Pub Date : 2024-09-30DOI: 10.1177/02557614241282088
Lucy L Mawang
Declining enrolments and low persistence in music education are universal concerns among music educators. Identifying social-cognitive constructs that might be predictive of adolescent student persistence may assist in the development of interventions aimed at promoting persistence in music education in a global context. Using quantitative measures, this study considers the relationships between collaborative learning, music self-perception and perceived task persistence among secondary music students in Kenya. Collaborative learning has been shown to effectively enhance students’ engagement by exposing them to diverse opinions and perspectives, which stimulates learning, persistence and performance. Positive music self-perception enhances students’ confidence, motivation and determination. However, peer appraisals and comparisons during collaborative learning may impact students’ music self-perception and how they are perceived by their peers, which consequently reflects on their learning behaviour. Results from multiple regression analyses revealed that collaborative learning and music self-perception had significant positive predictive values for perceived task persistence. The two variables jointly accounted for approximately 17% of the variance in perceived task persistence. Mediation analyses using PROCESS revealed that music self-perception partially mediates the relationship between collaborative learning and perceived task persistence.
{"title":"Collaborative learning and persistence in music education: Examining music self-perception as a mediator among adolescent students","authors":"Lucy L Mawang","doi":"10.1177/02557614241282088","DOIUrl":"https://doi.org/10.1177/02557614241282088","url":null,"abstract":"Declining enrolments and low persistence in music education are universal concerns among music educators. Identifying social-cognitive constructs that might be predictive of adolescent student persistence may assist in the development of interventions aimed at promoting persistence in music education in a global context. Using quantitative measures, this study considers the relationships between collaborative learning, music self-perception and perceived task persistence among secondary music students in Kenya. Collaborative learning has been shown to effectively enhance students’ engagement by exposing them to diverse opinions and perspectives, which stimulates learning, persistence and performance. Positive music self-perception enhances students’ confidence, motivation and determination. However, peer appraisals and comparisons during collaborative learning may impact students’ music self-perception and how they are perceived by their peers, which consequently reflects on their learning behaviour. Results from multiple regression analyses revealed that collaborative learning and music self-perception had significant positive predictive values for perceived task persistence. The two variables jointly accounted for approximately 17% of the variance in perceived task persistence. Mediation analyses using PROCESS revealed that music self-perception partially mediates the relationship between collaborative learning and perceived task persistence.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"2 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142360531","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 : 2024-09-30DOI: 10.1177/02557614241287558
Lee Cheng, Zack Moir, Adam Patrick Bell, James Humberstone, Ethan Hein
The COVID-19 pandemic has brought about dramatic changes in popular music education, underscoring the importance of technology in both practice and transmission. Nevertheless, the celebration of technological integration as a one-stop solution has led to some challenges remaining overlooked and unsolved, resulting in an increasing mismatch between popular music education and the growth of online musical engagement among young people. Framed by the notion of digital musicianship, this position paper presents an overview of the adoption of technology in popular music education within the lockdown period, in the process raising concerns about whether such revisions can adequately address the challenges faced by popular music education. This leads to a discussion of a potential revamp of digital musicianship as a response to the continued and expanding presence of technology within popular music education and the post-pandemic teaching and learning environment. The authors assert that digital musicianship should encompass learners’ ability to perceive and adopt technologies for online and remote music-making, and critically evaluate their validity and quality in various contexts. Additionally, there is a need to critically address the homogeneity of musical cultures and technological determinism embedded within the design of music technology, alongside tackling the issues of inequality and accessibility.
{"title":"Digital musicianship in post-pandemic popular music education","authors":"Lee Cheng, Zack Moir, Adam Patrick Bell, James Humberstone, Ethan Hein","doi":"10.1177/02557614241287558","DOIUrl":"https://doi.org/10.1177/02557614241287558","url":null,"abstract":"The COVID-19 pandemic has brought about dramatic changes in popular music education, underscoring the importance of technology in both practice and transmission. Nevertheless, the celebration of technological integration as a one-stop solution has led to some challenges remaining overlooked and unsolved, resulting in an increasing mismatch between popular music education and the growth of online musical engagement among young people. Framed by the notion of digital musicianship, this position paper presents an overview of the adoption of technology in popular music education within the lockdown period, in the process raising concerns about whether such revisions can adequately address the challenges faced by popular music education. This leads to a discussion of a potential revamp of digital musicianship as a response to the continued and expanding presence of technology within popular music education and the post-pandemic teaching and learning environment. The authors assert that digital musicianship should encompass learners’ ability to perceive and adopt technologies for online and remote music-making, and critically evaluate their validity and quality in various contexts. Additionally, there is a need to critically address the homogeneity of musical cultures and technological determinism embedded within the design of music technology, alongside tackling the issues of inequality and accessibility.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"44 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142360285","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 : 2024-09-30DOI: 10.1177/02557614241286189
Jihae Shin, Joo Yeon Jung
This study explored Korean music teachers’ use of technology and views on integrating technology into music classrooms. Using a mixed methods approach, the researchers administered a survey to 105 music teachers and conducted semi-structured interviews with five music teachers. The results showed that about one-fourth of survey respondents indicated that they rarely incorporate music technology when teaching singing and playing, and generally, music teachers reported that they use music technology infrequently for main class activities. In addition, these Korean music teachers demonstrated limited knowledge of fourth industrial revolution smart technologies, despite viewing AI and the metaverse as potentially helpful for music teaching. Notably, this study found that music teachers consider it necessary to utilize music technologies that enable them to broaden the scope of music curricula.
{"title":"An investigation of Korean music teachers’ perceptions of technology in music classes","authors":"Jihae Shin, Joo Yeon Jung","doi":"10.1177/02557614241286189","DOIUrl":"https://doi.org/10.1177/02557614241286189","url":null,"abstract":"This study explored Korean music teachers’ use of technology and views on integrating technology into music classrooms. Using a mixed methods approach, the researchers administered a survey to 105 music teachers and conducted semi-structured interviews with five music teachers. The results showed that about one-fourth of survey respondents indicated that they rarely incorporate music technology when teaching singing and playing, and generally, music teachers reported that they use music technology infrequently for main class activities. In addition, these Korean music teachers demonstrated limited knowledge of fourth industrial revolution smart technologies, despite viewing AI and the metaverse as potentially helpful for music teaching. Notably, this study found that music teachers consider it necessary to utilize music technologies that enable them to broaden the scope of music curricula.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"12 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142360286","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 : 2024-09-26DOI: 10.1177/02557614241281992
Lu Liu, Sergio Garcia-Cuesta, Laura Chambers, Sergej Tchirkov, David G. Hebert
This collaborative autoethnography was developed by recent doctoral students in music from Southern Europe, Eurasia, East Asia, and North America, along with a professor based in Northern Europe. Our primary research question is “What can disruptive autobiographical experiences teach us about the implications of the decolonization movement for redefining “musical excellence” in higher music education?” The co-authors interviewed each other for their respective personal narratives on this theme, then collaboratively coded, analyzed and developed their results and interpretations. Four sub-questions served as prompts: (1) What was your gateway into music and how did the music learning-tradition that you were exposed to affect your development as a musician? (2) In what ways was the concept of “musical excellence” a part of your (early) development as a musician? (3) How does the concept of “musical excellence” impact how being an “artist” is defined by you and people around you? (4) How did this perception of “what is an artist” affect your musical path (and even how others perceive your career)? We share our findings and discuss implications in terms of possible innovations to higher music education, definitions of “musical excellence,” approaches to evaluation, and the role of competition in education.
{"title":"Rethinking “musical excellence” from a decolonial perspective: Disruptive autobiographical experiences among doctoral scholars","authors":"Lu Liu, Sergio Garcia-Cuesta, Laura Chambers, Sergej Tchirkov, David G. Hebert","doi":"10.1177/02557614241281992","DOIUrl":"https://doi.org/10.1177/02557614241281992","url":null,"abstract":"This collaborative autoethnography was developed by recent doctoral students in music from Southern Europe, Eurasia, East Asia, and North America, along with a professor based in Northern Europe. Our primary research question is “What can disruptive autobiographical experiences teach us about the implications of the decolonization movement for redefining “musical excellence” in higher music education?” The co-authors interviewed each other for their respective personal narratives on this theme, then collaboratively coded, analyzed and developed their results and interpretations. Four sub-questions served as prompts: (1) What was your gateway into music and how did the music learning-tradition that you were exposed to affect your development as a musician? (2) In what ways was the concept of “musical excellence” a part of your (early) development as a musician? (3) How does the concept of “musical excellence” impact how being an “artist” is defined by you and people around you? (4) How did this perception of “what is an artist” affect your musical path (and even how others perceive your career)? We share our findings and discuss implications in terms of possible innovations to higher music education, definitions of “musical excellence,” approaches to evaluation, and the role of competition in education.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"3 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142325599","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 : 2024-09-18DOI: 10.1177/02557614241281924
Hang Su, Houhua Qu, Yue Luo
The latest version of China’s National Compulsory Education Curriculum Programme and Standards 2022 (hereafter CECPS 2022) emphasises the cultivation of students’ collaborative capacities, mentioning ‘ carrying out the core literacy effectively’. From the perspective of music education, this study summarises the requirements for collaborative activities in compulsory courses of the music discipline within CECPS 2022 in the light of Social Interdependence Theory, and builds an Evaluation Index System of Collaborative Capacity (hereafter EISMCC) by employing the Delphi method and an Analytic Hierarchy Process approach. After 3 rounds of expert consultations and revisions, it was found that EISMCC in compulsory music education is comprised of 3 first-level indices, 7 second-level indices and 20 third-level indices. The index framework and the results of the weight distribution with reliable quality reflect the experts’ emphasis on the process, goal orientation and synergistic interaction of collaborative activities in music learning. The whole system considers people’s general understanding of collaborative capacity, the calls within CECPS 2022 for collaborative music activities, and the practical demands of music teaching in compulsory education. This study provides a theoretical basis, a design process paradigm, practical guidance and a valid tool for the evaluation of collaborative capacity in compulsory education.
{"title":"Building an evaluation index system of musical collaborative capacity for China’s compulsory music education: Using a combined Delphi method and Analytic Hierarchy Process approach","authors":"Hang Su, Houhua Qu, Yue Luo","doi":"10.1177/02557614241281924","DOIUrl":"https://doi.org/10.1177/02557614241281924","url":null,"abstract":"The latest version of China’s National Compulsory Education Curriculum Programme and Standards 2022 (hereafter CECPS 2022) emphasises the cultivation of students’ collaborative capacities, mentioning ‘ carrying out the core literacy effectively’. From the perspective of music education, this study summarises the requirements for collaborative activities in compulsory courses of the music discipline within CECPS 2022 in the light of Social Interdependence Theory, and builds an Evaluation Index System of Collaborative Capacity (hereafter EISMCC) by employing the Delphi method and an Analytic Hierarchy Process approach. After 3 rounds of expert consultations and revisions, it was found that EISMCC in compulsory music education is comprised of 3 first-level indices, 7 second-level indices and 20 third-level indices. The index framework and the results of the weight distribution with reliable quality reflect the experts’ emphasis on the process, goal orientation and synergistic interaction of collaborative activities in music learning. The whole system considers people’s general understanding of collaborative capacity, the calls within CECPS 2022 for collaborative music activities, and the practical demands of music teaching in compulsory education. This study provides a theoretical basis, a design process paradigm, practical guidance and a valid tool for the evaluation of collaborative capacity in compulsory education.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"1 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142245939","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 : 2024-09-17DOI: 10.1177/02557614241280040
Samuel Barros, Helena Marinho, Alex Bacadini França, Anabela Pereira
Music performance anxiety (MPA) affects young musicians, and especially those in higher music education, due to the evaluation and performance demands of this context and their professional and personal expectations, with implications for health and wellbeing. This study investigates the following predictors of anxiety: gender, age, performance experience, health problems, coping strategies and medication use, among Portuguese higher education music students. The Portuguese Music Performance Anxiety Scale (PoMPAS) was used to collect data ( N = 414). A Student’s t-test for independent samples was used to assess the extent to which MPA levels differ according to gender, and multiple linear regression was conducted to evaluate how age, performance experience, health problems, coping strategies and medication use influence the MPA levels of the sample. The results show that female participants display higher MPA scores than males. To varying degrees, all the factors above significantly impact participants’ MPA levels, as evaluated by the scale’s Behavioural/Emotional, Contextual/Physiological and Cognitive elements. The results of this study suggest that preventive orientation and health programmes could promote the wellbeing, and, consequently, decrease the MPA levels, of this group.
{"title":"Music performance anxiety: A study of anxiety predictors in higher education music students in Portugal","authors":"Samuel Barros, Helena Marinho, Alex Bacadini França, Anabela Pereira","doi":"10.1177/02557614241280040","DOIUrl":"https://doi.org/10.1177/02557614241280040","url":null,"abstract":"Music performance anxiety (MPA) affects young musicians, and especially those in higher music education, due to the evaluation and performance demands of this context and their professional and personal expectations, with implications for health and wellbeing. This study investigates the following predictors of anxiety: gender, age, performance experience, health problems, coping strategies and medication use, among Portuguese higher education music students. The Portuguese Music Performance Anxiety Scale (PoMPAS) was used to collect data ( N = 414). A Student’s t-test for independent samples was used to assess the extent to which MPA levels differ according to gender, and multiple linear regression was conducted to evaluate how age, performance experience, health problems, coping strategies and medication use influence the MPA levels of the sample. The results show that female participants display higher MPA scores than males. To varying degrees, all the factors above significantly impact participants’ MPA levels, as evaluated by the scale’s Behavioural/Emotional, Contextual/Physiological and Cognitive elements. The results of this study suggest that preventive orientation and health programmes could promote the wellbeing, and, consequently, decrease the MPA levels, of this group.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"10 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142236767","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 : 2024-09-17DOI: 10.1177/02557614241279723
Heather M Macdonald, Christine Guptill
Music students experiencing the potentially debilitating effects of playing-related injury (PRI) often first turn to their music teachers for help. This paper aims to document music instructors’ lived experience and perceptions surrounding PRI and better understand how teachers currently support students’ musculoskeletal health. Using a qualitative description approach, in-depth interviews with 10 oboe teachers (7 male, 3 female) documented their lived experience with or without injury and perceptions of PRI. Self-identified uninjured participants ( n = 5) described PRI-adjacent and non-PRI problems which elicited empathy for injured musicians, and self-reflective practices that contributed to better health. Injured participants described varied relationships to their pain, including pain as a source of guilt, distress, learning, and growth, and described diverse coping mechanisms including physical therapy, medication, mindfulness, and self-experimentation. Participants’ observations and experiences of PRI influenced their teaching, and several described seeking greater efficiency in students’ instrument set-up and body use. Resources for injured musicians were perceived to be difficult to access due to financial constraints, unawareness, jargon-filled language, and misinformation. These results suggest a need for more outreach from performing arts health professionals connecting music teachers, often the first point of contact for injured students, with high-quality resources which support student wellbeing.
音乐专业的学生在遇到与演奏有关的损伤 (PRI) 时，往往会首先向他们的音乐教师寻求帮助。本文旨在记录音乐教师的生活经历和对 PRI 的看法，更好地了解教师目前如何为学生的肌肉骨骼健康提供支持。本文采用定性描述的方法，对 10 名双簧管教师（7 名男性，3 名女性）进行了深入访谈，记录了他们受伤或未受伤的生活经历以及对 PRI 的看法。自我认定未受伤的参与者（n = 5）描述了 PRI 相关和非 PRI 问题，这些问题引起了受伤音乐家的共鸣，而自我反思的做法则有助于改善健康状况。受伤的参与者描述了他们与疼痛之间的各种关系，包括疼痛是内疚、痛苦、学习和成长的来源，并描述了各种应对机制，包括物理治疗、药物治疗、正念和自我实验。参与者对 PRI 的观察和体验影响了他们的教学，其中几位参与者描述了如何提高学生乐器安装和身体使用的效率。由于经济拮据、不了解、专业术语和错误信息，受伤音乐家很难获得相关资源。这些结果表明，表演艺术保健专业人员需要开展更多外联活动，将音乐教师（通常是受伤学生的第一联系人）与支持学生健康的优质资源联系起来。
{"title":"Oboe educators’ perspectives on playing-related injury, Part I: Lived experience and perceptions surrounding injury","authors":"Heather M Macdonald, Christine Guptill","doi":"10.1177/02557614241279723","DOIUrl":"https://doi.org/10.1177/02557614241279723","url":null,"abstract":"Music students experiencing the potentially debilitating effects of playing-related injury (PRI) often first turn to their music teachers for help. This paper aims to document music instructors’ lived experience and perceptions surrounding PRI and better understand how teachers currently support students’ musculoskeletal health. Using a qualitative description approach, in-depth interviews with 10 oboe teachers (7 male, 3 female) documented their lived experience with or without injury and perceptions of PRI. Self-identified uninjured participants ( n = 5) described PRI-adjacent and non-PRI problems which elicited empathy for injured musicians, and self-reflective practices that contributed to better health. Injured participants described varied relationships to their pain, including pain as a source of guilt, distress, learning, and growth, and described diverse coping mechanisms including physical therapy, medication, mindfulness, and self-experimentation. Participants’ observations and experiences of PRI influenced their teaching, and several described seeking greater efficiency in students’ instrument set-up and body use. Resources for injured musicians were perceived to be difficult to access due to financial constraints, unawareness, jargon-filled language, and misinformation. These results suggest a need for more outreach from performing arts health professionals connecting music teachers, often the first point of contact for injured students, with high-quality resources which support student wellbeing.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"33 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142236768","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 : 2024-09-17DOI: 10.1177/02557614241269586
Filip Verneert, Luc Nijs, Thomas De Baets
The aim of this study is to explore the lived experience of students ( N = 1,282) in general education engaging in collective free improvisation (CFI). Fourteen music teachers implemented a CFI lesson in 69 classes in Flanders (Belgium). Lived experience was measured using a Dutch version of the Flow State Scale for Occupational Tasks. This scale reflects the degree of Sense of Control, Positive Emotional Experience and Absorption by Concentrating. In addition, teachers’ reflections were mapped by means of an online survey. Overall scores on the 3 dimensions of the Flow scale averaged greater than or equal to 5 (7-point Likert scale). Results show a difference in total flow between students who already played an instrument and those who did not. Students who play an instrument score significantly higher on the factor ‘Sense of Control’. Conversely, the flow scores on the factors ‘Absorption by Concentration’ and ‘Positive Emotional Experience’ do not differ between instrumentalists and non-instrumentalists. Given the relatively high flow scores, we conclude that this type of musical engagement can be used for instrumentalists as well as non-instrumentalists. Although CFI was a new experience for the teachers, they indicated to continue using it in the future.
{"title":"Collective free improvisation in the Flemish general music classroom: Probing student’s lived experience through flow","authors":"Filip Verneert, Luc Nijs, Thomas De Baets","doi":"10.1177/02557614241269586","DOIUrl":"https://doi.org/10.1177/02557614241269586","url":null,"abstract":"The aim of this study is to explore the lived experience of students ( N = 1,282) in general education engaging in collective free improvisation (CFI). Fourteen music teachers implemented a CFI lesson in 69 classes in Flanders (Belgium). Lived experience was measured using a Dutch version of the Flow State Scale for Occupational Tasks. This scale reflects the degree of Sense of Control, Positive Emotional Experience and Absorption by Concentrating. In addition, teachers’ reflections were mapped by means of an online survey. Overall scores on the 3 dimensions of the Flow scale averaged greater than or equal to 5 (7-point Likert scale). Results show a difference in total flow between students who already played an instrument and those who did not. Students who play an instrument score significantly higher on the factor ‘Sense of Control’. Conversely, the flow scores on the factors ‘Absorption by Concentration’ and ‘Positive Emotional Experience’ do not differ between instrumentalists and non-instrumentalists. Given the relatively high flow scores, we conclude that this type of musical engagement can be used for instrumentalists as well as non-instrumentalists. Although CFI was a new experience for the teachers, they indicated to continue using it in the future.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"56 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142236781","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 : 2024-09-10DOI: 10.1177/02557614241279234
FD Ozdamar, G Yavuz-Konokman
This study, aiming to evaluate the piano teaching and post-process gains of music teacher candidates based on their experiences with the flipped classroom model (FC), was designed as a case study. The study group consisted of 24 music teacher candidates studying in the 2022 to 2023 academic semester in the Music Education Program. The research design includes implementation of piano teaching with the FC model and the application of diary and questionnaire forms to obtain qualitative data during weekly teaching practices. The qualitative data reveal the positive and negative aspects, opportunities, threats, the effects on learner gains of the general evaluation of piano teaching with the FC model, and the evaluation of videos as extracurricular teaching materials. It has been concluded piano teaching with the FC model has a positive effect on the components of the teaching process, learner-teacher communication, use of teaching materials, active participation, feedback correction, psychomotor and affective learning outcomes, the ability to play the piano musically and technically, and anxiety and motivation. In addition, the data show videos are preferable as extracurricular teaching materials, and it is seen as an important component affecting the suitability, usability and effectiveness of the FC model for piano teaching.
本研究以个案研究的形式设计，旨在评估音乐师范专业学生在翻转课堂模式（FC）下的钢琴教学和后期收获。研究小组由 24 名在 2022 至 2023 学年就读音乐教育专业的音乐教师候选人组成。研究设计包括实施 FC 模式的钢琴教学，并在每周的教学实践中应用日记和问卷形式获取定性数据。定性数据揭示了FC模式钢琴教学的积极和消极方面、机会、威胁、对学习者收获的影响的总体评价，以及对作为课外教材的视频的评价。结论是，FC 模式钢琴教学对教学过程的组成部分、学习者与教师的交流、教材的使用、主动参与、反馈矫正、心理运动和情感学习成果、音乐和技术方面的钢琴演奏能力以及焦虑和动机都有积极影响。此外，数据显示视频作为课外教材更受欢迎，被视为影响 FC 模式在钢琴教学中的适用性、可用性和有效性的重要组成部分。
{"title":"Piano Teaching Within the Framework of the Flipped Classroom Model: Planning, Implementation, and Evaluation","authors":"FD Ozdamar, G Yavuz-Konokman","doi":"10.1177/02557614241279234","DOIUrl":"https://doi.org/10.1177/02557614241279234","url":null,"abstract":"This study, aiming to evaluate the piano teaching and post-process gains of music teacher candidates based on their experiences with the flipped classroom model (FC), was designed as a case study. The study group consisted of 24 music teacher candidates studying in the 2022 to 2023 academic semester in the Music Education Program. The research design includes implementation of piano teaching with the FC model and the application of diary and questionnaire forms to obtain qualitative data during weekly teaching practices. The qualitative data reveal the positive and negative aspects, opportunities, threats, the effects on learner gains of the general evaluation of piano teaching with the FC model, and the evaluation of videos as extracurricular teaching materials. It has been concluded piano teaching with the FC model has a positive effect on the components of the teaching process, learner-teacher communication, use of teaching materials, active participation, feedback correction, psychomotor and affective learning outcomes, the ability to play the piano musically and technically, and anxiety and motivation. In addition, the data show videos are preferable as extracurricular teaching materials, and it is seen as an important component affecting the suitability, usability and effectiveness of the FC model for piano teaching.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"48 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142166081","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 : 2024-09-09DOI: 10.1177/02557614241268237
Diana Blom, Judith Brown, Brendan Smyly
For professional musicians, all aspects of music play an integrated role in music-making. However, for first year music students, who usually begin their studies identifying as performers, some may question the value of learning these other areas of music. This study investigates the responses of 80 first year undergraduate music students to questions about aspects of the music study they were about to begin, and their identity as a musician. The students were enrolled in two universities located in suburban and regional Australia. Questions were given to students in their first week of the Bachelor of Music course before classes began. In doing so, the study sought to capture what experiences, understandings, expectations and aspirations incoming students bring to, and have for, an undergraduate music course, and how they identify as musicians as they begin the course. As expected, findings noted experience with music performance and the possible influence of the location of the universities in relation to a low level of music theory knowledge. Yet understanding student interest in music technology, musicology and the music of Australian First Nations people reveals presage opinions which can help design authentic curriculum for the education of the 21st century musician.
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