Abstract The purpose of this study was to systematically examine the topics and methods of assessment-related articles published in American music education journals. I reviewed articles from five scholarly journals and five practitioner journals with a journal issue publication date between January 1, 2000, and December 31, 2020, to identify peer-reviewed research and interest articles related to student assessment and evaluation. A team of three coders classified each of the admissible articles (N = 210) according to its article type, assessment topic and subtopic, and research methodology when applicable. In the scholarly journals, full ensembles and adjudicated festivals was the most common topic. Individual student assessment represented 79% of the articles in the practitioner journals. The most common scholarly subtopic was quantitative analysis of festival ratings, while the most common practitioner subtopic was classroom assessment practices. Grades and grading represented only eight articles (3.83%) across the entire study period, an average of fewer than one article per journal from 2000 to 2020.
{"title":"A Content Analysis of Assessment Articles in American Music Education Journals, 2000–2020","authors":"Brian P. Shaw","doi":"10.5406/21627223.236.04","DOIUrl":"https://doi.org/10.5406/21627223.236.04","url":null,"abstract":"Abstract The purpose of this study was to systematically examine the topics and methods of assessment-related articles published in American music education journals. I reviewed articles from five scholarly journals and five practitioner journals with a journal issue publication date between January 1, 2000, and December 31, 2020, to identify peer-reviewed research and interest articles related to student assessment and evaluation. A team of three coders classified each of the admissible articles (N = 210) according to its article type, assessment topic and subtopic, and research methodology when applicable. In the scholarly journals, full ensembles and adjudicated festivals was the most common topic. Individual student assessment represented 79% of the articles in the practitioner journals. The most common scholarly subtopic was quantitative analysis of festival ratings, while the most common practitioner subtopic was classroom assessment practices. Grades and grading represented only eight articles (3.83%) across the entire study period, an average of fewer than one article per journal from 2000 to 2020.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776645","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This instrumental case study was designed to elicit a nuanced view of perspectives and approaches to citizenship education in one context of music teaching and learning. I chose an El Sistema-inspired youth orchestra program as an instrumental case of citizenship education given the program's explicit mission: to educate students as citizens through intensive ensemble-based music instruction. Throughout one academic year, I conducted observations of the program's routine activities and engaged with five participants in interviews and processes of member reflection. Through these interviews, one program director, two instructors, and two student participants illuminated the phenomenon of citizenship education within the case. I chose a theoretical framework encompassing Nussbaum's (1998, 2000) world citizenship, as well as categories of legalism and communitarianism, to analyze perspectives and program practices relevant to citizenship education. Primary themes related to participants’ perspectives on citizenship education included expectations for individual development via musical and intrapersonal skills. Additionally, program participants discussed possible instruments of wider social and community change through long-term program outcomes. Based on this analysis, I suggest that organizations intent on citizenship education more closely examine whether classical techniques and curricula inspired by El Sistema best fulfill their missions or if the needs of their communities transcend these traditions.
{"title":"Teaching Citizenship Through Music Education: A Case Study of a Community Youth Orchestra Program","authors":"Amanda E. Ellerbe","doi":"10.5406/21627223.236.03","DOIUrl":"https://doi.org/10.5406/21627223.236.03","url":null,"abstract":"Abstract This instrumental case study was designed to elicit a nuanced view of perspectives and approaches to citizenship education in one context of music teaching and learning. I chose an El Sistema-inspired youth orchestra program as an instrumental case of citizenship education given the program's explicit mission: to educate students as citizens through intensive ensemble-based music instruction. Throughout one academic year, I conducted observations of the program's routine activities and engaged with five participants in interviews and processes of member reflection. Through these interviews, one program director, two instructors, and two student participants illuminated the phenomenon of citizenship education within the case. I chose a theoretical framework encompassing Nussbaum's (1998, 2000) world citizenship, as well as categories of legalism and communitarianism, to analyze perspectives and program practices relevant to citizenship education. Primary themes related to participants’ perspectives on citizenship education included expectations for individual development via musical and intrapersonal skills. Additionally, program participants discussed possible instruments of wider social and community change through long-term program outcomes. Based on this analysis, I suggest that organizations intent on citizenship education more closely examine whether classical techniques and curricula inspired by El Sistema best fulfill their missions or if the needs of their communities transcend these traditions.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In this article, I offer a loving critique (Paris & Alim, 2014) of the Universal Design for Learning (UDL) that focuses explicitly on its call to employ predictable learning variability in pedagogical preparation (Glass et al., 2013). I argue that predictable learning variability calls upon teachers to imagine disability and point to specific phenomena that may well occupy educators’ imaginations in relation to disability. I first offer an introduction to UDL, including how UDL could function in music classes. Then I explicate the concept of predictable learning variability and problematize how this facet of UDL calls on educators to imagine disability. Drawing upon Toni Morrison (1990), Deborah Bradley (2003), and Erica Meiners (2001), I explore what imagination might do. Subsequently, I examine how disability is represented in the public sphere and argue that phenomena such as inspiration porn, the narrative of the supercrip, overdisclosure, and the Individuals with Disabilities Education Act (IDEA) occupy the public imagination of disability. I suggest instead that educators direct their imaginations toward their pedagogy and hold high expectations in the classroom.
{"title":"The Dangers of Predictable Learning Variability: Challenging the Imagining of Disability in the Universal Design for Learning in Music Education","authors":"Juliet Hess","doi":"10.5406/21627223.236.02","DOIUrl":"https://doi.org/10.5406/21627223.236.02","url":null,"abstract":"Abstract In this article, I offer a loving critique (Paris & Alim, 2014) of the Universal Design for Learning (UDL) that focuses explicitly on its call to employ predictable learning variability in pedagogical preparation (Glass et al., 2013). I argue that predictable learning variability calls upon teachers to imagine disability and point to specific phenomena that may well occupy educators’ imaginations in relation to disability. I first offer an introduction to UDL, including how UDL could function in music classes. Then I explicate the concept of predictable learning variability and problematize how this facet of UDL calls on educators to imagine disability. Drawing upon Toni Morrison (1990), Deborah Bradley (2003), and Erica Meiners (2001), I explore what imagination might do. Subsequently, I examine how disability is represented in the public sphere and argue that phenomena such as inspiration porn, the narrative of the supercrip, overdisclosure, and the Individuals with Disabilities Education Act (IDEA) occupy the public imagination of disability. I suggest instead that educators direct their imaginations toward their pedagogy and hold high expectations in the classroom.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Some choral method textbook authors suggest teaching rhythm, pitch, and text first prior to introducing expressive elements (post-expression sequence), while others recommend teaching expressive elements from the beginning alongside rhythm, pitch, and text (infused-expression sequence). The purpose of the current study was to investigate whether the sequence in which a solo singer learns the elements of a song (e.g., rhythm, pitch, text, expression) influences the musical expression (e.g., articulation, dynamics) of their performance in an online setting. Participants included 58 fifth through eighth graders from three elementary schools and three middle schools located in the southeast United States. Participants learned two different songs at home from a digital recording under two different sequences (infused-expression, post-expression). Results showed that when students learned a song using an infused-expression sequence they performed more expressively than students who learned a song using a post-expression sequence. Introducing expressive elements early resulted in a more expressive performance. Implications for the use and benefits of infused-expression sequencing as well as future research will be discussed.
{"title":"The Effects of Sequence on Expressivity in Solo Singing of Young Voices","authors":"Craig R. Hurley, Rebecca L. Atkins","doi":"10.5406/21627223.236.01","DOIUrl":"https://doi.org/10.5406/21627223.236.01","url":null,"abstract":"Abstract Some choral method textbook authors suggest teaching rhythm, pitch, and text first prior to introducing expressive elements (post-expression sequence), while others recommend teaching expressive elements from the beginning alongside rhythm, pitch, and text (infused-expression sequence). The purpose of the current study was to investigate whether the sequence in which a solo singer learns the elements of a song (e.g., rhythm, pitch, text, expression) influences the musical expression (e.g., articulation, dynamics) of their performance in an online setting. Participants included 58 fifth through eighth graders from three elementary schools and three middle schools located in the southeast United States. Participants learned two different songs at home from a digital recording under two different sequences (infused-expression, post-expression). Results showed that when students learned a song using an infused-expression sequence they performed more expressively than students who learned a song using a post-expression sequence. Introducing expressive elements early resulted in a more expressive performance. Implications for the use and benefits of infused-expression sequencing as well as future research will be discussed.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":"334 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Method books in a beginner band class often serve as the curriculum and the primary source of instructional material for learning to play an instrument during the foundational years. While method books provide an opportunity to motivate beginners, scaffold instruction, and introduce students to concert band repertoire, teachers should also consider how method books support an inclusive and culturally responsive instrumental music classroom. The purpose of this study was to analyze the content of nine widely distributed beginner band method books to determine the patterns of repertoire included. Method book melodies were analyzed for composer demographics, countries of origin, and categories of repertoire. Data revealed a continued emphasis on melodic material derived from the Western canon, White male composers, and Anglo-American cultures, including a high prevalence of songs from blackface minstrelsy. We offer recommendations regarding the need for more diverse musical materials at the beginner band level.
{"title":"A Content Analysis of Nine Beginner Band Method Books","authors":"Susan A. Davis, Chelsea Rosenberg","doi":"10.5406/21627223.235.01","DOIUrl":"https://doi.org/10.5406/21627223.235.01","url":null,"abstract":"\u0000 Method books in a beginner band class often serve as the curriculum and the primary source of instructional material for learning to play an instrument during the foundational years. While method books provide an opportunity to motivate beginners, scaffold instruction, and introduce students to concert band repertoire, teachers should also consider how method books support an inclusive and culturally responsive instrumental music classroom. The purpose of this study was to analyze the content of nine widely distributed beginner band method books to determine the patterns of repertoire included. Method book melodies were analyzed for composer demographics, countries of origin, and categories of repertoire. Data revealed a continued emphasis on melodic material derived from the Western canon, White male composers, and Anglo-American cultures, including a high prevalence of songs from blackface minstrelsy. We offer recommendations regarding the need for more diverse musical materials at the beginner band level.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48381613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Competition is a common practice in school bands and professional music education organizations. The purpose of this study was to describe the retrospective accounts of two high school band directors’ agency during a period of their active resistance to competition. We sought to verify and supplement their recollections with the lasting memories of multiple stakeholders involved in their programs. Research questions were: (a) What led two band directors to minimize competition and create a noncompetitive concert festival for their students? and (b) What ecological elements were salient in their agency? We collected data through interviews and document review, and we used Priestley et al.’s (2015) ecological approach to examine teacher agency as an emergent phenomenon. Themes included paradigm shift, disillusionment with the status quo, and nurturing, trusting relationships. A prescribed repertoire list, dissatisfaction with state adjudicators, and personality traits of nonconformity and open mindedness fueled the two educators’ disillusionment. We provide implications for music educators, music teacher educators, and professional organizations.
{"title":"Two Music Educators’ Resistance to Competition","authors":"O. Tucker, Robert C. Jordan, Christopher Hathaway","doi":"10.5406/21627223.235.02","DOIUrl":"https://doi.org/10.5406/21627223.235.02","url":null,"abstract":"\u0000 Competition is a common practice in school bands and professional music education organizations. The purpose of this study was to describe the retrospective accounts of two high school band directors’ agency during a period of their active resistance to competition. We sought to verify and supplement their recollections with the lasting memories of multiple stakeholders involved in their programs. Research questions were: (a) What led two band directors to minimize competition and create a noncompetitive concert festival for their students? and (b) What ecological elements were salient in their agency? We collected data through interviews and document review, and we used Priestley et al.’s (2015) ecological approach to examine teacher agency as an emergent phenomenon. Themes included paradigm shift, disillusionment with the status quo, and nurturing, trusting relationships. A prescribed repertoire list, dissatisfaction with state adjudicators, and personality traits of nonconformity and open mindedness fueled the two educators’ disillusionment. We provide implications for music educators, music teacher educators, and professional organizations.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43673246","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this study was to observe and analyze the reciprocal peer teaching (RPT) behaviors of university students who were enrolled in an introductory-level guitar course. Students (N = 30) participated in two training sessions, were paired off in asymmetrical dyads based on a baseline examination of their individual performance skills, and arranged a 10-to-15-minute time to meet with their partner outside of class and record their RPT over the video conferencing platform Zoom. Using SCRIBE software (Duke, 2020) and a modified version of codes derived by Colprit (2000), the timing and durations of selected peer tutor behaviors were recorded. A total of 2 hours, 23 minutes, and 40 seconds of video footage was analyzed. Results of student surveys following the treatment period indicated the value of individualized instruction and newfound empathy for the teaching process. The explicit use of modeling and repetition coupled with the relative lack of negative feedback and guiding questions indicated that further training would have been beneficial in promoting tutee success. The present findings prompt questions regarding the training and implementation of RPT in university music classrooms and directions for future research.
{"title":"Observation and Analysis of Reciprocal Peer Teaching in University Guitar Classes","authors":"D. Saccardi","doi":"10.5406/21627223.235.03","DOIUrl":"https://doi.org/10.5406/21627223.235.03","url":null,"abstract":"\u0000 The purpose of this study was to observe and analyze the reciprocal peer teaching (RPT) behaviors of university students who were enrolled in an introductory-level guitar course. Students (N = 30) participated in two training sessions, were paired off in asymmetrical dyads based on a baseline examination of their individual performance skills, and arranged a 10-to-15-minute time to meet with their partner outside of class and record their RPT over the video conferencing platform Zoom. Using SCRIBE software (Duke, 2020) and a modified version of codes derived by Colprit (2000), the timing and durations of selected peer tutor behaviors were recorded. A total of 2 hours, 23 minutes, and 40 seconds of video footage was analyzed. Results of student surveys following the treatment period indicated the value of individualized instruction and newfound empathy for the teaching process. The explicit use of modeling and repetition coupled with the relative lack of negative feedback and guiding questions indicated that further training would have been beneficial in promoting tutee success. The present findings prompt questions regarding the training and implementation of RPT in university music classrooms and directions for future research.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46937395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Rose A. Sciaroni, Heather L. Beers, Brenda L. Brenner, Robert J. Wilson
The purpose of this study was to identify trends in string research published in peer-reviewed music education research journals between 1990 and 2021. String education research was defined as scholarly articles in which the purpose of the article pertained specifically to string education and/or at least 33% of the participants played bowed stringed instruments. Peer-reviewed journals were determined based on Hamann and Lucas's (1998) list of top-tier journals, Farmer and Kloss's (2022) quasi-replication of that study, a 2006 list compiled by a music education researcher, and an informal survey of music education faculty at a large midwestern university. The resulting list included the Journal of Research in Music Education, Psychology of Music, Bulletin of the Council for Research in Music Education, Music Education Research, International Journal of Music Education, Research Studies in Music Education, Philosophy of Music Education Review, Journal of Historical Research in Music Education, and String Research Journal.For each journal issue, the researchers counted the total number of scholarly articles (N = 4,727) and the total number of string education research articles (n = 276). String education articles represented less than 6% of the total scholarly articles, or less than 5% without the String Research Journal. The method, instruments, participants, and topic of each string article were also recorded. Descriptive research methods were used most frequently, strings and violin were the most frequent instrument categories studied, university students were the most studied participant population, and musical training and skills was the most frequently investigated topic.
{"title":"String Music Education Research: A Content Analysis of Peer-Reviewed Journals From 1990–2021","authors":"Rose A. Sciaroni, Heather L. Beers, Brenda L. Brenner, Robert J. Wilson","doi":"10.5406/21627223.235.04","DOIUrl":"https://doi.org/10.5406/21627223.235.04","url":null,"abstract":"\u0000 The purpose of this study was to identify trends in string research published in peer-reviewed music education research journals between 1990 and 2021. String education research was defined as scholarly articles in which the purpose of the article pertained specifically to string education and/or at least 33% of the participants played bowed stringed instruments. Peer-reviewed journals were determined based on Hamann and Lucas's (1998) list of top-tier journals, Farmer and Kloss's (2022) quasi-replication of that study, a 2006 list compiled by a music education researcher, and an informal survey of music education faculty at a large midwestern university. The resulting list included the Journal of Research in Music Education, Psychology of Music, Bulletin of the Council for Research in Music Education, Music Education Research, International Journal of Music Education, Research Studies in Music Education, Philosophy of Music Education Review, Journal of Historical Research in Music Education, and String Research Journal.For each journal issue, the researchers counted the total number of scholarly articles (N = 4,727) and the total number of string education research articles (n = 276). String education articles represented less than 6% of the total scholarly articles, or less than 5% without the String Research Journal. The method, instruments, participants, and topic of each string article were also recorded. Descriptive research methods were used most frequently, strings and violin were the most frequent instrument categories studied, university students were the most studied participant population, and musical training and skills was the most frequently investigated topic.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":"1 1","pages":""},"PeriodicalIF":0.9,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42008838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article describes several latent variable approaches that can support rigorous quantitative inquiry in music education. I provide a definition of latent variables, list several advantages associated with their use for the measurement of constructs, and review three types of latent variables featuring utility for music education scholars: factor models, item response models, and latent class (mixture) models. Each type of model is illustrated with exemplar studies from music education literature. In addition, I report the results of a systematic analysis of latent variables’ use in published music education research. Over the past decade, latent variables were used in only 14.29% of the quantitative research reports in two prominent journals: the Bulletin of the Council for Research in Music Education and the Journal of Research in Music Education. The majority of these latent variable applications (80.56%) were factor models; however, there are myriad additional possibilities. While not appropriate for every study, latent variable models have as-yet unrealized potential to improve the richness and rigor in nearly all areas of music education research.
{"title":"Unobserved Potential: Latent Variables and Music Education Research","authors":"B. Shaw","doi":"10.5406/21627223.234.03","DOIUrl":"https://doi.org/10.5406/21627223.234.03","url":null,"abstract":"\u0000 This article describes several latent variable approaches that can support rigorous quantitative inquiry in music education. I provide a definition of latent variables, list several advantages associated with their use for the measurement of constructs, and review three types of latent variables featuring utility for music education scholars: factor models, item response models, and latent class (mixture) models. Each type of model is illustrated with exemplar studies from music education literature. In addition, I report the results of a systematic analysis of latent variables’ use in published music education research. Over the past decade, latent variables were used in only 14.29% of the quantitative research reports in two prominent journals: the Bulletin of the Council for Research in Music Education and the Journal of Research in Music Education. The majority of these latent variable applications (80.56%) were factor models; however, there are myriad additional possibilities. While not appropriate for every study, latent variable models have as-yet unrealized potential to improve the richness and rigor in nearly all areas of music education research.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":"1 1","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41602036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this study was to explore adolescent self-views of singing ability through both implicit theories (i.e., fixed mindset and growth mindset) and self-concept meaning systems in the context of a choral hierarchy. Using a survey instrument modified from Dweck (1999) to measure self-theories of singing ability, I gathered data from middle and high school participants currently enrolled in a hierarchical choral structure. I analyzed descriptive statistics of survey responses to items designed to measure implicit theories of singing ability, singing self-concept, and goal orientation and differences among participants by ensemble placement in implicit theory and self-concept scores. In addition to these quantitative measures, I coded open-ended responses to two failure scenarios and examined participant responses by ensemble and gender. Both implicit theory and self-concept scores were higher for participants at the top of the choral hierarchy. Open-ended responses indicated that failure scenarios were associated with lowered self-concept and shame in ensemble placement, especially for female-identifying participants.
{"title":"Adolescent Self-Theories of Singing Ability Within a Choral Hierarchy","authors":"K. Adams","doi":"10.5406/21627223.234.01","DOIUrl":"https://doi.org/10.5406/21627223.234.01","url":null,"abstract":"\u0000 The purpose of this study was to explore adolescent self-views of singing ability through both implicit theories (i.e., fixed mindset and growth mindset) and self-concept meaning systems in the context of a choral hierarchy. Using a survey instrument modified from Dweck (1999) to measure self-theories of singing ability, I gathered data from middle and high school participants currently enrolled in a hierarchical choral structure. I analyzed descriptive statistics of survey responses to items designed to measure implicit theories of singing ability, singing self-concept, and goal orientation and differences among participants by ensemble placement in implicit theory and self-concept scores. In addition to these quantitative measures, I coded open-ended responses to two failure scenarios and examined participant responses by ensemble and gender. Both implicit theory and self-concept scores were higher for participants at the top of the choral hierarchy. Open-ended responses indicated that failure scenarios were associated with lowered self-concept and shame in ensemble placement, especially for female-identifying participants.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49370047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","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：