Pub Date : 2025-01-04DOI: 10.1177/02557614241307242
Emmett J O’Leary, Julie K Bannerman
TeachersPayTeachers.com is an online marketplace where sellers offer learning activities, lesson plans, decorations, and related materials for use in school classrooms. The marketplace includes thousands of music education materials that are used by teachers throughout the United States. The purpose of this study was to explore the content of what is sold, who is selling materials on the platform, and the quality of the music activities. Our analysis of the 500 most-rated music items indicates that sellers are primarily marketing activities, classroom materials, and decorations on the platform. Despite listings from 91 different sellers, a small number of active “teacherpreneurs” were responsible for most of the materials. Our analysis of the quality of the top 50 activities shows that materials are generally aesthetically pleasing and clear in purpose, yet may may not promote authentic pedagogical practices in music education. The scope of resources available combined with the level of adoption shows that this platform has the potential to elevate worksheets and notational activities to the same level as meaningful musical engagements. We discuss findings in relation to curriculum development, teacher agency, and the potential for TpT and similar platforms to impact how music educators curate curriculum resources for use in their classrooms.
{"title":"Online curriculum marketplaces and music education: A critical analysis of music activities on TeachersPayTeachers.com","authors":"Emmett J O’Leary, Julie K Bannerman","doi":"10.1177/02557614241307242","DOIUrl":"https://doi.org/10.1177/02557614241307242","url":null,"abstract":"TeachersPayTeachers.com is an online marketplace where sellers offer learning activities, lesson plans, decorations, and related materials for use in school classrooms. The marketplace includes thousands of music education materials that are used by teachers throughout the United States. The purpose of this study was to explore the content of what is sold, who is selling materials on the platform, and the quality of the music activities. Our analysis of the 500 most-rated music items indicates that sellers are primarily marketing activities, classroom materials, and decorations on the platform. Despite listings from 91 different sellers, a small number of active “teacherpreneurs” were responsible for most of the materials. Our analysis of the quality of the top 50 activities shows that materials are generally aesthetically pleasing and clear in purpose, yet may may not promote authentic pedagogical practices in music education. The scope of resources available combined with the level of adoption shows that this platform has the potential to elevate worksheets and notational activities to the same level as meaningful musical engagements. We discuss findings in relation to curriculum development, teacher agency, and the potential for TpT and similar platforms to impact how music educators curate curriculum resources for use in their classrooms.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"24 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142925123","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 : 2024-12-27DOI: 10.1177/02557614241309641
Oliver Curbelo-González, Paula Hernández-Dionis, Cristina Martín Sanz, David Pérez-Jorge
Numerous studies have demonstrated the substantial advantages of integrating music education into the overall development of students, particularly in early childhood education. This integration allows for combining music education with various curriculum areas, utilizing its playful and motivating nature as a practical methodological tool for developing a wide range of skills. This study examines the implementation of music education in the second cycle of early childhood education in the Autonomous Community of the Canary Islands, analyzing practices in 82 educational centers. The findings reveal that specialized music teachers are responsible for teaching this content in almost half of the centers, with variations in the frequency of teaching specific specialized topics, with musical instruments being the most common. The study emphasizes the significance of incorporating musical activities involving voice and body in early childhood education, highlighting the importance of fostering auditory perception and using musical instruments to achieve a comprehensive and well-rounded integration in the curriculum.
{"title":"The integration of musical contents in the classroom of the second cycle of early childhood education","authors":"Oliver Curbelo-González, Paula Hernández-Dionis, Cristina Martín Sanz, David Pérez-Jorge","doi":"10.1177/02557614241309641","DOIUrl":"https://doi.org/10.1177/02557614241309641","url":null,"abstract":"Numerous studies have demonstrated the substantial advantages of integrating music education into the overall development of students, particularly in early childhood education. This integration allows for combining music education with various curriculum areas, utilizing its playful and motivating nature as a practical methodological tool for developing a wide range of skills. This study examines the implementation of music education in the second cycle of early childhood education in the Autonomous Community of the Canary Islands, analyzing practices in 82 educational centers. The findings reveal that specialized music teachers are responsible for teaching this content in almost half of the centers, with variations in the frequency of teaching specific specialized topics, with musical instruments being the most common. The study emphasizes the significance of incorporating musical activities involving voice and body in early childhood education, highlighting the importance of fostering auditory perception and using musical instruments to achieve a comprehensive and well-rounded integration in the curriculum.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"39 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142887351","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 : 2024-12-19DOI: 10.1177/02557614241306769
Hélène Widmann, Marc Perrenoud, Angelika Güsewell, Marc Audétat
This article presents the results of the “Jazz Alumni” survey conducted in 2022 on the career beginnings of the musicians who obtained a jazz master’s degree at HEMU—Haute école de musique in French-speaking Switzerland between 2011 and 2017. Based on a mixed-methods diachronic approach, the study included 45 graduates (38 men and 7 women). Like most performing artists, they experience professional instability and are faced with low incomes compared to their level of training. Our study indicates that jazz graduates predominantly rely on teaching to mitigate the risks associated with the precarious nature of their profession, thereby improving their working conditions and generally avoiding non-musical work. Further findings identify two distinct approaches to balancing teaching and performing. Possible explanations for these different career paths include socialization to different national regulatory regimes and gender inequalities.
{"title":"Teaching artists or live performers? Early careers after a Jazz Master’s graduation in French-speaking Switzerland","authors":"Hélène Widmann, Marc Perrenoud, Angelika Güsewell, Marc Audétat","doi":"10.1177/02557614241306769","DOIUrl":"https://doi.org/10.1177/02557614241306769","url":null,"abstract":"This article presents the results of the “Jazz Alumni” survey conducted in 2022 on the career beginnings of the musicians who obtained a jazz master’s degree at HEMU—Haute école de musique in French-speaking Switzerland between 2011 and 2017. Based on a mixed-methods diachronic approach, the study included 45 graduates (38 men and 7 women). Like most performing artists, they experience professional instability and are faced with low incomes compared to their level of training. Our study indicates that jazz graduates predominantly rely on teaching to mitigate the risks associated with the precarious nature of their profession, thereby improving their working conditions and generally avoiding non-musical work. Further findings identify two distinct approaches to balancing teaching and performing. Possible explanations for these different career paths include socialization to different national regulatory regimes and gender inequalities.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"31 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142869856","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 : 2024-12-18DOI: 10.1177/02557614241307240
Laura Huhtinen-Hildén, Sanna Kivijärvi, Minna Elomaa-Krapu, Anna-Maria Isola
The current research examines the possibilities of music education in supporting the well-being of families living in demanding life situations. The context for the study is Family Sound Hammock, a 3-year research and development project that took place in the metropolitan area of Finland from 2020 to 2023. The project aimed at systematically supporting the well-being of families especially by strengthening their capacities for interaction in and through music education activities. This phenomenological-hermeneutic research focusses on the affordances emerging in family music activities, asking the following: What kinds of affordances can be recognised in and through music activities as part of family social work? The findings are presented in three categories: (1) Experiential environment of music education practice, (2) Social interaction and (3) Experiences of consistency that each highlight the potential of music education for redirecting agency, participation and inclusion of parents and children. The findings emphasise the professional facilitation of an inviting and safe musico-pedagogical environment applying pedagogical sensitivity.
{"title":"Creating affordances for families with young children: Experiences of music education in social work","authors":"Laura Huhtinen-Hildén, Sanna Kivijärvi, Minna Elomaa-Krapu, Anna-Maria Isola","doi":"10.1177/02557614241307240","DOIUrl":"https://doi.org/10.1177/02557614241307240","url":null,"abstract":"The current research examines the possibilities of music education in supporting the well-being of families living in demanding life situations. The context for the study is Family Sound Hammock, a 3-year research and development project that took place in the metropolitan area of Finland from 2020 to 2023. The project aimed at systematically supporting the well-being of families especially by strengthening their capacities for interaction in and through music education activities. This phenomenological-hermeneutic research focusses on the affordances emerging in family music activities, asking the following: What kinds of affordances can be recognised in and through music activities as part of family social work? The findings are presented in three categories: (1) Experiential environment of music education practice, (2) Social interaction and (3) Experiences of consistency that each highlight the potential of music education for redirecting agency, participation and inclusion of parents and children. The findings emphasise the professional facilitation of an inviting and safe musico-pedagogical environment applying pedagogical sensitivity.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"57 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142849026","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 : 2024-12-18DOI: 10.1177/02557614241307346
Su-Young Bae, Sumi Kwon, Jee-Ye Lee
This study investigated the effects of a practice checklist on performance achievement, practice time, focal practice areas—the key musical elements students focused on during practice—and practice strategies among non-music major South Korean college students learning the Danso, a traditional Korean wind instrument. Ninety-six students participated, with 46 in the experimental group using a practice checklist and 50 in the control group without the checklist. All participants attended a 50-min weekly class for 7 weeks. At the end of the 7-week period, both groups were surveyed to measure their average weekly practice time and focal practice areas. Performance achievement was assessed through a test focusing on key musical elements, and practice strategies were evaluated using a modified version of the Motivated Strategies for Learning Questionnaire (MSLQ). The results revealed that using a practice checklist significantly improved performance in specific areas such as rhythm, tempo, and breathing but did not increase overall practice time. The checklist also helped students maintain a balanced focus on key musical elements, preventing an overemphasis on sound production. However, the checklist did not significantly promote the use of metacognitive strategies, indicating a need for additional instructional support.
{"title":"The effect of a practice checklist on performance achievement, practice time, focal practice areas, and practice strategies of collegiate non-music majors enrolled in a beginning “Danso,” Korean traditional wind instrument class","authors":"Su-Young Bae, Sumi Kwon, Jee-Ye Lee","doi":"10.1177/02557614241307346","DOIUrl":"https://doi.org/10.1177/02557614241307346","url":null,"abstract":"This study investigated the effects of a practice checklist on performance achievement, practice time, focal practice areas—the key musical elements students focused on during practice—and practice strategies among non-music major South Korean college students learning the Danso, a traditional Korean wind instrument. Ninety-six students participated, with 46 in the experimental group using a practice checklist and 50 in the control group without the checklist. All participants attended a 50-min weekly class for 7 weeks. At the end of the 7-week period, both groups were surveyed to measure their average weekly practice time and focal practice areas. Performance achievement was assessed through a test focusing on key musical elements, and practice strategies were evaluated using a modified version of the Motivated Strategies for Learning Questionnaire (MSLQ). The results revealed that using a practice checklist significantly improved performance in specific areas such as rhythm, tempo, and breathing but did not increase overall practice time. The checklist also helped students maintain a balanced focus on key musical elements, preventing an overemphasis on sound production. However, the checklist did not significantly promote the use of metacognitive strategies, indicating a need for additional instructional support.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"53 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142849538","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 : 2024-12-18DOI: 10.1177/02557614241307698
Kelly Lin
Refugee children are a significant part of contemporary Canadian classrooms. Children who have fled their homes as refugees have experienced trauma and bear the effects of it socially, emotionally and academically. My study identifies trauma-sensitive strategies that music educators in Ontario are using to support refugee students from kindergarten to Grade 8. Through three semi-structured interviews with K–8 music educators, I identified four main themes to trauma-sensitive music instruction. Trauma-sensitive music education (a) provides holistic care for refugee students; (b) supports refugee students in feeling empowered; (c) provides a space in which refugee students can cultivate their sense of personal and collective awareness; and (d) enables refugee students to feel a sense of belonging. The implications of these findings provide music educators with practical tools and strategies to facilitate a learning environment in which refugee students can experience hope and healing.
{"title":"Trauma-sensitive teaching: Supporting refugee students through music education","authors":"Kelly Lin","doi":"10.1177/02557614241307698","DOIUrl":"https://doi.org/10.1177/02557614241307698","url":null,"abstract":"Refugee children are a significant part of contemporary Canadian classrooms. Children who have fled their homes as refugees have experienced trauma and bear the effects of it socially, emotionally and academically. My study identifies trauma-sensitive strategies that music educators in Ontario are using to support refugee students from kindergarten to Grade 8. Through three semi-structured interviews with K–8 music educators, I identified four main themes to trauma-sensitive music instruction. Trauma-sensitive music education (a) provides holistic care for refugee students; (b) supports refugee students in feeling empowered; (c) provides a space in which refugee students can cultivate their sense of personal and collective awareness; and (d) enables refugee students to feel a sense of belonging. The implications of these findings provide music educators with practical tools and strategies to facilitate a learning environment in which refugee students can experience hope and healing.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"18 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142849547","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 : 2024-11-16DOI: 10.1177/02557614241300164
Emily G Rossin
The purpose of this study was to determine the extent to which the 3 × 2 achievement goal model describes the goal orientations of university band students in two performance contexts. Students ( N = 183) enrolled in four concert band ensembles at two universities completed a goal orientation questionnaire, once in reference to personal music performance goals and once in reference to music performance goals as members of their university concert bands. The questionnaire, translated from the sports domain for use with musicians, measured the six goal orientations of the 3 × 2 achievement goal model: task-approach, task-avoidance, self-approach, self-avoidance, other-approach, other-avoidance. Results of confirmatory factor analyses indicate satisfactory fit of the six-factor model in the personal and ensemble contexts. In both contexts, the 3 × 2 model demonstrates better fit to the university band student data than ten alternative models. The model also demonstrates construct reliability and validity. Discussion includes evaluation of model fit differences between performance contexts. Future study of musician’s goal orientations could benefit from participant-level analysis and further examination of performance context differences. Continued development of a 3 × 2 achievement goal model scale for musicians could further bolster goal orientation research in the music domain.
{"title":"Extension of the 3 × 2 achievement goal model to university concert band performance","authors":"Emily G Rossin","doi":"10.1177/02557614241300164","DOIUrl":"https://doi.org/10.1177/02557614241300164","url":null,"abstract":"The purpose of this study was to determine the extent to which the 3 × 2 achievement goal model describes the goal orientations of university band students in two performance contexts. Students ( N = 183) enrolled in four concert band ensembles at two universities completed a goal orientation questionnaire, once in reference to personal music performance goals and once in reference to music performance goals as members of their university concert bands. The questionnaire, translated from the sports domain for use with musicians, measured the six goal orientations of the 3 × 2 achievement goal model: task-approach, task-avoidance, self-approach, self-avoidance, other-approach, other-avoidance. Results of confirmatory factor analyses indicate satisfactory fit of the six-factor model in the personal and ensemble contexts. In both contexts, the 3 × 2 model demonstrates better fit to the university band student data than ten alternative models. The model also demonstrates construct reliability and validity. Discussion includes evaluation of model fit differences between performance contexts. Future study of musician’s goal orientations could benefit from participant-level analysis and further examination of performance context differences. Continued development of a 3 × 2 achievement goal model scale for musicians could further bolster goal orientation research in the music domain.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"75 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142642989","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 : 2024-11-12DOI: 10.1177/02557614241297276
María José Hernández-Micó, Sara Domínguez-Lloria
The preparation of music teachers represents a key factor within the educational framework. In a world in constant evolution, the need to integrate new training proposals that cater to different environments is of vital importance to strengthen music education. The aim of this study is to analyze the use of mentoring in the context of music teaching through a systematic review using PRISMA. Among the results, the main areas addressed by mentoring are observed, being centered around professional development and the accompaniment of both students and teachers who are new to teaching. The profile of the participants in the mentoring relationship (mentor-mentee) is detailed in the systematic review, being the formal models of mentoring, linked to an institution, the most widespread throughout the article. Among the main conclusions, the prominence of the USA in the research and development of mentoring programs is noted and the positive impact of mentoring in both formal and informal contexts is highlighted, emphasizing individualized and group mentoring for professional and personal development in higher education.
{"title":"Mentoring in the context of music teacher education: A systematic review","authors":"María José Hernández-Micó, Sara Domínguez-Lloria","doi":"10.1177/02557614241297276","DOIUrl":"https://doi.org/10.1177/02557614241297276","url":null,"abstract":"The preparation of music teachers represents a key factor within the educational framework. In a world in constant evolution, the need to integrate new training proposals that cater to different environments is of vital importance to strengthen music education. The aim of this study is to analyze the use of mentoring in the context of music teaching through a systematic review using PRISMA. Among the results, the main areas addressed by mentoring are observed, being centered around professional development and the accompaniment of both students and teachers who are new to teaching. The profile of the participants in the mentoring relationship (mentor-mentee) is detailed in the systematic review, being the formal models of mentoring, linked to an institution, the most widespread throughout the article. Among the main conclusions, the prominence of the USA in the research and development of mentoring programs is noted and the positive impact of mentoring in both formal and informal contexts is highlighted, emphasizing individualized and group mentoring for professional and personal development in higher education.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"95 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142601931","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 : 2024-11-06DOI: 10.1177/02557614241297275
Rachel Grimsby
Preservice music educators’ (PMEs) experiences teaching students with disabilities (SwD) often occurs through general education coursework. Researchers have examined the effect of content-specific course work on PMEs preparation to teach music to SwD but have not examined if differences in course and clinical settings impact their self-reported feelings of self-efficacy. The purpose of this study was to examine whether differences in the delivery (online or in-person) of music-specific coursework and clinicals affected PMEs confidence to teach music to SwD. Students who participated in an online course reported a significant decrease in their self-efficacy ( t (17) = 3.57, p = .002, d = 0.89), while those who participated in an in-person course reported a significant increase ( t (10) = 7.116, p = .001, d = 2.15). Although no statistical significance was found between groups ( t (28) = 0.976, p = .33, d = 0.36), a comparative analysis of interview data provided nuanced differences. Applications for preservice music educator needs and instruction are discussed.
职前音乐教育工作者（PMEs）教授残疾学生（SwD）的经验通常是通过普通教育课程学习获得的。研究人员已经研究了特定内容的课程学习对职前音乐教育工作者准备教授残障学生音乐的影响，但尚未研究课程和临床环境的不同是否会影响他们自我报告的自我效能感。本研究的目的是考察音乐特定课程和临床的授课方式（在线或面对面）是否会影响专业音乐教师教授残障人士音乐的信心。参加在线课程的学生的自我效能感显著下降（t (17) = 3.57，p = .002，d = 0.89），而参加面授课程的学生的自我效能感显著上升（t (10) = 7.116，p = .001，d = 2.15）。虽然组间没有统计学意义 ( t (28) = 0.976, p = .33, d = 0.36)，但对访谈数据的比较分析提供了细微的差异。本文讨论了该研究在职前音乐教育者需求和教学中的应用。
{"title":"Preservice music educators’ perceived self-efficacy in teaching students with disabilities following special education coursework: A comparative mixed-methods study","authors":"Rachel Grimsby","doi":"10.1177/02557614241297275","DOIUrl":"https://doi.org/10.1177/02557614241297275","url":null,"abstract":"Preservice music educators’ (PMEs) experiences teaching students with disabilities (SwD) often occurs through general education coursework. Researchers have examined the effect of content-specific course work on PMEs preparation to teach music to SwD but have not examined if differences in course and clinical settings impact their self-reported feelings of self-efficacy. The purpose of this study was to examine whether differences in the delivery (online or in-person) of music-specific coursework and clinicals affected PMEs confidence to teach music to SwD. Students who participated in an online course reported a significant decrease in their self-efficacy ( t (17) = 3.57, p = .002, d = 0.89), while those who participated in an in-person course reported a significant increase ( t (10) = 7.116, p = .001, d = 2.15). Although no statistical significance was found between groups ( t (28) = 0.976, p = .33, d = 0.36), a comparative analysis of interview data provided nuanced differences. Applications for preservice music educator needs and instruction are discussed.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"85 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142594716","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 : 2024-10-30DOI: 10.1177/02557614241292361
Burcu Avcı Akbel
In this research, I aimed to evaluate the effectiveness of using video recordings in the process of formative assessment of taksims performed within the maqams covered in a Turkish music theory course. Taksim entails a performance aligned with the melodic movement features of a given maqam, adhering to its rules, yet allowing for improvised expression without a rhythmic structure. Maqam can be defined as the creation of musical phrases with a number of special rules by using certain sounds. Taksim studies are carried out in Turkish Music Conservatories, generally in the third and fourth grades, for the practice of the maqams taught in Turkish music theory courses. In this study, participating students recorded taksims in specific maqams. I, also as the instructor, reviewed the taksims performed in the video recordings and engaged in discussions with the students to clarify any ambiguous aspects. In my study, I employed observation, retrospective verbal protocol analysis, and interviews. I analyzed data using the content analysis approach on ATLAS.ti software. From my investigation, I deduced that analyzing videos during the formative assessment stage proved beneficial in identifying errors and enhancing skills such as error recognition, intonation, musicality, melody creation, motivation, and confidence.
{"title":"The use of video recordings in the formative assessment process of Taksims","authors":"Burcu Avcı Akbel","doi":"10.1177/02557614241292361","DOIUrl":"https://doi.org/10.1177/02557614241292361","url":null,"abstract":"In this research, I aimed to evaluate the effectiveness of using video recordings in the process of formative assessment of taksims performed within the maqams covered in a Turkish music theory course. Taksim entails a performance aligned with the melodic movement features of a given maqam, adhering to its rules, yet allowing for improvised expression without a rhythmic structure. Maqam can be defined as the creation of musical phrases with a number of special rules by using certain sounds. Taksim studies are carried out in Turkish Music Conservatories, generally in the third and fourth grades, for the practice of the maqams taught in Turkish music theory courses. In this study, participating students recorded taksims in specific maqams. I, also as the instructor, reviewed the taksims performed in the video recordings and engaged in discussions with the students to clarify any ambiguous aspects. In my study, I employed observation, retrospective verbal protocol analysis, and interviews. I analyzed data using the content analysis approach on ATLAS.ti software. From my investigation, I deduced that analyzing videos during the formative assessment stage proved beneficial in identifying errors and enhancing skills such as error recognition, intonation, musicality, melody creation, motivation, and confidence.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"15 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142555884","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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