Pub Date : 2022-08-08DOI: 10.1080/14613808.2022.2105828
K. M. Einarson, Eun-Ae Cho, P. D’Ercole
ABSTRACT This qualitative thematic analysis explores parents’ perceptions of Suzuki music learning. Although parents are part of the ‘Suzuki triangle’ alongside the child and teacher, there is little research that investigates the Suzuki parent role. This work explores self-reports of parents’ experiences, expectations, and needs during their child’s first year of lessons with an expert pedagogue. Semi-structured interviews with parents of six novice violin and cello students from the United States yielded four themes: (1) the importance of the initial parent education families received upon starting lessons with their child, (2) the ways that parents supported their child outside of lessons, (3) the challenges parents faced in the ‘home teacher’ role, and (4) the strong partnership parents established with the teacher. Targeted preparation, together with ongoing teacher support, provided parents with the necessary skills and knowledge to support their child and to remain motivated in the face of challenges.
{"title":"The parent role in Suzuki music lessons: experiences and perspectives shared by novice Suzuki parents","authors":"K. M. Einarson, Eun-Ae Cho, P. D’Ercole","doi":"10.1080/14613808.2022.2105828","DOIUrl":"https://doi.org/10.1080/14613808.2022.2105828","url":null,"abstract":"ABSTRACT This qualitative thematic analysis explores parents’ perceptions of Suzuki music learning. Although parents are part of the ‘Suzuki triangle’ alongside the child and teacher, there is little research that investigates the Suzuki parent role. This work explores self-reports of parents’ experiences, expectations, and needs during their child’s first year of lessons with an expert pedagogue. Semi-structured interviews with parents of six novice violin and cello students from the United States yielded four themes: (1) the importance of the initial parent education families received upon starting lessons with their child, (2) the ways that parents supported their child outside of lessons, (3) the challenges parents faced in the ‘home teacher’ role, and (4) the strong partnership parents established with the teacher. Targeted preparation, together with ongoing teacher support, provided parents with the necessary skills and knowledge to support their child and to remain motivated in the face of challenges.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"24 1","pages":"638 - 650"},"PeriodicalIF":2.3,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43380083","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 : 2022-08-08DOI: 10.1080/14613808.2022.2109609
Axel Petri-Preis
ABSTRACT Practices of Musikvermittlung have become significantly more relevant since the last turn of the millennium against the background of a dwindling audience for classical concerts in the German speaking countries. For classically trained musicians, whether in permanent positions, as soloists or in portfolio careers, activities in the fields of community engagement and education work are increasingly becoming an important part of their professional activities. Even though higher music education in Austria, Germany and Switzerland has reacted to this development by founding new courses of study and offering further training, the learning trajectories of classical musicians engaging in Musikvermittlung are highly diverse. In this article I will pursue the question how musicians acquire their knowledge in order to participate in practices of Musikvermittlung and how identity and social membership are formed. My research is based on 22 interviews with twelve classical musicians that were conducted between June 2018 and December 2019 and analyzed with Adele Clarke's Situational Analysis. Through the lense of practice-informed learning theories I will show that significant learning processes take place outside of formal education and will conclude with some recommendations for music institutions and higher music education.
{"title":"Learning trajectories of classical musicians engaging in Musikvermittlung","authors":"Axel Petri-Preis","doi":"10.1080/14613808.2022.2109609","DOIUrl":"https://doi.org/10.1080/14613808.2022.2109609","url":null,"abstract":"ABSTRACT Practices of Musikvermittlung have become significantly more relevant since the last turn of the millennium against the background of a dwindling audience for classical concerts in the German speaking countries. For classically trained musicians, whether in permanent positions, as soloists or in portfolio careers, activities in the fields of community engagement and education work are increasingly becoming an important part of their professional activities. Even though higher music education in Austria, Germany and Switzerland has reacted to this development by founding new courses of study and offering further training, the learning trajectories of classical musicians engaging in Musikvermittlung are highly diverse. In this article I will pursue the question how musicians acquire their knowledge in order to participate in practices of Musikvermittlung and how identity and social membership are formed. My research is based on 22 interviews with twelve classical musicians that were conducted between June 2018 and December 2019 and analyzed with Adele Clarke's Situational Analysis. Through the lense of practice-informed learning theories I will show that significant learning processes take place outside of formal education and will conclude with some recommendations for music institutions and higher music education.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"25 1","pages":"13 - 23"},"PeriodicalIF":2.3,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41582741","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 : 2022-08-08DOI: 10.1080/14613808.2022.2069233
Weimin Ji, Kevin O'Neill
ABSTRACT Achieving fluency in sightreading—particularly rhythm reading—is cited by researchers as a universally problematic component of formal music education. This study employed an experimental design to examine the efficacy of focused practice on rhythm reading with targeted feedback. College music majors (n = 28) were sent a novel, challenging piece of sheet music every day for five days, and were required to return a recording of themselves clapping or tapping the rhythm. Half of the students received only a polite acknowledgement each day. The others received personalised feedback on their errors by the end of the same day, and were required to repeat the incorrect passages in the following day’s recording, along with the new material. Sightreading tests were administered pre and post. On average, students in the feedback group improved significantly more than their peers in the practice-only group. Implications for postsecondary music instruction are discussed.
{"title":"Effectiveness of targeted feedback in improving rhythm sightreading","authors":"Weimin Ji, Kevin O'Neill","doi":"10.1080/14613808.2022.2069233","DOIUrl":"https://doi.org/10.1080/14613808.2022.2069233","url":null,"abstract":"ABSTRACT Achieving fluency in sightreading—particularly rhythm reading—is cited by researchers as a universally problematic component of formal music education. This study employed an experimental design to examine the efficacy of focused practice on rhythm reading with targeted feedback. College music majors (n = 28) were sent a novel, challenging piece of sheet music every day for five days, and were required to return a recording of themselves clapping or tapping the rhythm. Half of the students received only a polite acknowledgement each day. The others received personalised feedback on their errors by the end of the same day, and were required to repeat the incorrect passages in the following day’s recording, along with the new material. Sightreading tests were administered pre and post. On average, students in the feedback group improved significantly more than their peers in the practice-only group. Implications for postsecondary music instruction are discussed.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"24 1","pages":"482 - 493"},"PeriodicalIF":2.3,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47098224","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 : 2022-07-21DOI: 10.1080/14613808.2022.2101632
Carl Holmgren
ABSTRACT This study aimed to empower piano students and explore their understandings of how teaching and learning of musical interpretation of Western classical music could be developed to foster autonomy and a personal, authentic artistic voice. Two research questions were formulated: How have students experienced teaching and learning of musical interpretation? How do students envision a meaningful organisation of such teaching and learning? The empirical material, created during a participatory action research project with 4 piano students within an artistic bachelor programme, was hermeneutically analysed, and narratives were created and twice negotiated with the students. Their education was described as backwards-looking and not preparing for autonomous learning and musicianship. In contrast, a meaningful organisation was envisioned as collaborative, dialogical, characterised by openness, humility, honesty, and mutual understanding, where musical interpretation is viewed as a complex, ongoing, open-ended process, allowing for multiple, incompatible views, breaking from the master–apprentice model and the current restrictive ideology.
{"title":"Empowering piano students of Western classical music: challenging teaching and learning of musical interpretation in higher education","authors":"Carl Holmgren","doi":"10.1080/14613808.2022.2101632","DOIUrl":"https://doi.org/10.1080/14613808.2022.2101632","url":null,"abstract":"ABSTRACT This study aimed to empower piano students and explore their understandings of how teaching and learning of musical interpretation of Western classical music could be developed to foster autonomy and a personal, authentic artistic voice. Two research questions were formulated: How have students experienced teaching and learning of musical interpretation? How do students envision a meaningful organisation of such teaching and learning? The empirical material, created during a participatory action research project with 4 piano students within an artistic bachelor programme, was hermeneutically analysed, and narratives were created and twice negotiated with the students. Their education was described as backwards-looking and not preparing for autonomous learning and musicianship. In contrast, a meaningful organisation was envisioned as collaborative, dialogical, characterised by openness, humility, honesty, and mutual understanding, where musical interpretation is viewed as a complex, ongoing, open-ended process, allowing for multiple, incompatible views, breaking from the master–apprentice model and the current restrictive ideology.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"24 1","pages":"574 - 587"},"PeriodicalIF":2.3,"publicationDate":"2022-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46696648","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 : 2022-07-18DOI: 10.1080/14613808.2022.2098263
Ragnhild Sandberg-Jurström, Monica Lindgren
ABSTRACT This article concerns assessors’ use of predictions of applicants’ ability to learn when assessing admission tests for specialist music teacher education in Sweden. The data consist of stimulated-recall interviews with video-recorded admission tests as stimuli, and the analyses are based on discourse psychology with a focus on the variations, functions, and effects of the assessors’ statements about learning opportunities. The results highlight several ways of talking about applicants’ learnability, based on the view that learnability is a matter of teacher help, learning time, applicant age, and talent. Based on these results, learnability can be considered a selection tool, legitimised with reference to the assessors as experts able to foresee and make decisions about applicants’ future development opportunities. In this sense, the test contexts can be seen as permeated by educational traditions in which discourses about learnability govern the assessors’/masters’ decisions.
{"title":"Mapping the applicants’ learnability: a discourse analysis of assessors’ talk of admission tests for Swedish specialist music teacher education","authors":"Ragnhild Sandberg-Jurström, Monica Lindgren","doi":"10.1080/14613808.2022.2098263","DOIUrl":"https://doi.org/10.1080/14613808.2022.2098263","url":null,"abstract":"ABSTRACT This article concerns assessors’ use of predictions of applicants’ ability to learn when assessing admission tests for specialist music teacher education in Sweden. The data consist of stimulated-recall interviews with video-recorded admission tests as stimuli, and the analyses are based on discourse psychology with a focus on the variations, functions, and effects of the assessors’ statements about learning opportunities. The results highlight several ways of talking about applicants’ learnability, based on the view that learnability is a matter of teacher help, learning time, applicant age, and talent. Based on these results, learnability can be considered a selection tool, legitimised with reference to the assessors as experts able to foresee and make decisions about applicants’ future development opportunities. In this sense, the test contexts can be seen as permeated by educational traditions in which discourses about learnability govern the assessors’/masters’ decisions.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"24 1","pages":"599 - 610"},"PeriodicalIF":2.3,"publicationDate":"2022-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45923406","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 : 2022-07-12DOI: 10.1080/14613808.2022.2098262
Sabina Vidulin, Valnea Žauhar, Marlena Plavšić
ABSTRACT Pupils’ experiences of four music pieces were compared regarding two didactical approaches to music listening in Croatian schools: the predominantly cognitively oriented standard (STA), and the experimental cognitive-emotional (CEA). The research comprised 557 pupils, 10 and 11 years old. After the initial listening to a music piece pupils mostly reported to like its musical components which reflects that listening to music in school is mainly directed toward music-theoretical components of the music. During the central listening pupils’ thoughts were mostly related to the music piece content (e.g. narratives related to the music) and to associations within and out of the music piece context. However, some differences between the two approaches emerged. Depending on the music piece, the more active pupils’ engagement in CEA encouraged reflections about content and/or expressing opinions about the broader context of the music piece.
{"title":"Experiences during listening to music in school","authors":"Sabina Vidulin, Valnea Žauhar, Marlena Plavšić","doi":"10.1080/14613808.2022.2098262","DOIUrl":"https://doi.org/10.1080/14613808.2022.2098262","url":null,"abstract":"ABSTRACT Pupils’ experiences of four music pieces were compared regarding two didactical approaches to music listening in Croatian schools: the predominantly cognitively oriented standard (STA), and the experimental cognitive-emotional (CEA). The research comprised 557 pupils, 10 and 11 years old. After the initial listening to a music piece pupils mostly reported to like its musical components which reflects that listening to music in school is mainly directed toward music-theoretical components of the music. During the central listening pupils’ thoughts were mostly related to the music piece content (e.g. narratives related to the music) and to associations within and out of the music piece context. However, some differences between the two approaches emerged. Depending on the music piece, the more active pupils’ engagement in CEA encouraged reflections about content and/or expressing opinions about the broader context of the music piece.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"24 1","pages":"512 - 529"},"PeriodicalIF":2.3,"publicationDate":"2022-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44120661","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 : 2022-07-11DOI: 10.1080/14613808.2022.2085679
Jonathan Lilliedahl
ABSTRACT This article examines how specialist music secondary schools in England present themselves on their websites and social media platforms. We consider visual communication codes and how such patterns reflect cultural distinctions and social boundaries. Multimodal critical discourse analysis is used to demonstrate how the choice of semiotic resources convey the meaning of specialisation in a socially exclusive manner. Although the schools in question use different resources, similarities in function can be noted in their self-promotion. A school’s social matrix and use of classical aesthetics are conveyed through non-verbal, visual communication. An elite code associates advanced musical training with certain principles of behaviour and social values. Those, in turn, represent class-based distinctions, cultural boundaries, and characteristics of privileged education.
{"title":"Visually communicating exclusiveness: how specialist music secondary schools in England represent themselves on the web","authors":"Jonathan Lilliedahl","doi":"10.1080/14613808.2022.2085679","DOIUrl":"https://doi.org/10.1080/14613808.2022.2085679","url":null,"abstract":"ABSTRACT This article examines how specialist music secondary schools in England present themselves on their websites and social media platforms. We consider visual communication codes and how such patterns reflect cultural distinctions and social boundaries. Multimodal critical discourse analysis is used to demonstrate how the choice of semiotic resources convey the meaning of specialisation in a socially exclusive manner. Although the schools in question use different resources, similarities in function can be noted in their self-promotion. A school’s social matrix and use of classical aesthetics are conveyed through non-verbal, visual communication. An elite code associates advanced musical training with certain principles of behaviour and social values. Those, in turn, represent class-based distinctions, cultural boundaries, and characteristics of privileged education.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"24 1","pages":"430 - 441"},"PeriodicalIF":2.3,"publicationDate":"2022-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44955102","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 : 2022-07-11DOI: 10.1080/14613808.2022.2098264
Eveliina Stolp, J. Moate, Suvi Saarikallio, Eija Pakarinen, Marja‐Kristiina Lerkkanen
ABSTRACT This study explores music teachers’ beliefs of student agency in whole-class playing and investigates what characterises student agency through teachers’ values, actions and observations within this unique multimodal and -dimensional learning environment. Our abductive analysis of 11 interviews reveals that the role of teacher support is significant in enacting students’ agency. This study provides insights into student agency through the eyes and actions of teachers within the context of whole-class playing and suggests that the enactment of different aspects of student agency is an essential feature necessary for whole-class playing to succeed.
{"title":"Teacher beliefs about student agency in whole-class playing","authors":"Eveliina Stolp, J. Moate, Suvi Saarikallio, Eija Pakarinen, Marja‐Kristiina Lerkkanen","doi":"10.1080/14613808.2022.2098264","DOIUrl":"https://doi.org/10.1080/14613808.2022.2098264","url":null,"abstract":"ABSTRACT This study explores music teachers’ beliefs of student agency in whole-class playing and investigates what characterises student agency through teachers’ values, actions and observations within this unique multimodal and -dimensional learning environment. Our abductive analysis of 11 interviews reveals that the role of teacher support is significant in enacting students’ agency. This study provides insights into student agency through the eyes and actions of teachers within the context of whole-class playing and suggests that the enactment of different aspects of student agency is an essential feature necessary for whole-class playing to succeed.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"24 1","pages":"467 - 481"},"PeriodicalIF":2.3,"publicationDate":"2022-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45178049","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 : 2022-07-11DOI: 10.1080/14613808.2022.2094354
Jennifer M. Mellizo, Alberto Cabedo-Mas, Dawn Joseph, Rohan Nethsinghe
ABSTRACT Providing students with opportunities to experience culturally diverse music traditions is an important, yet complex task for music educators. In this study, the author participants (four tertiary music educators from different places in the world) facilitated a series of online workshops based on songs from culturally diverse settings with a group of pre-service teachers at a Spanish university. Through autoethnographical vignettes, they share their individual and collective experiences. This paper foregrounds the importance of disrupting the hegemonic cycle of focusing on Western music in education programmes and the importance of fostering transnational collaborations between music educators in different parts of the world. Findings indicate that music educators who are willing to share their unique musical perspectives and experiences beyond cultural and geographic boundaries can cultivate learning environments that are diverse, inclusive, relevant, timely, meaningful, and fun for all involved.
{"title":"An International quartet of voices: sharing songs and culture beyond borders","authors":"Jennifer M. Mellizo, Alberto Cabedo-Mas, Dawn Joseph, Rohan Nethsinghe","doi":"10.1080/14613808.2022.2094354","DOIUrl":"https://doi.org/10.1080/14613808.2022.2094354","url":null,"abstract":"ABSTRACT Providing students with opportunities to experience culturally diverse music traditions is an important, yet complex task for music educators. In this study, the author participants (four tertiary music educators from different places in the world) facilitated a series of online workshops based on songs from culturally diverse settings with a group of pre-service teachers at a Spanish university. Through autoethnographical vignettes, they share their individual and collective experiences. This paper foregrounds the importance of disrupting the hegemonic cycle of focusing on Western music in education programmes and the importance of fostering transnational collaborations between music educators in different parts of the world. Findings indicate that music educators who are willing to share their unique musical perspectives and experiences beyond cultural and geographic boundaries can cultivate learning environments that are diverse, inclusive, relevant, timely, meaningful, and fun for all involved.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"25 1","pages":"88 - 101"},"PeriodicalIF":2.3,"publicationDate":"2022-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44766866","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 : 2022-06-25DOI: 10.1080/14613808.2022.2094152
Published in Music Education Research (Vol. 24, No. 3, 2022)
发表于《音乐教育研究》(Vol. 24, No. 3, 2022)
{"title":"Correction","authors":"","doi":"10.1080/14613808.2022.2094152","DOIUrl":"https://doi.org/10.1080/14613808.2022.2094152","url":null,"abstract":"Published in Music Education Research (Vol. 24, No. 3, 2022)","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"28 5","pages":""},"PeriodicalIF":2.3,"publicationDate":"2022-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50168033","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：