Pub Date : 2025-04-12DOI: 10.1177/02557614251333525
Queen Nie Liaw, Wen Fen Beh, Feng-Hsu Lee
Choir ensembles have been influential in shaping the esteemed culture of schools in recent decades. Despite this, choirmasters frequently place a significant emphasis on technical proficiency, considering it a key determinant of the choir’s learning rather than creating a thorough curriculum that covers all facets of comprehending music. In response, the current study aims to ascertain the criteria used by choirmasters for assessing music selection and analysing compositions, learning outcomes and uncovering strategies and assessments to determine alignment with the Comprehensive Musicianship through Performance (CMP) model, which integrates performing with understanding. Qualitative data was collected through semi-structured interviews conducted via Zoom with eight choirmasters. The results revealed that choirmasters’ teaching plan aligned with L. Sindberg’s (2012) CMP model. Choirmasters prioritise choirs’ vocal background when selecting compositions and emphasise understanding the meaning and appropriateness of the text during composition analysis. They highlight cognitive outcomes by fostering a profound grasp of the pieces and use creative and interactive teaching strategies. Assessment plays a crucial role in evaluating choir members’ musicianship skill, monitoring progress and achieving learning objectives. While CMP model provides a strong foundation, ongoing research aims to refine and expand it to ensure continued relevance in the evolving needs of music ensemble.
{"title":"Comprehensive Musicianship through Performance (CMP) model in choir ensemble: Perspective form choirmasters in Klang Valley, Malaysia","authors":"Queen Nie Liaw, Wen Fen Beh, Feng-Hsu Lee","doi":"10.1177/02557614251333525","DOIUrl":"https://doi.org/10.1177/02557614251333525","url":null,"abstract":"Choir ensembles have been influential in shaping the esteemed culture of schools in recent decades. Despite this, choirmasters frequently place a significant emphasis on technical proficiency, considering it a key determinant of the choir’s learning rather than creating a thorough curriculum that covers all facets of comprehending music. In response, the current study aims to ascertain the criteria used by choirmasters for assessing music selection and analysing compositions, learning outcomes and uncovering strategies and assessments to determine alignment with the Comprehensive Musicianship through Performance (CMP) model, which integrates performing with understanding. Qualitative data was collected through semi-structured interviews conducted via Zoom with eight choirmasters. The results revealed that choirmasters’ teaching plan aligned with L. Sindberg’s (2012) CMP model. Choirmasters prioritise choirs’ vocal background when selecting compositions and emphasise understanding the meaning and appropriateness of the text during composition analysis. They highlight cognitive outcomes by fostering a profound grasp of the pieces and use creative and interactive teaching strategies. Assessment plays a crucial role in evaluating choir members’ musicianship skill, monitoring progress and achieving learning objectives. While CMP model provides a strong foundation, ongoing research aims to refine and expand it to ensure continued relevance in the evolving needs of music ensemble.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"5 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143822770","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 : 2025-04-01DOI: 10.1177/02557614251329445
Ellen Waterman, Erin Parkes, Geneviève Cimon, Jesse Stewart
People with disabilities are confronted with many barriers to participation in inclusive music making, including but not limited to challenges accessing appropriately adapted program curricula and pedagogical approaches. This article reports on a partnered research project ‘Expanding the Music Circle’ that brought professional orchestra musicians, special music educators and adults with profound disabilities together to make improvised music online via Zoom. The authors, experts in improvisation pedagogy and special music education, designed and delivered a curriculum aimed at facilitating an inclusive ensemble experience for all participants. Following a modified Participatory Action Research (PAR) methodology, the study comprised 16 facilitated improvisation sessions for adults with disabilities, with observation and feedback by orchestra musicians and special music educators. Subsequently, the three participant groups were formed into integrated ensembles for eight additional sessions. Data, analysed through thematic coding, includes participant observation, videoed Zoom calls, journals, focus groups and interviews. Results include positive feelings of community in the integrated ensemble, mixed experiences making music using networked, online technology and the value of using accessible and adaptable improvisation in a mixed abilities ensemble, especially when presented with some predictability and structure.
{"title":"Expanding the music circle through networked improvisation in an inclusive ensemble","authors":"Ellen Waterman, Erin Parkes, Geneviève Cimon, Jesse Stewart","doi":"10.1177/02557614251329445","DOIUrl":"https://doi.org/10.1177/02557614251329445","url":null,"abstract":"People with disabilities are confronted with many barriers to participation in inclusive music making, including but not limited to challenges accessing appropriately adapted program curricula and pedagogical approaches. This article reports on a partnered research project ‘Expanding the Music Circle’ that brought professional orchestra musicians, special music educators and adults with profound disabilities together to make improvised music online via Zoom. The authors, experts in improvisation pedagogy and special music education, designed and delivered a curriculum aimed at facilitating an inclusive ensemble experience for all participants. Following a modified Participatory Action Research (PAR) methodology, the study comprised 16 facilitated improvisation sessions for adults with disabilities, with observation and feedback by orchestra musicians and special music educators. Subsequently, the three participant groups were formed into integrated ensembles for eight additional sessions. Data, analysed through thematic coding, includes participant observation, videoed Zoom calls, journals, focus groups and interviews. Results include positive feelings of community in the integrated ensemble, mixed experiences making music using networked, online technology and the value of using accessible and adaptable improvisation in a mixed abilities ensemble, especially when presented with some predictability and structure.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"19 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143757731","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 : 2025-03-26DOI: 10.1177/02557614251328171
Brian Silvey, D Gregory Springer, Amanda Greenbacker-Mitchell, Collin Clark, Nicholas Doshier, Andrew Dubbert
The purpose of this study was to investigate the effects of unexpressive, expressive, and overly-expressive conducting on college musicians’ ratings of ensemble expressivity. Participants ( N = 133) from the United States viewed three video recordings of three conductors whose unexpressive, expressive, or overly-expressive conducting performances had been synchronized with the same corresponding, high-quality audio recordings. After viewing each of the three excerpts in one of three counterbalanced orders, participants rated the expressivity of the ensemble’s performance. We found a significant effect for conductor expressivity, but there was also a significant conductor expressivity × order interaction. Although participants’ ratings were influenced by conductor expressivity, they were not independent of viewing order. Implications for conductors and recommendations for future research are discussed.
{"title":"How much is too much? Effects of unexpressive, expressive, and overly-expressive conducting on ensemble expressivity ratings","authors":"Brian Silvey, D Gregory Springer, Amanda Greenbacker-Mitchell, Collin Clark, Nicholas Doshier, Andrew Dubbert","doi":"10.1177/02557614251328171","DOIUrl":"https://doi.org/10.1177/02557614251328171","url":null,"abstract":"The purpose of this study was to investigate the effects of unexpressive, expressive, and overly-expressive conducting on college musicians’ ratings of ensemble expressivity. Participants ( <jats:italic>N</jats:italic> = 133) from the United States viewed three video recordings of three conductors whose unexpressive, expressive, or overly-expressive conducting performances had been synchronized with the same corresponding, high-quality audio recordings. After viewing each of the three excerpts in one of three counterbalanced orders, participants rated the expressivity of the ensemble’s performance. We found a significant effect for conductor expressivity, but there was also a significant conductor expressivity × order interaction. Although participants’ ratings were influenced by conductor expressivity, they were not independent of viewing order. Implications for conductors and recommendations for future research are discussed.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"72 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143712994","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 : 2025-03-26DOI: 10.1177/02557614251329629
Çağrı Şen
This study sought to explore the interrelationships between preschool teacher candidates’ self-efficacy in music teaching, their academic self-efficacy and their self-efficacy in preschool teaching. A review of the relevant literature was conducted, and Structural Equation Modeling was used to examine the relationships between variables. The study sample comprised 425 preschool teacher candidates. The findings indicated that academic self-efficacy significantly and positively predicted both preschool teaching self-efficacy and music teaching self-efficacy. Additionally, preschool teaching self-efficacy emerged as a significant positive predictor of music teaching self-efficacy. Notably, preschool teaching self-efficacy was identified as the strongest predictor of music teaching self-efficacy. Furthermore, preschool teaching self-efficacy was found to mediate the relationship between academic self-efficacy and music teaching self-efficacy. Theoretical implications suggest that the music teaching self-efficacy beliefs of preschool teacher candidates, who are also responsible for providing music education, are positively related to their academic self-efficacy and preschool teaching self-efficacy. However, further research is needed that addresses other variables with the potential to predict music teaching self-efficacy.
{"title":"A structural equation model of preschool teacher candidates’ self-efficacy beliefs for music teaching: The role of academic and preschool teaching self-efficacy","authors":"Çağrı Şen","doi":"10.1177/02557614251329629","DOIUrl":"https://doi.org/10.1177/02557614251329629","url":null,"abstract":"This study sought to explore the interrelationships between preschool teacher candidates’ self-efficacy in music teaching, their academic self-efficacy and their self-efficacy in preschool teaching. A review of the relevant literature was conducted, and Structural Equation Modeling was used to examine the relationships between variables. The study sample comprised 425 preschool teacher candidates. The findings indicated that academic self-efficacy significantly and positively predicted both preschool teaching self-efficacy and music teaching self-efficacy. Additionally, preschool teaching self-efficacy emerged as a significant positive predictor of music teaching self-efficacy. Notably, preschool teaching self-efficacy was identified as the strongest predictor of music teaching self-efficacy. Furthermore, preschool teaching self-efficacy was found to mediate the relationship between academic self-efficacy and music teaching self-efficacy. Theoretical implications suggest that the music teaching self-efficacy beliefs of preschool teacher candidates, who are also responsible for providing music education, are positively related to their academic self-efficacy and preschool teaching self-efficacy. However, further research is needed that addresses other variables with the potential to predict music teaching self-efficacy.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"94 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143712995","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 : 2025-03-26DOI: 10.1177/02557614251327001
Michael Newton, Renee Crawford, Jane Southcott
Global educational constructs affect students’ valuing of school music and continuation in music education beyond compulsory education. This United Kingdom-based study sought to understand the primary influences on students’ music education enrolment decisions after their compulsory years of schooling. Using mixed-methods research we investigated 346 Year 9 (compulsory) and Year 10 (post-compulsory) students’ perceptions of music education through questionnaires and focus-groups. The findings highlight the differing importance attributed by students to school music and music in general. Students commonly expressed a de-valuing of school music, citing a disparity between classroom music and their personal preferences and experiences. Students electively enrolled in music recognised school music’s role in developing their music knowledge and understanding. Enjoyment and musical learning emerged as primary benefits of music education, yet school music lacked perceived positive impact in their lives. Music education should better align with students’ interests, preferences and experiences beyond school to foster engagement and participation.
{"title":"The problem of secondary school music enrolments: Tensions between relevance, engagement and improving musical skills and knowledge","authors":"Michael Newton, Renee Crawford, Jane Southcott","doi":"10.1177/02557614251327001","DOIUrl":"https://doi.org/10.1177/02557614251327001","url":null,"abstract":"Global educational constructs affect students’ valuing of school music and continuation in music education beyond compulsory education. This United Kingdom-based study sought to understand the primary influences on students’ music education enrolment decisions after their compulsory years of schooling. Using mixed-methods research we investigated 346 Year 9 (compulsory) and Year 10 (post-compulsory) students’ perceptions of music education through questionnaires and focus-groups. The findings highlight the differing importance attributed by students to school music and music in general. Students commonly expressed a de-valuing of school music, citing a disparity between classroom music and their personal preferences and experiences. Students electively enrolled in music recognised school music’s role in developing their music knowledge and understanding. Enjoyment and musical learning emerged as primary benefits of music education, yet school music lacked perceived positive impact in their lives. Music education should better align with students’ interests, preferences and experiences beyond school to foster engagement and participation.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"35 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143712996","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 : 2025-03-04DOI: 10.1177/02557614251323665
Jinnan Liu, David J Saccardi
Reciprocal peer teaching (RPT) is an instructional strategy rooted in collaborative learning principles, wherein students take on the roles of both tutor and tutee. It has been examined in several music education contexts, including elementary, secondary, and university ensembles; however, group piano has yet to be examined. The purpose of this study was to determine what effects there were, if any, between the duration of training for RPT tutors and achievement on four piano performance skills: repertoire, sight-reading, harmonization, and transposition. Thirty-three non-piano music majors completed pretesting and engaged in 2 to 6 days of RPT training, followed by 8 weeks of RPT interactions in their group piano class, after which a posttest was administered. Results from four separate Kruskal Wallis H tests found significant differences between groups for all areas of assessment. Post hoc testing determined that the 4-day training group scored significantly higher on the repertoire, harmonization, and sight-reading tasks, and the 6-day training group scored significantly higher in sight-reading and transposition tasks; however, the limited sample size should caution broad interpretation. Further analysis determined that the results of all tests were correlated with one another, suggesting that as the facility in one assessed skill increases, so do others. Implications for RPT tutor training and group piano teachers are discussed.
{"title":"Does length of training period impact the effectiveness of reciprocal peer teaching in university group piano students?","authors":"Jinnan Liu, David J Saccardi","doi":"10.1177/02557614251323665","DOIUrl":"https://doi.org/10.1177/02557614251323665","url":null,"abstract":"Reciprocal peer teaching (RPT) is an instructional strategy rooted in collaborative learning principles, wherein students take on the roles of both tutor and tutee. It has been examined in several music education contexts, including elementary, secondary, and university ensembles; however, group piano has yet to be examined. The purpose of this study was to determine what effects there were, if any, between the duration of training for RPT tutors and achievement on four piano performance skills: repertoire, sight-reading, harmonization, and transposition. Thirty-three non-piano music majors completed pretesting and engaged in 2 to 6 days of RPT training, followed by 8 weeks of RPT interactions in their group piano class, after which a posttest was administered. Results from four separate Kruskal Wallis H tests found significant differences between groups for all areas of assessment. Post hoc testing determined that the 4-day training group scored significantly higher on the repertoire, harmonization, and sight-reading tasks, and the 6-day training group scored significantly higher in sight-reading and transposition tasks; however, the limited sample size should caution broad interpretation. Further analysis determined that the results of all tests were correlated with one another, suggesting that as the facility in one assessed skill increases, so do others. Implications for RPT tutor training and group piano teachers are discussed.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"3 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143546469","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 : 2025-02-27DOI: 10.1177/02557614251320689
Heather M Macdonald, Christine Guptill
Music educators are uniquely positioned to promote student playing-related health, yet little is known about their current approach to student wellness. This article aimed to identify barriers and solutions to musician health promotion and to document studio music instructors’ approaches to wellness topics with students. Using a qualitative description approach, in-depth interviews with 10 oboe teachers (7 male, 3 female, 5 with personal history of injury) documented perceptions and practices surrounding playing-related injury (PRI). Participants identified several barriers to help-seeking behaviors among musicians, including shame, stigma, discrimination, heavy course loads, and abuse. Proposed solutions for these barriers included self-care, accessible resources, vulnerability, empathy, positive framing, and institutional support for wellness initiatives. Participants’ teaching practices emphasized adaptable lesson plans, cultivating independence and efficiency, and positive framing. With injured students, they described referring to medical professionals, encouraging physical activity, emphasizing posture and alignment, recommending instrument modifications and supports, making sure that reeds and instrument are functioning well, and incorporating rest into lesson and practice plans. Participants demonstrated a nuanced understanding of how best to approach musicians’ wellness topics with students (e.g. positive framing, vulnerability, empathy, emphasizing efficiency). Educational wellness initiatives could achieve greater efficacy through direct consultation and collaboration with teachers.
{"title":"Oboe educators’ perspectives on playing-related injury, Part II: Barriers, solutions, and teaching practices","authors":"Heather M Macdonald, Christine Guptill","doi":"10.1177/02557614251320689","DOIUrl":"https://doi.org/10.1177/02557614251320689","url":null,"abstract":"Music educators are uniquely positioned to promote student playing-related health, yet little is known about their current approach to student wellness. This article aimed to identify barriers and solutions to musician health promotion and to document studio music instructors’ approaches to wellness topics with students. Using a qualitative description approach, in-depth interviews with 10 oboe teachers (7 male, 3 female, 5 with personal history of injury) documented perceptions and practices surrounding playing-related injury (PRI). Participants identified several barriers to help-seeking behaviors among musicians, including shame, stigma, discrimination, heavy course loads, and abuse. Proposed solutions for these barriers included self-care, accessible resources, vulnerability, empathy, positive framing, and institutional support for wellness initiatives. Participants’ teaching practices emphasized adaptable lesson plans, cultivating independence and efficiency, and positive framing. With injured students, they described referring to medical professionals, encouraging physical activity, emphasizing posture and alignment, recommending instrument modifications and supports, making sure that reeds and instrument are functioning well, and incorporating rest into lesson and practice plans. Participants demonstrated a nuanced understanding of how best to approach musicians’ wellness topics with students (e.g. positive framing, vulnerability, empathy, emphasizing efficiency). Educational wellness initiatives could achieve greater efficacy through direct consultation and collaboration with teachers.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"49 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143528319","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 : 2025-02-07DOI: 10.1177/02557614251318517
Ana Álamo Orellana, Marta Martínez-Rodríguez
The Spanish Society for Music Education ( Sociedad para la Educación Musical del Estado Español, SEM-EE in its Spanish acronym), has been dedicated to music education for almost half a century. Even so, it is currently difficult to find studies on its activity or impact. The aim of this study is to learn about the achievements, difficulties, and goals for SEM-EE that have emerged along the way and will come in the future. This has been done through a qualitative phenomenological study, analyzing 18 interviews carried out with members of the boards of directors, and codified through Atlas.ti software program. The results show that some of the greatest achievements of this organization have been to carry out activities, facilitate the connection between professionals from different fields of music education, and the promotion of music research. The lack of support, both institutional and from the educational community, along with scarce economic resources were some of the most noted difficulties. Future goals point to promoting more dialog with the administration, and the improvement of technological resources. The implications of this work can be relevant for music teaching professionals interested in the advancement of music education based on bringing together different collectives.
西班牙音乐教育协会（Sociedad para la Educación Musical del Estado Español，西班牙语首字母缩略词SEM-EE）致力于音乐教育近半个世纪。尽管如此，目前很难找到关于其活动或影响的研究。本研究的目的是了解SEM-EE已经出现的成就、困难和未来的目标。这是通过定性现象学研究完成的，分析了与董事会成员进行的18次访谈，并通过Atlas编纂。Ti软件程序。结果表明，该组织的一些最大成就是开展活动，促进不同领域音乐教育专业人员之间的联系，促进音乐研究。缺乏体制和教育界的支持，加上缺乏经济资源，是一些最明显的困难。未来的目标是促进与行政部门的更多对话，并改善技术资源。这项工作的含义可以相关的音乐教学专业人士对音乐教育的进步感兴趣的基础上汇集不同的集体。
{"title":"Achievements, difficulties, and goals of the Spanish Society for Music Education (SEM-EE): A phenomenological study","authors":"Ana Álamo Orellana, Marta Martínez-Rodríguez","doi":"10.1177/02557614251318517","DOIUrl":"https://doi.org/10.1177/02557614251318517","url":null,"abstract":"The Spanish Society for Music Education ( Sociedad para la Educación Musical del Estado Español, SEM-EE in its Spanish acronym), has been dedicated to music education for almost half a century. Even so, it is currently difficult to find studies on its activity or impact. The aim of this study is to learn about the achievements, difficulties, and goals for SEM-EE that have emerged along the way and will come in the future. This has been done through a qualitative phenomenological study, analyzing 18 interviews carried out with members of the boards of directors, and codified through Atlas.ti software program. The results show that some of the greatest achievements of this organization have been to carry out activities, facilitate the connection between professionals from different fields of music education, and the promotion of music research. The lack of support, both institutional and from the educational community, along with scarce economic resources were some of the most noted difficulties. Future goals point to promoting more dialog with the administration, and the improvement of technological resources. The implications of this work can be relevant for music teaching professionals interested in the advancement of music education based on bringing together different collectives.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"21 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143367367","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 : 2025-01-23DOI: 10.1177/02557614241313392
Apinporn Chaiwanichsiri
Cultural awareness is crucial in fostering inclusive and authentically representative musical theatre productions in today’s diverse educational landscape. I designed this study to examine U.S. music teachers’ attitudes, perspectives, and the integration of strategies related to culturally responsive teaching (CRT) into their high school musical theatre productions, including the challenges they encounter and their suggestions. Analysis of responses to the electronic survey ( N = 119) indicated a strong emphasis on integrating cultural awareness across various stages of musical production, aligning with Gay’s five essential elements for CRT implementation. Teachers prioritized selecting culturally valid musicals that were responsive to students’ skills and diverse backgrounds while fostering cultural appreciation. Despite challenges such as finding culture bearers and accessing some culturally diverse materials, they did curate culturally accurate and relevant materials to deepen students’ cultural understanding, guiding them in interpreting and performing musical songs using appropriate diverse vocal styles in a healthy manner. Establishing a safe space where students felt acknowledged and could freely discuss, share, lead, and collaborate was integral to these efforts. Ultimately, these practices aimed to cultivate students’ respect for their own and other cultures, promote diversity, inclusivity, and enhance the overall quality of the musical presentation.
{"title":"High school music teachers’ attitudes and practices regarding culturally responsive teaching in musical theatre production","authors":"Apinporn Chaiwanichsiri","doi":"10.1177/02557614241313392","DOIUrl":"https://doi.org/10.1177/02557614241313392","url":null,"abstract":"Cultural awareness is crucial in fostering inclusive and authentically representative musical theatre productions in today’s diverse educational landscape. I designed this study to examine U.S. music teachers’ attitudes, perspectives, and the integration of strategies related to culturally responsive teaching (CRT) into their high school musical theatre productions, including the challenges they encounter and their suggestions. Analysis of responses to the electronic survey ( N = 119) indicated a strong emphasis on integrating cultural awareness across various stages of musical production, aligning with Gay’s five essential elements for CRT implementation. Teachers prioritized selecting culturally valid musicals that were responsive to students’ skills and diverse backgrounds while fostering cultural appreciation. Despite challenges such as finding culture bearers and accessing some culturally diverse materials, they did curate culturally accurate and relevant materials to deepen students’ cultural understanding, guiding them in interpreting and performing musical songs using appropriate diverse vocal styles in a healthy manner. Establishing a safe space where students felt acknowledged and could freely discuss, share, lead, and collaborate was integral to these efforts. Ultimately, these practices aimed to cultivate students’ respect for their own and other cultures, promote diversity, inclusivity, and enhance the overall quality of the musical presentation.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"112 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143026625","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 : 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}
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