The purpose of this study was to examine current trends regarding citation frequencies in music education research journals. Through a quasi-replication of the Hamann and Lucas (1998) journal eminence study, each reference in all articles of four nationally distributed publications (Journal of Research in Music Education, Bulletin of the Council for Research in Music Education, Update: Applications of Research in Music Education, and Contributions to Music Education) over 6 years (2014–2019) were recorded, resulting in 18,401 total citations. Final tabulations recorded an increase in overall cited journals (576 to 1,451) and an increase in cited music journals (134 to 149). The 15 most cited journals in music education and adjacent research fields were ranked and grouped into three tiers. As scholarship and publication remain both essential and rewarding duties for music education scholars, the ability to inform their supervisors of the perceived eminence for their published work can be crucial evidence for tenure or promotion.
{"title":"Music Education Research Citations: A Replication Study and Current Perspective","authors":"D. M. Farmer, Thomas E. Kloss","doi":"10.5406/21627223.231.03","DOIUrl":"https://doi.org/10.5406/21627223.231.03","url":null,"abstract":"\u0000 The purpose of this study was to examine current trends regarding citation frequencies in music education research journals. Through a quasi-replication of the Hamann and Lucas (1998) journal eminence study, each reference in all articles of four nationally distributed publications (Journal of Research in Music Education, Bulletin of the Council for Research in Music Education, Update: Applications of Research in Music Education, and Contributions to Music Education) over 6 years (2014–2019) were recorded, resulting in 18,401 total citations. Final tabulations recorded an increase in overall cited journals (576 to 1,451) and an increase in cited music journals (134 to 149). The 15 most cited journals in music education and adjacent research fields were ranked and grouped into three tiers. As scholarship and publication remain both essential and rewarding duties for music education scholars, the ability to inform their supervisors of the perceived eminence for their published work can be crucial evidence for tenure or promotion.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47602981","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}
While a significant body of literature is available offering recommendations for teaching music to students with autism spectrum disorder (ASD), there is a lack of supporting empirical research. The purpose of this literature review was to examine empirical research conducted between 2013–2019 that studied best practices for teaching students with ASD in general education settings and how this research could inform future lines of inquiry in the field of music education. These findings are examined using the tenets of Disability Studies in Education. I reviewed 47 publications from general education that provided empirical support for best practices for teaching students with ASD. Findings are organized in four sections: “Teacher-Directed Approaches to Instruction,” “Intervention Tools,” “Peer-Mediated Instruction,” and “The Autistic Voice.” Examining this literature provides insights into unique research methods pertaining to data collection with students with ASD and future research related to instruction and support for students with ASD in music contexts.
{"title":"Educational Research for Students with Autism Spectrum Disorder: Recommendations for Music Education","authors":"A. Draper","doi":"10.5406/21627223.230.02","DOIUrl":"https://doi.org/10.5406/21627223.230.02","url":null,"abstract":"\u0000 While a significant body of literature is available offering recommendations for teaching music to students with autism spectrum disorder (ASD), there is a lack of supporting empirical research. The purpose of this literature review was to examine empirical research conducted between 2013–2019 that studied best practices for teaching students with ASD in general education settings and how this research could inform future lines of inquiry in the field of music education. These findings are examined using the tenets of Disability Studies in Education. I reviewed 47 publications from general education that provided empirical support for best practices for teaching students with ASD. Findings are organized in four sections: “Teacher-Directed Approaches to Instruction,” “Intervention Tools,” “Peer-Mediated Instruction,” and “The Autistic Voice.” Examining this literature provides insights into unique research methods pertaining to data collection with students with ASD and future research related to instruction and support for students with ASD in music contexts.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46769872","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}
Professional development is an important part of any teaching career. Although it has been investigated within the field of music education, there is limited research on the experiences of mid-career music teachers from a first-person perspective, especially within a conservatory context. In this collaborative self-study, the authors analyze the professional development journey that one of them undertook as she followed a series of snare drum lessons to enhance her practice as a mid-career percussion teacher. Over a period of a year, the first author kept a research journal, working dialogically with a researcher to understand and extend these reflections. Using self-study as a systematic means of inquiry into practice, this article reveals the development of the first author's practical knowledge and subjective educational theory. Five themes encapsulate the findings: (i) although a learner by nature, going back to basics was a challenge; (ii) reflecting on learning prompted reflection on teaching; (iii) the importance of placing learning in a historical context and wider framework; (iv) taking care of students; and (v) with fresh eyes comes the need to keep focused. In presenting evocative accounts of lived experience, reflective and reflexive commentary, and critical reflection informed by literature, the results and discussion read as a through-composed narrative. This research offers insights to mid-career music teachers and their employers regarding the impact and design of professional development opportunities. It also demonstrates an approach to self-study that might be useful to others who want to undertake similar investigations of their practice.
{"title":"Soft Hands: A Mid-Career Percussion Teacher's Professional Development Journey","authors":"A. Vogler, John Habron","doi":"10.5406/21627223.230.04","DOIUrl":"https://doi.org/10.5406/21627223.230.04","url":null,"abstract":"\u0000 Professional development is an important part of any teaching career. Although it has been investigated within the field of music education, there is limited research on the experiences of mid-career music teachers from a first-person perspective, especially within a conservatory context. In this collaborative self-study, the authors analyze the professional development journey that one of them undertook as she followed a series of snare drum lessons to enhance her practice as a mid-career percussion teacher. Over a period of a year, the first author kept a research journal, working dialogically with a researcher to understand and extend these reflections. Using self-study as a systematic means of inquiry into practice, this article reveals the development of the first author's practical knowledge and subjective educational theory. Five themes encapsulate the findings: (i) although a learner by nature, going back to basics was a challenge; (ii) reflecting on learning prompted reflection on teaching; (iii) the importance of placing learning in a historical context and wider framework; (iv) taking care of students; and (v) with fresh eyes comes the need to keep focused. In presenting evocative accounts of lived experience, reflective and reflexive commentary, and critical reflection informed by literature, the results and discussion read as a through-composed narrative. This research offers insights to mid-career music teachers and their employers regarding the impact and design of professional development opportunities. It also demonstrates an approach to self-study that might be useful to others who want to undertake similar investigations of their practice.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":"1 1","pages":""},"PeriodicalIF":0.9,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41383981","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 multiple case study was to explore the honor band experiences of first-time honor band clinicians. I used intensity sampling to select two participants who had both served as an honor band clinician for the first time in 2019. Using Glaser's (1996) three-stage theory of expertise as a theoretical framework, I conducted individual semistructured interviews to investigate participants’ honor band experiences. In the first stage of external support, both participants used various means of obtaining information and advice, such as calling mentors and doing research online. The second stage of transitional mentorship was mentioned least by the participants, perhaps because this is not very common for honor band clinicians. Both participants seemed to spend the majority of their first honor band experience in Glaser's third self-regulatory stage, with less-than-adequate preparation from the previous stages. They both mentioned making quick adjustments to solve problems throughout their time as an honor band clinician. I suggest creating more training experiences and resources for first-time honor band clinicians in order to make honor band events more beneficial for students and clinicians.
{"title":"The Experiences of First-Time Honor Band Clinicians: A Multiple Case Study","authors":"Victoria Warnet","doi":"10.5406/21627223.230.03","DOIUrl":"https://doi.org/10.5406/21627223.230.03","url":null,"abstract":"\u0000 The purpose of this multiple case study was to explore the honor band experiences of first-time honor band clinicians. I used intensity sampling to select two participants who had both served as an honor band clinician for the first time in 2019. Using Glaser's (1996) three-stage theory of expertise as a theoretical framework, I conducted individual semistructured interviews to investigate participants’ honor band experiences. In the first stage of external support, both participants used various means of obtaining information and advice, such as calling mentors and doing research online. The second stage of transitional mentorship was mentioned least by the participants, perhaps because this is not very common for honor band clinicians. Both participants seemed to spend the majority of their first honor band experience in Glaser's third self-regulatory stage, with less-than-adequate preparation from the previous stages. They both mentioned making quick adjustments to solve problems throughout their time as an honor band clinician. I suggest creating more training experiences and resources for first-time honor band clinicians in order to make honor band events more beneficial for students and clinicians.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49226142","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 qualitative study was to gain insight into learner perceptions of their singing agency (their belief in their capacity to sing aloud) in their elementary school music class. Guiding research questions focused on children's ideas about learning experiences that might foster or hinder singing agency. Data included field notes from classroom observations, video recordings of class sessions, semistructured interviews with 93 individual learners and the music teacher, and written responses from 175 children ages 8–11. Data analysis revealed four emergent themes: Participants ages 8–11 linked perceptions of singing agency with both (a) vocal skill and (b) musical understanding. At around age 9, (c) pervasive characteristics of perfectionism emerged, relating to perceived mistakes or quality of performance, hindering singing agency, and (d) participatory, authentically meaningful singing experiences enhance singing agency, despite psychological phenomena developmentally occurring at age 9. Implications for music education practice and further research are discussed.
{"title":"“I Feel Good When I Sing It Right”: Singing Agency in Children","authors":"Lauri A Hogle","doi":"10.5406/21627223.230.01","DOIUrl":"https://doi.org/10.5406/21627223.230.01","url":null,"abstract":"\u0000 The purpose of this qualitative study was to gain insight into learner perceptions of their singing agency (their belief in their capacity to sing aloud) in their elementary school music class. Guiding research questions focused on children's ideas about learning experiences that might foster or hinder singing agency. Data included field notes from classroom observations, video recordings of class sessions, semistructured interviews with 93 individual learners and the music teacher, and written responses from 175 children ages 8–11. Data analysis revealed four emergent themes: Participants ages 8–11 linked perceptions of singing agency with both (a) vocal skill and (b) musical understanding. At around age 9, (c) pervasive characteristics of perfectionism emerged, relating to perceived mistakes or quality of performance, hindering singing agency, and (d) participatory, authentically meaningful singing experiences enhance singing agency, despite psychological phenomena developmentally occurring at age 9. Implications for music education practice and further research are discussed.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47567480","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}
Pub Date : 2021-07-01DOI: 10.5406/bulcouresmusedu.229.0029
Ryan D. Shaw, D. Potter
States have revamped teacher evaluations over the last 10 years to include teacher performance ratings based on student achievement/growth, presenting a challenge in nontested subjects such as music. The most common approach has been to measure music teacher effectiveness based on teacher-designed student learning objectives (SLOs), but almost no evidence exists on SLO processes. The purpose of this study was to examine the assessments and parameters used in SLOs. Specific research questions were: (a) What assessments are used to measure student growth? (b) What is the overall design for demonstrating student growth? (c) What are the parameters for teacher goal setting in the SLO process? We analyzed 35 SLOs across six districts in Michigan and coded them for assessment content, growth design, and particulars of teacher-level goal setting. Results indicate that most SLOs were based on students’ musical performance assessed with a rating scale, or based on knowledge of musical notation with pencil-and-paper tests. Musical creativity and response were almost completely absent. Almost all SLOs used a pretest/posttest design, but particulars of growth and judging teacher success differed considerably. We offer implications for teachers, administrators, and policy makers concerned with music teacher evaluations.
{"title":"A Content Analysis of Music Teacher Student Learning Objectives in Michigan","authors":"Ryan D. Shaw, D. Potter","doi":"10.5406/bulcouresmusedu.229.0029","DOIUrl":"https://doi.org/10.5406/bulcouresmusedu.229.0029","url":null,"abstract":"\u0000 States have revamped teacher evaluations over the last 10 years to include teacher performance ratings based on student achievement/growth, presenting a challenge in nontested subjects such as music. The most common approach has been to measure music teacher effectiveness based on teacher-designed student learning objectives (SLOs), but almost no evidence exists on SLO processes. The purpose of this study was to examine the assessments and parameters used in SLOs. Specific research questions were: (a) What assessments are used to measure student growth? (b) What is the overall design for demonstrating student growth? (c) What are the parameters for teacher goal setting in the SLO process? We analyzed 35 SLOs across six districts in Michigan and coded them for assessment content, growth design, and particulars of teacher-level goal setting. Results indicate that most SLOs were based on students’ musical performance assessed with a rating scale, or based on knowledge of musical notation with pencil-and-paper tests. Musical creativity and response were almost completely absent. Almost all SLOs used a pretest/posttest design, but particulars of growth and judging teacher success differed considerably. We offer implications for teachers, administrators, and policy makers concerned with music teacher evaluations.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49400348","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}
Pub Date : 2021-07-01DOI: 10.5406/bulcouresmusedu.229.0071
Jay Dorfman, Wendy K. Matthews, C. Resta, C. Venesile
Online study in music teacher education at the master’s degree level has existed for more than a decade, with hundreds of music teachers pursuing professional development or completing their graduate degrees in this format. The purpose of this study was to examine music teachers who have and who have not participated in online graduate music education regarding their perceptions of these programs. The conceptual theory known as connectivism (Siemens, 2005), highlighting properties of Autonomy, Diversity, Interactivity, and Openness, guided data collection and analysis. We used a quantitative survey method through a researcher-developed instrument. Distributed nationally, 807 (2.1%) respondents offered their perspectives, with analysis via rank order, correlation, and confirmatory factor analysis linked to the theoretical framework. Results suggest that teachers find value in elements of online education that include content, pedagogy, convenience and flexibility, professional development, and career advancement. With regard to the facets of connectivism, Autonomy contributed the largest amount of variance followed by Diversity, Interaction, and Openness. The results of this study warrant consideration as distance music education in graduate settings will likely continue to grow in the coming years.
{"title":"Looking Into the Virtual Space: Teacher Perceptions of Online Graduate Music Education","authors":"Jay Dorfman, Wendy K. Matthews, C. Resta, C. Venesile","doi":"10.5406/bulcouresmusedu.229.0071","DOIUrl":"https://doi.org/10.5406/bulcouresmusedu.229.0071","url":null,"abstract":"\u0000 Online study in music teacher education at the master’s degree level has existed for more than a decade, with hundreds of music teachers pursuing professional development or completing their graduate degrees in this format. The purpose of this study was to examine music teachers who have and who have not participated in online graduate music education regarding their perceptions of these programs. The conceptual theory known as connectivism (Siemens, 2005), highlighting properties of Autonomy, Diversity, Interactivity, and Openness, guided data collection and analysis. We used a quantitative survey method through a researcher-developed instrument. Distributed nationally, 807 (2.1%) respondents offered their perspectives, with analysis via rank order, correlation, and confirmatory factor analysis linked to the theoretical framework. Results suggest that teachers find value in elements of online education that include content, pedagogy, convenience and flexibility, professional development, and career advancement. With regard to the facets of connectivism, Autonomy contributed the largest amount of variance followed by Diversity, Interaction, and Openness. The results of this study warrant consideration as distance music education in graduate settings will likely continue to grow in the coming years.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44210910","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}
Pub Date : 2021-07-01DOI: 10.5406/bulcouresmusedu.229.0007
Justin J. West, A. Stanley, J. P. Bowers, Daniel S. Isbell
The purpose of this study was to explore why and how a prototypically “effective” teacher professional development (PD) effort, reciprocal peer coaching (RPC), fell short. Despite RPC’s conformity with long-espoused best practices in PD—content-specificity, extended duration, collaboration, inquiry, and self-direction—only two in eight music teachers who began the 5-month coaching and observation trajectory completed it. We used instrumental case study analysis to understand teachers’ decisions to continue in or prematurely withdraw from RPC. Findings revealed motivational factors such as collaboration and affirmative support, growth-in-practice learning, and content relevance were, for the majority of participants, overcome by demotivational factors related to participants’ perceived lack of agency in shaping their work context and the incoherence and insufficiency of their policy environments. We advance implications for PD providers, researchers, and policymakers.
{"title":"Attrition, (De)motivation, and “Effective” Music Teacher Professional Development: An Instrumental Case Study","authors":"Justin J. West, A. Stanley, J. P. Bowers, Daniel S. Isbell","doi":"10.5406/bulcouresmusedu.229.0007","DOIUrl":"https://doi.org/10.5406/bulcouresmusedu.229.0007","url":null,"abstract":"\u0000 The purpose of this study was to explore why and how a prototypically “effective” teacher professional development (PD) effort, reciprocal peer coaching (RPC), fell short. Despite RPC’s conformity with long-espoused best practices in PD—content-specificity, extended duration, collaboration, inquiry, and self-direction—only two in eight music teachers who began the 5-month coaching and observation trajectory completed it. We used instrumental case study analysis to understand teachers’ decisions to continue in or prematurely withdraw from RPC. Findings revealed motivational factors such as collaboration and affirmative support, growth-in-practice learning, and content relevance were, for the majority of participants, overcome by demotivational factors related to participants’ perceived lack of agency in shaping their work context and the incoherence and insufficiency of their policy environments. We advance implications for PD providers, researchers, and policymakers.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42825849","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}
Pub Date : 2021-07-01DOI: 10.5406/bulcouresmusedu.229.0047
H. E. Wolfe
Elementary general music teachers (N = 280) from Colorado, Idaho, Montana, Utah, and Wyoming completed the Characteristics of Elementary General Music Teaching questionnaire. Responses were analyzed for congruence between current teaching practices and three components of the Reggio Emilia Approach (REA) to education: child as protagonist, documentation of learning, and the hundred languages. Overall, respondents described teaching practices that reflect some, but limited, congruence with the REA. Teachers collect some types of student artifacts, display evidence of student learning in certain forms, adapt instruction based on observation of students, provide students opportunities to translate between symbolic systems, and demonstrate a student-centered approach to music education by modifying their teaching practices at the student, class, grade, or developmental level. Variance in the congruence between teaching practice and the concepts of documentation and symbolic translations could not be explained by education level or general music pedagogical influence. Suggestions are shared for elementary general music teachers to engage in critical self-reflection of their teaching practice through a Reggio Emilia-inspired lens. The review of literature and this study demonstrate a need for further research on Reggio Emilia-inspired music education; suggestions are included.
{"title":"Examining Elementary General Music Teaching Practices Through a Reggio Emilia Lens","authors":"H. E. Wolfe","doi":"10.5406/bulcouresmusedu.229.0047","DOIUrl":"https://doi.org/10.5406/bulcouresmusedu.229.0047","url":null,"abstract":"\u0000 Elementary general music teachers (N = 280) from Colorado, Idaho, Montana, Utah, and Wyoming completed the Characteristics of Elementary General Music Teaching questionnaire. Responses were analyzed for congruence between current teaching practices and three components of the Reggio Emilia Approach (REA) to education: child as protagonist, documentation of learning, and the hundred languages. Overall, respondents described teaching practices that reflect some, but limited, congruence with the REA. Teachers collect some types of student artifacts, display evidence of student learning in certain forms, adapt instruction based on observation of students, provide students opportunities to translate between symbolic systems, and demonstrate a student-centered approach to music education by modifying their teaching practices at the student, class, grade, or developmental level. Variance in the congruence between teaching practice and the concepts of documentation and symbolic translations could not be explained by education level or general music pedagogical influence. Suggestions are shared for elementary general music teachers to engage in critical self-reflection of their teaching practice through a Reggio Emilia-inspired lens. The review of literature and this study demonstrate a need for further research on Reggio Emilia-inspired music education; suggestions are included.","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47264154","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}
Pub Date : 2021-03-01DOI: 10.5406/BULCOURESMUSEDU.228.0077
S. F. Zdzinski, G. Barnes
{"title":"Erratum: Development and validation of a string performance rating scale (Bulletin of the Council for Research in Music Education (2021) (228) (77) DOI: 10.2307/3345801)","authors":"S. F. Zdzinski, G. Barnes","doi":"10.5406/BULCOURESMUSEDU.228.0077","DOIUrl":"https://doi.org/10.5406/BULCOURESMUSEDU.228.0077","url":null,"abstract":"","PeriodicalId":46393,"journal":{"name":"BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48452715","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}
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