【正文】 1998), who indicates that many intending Music teachers in Australia have little knowledge of how to pose Music or improvise, and thus will not be able to teach these vital aspects of Music to students. McMillan sees the traditional ‘Music degree’ as being the cause of this, emphasizing performance to the detriment of position and improvisation, which are also neglected, for the main, in subsequent teaching degrees. When I graduated as a teacher I had no idea how to teach position or improvisation. I did not even consider teaching such aspects of Music. My limited confidence in teaching Music in the primary school classroom led me to turn to my mother, a Music teacher, for guidance.My Mother, the Music TeacherMy experiences of practice teaching, and knowledge gained at teachers college, provided the foundations of how I learnt to be a Music teacher. However, my mother, a primary school Music teacher, reinforced what I learnt because she too used a Kodalybased teaching method. I indicated at the beginning of the autobiographical narrative that my mother was ’a meticulous teacher, spending hours each week drawing up units of work.’ Throughout my year at teachers college I sought her advice, asked her questions and used her resources. In my first teaching position, my predecessor (the Music teacher at the school before me) indicated that she had strictly followed a Kodalybased Music programme in grades one to four. However, from grade five she strayed from the programme. I was amazed when this teacher indicated she had not persevered with it as my practice teaching supervisor and my mother had. Thus, for the first time, I saw a breaking away, albeit ever so slightly, from Kodalybased Music education. I broke further away from a strictly Kodalybased method of Music education as I gained teaching experience, and as a result my mother’s influence lessened in my classroom Music programme. However, she continually provided assistance and advice in taking school choirs. As a result of choral conducting not being addressed at teachers college, my mother was the person I turned to for help in this area. I looked to her not only for help with choral conducting, but with selecting choral Music for choirs. Help gained from my mother in this area clearly indicated the value of an inexperienced Music teacher being able to work with an experienced Music teacher.NonMusic teachers in Schools where I WorkedOnly aspects of how I learnt to teach Music have been addressed so far. Being a Music teacher, however, is clearly more than just teaching Music, as a Music teacher you are a teacher. Being a teacher is living and working in a school, with students, other teachers and administrators. Other teachers (nonMusic) and administrators taught me ‘how to be a teacher’ beyond the specifics of Music teaching. I did not observe nonMusic teachers teaching. Rather, I learnt form what they told me, generally in an informal setting. The biggest influence on me as a firstyear teacher was Gray, a Special Education classroom teacher whom I shared a flat with. Gray’s negative attitude to teaching influences my attitude towards the profession and extended into my classroom teaching. For example, he challenged me to ‘a(chǎn) little game’ where we came to school with nothing prepared and taught ‘off the cuff’. This lazy teaching behavior also extended to givingstudents written activities to keep them 39。 quiet 39。 . I had guilty feelings about giving such activities to my students because I was not teaching Music. However, I allayed these feelings by telling myself that Gary frequently gave out worksheets to keep his students quiet too . Gary was not the only teacher that I learnt lazy teaching behavior from . When walking to the toilet one day during a 39。 spare 39。 ( non teaching period ) I noticed that a number of teachers were exhibiting what I considered to be lazy teaching behaviour ( i . e . having students do 39。 colouring in 39。 and watching videos ) . This observation , that some teachers were not actually teaching their classes , but taking lazy options , made this kind of teaching appear acceptable . I began to emulate such behaviour . In fact I was caught by the deputy principal having my students casually listen to a jazz CD with their eyes closed. ‘When I later told many members of staff about this they admitted doing similar things 39。 . Therefore I learnt from other teachers that such behaviour was acceptable , or at least took place . These teachers acted as negative role models for me . In this last reference I mention 39。 many members of staff, doing what I had done 。 that is , being lazy and pretending not to be . But was it many members of staff ? Thinking back to my first teaching position , I can recall the large number of male teachers on staff (just under half were males , which was unusual in a primary school ) and the way I, along with these male teachers , would congregate together and exchange stories . Therefore the 39。 many members of staff’ I referred to should have been 39。 many male members of staff. 39。 These male teachers, particularly the older males, provided sarcastic remarks about the children and cynical remarks about the job. You could say anything to 39。 the guys ’ Brookhart and Loadman 39。 s ( 1996 ) study of male elementary pre service and in service teachers point to male teachers gaining less job satisfaction than females , judging their teacher education programmes to be of lower quality than their peers and being more 1ikely than females to be planning a career move to administration ( p . 204 ) . This suggests male primary school teachers are less content as classroom teachers than their female counterparts. Brookhart and Loadman also found that male elementary teachers had had more to do with young children than other males while in high school ( i . e . baby 一sitting and tutoring ) . 39。Perhaps some young men , not from a group culturally conditioned to th