Pub Date : 2022-04-01DOI: 10.1177/1321103x221093027
Julie Ballantyne
{"title":"Editorial","authors":"Julie Ballantyne","doi":"10.1177/1321103x221093027","DOIUrl":"https://doi.org/10.1177/1321103x221093027","url":null,"abstract":"","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46421080","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 : 2022-03-28DOI: 10.1177/1321103X211053799
J. Carter
The ideas and philosophies of preservice secondary music teachers (PSMTs) are formalized in their tertiary education years. In these years, PSMTs must reconcile the expectations, beliefs, and values espoused by their lecturers, tutors, and other significant people from their past. PSMTs have accumulated various musical experiences through prior interactions with their primary and secondary school teachers and private tutors, which nurture and shape the kind of teachers they anticipate becoming. This research focuses on a group of six PSMTs who face a very different future, teaching in the COVID-19 world of digital delivery amid a time of curriculum change in New South Wales (NSW), Australia. Thirty-minute Zoom interviews with the six participants took place over the two semesters of 2020, beginning before the COVID-19 outbreak in Australia and investigating how prepared PSMTs felt they were for classroom teaching. Their most positive responses regarding online learning provided evidence that their music lecturers had built PSMTs’ understanding of the curriculum, which increased their confidence in their musical ability during practicum. The findings in this article provide an informed NSW perspective about PSMTs’ tertiary education, adding to research about classroom music pedagogy. Finally, the opinions of PSMTs on their current learning and future careers are of importance and interest for both tertiary education institutions and curriculum designers.
{"title":"Preservice music teachers in New South Wales: How prepared do they feel for secondary music teaching in a changing world?","authors":"J. Carter","doi":"10.1177/1321103X211053799","DOIUrl":"https://doi.org/10.1177/1321103X211053799","url":null,"abstract":"The ideas and philosophies of preservice secondary music teachers (PSMTs) are formalized in their tertiary education years. In these years, PSMTs must reconcile the expectations, beliefs, and values espoused by their lecturers, tutors, and other significant people from their past. PSMTs have accumulated various musical experiences through prior interactions with their primary and secondary school teachers and private tutors, which nurture and shape the kind of teachers they anticipate becoming. This research focuses on a group of six PSMTs who face a very different future, teaching in the COVID-19 world of digital delivery amid a time of curriculum change in New South Wales (NSW), Australia. Thirty-minute Zoom interviews with the six participants took place over the two semesters of 2020, beginning before the COVID-19 outbreak in Australia and investigating how prepared PSMTs felt they were for classroom teaching. Their most positive responses regarding online learning provided evidence that their music lecturers had built PSMTs’ understanding of the curriculum, which increased their confidence in their musical ability during practicum. The findings in this article provide an informed NSW perspective about PSMTs’ tertiary education, adding to research about classroom music pedagogy. Finally, the opinions of PSMTs on their current learning and future careers are of importance and interest for both tertiary education institutions and curriculum designers.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43571670","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 : 2022-03-28DOI: 10.1177/1321103X221076997
Anu Sepp, Heikki Ruismäki, L. Hietanen
Reflection is a key component in teachers’ educational programs. As teachers transfer human values through the subject(s) they teach, their pedagogical thinking plays an essential role in decision-making. As part of the Arctic Reformative and Exploratory Teaching Profession (ArkTOP) project (Finland), this case study examines the potential for developing pedagogical thinking in the education of primary school teachers. The aim of this study was to identify the levels of pedagogical thinking in students and educators through studying their reflections on piano courses. The results indicated that student teachers reflected on an action level rather than upon metatheory. Teacher educators shared reflections from both an object theory and metatheory level, while the student teachers’ reflections were focused on their individual skills when making music. Thus, teacher educators should offer student teachers more guidance on how to reflect upon their activities and provide argumentation for their possible pedagogical decisions.
{"title":"Student teachers’ and teacher educators’ pedagogical reflections on piano courses in Finnish primary school teacher education","authors":"Anu Sepp, Heikki Ruismäki, L. Hietanen","doi":"10.1177/1321103X221076997","DOIUrl":"https://doi.org/10.1177/1321103X221076997","url":null,"abstract":"Reflection is a key component in teachers’ educational programs. As teachers transfer human values through the subject(s) they teach, their pedagogical thinking plays an essential role in decision-making. As part of the Arctic Reformative and Exploratory Teaching Profession (ArkTOP) project (Finland), this case study examines the potential for developing pedagogical thinking in the education of primary school teachers. The aim of this study was to identify the levels of pedagogical thinking in students and educators through studying their reflections on piano courses. The results indicated that student teachers reflected on an action level rather than upon metatheory. Teacher educators shared reflections from both an object theory and metatheory level, while the student teachers’ reflections were focused on their individual skills when making music. Thus, teacher educators should offer student teachers more guidance on how to reflect upon their activities and provide argumentation for their possible pedagogical decisions.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48494605","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 : 2022-03-27DOI: 10.1177/1321103X221081787
Guro von Germeten
This article explores taste processes within a group of musical theater students and their voice teacher, the latter also acting as researcher, while working with an aesthetically broad repertoire in a higher education setting in Norway. The study is designed using an action research approach, and the collected data—students’ reflection notes, the researcher’s field notes, and workshop recordings—are analyzed through Antoine Hennion’s theoretical framework of taste as a performance that acts, engages, transforms, and is felt, and which involves skills and sensitizing. In the social sciences, taste is commonly regarded as a matter of cultural consumption. This article argues that tastes are also part of cultural production: musicians, here musical theater performers, are to be seen as music lovers, performing tastes that stabilize or challenge established taste patterns in the form of styles, genres, or traditions. Accounting for situations where tastes are performed, tested, and negotiated, this article argues that tastes have a history but are brought into a negotiating presence, producing implications for the future; in this case, tastes form vocal behaviors and vocal behaviors form tastes. Hence, in musical theater education, taste, taste-making, and taste-testing are part of systematic and formal pedagogics and students’ ongoing vocal training.
{"title":"We are also music lovers: Testing vocal tastes in higher musical theater education","authors":"Guro von Germeten","doi":"10.1177/1321103X221081787","DOIUrl":"https://doi.org/10.1177/1321103X221081787","url":null,"abstract":"This article explores taste processes within a group of musical theater students and their voice teacher, the latter also acting as researcher, while working with an aesthetically broad repertoire in a higher education setting in Norway. The study is designed using an action research approach, and the collected data—students’ reflection notes, the researcher’s field notes, and workshop recordings—are analyzed through Antoine Hennion’s theoretical framework of taste as a performance that acts, engages, transforms, and is felt, and which involves skills and sensitizing. In the social sciences, taste is commonly regarded as a matter of cultural consumption. This article argues that tastes are also part of cultural production: musicians, here musical theater performers, are to be seen as music lovers, performing tastes that stabilize or challenge established taste patterns in the form of styles, genres, or traditions. Accounting for situations where tastes are performed, tested, and negotiated, this article argues that tastes have a history but are brought into a negotiating presence, producing implications for the future; in this case, tastes form vocal behaviors and vocal behaviors form tastes. Hence, in musical theater education, taste, taste-making, and taste-testing are part of systematic and formal pedagogics and students’ ongoing vocal training.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49267405","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 : 2022-03-27DOI: 10.1177/1321103X211054384
Kelsey Nussbaum
The culture of competition in music education is pervasive, reflecting the overall growth in standardization and accountability measures in education. With this study, I addressed the intersection of two underexamined topics in music education: teachers’ experience with competitive ensemble events and the structural challenges of working in a low-income, student of color (SOC) majority campus. In this basic qualitative study, I examined how instrumental music teachers navigate the high-stakes policy of an adjudicated large-ensemble contest within and beyond their classrooms. Research questions include the following: (a) What do teachers perceive to be the unique challenges they face in preparing for and participating in ensemble adjudication as a result of their context in a low-income, SOC-majority campus? (b) How does preparation and participation ensemble adjudication influence teaching and learning in instrumental music classrooms? (c) What do teachers perceive to be the function and justification for compulsory ensemble adjudication? Findings suggest that teachers working in these contexts experience unique challenges in preparing for and succeeding in adjudication events due to the intersection of campus-based challenges and policy. In addition, music teachers experience similar narrowing of content and heightened stress as their general education counterparts within accountability structures.
{"title":"“Failing in spite of wonderfulness”: High-stakes ensemble adjudication in low-income schools","authors":"Kelsey Nussbaum","doi":"10.1177/1321103X211054384","DOIUrl":"https://doi.org/10.1177/1321103X211054384","url":null,"abstract":"The culture of competition in music education is pervasive, reflecting the overall growth in standardization and accountability measures in education. With this study, I addressed the intersection of two underexamined topics in music education: teachers’ experience with competitive ensemble events and the structural challenges of working in a low-income, student of color (SOC) majority campus. In this basic qualitative study, I examined how instrumental music teachers navigate the high-stakes policy of an adjudicated large-ensemble contest within and beyond their classrooms. Research questions include the following: (a) What do teachers perceive to be the unique challenges they face in preparing for and participating in ensemble adjudication as a result of their context in a low-income, SOC-majority campus? (b) How does preparation and participation ensemble adjudication influence teaching and learning in instrumental music classrooms? (c) What do teachers perceive to be the function and justification for compulsory ensemble adjudication? Findings suggest that teachers working in these contexts experience unique challenges in preparing for and succeeding in adjudication events due to the intersection of campus-based challenges and policy. In addition, music teachers experience similar narrowing of content and heightened stress as their general education counterparts within accountability structures.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46451218","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 : 2022-03-22DOI: 10.1177/1321103X211057457
P. Costes-Onishi, D. Kwek
Many scholars have advocated the addition of more intellectual activities in music classrooms, the most prominent being critical thinking through inquiry. Inquiry-based learning (IBL) has been recognized as necessary for teaching and learning that increases critical thinking skills and dispositions. This study describes an extensive list of indicators that could ascertain the pedagogical practices and intellectual quality of knowledge work indicating the strength of inquiry in music classrooms. It shows the relationships between these indicators that help us understand the enablers and hindrances to critical thinking as an aspect of IBL in music. The article focuses on the Descriptive Statistics results of 114 classroom observations for music at the Primary and Secondary levels, using coding schemes developed in the Singapore Core3-PP project from 2018 to 2020. The results confirm the gap identified in the literature that music classes lack significant inquiry work that would nurture critical thinking skills and dispositions. The findings provide pedagogical insights that can (a) inform educators on how to examine and grow their IBL practice in music lessons; (b) move music education’s objective toward a balanced development of music skills and knowledge construction; (c) develop critical musicality and independent musicianship among students; and (d) provide concrete measures for researchers to design interventions in the areas of teacher learning in IBL.
{"title":"Inquiry-based learning in music: Indicators and relationships between key pedagogical practices and the quality of critical thinking","authors":"P. Costes-Onishi, D. Kwek","doi":"10.1177/1321103X211057457","DOIUrl":"https://doi.org/10.1177/1321103X211057457","url":null,"abstract":"Many scholars have advocated the addition of more intellectual activities in music classrooms, the most prominent being critical thinking through inquiry. Inquiry-based learning (IBL) has been recognized as necessary for teaching and learning that increases critical thinking skills and dispositions. This study describes an extensive list of indicators that could ascertain the pedagogical practices and intellectual quality of knowledge work indicating the strength of inquiry in music classrooms. It shows the relationships between these indicators that help us understand the enablers and hindrances to critical thinking as an aspect of IBL in music. The article focuses on the Descriptive Statistics results of 114 classroom observations for music at the Primary and Secondary levels, using coding schemes developed in the Singapore Core3-PP project from 2018 to 2020. The results confirm the gap identified in the literature that music classes lack significant inquiry work that would nurture critical thinking skills and dispositions. The findings provide pedagogical insights that can (a) inform educators on how to examine and grow their IBL practice in music lessons; (b) move music education’s objective toward a balanced development of music skills and knowledge construction; (c) develop critical musicality and independent musicianship among students; and (d) provide concrete measures for researchers to design interventions in the areas of teacher learning in IBL.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42924863","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 : 2022-01-27DOI: 10.1177/1321103X211066807
Sarah H. Watts
Musical play is a vital aspect of children’s musical cultures. As the social and cultural experiences of children change over time, their playful engagements with music may reflect these shifts. The purpose of this oral historical research was to explore girlhood musical play experiences over the course of a span of approximately 80 years (ca. 1920–2009), as well as the influences at work in the transmission, continuity, and content of these musical play behaviors. Semi-structured interviews were implemented to illuminate the musical play experience stories of 20 female individuals spanning four generations of birth as well as the factors impacting the transmission and continuity of musical play over time through family lines and across age cohorts. Findings suggest that influences of family, temporal context and peer groups, popular culture, cultural contexts, and issues of gender identity and gender roles were all present in the transmission of musical play repertoires over time. A lack of interest in musical play was also reported, which additionally impacted transmission.
{"title":"Musical play in girlhood: Transgenerational oral historical accounts","authors":"Sarah H. Watts","doi":"10.1177/1321103X211066807","DOIUrl":"https://doi.org/10.1177/1321103X211066807","url":null,"abstract":"Musical play is a vital aspect of children’s musical cultures. As the social and cultural experiences of children change over time, their playful engagements with music may reflect these shifts. The purpose of this oral historical research was to explore girlhood musical play experiences over the course of a span of approximately 80 years (ca. 1920–2009), as well as the influences at work in the transmission, continuity, and content of these musical play behaviors. Semi-structured interviews were implemented to illuminate the musical play experience stories of 20 female individuals spanning four generations of birth as well as the factors impacting the transmission and continuity of musical play over time through family lines and across age cohorts. Findings suggest that influences of family, temporal context and peer groups, popular culture, cultural contexts, and issues of gender identity and gender roles were all present in the transmission of musical play repertoires over time. A lack of interest in musical play was also reported, which additionally impacted transmission.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42242037","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 : 2022-01-27DOI: 10.1177/1321103x211054793
Benjamin Bolden, Christopher DeLuca
This article reports research that identified and analyzed assessment for learning strategies employed by six Canadian music educators to support and develop student creativity. Findings include descriptions of creativity-nurturing practices organized into four categories: (a) developing assessment criteria, (b) encouraging creative processes, (c) optimizing the classroom context, and (d) activating self-assessment. Results include detailed descriptions of strategies that educators can employ to leverage formative assessment to nurture student creativity within and beyond music education contexts.
{"title":"Nurturing student creativity through assessment for learning in music classrooms","authors":"Benjamin Bolden, Christopher DeLuca","doi":"10.1177/1321103x211054793","DOIUrl":"https://doi.org/10.1177/1321103x211054793","url":null,"abstract":"This article reports research that identified and analyzed assessment for learning strategies employed by six Canadian music educators to support and develop student creativity. Findings include descriptions of creativity-nurturing practices organized into four categories: (a) developing assessment criteria, (b) encouraging creative processes, (c) optimizing the classroom context, and (d) activating self-assessment. Results include detailed descriptions of strategies that educators can employ to leverage formative assessment to nurture student creativity within and beyond music education contexts.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42337363","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 : 2022-01-10DOI: 10.1177/1321103X211054659
Jolan Kegelaers, Lotte Hoogkamer, R. Oudejans
Orchestra auditions form a critical career challenge for many aspiring classical musicians. Hence, emerging professional musicians—defined as promising musicians entering the professional circuit without having yet established full-time employment—require effective practice and performance strategies to manage the demands of auditions. The purpose of this collective case study was to gain an in-depth and contextualized understanding of such practice and performance management strategies in relation to mock orchestra auditions. Data were collected using an intensive qualitative approach, combining semi-structured interviews with regular structured monitoring interviews, with eight musicians. Content analysis revealed that participants, on average, engaged in 33 hr of music-related activities per week, during which they adopted self-regulating strategies (i.e., strategic goal setting, structuring practice, monitoring practice, and reflecting on progress) to a varying degree. Furthermore, participants used different performance management strategies to cope with the pressure of auditions (i.e., practicing under pressure, imagery, relaxation, cognitive reframing, routines, attentional control, and substance use). Overall, the data suggest that the emerging musicians possessed several different practice and performance strategies but showed great variation in the use of such strategies and had a preference for long practice hours. Potential implications for music education organizations aiming to prepare students for auditions are discussed.
{"title":"Practice and performance management strategies of emerging professional musicians in preparation for orchestra auditions","authors":"Jolan Kegelaers, Lotte Hoogkamer, R. Oudejans","doi":"10.1177/1321103X211054659","DOIUrl":"https://doi.org/10.1177/1321103X211054659","url":null,"abstract":"Orchestra auditions form a critical career challenge for many aspiring classical musicians. Hence, emerging professional musicians—defined as promising musicians entering the professional circuit without having yet established full-time employment—require effective practice and performance strategies to manage the demands of auditions. The purpose of this collective case study was to gain an in-depth and contextualized understanding of such practice and performance management strategies in relation to mock orchestra auditions. Data were collected using an intensive qualitative approach, combining semi-structured interviews with regular structured monitoring interviews, with eight musicians. Content analysis revealed that participants, on average, engaged in 33 hr of music-related activities per week, during which they adopted self-regulating strategies (i.e., strategic goal setting, structuring practice, monitoring practice, and reflecting on progress) to a varying degree. Furthermore, participants used different performance management strategies to cope with the pressure of auditions (i.e., practicing under pressure, imagery, relaxation, cognitive reframing, routines, attentional control, and substance use). Overall, the data suggest that the emerging musicians possessed several different practice and performance strategies but showed great variation in the use of such strategies and had a preference for long practice hours. Potential implications for music education organizations aiming to prepare students for auditions are discussed.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41829336","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 : 2021-12-15DOI: 10.1177/1321103X211038839
Yueh-Lan Liu
The purpose of this study was to explore differences in time spent practicing and the practice strategies used by Chinese music majors according to university location, instrument played, and participant gender. A total of 154 participants who played string, woodwind, brass, and keyboard instruments, including 103 participants attending Chinese universities and 51 Chinese participants pursuing degrees abroad (in the United States, Russia, and Great Britain) completed a Likert-type scale questionnaire. Findings indicated that students studying abroad spent more hours on weekly practice and had more years of instrumental study than students studying in China, but their responses also indicated they were less organized about their practice and had more difficulty concentrating while practicing than students in China. According to the analyses by instrument, woodwind and brass players were more likely to organize their practice than keyboard players; string, woodwind, and brass players were more likely to use recordings and metronomes than keyboard players; and brass players reported concentrating better than keyboard players. Regarding gender differences, the only significant difference was that female participants had spent more years studying their instruments than males. Identified differences can help instrumental instructors better understand students’ practice habits and tailor their teaching to fit the needs of students in response to individual differences.
{"title":"Differences in instrumental practice time and strategies among Chinese music majors","authors":"Yueh-Lan Liu","doi":"10.1177/1321103X211038839","DOIUrl":"https://doi.org/10.1177/1321103X211038839","url":null,"abstract":"The purpose of this study was to explore differences in time spent practicing and the practice strategies used by Chinese music majors according to university location, instrument played, and participant gender. A total of 154 participants who played string, woodwind, brass, and keyboard instruments, including 103 participants attending Chinese universities and 51 Chinese participants pursuing degrees abroad (in the United States, Russia, and Great Britain) completed a Likert-type scale questionnaire. Findings indicated that students studying abroad spent more hours on weekly practice and had more years of instrumental study than students studying in China, but their responses also indicated they were less organized about their practice and had more difficulty concentrating while practicing than students in China. According to the analyses by instrument, woodwind and brass players were more likely to organize their practice than keyboard players; string, woodwind, and brass players were more likely to use recordings and metronomes than keyboard players; and brass players reported concentrating better than keyboard players. Regarding gender differences, the only significant difference was that female participants had spent more years studying their instruments than males. Identified differences can help instrumental instructors better understand students’ practice habits and tailor their teaching to fit the needs of students in response to individual differences.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47344701","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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