Pub Date : 2023-02-24DOI: 10.1177/1321103X221149374
David H. Knapp, Bryan Powell, G. Smith, John C Coggiola, M. Kelsey
The COVID-19 pandemic prompted a sudden rethinking of how music was taught and learned. Prior to the pandemic, the web-based digital audio workstation Soundtrap emerged as a leading platform for creating music online. The present study examined the growth of Soundtrap’s usage during the COVID-19 pandemic. Using machine-learning methods, we analyzed anonymized user data from Soundtrap’s 1.6 million educational users in the United States to see if the pandemic affected Soundtrap’s education user base and, if so, to what extent. An exploratory data analysis demonstrated a large increase in Soundtrap’s user base beyond five standard deviations beginning in March 2020. A subsequent changepoint analysis identified March 17, 2020, as the day this shift occurred. Finally, we created a SARIMAX model using data prior to March 17 to forecast expected growth. This model was unable to account for user growth after March 17, showing highly anomalous growth rates outside of the model’s confidence interval. We discuss how this shift affects music education practices and what it portends for our field. In addition, we explore the role of machine learning and artificial intelligence as a method for research in the music education field.
{"title":"Soundtrap usage during COVID-19: A machine-learning approach to assess the effects of the pandemic on online music learning","authors":"David H. Knapp, Bryan Powell, G. Smith, John C Coggiola, M. Kelsey","doi":"10.1177/1321103X221149374","DOIUrl":"https://doi.org/10.1177/1321103X221149374","url":null,"abstract":"The COVID-19 pandemic prompted a sudden rethinking of how music was taught and learned. Prior to the pandemic, the web-based digital audio workstation Soundtrap emerged as a leading platform for creating music online. The present study examined the growth of Soundtrap’s usage during the COVID-19 pandemic. Using machine-learning methods, we analyzed anonymized user data from Soundtrap’s 1.6 million educational users in the United States to see if the pandemic affected Soundtrap’s education user base and, if so, to what extent. An exploratory data analysis demonstrated a large increase in Soundtrap’s user base beyond five standard deviations beginning in March 2020. A subsequent changepoint analysis identified March 17, 2020, as the day this shift occurred. Finally, we created a SARIMAX model using data prior to March 17 to forecast expected growth. This model was unable to account for user growth after March 17, showing highly anomalous growth rates outside of the model’s confidence interval. We discuss how this shift affects music education practices and what it portends for our field. In addition, we explore the role of machine learning and artificial intelligence as a method for research in the music education field.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2023-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49373714","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 : 2023-01-19DOI: 10.1177/1321103x221139992
Joanne Wong, Alfredo Bautista, Y. Ho, S. Kong
The purpose of this study was to investigate Hong Kong preschool teachers’ music-specific professional development (PD) preferences and analyze the potential differences among teachers with varying levels of teaching experience (beginning, experienced, and advanced). A survey was developed to assess four music-specific PD preferences: content, facilitators, types, and activities/resources. We found that respondents ( N = 1,019) preferred PD that was centered on musical creativity and curriculum integration; facilitated by experts in pedagogy and music performance; conducted as short workshops and mentoring sessions; and focused on observation, skill acquisition, and practice. The data also revealed significant differences between beginning, experienced, and advanced teachers and their PD preferences. Beginning teachers showed a higher preference for graduate studies and blended PD. Beginning and experienced teachers were more interested in playing instruments and in learning by observing other teachers. Advanced teachers showed preference for PD focusing on dance and music appreciation. The study shows that teaching experience is a crucial factor for determining preschool teachers’ music-specific PD preferences. Implications include considering teachers’ interests, motivations, and needs while planning and designing PD for preschool teachers. Further research should explore what teachers with different profiles require in specific educational settings.
{"title":"Preschool teachers’ music-specific professional development preferences: Does teaching experience matter?","authors":"Joanne Wong, Alfredo Bautista, Y. Ho, S. Kong","doi":"10.1177/1321103x221139992","DOIUrl":"https://doi.org/10.1177/1321103x221139992","url":null,"abstract":"The purpose of this study was to investigate Hong Kong preschool teachers’ music-specific professional development (PD) preferences and analyze the potential differences among teachers with varying levels of teaching experience (beginning, experienced, and advanced). A survey was developed to assess four music-specific PD preferences: content, facilitators, types, and activities/resources. We found that respondents ( N = 1,019) preferred PD that was centered on musical creativity and curriculum integration; facilitated by experts in pedagogy and music performance; conducted as short workshops and mentoring sessions; and focused on observation, skill acquisition, and practice. The data also revealed significant differences between beginning, experienced, and advanced teachers and their PD preferences. Beginning teachers showed a higher preference for graduate studies and blended PD. Beginning and experienced teachers were more interested in playing instruments and in learning by observing other teachers. Advanced teachers showed preference for PD focusing on dance and music appreciation. The study shows that teaching experience is a crucial factor for determining preschool teachers’ music-specific PD preferences. Implications include considering teachers’ interests, motivations, and needs while planning and designing PD for preschool teachers. Further research should explore what teachers with different profiles require in specific educational settings.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2023-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46569460","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 : 2023-01-15DOI: 10.1177/1321103x221144261
Alisa Mastin Hanson
The purpose of this research was to learn about the short-term residue of composing and improvising activities experienced in a woodwind lab course. Five undergraduates enrolled in a Music Learning and Teaching program in the United States shared what they retained after completion of the course and how they were thinking about composition and improvisation in relation to their future teaching. Data were generated through class observations, researcher journal entries, one-on-one interviews, and a focus group interview. Although participants found value in composition and improvisation, they still viewed these activities as supplemental to traditional large ensemble practices. In this case, I use the metaphor of sedimentary rock to analyze and present the data in a way that makes space for dialogical meaning-making between the researcher, participants, and reader. This research may be meaningful for those in charge of curricular decisions as well as applied faculty and graduate students working to incorporate composition and improvisation into preservice music teacher coursework, emphasizing the need for an integrated approach.
{"title":"The residue of composition and improvisation activities in a woodwind lab course","authors":"Alisa Mastin Hanson","doi":"10.1177/1321103x221144261","DOIUrl":"https://doi.org/10.1177/1321103x221144261","url":null,"abstract":"The purpose of this research was to learn about the short-term residue of composing and improvising activities experienced in a woodwind lab course. Five undergraduates enrolled in a Music Learning and Teaching program in the United States shared what they retained after completion of the course and how they were thinking about composition and improvisation in relation to their future teaching. Data were generated through class observations, researcher journal entries, one-on-one interviews, and a focus group interview. Although participants found value in composition and improvisation, they still viewed these activities as supplemental to traditional large ensemble practices. In this case, I use the metaphor of sedimentary rock to analyze and present the data in a way that makes space for dialogical meaning-making between the researcher, participants, and reader. This research may be meaningful for those in charge of curricular decisions as well as applied faculty and graduate students working to incorporate composition and improvisation into preservice music teacher coursework, emphasizing the need for an integrated approach.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2023-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47593993","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 : 2023-01-11DOI: 10.1177/1321103X221144583
Nicole Canham
One of the many lessons of the COVID-19 pandemic has been the nature of it: it has been, and still is, an evolving situation in which there are many questions, but not always immediate or easy answers. Some of the pandemic experience has been shared, as almost 1.6 billion learners’ educations have been disrupted and teachers have reported increased work-related stress, anxiety, and burnout. Billions of dollars in music industry income have been lost and patterns of music engagement and consumer spending appear to be significantly altered. Other aspects of the pandemic have highlighted deep inequalities. The vulnerability of creative workers at a policy level, for example, reflects the precarity of a specific group of people, and the enormous complexity and uncertainty that shapes their personal and professional circumstances. Although some musicians have reveled in the opportunity to reinvent themselves through new sites for their work, for many, work in music has gone from challenging to untenable resulting in altered priorities. In this paper, I explore the pandemic experience through the concept of liminality and offer three approaches for framing a paradigm shift in music careers education and research: things to think about, things to leave behind, and things to do differently.
{"title":"Living with liminality: Reconceptualising music careers education and research","authors":"Nicole Canham","doi":"10.1177/1321103X221144583","DOIUrl":"https://doi.org/10.1177/1321103X221144583","url":null,"abstract":"One of the many lessons of the COVID-19 pandemic has been the nature of it: it has been, and still is, an evolving situation in which there are many questions, but not always immediate or easy answers. Some of the pandemic experience has been shared, as almost 1.6 billion learners’ educations have been disrupted and teachers have reported increased work-related stress, anxiety, and burnout. Billions of dollars in music industry income have been lost and patterns of music engagement and consumer spending appear to be significantly altered. Other aspects of the pandemic have highlighted deep inequalities. The vulnerability of creative workers at a policy level, for example, reflects the precarity of a specific group of people, and the enormous complexity and uncertainty that shapes their personal and professional circumstances. Although some musicians have reveled in the opportunity to reinvent themselves through new sites for their work, for many, work in music has gone from challenging to untenable resulting in altered priorities. In this paper, I explore the pandemic experience through the concept of liminality and offer three approaches for framing a paradigm shift in music careers education and research: things to think about, things to leave behind, and things to do differently.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"3 - 19"},"PeriodicalIF":1.6,"publicationDate":"2023-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47833386","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 : 2022-12-29DOI: 10.1177/1321103x221136826
Johanna Lehtinen-Schnabel
The topic of language awareness in intercultural music education has received surprisingly little attention in discussions on meaningful and responsive musical practices, despite language being an ubiquitous issue that every music educator encounters when entering a multilingual learning environment. This study explores a language-aware perspective that is embedded in a dynamic and dialogical choir practice drawing on the direct social needs of adult choir participants with culturally and linguistically diverse backgrounds. The analysis sets the practitioner experiences, planning, and implementation of the choir practice against the theorisation of activity systems and the concepts of boundary object and boundary crossing, in particular. The theoretical exploration considers how a dual meaning choir practice (a) integrates musical and linguistic activity, (b) crosses boundaries between the disciplines of music and language education, and (c) justifies change in music educational thinking. The study suggests that a dual meaning choir practice provides meaningful musical activity for adult immigrants, expanding the understanding of musical practice and the profession of music educator by blurring the dichotomous thinking of music and music education as being either instrumentalized or existing only for purely musical purposes. The study further advocates that a hybrid musical practice can widen professional understanding with novel insights, out-of-the-box perspectives, and new opportunities.
{"title":"Novel opportunities for intercultural music education: Integrating singing and a language-aware approach in Learn-Finnish-by-Singing choirs","authors":"Johanna Lehtinen-Schnabel","doi":"10.1177/1321103x221136826","DOIUrl":"https://doi.org/10.1177/1321103x221136826","url":null,"abstract":"The topic of language awareness in intercultural music education has received surprisingly little attention in discussions on meaningful and responsive musical practices, despite language being an ubiquitous issue that every music educator encounters when entering a multilingual learning environment. This study explores a language-aware perspective that is embedded in a dynamic and dialogical choir practice drawing on the direct social needs of adult choir participants with culturally and linguistically diverse backgrounds. The analysis sets the practitioner experiences, planning, and implementation of the choir practice against the theorisation of activity systems and the concepts of boundary object and boundary crossing, in particular. The theoretical exploration considers how a dual meaning choir practice (a) integrates musical and linguistic activity, (b) crosses boundaries between the disciplines of music and language education, and (c) justifies change in music educational thinking. The study suggests that a dual meaning choir practice provides meaningful musical activity for adult immigrants, expanding the understanding of musical practice and the profession of music educator by blurring the dichotomous thinking of music and music education as being either instrumentalized or existing only for purely musical purposes. The study further advocates that a hybrid musical practice can widen professional understanding with novel insights, out-of-the-box perspectives, and new opportunities.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2022-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43385825","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 : 2022-12-26DOI: 10.1177/1321103X221140283
A. Asztalos
One of the most important issues in music education is the development of children’s musical abilities, which are in turn impacted by teachers’ beliefs. The purpose of this study was to investigate the beliefs of general classroom and music specialist teachers in Hungary about the development of the musical abilities of children. A total of 176 general classroom teachers and 272 music specialist teachers participated in the research process. Data were collected using an online questionnaire method. SPSS was used to process data using quantitative methods. The researcher used descriptive statistical methods (frequencies, means, standard deviations) for data analysis, and inferential statistics—independent samples t test, Pearson’s correlation, and factor analysis (Maximum Likelihood method, Oblimin rotation)—to examine differences and correlations between variables. The results indicated that teachers cognitively organize musical abilities differently from the Hungarian National Core Curriculum content. Moreover, the study observed several differences among the beliefs of general classroom and music specialist teachers regarding the level of development of musical abilities of primary school children. A significant correlation was noted between the teachers’ qualifications, practice, and length of instrumental learning, and their beliefs about developing musical abilities in children. One main educational implication emerged from the results was the importance of modification of beliefs for educating teachers in university courses, which poses a major problem because changing teachers’ beliefs is a complex process.
{"title":"Beliefs of general classroom and music specialist teachers in Hungarian primary schools regarding the development of musical abilities in children","authors":"A. Asztalos","doi":"10.1177/1321103X221140283","DOIUrl":"https://doi.org/10.1177/1321103X221140283","url":null,"abstract":"One of the most important issues in music education is the development of children’s musical abilities, which are in turn impacted by teachers’ beliefs. The purpose of this study was to investigate the beliefs of general classroom and music specialist teachers in Hungary about the development of the musical abilities of children. A total of 176 general classroom teachers and 272 music specialist teachers participated in the research process. Data were collected using an online questionnaire method. SPSS was used to process data using quantitative methods. The researcher used descriptive statistical methods (frequencies, means, standard deviations) for data analysis, and inferential statistics—independent samples t test, Pearson’s correlation, and factor analysis (Maximum Likelihood method, Oblimin rotation)—to examine differences and correlations between variables. The results indicated that teachers cognitively organize musical abilities differently from the Hungarian National Core Curriculum content. Moreover, the study observed several differences among the beliefs of general classroom and music specialist teachers regarding the level of development of musical abilities of primary school children. A significant correlation was noted between the teachers’ qualifications, practice, and length of instrumental learning, and their beliefs about developing musical abilities in children. One main educational implication emerged from the results was the importance of modification of beliefs for educating teachers in university courses, which poses a major problem because changing teachers’ beliefs is a complex process.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"112 - 126"},"PeriodicalIF":1.6,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46549510","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 : 2022-11-14DOI: 10.1177/1321103x221131210
Emilia Campayo-Muñoz, Laura Cuervo-Calvo, Alberto Cabedo-Mas
Group music making has the potential to develop socio-emotional competences. This study describes how responsibility and respect—both of which are socio-emotional competences—were developed through a socio-musical program, called Musiquem, in a Spanish primary school. The research consisted of a case study with students from Grades 3 to 5 (aged from 9 to 11) carried out over 1 school year (2018–2019). The program was developed as a specific music project to create a string orchestra and was implemented by two specialists in the violin and cello working in collaboration with the teachers in the primary school. The study describes the characteristics of the activities carried out to develop respect and responsibility and the results suggest they have a positive impact on students’ development of these socio-emotional competences.
{"title":"An opportunity to develop respect and responsibility through a socio-musical program in a primary school: A case study","authors":"Emilia Campayo-Muñoz, Laura Cuervo-Calvo, Alberto Cabedo-Mas","doi":"10.1177/1321103x221131210","DOIUrl":"https://doi.org/10.1177/1321103x221131210","url":null,"abstract":"Group music making has the potential to develop socio-emotional competences. This study describes how responsibility and respect—both of which are socio-emotional competences—were developed through a socio-musical program, called Musiquem, in a Spanish primary school. The research consisted of a case study with students from Grades 3 to 5 (aged from 9 to 11) carried out over 1 school year (2018–2019). The program was developed as a specific music project to create a string orchestra and was implemented by two specialists in the violin and cello working in collaboration with the teachers in the primary school. The study describes the characteristics of the activities carried out to develop respect and responsibility and the results suggest they have a positive impact on students’ development of these socio-emotional competences.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48958805","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 : 2022-10-20DOI: 10.1177/1321103x221131444
Heidi Westerlund, Guadalupe López-Íñiguez
Contemporary professional landscapes in classical music fields are rapidly changing and younger generations of musicians are confronting their creative careers, more often than not in connection to self-employment and freelancing. This narrative inquiry investigates the pathways and livelihoods of composers in a changing professional ecosystem through interviews with 10 bigenerational composers in Finland. The analysis is presented in three “factional stories,” in which the empirical material is crafted into “fictional form” by an anonymous first-person narrator. The stories depict how the secure, traditional careers of the older generation are found to be bound to traditional orchestras and ensembles, whereas the protean careers of the younger generation of composers involve passionate pathfinding amid pluralizing ecosystems, within but also beyond traditional contexts and through various collaborations. The younger composers are expanding significantly, or consciously distancing themselves from, the traditional model and values of a contemporary composer. Competition is found to be increasing and professional education described as too short and insufficient in its concentration on technique—this does not provide new understandings and skills beyond traditional composing craft needed for navigating the profession and securing livelihoods. Although similarities are found in the pathways of both composers’ generations, such as strong career callings and experiences of luck, the “struggle” for a composer to find a place in society is more strongly experienced by the younger generation, for which the development of an ongoing “learner identity” is required to embrace—and not resist—such a challenge. As a whole, the study provides a new understanding of composers’ pathfinding through changing ecosystems and suggests that traditional and protean music careers co-exist—even within a single person—while they can also be clearly separated from each other. The study informs higher music education programs in Western countries.
{"title":"Professional education toward protean careers in music? Bigenerational Finnish composers’ pathways and livelihoods in changing ecosystems","authors":"Heidi Westerlund, Guadalupe López-Íñiguez","doi":"10.1177/1321103x221131444","DOIUrl":"https://doi.org/10.1177/1321103x221131444","url":null,"abstract":"Contemporary professional landscapes in classical music fields are rapidly changing and younger generations of musicians are confronting their creative careers, more often than not in connection to self-employment and freelancing. This narrative inquiry investigates the pathways and livelihoods of composers in a changing professional ecosystem through interviews with 10 bigenerational composers in Finland. The analysis is presented in three “factional stories,” in which the empirical material is crafted into “fictional form” by an anonymous first-person narrator. The stories depict how the secure, traditional careers of the older generation are found to be bound to traditional orchestras and ensembles, whereas the protean careers of the younger generation of composers involve passionate pathfinding amid pluralizing ecosystems, within but also beyond traditional contexts and through various collaborations. The younger composers are expanding significantly, or consciously distancing themselves from, the traditional model and values of a contemporary composer. Competition is found to be increasing and professional education described as too short and insufficient in its concentration on technique—this does not provide new understandings and skills beyond traditional composing craft needed for navigating the profession and securing livelihoods. Although similarities are found in the pathways of both composers’ generations, such as strong career callings and experiences of luck, the “struggle” for a composer to find a place in society is more strongly experienced by the younger generation, for which the development of an ongoing “learner identity” is required to embrace—and not resist—such a challenge. As a whole, the study provides a new understanding of composers’ pathfinding through changing ecosystems and suggests that traditional and protean music careers co-exist—even within a single person—while they can also be clearly separated from each other. The study informs higher music education programs in Western countries.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49052879","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 : 2022-10-18DOI: 10.1177/1321103x221128733
Fernando López-Calatayud, Jesús Tejada
Self-regulation strategies and behaviors are important aspects of instrumental music learning because they allow students to set learning goals by testing and controlling their cognition, motivation, behaviors, and emotions. This work investigates the self-regulation processes of four young instrumentalists (aged 10–11 years) in their initial stages of viola and violin learning, during practice with Plectrus, a real-time instrumental intonation training and assessment software. The qualitative-hermeneutical nature of this research employed a multiple case study design to investigate the construct of self-regulation within a software-supported instrumental learning process. Data were collected from the participants’ practice diaries over a 4-week period. The final practice session was also analyzed from audio-visual recordings. The results indicate that, despite their limited experience, the students showed a diversity of strategies and behaviors with which they self-regulated their cognitions, motivations, behaviors, and emotions. However, not all the students employed the same processes, and there was variability in the frequency of their use. One of the students showed more self-regulatory processes than the rest and achieved the best scores, although it has not been possible to establish a relationship between the scores and self-regulation.
{"title":"Self-regulation strategies and behaviors in the initial learning of the viola and violin with the support of software for real-time instrumental intonation assessment","authors":"Fernando López-Calatayud, Jesús Tejada","doi":"10.1177/1321103x221128733","DOIUrl":"https://doi.org/10.1177/1321103x221128733","url":null,"abstract":"Self-regulation strategies and behaviors are important aspects of instrumental music learning because they allow students to set learning goals by testing and controlling their cognition, motivation, behaviors, and emotions. This work investigates the self-regulation processes of four young instrumentalists (aged 10–11 years) in their initial stages of viola and violin learning, during practice with Plectrus, a real-time instrumental intonation training and assessment software. The qualitative-hermeneutical nature of this research employed a multiple case study design to investigate the construct of self-regulation within a software-supported instrumental learning process. Data were collected from the participants’ practice diaries over a 4-week period. The final practice session was also analyzed from audio-visual recordings. The results indicate that, despite their limited experience, the students showed a diversity of strategies and behaviors with which they self-regulated their cognitions, motivations, behaviors, and emotions. However, not all the students employed the same processes, and there was variability in the frequency of their use. One of the students showed more self-regulatory processes than the rest and achieved the best scores, although it has not been possible to establish a relationship between the scores and self-regulation.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"1 1","pages":""},"PeriodicalIF":1.6,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41446258","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 : 2022-10-08DOI: 10.1177/1321103X221123272
Koji Matsunobu
Reflecting their dominance within music education, most musical instruments used in schools are of Western origin. In stark contrast, the adoption of folk instruments for the purposes of facilitating students’ music-making and learning in the educational context is rarely encountered. This article reports the empirical data of a study in which a modified, 3D-printed instrument in the form of a shakuhachi was tested based on its usability in a classroom setting and the degree to which students were motivated to learn it. The positive results make a case for child-friendly, affordable, educational instruments that facilitate easy sound production and pitch bending without compromising authenticity and expression. Developing such educational instruments can play a crucial role in invigorating and transmitting traditional music.
{"title":"Reinventing folk instruments as educational tools: The case of the Shakuhachi","authors":"Koji Matsunobu","doi":"10.1177/1321103X221123272","DOIUrl":"https://doi.org/10.1177/1321103X221123272","url":null,"abstract":"Reflecting their dominance within music education, most musical instruments used in schools are of Western origin. In stark contrast, the adoption of folk instruments for the purposes of facilitating students’ music-making and learning in the educational context is rarely encountered. This article reports the empirical data of a study in which a modified, 3D-printed instrument in the form of a shakuhachi was tested based on its usability in a classroom setting and the degree to which students were motivated to learn it. The positive results make a case for child-friendly, affordable, educational instruments that facilitate easy sound production and pitch bending without compromising authenticity and expression. Developing such educational instruments can play a crucial role in invigorating and transmitting traditional music.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"77 - 93"},"PeriodicalIF":1.6,"publicationDate":"2022-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46487470","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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