher belief in music education must be positive because Prior research
has demonstrated that teacher beliefs influence teacher behavior (Bernard 2003; Datnow and
Castellano, 2000). Teachers’ beliefs inform their teaching methods and subsequently outcomes
(Kennedy and Kennedy 1996). Teachers’ beliefs about the priority and challenges of music education
will impact on their attitudes and practice when they are teaching in schools (Russell-Bowie 2009).
Practicing teachers’ beliefs inform the organization of their teaching strategies and student teachers’
practical learning, practices and reflections are also influenced by their beliefs on teaching and learning
(Stegman 2001).

Music education in Ethiopia elementary schools began around 1920 E.C. In every elementary
school, music education curriculum was prepared from first to eight grades. The purpose of the
curriculum of music was to entertain and gave some elementary music knowledge to young
students. Music lesson in the elementary school at that time was not seriously given, because the
acceptance of music education by the people was almost zero, being musician also a neglected job,
students‟ result of music was not taken in to consideration and not added together with other
subject for average result And also because of the lack of music professionals or teachers the
application of music education were poor up to the mid of 1960E.C (Atalay 2014).

After the Establishment of Yared music school 1959 E.C music professionals began to graduate and
they started to teach music in different colleges. Since 1996 E.C Amhara national education bureau

University of Gondar 2
began to produce ample of music teachers in cluster, three major, and generalist programs in
different teacher education colleges in diploma and the teachers deployed to elementary schools to
teach music education (Amhara education bureau college syllabus). But as the researcher knowledge
the Amhara region primary schools music education has been delivering by non-specialist, cluster,
three major, and generalist teachers.

Non- specialist teachers are teachers that graduated with any other profession except music,
three major teachers are teachers that graduated with physical education, music and art as a major
without any minor, generalist music teachers are those who studied music as main subject of
specialization and clusters are those teachers who studied music at the general level and not in depth
(Amhara education bureau college syllabus).

Junius(2005) indicated in contrast with the Amhara education bureau college syllabus that Specialist music
teachers are those who studied music as main subject of specialization at college while generalists
are those teachers who studied music at the general level and not in depth. In other words,
generalists are those teachers trained only to teach basic musical concepts in the classrooms as
compared to their counterparts who studied music as the main subject. Generalist music teachers are
more likely to experience a number of challenges as compared to specialist.
Some of the challenges facing music teachers include; lack of knowledge and skills about the syllabus
requirements, lack of time to prepare music lessons, not enough time in the teaching day, lack of
priority for music, lack of personal musical experience and lack of adequate resources, Lack of time
and priority for music education (Roulston 1997) and McPherson (1997) identifies the lack of teacher
confidence and skills as well as the inadequacy of training institutions to train teachers effectively in
music education as key problems in the implementation of effective music and dance program in
primary schools.

There for this research will examine primary school music teachers’ beliefs, practice and challenges in
the delivery of the practical content of music education in Gondar city primary schools.

University of Gondar 3
 1.2 Statement of the problem
The findings of Ezra (2002) reveal that music, art, and physical education are among the major
indicators to promote nationalities and cultural identity. However, in practice the integrated
aesthetics and physical education curricular materials do not promote the stated ideals. This is so
because most teachers do not have adequate music, art or physical education trainings and
consequently the subjects could not be appreciated as the major promoter of the ideals of
nationalities and cultural identities.

Now a days Music education is giving in all primary schools starting from Grade One up to Grade
eight with a combinations of art and theater education as one subject with a title of visual and
performing art as indicated in the Ethiopia Music Syllabus for Primary Schools. The three music
part contents indicated in the syllabus are: Theory of Music, Practical Work, and Music
Appreciation (Ethiopian music syllabus, 2021).

Amongst the practical works teaching of music literacy like any other subject should be a carefully
thought-out exercise because music literacy is very important to child development processes. This
is so because it enables children to acquire basic literacy almost in every sphere of life. And also
singing a song is important to child to have good communication skill, pronunciation skill, increase
the development of mental growth and increase thinking skill (Button, 2010).

That is probably the reason why some music scholars such as Legette(2012) place much emphasis
and importance on the need to include the teaching of music literacy and song at an early stage child
development. Through music, a child can learn the social, economic and political aspects of the
society he/she lives in because music studies combine culture, history, science, language, and art
together. By participating in these musical activities, students benefit a lot by acquiring various
skills. Acquisition of basic music skills enables learners to become responsible citizens of the
society.

Primary school music teachers have a vital role in the facilitation of music experiences as part
of day-to-day teaching (Roy et al., 2015; Russell-Bowie, 2012). Music engagement has many
potential intrinsic and transferable benefits for children unfortunately, due to a range of factors
impacting teacher practice, not all children receive consistent and in-depth music education
experiences during their primary school years (ASME, 1999).

University of Gondar 4
As indicated in the Ethiopian music syllabus (2021) the music practical parts of elementary school text book
contents include music literacy and songs. All these contents are requiring the skill, knowledge and
self- confidence of the teacher to deliver the appropriate teaching to the students and accomplish the
intended learning objectives as well as use of appropriate teaching methodologies.

And also as a teacher educator when I go to the primary school for practicum and community service I
observe that some of primary music teachers cannot read musical notes and rests with its exact
durational value, that means they do not teach their students practically and also some teacher told me
that they do not know how to deliver the practical contents of the text book.

Pedagogies such as inquiry-based and authentic learning approaches provide support for the
delivery of in-depth music education experiences for children. Inquiry-based learning has the
potential to increase intellectual engagement and foster deep understanding through the
development of a hands-on, minds-on and research-based disposition towards teaching and learning
(Shouldice, 2009).

Sanneret and StevensBallenger (2013) suggest that involvement of children in music making is of
key importance, where tasks are real and rich with complex musical ideas and materials,
accompanied by active, hands-on and concrete participation in listening, performing and creating.

Russell (1997) studied the widespread singing ability in Fiji and found that singing is a natural part
of everyday social life. Because few Fijians owned devices for listening to recorded music, they
were more inclined to make music themselves. Russell found that Fijian children are socialized into
the musical culture of singing from a young age and that they internalize the practice of singing by
observing and participating.

Koops (2010) discovered a similar musical socialization (or enculturation) process among the
Baatikunda, her pseudonym for a community in the Gambia. Children in this culture learn music
through immersion, by informally listening and imitating from an early age. Additionally, Koops
observed that there was an expectation to be musical among the Baatikunda. They believe that
music is an important part of life for all people and that everyone has musical ability. Similarly, in a
study of the Wagogo people of Tanzania, Mapana (2011) found that children come to understand
that music is something they do and that they come to know music through participation alongside
University of Gondar 5
adults, who model and facilitate.
As to the researchers’ experience regarding the Primary school Music Teacher Beliefs, practice and
challenges in the delivery of the practical contents of Music education in Ethiopia comprehensive
studies are not yet conducted.

So it is reasonable to investigate the primary school music teachers’ beliefs, practice and challenges in
the delivery of the practical content of music education.

1.3 Research Questions

The research questions are:-

 What are the trends/ practices of delivering the practical contents of music education?
 What challenges primary school teachers face in implementing the practical contents of
music education?
 What is the belief of primary teachers’ in delivering the practical contents of music
education?
 Is there any significant difference in the implementation of practical music education as a
function of experience of teachers?

University of Gondar 6
1.4. Objectives of the Study

The study will have both general and specific objectives.

1.4.1 General Objective
The main objective of this study is to investigate the Primary school Music teachers’ practice,
challenges and beliefs in the delivery of practical contents of music education in selected
elementary schools of Gondar city.
1.4.2 Specific Objectives
To examine the primary school music teachers’ practices in the delivery of the practical
contents of music education
To assess the primary school music teachers’ challenge in the implementation of the
practical contents of music education

To assess primary school music teachers’ belief in the delivery of practical contents of music
education.
To investigate if there is any significant difference in the implementation of practical
music education as a function of experience of teachers

1.5 Significance of the study

 The findings of this research will help primary school music teachers to be able to gear
their instructional delivery so as to enhance the quality of primary music education by
understanding the belief, practice and challenges in the delivery of the practical contents of
music education.
 The study will serve regional education bureau and other stakeholders to see or understand
the Primary Music Teachers Belief, practice and challenges in the delivery of the practical
contents of music education. Hence, the region will be able to prepare and implement the
required capacity building trainings or workshops and fulfill the necessary practical
content music education teaching aid materials.
 This study will also helpful to primary school prospective music teachers. Since the study
will be able to show some strategies that can enhance the quality of primary school music
education and primary school music teachers will benefit from it by gaining quality
education and training.
University of Gondar 7
  The study will also serve as a springboard for other researchers and further investigation in
the area.

1.6 Delimitation of the study

 The study will be geographically delimited to primary schools found in Gondar city
administration. The study also delimits to the investigation of Primary school music
teachers’ belief, practice and challenges in the delivery of practical contents of music
education in Gondar city elementary schools. Since Music education in Ethiopia is
providing for only elementary schools, this study will delimit to Primary music teachers
found in Gondar city Elementary schools in the year 2022/23 academic year.

1.7 Organization of the Study

This study will be organized in to five chapters. The first chapter includes background of the study,
statement of the problem, research objectives and questions, significance of the study, delimitation
of the study, limitations of the study and organization of the study. The second Chapter contains the
review of relevant literature under investigation. The third chapter comprises the methodology
section that includes design of the study, population, sample and sampling techniques, instruments
of data collection and data sources, data analyses techniques. Data analyses and results of the study
will be the fourth chapter of the study. Finally, the summary, conclusion and recommendation
section also will place on the fifth chapter.

1.8 Operational definition of key terms

 Belief: - Refers to teacher' interest, commitment or effort to teach the practical content of
music education.
 Practice: - refers the way that the teacher use skills, knowledge and teaching strategies to
deliver the practical contents of music education to their students to accomplish the
intended objectives.
 Challenge: - refers obstacles to implement the practical contents of music education.
 Primary school- Schools ranges from grade 1 -8 in education system of Ethiopia.
 Practical content:- are contents that require the skill of the teacher.

University of Gondar 8
 CHAPTER TWO

2. REVIEW OF RELATED LITERATURE

2.1 Concept of Music Education

Music education improves the individual and helps him find a place of usefulness in the society. In his
definition, Adegbite (1992), states that music education and other arts develops man’s creative ability
which in turn is very important in every aspect of human endeavor. Ahuforom (1984), sees music
education as the development of the individual talent, physical skills as well as the acquisition of
specific vocational training that could enable the individual develop healthy attitude towards honest
labor. Hoofer (1985:58) opined that music education is a part of education that has the power to awake
in us sensation and emotions of a spiritual kind as well as a force which affects the lives of the people
who acquire it. Omibiyi (1987) defined music education as a comprehensive education system geared
towards a functional and artistic earner in the society. From the views above, music education is
expected among others to provide the learner with the opportunity to explore and understand music as a
cultural force in world civilization, as well as the opportunity to discover and develop individual talents
physical skills healthy attitude towards honest labor which will help the individual live and contribute
positively towards the development and progress of the society.
Generalist primary classroom teachers, because of their own poor music experience at school and because
of inadequate teacher training in the arts education, lack confidence, skill and competence to teach the
arts which music is among. As a result, there is a strong impulse to marginalize the arts in their
teaching. Some of the challenges facing cluster teachers include; lack of knowledge and skills about the
syllabus requirements, not enough time in the teaching day, and lack of priority for music, lack of
personal musical experience and lack of adequate resources. These are similar to the problems
identified by Van Niekerk (1997) in South Africa, Mills (1989) in England and Sercarc (1995) in
Australia. Lack of time and priority for music education were also identified by Roulston (1997) and
Lean (1997), and McPherson (1997) identifies the lack of teacher confidence and skills as well as the
inadequacy of training institutions to train teachers effectively in music education as key problems in
the implementation of effective music programmes in primary schools.
Most teachers have poor belief towards music education. Because of the unavoidable link between beliefs
and actions, the study of teachers’ beliefs has been regarded as an important topic in the field of
University of Gondar 9
education (Ernest, 1989 and Thompson, 2007).
Hennessy (2000) examined the confidence of non-music specialist trainee primary teachers,
showing that music was the subject in which they have had least confidence in teaching. Other prior
research focused on the causes of low levels of confidence of the non -specialist music teacher in the
classroom and the relationship between confidence in teaching music and the perception of music as
a specialist discipline (Holden and Button, 2006).

2.2 Theoretical Framework

The theoretical framework that shapes this study is the widely adopted Kodály methodology to
music teaching and learning. What has been popularly known today as the Kodály pedagogy is an
approach that has its foundation deeply rooted in Kodály's ideas and philosophies to music teaching
and learning. This has been chosen for its thrust on the understanding that music learning is for
everyone and that singing should be used as a vehicle to develop music literacy. This pedagogy
points to the best ways learners, especially young ones, can be assisted in acquiring music
knowledge and skills. Initially, it was designed for Hungarians but due to its applicability in many
learning situations, I selected to use it for my study.
The Kodály method was developed in Hungary in the 1940s and 1950s by the composer and music
educator Zoltán Kodály (1882-1967) as a comprehensive system for music education. Mihaly Ittzess
(2004) writes that Kodály was a Hungarian music educator, composer and an ethnomusicologist
born on 16 December 1882 in Kecskemet, a town in central Hungary. He contributed a lot to music
education as a result of his passion for music which started at a very young age. Kodály studied
music as a self-taught musician and an amateur in his adolescence (Ittzess, 2004).
Studying music at a tender age was possibly a good platform for him because this nurtured his
passion for music learning. In this study, it is important to view his approach as a unified
methodology so as to capitalise on the advantages it offers. Combining different knowledge tenets
from various sources is an indication that his approach is solidly developed and designed to
influence the teaching and learning of music even outside the Hungarian geographical boundaries.
From all the various music learning methods combined, Kodály came up with the four major
components that are ideal for music teaching and learning. The four central features of his
philosophy on music education are: 1) that all children in schools should be taught music; 2) the
basis for music education should be singing; 3) the music to be taught should be based on the use of
the mother-tongue (folk music) and reading; and 4) writing of that music should be based on

University of Gondar 10
 solmisation (moveable-doh) (Ittzess, 2004). Using the pedagogy from a combined approach is
favoured for its emphasis on diverse approaches to music learning. But still, from all the various
tenets to his approach only the most influential ideas will be used and to achieve this, a critical
approach to his work is necessary to check on its usability and applicability to the Ethiopian context

2.3 Music and Its Elements

The music and music education take an important and indispensable place in the life of an
individual. With the way of music education, changes and transformations occur in the social,
cultural, artistic and musical life of individual. In this way, Uçal Canakay(2006) states that music
is considered as an important factor in each step of life for personality development, and also
music has contributions in socialization of individual, development of creativity, expressing
themselves, learning mother tongue, development of intelligence.

Theoretically, Music is an intentionally organized art form whose medium is sound and silence, with
core elements of pitch (melody and harmony), rhythm (meter, tempo, and articulation),
dynamics, and the qualities of timbre and texture (Gordon Epperson, 2019). On the other hand
psychological investigation of meaning in music as R.J. Watt and R.L. Ash (1998) conclude on
their article music does not mean tapping feet just because it has that action; music does not
mean a cup of coffee because that is what it is associated with for some listeners; music does not
mean the sea because that is what it is taken to express by some listeners or what it was intended
to express by the composer. When music suggests the sea, for example, it may do so rather more
by expressing the effect that the sea might have on a person. This, although indirect and limited
in scope, does allow music to be a form of expression to which people can respond without
necessarily knowing a detailed vocabulary. The above mentioned authors also explain on that
“Music can have a powerful action on listeners (Junius, 2005).

Few other events or objects have this strength of action on behavior and mental state. In fact, the
main object class to have such a strong action on us is people. Other people can calm or arouse
us, cause us to speed up or slow down; trigger long held memories. A natural hypothesis that
follows is that there is some direct relation between the psychological reaction to music and the
reaction to a person. The action of music is to mimic a person (Kagan, 1992).

University of Gondar 11
2.4. The Impact of Teacher Beliefs On the delivery of the practical content of
music education
Beliefs about musical ability can be powerful factors in shaping student success in music
education. Teachers’ beliefs about teaching, learning and their subject matter have an inevitable
impact on what they choose to do in the classroom, which in turn has an impact on the learning
experiences of their students (Ernest, 1989). Thompson (2007) suggests, Teachers‟ beliefs and
teachers‟ actions in classrooms cannot be separated”.

Because of the unavoidable link between beliefs and actions, the study of teachers‟ beliefs has
been regarded as an important topic in the field of education (Ernest, 1989; Fives &Buehl, 2008;
Kagan, 1992). Teacher beliefs are “generally defined as pre- or in-service teachers' implicit
assumptions about students, learning, classrooms, and the subject matter to be taught” (Kagan,
1992). Whether teachers believe they can help a student succeed will have an impact on the time
and effort they put into doing so. Teachers with high self-efficacy for teaching see all children,
even those with lower abilities, “as reachable, teachable, and worthy of the attention and effort it
takes to help them learn,” which, in turn, “has an important positive influence on children's self-
perceptions about academic outcomes and achievement” (Vartuli, 2005).While this seems to
suggest that teachers‟ self-efficacy determines their perceptions of students‟ abilities to learn, the
reverse may also be true.

Teachers‟ beliefs about their students‟ abilities affect their behavior towards those children.
When a teacher believes a child has high potential, the teacher is more likely to set the child
challenging tasks, and encourage him/her to succeed. When a teacher believes a child has low
potential, the teacher is more likely to set the child non-challenging tasks, and give less
encouragement for high expectations. Teacher’s beliefs about musical ability may be connected
to other beliefs, such as those about assessment or the purpose of music education. Because of
the power that teachers‟ beliefs have in shaping their actions in the classroom and thus the
experiences of their students, it is important that music teacher education programs address the
beliefs held by pre-service music teachers (Ernest, 1989).

University of Gondar 12
 2.5 The Impact of Talent Beliefs in Music Education

One of the ways in which students have been the victims of teacher belief systems in music
education pertains to beliefs about musical talent. Many music educators hold the belief that
musical ability depends on innate talent, to which they may attribute a student’s musical success
or failure (Biasutti, 2010, Legette 2012; Randles, 2011; Ruddock, 2012; Shouldice, 2013)

There is much evidence that suggests many students‟ experiences in school music programs
have a negative impact on their musical self-esteem and their views of themselves as musicians,
due in large part to the labeling that happens as a result of talent beliefs (Campbell, 2010;
Ruddock, 2012;Whidden, 2010). Numerous studies in the field of music education tell the stories
of people who were devastated as children when a teacher told them they were tone-deaf,
asked them not to sing, or denied them opportunities to participate in music due to perceived
lack of ability or talent (Abril, 2007; Ruddock, 2012; Whidden, 2010). Perceiving that they
lacked musical talent and thus were “unmusical,” most of these unfortunate individuals gave up
on their hopes of ever participating in music and ceased all music making in their lives.

2.6 Talent Beliefs Held by Music Teachers

Shouldice (2009) conducted investigation of teacher beliefs and their relationship to teaching
practice, in which beliefs about musical talent were examined. Shouldice surveyed 37 K-12
music teachers in one Michigan school district and found that their beliefs about talent varied
widely. When responding to the statement “To be good at music, a person needs to have a talent
for music,” 51% of the participants agreed to some extent and 34% disagreed to some extent,
while 14% were undecided. Shouldice also found a significant relationship between the belief
that talent is a determinant of musical success and the extent to which teachers assessed students
through their participation. “Participants who assessed more often through participation/effort
tended to agree more strongly that a person needs to have a talent to be good at music”.Shouldice
speculated that one possible explanation for this might be that those teachers may “not truly
believe that all students are capable of achieving in music and so must assess in a way that does
not focus on musical skill or ability”.

University of Gondar 13
Similarly Stunell (2010) conducted a survey looking specifically at the beliefs of elementary
music teachers regarding musical ability, assessment, and the purpose of music education. Of the
192 elementary music teachers surveyed, 185 agreed or strongly agreed with the statement,
“Every child can develop musical skills;” however, seven teachers did not agree, and one
strongly disagreed. When presented with the statement, “Talent is necessary to develop musical
skills,” 15 teachers agreed or strongly agreed, and 28 were undecided. While all but six teachers
agreed that “Anyone can learn music,” 47 teachers did not agree with the statement, “Anyone
can be good at music.” Additionally, 28 teachers agreed that “A lack of talent makes it difficult
for a person to acquire musical skills,” and 53 were undecided. Preliminary factor analysis also
suggested that elementary music teachers‟ beliefs about musical ability may be related to their
beliefs about whether and how students should be assessed in elementary general music. These
studies on music teachers‟ beliefs about musical ability are pertinent to the current study because
they illustrate that, while teachers might conceive of musical ability in a variety of ways, many
teachers‟ views of musical ability are characterized by the conception of musical talent as an
inborn, bi-modal trait. However, these studies did not examine the ways in which this belief
relates to actual teaching practice of practical contents of music education.

2.7 Teacher beliefs about the purpose of elementary general music.

Several studies have revealed music teachers‟ beliefs about the purpose of their music programs
and, subtly, the ways in which beliefs about purpose might relate to beliefs about musical ability.
In order to examine the status of general music education in Ohio public schools at the time,
Rasor (1988) surveyed 655 K-8 general music teachers regarding a variety of topics, including
staffing, scheduling, curriculum, and philosophies/perceptions. In response to the question “What
do you consider to be the primary purposes of general music education in our current society?”
(p. 268), the most common beliefs expressed by teachers were to provide general knowledge
(75%) and for enjoyment and gaining an appreciation of the art (49%). Only 20% said it should
provide preparation for future music experiences, and only 15% said it should be for music
literacy and creativity/self-expression goals. One might surmise that these beliefs about the
purpose of music education are related to beliefs about what students are capable of learning.
However, Rasor did not examine the ways in which these philosophical beliefs relate to other
beliefs or to classroom practice, as the current study will do.

University of Gondar 14
2.8 Teacher beliefs about assessment/evaluation in elementary general music

One purpose of assessment and evaluation is to measure and convey information about student
ability. Therefore, there may be a relationship between teachers‟ beliefs about students‟ abilities
and their beliefs about assessment/evaluation. A music teacher’s feelings about whether and how
students should be assessed in elementary general music are likely influenced by his or her
beliefs about who can be musical and develop musical skills. For example, a teacher who
believes that only some of her students have musical talent may believe that it would be unfair to
assess them all on the basis of their musical skills, while a teacher who believes all students can
be musical may be more likely to feel that students should be assessed on their skills (which
every one of them has the potential to develop). Existing music education research suggests these
possible connections between music teachers‟ beliefs about assessment/evaluation and their
beliefs about their students‟ ability to learn music and develop musical skills (Button, 2010).

One such study is that of Talley (2005). Talley surveyed elementary music teachers in Michigan,
investigating the frequency, methods, objectives, and applications of assessment in their
classrooms. When provided with the open-ended prompt “For what purpose(s) do you assess
your students?” teachers most commonly said that they assessed to adapt instruction (55%), to
assign grades (45%), or to gauge understanding (39%). Additionally, 16% mentioned that they
used assessment to identify and challenge “gifted students.” One participant wrote, “I do not
believe in formal assessment in music. The only assessment is whether the students try the given
task. It has been my experience that formal assessment makes music just another subject to learn
and not enjoy” (p. 61). This statement subtly implies a belief that expecting all students to learn
music would prohibit them from enjoying music. This may be due to an underlying belief that
only some students can learn music and that asking other students to learn who are believed to be
less capable would result in an unpleasant experience for those students. In contrast, the current
study will explore primary music teachers‟ belief in the assessment of practical contents of
music education.

University of Gondar 15
 2.9 primary school music teachers’ practices in the delivery of the practical
contents of music education
Effective teaching of music can lead to pupils‟ attainment of appreciation of music and
development in musical skills and knowledge (Button, 2010). Harris, Mishra and Koehler (2009)
are of the view that effective teaching can be accomplished if the classroom teacher can relate
curriculum content and methods of teaching with the use of appropriate media, supported by the
environment to provide the individual educational needs of his or her pupils. According to
Wenglinsky (2000), effective teaching is premised on teachers who frequently involve the entire
class in discussions, provide rewards, talk to pupils about their work output, engage pupils with
variety of work, and try to make their lessons very stimulating. Effective teaching provides pupils
with opportunities to respond to their teacher and peers‟ presentations, motivates them to learn, and
establishes a positive bond of relationship between teacher and learner (Tamakloe et al., 2005).

Primary school generalist teachers have an important role in providing music education experiences
during day-to-day teaching and learning. Despite being in a clear position to include music into
daily learning, such as through providing opportunities for children to be self- expressive through
music, not all teachers are comfortable delivering music activities (Junius 2005).

2.10 Connections between Teacher Beliefs and Practice

Numerous researchers have examined teacher beliefs, including the ways in which beliefs relate to
what teachers do in the classroom with students. This research literature suggests that understanding
teachers‟ beliefs is critical to understanding their actions and decision-making. However, virtually
no studies exist in the field of music education that connect music teachers‟ beliefs, specifically
those relating to musical ability/talent, to their teaching practice( Hennessy, 2000).

University of Gondar 16
 2.11 The challenges of primary Teacher in the delivery of the practical content of
music education
Music educators around the world face many challenges to ensure that all children have access to
good quality developmental music education during their primary school years. In a study into the
practices of music and arts education in Namibian schools since the implementation of the new
primary arts syllabus, the following challenges were identified:

 Inadequate physical facilities.

 The low status of arts education in schools.
 The lack of arts specialist teachers.
 Lack of professional support for classroom teachers in the arts.
 Lack of funding. .
 Lack of relevant teaching resources (Junius 2005).

Teachers‟ lack of knowledge on the subject, the negative attitude of pupils towards the subject, lack
of facilities, and lack of teaching resources/materials are the main challenges faced by teaching in
teaching music. It was found that generalist primary classroom teachers, because of their own poor
music experience at school, and because of inadequate teacher training in the Arts education, lack of
confidence, skill and competence to teach the arts which music is among. As a result, there is a
strong impulse to marginalize the arts in their teaching. Some of the challenges facing generalist
teachers include; lack of knowledge and skills about the syllabus requirements, lack of time to
prepare music lessons, not enough time in the teaching day, lack of priority for music, lack of
personal musical experience and lack of adequate resources. Lack of time and priority for music
education were also identified by Roulston (1997) and McPherson (1997) identifies the lack of
teacher confidence and skills as well as the inadequacy of training institutions to train teachers
effectively in music education as key problems in the implementation of effective music and dance
programmes in primary schools.

In most Primary schools, children are usually taught by “generalist” teachers who are expected to
teach all curricular subjects, including music. As a subject, Music may appeal to be one of the most
challenging subjects to teach by a generalist teacher who does not have an expertise or any
background in music. Many newly hired teachers begin their primary school teaching career with

University of Gondar 17
little knowledge and understanding of music pedagogy (Stunell, 2010). Furthermore, some cluster
primary teachers have demonstrated negative attitudes towards music as a curriculum subject
(Spurce, Daubney, & Lamont, 2012) and they may not understand the different ways that music
education can be approached within the primary school (Fautley& Henley, 2010).

Music educators around the world face many challenges to ensure that all children have access to
good quality developmental music education during their primary school years. In many western
countries, music specialist teachers have been trained, resourced and funded to implement
developmental and sequential music programs in elementary schools. As music and the arts have
decreased in priority in recent years, so numbers of specialist teachers have decreased, and cluster
classroom teachers in many schools are expected to teach all the arts subjects, including music.
Research studies revealed that non-specialist elementary teachers in these countries have little
confidence in their own musical ability and in their capability to teach music (Bowie, 2009). In a
survey conducted in Australia, cluster teachers identified a list of challenges that they encountered
in the implementation of music syllabus. These are: lack of knowledge about the syllabus
requirements; lack of time to prepare music lessons; insufficient time in the teaching the subject;
lack of priority for music; lack of personal musical experience and lack of adequate resources.

Lack of time and lack of priority for music education were also identified by Roulston and
McPherson (as cited in Bowie, 2009) identified the lack of teacher confidence and skills as well as
the inadequacy of training institutions to train teachers effectively in music education as key
problems in the implementation of effective music programs in elementary schools. Indeed,
sufficient knowledge and skills is required of one to be able to provide appropriate and adequate
music education for primary school pupils. Pedagogical content knowledge, the ways that teachers
understand their subjects in order to effectively deliver an instruction, has been described and
explored in the math, science and other education fields in some depth, yet little research exists
illustrating this concept in music education (Millican, 2013).

2.12 Conceptual framework

This study aims to determine whether primary music teachers practice factors (confidence, skill,
teaching experience and music teaching resource), music teachers’ challenge factors (resource,
training, and availability of time ) and music teacher’s belief factors (attitude, experience and

University of Gondar 18
confidence ) are relate with the delivery of practical content of music education. In this study
primary music teachers practice factors (confidence, skill, teaching experience and music teaching
resource), music teachers’ challenge factors (resource, training, and availability of time) and music
teacher’s belief factors (attitude, experience and confidence) will be independent variables and the
delivery of practical content of music education will be dependent variable.
Practice factors

 Confidence
 Skill
 Teaching experience
 Resource

Challenges factors The delivery of Practical

content of Music
 Resource
 Training
education
 Availability of time

Belief factors

 Attitude
 Experience
 Confidence

2.13 Summary and implication

In Ethiopian education context generalist music teachers are specialized in music subject that means
specialist music teachers in other countries. And also generalist music teacher in other country
means cluster music teacher in Ethiopia context.
Cluster primary classroom teachers, because of their own poor music experience at school and
because of inadequate teacher training in the arts education, lack confidence, skill and competence
to teach the arts which music is among. As a result, there is a strong impulse to marginalise the arts
in their teaching. Some of the challenges facing cluster teachers include; lack of knowledge and
skills about the syllabus requirements, not enough time in the teaching day, lack of priority for
music, lack of personal musical experience and lack of adequate resources.
Adequate knowledge and skills is required of one to be able to provide appropriate and adequate
music education for primary school students. And also all teachers are expected to cover all the
University of Gondar 19
content aspects adequately through the use and application of appropriate teaching strategies.
Effective teaching should provide students with opportunities to respond to their teacher and peers
presentations, motivates them to learn, and establishes a positive bond of relationship between
teacher and learner
There is generally not enough academic, political and philosophical support of arts education, music
and general musical experiences and in particular the use of music education. In order to effectively
implement practical content of music education, teachers must hold positive beliefs that the
integration of technology will assist in achieving desired education. Teachers’ beliefs about the
priority and challenges of music education will impact on their attitudes and practice when they are
teaching in schools.
Improving teachers’ skills and knowledge is one of the most important investments of time and
money that local, state, and national leaders make in education. Regular and well organized In-
Service training programs should be conducted and well supervised by Education experts to update
the knowledge of cluster teachers to enable them to engage their students meaningfully in the
subject.

University of Gondar 20
 CHAPTER THREE

3. RESEARCH DESIGN AND METHODOLOGY

The main objective of the study is to explore primary teachers‟ belief, practice and challenges in
the delivery of contents of music education in the case of Gondar city elementary schools. In this
chapter the research design used, the data gathering methods and tools; sampling and sampling
procedures and the methods of data analysis are discussed very well.

3.1 History and origin of music in Gondar

Geographically, North Gondar Zone is a part of the Amhara National Regional State located in the
northwestern part of Ethiopia. The zone has been home to diverse people and cultures.. This endorses
the presence of a rich heritage harnessed with the azmari tradition in the imperial compound and
Gondar area. This has to be noted that the position vested on azmaris and their profession in Gondar
was also an aspect of the revival of Ethiopian music, at least since the Gondar period. Burbuax is the
name of an azmari village in Gondar Zurya wereda near to Tseda town along the highway that connects
Addis Ababa and Bahir Dar with Gondar city. From azmaris’ community in Burbuax village, most of
the historic poet musicians in the country are originated. From 1975 to 1983 at least three different
names were given to what ultimately would be called Fasiledes kinet group in the city of Gondar. In
1975 fifty seven male and six female azmari gathered under the shadow of Jantekel warka, a huge oak
tree and a historical site in downtown Gondar near the imperial compound, to form the local kinet
association that they called ‘Taglo atagay’ (ታግሎ አታጋይ, ‘Fighter and agitator’). Four years later it was
followed by the Ras Dashen kinet. Finally, in 1983, the “Fasiledes” kinet came to light, which
eventually will be the one reaching the widest popularity in Gondar province as well as in Ethiopia.
The renowned azmari, Yirga Dubale was its leader and one of the mentors of new recruits from the
schooling system (Ebrahim, 2017).

3.2 Research Design

A mixed research approach will apply in the course of doing this study to generate rich data from
multiple sources of both quantitative and qualitative type. Explanatory sequential method of mixed
research will be used because in this method first quantitative data will be collected and then

University of Gondar 21
qualitative. Qualitative approach will be involved methods such as personal observations and
Interviews with primary school teachers and school principals, In addition qualitative data will be
gathered from focus group discussion with teachers. While quantitative approach will include
questionnaires from primary school teachers.

3.3 Sources of Data

In order to gather reliable information, primary sources will be employed. The data will be collected
primarily from first hand sources through interviews, questionnaires, focus group discussion and
personal observation. The primary data will be gathered from primary school teachers, principals
and students.

3.4 Data Collection instruments

3.4.1 Questionnaire
The questionnaire will be prepared after reviewing different related literatures. In addition to
different related literatures I will adjust the questionnaire in relation with the objective of the study.
Adopted and self-developed questionnaire will be used as one of the major data collecting tools to
gather information about primary teachers’ belief, practice and challenges in the delivery of
contents of music education. The research will applied both open ended and close ended questions
to capture as much as possible responses during the data collection stag. The questionnaire will first
prepared in English and then will be translated into Amharic by the researcher. To avoid
misinterpretation and to recheck each question, the Amharic questionnaire will be translated back
to English).

3.4.2 In-depth Interview

The interview guide questions will be written after reviewing and consulting different related
literatures. Similar to the procedure followed in the preparation of questionnaire, the in-depth
interview guide questions will be translated back and forth to avoid misinterpretation and to
recheck understandability of each question. In-depth interview is a method which allows
people’s opinions to be prevailed in addition to helping the researcher to view and respect things
from the participants perspective. As Lewis (2003) indicated, in-depth interview is also
important because it brings people face to face and helps the interviewer to get direct answer
besides having the chance to further elaborate questions for the interviewee.

University of Gondar 22
 3.4.3 Focus group discussion (FGDs)

The researcher will conduct focus group discussions with students regarding with challenges and
practice of music education learning in the selected schools. The researcher will prepare
checklists for the focus group discussion.

3.4.4 Observation

In addition to the above tools, the researcher also will use observation method to assess the current
status of primary teachers practice and challenges in the delivery of contents of music education in
the case of Gondar city. Personal observation will be used in reliable data collection, as information
which is difficult to be obtained by way of interview and questionnaires; direct observation method
shall be applicable.

3.5 Sampling Technique and Sample Size

This study will employ the following sampling procedure. Two-stage sampling design will be used
to determine sample primary schools in Gondar city and grade level and class in sampled schools.
There are 56 primary schools in Gondar city. So the first stage will be selecting the sample primary
schools from the study area. The second stage will select individual teachers from each selected
primary schools.

To determine the number of primary schools the researcher will select 25 primary schools by using
Simple Random Sampling Technique. To determine the number of teachers and school principals
from each selected school comprehensive sampling technique will be used and also purposive
sampling Technique will be used to determine numbers of students.

3.6 Methods of data analysis

Quantitative and qualitative data analyses techniques will be employed in this study.

Quantitative data analyses techniques

For research questions 1, 2 and 3 which deal about examine the primary school music teachers’
practices in the delivery of the practical contents of music education, assess the primary school
music teachers’ challenge in the implementation of the practical contents of music education
and assess primary school music teachers’ belief in the delivery of practical contents of music
education one sample t-test will be used. For research question 4, Analysis of Variance
University of Gondar 23
 (ANOVA) will be computed to determine whether there exist differences in the practice of the
delivery of practical content of music education due to differences in experience (low, moderate
and high)

Qualitative data analyses techniques

Qualitative data analyses techniques, particularly narration and direct quotation, will be used to analyze
qualitative data to be gathered through different instruments like FGD, interview and observation.
Qualitative data to be collected will be on the issues of the primary school music teachers’ practices in the
delivery of the practical contents of music education and the primary school music teachers’ challenge in the
implementation of the practical contents of music education.

Ethical Considerations

Following and abide by research ethics is an important thing in this study. The researcher will have the
responsibility to conduct the study and report results of the study without causing any harm on the
research participants.

Voluntary participation of respondents will be encouraged and explanation of the study objectives,
significance and research procedures will be duly done. Without informed consent, individuals will not
be obliged to be participated in this study. The participants will be assured that all the information they
will give kept confidential. The information to be provided by the participants will not be disclosed to
anyone else. Moreover, measures will be employed to ensure ethical and safety considerations to carry
out this study as specifically documented in publication manual of the American Psychological
Association, 6th edition.

University of Gondar 24
4. Work plan
The duration of time and implementer of each activity for all work before submission of the final
thesis are listed below

Table1

No Activity Duration Implementer

1 Writing the introduction, review literature October 2015 E.C Researcher
and the methodology
2 Organization and writing proposal October and November //
2015 E.C
4 Submitting proposal to my advisor December 2015 E.C
//
5 Correcting the proposal based on the December 2015 E.C //
Feedback
6 Presenting the proposal January -January2015 E.C //
7 Data collection February 2015 E.C //
8 Data analysis March 2015 E.C //
9 Writing thesis draft and Submitting the thesis April 2015 E.C //
for feed back
10 Correcting the thesis based on feedback May to June 2015 E.C //
11 Submitting the thesis June 2015 E.C //
12 Re-correcting the thesis based on the feed June 2015 E.C //
Back
13 Final presentation July Examiner,
advisor and
student

University of Gondar 25
5. BUDGET PLAN
Table 2
No Item Quantity Unit cost Total cost

Birr Birr Cen Birr Cost

T
1 Paper 1packs 700 00 700 00
2 - 3000 00 3000 00
for print
3 Binder 1 1 00 300 00

4 Flesh 1 1 00 500 00

5 Internet cost - 1000 00 1000 00

6 Transport 2000 00

8 Payment for respondents (tea and - 5000 00

coffee).
Total Total -12500

University of Gondar 26
 References
Abril, C. R. (2007). I have a voice but I just can‟t sing: A narrative investigation of singing and
social anxiety. Music Education Research, 9(1), 1–15.

Adegbite, A. (1992). The teaching of traditional music as a component part of music programme
in Nigeria Schools. West African Journal of education 1 (1).

Anuforom, H.U. (1984). The role of music in traditional education. A paper presented at the
conference of Music Educators. Alvan-Ikoku College of education, Owerri.
ASME. (1999). Principles, policy and guidelines for music education. Victoria, Australia:
Australian Society for Music Education Inc.
Atalay Mesfin ( 2014). The relevance of music education to the Ethiopian educational system
Department of aesthetics and physical education, Debremarkos College of Teacher Education, Ethiopia

Bernard, P. (2003). “How musical are you?”- Examining the discourse of derision in music
education. In S. Leong (Ed.), Musicianship in the 21st century: Issues, trends &
possibilities (pp. 28–38). Sydney: Australian Music Centre.
Biasutti, M. (2010). Investigating trainee music teachers‟ beliefs on musical abilities and
learning: a qualitative study. Music Education Research, 12(1), 47–69
BirhaneTigabu. (2021), Music and Cultural Practices in the People OfSidama, Malga Clan.
Addis Ababa University School of Graduate Studies, Yared School of Music Folk

Bowie, D. R. (2009). What me? Teach music to my primary class? Challenges to teaching
music in primary schools in five countries. Music Education Research, 11(1), 23-36.
Button, Stuart. 2010. “Music Teachers Perceptions for Effective Teaching.” Bulletin of the
Council for Research in Music Education 183: 25-38.
Campbell, P. S. (2010). Songs in their heads: Music and its meaning in children‟s lives (2nd ed.).
NY: Oxford University Press.

Dinham, J. (2014). Delivering authentic arts education (2nd ed.). South Melbourne, Victoria:
Cengage Learning.
Ebrahim Damtew (2017). The shifting status of the Gondar Azmari in revolutionary
Ethiopia: from outcasts to popular star.
Ernest, P. (1989). The impact of beliefs on the teaching of mathematics. In P. Ernest (Ed.), Math
teaching: The state of the art (pp. 249–254). NY: Flamer Press.
Ezra Abate. (2002). Developing Primary School Music Curricular Materials In
Multicultural Society: The Case Of Addis Ababa. A Thesis Presented To The School
Of Graduate Studies, Addis Ababa University. In Partial Fulfillment of the
Requirements For The Degree Of Master Of Arts In Curriculum And Instruction.

University of Gondar 27
 Fautley, M., & Henley, J. (2010).Music provision at Grove School Handsworth. Birmingham:
Birmingham City University

Fives, H., &Buehl, M. M. (2008). What do teachers believe? Developing a framework for
examining beliefs about teachers‟ knowledge and ability. Contemporary Educational
Psychology, 33, 134–176.
Hennessy, Sarah. 2000. “Overcoming the Red-feeling: The Development of Confidence to
Teach Music in Primary School amongst Student Teachers.” British Journal of
Music Education 17 (2): 290-306.
Hoffer, C.R. (985). The understanding of music. 5th edition, Belmont; North world publishing Co.
Ittzess, M (2004) Zoltan Kodaly 1882-1967. International Journal for Music Education 22(2)
131-147
Junius, E. 2005. A brief overview of music and arts education for Namibian children, in music in
schools for all children: From research to effective practice. Granada: MISTEC
Kagan, D. M. (1992).Implications of research on teacher belief. Educational Psychologist, 27(1),
65–90.
Koops, L. H. (2010). “Denuyjangal seen bopp” (They teach themselves): Children‟s music
learning in The Gambia. Journal of Research in Music Education, 58(1), 20–36.
Lewis, B. (2003). The effect of a music methods course on elementary education majors attitude
toward the teaching of music in the elementary school. Southeastern Journal of Music
Education, 3, 61-78.
Legette, R. M. (2012). In service teacher beliefs about the causes of success and failure in music.
Bulletin of the Council for Research in Music Education, 192, 75–81.

Mapana, K. (2011). The musical enculturation and education of Wagogo children. British
Journal of Music Education, 28(3), 339–351.
McPherson, G. 1997. Music in a changing environment: An Australian perspective. In Music in
schools and teacher education: A global perspective, Ed.
Millican, J. S. (2013).Describing instrumental music Teachers' Thinking: Implications for
Understanding Pedagogical Content Knowledge. National Association for Music
Education, 45-53.
Omibiyi –Obidike, M.A. (1987). Wither music education in Nigeria. A paper presented at
the 1st national conference of Association of music educators, Akwa.
Randles, C. (2011). “What is a good musician?”: An analysis of student beliefs. Arts Education
Policy Review, 112(1), 1–8.
Rasor, S. H. (1988). A study and analysis of general music education, K-8 in the public schools
of Ohio, 1987 (Doctoral dissertation). Retrieved from Proquest Dissertations & Theses.
(8908457)
University of Gondar 28
 Ruddock, E. (2012). “Sort of in your blood”: Inherent musicality survives cultural judgement.
Research Studies in Music Education, 34(2), 207–221.

Roulston, K. 1997. I love teaching music but .. . In New sounds for a new century, ed. E.
Gifford, A. Brown, and A. Thomas, 25661. Brisbane, Australia:
Roy, D., Baker, W., & Hamilton, A. (2012).Teaching the Arts. Port Melbourne, Victoria:
Cambridge University Press.
Russell-Bowie, D. 1997.Reflecting on challenges in the creative arts in teacher education.
In Music in schools and teacher education: A global perspective, ed. S. Leong pp.
3645. Perth, Australia: ISME/CIRCME.
Russell, J. (1997). A “place” for every voice: The role of culture in the development of singing
expertise. Journal of Aesthetic Education, 31(4), 95–109.
Sanneret, N., & Stevens-Ballenger, J. (2013). The cluster and the specialist: Serendipity in preserve
education. Australian Journal of Music Education(1), 64-75.
Shouldice, H. N. (2009). A mixed methods investigation of K-12 music teacher beliefs and their
relationship to teaching practice (Unpublished master‟s thesis). University of Michigan,
Ann Arbor
Spurce, G., Daubney, A., & Lamont, A. (2012). Singing in Primary Schools: Case studies of
good practice in whole class vocal tuition. British Journal of Music Education, 251-268.
Stunell, G. (2010). Not musical? Identity perceptions of cluster primary school teachers in
relation to classroom music teaching in England. Action, Criticism & Theory for Music
Education, 79-107.
Stoke M. (1994) introduction: ethnicity, identity and music. The musical contribution of place,
Oxford p 1-27
Thompson, L. K. (2007). Considering belief in learning to teach music. Music Educators
Journal, 93(3), 30–35.
Talley, K. E. (2005). An investigation of the frequency, methods, objectives, and applications of
assessment in Michigan elementary general music classrooms.(Master‟s thesis).
Tamakloe, E. K., E. T. Atta and F. K. Amedahe. 2005. Principles and Methods of Teaching.
Accra: Ghana Universities Press. Vartuli, S.(2005). Beliefs: The heart of teaching. Young
Children, 60(5), 76–86.
Wenglinsky, Harold. 2000. How Teaching Matters: Bringing the Classroom Back Into the
Discussions of Teacher Quality. Princeton: Educational Testing Service.
Whidden, C. (2010). The injustice of singer and -singer labels by music educators.
GEMSGender,Education,Music&Society.

University of Gondar 29
University of Gondar 30
University of Gondar 31
University of Gondar 32