Pub Date : 2023-09-05DOI: 10.1177/02557614231191144
Julia Brook, Colleen Renihan, Ben Schnitzer
This research study aims to illuminate Canadian musicians’ portfolio careers across the cultural domains. Previous research has highlighted the career paths of music graduates directly after graduation, and other research has highlighted the experiences of well-known performers or pedagogues. However, little is known about music graduates who persist and establish careers in music. We interviewed twelve musicians working in a variety of Canadian cultural domains to understand their work and career paths. Their stories elucidate how artists balance income stability, artistic agency, creativity, and professional challenges to create impressive and fulfilling portfolios that enable them to use their music-based knowledge and skills in various ways. Findings from this study provide a more nuanced understanding of the scope and nature of music-related work in Canada and how artists integrate artistic and creative abilities with community needs and economic stability. These findings offer insights for emerging musicians and music graduates and have implications for educating and supporting artists who wish (or indeed need) to work across cultural domains.
{"title":"Creativity, agency, and stability: Perceptions of Canadian musicians working across the cultural domains","authors":"Julia Brook, Colleen Renihan, Ben Schnitzer","doi":"10.1177/02557614231191144","DOIUrl":"https://doi.org/10.1177/02557614231191144","url":null,"abstract":"This research study aims to illuminate Canadian musicians’ portfolio careers across the cultural domains. Previous research has highlighted the career paths of music graduates directly after graduation, and other research has highlighted the experiences of well-known performers or pedagogues. However, little is known about music graduates who persist and establish careers in music. We interviewed twelve musicians working in a variety of Canadian cultural domains to understand their work and career paths. Their stories elucidate how artists balance income stability, artistic agency, creativity, and professional challenges to create impressive and fulfilling portfolios that enable them to use their music-based knowledge and skills in various ways. Findings from this study provide a more nuanced understanding of the scope and nature of music-related work in Canada and how artists integrate artistic and creative abilities with community needs and economic stability. These findings offer insights for emerging musicians and music graduates and have implications for educating and supporting artists who wish (or indeed need) to work across cultural domains.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48780824","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 : 2023-08-28DOI: 10.1177/02557614231190400
Xia Yun
As the main way of inheriting traditional Chinese art, oral and heart-to-heart teaching (OAHTHT) has survived in all kinds of art inheritance activities. However, the existing literature fails to provide a clear explanation of the applicability and evolution of OAHTHT in contemporary school music classrooms. This article reports on a project of ‘local opera in the classroom’ carried out in primary and secondary schools in six regions of Shandong Province from 2017 to 2020. It attempts to research the presentation and evolution of OAHTHT in contemporary music classrooms through classroom observation and semi-structured interviews with teachers and artists participating in the project. Findings show that the change in OAHTHT is not only reflected in the differences of material media, teaching space and spiritual space, but also in the relationship between ‘oral instruction’ and ‘heart to heart teaching’(Xin Chuan): from the past gradual relationship from skill to mind to parallel relationship of mutual subjects. Meanwhile, under the new OAHTHT inheritance mode, a new form of campus opera performance with children as the principal part is taking shape.
{"title":"The evolution of the method of ‘oral and heart-to-heart teaching’ in contemporary times: Based on the observation of Shandong opera classroom","authors":"Xia Yun","doi":"10.1177/02557614231190400","DOIUrl":"https://doi.org/10.1177/02557614231190400","url":null,"abstract":"As the main way of inheriting traditional Chinese art, oral and heart-to-heart teaching (OAHTHT) has survived in all kinds of art inheritance activities. However, the existing literature fails to provide a clear explanation of the applicability and evolution of OAHTHT in contemporary school music classrooms. This article reports on a project of ‘local opera in the classroom’ carried out in primary and secondary schools in six regions of Shandong Province from 2017 to 2020. It attempts to research the presentation and evolution of OAHTHT in contemporary music classrooms through classroom observation and semi-structured interviews with teachers and artists participating in the project. Findings show that the change in OAHTHT is not only reflected in the differences of material media, teaching space and spiritual space, but also in the relationship between ‘oral instruction’ and ‘heart to heart teaching’(Xin Chuan): from the past gradual relationship from skill to mind to parallel relationship of mutual subjects. Meanwhile, under the new OAHTHT inheritance mode, a new form of campus opera performance with children as the principal part is taking shape.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49519102","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 : 2023-08-21DOI: 10.1177/02557614231194073
Chi Kai Lam
This scoping review addresses internationally published empirical studies on the subject of technology-enhanced creativity. The study aims to identify the types of technological tools used to enhance students’ creativity and examine how technological tools can support students’ creativity in K-12 music education. This review selected and analyzed 17 studies published from 1987 to 2022 in peer-reviewed journals using a rigorous five-stage scoping framework. Data extraction and analysis were conducted in Covidence. The results revealed eight types of technological tools used to enhance creativity in the music classroom, in which sequencer software and GarageBand were the most commonly used type of technological tools and applications respectively. Technology’s support for creativity was also discussed from the perspectives of Lubart’s four roles of computers: (a) computer as nanny, (b) computer as pen-pal, (c) computer as coach, and (d) computer as colleague. The results showed a dearth of research on how technology can become students’ partners to help them generate creative ideas. Based on the findings, this review concluded with implications and recommendations for future research.
{"title":"Technology-enhanced creativity in K-12 music education: A scoping review","authors":"Chi Kai Lam","doi":"10.1177/02557614231194073","DOIUrl":"https://doi.org/10.1177/02557614231194073","url":null,"abstract":"This scoping review addresses internationally published empirical studies on the subject of technology-enhanced creativity. The study aims to identify the types of technological tools used to enhance students’ creativity and examine how technological tools can support students’ creativity in K-12 music education. This review selected and analyzed 17 studies published from 1987 to 2022 in peer-reviewed journals using a rigorous five-stage scoping framework. Data extraction and analysis were conducted in Covidence. The results revealed eight types of technological tools used to enhance creativity in the music classroom, in which sequencer software and GarageBand were the most commonly used type of technological tools and applications respectively. Technology’s support for creativity was also discussed from the perspectives of Lubart’s four roles of computers: (a) computer as nanny, (b) computer as pen-pal, (c) computer as coach, and (d) computer as colleague. The results showed a dearth of research on how technology can become students’ partners to help them generate creative ideas. Based on the findings, this review concluded with implications and recommendations for future research.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41568600","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 : 2023-08-18DOI: 10.1177/02557614231192189
Purin Thepsathit, K. Tangdhanakanond
This research aimed to develop formative assessment rubrics for enhancing students’ performance on Thai percussion instruments using the Many-Facet Rasch Measurement Partial Credit model (MFRM-PCM). Samples were high-school students playing four types of Thai instruments and the raters who were qualified and properly trained. The research instrument was rubrics used for assessing students’ Thai percussion instruments skills. Each item contained five quality levels. The research methodology was divided into three phases, that is, the synthesis and verification of content validity, pre-testing of the psychometric properties and the assessment design, and the verification of the rubrics’ psychometric properties. Four facets of the MFRM-PCM including students, raters, musical instruments, and items facet were employed to analyze the psychometric properties of the developed rubrics. It was found that the rubrics developed for assessing performances of Thai percussion instruments with the MFRM-PCM contained eight criteria and 12 items. The quality levels of the items after the category’s effectiveness analysis were reduced ranging from two to three quality levels.
{"title":"The development of formative assessment rubrics for enhancing students’ performance on Thai percussion instruments","authors":"Purin Thepsathit, K. Tangdhanakanond","doi":"10.1177/02557614231192189","DOIUrl":"https://doi.org/10.1177/02557614231192189","url":null,"abstract":"This research aimed to develop formative assessment rubrics for enhancing students’ performance on Thai percussion instruments using the Many-Facet Rasch Measurement Partial Credit model (MFRM-PCM). Samples were high-school students playing four types of Thai instruments and the raters who were qualified and properly trained. The research instrument was rubrics used for assessing students’ Thai percussion instruments skills. Each item contained five quality levels. The research methodology was divided into three phases, that is, the synthesis and verification of content validity, pre-testing of the psychometric properties and the assessment design, and the verification of the rubrics’ psychometric properties. Four facets of the MFRM-PCM including students, raters, musical instruments, and items facet were employed to analyze the psychometric properties of the developed rubrics. It was found that the rubrics developed for assessing performances of Thai percussion instruments with the MFRM-PCM contained eight criteria and 12 items. The quality levels of the items after the category’s effectiveness analysis were reduced ranging from two to three quality levels.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41803841","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 : 2023-08-17DOI: 10.1177/02557614231196972
Ali Korkut Uludag, Ugur Kartal Satir
This study aimed to investigate the effect of mobile technology with music education content that supports basic music theory teaching on secondary school students’ achievement levels and learning. The study was carried out using a mixed-methods sequential explanatory design on sixth-grade secondary school students studying in Turkey (experimental group n = 43 and control group n = 40). The experimental group students attended an 8-week music lesson prepared through mobile technologies called NoteWorks (the names of the tunes, the letter notation, and their positions on the piano), Rhythm Cat (rhythm studies), GarageBand (arrangement studies), and Kids Piano (playing the melody by remembering). Basic music theory subjects were taught to the control group using traditional music teaching methods. Quantitative data showed that the music lesson activities developed and enriched with mobile technologies created a significant difference in the students in the experimental group’s basic music theory subjects’ achievement test scores. Post-intervention assessments (semi-structured interviews) increased students’ motivation levels, willingness to study outside the classroom, communication, musical development, and willingness to participate in the lesson. The research concludes with several recommendations and highlights points that need further attention in mobile technology research.
{"title":"Seeking alternatives in music education: The effects of mobile technologies on students’ achievement in basic music theory","authors":"Ali Korkut Uludag, Ugur Kartal Satir","doi":"10.1177/02557614231196972","DOIUrl":"https://doi.org/10.1177/02557614231196972","url":null,"abstract":"This study aimed to investigate the effect of mobile technology with music education content that supports basic music theory teaching on secondary school students’ achievement levels and learning. The study was carried out using a mixed-methods sequential explanatory design on sixth-grade secondary school students studying in Turkey (experimental group n = 43 and control group n = 40). The experimental group students attended an 8-week music lesson prepared through mobile technologies called NoteWorks (the names of the tunes, the letter notation, and their positions on the piano), Rhythm Cat (rhythm studies), GarageBand (arrangement studies), and Kids Piano (playing the melody by remembering). Basic music theory subjects were taught to the control group using traditional music teaching methods. Quantitative data showed that the music lesson activities developed and enriched with mobile technologies created a significant difference in the students in the experimental group’s basic music theory subjects’ achievement test scores. Post-intervention assessments (semi-structured interviews) increased students’ motivation levels, willingness to study outside the classroom, communication, musical development, and willingness to participate in the lesson. The research concludes with several recommendations and highlights points that need further attention in mobile technology research.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49237619","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 : 2023-08-08DOI: 10.1177/02557614231191520
Jason Chi Wai Chen
This study analysed the content of 30 in-service primary school music teachers’ lesson plans for mobile music creation during a 5-week professional development course from 2019 to 2022 in Hong Kong. During the course, the teachers were taught by the researcher on how to use the mobile application GarageBand in their instructional design for classroom music teaching. Various mobile learning pedagogies were discussed during the course to facilitate listening, performing and creating in music teaching and learning. As a learning outcome of this course, the teachers were asked to upload their lesson plans to the Knowledge Transfer website to exchange ideas for further discussion and professional sharing with other in-service teachers from their respective schools. The purpose of this study was to provide an analysis of their teaching plans based on previously published research on mobile learning and motivation. This study aimed to a) deepen the understanding of music lessons in mobile music creation, and b) analysing the lesson plans and suggesting how different teaching strategies and approaches can be used in classroom teaching. Based on the results of the study, a pedagogical model is proposed as a reference point for knowledge exchange in the research and practice of music education.
{"title":"Mobile learning as deep learning: Content analysis of in-service primary school music teachers’ lesson plans in mobile music creation","authors":"Jason Chi Wai Chen","doi":"10.1177/02557614231191520","DOIUrl":"https://doi.org/10.1177/02557614231191520","url":null,"abstract":"This study analysed the content of 30 in-service primary school music teachers’ lesson plans for mobile music creation during a 5-week professional development course from 2019 to 2022 in Hong Kong. During the course, the teachers were taught by the researcher on how to use the mobile application GarageBand in their instructional design for classroom music teaching. Various mobile learning pedagogies were discussed during the course to facilitate listening, performing and creating in music teaching and learning. As a learning outcome of this course, the teachers were asked to upload their lesson plans to the Knowledge Transfer website to exchange ideas for further discussion and professional sharing with other in-service teachers from their respective schools. The purpose of this study was to provide an analysis of their teaching plans based on previously published research on mobile learning and motivation. This study aimed to a) deepen the understanding of music lessons in mobile music creation, and b) analysing the lesson plans and suggesting how different teaching strategies and approaches can be used in classroom teaching. Based on the results of the study, a pedagogical model is proposed as a reference point for knowledge exchange in the research and practice of music education.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42661104","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 : 2023-08-07DOI: 10.1177/02557614231190399
Keith Phillips, John Habron-James, Jon Helge Sætre
Although there is considerable research from Australia demonstrating that work-integrated learning (WIL) helps higher music education (HME) students develop their professional skills, there is little evidence from Europe. WIL involves the integration of theory and practice and workbased experiential learning is an important component of this process, giving students opportunities to become self-reflective in their application of theoretical principles in a work context. The aim of this project was to understand how practicums were implemented in European conservatoires and what political drivers and pedagogies underpinned them. A survey of conservatoires and semi-structured interviews with staff, students and placement hosts were analysed. Survey results show that 74.3% of respondents said their institutions offered undergraduate placements. Themes relating to the educational and political drivers, ethical issues, barriers to provision and challenges were derived from the interview data. Our findings suggest that although placements are varied in terms of preparation, support and assessment, they are highly valued by all stakeholder groups and sometimes pivotal in the development of musical identities. We hope our findings can help HME institutions understand the value in giving students opportunities to apply knowledge and skills in professional contexts and inspire the establishment of practicum programmes where they do not already exist.
{"title":"Work-based placements in European higher music education institutions","authors":"Keith Phillips, John Habron-James, Jon Helge Sætre","doi":"10.1177/02557614231190399","DOIUrl":"https://doi.org/10.1177/02557614231190399","url":null,"abstract":"Although there is considerable research from Australia demonstrating that work-integrated learning (WIL) helps higher music education (HME) students develop their professional skills, there is little evidence from Europe. WIL involves the integration of theory and practice and workbased experiential learning is an important component of this process, giving students opportunities to become self-reflective in their application of theoretical principles in a work context. The aim of this project was to understand how practicums were implemented in European conservatoires and what political drivers and pedagogies underpinned them. A survey of conservatoires and semi-structured interviews with staff, students and placement hosts were analysed. Survey results show that 74.3% of respondents said their institutions offered undergraduate placements. Themes relating to the educational and political drivers, ethical issues, barriers to provision and challenges were derived from the interview data. Our findings suggest that although placements are varied in terms of preparation, support and assessment, they are highly valued by all stakeholder groups and sometimes pivotal in the development of musical identities. We hope our findings can help HME institutions understand the value in giving students opportunities to apply knowledge and skills in professional contexts and inspire the establishment of practicum programmes where they do not already exist.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44724492","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 : 2023-08-01DOI: 10.1177/02557614221123078
Enes Bahadır Ayyıldız, Onur Zahal
This study aims to analyze the distance guitar education provided by universities during the pandemic process based on the opinions of guitar educators. Twenty-six guitar instructors (academicians) who taught guitar in 24 universities participated in the study, and the data were collected through semi-structured interviews. Findings were interpreted under five categories, which were technical resources, functionality, motivation, guitar studies, and evaluation. It was found that technical problems, for example, audio delays, disconnection, and freezing were encountered. Although technical issues on the guitar can be overcome to a certain extent, it was reported that works such as musicality, and nuance were not reflected in the course. It was also emphasized that the technological possibilities are insufficient in reflecting the depths of the sound coming out of the guitar, and individual instrument guitar lessons must not be considered separately from face-to-face education. It was concluded that distance education leaves out the emotional aspects of music, and distance education can continue to support face-to-face education in the future.
{"title":"Instructor experiences with online guitar lessons during the Covid-19 pandemic in Turkey.","authors":"Enes Bahadır Ayyıldız, Onur Zahal","doi":"10.1177/02557614221123078","DOIUrl":"https://doi.org/10.1177/02557614221123078","url":null,"abstract":"<p><p>This study aims to analyze the distance guitar education provided by universities during the pandemic process based on the opinions of guitar educators. Twenty-six guitar instructors (academicians) who taught guitar in 24 universities participated in the study, and the data were collected through semi-structured interviews. Findings were interpreted under five categories, which were technical resources, functionality, motivation, guitar studies, and evaluation. It was found that technical problems, for example, audio delays, disconnection, and freezing were encountered. Although technical issues on the guitar can be overcome to a certain extent, it was reported that works such as musicality, and nuance were not reflected in the course. It was also emphasized that the technological possibilities are insufficient in reflecting the depths of the sound coming out of the guitar, and individual instrument guitar lessons must not be considered separately from face-to-face education. It was concluded that distance education leaves out the emotional aspects of music, and distance education can continue to support face-to-face education in the future.</p>","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://ftp.ncbi.nlm.nih.gov/pub/pmc/oa_pdf/41/ba/10.1177_02557614221123078.PMC10323513.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"9816793","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1177/02557614221107917
H. Choong
This article explored the relationships between the learning experiences and musical proficiencies of a formal and an informal popular musician in Malaysia. The presence and impact of formal popular music education within popular music culture is become increasingly harder to ignore, and while this phenomenon had been examined by numerous popular music scholars, there is a lack of attention towards the implications of learning experience on acquired musical proficiencies. In this study, participants took part in semi-structured interviews that enquired about their music learning histories and musical skills tests that examined their sight-reading, play by ear, and improvisation proficiencies. The aim was to compare and ascertain the disparities between both musicians’ learning histories and musical proficiencies, as well as to identify any potential relationships between learning methods and musical proficiencies. The findings showed that the musicians developed contrasting habitual music-making practices, attitudes and dispositions and musical proficiencies. Furthermore, the informal musician outdid the formal musician in almost all aspects examined in the musical skills tests. Implications from this article include the need for providers of formal popular music education to approach the study of popular music on its own terms, and develop methods of structured learning that enhances the development of virtuosity within the culture of popular music.
{"title":"The learning experiences and musical proficiencies of formal and informal popular musicians in Malaysia","authors":"H. Choong","doi":"10.1177/02557614221107917","DOIUrl":"https://doi.org/10.1177/02557614221107917","url":null,"abstract":"This article explored the relationships between the learning experiences and musical proficiencies of a formal and an informal popular musician in Malaysia. The presence and impact of formal popular music education within popular music culture is become increasingly harder to ignore, and while this phenomenon had been examined by numerous popular music scholars, there is a lack of attention towards the implications of learning experience on acquired musical proficiencies. In this study, participants took part in semi-structured interviews that enquired about their music learning histories and musical skills tests that examined their sight-reading, play by ear, and improvisation proficiencies. The aim was to compare and ascertain the disparities between both musicians’ learning histories and musical proficiencies, as well as to identify any potential relationships between learning methods and musical proficiencies. The findings showed that the musicians developed contrasting habitual music-making practices, attitudes and dispositions and musical proficiencies. Furthermore, the informal musician outdid the formal musician in almost all aspects examined in the musical skills tests. Implications from this article include the need for providers of formal popular music education to approach the study of popular music on its own terms, and develop methods of structured learning that enhances the development of virtuosity within the culture of popular music.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47309876","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 : 2023-07-22DOI: 10.1177/02557614231188379
J. L. Aróstegui, Antonio Fernández-Jiménez
In this paper we report the results of a questionnaire administered to university faculty members in charge of the initial training of music teachers in Spain at both primary and secondary levels. For this purpose, an ad hoc questionnaire was used to collect information on issues such as access to the degree, programme design and evaluation, students, faculty members, as well as teaching conditions and availability of resources. By means of a descriptive statistical analysis, the results obtained show, in general, the programmes to be rated ‘acceptable’. An inferential study was also carried out on the basis of various demographics, and very few differences were found, which indicates a homogeneous perception of programmes. The article concludes with a reflection on what the results indicate about the poor role that research plays in programmes development, as well as the subtle but evident differences found among male and female faculty members, and other topics.
{"title":"Music education instructors’ perceptions about pre-service music teacher education in Spain","authors":"J. L. Aróstegui, Antonio Fernández-Jiménez","doi":"10.1177/02557614231188379","DOIUrl":"https://doi.org/10.1177/02557614231188379","url":null,"abstract":"In this paper we report the results of a questionnaire administered to university faculty members in charge of the initial training of music teachers in Spain at both primary and secondary levels. For this purpose, an ad hoc questionnaire was used to collect information on issues such as access to the degree, programme design and evaluation, students, faculty members, as well as teaching conditions and availability of resources. By means of a descriptive statistical analysis, the results obtained show, in general, the programmes to be rated ‘acceptable’. An inferential study was also carried out on the basis of various demographics, and very few differences were found, which indicates a homogeneous perception of programmes. The article concludes with a reflection on what the results indicate about the poor role that research plays in programmes development, as well as the subtle but evident differences found among male and female faculty members, and other topics.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2023-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42891427","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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