Pub Date : 2024-08-31DOI: 10.1177/1321103x241270819
Katy Ieong Cheng Ho Weatherly, Bri’Ann Wright, Elsa Y. Lee
Digital game–based learning is increasingly integrated into classrooms, offering a novel approach to combining informal and formal music education. This article reports the findings of a systematic review investigating digital game–based learning in music education, analysing 15 empirical, peer-reviewed articles written from 2011 to 2023. In this analysis, we first analyzed the platforms of digital game–based learning tools and their corresponding musical objectives. Second, we examined the methodologies, participant demographics, and the effectiveness of digital game–based learning in music education. Finally, we considered potential issues associated with the reviewed studies. Our findings reveal that while potential benefits of digital game–based learning in music education are evident, several challenges also arise. Many of the studies we reviewed failed to consider and discuss potential issues associated with digital game–based learning; with our prominent concerns pertaining to tool availability, cost, and accessibility. In addition, our systematic review highlights the need for further research focusing on open-access resources and free tools that help mitigate such accessibility barriers. Recommendations for future research include further work on experimental designs between traditional music learning and digital game–based learning and examining additional dependent variables beyond motivation and achievement.
{"title":"Digital game–based learning in music education: A systematic review between 2011 and 2023","authors":"Katy Ieong Cheng Ho Weatherly, Bri’Ann Wright, Elsa Y. Lee","doi":"10.1177/1321103x241270819","DOIUrl":"https://doi.org/10.1177/1321103x241270819","url":null,"abstract":"Digital game–based learning is increasingly integrated into classrooms, offering a novel approach to combining informal and formal music education. This article reports the findings of a systematic review investigating digital game–based learning in music education, analysing 15 empirical, peer-reviewed articles written from 2011 to 2023. In this analysis, we first analyzed the platforms of digital game–based learning tools and their corresponding musical objectives. Second, we examined the methodologies, participant demographics, and the effectiveness of digital game–based learning in music education. Finally, we considered potential issues associated with the reviewed studies. Our findings reveal that while potential benefits of digital game–based learning in music education are evident, several challenges also arise. Many of the studies we reviewed failed to consider and discuss potential issues associated with digital game–based learning; with our prominent concerns pertaining to tool availability, cost, and accessibility. In addition, our systematic review highlights the need for further research focusing on open-access resources and free tools that help mitigate such accessibility barriers. Recommendations for future research include further work on experimental designs between traditional music learning and digital game–based learning and examining additional dependent variables beyond motivation and achievement.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142216468","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-27DOI: 10.1177/1321103x241270746
Kathryn Ang, Ryan Lewis, Albi Odendaal
In Malaysia, the work of music studio teachers outside of schools and in private settings is unregulated and teachers have limited access to professional development opportunities. Globally, research on the professional development of music teachers has mostly focused on classroom music teachers, where professional development is often mandated and official support provided. However, little is known about how music studio teachers view professionalism and how they access professional development in this context, nor what this development means for them. For this interpretative phenomenological analysis, we interviewed 12 piano teachers who work in Malaysia to understand the meanings of professionalism and professional development for them. Individual themes that arose from within-case analysis were conceptually combined to form eight superordinate themes. The first four superordinate themes relate to understandings of professionalism. Participants described a professional pride which involves not only a love and enjoyment of music and of teaching, but also manifests flexibility and responsiveness; it entails both teacher and student performing and understanding music, and demonstrates relationality, communication skills, and a positive character. The remaining four superordinate themes relate to understandings of professional development, including the ideas that professional development requires proactivity, that professional development opportunities are affected by environmental and material factors, that professional connections affect development, and finally that training, experience, and mentorship support professional development. In this article, we posit that the lack of formal structures in Malaysia means that professionalism is self-determined by the teacher, while professional development relies on the individual commitment and motivation of teachers. Teachers need greater access to support systems or learning opportunities, and the move to online teacher support sessions due to the COVID disruptions offers some opportunities for supporting professional development more effectively.
{"title":"The meanings of professional development: Perspectives of Malaysian piano teachers","authors":"Kathryn Ang, Ryan Lewis, Albi Odendaal","doi":"10.1177/1321103x241270746","DOIUrl":"https://doi.org/10.1177/1321103x241270746","url":null,"abstract":"In Malaysia, the work of music studio teachers outside of schools and in private settings is unregulated and teachers have limited access to professional development opportunities. Globally, research on the professional development of music teachers has mostly focused on classroom music teachers, where professional development is often mandated and official support provided. However, little is known about how music studio teachers view professionalism and how they access professional development in this context, nor what this development means for them. For this interpretative phenomenological analysis, we interviewed 12 piano teachers who work in Malaysia to understand the meanings of professionalism and professional development for them. Individual themes that arose from within-case analysis were conceptually combined to form eight superordinate themes. The first four superordinate themes relate to understandings of professionalism. Participants described a professional pride which involves not only a love and enjoyment of music and of teaching, but also manifests flexibility and responsiveness; it entails both teacher and student performing and understanding music, and demonstrates relationality, communication skills, and a positive character. The remaining four superordinate themes relate to understandings of professional development, including the ideas that professional development requires proactivity, that professional development opportunities are affected by environmental and material factors, that professional connections affect development, and finally that training, experience, and mentorship support professional development. In this article, we posit that the lack of formal structures in Malaysia means that professionalism is self-determined by the teacher, while professional development relies on the individual commitment and motivation of teachers. Teachers need greater access to support systems or learning opportunities, and the move to online teacher support sessions due to the COVID disruptions offers some opportunities for supporting professional development more effectively.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142216470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-01DOI: 10.1177/1321103x241236420
Carolien Hermans
The problem addressed by this research is the low levels of efficacy beliefs that beginning teachers and student teachers in early childhood education experience in facilitating creative music activities with young children aged 4–6 years old. This can lead to missed opportunities for children to develop their creativity and self-expression in an embodied, musical way. One solution to this issue is to utilize the storyline approach created by Bell and Harkness. This approach provides student teachers with the necessary tools to facilitate inductive and creative learning. With this approach, beginning teachers and student teachers can guide children’s learning energy and integrate subjects in a meaningful context. This research seeks to explore how the storyline approach can be used to enhance efficacy beliefs of beginning teachers and student teachers during creative, music activities. By doing so, this research aims to inform teacher education, and to improve the efficacy of student teachers when it comes to creative music making. In this research study, we focus on student teachers and beginning teachers from both the Music Teacher Departments (ODMs) and the Pedagogical Academy for Primary Education (iPABO) in Amsterdam and Leiden, the Netherlands.
{"title":"The storyline approach as a didactic tool to promote efficacy beliefs of (student) teachers in creative music activities with young children","authors":"Carolien Hermans","doi":"10.1177/1321103x241236420","DOIUrl":"https://doi.org/10.1177/1321103x241236420","url":null,"abstract":"The problem addressed by this research is the low levels of efficacy beliefs that beginning teachers and student teachers in early childhood education experience in facilitating creative music activities with young children aged 4–6 years old. This can lead to missed opportunities for children to develop their creativity and self-expression in an embodied, musical way. One solution to this issue is to utilize the storyline approach created by Bell and Harkness. This approach provides student teachers with the necessary tools to facilitate inductive and creative learning. With this approach, beginning teachers and student teachers can guide children’s learning energy and integrate subjects in a meaningful context. This research seeks to explore how the storyline approach can be used to enhance efficacy beliefs of beginning teachers and student teachers during creative, music activities. By doing so, this research aims to inform teacher education, and to improve the efficacy of student teachers when it comes to creative music making. In this research study, we focus on student teachers and beginning teachers from both the Music Teacher Departments (ODMs) and the Pedagogical Academy for Primary Education (iPABO) in Amsterdam and Leiden, the Netherlands.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141884991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-01DOI: 10.1177/1321103x241261564
James Isabirye
This ethnographic inquiry investigated the nature of musical cognition that engagements in the Ugandan Acholi people’s adungu music culture engender, what can be understood about musical cognition in nonwesternized oral community music-making experiences, and how this might inform school music education theory and practice. Schooling in Uganda mostly upholds colonial epistemes that separate cognitive, affective, and psychomotor domains, and position the arts and culture at the periphery of school experiences. Through a thematic analysis of data from interviews, focus group discussions, and observations of Anyim Lac troupe music community engagements, this study found that sociomusical experiences engender musical cognition where the musical spirit, mind, body, and environment interactions birth musical understanding. Musical cognition was understood as a holistic process of reflecting, creating, recreating, and acting emotionally where these musical spirit, mind, body, and environment interactions are shaped by culture. Since humans perceive, perform, and learn music as the embodiment of the interaction between musical spirit, mind, body, and environment, educators might need to create contexts where learners engage in learning experiences in ways that embed awareness of the intertwined nature of musical spirit, mind, body, and environment in those meaning-making processes.
{"title":"Community musicking and musical cognition among adungu music communities of the Acholi people from Awach, Gulu district, Northern Uganda","authors":"James Isabirye","doi":"10.1177/1321103x241261564","DOIUrl":"https://doi.org/10.1177/1321103x241261564","url":null,"abstract":"This ethnographic inquiry investigated the nature of musical cognition that engagements in the Ugandan Acholi people’s adungu music culture engender, what can be understood about musical cognition in nonwesternized oral community music-making experiences, and how this might inform school music education theory and practice. Schooling in Uganda mostly upholds colonial epistemes that separate cognitive, affective, and psychomotor domains, and position the arts and culture at the periphery of school experiences. Through a thematic analysis of data from interviews, focus group discussions, and observations of Anyim Lac troupe music community engagements, this study found that sociomusical experiences engender musical cognition where the musical spirit, mind, body, and environment interactions birth musical understanding. Musical cognition was understood as a holistic process of reflecting, creating, recreating, and acting emotionally where these musical spirit, mind, body, and environment interactions are shaped by culture. Since humans perceive, perform, and learn music as the embodiment of the interaction between musical spirit, mind, body, and environment, educators might need to create contexts where learners engage in learning experiences in ways that embed awareness of the intertwined nature of musical spirit, mind, body, and environment in those meaning-making processes.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141887134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-01DOI: 10.1177/1321103x241264943
Dora Utermohl de Queiroz, Guadalupe López-Íñiguez, Clarissa Foletto
Existing literature indicates that music teachers and educators working online need to encourage students to adopt self-regulating behaviors to succeed in their learning and performance. This study examines if and how string teachers promote selected self-regulated learning (SRL) processes in online lessons; specifically, how they teach and support motivation, self-efficacy, and task strategies for the self-regulation of students’ practice. Five string teachers and seven students at different levels of musical development participated in this study. The data sources included semi-structured interviews with teachers and lesson recordings. We analyzed the data using a coding scheme based on self-regulated learning theory. Our findings report that teachers used practices that can indirectly contribute to the self-regulation of students’ practice, such as using digital tools to help plan practice, discussing repertoire with the student, and requiring recordings to motivate students to practice. However, teachers’ direct approaches to instructing self-regulated learning behaviors did not stimulate students’ reflection; consequently, the development of students’ metacognition was poor. Therefore, a prominent implication underscored by this study highlights the potential created when online music educators take advantage of twenty-first-century technologies and the outstanding need to replace some traditional nineteenth-century approaches to music learning with more student-centered practices in which self-regulated learning plays a central role.
{"title":"Investigating if and how string teachers instruct and support the self-regulation of students’ practice in online lessons","authors":"Dora Utermohl de Queiroz, Guadalupe López-Íñiguez, Clarissa Foletto","doi":"10.1177/1321103x241264943","DOIUrl":"https://doi.org/10.1177/1321103x241264943","url":null,"abstract":"Existing literature indicates that music teachers and educators working online need to encourage students to adopt self-regulating behaviors to succeed in their learning and performance. This study examines if and how string teachers promote selected self-regulated learning (SRL) processes in online lessons; specifically, how they teach and support motivation, self-efficacy, and task strategies for the self-regulation of students’ practice. Five string teachers and seven students at different levels of musical development participated in this study. The data sources included semi-structured interviews with teachers and lesson recordings. We analyzed the data using a coding scheme based on self-regulated learning theory. Our findings report that teachers used practices that can indirectly contribute to the self-regulation of students’ practice, such as using digital tools to help plan practice, discussing repertoire with the student, and requiring recordings to motivate students to practice. However, teachers’ direct approaches to instructing self-regulated learning behaviors did not stimulate students’ reflection; consequently, the development of students’ metacognition was poor. Therefore, a prominent implication underscored by this study highlights the potential created when online music educators take advantage of twenty-first-century technologies and the outstanding need to replace some traditional nineteenth-century approaches to music learning with more student-centered practices in which self-regulated learning plays a central role.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141884990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-23DOI: 10.1177/1321103x241249098
Heidi Westerlund, Guadalupe López-Íñiguez
While musical practice is more often than not considered through musical repertoires, genres, and traditions, in higher music education, musical practices are further narrowed down to music profession-specific, craft-based competences and learning outcomes. This narrow understanding encompasses the intertwined social and material dimensions that—according to practice theories—constitute and determine all practices. This study seeks a new understanding for practice-based, relational, professional education in context. By “practice in context,” we refer to Theodore Schatzki’s practice theory, in which practices are understood as organized, materially mediated, spatiotemporal nexuses of activities, and in which human coexistence is inherently tied to a context and “sites” of events and entities— site-ness. The empirical material consists of interviews of 10 bigenerational, experienced contemporary composers in Finland, including both males and females. By thinking composing practice with Schatzkian practice theory, three intertwined site-nesses are unveiled, comprising emerging locations (such as small-scale venues and local festivals); wider scenes or nonspatial sites (such as digital platforms and the festival scene); and extended realms (political, economical, educational, and policy). In this theory, various elements of practice-arrangement bundles constitute the site-ness and the complex practice plenum for composing. The site-ness thus becomes part of contemporary composers’ professional practice and higher music education which challenges the musical autonomy discourse which disentangles music from people and society. By posing a critique toward higher music education as a merely transmissive mediator of musical craft, this study seeks for a new understanding for practice-based, relational, “music professionalism in context.” It advances theoretical underpinnings of Schatzkian studies in the arts, by arguing that practice theory can bridge the individualistic past- and competence-oriented higher music education with the present- and future-oriented social understanding of musicians’ changing “practice in context.”
{"title":"Contemporary composers’ changing “practice in context”: What can higher music education learn from Theodore Schatzki’s practice theory?","authors":"Heidi Westerlund, Guadalupe López-Íñiguez","doi":"10.1177/1321103x241249098","DOIUrl":"https://doi.org/10.1177/1321103x241249098","url":null,"abstract":"While musical practice is more often than not considered through musical repertoires, genres, and traditions, in higher music education, musical practices are further narrowed down to music profession-specific, craft-based competences and learning outcomes. This narrow understanding encompasses the intertwined social and material dimensions that—according to practice theories—constitute and determine all practices. This study seeks a new understanding for practice-based, relational, professional education in context. By “practice in context,” we refer to Theodore Schatzki’s practice theory, in which practices are understood as organized, materially mediated, spatiotemporal nexuses of activities, and in which human coexistence is inherently tied to a context and “sites” of events and entities— site-ness. The empirical material consists of interviews of 10 bigenerational, experienced contemporary composers in Finland, including both males and females. By thinking composing practice with Schatzkian practice theory, three intertwined site-nesses are unveiled, comprising emerging locations (such as small-scale venues and local festivals); wider scenes or nonspatial sites (such as digital platforms and the festival scene); and extended realms (political, economical, educational, and policy). In this theory, various elements of practice-arrangement bundles constitute the site-ness and the complex practice plenum for composing. The site-ness thus becomes part of contemporary composers’ professional practice and higher music education which challenges the musical autonomy discourse which disentangles music from people and society. By posing a critique toward higher music education as a merely transmissive mediator of musical craft, this study seeks for a new understanding for practice-based, relational, “music professionalism in context.” It advances theoretical underpinnings of Schatzkian studies in the arts, by arguing that practice theory can bridge the individualistic past- and competence-oriented higher music education with the present- and future-oriented social understanding of musicians’ changing “practice in context.”","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141106685","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-20DOI: 10.1177/1321103x241249331
Molly K Baugh, Colleen Conway
The purpose of this study was to examine three music cooperating teachers’ perceptions of the university-cooperating teacher partnership. Using a phenomenological interview design, data included two focus group interviews (framing the student teaching semester) and an individual interview in the middle of the term. Participants were experienced cooperating teachers who were working with a student teacher in the research study term and had worked with student teachers in the past. Findings include cooperating teachers’ perceptions of their roles, the balance of P–12 student and student teacher learning, and university and cooperating teacher interactions. Conclusions support the notions that cooperating teachers embrace their multi-faceted role in teacher education, prioritize P–12 student learning, and desire deeper connections with the university.
{"title":"Music cooperating teachers’ perceptions of the university-cooperating teacher partnership","authors":"Molly K Baugh, Colleen Conway","doi":"10.1177/1321103x241249331","DOIUrl":"https://doi.org/10.1177/1321103x241249331","url":null,"abstract":"The purpose of this study was to examine three music cooperating teachers’ perceptions of the university-cooperating teacher partnership. Using a phenomenological interview design, data included two focus group interviews (framing the student teaching semester) and an individual interview in the middle of the term. Participants were experienced cooperating teachers who were working with a student teacher in the research study term and had worked with student teachers in the past. Findings include cooperating teachers’ perceptions of their roles, the balance of P–12 student and student teacher learning, and university and cooperating teacher interactions. Conclusions support the notions that cooperating teachers embrace their multi-faceted role in teacher education, prioritize P–12 student learning, and desire deeper connections with the university.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141122483","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-06DOI: 10.1177/1321103x241242731
Gillian Howell, Brydie-Leigh Bartleet, Jane Davidson
This article explores community-based rock music education as a site for strengthening social cohesion in a context of postwar, interethnic divisions. Focusing on small and incremental changes, it examines the practices of Music Connects, a project in the Western Balkans, and its goals of revitalizing rock culture in support of a more inclusive social life and greater freedom of movement in the region. The article explores the ways that an organizational and participant focus on aesthetic practices and artistic goals can still contribute to social goals. It highlights three key tasks connected to rock music education and revitalization, captured in the novel conceptual constructs of rehearsal space, the incubator, and the expansion of normal. Drawing upon qualitative data gathered in 2019 and 2021 from 40 participants, the article tells a story of small social changes through music-making that added up to significant developments in the region, musically and socially.
{"title":"Building social connection and inclusion through rock music in the Western Balkans: Fostering the art of small changes","authors":"Gillian Howell, Brydie-Leigh Bartleet, Jane Davidson","doi":"10.1177/1321103x241242731","DOIUrl":"https://doi.org/10.1177/1321103x241242731","url":null,"abstract":"This article explores community-based rock music education as a site for strengthening social cohesion in a context of postwar, interethnic divisions. Focusing on small and incremental changes, it examines the practices of Music Connects, a project in the Western Balkans, and its goals of revitalizing rock culture in support of a more inclusive social life and greater freedom of movement in the region. The article explores the ways that an organizational and participant focus on aesthetic practices and artistic goals can still contribute to social goals. It highlights three key tasks connected to rock music education and revitalization, captured in the novel conceptual constructs of rehearsal space, the incubator, and the expansion of normal. Drawing upon qualitative data gathered in 2019 and 2021 from 40 participants, the article tells a story of small social changes through music-making that added up to significant developments in the region, musically and socially.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140883771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-20DOI: 10.1177/1321103x241236367
Alden H. Snell, Suzanne L. Burton
Professional development, typically initiated by administrators to improve student achievement outcomes, is often irrelevant to the needs of early career music teachers. As music teacher educators, we were concerned about issues of importance to early career music teachers as they entered the music teaching profession. We explored conversation as a conduit of reflection and professional learning by convening a conversation group of five early career music teachers who gathered over six, one-hour-long meetings. Guiding their discussions were topics they identified in questionnaires administered before and during the study. Data included audio-visual recordings of the meetings, questionnaires, and researcher memos. Four themes emerged from our analysis of their conversations: (a) educating administrators and mentors, (b) knowing their place, (c) overcoming a lack of resources, and (d) giving students lifelong musical skills. We interpreted these findings through the lens of Snow’s principles of symbolic interactionism. The conversation group facilitated the music teachers’ move from the initial shock of sedimented school culture to a position of agency. The freedom of conversation around chosen topics of professional and personal importance provided the early career music teachers with choice, self-direction, collective support, and agency—key components of professional learning.
{"title":"Breaking the sound of silence: Professional learning in an early career music teacher conversation group","authors":"Alden H. Snell, Suzanne L. Burton","doi":"10.1177/1321103x241236367","DOIUrl":"https://doi.org/10.1177/1321103x241236367","url":null,"abstract":"Professional development, typically initiated by administrators to improve student achievement outcomes, is often irrelevant to the needs of early career music teachers. As music teacher educators, we were concerned about issues of importance to early career music teachers as they entered the music teaching profession. We explored conversation as a conduit of reflection and professional learning by convening a conversation group of five early career music teachers who gathered over six, one-hour-long meetings. Guiding their discussions were topics they identified in questionnaires administered before and during the study. Data included audio-visual recordings of the meetings, questionnaires, and researcher memos. Four themes emerged from our analysis of their conversations: (a) educating administrators and mentors, (b) knowing their place, (c) overcoming a lack of resources, and (d) giving students lifelong musical skills. We interpreted these findings through the lens of Snow’s principles of symbolic interactionism. The conversation group facilitated the music teachers’ move from the initial shock of sedimented school culture to a position of agency. The freedom of conversation around chosen topics of professional and personal importance provided the early career music teachers with choice, self-direction, collective support, and agency—key components of professional learning.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140627930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Embedding musicians’ occupational health training in music education curricula is widely recommended due to the well-documented high prevalence of performance-related health problems (PRHPs) among musicians across their lifespan. A scoping review was conducted to examine the range of evidence from implementations of musicians’ health education programs, regarding the maintenance of hearing, musculoskeletal, psychological, and vocal health, as well as injury prevention strategies to minimize the risk of PRHP. Eligible sources of evidence included published and unpublished studies reporting occupational health education programs (which may have incorporated information on physical or psychological health, exercise, or somatic movement training) implemented with pre-tertiary and tertiary music students and teachers. Studies reporting stand-alone psychological health education were excluded. Key characteristics from included studies were extracted and charted. Data charts outline commonalities across the reported results, including physical, psychological, educational, and behavioral change outcome measures. Out of 46 records included for data extraction, 35 reported programs with tertiary-aged music students, seven reported programs with pre-tertiary-aged music students, two reported programs with music teachers, and two reported systematic reviews. Reported benefits from this research with both pre-tertiary and tertiary music students suggest that musicians’ health education and injury prevention strategies reduce self-reported playing-related pain and music performance anxiety. However, future implementation studies need to address identified challenges such as effective behavior change and the enablers and barriers to the long-term adoption of strategies for optimal music performance and health outcomes. This review highlights the need for further research into designing and embedding musicians’ health education into all music training settings, including more implementations with pre-tertiary music students, as well as training to support the professional development needs of instrumental and vocal teachers.
{"title":"A scoping review of occupational health education programs for music students and teachers","authors":"Alison Evans, Bridget Rennie-Salonen, Suzanne Wijsman, Bronwen Ackermann","doi":"10.1177/1321103x241235794","DOIUrl":"https://doi.org/10.1177/1321103x241235794","url":null,"abstract":"Embedding musicians’ occupational health training in music education curricula is widely recommended due to the well-documented high prevalence of performance-related health problems (PRHPs) among musicians across their lifespan. A scoping review was conducted to examine the range of evidence from implementations of musicians’ health education programs, regarding the maintenance of hearing, musculoskeletal, psychological, and vocal health, as well as injury prevention strategies to minimize the risk of PRHP. Eligible sources of evidence included published and unpublished studies reporting occupational health education programs (which may have incorporated information on physical or psychological health, exercise, or somatic movement training) implemented with pre-tertiary and tertiary music students and teachers. Studies reporting stand-alone psychological health education were excluded. Key characteristics from included studies were extracted and charted. Data charts outline commonalities across the reported results, including physical, psychological, educational, and behavioral change outcome measures. Out of 46 records included for data extraction, 35 reported programs with tertiary-aged music students, seven reported programs with pre-tertiary-aged music students, two reported programs with music teachers, and two reported systematic reviews. Reported benefits from this research with both pre-tertiary and tertiary music students suggest that musicians’ health education and injury prevention strategies reduce self-reported playing-related pain and music performance anxiety. However, future implementation studies need to address identified challenges such as effective behavior change and the enablers and barriers to the long-term adoption of strategies for optimal music performance and health outcomes. This review highlights the need for further research into designing and embedding musicians’ health education into all music training settings, including more implementations with pre-tertiary music students, as well as training to support the professional development needs of instrumental and vocal teachers.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140628045","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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