Awareness of social and cultural diversity is one of the concepts inherited from the 1997 Constitution of the Kingdom of Thailand, which led to the subsequent revision of several related laws, including the National Education Act of 1999. Despite the country’s strong cultural diversity, centralized governance has resulted in culture from the Central region becoming representative of the nation’s culture. Likewise in music, Thai music education has been dominated by music from the Central region, so-called Thai classical music, and Western music. This study is interested in the response of the music teacher training curriculum to the principles of cultural diversity. Thailand has music teacher training courses distributed throughout institutions across the country, which can be divided into three groups: 1) teacher colleges; 2) research universities; and 3) music conservatories. Nine teacher training courses from different regions of the country with local cultural differences were selected. The results showed that music teacher training programs in Thailand place importance on cultural diversity at different degrees depending on their missions and social and cultural contexts. Importantly, the adaptability of folk music to changing social and cultural contexts remains an important factor affecting the survival of folk music in Thai society.
{"title":"Music diversity in music education: A multiple case study of music teacher training programs in Thailand","authors":"Suthicha Boonno, Dneya Bunnag Udtaisuk, Natthawut Borriboonviree","doi":"10.1177/02557614231200615","DOIUrl":"https://doi.org/10.1177/02557614231200615","url":null,"abstract":"Awareness of social and cultural diversity is one of the concepts inherited from the 1997 Constitution of the Kingdom of Thailand, which led to the subsequent revision of several related laws, including the National Education Act of 1999. Despite the country’s strong cultural diversity, centralized governance has resulted in culture from the Central region becoming representative of the nation’s culture. Likewise in music, Thai music education has been dominated by music from the Central region, so-called Thai classical music, and Western music. This study is interested in the response of the music teacher training curriculum to the principles of cultural diversity. Thailand has music teacher training courses distributed throughout institutions across the country, which can be divided into three groups: 1) teacher colleges; 2) research universities; and 3) music conservatories. Nine teacher training courses from different regions of the country with local cultural differences were selected. The results showed that music teacher training programs in Thailand place importance on cultural diversity at different degrees depending on their missions and social and cultural contexts. Importantly, the adaptability of folk music to changing social and cultural contexts remains an important factor affecting the survival of folk music in Thai society.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"414 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135218025","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 : 2023-10-25DOI: 10.1177/02557614231204442
Sabina Vidulin, Valnea Žauhar, Marlena Plavšić
Previous research has shown that a cognitive-emotional approach (CEA) to music listening can improve music teaching in general education schools. This study tested it in music school ear training lessons. The aim was to compare the standard teaching approach (STA), which focuses more on cognitive and analytical tasks, and CEA, which also incorporates emotional, multimodal and interdisciplinary elements, on children’s knowledge acquisition and their liking of the lessons. Both approaches involved Dvořák’s music (an excerpt from the 4th movement of Symphony No. 9 in E minor, op. 95 ‘From the New World’) and had the same learning outcomes in two lessons, one related to the E natural minor scale and the other to rhythmic elements and duration. The sample consisted of 423 pupils, who were on average 10.5 years old and attended third grade in 16 Croatian music schools. Half of them participated in lessons prepared in STA, while the other half received lessons in CEA. Findings reveal that implementing CEA in ear training results in increased liking of the lessons, while the knowledge acquired in the lessons remains similar or better than that gained in STA. The implications of including music listening in ear training lessons were further discussed.
以往的研究表明，在普通教育学校中，采用认知-情感方法进行音乐聆听可以改善音乐教学。这项研究在音乐学校的听力训练课程中进行了测试。目的是比较标准教学方法(STA)和CEA，前者更侧重于认知和分析任务，后者也结合了情感、多模态和跨学科的因素，在儿童的知识获取和对课程的喜爱方面。这两种方法都涉及Dvořák的音乐(节选自E小调第九交响曲第四乐章，op. 95 ' from the New World ')，并且在两节课中有相同的学习结果，一堂课与E自然小调音阶有关，另一堂课与节奏元素和持续时间有关。样本包括423名学生，他们平均年龄10.5岁，在16所克罗地亚音乐学校上三年级。其中一半参加了STA的备课，另一半参加了CEA的备课。研究结果表明，在听力训练中实施CEA可以提高对课程的喜爱程度，而在课程中获得的知识与在STA中获得的知识相似或更好。进一步讨论了在听力训练课程中加入音乐听力的意义。
{"title":"The effects of cognitive-emotional music listening in ear training on acquired knowledge and liking of the lessons","authors":"Sabina Vidulin, Valnea Žauhar, Marlena Plavšić","doi":"10.1177/02557614231204442","DOIUrl":"https://doi.org/10.1177/02557614231204442","url":null,"abstract":"Previous research has shown that a cognitive-emotional approach (CEA) to music listening can improve music teaching in general education schools. This study tested it in music school ear training lessons. The aim was to compare the standard teaching approach (STA), which focuses more on cognitive and analytical tasks, and CEA, which also incorporates emotional, multimodal and interdisciplinary elements, on children’s knowledge acquisition and their liking of the lessons. Both approaches involved Dvořák’s music (an excerpt from the 4th movement of Symphony No. 9 in E minor, op. 95 ‘From the New World’) and had the same learning outcomes in two lessons, one related to the E natural minor scale and the other to rhythmic elements and duration. The sample consisted of 423 pupils, who were on average 10.5 years old and attended third grade in 16 Croatian music schools. Half of them participated in lessons prepared in STA, while the other half received lessons in CEA. Findings reveal that implementing CEA in ear training results in increased liking of the lessons, while the knowledge acquired in the lessons remains similar or better than that gained in STA. The implications of including music listening in ear training lessons were further discussed.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135216604","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 : 2023-10-03DOI: 10.1177/02557614231201916
Marianne Løkke Jakobsen, David G Hebert, Rikke Ørngreen
This scoping review addresses two questions: (1) How can previous research inform approaches to synchronous online instrumental music teaching for cross-cultural learning in the field of Western classical music? and (2) What does the corpus of existing studies suggest about Chinese student experiences with western instrumental pedagogy and synchronous online teaching? Based on a systematic examination of 100+ articles from refereed journals in English across the past two decades, the review reveals cultural differences in autonomy and student-centeredness in classical instrument pedagogy traditions. In China, new pragmatic concepts appear as Confucian-Dewey fusion approaches and a distinctive music pedagogy tradition influenced by Russian and Germanic traditions and Chinese philosophy. The review also found that synchronous online instrumental music teaching can be efficient despite technical issues and latency, and the format may enhance forms of dialogue between students and teachers. The review shows little research on intercultural aspects of synchronous online musical instrument teaching, particularly addressing interaction and communication between students and teachers. Moreover, there is a widespread need for competence development for effectively approaching the diversity of music teaching and learning cultures worldwide in the online learning environment.
{"title":"Synchronous online instrumental music teaching in cross-cultural learning contexts","authors":"Marianne Løkke Jakobsen, David G Hebert, Rikke Ørngreen","doi":"10.1177/02557614231201916","DOIUrl":"https://doi.org/10.1177/02557614231201916","url":null,"abstract":"This scoping review addresses two questions: (1) How can previous research inform approaches to synchronous online instrumental music teaching for cross-cultural learning in the field of Western classical music? and (2) What does the corpus of existing studies suggest about Chinese student experiences with western instrumental pedagogy and synchronous online teaching? Based on a systematic examination of 100+ articles from refereed journals in English across the past two decades, the review reveals cultural differences in autonomy and student-centeredness in classical instrument pedagogy traditions. In China, new pragmatic concepts appear as Confucian-Dewey fusion approaches and a distinctive music pedagogy tradition influenced by Russian and Germanic traditions and Chinese philosophy. The review also found that synchronous online instrumental music teaching can be efficient despite technical issues and latency, and the format may enhance forms of dialogue between students and teachers. The review shows little research on intercultural aspects of synchronous online musical instrument teaching, particularly addressing interaction and communication between students and teachers. Moreover, there is a widespread need for competence development for effectively approaching the diversity of music teaching and learning cultures worldwide in the online learning environment.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135739953","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 : 2023-09-30DOI: 10.1177/02557614231188127
Francisco Luis Reyes Peguero, Lisa Lorenzino, Bronwen Low
For several decades, scholars in the field of community music have largely concentrated on community music practices in the Global North. Such interest has not been as prevalent in certain parts of the world, like the Caribbean. Consequently, this qualitative multiple case study focuses on three Puerto Rican community music initiatives that foster the country’s indigenous music: Bomba, Plena, and Música Campesina. Scholars have documented the evolution and characteristics of these musical traditions. In contrast, this article centers around the practices of Taller Tambuyé, a female-led Bomba organization, Decimanía, a national Música Campesina initiative that funds other community music projects, and La Junta, a community-based project tied to the sector of El Machuchal in the capital of Puerto Rico. This paper presents and analyzes their practices through the lens of Australia’s Sound Links project and its nine domains of community music. The multiple case study methodology’s cross-case analysis revealed notable divergences among the projects in terms of learning practices, promotion of the indigenous music tradition, and the connection between the musical initiative and their community. Additionally, researchers found the framework established by Sound Links to be a comprehensive tool to analyze community music practices outside of Australia.
{"title":"The many ways of Puerto Rican community music","authors":"Francisco Luis Reyes Peguero, Lisa Lorenzino, Bronwen Low","doi":"10.1177/02557614231188127","DOIUrl":"https://doi.org/10.1177/02557614231188127","url":null,"abstract":"For several decades, scholars in the field of community music have largely concentrated on community music practices in the Global North. Such interest has not been as prevalent in certain parts of the world, like the Caribbean. Consequently, this qualitative multiple case study focuses on three Puerto Rican community music initiatives that foster the country’s indigenous music: Bomba, Plena, and Música Campesina. Scholars have documented the evolution and characteristics of these musical traditions. In contrast, this article centers around the practices of Taller Tambuyé, a female-led Bomba organization, Decimanía, a national Música Campesina initiative that funds other community music projects, and La Junta, a community-based project tied to the sector of El Machuchal in the capital of Puerto Rico. This paper presents and analyzes their practices through the lens of Australia’s Sound Links project and its nine domains of community music. The multiple case study methodology’s cross-case analysis revealed notable divergences among the projects in terms of learning practices, promotion of the indigenous music tradition, and the connection between the musical initiative and their community. Additionally, researchers found the framework established by Sound Links to be a comprehensive tool to analyze community music practices outside of Australia.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136336471","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 : 2023-09-27DOI: 10.1177/02557614231193422
Ozan Evrim Tunca, Evrim Genc Kumtepe, Sukru Torun, Yusuf Zafer Can Ugurhan
In Turkey, children are accepted to conservatory music departments after fourth grade and fine arts high school music departments after eighth grade by taking a musical talent test. For students with high musical aural skills to know about their potential and be directed to the related education institutions there needs to be a valid test. This study was, therefore, conducted to develop a valid internet-based test to assess music perception of children with design-based research. Design-based research includes a series of iterative stages that involve continuous data collection, analysis, and improvement, rather than a linear process in development and implementation activities. Voluntary-basis selected schools in the pilot city’s first through fourth grades (both public and private schools) were invited to join the preliminary test. A total of 433 students participated in the online test. The test has seven categories including pitch discrimination (single, two, and multiple tones), tempo, length, melody, and rhythm. For item analysis, two separate sequential samples were collected. The results were evaluated according to psychometric test development principles. The initial results show that the music perception test (AMAT) is a valid and reliable instrument. The test is open to public use and can be reached at: https://aummat.anadolu.edu.tr/amat/
{"title":"Development and Validation of The Anadolu University Music Perception Test","authors":"Ozan Evrim Tunca, Evrim Genc Kumtepe, Sukru Torun, Yusuf Zafer Can Ugurhan","doi":"10.1177/02557614231193422","DOIUrl":"https://doi.org/10.1177/02557614231193422","url":null,"abstract":"In Turkey, children are accepted to conservatory music departments after fourth grade and fine arts high school music departments after eighth grade by taking a musical talent test. For students with high musical aural skills to know about their potential and be directed to the related education institutions there needs to be a valid test. This study was, therefore, conducted to develop a valid internet-based test to assess music perception of children with design-based research. Design-based research includes a series of iterative stages that involve continuous data collection, analysis, and improvement, rather than a linear process in development and implementation activities. Voluntary-basis selected schools in the pilot city’s first through fourth grades (both public and private schools) were invited to join the preliminary test. A total of 433 students participated in the online test. The test has seven categories including pitch discrimination (single, two, and multiple tones), tempo, length, melody, and rhythm. For item analysis, two separate sequential samples were collected. The results were evaluated according to psychometric test development principles. The initial results show that the music perception test (AMAT) is a valid and reliable instrument. The test is open to public use and can be reached at: https://aummat.anadolu.edu.tr/amat/","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135539183","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 : 2023-09-27DOI: 10.1177/02557614231199193
Rubén Carrillo, Javier Tarango, Patricia Adelaida González-Moreno
This article presents an analysis of the perceptions of Mexican university professors about Music Literacy (ML), the practices used to teach it, and how the expectancies and values of professors influence the application of these practices. The literature review shows the relationship between the conservatory model and its influence on teaching ML in higher education in Mexico. Fifty-four professors from different states in the country answered a self-report questionnaire through Google Forms. The results suggest that the perceptions of ML are strongly linked to skills such as reading and writing traditional music notation. In their weekly planning, professors privilege the use of reading to learn repertoire from scores, over other aspects such as aural development and musical creativity. In addition, it was observed that professors tend to plan more frequently activities in which they feel competent, repeating the schemes under which they were taught. The article concludes by raising the need to develop alternative approaches, focused on a more holistic musical training, and the need to establish a basic set of skills in different areas that allows university graduates to have greater opportunities in the music profession.
{"title":"Music literacy in higher education in Mexico: Current conceptions and teaching practices","authors":"Rubén Carrillo, Javier Tarango, Patricia Adelaida González-Moreno","doi":"10.1177/02557614231199193","DOIUrl":"https://doi.org/10.1177/02557614231199193","url":null,"abstract":"This article presents an analysis of the perceptions of Mexican university professors about Music Literacy (ML), the practices used to teach it, and how the expectancies and values of professors influence the application of these practices. The literature review shows the relationship between the conservatory model and its influence on teaching ML in higher education in Mexico. Fifty-four professors from different states in the country answered a self-report questionnaire through Google Forms. The results suggest that the perceptions of ML are strongly linked to skills such as reading and writing traditional music notation. In their weekly planning, professors privilege the use of reading to learn repertoire from scores, over other aspects such as aural development and musical creativity. In addition, it was observed that professors tend to plan more frequently activities in which they feel competent, repeating the schemes under which they were taught. The article concludes by raising the need to develop alternative approaches, focused on a more holistic musical training, and the need to establish a basic set of skills in different areas that allows university graduates to have greater opportunities in the music profession.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135537286","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 : 2023-09-27DOI: 10.1177/02557614231197904
Yahan Chen
Previous studies have highlighted that emerging musicians have a narrow understanding of their future careers due to the limitations of university education and therefore encourage them to engage in extra-curricular spaces such as music festivals. However, much research has focused on the external impacts of music festivals, neglecting its core stakeholders of participating musicians, especially the younger generation. This study, therefore, examines the impacts of participating in music festivals on the career awareness, employability and career development of young musicians by using a case study of the Youth Music Culture Guangdong (YMCG) festival in Guangzhou, China. The data collected from interviews with three festival organisers and eight participating young musicians were analysed through thematic analysis. The results reveal that the music festival has impacted young musicians’ careers in terms of stimulating creativity, motivating working passion, building transferable skills and expanding sustainable networks, horizons and industrial understandings. The multiple impacts of festival participation contribute to developing a learner identity, which was described by previous research as the key to young musicians’ careers in such a precarious industry. Different from university contexts, music festivals provide a more diverse, inclusive and uncompetitive environment for young musicians to explore the possibilities of the music industry.
{"title":"Exploring the career development issues of young musicians through participation in music festivals: A case study of the Youth Music Culture Guangdong Festival","authors":"Yahan Chen","doi":"10.1177/02557614231197904","DOIUrl":"https://doi.org/10.1177/02557614231197904","url":null,"abstract":"Previous studies have highlighted that emerging musicians have a narrow understanding of their future careers due to the limitations of university education and therefore encourage them to engage in extra-curricular spaces such as music festivals. However, much research has focused on the external impacts of music festivals, neglecting its core stakeholders of participating musicians, especially the younger generation. This study, therefore, examines the impacts of participating in music festivals on the career awareness, employability and career development of young musicians by using a case study of the Youth Music Culture Guangdong (YMCG) festival in Guangzhou, China. The data collected from interviews with three festival organisers and eight participating young musicians were analysed through thematic analysis. The results reveal that the music festival has impacted young musicians’ careers in terms of stimulating creativity, motivating working passion, building transferable skills and expanding sustainable networks, horizons and industrial understandings. The multiple impacts of festival participation contribute to developing a learner identity, which was described by previous research as the key to young musicians’ careers in such a precarious industry. Different from university contexts, music festivals provide a more diverse, inclusive and uncompetitive environment for young musicians to explore the possibilities of the music industry.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"2010 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135539154","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 : 2023-09-20DOI: 10.1177/02557614231194728
Amy Spears, John-Doe Dordzro
In this qualitative study, we share the musical experiences of seven Ghanaian university music students who primarily play a brass instrument in a university band. The purpose of this study is to illuminate these students’ musical experiences during their pre-tertiary years to better understand what those experiences were and how they impacted their current musical abilities and understandings. The research questions for this study are: What were the formal musical experiences of Ghanaian university music majors who play Western-style brass instruments before entering university? What music teaching and learning methods did they experience prior to entering university? Who were the people who taught them music prior to entering university? Findings indicate that musical spaces were mostly outside of the regular school curriculum, including extra-curricular school regimental bands, church brigades, and town bands. Music learning was non-sequential throughout students’ pre-tertiary experiences. Lack of access to instruments outside of rehearsals was a barrier to individual practice. Participants showed a lack of clarity about their music teachers’ credentials, experience, and backgrounds but their answers suggest that professional development and training programs for teachers would be beneficial. It is recommended that Ghanaian brass band music education is restructured in places where it already exists and where pre-tertiary students choose to play, to include more comprehensive and sequential instrumental music education.
{"title":"Ghanaian collegiate music students who play brass instruments’ music education experiences at the pre-tertiary level","authors":"Amy Spears, John-Doe Dordzro","doi":"10.1177/02557614231194728","DOIUrl":"https://doi.org/10.1177/02557614231194728","url":null,"abstract":"In this qualitative study, we share the musical experiences of seven Ghanaian university music students who primarily play a brass instrument in a university band. The purpose of this study is to illuminate these students’ musical experiences during their pre-tertiary years to better understand what those experiences were and how they impacted their current musical abilities and understandings. The research questions for this study are: What were the formal musical experiences of Ghanaian university music majors who play Western-style brass instruments before entering university? What music teaching and learning methods did they experience prior to entering university? Who were the people who taught them music prior to entering university? Findings indicate that musical spaces were mostly outside of the regular school curriculum, including extra-curricular school regimental bands, church brigades, and town bands. Music learning was non-sequential throughout students’ pre-tertiary experiences. Lack of access to instruments outside of rehearsals was a barrier to individual practice. Participants showed a lack of clarity about their music teachers’ credentials, experience, and backgrounds but their answers suggest that professional development and training programs for teachers would be beneficial. It is recommended that Ghanaian brass band music education is restructured in places where it already exists and where pre-tertiary students choose to play, to include more comprehensive and sequential instrumental music education.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136309051","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 : 2023-09-20DOI: 10.1177/02557614231199251
Rhonda J Fuelberth, Robert H Woody
In this report of self-study research, we share the insights we have gained working together at our institution to make undergraduate music teacher education more inclusive of how people naturally do music, focusing on three program features. First, we explain how our program affirms composition as a primary form of musicianship, similar to the status commonly given to performance. Second, we describe a vernacular music making experience in which our music education students learn to play “rock band” instruments, engage in songwriting, and explore being expressive in the styles of music personally favored by themselves and their future students. Third, we share how our students have opportunity to work with an intergenerational choir that is inclusive of individuals with special needs. We have found that these creative, authentic, and immersive experiences produce a more inclusive educational orientation in the future music teachers who graduate from our program.
{"title":"Inclusive music teacher education: Valuing breadth and diversity through authentic immersive experiences","authors":"Rhonda J Fuelberth, Robert H Woody","doi":"10.1177/02557614231199251","DOIUrl":"https://doi.org/10.1177/02557614231199251","url":null,"abstract":"In this report of self-study research, we share the insights we have gained working together at our institution to make undergraduate music teacher education more inclusive of how people naturally do music, focusing on three program features. First, we explain how our program affirms composition as a primary form of musicianship, similar to the status commonly given to performance. Second, we describe a vernacular music making experience in which our music education students learn to play “rock band” instruments, engage in songwriting, and explore being expressive in the styles of music personally favored by themselves and their future students. Third, we share how our students have opportunity to work with an intergenerational choir that is inclusive of individuals with special needs. We have found that these creative, authentic, and immersive experiences produce a more inclusive educational orientation in the future music teachers who graduate from our program.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136308967","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 : 2023-09-19DOI: 10.1177/02557614231199473
Ann Werner, Tuire Kuusi
This article takes its’ starting point in the ongoing debate about gender and gender equality in higher music education (HME) institutions where new policies, projects and initiatives have been developed during the first decades of the 21st century. This article’s analysis is framed by feminist scholarship on gender equality, and gender mainstreaming, as well as music education research about gender and gender equality. The aim is to investigate how gender and gender equality is talked about in classical music higher education, analyse how it is experienced and in what terms it is described. The main research question is, how is gender and gender equality constructed among leaders, teachers and students in three HME institutions in Nordic (Finland), Baltic (Estonia) and Central European (Hungary) countries. It is based on qualitative thematic semi-structured interviews with 45 participants, analysed with qualitative data-driven content analysis. In the discussion we argue that gender and gender equality are, in our material, constructed as being about women, that gender is rarely related to other types of discrimination or inequalities and that the cause of gender inequality is individualised. The conclusions suggest steps for further pursuing gender equality in HME.
{"title":"Gender equality discourse in classical music higher education: Women, individualisation, and change","authors":"Ann Werner, Tuire Kuusi","doi":"10.1177/02557614231199473","DOIUrl":"https://doi.org/10.1177/02557614231199473","url":null,"abstract":"This article takes its’ starting point in the ongoing debate about gender and gender equality in higher music education (HME) institutions where new policies, projects and initiatives have been developed during the first decades of the 21st century. This article’s analysis is framed by feminist scholarship on gender equality, and gender mainstreaming, as well as music education research about gender and gender equality. The aim is to investigate how gender and gender equality is talked about in classical music higher education, analyse how it is experienced and in what terms it is described. The main research question is, how is gender and gender equality constructed among leaders, teachers and students in three HME institutions in Nordic (Finland), Baltic (Estonia) and Central European (Hungary) countries. It is based on qualitative thematic semi-structured interviews with 45 participants, analysed with qualitative data-driven content analysis. In the discussion we argue that gender and gender equality are, in our material, constructed as being about women, that gender is rarely related to other types of discrimination or inequalities and that the cause of gender inequality is individualised. The conclusions suggest steps for further pursuing gender equality in HME.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135060639","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：