Pub Date : 2023-05-28DOI: 10.1177/1321103x231172065
H. Fletcher, J. Davidson, A. Krause
Empathy enables successful communication and connection between teachers and their students, yet few studies have investigated its specific use in teaching singing. Addressing this gap, we interviewed voice teachers to discover how they articulate their pedagogy in terms of empathic practices and observed one-to-one lessons for evidence of the same. A sample of 27 classical and music theater voice teachers in Australia (70% females, 30% males), aged 35 to 75 years old ( M = 55) were interviewed. Of this cohort, seven teachers were observed in their one-to-one teaching practices. Interviews and observations were analyzed using Interpretative Phenomenological Analysis. Results indicated that voice teachers tailor their practices to the needs of students and demonstrate characteristics of teacher empathy identified in previous literature: effective communication, positive relationships, care, welcoming learning environment, trust, morality, and listening. Empathic teaching facilitates an individualized approach in which singing students are supported and motivated in their own autonomous learning environment. These findings have implications for voice pedagogy that features the use of empathy to benefit future students.
{"title":"Examining the empathic voice teacher","authors":"H. Fletcher, J. Davidson, A. Krause","doi":"10.1177/1321103x231172065","DOIUrl":"https://doi.org/10.1177/1321103x231172065","url":null,"abstract":"Empathy enables successful communication and connection between teachers and their students, yet few studies have investigated its specific use in teaching singing. Addressing this gap, we interviewed voice teachers to discover how they articulate their pedagogy in terms of empathic practices and observed one-to-one lessons for evidence of the same. A sample of 27 classical and music theater voice teachers in Australia (70% females, 30% males), aged 35 to 75 years old ( M = 55) were interviewed. Of this cohort, seven teachers were observed in their one-to-one teaching practices. Interviews and observations were analyzed using Interpretative Phenomenological Analysis. Results indicated that voice teachers tailor their practices to the needs of students and demonstrate characteristics of teacher empathy identified in previous literature: effective communication, positive relationships, care, welcoming learning environment, trust, morality, and listening. Empathic teaching facilitates an individualized approach in which singing students are supported and motivated in their own autonomous learning environment. These findings have implications for voice pedagogy that features the use of empathy to benefit future students.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2023-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49432005","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 : 2023-05-25DOI: 10.1177/1321103x231174341
R. Girdzijauskienė, Natassa Economidou Stavrou, Helmut Schaumberger, R. Frischknecht
Teachers are regularly confronted with paradoxes in their profession: clashes between different sets of values, their roles and their personal authenticity, the desire to be open but also detached, and the willingness to encourage students to have their own opinion but at the same time to obey and adapt. In this article, we investigate paradoxes in the music teaching profession with the aim of identifying those that are inherent to the field of music education and do not depend on a specific place or cultural context. To comprehend these paradoxes, we conducted a narrative study focused on the experiences of music teachers as presented through their own stories. This narrative study of 12 music teachers who worked with 10- to 15-year-old students in comprehensive schools was carried out in four European countries. The study applied a three-stage narrative interview strategy that asked teachers to share cases from their experience that implied paradoxes in their professional work. Based on this study, three umbrella categories of paradoxes were identified: paradoxes on curriculum negotiation and co-negotiation with students, free action in a regulated environment, and the double identity of music teachers. The study results offered insights applicable to music teacher education which can be summarized as a proposal to expose prospective music teachers to the paradoxes in their future profession and to discuss strategies that might help them manage these paradoxes.
{"title":"Investigating paradoxes in the music teaching profession","authors":"R. Girdzijauskienė, Natassa Economidou Stavrou, Helmut Schaumberger, R. Frischknecht","doi":"10.1177/1321103x231174341","DOIUrl":"https://doi.org/10.1177/1321103x231174341","url":null,"abstract":"Teachers are regularly confronted with paradoxes in their profession: clashes between different sets of values, their roles and their personal authenticity, the desire to be open but also detached, and the willingness to encourage students to have their own opinion but at the same time to obey and adapt. In this article, we investigate paradoxes in the music teaching profession with the aim of identifying those that are inherent to the field of music education and do not depend on a specific place or cultural context. To comprehend these paradoxes, we conducted a narrative study focused on the experiences of music teachers as presented through their own stories. This narrative study of 12 music teachers who worked with 10- to 15-year-old students in comprehensive schools was carried out in four European countries. The study applied a three-stage narrative interview strategy that asked teachers to share cases from their experience that implied paradoxes in their professional work. Based on this study, three umbrella categories of paradoxes were identified: paradoxes on curriculum negotiation and co-negotiation with students, free action in a regulated environment, and the double identity of music teachers. The study results offered insights applicable to music teacher education which can be summarized as a proposal to expose prospective music teachers to the paradoxes in their future profession and to discuss strategies that might help them manage these paradoxes.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42256575","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 : 2023-05-24DOI: 10.1177/1321103x231175389
Lucas Baño, J. Pozo
Despite research indicating the advantages of collaborative learning, most formal music education continues to be in an individual format. However, collaborative strategies have been observed in other musical cultures. Through this research, we wished to study the differences in the management of group practices between three musical cultures (classical, modern, and flamenco), checking whether they originate in the formal/informal nature of their cultural tools or their mode of musical production. For this purpose, we analyzed three musical groups belonging to these three musical cultures. Each group comprised four musicians. Recordings of the rehearsal sessions and three dimensions of learning (outcomes, processes, and conditions) were categorically analyzed using the system for the analysis of instrumental learning developed by our research group. Chi-square and adjusted standardized residuals analyses demonstrated that the learning outcomes in each culture differed according to the cultural tool used (literacy, orality, or mimetic), but that the processes and social interaction differed according to the mode of musical production. The findings suggested that those who approach music from open production structures, such as modern musicians, are more collaborative than those who approach it from closed structures, such as classical and flamenco musicians. We conclude by reflecting on the origin of these production structures, highlighting the need to work from different modes of musical production in educational spaces.
{"title":"The influence of musical production structures in group learning management","authors":"Lucas Baño, J. Pozo","doi":"10.1177/1321103x231175389","DOIUrl":"https://doi.org/10.1177/1321103x231175389","url":null,"abstract":"Despite research indicating the advantages of collaborative learning, most formal music education continues to be in an individual format. However, collaborative strategies have been observed in other musical cultures. Through this research, we wished to study the differences in the management of group practices between three musical cultures (classical, modern, and flamenco), checking whether they originate in the formal/informal nature of their cultural tools or their mode of musical production. For this purpose, we analyzed three musical groups belonging to these three musical cultures. Each group comprised four musicians. Recordings of the rehearsal sessions and three dimensions of learning (outcomes, processes, and conditions) were categorically analyzed using the system for the analysis of instrumental learning developed by our research group. Chi-square and adjusted standardized residuals analyses demonstrated that the learning outcomes in each culture differed according to the cultural tool used (literacy, orality, or mimetic), but that the processes and social interaction differed according to the mode of musical production. The findings suggested that those who approach music from open production structures, such as modern musicians, are more collaborative than those who approach it from closed structures, such as classical and flamenco musicians. We conclude by reflecting on the origin of these production structures, highlighting the need to work from different modes of musical production in educational spaces.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2023-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42642459","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 : 2023-04-25DOI: 10.1177/1321103x231157190
Han Meng, Jason Goopy
Initial teacher education plays an important role in preparing music teachers for schools. There is a growing interest in Chinese music teacher education, though limited research currently exists. This study investigated early-career teachers’ perspectives concerning the efficacy of the initial music teacher education program at Yu Cai Normal University (pseudonym), China. This mixed-methods study used a sequential explanatory design where qualitative interview data were used to provide further explanation and detail regarding survey results. The perceptions of early-career music teachers were sought on the importance, effectiveness, and usefulness of their initial teacher education and the most rewarding and challenging aspects of their beginning careers. Phase 1 of the data collection consisted of an online survey with 32 music education graduates of Yu Cai Normal University from 2015–2019. Phase 2 involved one-on-one semi-structured online interviews with three participants offering a range of views. Phase 3 was a combined analysis and discussion of the findings from Phases 1 and 2. Findings indicate that early-career music teachers highly valued their initial teacher education and their studies adequately prepared them for work, though the quality of their university subjects could still be improved. Early-career music teachers embrace the challenges of the profession and choir, competitions, and the act of teaching are their greatest rewards. Practical subjects remain the most critical components of music teacher education, and theory must be situated in contextualized practice.
{"title":"Early-career music teachers’ perspectives of their initial teacher education program in China","authors":"Han Meng, Jason Goopy","doi":"10.1177/1321103x231157190","DOIUrl":"https://doi.org/10.1177/1321103x231157190","url":null,"abstract":"Initial teacher education plays an important role in preparing music teachers for schools. There is a growing interest in Chinese music teacher education, though limited research currently exists. This study investigated early-career teachers’ perspectives concerning the efficacy of the initial music teacher education program at Yu Cai Normal University (pseudonym), China. This mixed-methods study used a sequential explanatory design where qualitative interview data were used to provide further explanation and detail regarding survey results. The perceptions of early-career music teachers were sought on the importance, effectiveness, and usefulness of their initial teacher education and the most rewarding and challenging aspects of their beginning careers. Phase 1 of the data collection consisted of an online survey with 32 music education graduates of Yu Cai Normal University from 2015–2019. Phase 2 involved one-on-one semi-structured online interviews with three participants offering a range of views. Phase 3 was a combined analysis and discussion of the findings from Phases 1 and 2. Findings indicate that early-career music teachers highly valued their initial teacher education and their studies adequately prepared them for work, though the quality of their university subjects could still be improved. Early-career music teachers embrace the challenges of the profession and choir, competitions, and the act of teaching are their greatest rewards. Practical subjects remain the most critical components of music teacher education, and theory must be situated in contextualized practice.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2023-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45928883","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 : 2023-04-22DOI: 10.1177/1321103x231162981
Elizabeth H. MacGregor
Although teachers and researchers frequently acknowledge that music education can benefit pupils’ academic achievement, health and well-being, and social development, classroom music-making can have long-lasting, detrimental impacts. Individuals’ experiences of failure, disappointment, and exclusion in the music classroom highlight an urgent need for music education to be reframed by an understanding of “musical vulnerability”: individuals’ inherent and situational openness to being affected—positively or negatively—by the semantic and somatic properties of music-making. Drawing on existing vulnerability studies, I evaluate how classroom music-making can foster both positive receptivity and negative susceptibility, depending on its delineation of identity and physical embodiment. I then present reductive analyses of phenomenologically-informed interviews in which 12 secondary music teachers described their past experiences of being pupils, and their present experiences of teaching pupils, in music classrooms in the United Kingdom. Using excerpts from their observations of teaching pupils, I describe how interactions between individuals’ interpersonal and personal vulnerabilities—including personality, musical, and neurological differences—affected occasions of musical receptivity and susceptibility. As individuals negotiated conflicting musical expectations, they sometimes fostered fruitful resilience but sometimes encountered profound resignation. I draw on these findings to construct a preliminary typology of musical vulnerability and emphasize the need for future research into proactive differentiation in the music classroom.
{"title":"Characterizing musical vulnerability: Toward a typology of receptivity and susceptibility in the secondary music classroom","authors":"Elizabeth H. MacGregor","doi":"10.1177/1321103x231162981","DOIUrl":"https://doi.org/10.1177/1321103x231162981","url":null,"abstract":"Although teachers and researchers frequently acknowledge that music education can benefit pupils’ academic achievement, health and well-being, and social development, classroom music-making can have long-lasting, detrimental impacts. Individuals’ experiences of failure, disappointment, and exclusion in the music classroom highlight an urgent need for music education to be reframed by an understanding of “musical vulnerability”: individuals’ inherent and situational openness to being affected—positively or negatively—by the semantic and somatic properties of music-making. Drawing on existing vulnerability studies, I evaluate how classroom music-making can foster both positive receptivity and negative susceptibility, depending on its delineation of identity and physical embodiment. I then present reductive analyses of phenomenologically-informed interviews in which 12 secondary music teachers described their past experiences of being pupils, and their present experiences of teaching pupils, in music classrooms in the United Kingdom. Using excerpts from their observations of teaching pupils, I describe how interactions between individuals’ interpersonal and personal vulnerabilities—including personality, musical, and neurological differences—affected occasions of musical receptivity and susceptibility. As individuals negotiated conflicting musical expectations, they sometimes fostered fruitful resilience but sometimes encountered profound resignation. I draw on these findings to construct a preliminary typology of musical vulnerability and emphasize the need for future research into proactive differentiation in the music classroom.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2023-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43730945","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 : 2023-04-01DOI: 10.1177/1321103X211061978
Regina Saltari, G. Welch
This article reports findings from an ethnographic study investigating the culture of children’s musical games played in school playgrounds. The research took place in nine primary schools in Greece and lasted for 6 months. Data collection methods included open observation of children aged 6 to 11 years, focused small-group observation, semi-structured interviews of 53 children (aged 8–11 years), and video recordings of the children’s musical games. Analyses of the research data, in light of the relevant literature, revealed the physical and human geographies of musical games, gender preferences, transmission sources and processes, learning and teaching practices, improvisations and variations, and communication among participants. The article concludes with implications for music education research and practice.
{"title":"Exploring the culture of Greek children’s musical games in the school playground: An ethnographic study","authors":"Regina Saltari, G. Welch","doi":"10.1177/1321103X211061978","DOIUrl":"https://doi.org/10.1177/1321103X211061978","url":null,"abstract":"This article reports findings from an ethnographic study investigating the culture of children’s musical games played in school playgrounds. The research took place in nine primary schools in Greece and lasted for 6 months. Data collection methods included open observation of children aged 6 to 11 years, focused small-group observation, semi-structured interviews of 53 children (aged 8–11 years), and video recordings of the children’s musical games. Analyses of the research data, in light of the relevant literature, revealed the physical and human geographies of musical games, gender preferences, transmission sources and processes, learning and teaching practices, improvisations and variations, and communication among participants. The article concludes with implications for music education research and practice.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"174 - 188"},"PeriodicalIF":1.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41437891","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 : 2023-04-01DOI: 10.1177/1321103X221092927
Bradley Merrick, Dawn Joseph
The COVID-19 pandemic forced music teachers to modify their practice as delivery moved online in education settings around the globe. This article forms part of our wider study, Re-imaging the future: Music teaching and learning, and ICT in blended environments in Australia, that commenced in March 2021. In this article, the authors analyze and discuss Australian music teachers' perceptions of confidence, preference, and usage of music technologies, combined with Information and Communication Technologies (ICT) while teaching during COVID-19. Employing a quantitative methodology from data collected using an anonymous survey (N = 105), they report on teachers' attitudinal responses about ICT devices, confidence, and technology usage. The findings outline descriptive and correlational analyses between ICT use and teachers' integration of various devices, software, and related music technologies. The data show that teachers adapted their practice during this time of uncertainty, reporting increased confidence, application, and ICT usage. Data revealed an increase in the use of multiple technologies, resources, and software, which became an essential component of online teaching. The article concludes with recommendations for a longitudinal study of ICT usage in music education across Australia, accompanied by suggestions for increased professional learning, initial teacher training, changes in practice, and contingencies to sustain online learning into the future.
{"title":"ICT and music technology during COVID-19: Australian music educator perspectives.","authors":"Bradley Merrick, Dawn Joseph","doi":"10.1177/1321103X221092927","DOIUrl":"https://doi.org/10.1177/1321103X221092927","url":null,"abstract":"<p><p>The COVID-19 pandemic forced music teachers to modify their practice as delivery moved online in education settings around the globe. This article forms part of our wider study, <i>Re-imaging the future: Music teaching and learning, and ICT in blended environments in Australia</i>, that commenced in March 2021. In this article, the authors analyze and discuss Australian music teachers' perceptions of confidence, preference, and usage of music technologies, combined with Information and Communication Technologies (ICT) while teaching during COVID-19. Employing a quantitative methodology from data collected using an anonymous survey (<i>N</i> = 105), they report on teachers' attitudinal responses about ICT devices, confidence, and technology usage. The findings outline descriptive and correlational analyses between ICT use and teachers' integration of various devices, software, and related music technologies. The data show that teachers adapted their practice during this time of uncertainty, reporting increased confidence, application, and ICT usage. Data revealed an increase in the use of multiple technologies, resources, and software, which became an essential component of online teaching. The article concludes with recommendations for a longitudinal study of ICT usage in music education across Australia, accompanied by suggestions for increased professional learning, initial teacher training, changes in practice, and contingencies to sustain online learning into the future.</p>","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"189-210"},"PeriodicalIF":1.6,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10076982/pdf/10.1177_1321103X221092927.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"9637914","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 : 2023-03-28DOI: 10.1177/1321103x221149940
Lucia Lanaro, A. Bobbio, M. Biasutti, E. Himonides
This study aims to investigate leadership in orchestra conducting and interrogate educational principles to improve conducting pedagogy. Effective leadership implies a set of interpersonal, communicational, and emotional skills combined with a high level of expertise, which may enable the leader to not only achieve excellent outcomes but also create a positive and collaborative working climate and vision for the performance. This work demonstrates that there are strong implications between effective leadership and orchestra conducting. We examine how orchestra conductors are perceived to be effective leaders and deduce from general leadership theories the following five parameters: charisma, stage presence, nonverbal communication, relationships with musicians, and leadership style. Interviews with orchestra conductors and performers support these five parameters for effective orchestra conducting. We perform a detailed analysis of the profiles of two renowned orchestra leaders— namely, Herbert von Karajan and Gustavo Dudamel— to test the five parameters and distill educational implications for both scholars and practitioners. The results are presented and discussed, along with implications for the education of orchestra conductors.
本研究旨在探讨管弦乐队指挥中的领导能力，并探讨教育原则以改进指挥教学法。有效的领导意味着一套人际交往、沟通和情感技能，再加上高水平的专业知识，这可能使领导者不仅能取得优异的成果，还能创造积极协作的工作氛围和绩效愿景。这项工作表明，有效的领导和管弦乐队指挥之间有着强烈的联系。我们研究了管弦乐队指挥是如何被视为有效的领导者的，并从一般的领导理论中推断出以下五个参数：魅力、舞台表现、非语言交流、与音乐家的关系和领导风格。对管弦乐队指挥和演奏者的采访支持了有效的管弦乐队指挥的这五个参数。我们对赫伯特·冯·卡拉扬（Herbert von Karajan）和古斯塔沃·杜达梅尔（Gustavo Dudamel。报告和讨论了结果，以及对管弦乐队指挥教育的启示。
{"title":"Five parameters for studying leadership styles in orchestra conductors","authors":"Lucia Lanaro, A. Bobbio, M. Biasutti, E. Himonides","doi":"10.1177/1321103x221149940","DOIUrl":"https://doi.org/10.1177/1321103x221149940","url":null,"abstract":"This study aims to investigate leadership in orchestra conducting and interrogate educational principles to improve conducting pedagogy. Effective leadership implies a set of interpersonal, communicational, and emotional skills combined with a high level of expertise, which may enable the leader to not only achieve excellent outcomes but also create a positive and collaborative working climate and vision for the performance. This work demonstrates that there are strong implications between effective leadership and orchestra conducting. We examine how orchestra conductors are perceived to be effective leaders and deduce from general leadership theories the following five parameters: charisma, stage presence, nonverbal communication, relationships with musicians, and leadership style. Interviews with orchestra conductors and performers support these five parameters for effective orchestra conducting. We perform a detailed analysis of the profiles of two renowned orchestra leaders— namely, Herbert von Karajan and Gustavo Dudamel— to test the five parameters and distill educational implications for both scholars and practitioners. The results are presented and discussed, along with implications for the education of orchestra conductors.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49176935","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 : 2023-03-04DOI: 10.1177/1321103x221149661
Emily M. Mercado, D. M. Draut
The purpose of this collaborative action research project was to examine eighth- and ninth-grade female (assigned at birth) students’ perspectives of their singing voice when implementing a practitioner/researcher designed curriculum titled Supporting Adolescent Female Vocal Development: Teaching Anatomy and Physiology in the Middle School Choral Classroom. The curriculum, designed specifically for the adolescent female voice, contained the following four units: the respiratory system, the larynx, the digestive system, and the skeletal system. The action research method, which contained four feedback loops, allowed us to assess, refine, and revise the curriculum to meet the needs of this specific group of adolescents. Salient themes that emerged from the data included participants’ perceptions of breath, passaggio, vocal range, vocal tone, feedback, and confidence. Overall, participants reported positive experiences throughout the unit; however, challenges emerged when we provided individual feedback and introduced complex terminology associated with vocal anatomy. Implications for practice include prioritizing a process-oriented curriculum theoretically grounded in the anatomy and physiology of the voice to serve the needs of adolescent singers.
{"title":"Eighth- and ninth-grade students’ perceptions of a curriculum designed to support adolescent female vocal development: An action research study","authors":"Emily M. Mercado, D. M. Draut","doi":"10.1177/1321103x221149661","DOIUrl":"https://doi.org/10.1177/1321103x221149661","url":null,"abstract":"The purpose of this collaborative action research project was to examine eighth- and ninth-grade female (assigned at birth) students’ perspectives of their singing voice when implementing a practitioner/researcher designed curriculum titled Supporting Adolescent Female Vocal Development: Teaching Anatomy and Physiology in the Middle School Choral Classroom. The curriculum, designed specifically for the adolescent female voice, contained the following four units: the respiratory system, the larynx, the digestive system, and the skeletal system. The action research method, which contained four feedback loops, allowed us to assess, refine, and revise the curriculum to meet the needs of this specific group of adolescents. Salient themes that emerged from the data included participants’ perceptions of breath, passaggio, vocal range, vocal tone, feedback, and confidence. Overall, participants reported positive experiences throughout the unit; however, challenges emerged when we provided individual feedback and introduced complex terminology associated with vocal anatomy. Implications for practice include prioritizing a process-oriented curriculum theoretically grounded in the anatomy and physiology of the voice to serve the needs of adolescent singers.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43696941","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 : 2023-03-04DOI: 10.1177/1321103X231155020
K. Sutela
This article presents a project, Shapes of Water, funded by the Finnish Cultural Foundation, which gave music education students the opportunity to compose children’s songs about climate change with the help of artists from two fields (contemporary circus and music) and a scientist (chemistry). The article outlines the ways in which the composing project challenged students’ attitudes toward composing as a method for educating children about climate change, and brings together the experiences of the artists and scientist during the project. Finally, three focus areas are presented with recommendations for a sustainable eco-socially oriented approach to music education.
{"title":"Shapes of water—A multidisciplinary composing project visioning an eco-socially oriented approach to music education","authors":"K. Sutela","doi":"10.1177/1321103X231155020","DOIUrl":"https://doi.org/10.1177/1321103X231155020","url":null,"abstract":"This article presents a project, Shapes of Water, funded by the Finnish Cultural Foundation, which gave music education students the opportunity to compose children’s songs about climate change with the help of artists from two fields (contemporary circus and music) and a scientist (chemistry). The article outlines the ways in which the composing project challenged students’ attitudes toward composing as a method for educating children about climate change, and brings together the experiences of the artists and scientist during the project. Finally, three focus areas are presented with recommendations for a sustainable eco-socially oriented approach to music education.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"415 - 428"},"PeriodicalIF":1.6,"publicationDate":"2023-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44050722","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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