Pub Date : 2023-12-24DOI: 10.1177/1321103x231214113
Jenna Richards, Erin Parkes
Attending a concert may prove difficult for individuals with exceptionalities or disabilities and those who support them. While traditional performance environments may not feel welcoming or amenable for individuals with exceptionalities and their families, arts organizations have recently made efforts to produce concerts that address barriers to accessibility. These adaptive concerts, most frequently labeled as Sensory-Friendly Concerts, attempt to create environments suitable for diverse communities, supporting individuals and groups who are frequently underrepresented as audience members in performance contexts. This article explores adaptive music performances, contributing a model for sensory-friendly adaptive concerts supported by caregivers’ perspectives through a post-concert survey. The model proposed includes four areas of adaptation: pre-show work, environment audit, extra-musical aids, and programming adjustments. The authors outline the various modifications with data points from a sample of adaptive concert caregiver attendees ( n = 15), aligning the theoretical model with practice to provide practical examples and tangible outputs for researchers, presenters, musicians, educators, and policymakers.
{"title":"A sensory-friendly adaptive concert model supported by caregiver perspectives","authors":"Jenna Richards, Erin Parkes","doi":"10.1177/1321103x231214113","DOIUrl":"https://doi.org/10.1177/1321103x231214113","url":null,"abstract":"Attending a concert may prove difficult for individuals with exceptionalities or disabilities and those who support them. While traditional performance environments may not feel welcoming or amenable for individuals with exceptionalities and their families, arts organizations have recently made efforts to produce concerts that address barriers to accessibility. These adaptive concerts, most frequently labeled as Sensory-Friendly Concerts, attempt to create environments suitable for diverse communities, supporting individuals and groups who are frequently underrepresented as audience members in performance contexts. This article explores adaptive music performances, contributing a model for sensory-friendly adaptive concerts supported by caregivers’ perspectives through a post-concert survey. The model proposed includes four areas of adaptation: pre-show work, environment audit, extra-musical aids, and programming adjustments. The authors outline the various modifications with data points from a sample of adaptive concert caregiver attendees ( n = 15), aligning the theoretical model with practice to provide practical examples and tangible outputs for researchers, presenters, musicians, educators, and policymakers.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2023-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139161046","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 : 2023-11-20DOI: 10.1177/1321103x231209717
Stephanie L R MacArthur, Jane W Davidson, Amanda E. Krause
Practice is essential to the acquisition and development of musical skills, requiring musicians’ time, investment, application, motivation, metacognitive strategies, and ability to self-regulate. Research in children’s music practice indicates the type, quality, and duration of practice, along with adult support, contributes to fluency in musical development; and when progress occurs, children invest in further practice. However, nuances in children’s lived experiences of musical practice that influence these critical factors are largely unknown. To understand the complex issues in children’s practice, this study employed a unique pairing of Interpretative Phenomenological Analysis and Participatory Action Research to investigate 14 seven-year-old beginner cellists’ practice during early learning and explored how their thoughts and experiences evolved over the first 18 months of lessons. Providing rare insight into children’s perceptions of musical development and the vital role of parents and teachers in nurturing engagement, three superordinate themes emerged: (a) four approaches to practice, characterized by practice structure, learner behavior, and family support, (b) a three-phase practice process, and (c) perfection ideation. Positive experiences, including creative activities, within these thematic contexts fostered children’s enjoyment in early musical development, supported productive learning interactions, and sustained engagement. Together, the findings have meaningful pedagogical implications for instrumental music teaching practice.
{"title":"Interpreting 7-year-old beginner cellists’ experiences of practice","authors":"Stephanie L R MacArthur, Jane W Davidson, Amanda E. Krause","doi":"10.1177/1321103x231209717","DOIUrl":"https://doi.org/10.1177/1321103x231209717","url":null,"abstract":"Practice is essential to the acquisition and development of musical skills, requiring musicians’ time, investment, application, motivation, metacognitive strategies, and ability to self-regulate. Research in children’s music practice indicates the type, quality, and duration of practice, along with adult support, contributes to fluency in musical development; and when progress occurs, children invest in further practice. However, nuances in children’s lived experiences of musical practice that influence these critical factors are largely unknown. To understand the complex issues in children’s practice, this study employed a unique pairing of Interpretative Phenomenological Analysis and Participatory Action Research to investigate 14 seven-year-old beginner cellists’ practice during early learning and explored how their thoughts and experiences evolved over the first 18 months of lessons. Providing rare insight into children’s perceptions of musical development and the vital role of parents and teachers in nurturing engagement, three superordinate themes emerged: (a) four approaches to practice, characterized by practice structure, learner behavior, and family support, (b) a three-phase practice process, and (c) perfection ideation. Positive experiences, including creative activities, within these thematic contexts fostered children’s enjoyment in early musical development, supported productive learning interactions, and sustained engagement. Together, the findings have meaningful pedagogical implications for instrumental music teaching practice.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2023-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139259133","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 : 2023-11-16DOI: 10.1177/1321103x231209692
Yang Yang, Le-Xuan Zhang
This study used a mixed-methods approach to investigate the characteristics and development of teachers’ resilience profiles during ongoing school music curriculum reforms in mainland China. During a 12-month voluntary teacher development project, seven mid-career schoolteachers based in Shenzhen City, South China, helped collect longitudinal data on their resilience profiles and instructional practices. Inspired by Mansfield’s resilience model, this study developed a model of the essential dynamics in the resilience development process of individual teachers. The working model mapped the identified factors of teachers’ resilience development into a coordinate system that incorporated two approaches (receptive and autonomous) to resilience building, with two scenarios (mandatory or conditional) in curriculum implementation. The findings suggested that (a) teachers exhibited different resilience properties shaped by both personal and contextual factors, as well as the connection pathways between factors, and (b) teachers used a variety of strategies to build resilience to policy and environmental constraints, including mentoring, peer support, problem-solving, relationship management, and pedagogy innovation. These strategies were mapped onto a functional model for resilience development in curriculum implementation, which further extended the application of Mansfield’s conceptual framework to teacher education programs. Although this study recognized the value of quantitative research instruments in capturing resilience profiles, the ecological validity and reliability concerns of these measurements were also discussed.
{"title":"Building professional resilience: School music teachers’ instructional practice development under curriculum reform","authors":"Yang Yang, Le-Xuan Zhang","doi":"10.1177/1321103x231209692","DOIUrl":"https://doi.org/10.1177/1321103x231209692","url":null,"abstract":"This study used a mixed-methods approach to investigate the characteristics and development of teachers’ resilience profiles during ongoing school music curriculum reforms in mainland China. During a 12-month voluntary teacher development project, seven mid-career schoolteachers based in Shenzhen City, South China, helped collect longitudinal data on their resilience profiles and instructional practices. Inspired by Mansfield’s resilience model, this study developed a model of the essential dynamics in the resilience development process of individual teachers. The working model mapped the identified factors of teachers’ resilience development into a coordinate system that incorporated two approaches (receptive and autonomous) to resilience building, with two scenarios (mandatory or conditional) in curriculum implementation. The findings suggested that (a) teachers exhibited different resilience properties shaped by both personal and contextual factors, as well as the connection pathways between factors, and (b) teachers used a variety of strategies to build resilience to policy and environmental constraints, including mentoring, peer support, problem-solving, relationship management, and pedagogy innovation. These strategies were mapped onto a functional model for resilience development in curriculum implementation, which further extended the application of Mansfield’s conceptual framework to teacher education programs. Although this study recognized the value of quantitative research instruments in capturing resilience profiles, the ecological validity and reliability concerns of these measurements were also discussed.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139268384","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 : 2023-11-13DOI: 10.1177/1321103x231206017
Lisa Huisman Koops, Kelsey Kordella Giotta, Jessica L G Steuver, Julie Ballantyne
The purpose of this narrative case study was to re-present and re-story the experiences, particularly related to career navigation, of music teacher mothers in the United States during the COVID-19 pandemic. We explored how music teacher mothers had to adjust the balance between work, family, and personal life during the pandemic, in what ways the pandemic may have changed the way music teacher mothers parent, and how the pandemic may have affected, or already changed, music teacher mothers’ long-term career goals. Three participants, selected based on the diversity of their family structures, teaching backgrounds, and locations, shared their stories through a series of two interviews conducted via Zoom. Participants’ stories illuminated the relational, vocational, financial, and health-related struggles brought about by the nexus of teaching music during the pandemic. We explore resonances between their stories related to priorities, boundaries, career decisions, and financial considerations.
{"title":"Music teacher mothers’ career navigation during the COVID-19 pandemic","authors":"Lisa Huisman Koops, Kelsey Kordella Giotta, Jessica L G Steuver, Julie Ballantyne","doi":"10.1177/1321103x231206017","DOIUrl":"https://doi.org/10.1177/1321103x231206017","url":null,"abstract":"The purpose of this narrative case study was to re-present and re-story the experiences, particularly related to career navigation, of music teacher mothers in the United States during the COVID-19 pandemic. We explored how music teacher mothers had to adjust the balance between work, family, and personal life during the pandemic, in what ways the pandemic may have changed the way music teacher mothers parent, and how the pandemic may have affected, or already changed, music teacher mothers’ long-term career goals. Three participants, selected based on the diversity of their family structures, teaching backgrounds, and locations, shared their stories through a series of two interviews conducted via Zoom. Participants’ stories illuminated the relational, vocational, financial, and health-related struggles brought about by the nexus of teaching music during the pandemic. We explore resonances between their stories related to priorities, boundaries, career decisions, and financial considerations.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136352022","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 : 2023-11-10DOI: 10.1177/1321103x231205809
Heather Nelson Shouldice
The purpose of this study was to explore female and feminine-presenting band directors’ experiences with gender microaggressions in their work. Data consisted of survey responses ( N = 974) from current, former, and aspiring band directors living and/or teaching in the United States. The most frequently experienced types of gender microaggressions were second-class citizenship, restrictive gender roles, and environmental microaggressions. Younger individuals, college instructors, and those in the South tended to experience certain microaggression types more frequently than did other directors. Open-ended descriptions indicated a variety of common experiences within each of the nine types of gender microaggression, the most frequent of which was being called a demeaning name (e.g., sweetie, honey, and young lady). The most stressful/bothersome types were second-class citizenship, assumptions of inferiority, and restrictive gender roles, and correlations between frequency and stressfulness were strongest for leaving gender at the door, denial of individual sexism, and denial of the reality of sexism. Implications include the need to develop awareness of, combat, and prevent gender microaggressions in the secondary band profession and to provide opportunities for teachers of all genders to be recognized and valued for their work.
{"title":"Female and feminine-presenting band directors’ experiences with gender microaggressions in the United States","authors":"Heather Nelson Shouldice","doi":"10.1177/1321103x231205809","DOIUrl":"https://doi.org/10.1177/1321103x231205809","url":null,"abstract":"The purpose of this study was to explore female and feminine-presenting band directors’ experiences with gender microaggressions in their work. Data consisted of survey responses ( N = 974) from current, former, and aspiring band directors living and/or teaching in the United States. The most frequently experienced types of gender microaggressions were second-class citizenship, restrictive gender roles, and environmental microaggressions. Younger individuals, college instructors, and those in the South tended to experience certain microaggression types more frequently than did other directors. Open-ended descriptions indicated a variety of common experiences within each of the nine types of gender microaggression, the most frequent of which was being called a demeaning name (e.g., sweetie, honey, and young lady). The most stressful/bothersome types were second-class citizenship, assumptions of inferiority, and restrictive gender roles, and correlations between frequency and stressfulness were strongest for leaving gender at the door, denial of individual sexism, and denial of the reality of sexism. Implications include the need to develop awareness of, combat, and prevent gender microaggressions in the secondary band profession and to provide opportunities for teachers of all genders to be recognized and valued for their work.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135186846","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 : 2023-10-15DOI: 10.1177/1321103x231189387
Julienne Dweck
Songwriting has been used in music therapy for decades to help address trauma, alleviate depression and build confidence in both children and adults. With components that great music education models point to—composition, agency, collaboration, and means for self-expression, songwriting seems to be a useful tool for music educators as well. Yet, songwriting is rarely found in a general music educators’ curriculum in a substantial way. This study investigates the stories of eight students who engaged in a robust songwriting program in their elementary school years (children aged 6–12 – referred to as middle childhood). The students share their experiences with songwriting in detail and leave us wondering why songwriting has not been incorporated as an integral part of music education curricula and how this can be changed.
{"title":"Children as songwriters: The social-emotional benefits of songwriting in the elementary grades","authors":"Julienne Dweck","doi":"10.1177/1321103x231189387","DOIUrl":"https://doi.org/10.1177/1321103x231189387","url":null,"abstract":"Songwriting has been used in music therapy for decades to help address trauma, alleviate depression and build confidence in both children and adults. With components that great music education models point to—composition, agency, collaboration, and means for self-expression, songwriting seems to be a useful tool for music educators as well. Yet, songwriting is rarely found in a general music educators’ curriculum in a substantial way. This study investigates the stories of eight students who engaged in a robust songwriting program in their elementary school years (children aged 6–12 – referred to as middle childhood). The students share their experiences with songwriting in detail and leave us wondering why songwriting has not been incorporated as an integral part of music education curricula and how this can be changed.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135758788","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 : 2023-10-09DOI: 10.1177/1321103x231192370
Gonzalo Marcos Treceño, Ana Rosa Arias Gago
The use of music therapy techniques has recently extended into the educational realm to help overcome learning difficulties, support emotional management, and assist students to develop necessary social skills. This is known as educational music therapy (EMT). Current educational policies give ever greater importance to the fostering and development of core social skills and competencies as decisive factors in overall educational success. Thus, teachers are being encouraged to explore interdisciplinary and creative collaboration and to innovate and incorporate new, more active, teaching methods to enable students to meet these educational objectives. This article comprises a systematic review of 34 research studies from 13 countries concerning the use of EMT over the last 15 years. The authors have identified uses of EMT in general teaching and in music education. The PICO(C) framework was used to develop the research question and the PRISMA diagram was used to determine the criteria for exclusion or inclusion of studies for review. The results from all studies considered agree that music therapy has benefits at all contexts and levels of education. The studies examined are diverse in terms of design, application, and procedures, and music therapy and music education techniques largely coincide in their educational objectives: improving inclusion, learning outcomes, and well-being among students. In conclusion, there is a two-way process of transfer between music education and EMT, and the addition of EMT techniques as another innovative method within teachers’ repertoires could have many benefits in education. The added value can be found in the way this review relates different studies, revealing those dimensions that would benefit from further study as well as exploring the decision-making process around their potential applications.
{"title":"The use of music therapy techniques as an educational tool: A systematic review","authors":"Gonzalo Marcos Treceño, Ana Rosa Arias Gago","doi":"10.1177/1321103x231192370","DOIUrl":"https://doi.org/10.1177/1321103x231192370","url":null,"abstract":"The use of music therapy techniques has recently extended into the educational realm to help overcome learning difficulties, support emotional management, and assist students to develop necessary social skills. This is known as educational music therapy (EMT). Current educational policies give ever greater importance to the fostering and development of core social skills and competencies as decisive factors in overall educational success. Thus, teachers are being encouraged to explore interdisciplinary and creative collaboration and to innovate and incorporate new, more active, teaching methods to enable students to meet these educational objectives. This article comprises a systematic review of 34 research studies from 13 countries concerning the use of EMT over the last 15 years. The authors have identified uses of EMT in general teaching and in music education. The PICO(C) framework was used to develop the research question and the PRISMA diagram was used to determine the criteria for exclusion or inclusion of studies for review. The results from all studies considered agree that music therapy has benefits at all contexts and levels of education. The studies examined are diverse in terms of design, application, and procedures, and music therapy and music education techniques largely coincide in their educational objectives: improving inclusion, learning outcomes, and well-being among students. In conclusion, there is a two-way process of transfer between music education and EMT, and the addition of EMT techniques as another innovative method within teachers’ repertoires could have many benefits in education. The added value can be found in the way this review relates different studies, revealing those dimensions that would benefit from further study as well as exploring the decision-making process around their potential applications.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135044561","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 : 2023-10-01Epub Date: 2023-01-06DOI: 10.1177/1321103X221140988
Anita Prest
In this theoretical article, I examine various conceptions of focused listening-including those held by specific First Nations communities-to determine how each conception might offer insights for listening while conducting cross-cultural music education research. First, I discuss the notion of "Big Ears," as it is understood by the jazz community. Then, I turn to scholars from various First Nations in British Columbia to learn about their conceptions of listening. I outline decolonial listening strategies as proposed by Indigenous Arts scholar Dylan Robinson, before learning about the role of listening from a settler-Canadian who formally Witnessed the testimonies of Indigenous residential school survivors over a period of years while working for the Truth and Reconciliation Commission of Canada. I examine the writings of music education researchers who have proposed listening as an important strategy in cross-cultural/intercultural pedagogy and research, albeit in different circumstances and for different reasons. Finally, I describe/reflect on my process of learning to listen cross-culturally as a settler-Canadian music education researcher engaged in community-based participatory research (CBPR) over the course of three studies, and list some of the ongoing questions I have. I conclude by proposing a revised understanding of Listening with "Big Ears" as one possible way for non-Indigenous researchers using a CBPR approach to enhance their application of Indigenist research methodology, especially in demonstrating their accountability to Indigenous co-researchers, participants, and communities, as they engage collaboratively in music education research.
{"title":"Listening with 'Big Ears': Accountability in cross-cultural music education research with Indigenous partners.","authors":"Anita Prest","doi":"10.1177/1321103X221140988","DOIUrl":"10.1177/1321103X221140988","url":null,"abstract":"<p><p>In this theoretical article, I examine various conceptions of focused listening-including those held by specific First Nations communities-to determine how each conception might offer insights for listening while conducting cross-cultural music education research. First, I discuss the notion of \"Big Ears,\" as it is understood by the jazz community. Then, I turn to scholars from various First Nations in British Columbia to learn about their conceptions of listening. I outline decolonial listening strategies as proposed by Indigenous Arts scholar Dylan Robinson, before learning about the role of listening from a settler-Canadian who formally Witnessed the testimonies of Indigenous residential school survivors over a period of years while working for the Truth and Reconciliation Commission of Canada. I examine the writings of music education researchers who have proposed listening as an important strategy in cross-cultural/intercultural pedagogy and research, albeit in different circumstances and for different reasons. Finally, I describe/reflect on my process of learning to listen cross-culturally as a settler-Canadian music education researcher engaged in community-based participatory research (CBPR) over the course of three studies, and list some of the ongoing questions I have. I conclude by proposing a revised understanding of Listening with \"Big Ears\" as one possible way for non-Indigenous researchers using a CBPR approach to enhance their application of Indigenist research methodology, especially in demonstrating their accountability to Indigenous co-researchers, participants, and communities, as they engage collaboratively in music education research.</p>","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://ftp.ncbi.nlm.nih.gov/pub/pmc/oa_pdf/98/c1/10.1177_1321103X221140988.PMC10584657.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41862334","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-30DOI: 10.1177/1321103x231200426
Diana Tolmie
Over the last decade, vocation preparation formal and informal education has been included in higher music education programs with the purpose to responsibly supplement students’ technical performance skills and graduate sustainable musicians. Such curriculum reform is continually met with mixed responses by students and faculty despite the increased precarity of the music profession within the current global context. This study evolved from one music vocational preparation educator’s observation that student resistance is potentially based in one’s passion for music, capacity for resilience and self-discipline, and perceived calling to pursue a music profession. From 2018 to 2022, first-year music students of an Australian metropolitan conservatoire enrolled in a vocation preparation unit were invited to participate in an online survey answering open and closed questions related to their professional activity and outlook, and personal perceptions of calling, passion, resilience, and discipline. Statistical and thematic analysis of the results were compared with a similarly designed prior study of professional Australian musicians and found that more than two-thirds of first-year student musicians were professionally active. All yearly cohorts consistently strongly agreed they were passionate about music, and agreed they possessed high and calling resilience. The year 2020 demonstrated insight to pandemic impact with more students viewing their professional future with trepidation, yet demonstrated the highest results for passion and resilience. Calling, passion, and resilience literature further served to interpret the data and subsequently suggested higher music education reform their curriculum and pedagogies by adopting a whole-of-program approach enabled by the contagion effect of calling, and alignment with students’ passion, values, and music identities.
{"title":"Quantifying first-year student musicians’ ‘calling’: Initial implications for professional preparation curriculum design","authors":"Diana Tolmie","doi":"10.1177/1321103x231200426","DOIUrl":"https://doi.org/10.1177/1321103x231200426","url":null,"abstract":"Over the last decade, vocation preparation formal and informal education has been included in higher music education programs with the purpose to responsibly supplement students’ technical performance skills and graduate sustainable musicians. Such curriculum reform is continually met with mixed responses by students and faculty despite the increased precarity of the music profession within the current global context. This study evolved from one music vocational preparation educator’s observation that student resistance is potentially based in one’s passion for music, capacity for resilience and self-discipline, and perceived calling to pursue a music profession. From 2018 to 2022, first-year music students of an Australian metropolitan conservatoire enrolled in a vocation preparation unit were invited to participate in an online survey answering open and closed questions related to their professional activity and outlook, and personal perceptions of calling, passion, resilience, and discipline. Statistical and thematic analysis of the results were compared with a similarly designed prior study of professional Australian musicians and found that more than two-thirds of first-year student musicians were professionally active. All yearly cohorts consistently strongly agreed they were passionate about music, and agreed they possessed high and calling resilience. The year 2020 demonstrated insight to pandemic impact with more students viewing their professional future with trepidation, yet demonstrated the highest results for passion and resilience. Calling, passion, and resilience literature further served to interpret the data and subsequently suggested higher music education reform their curriculum and pedagogies by adopting a whole-of-program approach enabled by the contagion effect of calling, and alignment with students’ passion, values, and music identities.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136280126","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 : 2023-09-30DOI: 10.1177/1321103x231200195
Ryo Takamizawa, Leanne Kenway
Playing-related musculoskeletal disorders (PRMDs) are highly prevalent among concert pianists due to the unique sociological and historical predispositions of the instrument. Although current literature explores PRMD risk factors in isolation, few studies have explored the complex interdependencies that exist between the procedural and postural practices of pianists. This study aims to reframe this discussion by holistically exploring how common educational principles in phalangeal curvature, wrist flexion range of motion, and technical exercises interact to precipitate in PRMDs. The practices of the Lhevinne and Taubman schools were comparatively evaluated through kinematic studies to discern potential biomechanical stresses, and the findings were compared with current empirical evidence to ascertain links to PRMDs. The findings from this review indicate pedagogical susceptibility patterns may be more nuanced than the claims of stakeholders. However, studies suggest that practitioners of the Lhevinne school should incorporate phalangeal postures with active flexion to reduce susceptibility to tendinitis, osteoarthritis, and carpal tunnel syndrome. Practitioners of the Taubman school should further apply low-intensity technical exercises for warm-ups to increase muscle flexibility and facilitate temperature-related benefits to performance. However, high-intensity exercises at the Lhevinne school such as consecutive intervals and flexibility studies are contrary to current biomechanical observations.
{"title":"An analysis of musculoskeletal disorder risk factors associated with common pedagogical principles of the Lhevinne and Taubman piano schools: A literature review","authors":"Ryo Takamizawa, Leanne Kenway","doi":"10.1177/1321103x231200195","DOIUrl":"https://doi.org/10.1177/1321103x231200195","url":null,"abstract":"Playing-related musculoskeletal disorders (PRMDs) are highly prevalent among concert pianists due to the unique sociological and historical predispositions of the instrument. Although current literature explores PRMD risk factors in isolation, few studies have explored the complex interdependencies that exist between the procedural and postural practices of pianists. This study aims to reframe this discussion by holistically exploring how common educational principles in phalangeal curvature, wrist flexion range of motion, and technical exercises interact to precipitate in PRMDs. The practices of the Lhevinne and Taubman schools were comparatively evaluated through kinematic studies to discern potential biomechanical stresses, and the findings were compared with current empirical evidence to ascertain links to PRMDs. The findings from this review indicate pedagogical susceptibility patterns may be more nuanced than the claims of stakeholders. However, studies suggest that practitioners of the Lhevinne school should incorporate phalangeal postures with active flexion to reduce susceptibility to tendinitis, osteoarthritis, and carpal tunnel syndrome. Practitioners of the Taubman school should further apply low-intensity technical exercises for warm-ups to increase muscle flexibility and facilitate temperature-related benefits to performance. However, high-intensity exercises at the Lhevinne school such as consecutive intervals and flexibility studies are contrary to current biomechanical observations.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136342369","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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