Pub Date : 2024-06-21DOI: 10.1177/02557614241262458
Melissa Baughman, Darrell J Jordan
We examined the perspectives and experiences of collegiate voice instructors regarding methods used to address wellness in the collegiate voice studio. Collegiate voice instructors ( N = 835) from 13 states were invited to participate in a researcher-designed survey. A total of 74 respondents completed the survey. All respondents strongly agreed that students’ wellness impacts their performance abilities, which strengthens the case for addressing wellness in the voice studio. There seemed to be a concern with the lack of training in specific techniques, though, so it may be useful to create accessible training sessions and resources related to wellness that are tailored specifically to voice instructors. Respondents seemed to use, value, and were most familiar with breathing exercises and stretching, so future researchers may consider examining the contextual use and effectiveness of these methods as they relate to wellness. While voice instructors believed that it is important to address the whole singer through wellness, they were also careful to guard their own boundaries and be mindful of their own limitations and comfort levels.
{"title":"Teaching the whole singer: An examination of methods used to address student wellness in the collegiate voice studio","authors":"Melissa Baughman, Darrell J Jordan","doi":"10.1177/02557614241262458","DOIUrl":"https://doi.org/10.1177/02557614241262458","url":null,"abstract":"We examined the perspectives and experiences of collegiate voice instructors regarding methods used to address wellness in the collegiate voice studio. Collegiate voice instructors ( N = 835) from 13 states were invited to participate in a researcher-designed survey. A total of 74 respondents completed the survey. All respondents strongly agreed that students’ wellness impacts their performance abilities, which strengthens the case for addressing wellness in the voice studio. There seemed to be a concern with the lack of training in specific techniques, though, so it may be useful to create accessible training sessions and resources related to wellness that are tailored specifically to voice instructors. Respondents seemed to use, value, and were most familiar with breathing exercises and stretching, so future researchers may consider examining the contextual use and effectiveness of these methods as they relate to wellness. While voice instructors believed that it is important to address the whole singer through wellness, they were also careful to guard their own boundaries and be mindful of their own limitations and comfort levels.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2024-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141448658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-05DOI: 10.1177/02557614241257634
John O’Flynn, Donal Fullam
This article reports on a case study involving 44 adults based in Belfast, Northern Ireland for the research project Bridging Musical Knowledge. Data were gathered via project website creation and an online survey carried out during early stages of the COVID-19 pandemic. Developing an interdisciplinary epistemic framework that draws on theory from music education, ethnomusicology and musicology in conjunction with the analysis of qualitative data, it finds two major tendencies across multiple perceptions/experiences of musical knowledge as reported by participants: first, to value formal and practical aspects in the attainment of musical knowledge, and second, to consider familial, communal and other sociocultural contexts as central to musical knowledge development. Interpreting a dialectical tension between reified and experiential accounts as reflective of historically embedded distinctions, the authors propose a relational model of musical knowledge, encompassing comparative conceptions of music theory and discourse.
{"title":"Towards a relational model of musical knowledge: Findings from a Belfast-based case study","authors":"John O’Flynn, Donal Fullam","doi":"10.1177/02557614241257634","DOIUrl":"https://doi.org/10.1177/02557614241257634","url":null,"abstract":"This article reports on a case study involving 44 adults based in Belfast, Northern Ireland for the research project Bridging Musical Knowledge. Data were gathered via project website creation and an online survey carried out during early stages of the COVID-19 pandemic. Developing an interdisciplinary epistemic framework that draws on theory from music education, ethnomusicology and musicology in conjunction with the analysis of qualitative data, it finds two major tendencies across multiple perceptions/experiences of musical knowledge as reported by participants: first, to value formal and practical aspects in the attainment of musical knowledge, and second, to consider familial, communal and other sociocultural contexts as central to musical knowledge development. Interpreting a dialectical tension between reified and experiential accounts as reflective of historically embedded distinctions, the authors propose a relational model of musical knowledge, encompassing comparative conceptions of music theory and discourse.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2024-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141385993","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Previous research has shown that classroom activities in music composition, involve the use of composition strategies during the creative process. This implies that teaching composition strategies may be beneficial to improve compositions in regards to their craftsmanship and their originality. Practical guides on composing for experienced musicians suggest using composition strategies as a way to create variety and novelty. This study aimed to investigate how the use of composition strategies might influence melodic idea generation from the perspective of experienced musicians. Five participants were given two short composition activities. In the first activity, participants composed freely with or without using composition strategies. In the second activity, participants were to include a choice of five composition strategies that were provided. They were subsequently interviewed about their composition process, their experience of the activities and how they viewed the strategies in relation to generating ideas. Results showed that all the participants perceived the as being an external phenomena that sometimes encroached on their more subconscious approach to idea generation and selection. This result has implications for how to assist idea generation during creative musical activities. Instructional sequencing could benefit from including idea generation as a precursor to learning new information.
{"title":"How composition strategies influence melodic idea generation","authors":"Ashleigh Southam, Alistair Macaulay, Jamie Costley","doi":"10.1177/02557614241256675","DOIUrl":"https://doi.org/10.1177/02557614241256675","url":null,"abstract":"Previous research has shown that classroom activities in music composition, involve the use of composition strategies during the creative process. This implies that teaching composition strategies may be beneficial to improve compositions in regards to their craftsmanship and their originality. Practical guides on composing for experienced musicians suggest using composition strategies as a way to create variety and novelty. This study aimed to investigate how the use of composition strategies might influence melodic idea generation from the perspective of experienced musicians. Five participants were given two short composition activities. In the first activity, participants composed freely with or without using composition strategies. In the second activity, participants were to include a choice of five composition strategies that were provided. They were subsequently interviewed about their composition process, their experience of the activities and how they viewed the strategies in relation to generating ideas. Results showed that all the participants perceived the as being an external phenomena that sometimes encroached on their more subconscious approach to idea generation and selection. This result has implications for how to assist idea generation during creative musical activities. Instructional sequencing could benefit from including idea generation as a precursor to learning new information.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2024-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141159444","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-17DOI: 10.1177/02557614241254406
Tao Guan, Ning Luo, Koji Matsunobu
This longitudinal case study aimed to explore changes in ethnic minority students’ motivations to pursue higher music education during the transition from high school to university. The participants were recruited from the Yi, Mongolian and Tibetan ethnic groups in a remote mountainous region of southwest China. Data were collected through participant observation and semi-structured interviews. The findings of the study indicated that the ethnic minority students were driven both by intrinsic motivations, including a love of and interest and persistence in music, positive musical experiences and musical ability, and by extrinsic motivations, including the desire to earn a university degree by way of studying music, meet the expectations of their local music teachers and family members and repay their hometowns by serving as local music teachers. However, most of the participating ethnic minority students exhibited a shift in their motivations to study music after 2 years of university education. This shift was attributable to various elements, including peer competition, employment pressure, mentor support and the university environment. Based on these findings, we suggest ways to support ethnic minority students transitioning smoothly from high school to university and continuing their music studies.
{"title":"Understanding ethnic minority students’ motivations to pursue higher music education over time","authors":"Tao Guan, Ning Luo, Koji Matsunobu","doi":"10.1177/02557614241254406","DOIUrl":"https://doi.org/10.1177/02557614241254406","url":null,"abstract":"This longitudinal case study aimed to explore changes in ethnic minority students’ motivations to pursue higher music education during the transition from high school to university. The participants were recruited from the Yi, Mongolian and Tibetan ethnic groups in a remote mountainous region of southwest China. Data were collected through participant observation and semi-structured interviews. The findings of the study indicated that the ethnic minority students were driven both by intrinsic motivations, including a love of and interest and persistence in music, positive musical experiences and musical ability, and by extrinsic motivations, including the desire to earn a university degree by way of studying music, meet the expectations of their local music teachers and family members and repay their hometowns by serving as local music teachers. However, most of the participating ethnic minority students exhibited a shift in their motivations to study music after 2 years of university education. This shift was attributable to various elements, including peer competition, employment pressure, mentor support and the university environment. Based on these findings, we suggest ways to support ethnic minority students transitioning smoothly from high school to university and continuing their music studies.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2024-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141126525","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-14DOI: 10.1177/02557614241250035
Gaute Storsve
Using a deductive approach, this article explores how synthesizing existing theoretical frameworks—UNESCO’s domains of education encompassing formal, informal, and nonformal learning, Folkestad’s dimensions of learning (the situation, learning style, ownership, and intentionality), and Green’s characterizations of informal learning—can enhance our understanding of students’ experiences of music-making across diverse contexts. It explores previous theoretical perspectives and empirical research on music education across these domains, incorporating a global perspective and discussing the varied interpretations of “non-formal” learning. The article highlights how a continuum between formal and informal learning is challenged by more fluid and nuanced understandings presented here. Drawing on empirical material from an ongoing study in Norwegian upper secondary schools, this work demonstrates the practical implications of a nuanced approach to understanding music learning contexts. Observations and interviews from collaborative learning settings offer insights into the interconnectedness of formal, informal, and non-formal learning domains. By offering a critical examination and synthesis of existing theoretical perspectives, this article contributes to broadening the discourse on music education. It underscores the need for a comprehensive approach to research and education practices that fully acknowledges the complexity of learning experiences across various contexts.
{"title":"Formal, informal, and non-formal learning as analytic categories for research in music education","authors":"Gaute Storsve","doi":"10.1177/02557614241250035","DOIUrl":"https://doi.org/10.1177/02557614241250035","url":null,"abstract":"Using a deductive approach, this article explores how synthesizing existing theoretical frameworks—UNESCO’s domains of education encompassing formal, informal, and nonformal learning, Folkestad’s dimensions of learning (the situation, learning style, ownership, and intentionality), and Green’s characterizations of informal learning—can enhance our understanding of students’ experiences of music-making across diverse contexts. It explores previous theoretical perspectives and empirical research on music education across these domains, incorporating a global perspective and discussing the varied interpretations of “non-formal” learning. The article highlights how a continuum between formal and informal learning is challenged by more fluid and nuanced understandings presented here. Drawing on empirical material from an ongoing study in Norwegian upper secondary schools, this work demonstrates the practical implications of a nuanced approach to understanding music learning contexts. Observations and interviews from collaborative learning settings offer insights into the interconnectedness of formal, informal, and non-formal learning domains. By offering a critical examination and synthesis of existing theoretical perspectives, this article contributes to broadening the discourse on music education. It underscores the need for a comprehensive approach to research and education practices that fully acknowledges the complexity of learning experiences across various contexts.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140942990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-08DOI: 10.1177/02557614241249163
Patrick K Cooper
This study explored the potential of artificial intelligence (ChatGPT) to generate lesson plans for music classes that were indistinguishable from music lesson plans created by humans, with current music teachers as assessors. Fifty-six assessors made a total of 410 ratings across eight lesson plans, assigning a quality score to each lesson plan and labeling if they believed each lesson plan was created by a human or generated by AI. Despite the human-made lesson plans being rated higher in quality as a group ( p < .01, d = 0.44), assessors were unable to accurately label if a lesson plan was created by a human or generated by AI (55% accurate overall). Labeling accuracy was positively predicted by quality scores on human-made lesson plans and previous personal use of AI, while accuracy was negatively predicted by quality scores on AI-generated lesson plans and perception of how useful AI will be in the future. Open-ended responses from 42 teachers suggested assessors used three factors when making evaluations: specific details, evidence of classroom knowledge, and wording. Implications provide suggestions for how music teachers can use prompt engineering with a GPT model to create a virtual assistant or Intelligent Tutor System (ITS) for their classroom.
{"title":"Music teachers’ labeling accuracy and quality ratings of lesson plans by artificial intelligence (AI) and humans","authors":"Patrick K Cooper","doi":"10.1177/02557614241249163","DOIUrl":"https://doi.org/10.1177/02557614241249163","url":null,"abstract":"This study explored the potential of artificial intelligence (ChatGPT) to generate lesson plans for music classes that were indistinguishable from music lesson plans created by humans, with current music teachers as assessors. Fifty-six assessors made a total of 410 ratings across eight lesson plans, assigning a quality score to each lesson plan and labeling if they believed each lesson plan was created by a human or generated by AI. Despite the human-made lesson plans being rated higher in quality as a group ( p < .01, d = 0.44), assessors were unable to accurately label if a lesson plan was created by a human or generated by AI (55% accurate overall). Labeling accuracy was positively predicted by quality scores on human-made lesson plans and previous personal use of AI, while accuracy was negatively predicted by quality scores on AI-generated lesson plans and perception of how useful AI will be in the future. Open-ended responses from 42 teachers suggested assessors used three factors when making evaluations: specific details, evidence of classroom knowledge, and wording. Implications provide suggestions for how music teachers can use prompt engineering with a GPT model to create a virtual assistant or Intelligent Tutor System (ITS) for their classroom.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2024-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140895721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The limited number of STEAM educational experiences in Spain was the motivation behind this study, whose goal was to identify the contributions and essential components of integrated STEAM teaching, specifically the approach that relates the arts (music) to science subjects (mathematics). To this end, a multiple case study was carried out in primary classrooms at three schools. The interviews carried out with teachers, students, and management teams, and the observation of the application of different activities provided a comprehensive vision of the keys to integrated STEAM teaching (co-teaching, coordination, and an interdisciplinary relationship between subjects). The data also brought to light the benefits of STEAM educational practice (procedural mimesis between subjects, student motivation, links between teachers, and professional growth) and also the difficulties encountered. All this, contrasted with the ideas expounded in the literature, enables us to propose lines of work that the educational community should find suggestive and inspiring since the combination of science with the arts, creativity, integration, and innovation has the potential to promote the necessary aptitudes for students in the 21st century.
{"title":"Music and mathematics: Key components and contributions of an integrated STEAM teaching approach","authors":"Cristina González-Martín, Montserrat Prat Moratonas, Judith Forcada Royo","doi":"10.1177/02557614241248267","DOIUrl":"https://doi.org/10.1177/02557614241248267","url":null,"abstract":"The limited number of STEAM educational experiences in Spain was the motivation behind this study, whose goal was to identify the contributions and essential components of integrated STEAM teaching, specifically the approach that relates the arts (music) to science subjects (mathematics). To this end, a multiple case study was carried out in primary classrooms at three schools. The interviews carried out with teachers, students, and management teams, and the observation of the application of different activities provided a comprehensive vision of the keys to integrated STEAM teaching (co-teaching, coordination, and an interdisciplinary relationship between subjects). The data also brought to light the benefits of STEAM educational practice (procedural mimesis between subjects, student motivation, links between teachers, and professional growth) and also the difficulties encountered. All this, contrasted with the ideas expounded in the literature, enables us to propose lines of work that the educational community should find suggestive and inspiring since the combination of science with the arts, creativity, integration, and innovation has the potential to promote the necessary aptitudes for students in the 21st century.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2024-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140826398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-24DOI: 10.1177/02557614231220655
María Tomé-Fernández, Verónica Bravo-Yebra
Intercultural competence is essential in schools attended by students of different ethnicities, cultures, and religions. A number of studies have suggested that music facilitates the transmission of values and emotions inherent in intercultural competence. The role of teachers is considered essential as well. Thus, it is important to consider music teachers’ perceptions on intercultural competence. This study drew out the perceptions of 74 teachers delivering music teaching in primary and secondary schools, conservatories, and music schools in Spain. Data were gathered through semi-structured interviews. A content validity index of 0.92 was obtained after considering the judgments of 19 experts in the fields of research and practice in music education. The teachers’ responses were analyzed using NVivo (11). The findings highlighted the positive perceptions of the benefits of intercultural competence in students. Aspects such as the lack of training, the requirement to teach a planned/structured curriculum and the shortage of advisors on the subject, emerged as negative perceptions communicated by the teachers.
{"title":"Music teachers’ perceptions of intercultural competence in Spain","authors":"María Tomé-Fernández, Verónica Bravo-Yebra","doi":"10.1177/02557614231220655","DOIUrl":"https://doi.org/10.1177/02557614231220655","url":null,"abstract":"Intercultural competence is essential in schools attended by students of different ethnicities, cultures, and religions. A number of studies have suggested that music facilitates the transmission of values and emotions inherent in intercultural competence. The role of teachers is considered essential as well. Thus, it is important to consider music teachers’ perceptions on intercultural competence. This study drew out the perceptions of 74 teachers delivering music teaching in primary and secondary schools, conservatories, and music schools in Spain. Data were gathered through semi-structured interviews. A content validity index of 0.92 was obtained after considering the judgments of 19 experts in the fields of research and practice in music education. The teachers’ responses were analyzed using NVivo (11). The findings highlighted the positive perceptions of the benefits of intercultural competence in students. Aspects such as the lack of training, the requirement to teach a planned/structured curriculum and the shortage of advisors on the subject, emerged as negative perceptions communicated by the teachers.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2024-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140643171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-23DOI: 10.1177/02557614241244794
Evi Andrioti
The aim of the present research was to investigate the evolutionary course of rhythmic development in pre-school children in a private kindergarten (age 4–5 years) in Athens, Greece, through Lucy Green’s ‘Playing by ear’ method. Tools and strategies taken from qualitative methodology, and more specifically from action-research were used. What was investigated was to what extent the ‘Playing by ear’ method developed the rhythmic skills of the students and to what extent it enhanced the students’ ability to play music in small groups without the teacher’s instructions. It is important to mention that the research was conducted in connection with the goals set in the Analytical Curriculum of the Greek Ministry of Education and Religious Affairs (ΥΠ.Ε.Π.Θ.). The results of the research showed that Green’s ‘Playing by ear’ method helped the students’ development of rhythmic ability with the use of musical instruments, as well as their rhythmic ability through kinetic behaviour. It also helped students to engage in early experimentation. Finally, the method enhanced the students’ ability to play music in small groups without the teacher’s continuous and direct instruction, developing in this way new communication and cooperation practices and skills.
{"title":"Playing by ear and the development of music skills at pre-school age","authors":"Evi Andrioti","doi":"10.1177/02557614241244794","DOIUrl":"https://doi.org/10.1177/02557614241244794","url":null,"abstract":"The aim of the present research was to investigate the evolutionary course of rhythmic development in pre-school children in a private kindergarten (age 4–5 years) in Athens, Greece, through Lucy Green’s ‘Playing by ear’ method. Tools and strategies taken from qualitative methodology, and more specifically from action-research were used. What was investigated was to what extent the ‘Playing by ear’ method developed the rhythmic skills of the students and to what extent it enhanced the students’ ability to play music in small groups without the teacher’s instructions. It is important to mention that the research was conducted in connection with the goals set in the Analytical Curriculum of the Greek Ministry of Education and Religious Affairs (ΥΠ.Ε.Π.Θ.). The results of the research showed that Green’s ‘Playing by ear’ method helped the students’ development of rhythmic ability with the use of musical instruments, as well as their rhythmic ability through kinetic behaviour. It also helped students to engage in early experimentation. Finally, the method enhanced the students’ ability to play music in small groups without the teacher’s continuous and direct instruction, developing in this way new communication and cooperation practices and skills.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2024-04-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140640091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-20DOI: 10.1177/02557614241247880
Skowrung Saibunmi, Saya Thuntawech
This quantitative study delves into the music learning needs of working-age individuals in Thailand, focusing on those aged 21 to 59 years outside the music profession. The research, conducted in October 2023, collected responses from 503 participants through an online structured questionnaire. The findings revealed that “As a hobby/for relaxation” emerged as the primary motivation for enrolling in music classes, among currently enrolled, previously enrolled, and prospective participants. Desired learning contexts revealed “Onsite learning” with a “Very High” mean score for current ( x− = 4.89) and past enrollees ( x− = 4.58), while those aspiring to enroll rated this and “Hybrid Learning” in a “High” level. “Private learning” earned a “High” rating across groups, and “Small group learning” received a “High” rating for prospective and past enrollees. Exploring learning styles, participants consistently rated items at a High Level, encompassing “Involvement in learning choices,” “Prioritizing adaptation over theory,” “Using metaphor,” “Visual learning,” “Auditory learning,” and “Kinesthetic learning.” Barriers to music learning, including “Time management” and “Memory,” were notably high among past enrollees. These insights offer valuable guidance for tailoring music activities or lessons to the specific needs of adult learners.
{"title":"Exploring music learning needs of working-age individuals in Thailand","authors":"Skowrung Saibunmi, Saya Thuntawech","doi":"10.1177/02557614241247880","DOIUrl":"https://doi.org/10.1177/02557614241247880","url":null,"abstract":"This quantitative study delves into the music learning needs of working-age individuals in Thailand, focusing on those aged 21 to 59 years outside the music profession. The research, conducted in October 2023, collected responses from 503 participants through an online structured questionnaire. The findings revealed that “As a hobby/for relaxation” emerged as the primary motivation for enrolling in music classes, among currently enrolled, previously enrolled, and prospective participants. Desired learning contexts revealed “Onsite learning” with a “Very High” mean score for current ( x− = 4.89) and past enrollees ( x− = 4.58), while those aspiring to enroll rated this and “Hybrid Learning” in a “High” level. “Private learning” earned a “High” rating across groups, and “Small group learning” received a “High” rating for prospective and past enrollees. Exploring learning styles, participants consistently rated items at a High Level, encompassing “Involvement in learning choices,” “Prioritizing adaptation over theory,” “Using metaphor,” “Visual learning,” “Auditory learning,” and “Kinesthetic learning.” Barriers to music learning, including “Time management” and “Memory,” were notably high among past enrollees. These insights offer valuable guidance for tailoring music activities or lessons to the specific needs of adult learners.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2024-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140622836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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