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}
Pub Date : 2024-10-30DOI: 10.1177/02557614241295740
Yolanda Trujillo Galea, Verónica Juárez Ramos
The aims of this quantitative descriptive research were to find out the involvement and training of generalist Early Childhood teachers in active in the school year 2023/2024 in the development of creative musical and sound activities. An online questionnaire was used to obtain socio-demographic data, creative self-concept, as well as the degree of training, importance attached to and use of certain creative music and sound activities, and statistical correlational analyses were carried out between the variables. In total 72 Early Childhood teachers responded to online questionnaire. The results indicated that, despite having no training in music or music pedagogy, Early Childhood teachers consider themselves to be creative, attach importance to these activities, and use them often. These findings can contribute to the establishment of national or regional standards for music teaching in early childhood education, as well as to the revision of early childhood teacher training in music education.
{"title":"Creative musical activities in early childhood education: An analysis of teaching practices","authors":"Yolanda Trujillo Galea, Verónica Juárez Ramos","doi":"10.1177/02557614241295740","DOIUrl":"https://doi.org/10.1177/02557614241295740","url":null,"abstract":"The aims of this quantitative descriptive research were to find out the involvement and training of generalist Early Childhood teachers in active in the school year 2023/2024 in the development of creative musical and sound activities. An online questionnaire was used to obtain socio-demographic data, creative self-concept, as well as the degree of training, importance attached to and use of certain creative music and sound activities, and statistical correlational analyses were carried out between the variables. In total 72 Early Childhood teachers responded to online questionnaire. The results indicated that, despite having no training in music or music pedagogy, Early Childhood teachers consider themselves to be creative, attach importance to these activities, and use them often. These findings can contribute to the establishment of national or regional standards for music teaching in early childhood education, as well as to the revision of early childhood teacher training in music education.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"34 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142555888","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 : 2024-10-29DOI: 10.1177/02557614241292359
Sharon Lagon Rozenbaum, Atara Isaacson
Guided listening is vital in music education, fostering self-expression, skill development, and academic achievement. Yet, its limited use in Israeli high schools creates a gap between its recognized value and practice. This mixed-method study examines guided listening integration in secular Jewish-Israeli high school music programs based on four philosophical and pedagogical approaches—esthetic, Praxial, active, and peer instruction—to understand teachers’ objectives, methodologies, implementation, and optimal learning environments. Data was collected from an online questionnaire, structured interviews, direct observations of Western Art Music History lessons, and the researcher’s reflective journal. Key findings: (1) teachers tend to use a repeated five-step teaching pattern (reviewing, lecturing, analyzing, listening while following a score, summarizing); (2) teachers usually do not write lesson plans with detailed, step-by-step guidelines; and (3) teachers use recommended guided listening approaches in a limited capacity, likely due to pressure from preparing students for exams, and the perception that such methods are not fully suitable for Israeli high school music students. The paper explores teachers’ challenges in adopting guided listening pedagogical methods while balancing curriculum demands and promoting inclusivity. It offers recommendations for policymakers and educators on professional development and curriculum revisions, emphasizing detailed lesson planning for effective learning outcomes.
{"title":"Guided listening as meaningful learning: A study of Israeli secular Jewish High School music programs","authors":"Sharon Lagon Rozenbaum, Atara Isaacson","doi":"10.1177/02557614241292359","DOIUrl":"https://doi.org/10.1177/02557614241292359","url":null,"abstract":"Guided listening is vital in music education, fostering self-expression, skill development, and academic achievement. Yet, its limited use in Israeli high schools creates a gap between its recognized value and practice. This mixed-method study examines guided listening integration in secular Jewish-Israeli high school music programs based on four philosophical and pedagogical approaches—esthetic, Praxial, active, and peer instruction—to understand teachers’ objectives, methodologies, implementation, and optimal learning environments. Data was collected from an online questionnaire, structured interviews, direct observations of Western Art Music History lessons, and the researcher’s reflective journal. Key findings: (1) teachers tend to use a repeated five-step teaching pattern (reviewing, lecturing, analyzing, listening while following a score, summarizing); (2) teachers usually do not write lesson plans with detailed, step-by-step guidelines; and (3) teachers use recommended guided listening approaches in a limited capacity, likely due to pressure from preparing students for exams, and the perception that such methods are not fully suitable for Israeli high school music students. The paper explores teachers’ challenges in adopting guided listening pedagogical methods while balancing curriculum demands and promoting inclusivity. It offers recommendations for policymakers and educators on professional development and curriculum revisions, emphasizing detailed lesson planning for effective learning outcomes.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"18 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142541372","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 : 2024-10-26DOI: 10.1177/02557614241290830
Wanida Bhrammaputra, Jarun Kanchanapradit, John Garzoli, Stuart Grant, Neil McLachlan
The Buddhist Vipassana technique of Kayanupassana Satipatthana is used to develop samadhi (concentration) and sati (awareness) in the practices of Thai classical music (dontri Thai) teachers working in a Thai primary school and the specialist music school in a Thai university. While previous studies have explored the use of mediation as a means of alleviating stress or spiritual progress, the techniques described here are adapted in this dontri Thai pedagogy to help musicians optimize learning and performing through the cultivation of concentration, awareness, and bodily control. Within this pedagogy, sharpened concentration leads to heightened awareness which allows greater insight into the students’ state of mind, musical sounds, and sensory feelings in their bodies. This enable performers to reproduce what is conceptualized as the “ideal” sound. Students commence musical training by practicing meditation while producing a single note, a short melody, or a technical skill. The task is repeated until the tripartite goal of mental and physical immersion and the production of the ideal sound is achieved. The four key components of the method are integrated within a holistic and iterative learning process in which the student progressively develops the ability to focus on all relevant elements in a single moment.
{"title":"Kayanapussana Satipatthana and the Buddhist practices of Samadhi and Sati as foundational practices in the development of Thai musical skills","authors":"Wanida Bhrammaputra, Jarun Kanchanapradit, John Garzoli, Stuart Grant, Neil McLachlan","doi":"10.1177/02557614241290830","DOIUrl":"https://doi.org/10.1177/02557614241290830","url":null,"abstract":"The Buddhist Vipassana technique of Kayanupassana Satipatthana is used to develop samadhi (concentration) and sati (awareness) in the practices of Thai classical music (dontri Thai) teachers working in a Thai primary school and the specialist music school in a Thai university. While previous studies have explored the use of mediation as a means of alleviating stress or spiritual progress, the techniques described here are adapted in this dontri Thai pedagogy to help musicians optimize learning and performing through the cultivation of concentration, awareness, and bodily control. Within this pedagogy, sharpened concentration leads to heightened awareness which allows greater insight into the students’ state of mind, musical sounds, and sensory feelings in their bodies. This enable performers to reproduce what is conceptualized as the “ideal” sound. Students commence musical training by practicing meditation while producing a single note, a short melody, or a technical skill. The task is repeated until the tripartite goal of mental and physical immersion and the production of the ideal sound is achieved. The four key components of the method are integrated within a holistic and iterative learning process in which the student progressively develops the ability to focus on all relevant elements in a single moment.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"96 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142490852","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 : 2024-10-17DOI: 10.1177/02557614241289442
Melissa Bremmer, Michiel Schuijer
Traditionally, composers create music individually and autonomously. The egalitarian relationships in inclusive music ensembles, with their blend of conventional and technological music instruments and their focus on collaborative composing processes, however, might challenge professional composers to work differently. This begs the question: Which attitude, knowledge, and skills do composers need to compose collaboratively with inclusive music ensembles? To answer this question, we set up a qualitative survey study in which participants of the project Collaborative Composing with Inclusive Ensembles at the Amsterdam Conservatoire were interviewed or completed an online questionnaire. The data were analysed thematically. Findings exemplified that composers need to develop attitudes, knowledge, and skills in both the social and musical domains. From a social perspective, they need to work from a sense of equity, develop an understanding of the construct of inclusion and draw on pedagogical skills. From a musical perspective, composers need to develop an open attitude towards collaborative composing, a broad understanding of the concept of music, and digital sound production skills. Integrating these attitudes, knowledge, and skills can bring about a shift from composing for instruments to composing with people.
{"title":"Collaborative composing with inclusive music ensembles: What attitude, knowledge and skills do composers need?","authors":"Melissa Bremmer, Michiel Schuijer","doi":"10.1177/02557614241289442","DOIUrl":"https://doi.org/10.1177/02557614241289442","url":null,"abstract":"Traditionally, composers create music individually and autonomously. The egalitarian relationships in inclusive music ensembles, with their blend of conventional and technological music instruments and their focus on collaborative composing processes, however, might challenge professional composers to work differently. This begs the question: Which attitude, knowledge, and skills do composers need to compose collaboratively with inclusive music ensembles? To answer this question, we set up a qualitative survey study in which participants of the project Collaborative Composing with Inclusive Ensembles at the Amsterdam Conservatoire were interviewed or completed an online questionnaire. The data were analysed thematically. Findings exemplified that composers need to develop attitudes, knowledge, and skills in both the social and musical domains. From a social perspective, they need to work from a sense of equity, develop an understanding of the construct of inclusion and draw on pedagogical skills. From a musical perspective, composers need to develop an open attitude towards collaborative composing, a broad understanding of the concept of music, and digital sound production skills. Integrating these attitudes, knowledge, and skills can bring about a shift from composing for instruments to composing with people.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"40 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142448533","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 : 2024-10-08DOI: 10.1177/02557614241282883
Tina Holmes-Davis
Rock music and Western classical music seem very different but musicians in the two cultures may have enough self-regulated musical learning behaviors in common for concurrent application in school-based music education. In this paper, I describe the self-reported self-regulated musical learning behaviors of seven successful rock musicians, compare their behaviors to those expected in the Western classical tradition, and suggest ways to combine norms from both traditions in effective music education programs. Data are collected through digital ethnography methodology from a series of interviews published in YouTube. Emergent themes in the self-regulated musical learning behaviors of rock musicians include (1) passion for music making, (2) the importance of choice, (3) a need for personal control over learning, and (4) an emphasis on musical composition in daily practice.
{"title":"A portrait of self-regulated musical learning behaviors among rock musicians: Applications in music education","authors":"Tina Holmes-Davis","doi":"10.1177/02557614241282883","DOIUrl":"https://doi.org/10.1177/02557614241282883","url":null,"abstract":"Rock music and Western classical music seem very different but musicians in the two cultures may have enough self-regulated musical learning behaviors in common for concurrent application in school-based music education. In this paper, I describe the self-reported self-regulated musical learning behaviors of seven successful rock musicians, compare their behaviors to those expected in the Western classical tradition, and suggest ways to combine norms from both traditions in effective music education programs. Data are collected through digital ethnography methodology from a series of interviews published in YouTube. Emergent themes in the self-regulated musical learning behaviors of rock musicians include (1) passion for music making, (2) the importance of choice, (3) a need for personal control over learning, and (4) an emphasis on musical composition in daily practice.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"108 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142386274","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 : 2024-10-08DOI: 10.1177/02557614241287318
Simon Schmidt, Hans Gruber
Collective and individual practices are essential for popular music bands and their members when preparing for public performances. This study addresses the interplay of collective and individual practices in a sample of 82 members of semi-professional and professional popular music bands in Austria and Germany. Utilizing a structured questionnaire, practices were assessed within collective and individual practice contexts, and attributes and experiences pertinent to the current band and individual members were examined in terms of their reciprocal interplay, differences between semi-professionals and professionals, and relationships with the experience variables of groups and individuals. The results showed that collective and individual deliberate practices and the use of practice strategies were related in both practice contexts. Members of professional popular music bands invested significantly less time in collective practice for fun and significantly more time in individual deliberate practice. The results provide deeper insights into the interplay of collective and individual practices in music bands, the differences between semi-professional and professional practice designs, and the relevance of practice and professional experience for accomplishing professional music performance in general.
{"title":"Collective and individual practices in popular music: Differences between semi-professionals and professionals in Austria and Germany","authors":"Simon Schmidt, Hans Gruber","doi":"10.1177/02557614241287318","DOIUrl":"https://doi.org/10.1177/02557614241287318","url":null,"abstract":"Collective and individual practices are essential for popular music bands and their members when preparing for public performances. This study addresses the interplay of collective and individual practices in a sample of 82 members of semi-professional and professional popular music bands in Austria and Germany. Utilizing a structured questionnaire, practices were assessed within collective and individual practice contexts, and attributes and experiences pertinent to the current band and individual members were examined in terms of their reciprocal interplay, differences between semi-professionals and professionals, and relationships with the experience variables of groups and individuals. The results showed that collective and individual deliberate practices and the use of practice strategies were related in both practice contexts. Members of professional popular music bands invested significantly less time in collective practice for fun and significantly more time in individual deliberate practice. The results provide deeper insights into the interplay of collective and individual practices in music bands, the differences between semi-professional and professional practice designs, and the relevance of practice and professional experience for accomplishing professional music performance in general.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"2 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142386246","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 : 2024-10-08DOI: 10.1177/02557614241288957
Marie F Graham
The purpose of this study was to investigate the ways that children engage in collaborative processes with adults and their peers in music sight-reading skill acquisition in a middle school chorus in the Southeastern United States. Intact groups of sixth-, seventh-, and eighth-grade choruses were assessed on melodic and rhythmic sight-reading using a quasi-experimental pretest/posttest non-equivalent control group design. The instruments to evaluate melodic and rhythmic sight-reading included an adapted version of the Vocal Sight-Reading Inventory and a researcher-developed Rhythmic Skills Hierarchy. A comparison of the effectiveness of three learning models on rhythmic and melodic sight-reading achievement occurred: teacher-only and two types of peer-assisted learning. Three Analyses of Covariance (ANCOVAs) compared differences between groups on adjusted posttest scores. There were significant differences between the teacher-only (T-O) and the symmetrical peer-assisted learning (SPAL) groups when compared to the asymmetrical peer-assisted learning group (APAL). The T-O and SPAL treatment types were effective learning models for melodic sight-reading achievement but with nonsignificant results on rhythmic sight-reading. Symmetrical peer-assisted learning strategies are a suggested practice as a complement to teacher-directed instruction.
{"title":"The effects of peer-assisted learning on rhythmic and melodic sight-reading in a middle school chorus","authors":"Marie F Graham","doi":"10.1177/02557614241288957","DOIUrl":"https://doi.org/10.1177/02557614241288957","url":null,"abstract":"The purpose of this study was to investigate the ways that children engage in collaborative processes with adults and their peers in music sight-reading skill acquisition in a middle school chorus in the Southeastern United States. Intact groups of sixth-, seventh-, and eighth-grade choruses were assessed on melodic and rhythmic sight-reading using a quasi-experimental pretest/posttest non-equivalent control group design. The instruments to evaluate melodic and rhythmic sight-reading included an adapted version of the Vocal Sight-Reading Inventory and a researcher-developed Rhythmic Skills Hierarchy. A comparison of the effectiveness of three learning models on rhythmic and melodic sight-reading achievement occurred: teacher-only and two types of peer-assisted learning. Three Analyses of Covariance (ANCOVAs) compared differences between groups on adjusted posttest scores. There were significant differences between the teacher-only (T-O) and the symmetrical peer-assisted learning (SPAL) groups when compared to the asymmetrical peer-assisted learning group (APAL). The T-O and SPAL treatment types were effective learning models for melodic sight-reading achievement but with nonsignificant results on rhythmic sight-reading. Symmetrical peer-assisted learning strategies are a suggested practice as a complement to teacher-directed instruction.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"14 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142386250","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 : 2024-10-07DOI: 10.1177/02557614241287824
Stephanie L R MacArthur, Jane W Davidson, Amanda E Krause
When children commence instrumental music tuition, learning difficulties can emerge to disrupt predictable learning processes and impact musical development. However, children’s experiences of learning difficulties, including how they present, are managed and can be supported, are rarely examined in music research. This longitudinal, qualitative study used Participatory Action Research and Interpretative Phenomenological Analysis methodologies to examine the lived experience of fourteen 7-year-old beginner cellists. It focussed on how children’s learning difficulties emerged in the music studio and affected their continued engagement, and how the instrumental music teacher supported children with difficulties. Unexpectedly, half ( N = 7) of the young learners encountered challenges, including memory and processing difficulties, impulse, attention and focus issues, intrusive synaesthesia, fine motor skill difficulty, dyslexia and persistent anxiety. Children’s highly individualised experiences of their learning difficulties were impacted by their motivations, self-perception and ratio of skill acquisition. A reflexive pedagogical approach by the teacher, together with pragmatic support and emotional guidance from parents, influenced the children’s learning behaviour and continued investment, contributing to their longer-term musical engagement. This study offers a unique contribution to the literature by providing a rare investigation of children’s emergent learning difficulties, as revealed in the instrumental music studio.
{"title":"Uncovering children’s experiences of emergent learning difficulties in the instrumental music studio","authors":"Stephanie L R MacArthur, Jane W Davidson, Amanda E Krause","doi":"10.1177/02557614241287824","DOIUrl":"https://doi.org/10.1177/02557614241287824","url":null,"abstract":"When children commence instrumental music tuition, learning difficulties can emerge to disrupt predictable learning processes and impact musical development. However, children’s experiences of learning difficulties, including how they present, are managed and can be supported, are rarely examined in music research. This longitudinal, qualitative study used Participatory Action Research and Interpretative Phenomenological Analysis methodologies to examine the lived experience of fourteen 7-year-old beginner cellists. It focussed on how children’s learning difficulties emerged in the music studio and affected their continued engagement, and how the instrumental music teacher supported children with difficulties. Unexpectedly, half ( N = 7) of the young learners encountered challenges, including memory and processing difficulties, impulse, attention and focus issues, intrusive synaesthesia, fine motor skill difficulty, dyslexia and persistent anxiety. Children’s highly individualised experiences of their learning difficulties were impacted by their motivations, self-perception and ratio of skill acquisition. A reflexive pedagogical approach by the teacher, together with pragmatic support and emotional guidance from parents, influenced the children’s learning behaviour and continued investment, contributing to their longer-term musical engagement. This study offers a unique contribution to the literature by providing a rare investigation of children’s emergent learning difficulties, as revealed in the instrumental music studio.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"122 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142384446","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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