Pub Date : 2022-06-25DOI: 10.1177/1321103X221100066
Tal Vaizman, Gal Harpaz
Music self-efficacy has been acknowledged as a strong predictor of successful performance among musicians and music students, but is less researched among amateur musicians. The purpose of this study is to examine the connection between music self-efficacy and learning and playing habits of amateur musicians who had preferences for online music tutorials as an informal learning technique. Two hundred and twenty-two amateur musicians completed four research questionnaires: (a) a general background questionnaire including learning and playing habits, (b) music self-efficacy, (c) self-esteem, and (d) online music tutorials users’ preferences, which distinguish between autonomy online music tutorials (fostering independent learners, incorporating context, and background) and dependent online music tutorials (offering mainly imitation options and providing little further knowledge). The results of the study supported the hypotheses, which predicted high music self-efficacy to be associated with the use of autonomy online music tutorials, co-playing, studying with a teacher, and self-esteem, and low music self-efficacy to be associated with the use of dependent online music tutorials. As music self-efficacy is crucial for students’ learning processes, we argue that music educators could refer students to optimal use of online music tutorials, thus fostering autonomous learners. Further research is required for clarifying the impact of personal characteristics and playing habits among amateur musicians on their music self-efficacy.
{"title":"Retuning music teaching: Online music tutorials preferences as predictors of amateur musicians’ music self-efficacy in informal music learning","authors":"Tal Vaizman, Gal Harpaz","doi":"10.1177/1321103X221100066","DOIUrl":"https://doi.org/10.1177/1321103X221100066","url":null,"abstract":"Music self-efficacy has been acknowledged as a strong predictor of successful performance among musicians and music students, but is less researched among amateur musicians. The purpose of this study is to examine the connection between music self-efficacy and learning and playing habits of amateur musicians who had preferences for online music tutorials as an informal learning technique. Two hundred and twenty-two amateur musicians completed four research questionnaires: (a) a general background questionnaire including learning and playing habits, (b) music self-efficacy, (c) self-esteem, and (d) online music tutorials users’ preferences, which distinguish between autonomy online music tutorials (fostering independent learners, incorporating context, and background) and dependent online music tutorials (offering mainly imitation options and providing little further knowledge). The results of the study supported the hypotheses, which predicted high music self-efficacy to be associated with the use of autonomy online music tutorials, co-playing, studying with a teacher, and self-esteem, and low music self-efficacy to be associated with the use of dependent online music tutorials. As music self-efficacy is crucial for students’ learning processes, we argue that music educators could refer students to optimal use of online music tutorials, thus fostering autonomous learners. Further research is required for clarifying the impact of personal characteristics and playing habits among amateur musicians on their music self-efficacy.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"397 - 414"},"PeriodicalIF":1.6,"publicationDate":"2022-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43923301","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 : 2022-06-17DOI: 10.1177/1321103X221103788
Calvin P Baker, Te Oti RĀKENA, S. Purdy
Female adolescent voice change (FAVC) is characterized by objectively measurable developments in both physiological and acoustical aspects of voice. Despite these observable changes, this period of vocal development has had little representation in both scientific and pedagogical research. Furthermore, few studies have articulated the perceptions and experiences of FAVC from the point of view of the singers themselves. This exploratory study collected data pertaining to vocal function and voice-learning experiences during adolescence from an anonymous cohort of female adolescent singing students in Aotearoa New Zealand. A link to an anonymous online questionnaire was disseminated through national online advertising and snowballing to prospective participants (cis-gender female adolescent singers aged 16–19 years). Using nonparametric statistical tests and qualitative analyses, significant associations were found between objective and perceptual measures of vocal function, voice-learning experience, and lesson delivery context. Participants who take individual singing lessons reported greater self-perceived ease of vocal function than those who take small group lessons. The FAVC is a stage of vocal and psycho-emotional development that may be either healthily facilitated or hindered by the level of student understanding of normal vocal-developmental characteristics as well as lesson delivery format. Data from this study add to a limited pool that aims to quantify the FAVC experience from an experiential perspective and will assist in refining pedagogical strategies for working with female adolescent singers.
{"title":"Exploring perceptions and experiences of female secondary school singers in Aotearoa New Zealand","authors":"Calvin P Baker, Te Oti RĀKENA, S. Purdy","doi":"10.1177/1321103X221103788","DOIUrl":"https://doi.org/10.1177/1321103X221103788","url":null,"abstract":"Female adolescent voice change (FAVC) is characterized by objectively measurable developments in both physiological and acoustical aspects of voice. Despite these observable changes, this period of vocal development has had little representation in both scientific and pedagogical research. Furthermore, few studies have articulated the perceptions and experiences of FAVC from the point of view of the singers themselves. This exploratory study collected data pertaining to vocal function and voice-learning experiences during adolescence from an anonymous cohort of female adolescent singing students in Aotearoa New Zealand. A link to an anonymous online questionnaire was disseminated through national online advertising and snowballing to prospective participants (cis-gender female adolescent singers aged 16–19 years). Using nonparametric statistical tests and qualitative analyses, significant associations were found between objective and perceptual measures of vocal function, voice-learning experience, and lesson delivery context. Participants who take individual singing lessons reported greater self-perceived ease of vocal function than those who take small group lessons. The FAVC is a stage of vocal and psycho-emotional development that may be either healthily facilitated or hindered by the level of student understanding of normal vocal-developmental characteristics as well as lesson delivery format. Data from this study add to a limited pool that aims to quantify the FAVC experience from an experiential perspective and will assist in refining pedagogical strategies for working with female adolescent singers.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"44 1","pages":"491 - 508"},"PeriodicalIF":1.6,"publicationDate":"2022-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48388561","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 : 2022-06-13DOI: 10.1177/1321103X221104296
Tuula Jääskeläinen
Enhancing our knowledge about students’ experiences during their studies in higher music education is essential to understand and support them as they cope with their specific workloads in studying music. This study provides a research-based understanding of what engaging in music means to music students when they reflected on their experiences of their studies and workloads. The data were collected from interviews with 29 students in higher music education institutions in Finland and the United Kingdom, and the analysis was conducted by following the framework of transcendental phenomenology. Music students’ experiences of their workload are connected in multifaceted ways to the meanings they ascribe to their engagement in music, such as intense and complex experiences that are also a source of vitality, their development as musicians, their creative self-expression, their interaction with others and in building a community, their personal growth and coping approaches during their studies, and the transcendental experiences they encounter during their engagement with music. Thus, the findings indicate that engaging in music is a holistic experience for music students. This study shows the importance of understanding and investing in music students’ unique workload experiences through research on the teaching and learning practices of higher music education institutions, which can in turn support music students’ well-being, learning, and future careers.
{"title":"“Music is my life”: Examining the connections between music students’ workload experiences in higher education and meaningful engagement in music","authors":"Tuula Jääskeläinen","doi":"10.1177/1321103X221104296","DOIUrl":"https://doi.org/10.1177/1321103X221104296","url":null,"abstract":"Enhancing our knowledge about students’ experiences during their studies in higher music education is essential to understand and support them as they cope with their specific workloads in studying music. This study provides a research-based understanding of what engaging in music means to music students when they reflected on their experiences of their studies and workloads. The data were collected from interviews with 29 students in higher music education institutions in Finland and the United Kingdom, and the analysis was conducted by following the framework of transcendental phenomenology. Music students’ experiences of their workload are connected in multifaceted ways to the meanings they ascribe to their engagement in music, such as intense and complex experiences that are also a source of vitality, their development as musicians, their creative self-expression, their interaction with others and in building a community, their personal growth and coping approaches during their studies, and the transcendental experiences they encounter during their engagement with music. Thus, the findings indicate that engaging in music is a holistic experience for music students. This study shows the importance of understanding and investing in music students’ unique workload experiences through research on the teaching and learning practices of higher music education institutions, which can in turn support music students’ well-being, learning, and future careers.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"260 - 278"},"PeriodicalIF":1.6,"publicationDate":"2022-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42615326","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 : 2022-06-03DOI: 10.1177/1321103X221099852
Yang Yang
Alignment between curriculum standards and teachers’ classroom instructional practices is critical in assessing curriculum implementation effectiveness and students’ learning. Using a modified version of the Surveys of Enacted Curriculum (SEC) for music, this study explored the alignment between the enacted curriculum and the national curriculum standards in the Chinese school system. Curriculum standards and classroom instructional practices were represented using sets of two-dimensional matrices that comprised content themes and five learning domains: Cognitive, Affective, Psychomotor, Social, and Cultural (the CAPSCt model). The results showed an overall high level of alignment (0.81–0.90). It was also suggested that the degree of alignment gradually decreased from the low grade to high grade band. Individual variations were evident in both the learning content and learning objectives, in which more emphasis was put on cognitive, affective, and psychomotor development than on social and cultural aspects. Methodological challenges and implications of the CAPSCt model for assessing curriculum enactment are also discussed.
{"title":"Assessing alignment between curriculum standards and teachers’ instructional practices in China’s school music education","authors":"Yang Yang","doi":"10.1177/1321103X221099852","DOIUrl":"https://doi.org/10.1177/1321103X221099852","url":null,"abstract":"Alignment between curriculum standards and teachers’ classroom instructional practices is critical in assessing curriculum implementation effectiveness and students’ learning. Using a modified version of the Surveys of Enacted Curriculum (SEC) for music, this study explored the alignment between the enacted curriculum and the national curriculum standards in the Chinese school system. Curriculum standards and classroom instructional practices were represented using sets of two-dimensional matrices that comprised content themes and five learning domains: Cognitive, Affective, Psychomotor, Social, and Cultural (the CAPSCt model). The results showed an overall high level of alignment (0.81–0.90). It was also suggested that the degree of alignment gradually decreased from the low grade to high grade band. Individual variations were evident in both the learning content and learning objectives, in which more emphasis was put on cognitive, affective, and psychomotor development than on social and cultural aspects. Methodological challenges and implications of the CAPSCt model for assessing curriculum enactment are also discussed.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"56 - 76"},"PeriodicalIF":1.6,"publicationDate":"2022-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43197585","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 : 2022-06-01DOI: 10.1177/1321103X221096553
Josef Hanson
The purpose of this study was to explore and synthesize the perspectives of primary-level students regarding their experiences in general music by analyzing their drawings. A research protocol was developed using an adaptation of the Kinetic School Drawing approach established by Prout and Phillips. A total of 180 primary students from four school contexts participated by creating pictorial depictions of both actual and ideal activities in general music class, which were then analyzed by an outside panel of expert assessors for apparent and implied features. The reactions and reflections of the general music specialists (n = 4) who taught the student participants were also documented and analyzed. Findings centered on students’ (a) preferences for agency and active, volitional learning activities, (b) desire for achievement, individualization, and feedback, and (c) tendencies to highlight compliant, institutionally appropriate behaviors over musical ones. The findings of this study suggest several implications for practice and the need for more intentional efforts to honor the perspectives of students when designing and facilitating music learning experiences, even at the primary level.
{"title":"Examining student depictions of actual and ideal learning experiences in elementary general music","authors":"Josef Hanson","doi":"10.1177/1321103X221096553","DOIUrl":"https://doi.org/10.1177/1321103X221096553","url":null,"abstract":"The purpose of this study was to explore and synthesize the perspectives of primary-level students regarding their experiences in general music by analyzing their drawings. A research protocol was developed using an adaptation of the Kinetic School Drawing approach established by Prout and Phillips. A total of 180 primary students from four school contexts participated by creating pictorial depictions of both actual and ideal activities in general music class, which were then analyzed by an outside panel of expert assessors for apparent and implied features. The reactions and reflections of the general music specialists (n = 4) who taught the student participants were also documented and analyzed. Findings centered on students’ (a) preferences for agency and active, volitional learning activities, (b) desire for achievement, individualization, and feedback, and (c) tendencies to highlight compliant, institutionally appropriate behaviors over musical ones. The findings of this study suggest several implications for practice and the need for more intentional efforts to honor the perspectives of students when designing and facilitating music learning experiences, even at the primary level.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"279 - 297"},"PeriodicalIF":1.6,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47602833","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 : 2022-06-01DOI: 10.1177/1321103X221099436
S. Nielsen, Anne Jordhus-Lier, S. Karlsen
In 1997, Norway became the first country to make statutory provision for schools of music and arts requiring every municipality to run such a school. Based on an explicit vision of “schools of music and arts for everyone,” the aim is to provide music education for all children, regardless of social and economic background. Despite their statutory status, there are no official documents regulating the teaching content. The schools have an advisory curriculum framework, but as this framework barely mentions musical genres, teachers are free to choose content and modes of instruction. In this article, we address the following research questions: What kinds of music are used as teaching content in the schools of music and arts? Who, and what, decide which music is used? We report the findings from a survey of music teachers (N = 151) working in schools of music and arts that were selected using a quota sampling strategy. The survey questionnaire comprised both structured and open-ended questions. We found that while the teaching content encompasses a wide range of musical genres and styles, various styles of popular music predominate. Moreover, the teachers’ own choice of music was altogether the most prominent option, along with other categories involving teacher-led decisions. Our findings also suggest that the teachers’ own preferences and taste in music had a certain impact on the content used. However, the students’ and teachers’ influence on the teaching content seems to vary with the musical style/genre being taught. Students’ preferences were emphasized to a higher degree when teaching popular music, while the teachers decided what music to play more often when teaching art music/classical music. The findings are discussed against Kallio’s ideas of the school censorship frame, and the authors argue that the wider cultural-musical heritage seems to be a strong force when making decisions about teaching content.
{"title":"Selecting repertoire for music teaching: Findings from Norwegian schools of music and arts","authors":"S. Nielsen, Anne Jordhus-Lier, S. Karlsen","doi":"10.1177/1321103X221099436","DOIUrl":"https://doi.org/10.1177/1321103X221099436","url":null,"abstract":"In 1997, Norway became the first country to make statutory provision for schools of music and arts requiring every municipality to run such a school. Based on an explicit vision of “schools of music and arts for everyone,” the aim is to provide music education for all children, regardless of social and economic background. Despite their statutory status, there are no official documents regulating the teaching content. The schools have an advisory curriculum framework, but as this framework barely mentions musical genres, teachers are free to choose content and modes of instruction. In this article, we address the following research questions: What kinds of music are used as teaching content in the schools of music and arts? Who, and what, decide which music is used? We report the findings from a survey of music teachers (N = 151) working in schools of music and arts that were selected using a quota sampling strategy. The survey questionnaire comprised both structured and open-ended questions. We found that while the teaching content encompasses a wide range of musical genres and styles, various styles of popular music predominate. Moreover, the teachers’ own choice of music was altogether the most prominent option, along with other categories involving teacher-led decisions. Our findings also suggest that the teachers’ own preferences and taste in music had a certain impact on the content used. However, the students’ and teachers’ influence on the teaching content seems to vary with the musical style/genre being taught. Students’ preferences were emphasized to a higher degree when teaching popular music, while the teachers decided what music to play more often when teaching art music/classical music. The findings are discussed against Kallio’s ideas of the school censorship frame, and the authors argue that the wider cultural-musical heritage seems to be a strong force when making decisions about teaching content.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"94 - 111"},"PeriodicalIF":1.6,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65371411","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 : 2022-05-04DOI: 10.1177/1321103X221089838
Silje Valde Onsrud, Bendik Fredriksen, Hanne Rinholm, Monica Lindgren
This article reports the results of a participatory action research study into Norwegian generalist music teacher education, that intended to develop spaces for preservice music teachers to foster agency and prepare for future teaching. We aimed to challenge the discursive practice of generalist music teacher education through participatory action research conducted from January to April 2020 at two central teacher education institutions in Norway. In this article, we present extracts from transcribed video recordings of the completed participatory action research that identify preservice music teachers’ positioning in interactions as a response to the challenges posed by action research events. Through our analysis, which draws on positioning theory from discourse psychology, we identify three primary positions taken up by preservice music teachers: (a) novices, (b) not yet independent, and (c) resource persons. The study identifies a need to interrupt traditional music teaching as a discursive practice that maintains power relations that obstruct preservice music teachers’ agency in their education. We conclude that more systematic long-term work is needed to change both educator and student habits and mind-sets.
{"title":"The multiplicity of preservice music teachers’ positioning in a participatory action research project","authors":"Silje Valde Onsrud, Bendik Fredriksen, Hanne Rinholm, Monica Lindgren","doi":"10.1177/1321103X221089838","DOIUrl":"https://doi.org/10.1177/1321103X221089838","url":null,"abstract":"This article reports the results of a participatory action research study into Norwegian generalist music teacher education, that intended to develop spaces for preservice music teachers to foster agency and prepare for future teaching. We aimed to challenge the discursive practice of generalist music teacher education through participatory action research conducted from January to April 2020 at two central teacher education institutions in Norway. In this article, we present extracts from transcribed video recordings of the completed participatory action research that identify preservice music teachers’ positioning in interactions as a response to the challenges posed by action research events. Through our analysis, which draws on positioning theory from discourse psychology, we identify three primary positions taken up by preservice music teachers: (a) novices, (b) not yet independent, and (c) resource persons. The study identifies a need to interrupt traditional music teaching as a discursive practice that maintains power relations that obstruct preservice music teachers’ agency in their education. We conclude that more systematic long-term work is needed to change both educator and student habits and mind-sets.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"329 - 343"},"PeriodicalIF":1.6,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47274088","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 : 2022-05-03DOI: 10.1177/1321103X221087063
Hiromichi Mito, H. Kinjo
This study aimed to examine the association between musical activities and quality of life in older adults using a questionnaire survey. The questionnaire consisted of three parts: background variables, quality of life variables (measured from two aspects: appreciation of life and life-ability of the person), and musical activity variables (frequency of engagement in musical activities, perceived importance of musical activities, motivation for acquiring musical skills and knowledge, and self-efficacy regarding musical skills and knowledge). It was sent to 525 people aged 60 to 98 years who were enrolled in two Silver Human Resource Centers in Tokyo. We found a significant correlation between almost all the musical activity variables and the quality of life measures; the trend was consistent even after controlling for background variables. The results indicated that both the frequency of involvement in musical activities and the mindset toward musical skills and potency were associated with quality of life. The strength of this study is that the association between quality of life and various musical aspects—both frequency of participation and psychological aspects of musical activities—was explored within the same research design, which is the first to be carried out solely with older adults.
{"title":"A cross-sectional study on relationships between musical activities and quality of life in Japanese older adults","authors":"Hiromichi Mito, H. Kinjo","doi":"10.1177/1321103X221087063","DOIUrl":"https://doi.org/10.1177/1321103X221087063","url":null,"abstract":"This study aimed to examine the association between musical activities and quality of life in older adults using a questionnaire survey. The questionnaire consisted of three parts: background variables, quality of life variables (measured from two aspects: appreciation of life and life-ability of the person), and musical activity variables (frequency of engagement in musical activities, perceived importance of musical activities, motivation for acquiring musical skills and knowledge, and self-efficacy regarding musical skills and knowledge). It was sent to 525 people aged 60 to 98 years who were enrolled in two Silver Human Resource Centers in Tokyo. We found a significant correlation between almost all the musical activity variables and the quality of life measures; the trend was consistent even after controlling for background variables. The results indicated that both the frequency of involvement in musical activities and the mindset toward musical skills and potency were associated with quality of life. The strength of this study is that the association between quality of life and various musical aspects—both frequency of participation and psychological aspects of musical activities—was explored within the same research design, which is the first to be carried out solely with older adults.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"37 - 55"},"PeriodicalIF":1.6,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47550575","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 : 2022-04-22DOI: 10.1177/1321103x221078521
Rachel Grimsby
The purpose of this instrumental case study was to observe music educators and special education paraprofessionals (SEPs) in a learning community that examined their perceptions and necessary practices needed to teach music to students with disabilities. The primary question of this study was: How may a community of practice (CoP) offer collaboration and instructional support for music educators and SEPs? Participants found the collaborative nature of the group to be the most beneficial. While instructional practices were moderately impacted, participants’ perceptions of their colleagues were changed. Participants also discovered similarities between their positions and shared concerns over systemic issues in education which impacted their positions within their school communities.
{"title":"“A meeting of equals”: Music educators and special education paraprofessionals in a community of practice","authors":"Rachel Grimsby","doi":"10.1177/1321103x221078521","DOIUrl":"https://doi.org/10.1177/1321103x221078521","url":null,"abstract":"The purpose of this instrumental case study was to observe music educators and special education paraprofessionals (SEPs) in a learning community that examined their perceptions and necessary practices needed to teach music to students with disabilities. The primary question of this study was: How may a community of practice (CoP) offer collaboration and instructional support for music educators and SEPs? Participants found the collaborative nature of the group to be the most beneficial. While instructional practices were moderately impacted, participants’ perceptions of their colleagues were changed. Participants also discovered similarities between their positions and shared concerns over systemic issues in education which impacted their positions within their school communities.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2022-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48057071","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 : 2022-04-19DOI: 10.1177/1321103X221081984
Brianna DeSantis, Sarah L. Deck, C. Hall, S. Roland
Previous sport research has demonstrated that athletes of higher levels employ imagery more than low-level athletes. Because there is currently little research on imagery’s application in singers, the purpose of the present study was to investigate whether this finding is reflected in low-level and high-level singers. A study-specific questionnaire was developed that examined singers’ imagery use. The questionnaire consisted of four subscales that assessed vocal technique, performance anxiety regulation, goals, and characterization. It was found that singers used imagery most for characterization (i.e., portraying a character or feeling), followed by goals, vocal technique, and performance anxiety regulation. No differences existed between professional and student singers’ imagery use. There was a significant difference between males and females on the characterization subscale, suggesting that female singers may use imagery for characterization more so than males. Introducing this approach to imagery to singers and teachers of singing has the potential to influence music education in school settings and impact curriculum development.
{"title":"Why do singers use imagery?","authors":"Brianna DeSantis, Sarah L. Deck, C. Hall, S. Roland","doi":"10.1177/1321103X221081984","DOIUrl":"https://doi.org/10.1177/1321103X221081984","url":null,"abstract":"Previous sport research has demonstrated that athletes of higher levels employ imagery more than low-level athletes. Because there is currently little research on imagery’s application in singers, the purpose of the present study was to investigate whether this finding is reflected in low-level and high-level singers. A study-specific questionnaire was developed that examined singers’ imagery use. The questionnaire consisted of four subscales that assessed vocal technique, performance anxiety regulation, goals, and characterization. It was found that singers used imagery most for characterization (i.e., portraying a character or feeling), followed by goals, vocal technique, and performance anxiety regulation. No differences existed between professional and student singers’ imagery use. There was a significant difference between males and females on the characterization subscale, suggesting that female singers may use imagery for characterization more so than males. Introducing this approach to imagery to singers and teachers of singing has the potential to influence music education in school settings and impact curriculum development.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"44 1","pages":"527 - 540"},"PeriodicalIF":1.6,"publicationDate":"2022-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42528710","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：