Pub Date : 2023-05-27DOI: 10.1080/14613808.2023.2222277
L. Shaw
ABSTRACT A skilled music education workforce is essential to ensure longevity of music-making for future generations of young learners and access to high-quality instrumental music tuition remains crucial for school-aged pupils. Yet, Higher Education providers, including conservatoires, are not held accountable for providing high-quality pedagogical training to ensure that music graduates are best equipped to support musical learning in children and young people. Perspectives on instrumental teacher education obtained through interviews with academics at six English conservatoires were triangulated with questionnaire responses from senior leaders of 66 Music Education Hubs in England. Findings revealed institutional challenges relating to the privileging of principal study activity; inconsistent pedagogical provision across the conservatoire sector, and a mismatch between students’ pedagogical training and employer expectations. Closer collaboration and dialogue between institutions and employers are recommended to ensure that conservatoire graduates are trained appropriately to meet the needs of the modern music education sector.
{"title":"Preparing conservatoire students for the music education workforce: institutional and industrial perspectives on instrumental teacher education in England","authors":"L. Shaw","doi":"10.1080/14613808.2023.2222277","DOIUrl":"https://doi.org/10.1080/14613808.2023.2222277","url":null,"abstract":"ABSTRACT A skilled music education workforce is essential to ensure longevity of music-making for future generations of young learners and access to high-quality instrumental music tuition remains crucial for school-aged pupils. Yet, Higher Education providers, including conservatoires, are not held accountable for providing high-quality pedagogical training to ensure that music graduates are best equipped to support musical learning in children and young people. Perspectives on instrumental teacher education obtained through interviews with academics at six English conservatoires were triangulated with questionnaire responses from senior leaders of 66 Music Education Hubs in England. Findings revealed institutional challenges relating to the privileging of principal study activity; inconsistent pedagogical provision across the conservatoire sector, and a mismatch between students’ pedagogical training and employer expectations. Closer collaboration and dialogue between institutions and employers are recommended to ensure that conservatoire graduates are trained appropriately to meet the needs of the modern music education sector.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"25 1","pages":"280 - 293"},"PeriodicalIF":2.3,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41794113","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 : 2023-05-27DOI: 10.1080/14613808.2023.2223220
C. Bacchi
ABSTRACT This article introduces an analytic strategy or thinking tool called the ‘What’s the Problem Represented to be?’ (WPR) approach and suggests its usefulness for reflecting on important debates in music education. First developed as a mode of policy analysis, WPR has since been adopted in many fields and topic areas. The WPR approach consists of seven forms of questioning and analysis that target modes of governing and governing knowledges, their presuppositions, their genealogies and their effects. It is best described as a problematisation approach that studies how issues are problematised or conceptualized. The article explores what this description means and the implications that flow from applying this thinking tool. The recent (June 2022) National Plan for Music Education, titled The Power of Music to Change Lives, provides a focus for illustrating how to deploy WPR. The task involves seeking out ‘proposals’ in the Plan and indicating how these proposed solutions represent (or produce or constitute) the ‘problem’ of ‘music education’. The goal is to make available a novel approach to a range of issues that have engaged the field for decades.
{"title":"Bringing a ‘What’s the problem represented to be?’ approach to music education: a national plan for music education 2022","authors":"C. Bacchi","doi":"10.1080/14613808.2023.2223220","DOIUrl":"https://doi.org/10.1080/14613808.2023.2223220","url":null,"abstract":"ABSTRACT This article introduces an analytic strategy or thinking tool called the ‘What’s the Problem Represented to be?’ (WPR) approach and suggests its usefulness for reflecting on important debates in music education. First developed as a mode of policy analysis, WPR has since been adopted in many fields and topic areas. The WPR approach consists of seven forms of questioning and analysis that target modes of governing and governing knowledges, their presuppositions, their genealogies and their effects. It is best described as a problematisation approach that studies how issues are problematised or conceptualized. The article explores what this description means and the implications that flow from applying this thinking tool. The recent (June 2022) National Plan for Music Education, titled The Power of Music to Change Lives, provides a focus for illustrating how to deploy WPR. The task involves seeking out ‘proposals’ in the Plan and indicating how these proposed solutions represent (or produce or constitute) the ‘problem’ of ‘music education’. The goal is to make available a novel approach to a range of issues that have engaged the field for decades.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"25 1","pages":"231 - 241"},"PeriodicalIF":2.3,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45697346","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 : 2023-05-26DOI: 10.1080/14613808.2023.2217724
Young-hyun Suh, Yujin Jang
ABSTRACT The purpose of this study was to examine the development and characteristics of invented notation for musical representation. A total of 168 young children aged 3, 4 and 5 years participated in this study. The children listened to rhythm and melody, which represented music, to reveal their use of invented notation. The Korean children used various types of invented notation involving figures, numbers, Hangeul (Korean letters), lines, and mixed forms. The level of invented notation increased with age, similar to other kinds of representation competence. The level of invented notation was clearly and significantly higher when paper and drawing tools were used than when blocks were used. However, there was no significant difference in invented notation according to the type of music played (voice or instrument). This study suggests that providing children with various examples of musical experiences and representations as well as tools allows them to perform free and immediate representation without requiring dual representation. Additionally, the findings confirmed that Hangeul has an advantage in children’s musical representation.
{"title":"The development and characteristics of Korean children’s invented notation for musical representation","authors":"Young-hyun Suh, Yujin Jang","doi":"10.1080/14613808.2023.2217724","DOIUrl":"https://doi.org/10.1080/14613808.2023.2217724","url":null,"abstract":"ABSTRACT The purpose of this study was to examine the development and characteristics of invented notation for musical representation. A total of 168 young children aged 3, 4 and 5 years participated in this study. The children listened to rhythm and melody, which represented music, to reveal their use of invented notation. The Korean children used various types of invented notation involving figures, numbers, Hangeul (Korean letters), lines, and mixed forms. The level of invented notation increased with age, similar to other kinds of representation competence. The level of invented notation was clearly and significantly higher when paper and drawing tools were used than when blocks were used. However, there was no significant difference in invented notation according to the type of music played (voice or instrument). This study suggests that providing children with various examples of musical experiences and representations as well as tools allows them to perform free and immediate representation without requiring dual representation. Additionally, the findings confirmed that Hangeul has an advantage in children’s musical representation.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"25 1","pages":"330 - 345"},"PeriodicalIF":2.3,"publicationDate":"2023-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48069016","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 : 2023-05-18DOI: 10.1080/14613808.2023.2210156
Pearly Tsz Wai Poon, Jason Chi Wai Chen
ABSTRACT This study explores the impacts of popular music education in classroom practices from different aspects such as learning by ear, motivation, musicianship, peer learning and creativity. The Sing by Ear approach was created based on the concepts of informal learning in singing a cappella. A total of 323 participants aged 11–14 were invited to participate in the 3-month project. Students learnt to sing cover songs by ear in an a cappella setting instead of reading music notations. The result from the case studies showed that students gained positive experiences in musicianship, peer-learning and peer-teaching, confidence and satisfaction, and creativity following the project. A pedagogical model was proposed based on the literature and findings in the study to inform the research and practice in popular music education for teachers and researchers.
{"title":"Sing by Ear project: multiple-case studies of popular music education in Hong Kong","authors":"Pearly Tsz Wai Poon, Jason Chi Wai Chen","doi":"10.1080/14613808.2023.2210156","DOIUrl":"https://doi.org/10.1080/14613808.2023.2210156","url":null,"abstract":"ABSTRACT\u0000 This study explores the impacts of popular music education in classroom practices from different aspects such as learning by ear, motivation, musicianship, peer learning and creativity. The Sing by Ear approach was created based on the concepts of informal learning in singing a cappella. A total of 323 participants aged 11–14 were invited to participate in the 3-month project. Students learnt to sing cover songs by ear in an a cappella setting instead of reading music notations. The result from the case studies showed that students gained positive experiences in musicianship, peer-learning and peer-teaching, confidence and satisfaction, and creativity following the project. A pedagogical model was proposed based on the literature and findings in the study to inform the research and practice in popular music education for teachers and researchers.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"25 1","pages":"305 - 318"},"PeriodicalIF":2.3,"publicationDate":"2023-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45144483","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 : 2023-05-10DOI: 10.1080/14613808.2023.2210146
Matthew L. Williams, Amanda L. Schlegel, A. Harrington, J. Bugos
ABSTRACT The motivation to participate in ensemble rehearsals may be influenced by the rehearsal environment. With the emergence of the virtual rehearsal environment, there is a need to gain a better understanding of how online rehearsals affect participation decisions. The purpose of this study was to determine the applicability of one theory of motivation, Self-Determination Theory, to older adults’ decisions to participate or not participate in virtual rehearsals. Respondents (N = 49) included participants (n = 20) and nonparticipants (n = 29) who completed the Intrinsic Motivation Inventory (n.d.) and the Modified Computer Self-Efficacy Scale (Laver et al. 2012). Mann–Whitney U comparisons indicated that nonparticipants had significantly lower ratings on the Perceived Competence and Value/Usefulness subscales on the IMI, in addition to significantly lower feelings of self-efficacy on the MCSES. Overall, the results seem to support the use of Self-Determination Theory to explain differences in the decision of New Horizons band members to participate in online rehearsals. To encourage participation in virtual ensembles, there is need to confirm ensemble members are comfortable with the technology and understand the value and usefulness of the activity itself.
{"title":"Understanding virtual rehearsal participation through self-determination theory","authors":"Matthew L. Williams, Amanda L. Schlegel, A. Harrington, J. Bugos","doi":"10.1080/14613808.2023.2210146","DOIUrl":"https://doi.org/10.1080/14613808.2023.2210146","url":null,"abstract":"ABSTRACT The motivation to participate in ensemble rehearsals may be influenced by the rehearsal environment. With the emergence of the virtual rehearsal environment, there is a need to gain a better understanding of how online rehearsals affect participation decisions. The purpose of this study was to determine the applicability of one theory of motivation, Self-Determination Theory, to older adults’ decisions to participate or not participate in virtual rehearsals. Respondents (N = 49) included participants (n = 20) and nonparticipants (n = 29) who completed the Intrinsic Motivation Inventory (n.d.) and the Modified Computer Self-Efficacy Scale (Laver et al. 2012). Mann–Whitney U comparisons indicated that nonparticipants had significantly lower ratings on the Perceived Competence and Value/Usefulness subscales on the IMI, in addition to significantly lower feelings of self-efficacy on the MCSES. Overall, the results seem to support the use of Self-Determination Theory to explain differences in the decision of New Horizons band members to participate in online rehearsals. To encourage participation in virtual ensembles, there is need to confirm ensemble members are comfortable with the technology and understand the value and usefulness of the activity itself.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"25 1","pages":"242 - 252"},"PeriodicalIF":2.3,"publicationDate":"2023-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49625029","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 : 2023-05-09DOI: 10.1080/14613808.2023.2210160
Ying Xie
{"title":"Globalization, nationalism, and music education in the twenty-first century in Greater China","authors":"Ying Xie","doi":"10.1080/14613808.2023.2210160","DOIUrl":"https://doi.org/10.1080/14613808.2023.2210160","url":null,"abstract":"","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"25 1","pages":"346 - 348"},"PeriodicalIF":2.3,"publicationDate":"2023-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42253302","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 : 2023-05-08DOI: 10.1080/14613808.2023.2210159
Bendik Fredriksen, Silje Valde Onsrud, Hanne Rinholm, Judy Lewis
ABSTRACT In this study, we employ a participatory action research framework to investigate how preservice music teachers can take part in developing their own education. The main focus is on how two music teacher educators at two institutions in Norway work to create a space for student voice and participation. The study’s data are analysed and presented through a combination of self-study methodology and narrative analysis conducted by two of the authors, followed by reflections by the two other authors. In these analytical steps, we identify four teacher roles in the form of metaphors: ‘the impatient manager’, ‘the conflicted gatekeeper’, ‘the balancing artist’ and ‘the reluctant host’. These roles are further discussed in light of theoretical perspectives on student voice and participation. The results reveal challenges in the use of participatory action research and in making changes to music teacher education.
{"title":"Who takes part in participation? Challenges to empowering student voice in music teacher education","authors":"Bendik Fredriksen, Silje Valde Onsrud, Hanne Rinholm, Judy Lewis","doi":"10.1080/14613808.2023.2210159","DOIUrl":"https://doi.org/10.1080/14613808.2023.2210159","url":null,"abstract":"ABSTRACT In this study, we employ a participatory action research framework to investigate how preservice music teachers can take part in developing their own education. The main focus is on how two music teacher educators at two institutions in Norway work to create a space for student voice and participation. The study’s data are analysed and presented through a combination of self-study methodology and narrative analysis conducted by two of the authors, followed by reflections by the two other authors. In these analytical steps, we identify four teacher roles in the form of metaphors: ‘the impatient manager’, ‘the conflicted gatekeeper’, ‘the balancing artist’ and ‘the reluctant host’. These roles are further discussed in light of theoretical perspectives on student voice and participation. The results reveal challenges in the use of participatory action research and in making changes to music teacher education.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"25 1","pages":"253 - 268"},"PeriodicalIF":2.3,"publicationDate":"2023-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43568243","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 : 2023-03-15DOI: 10.1080/14613808.2023.2193209
E. Díez-Gutiérrez, Eva Palomo-Cermeño, Benjamín Mallo-Rodríguez
ABSTRACT Reggaetón music is very popular among young people of school-age. Thus, we intend to examine the values of equality transmitted in the lyrics of this music genre. Using critical discourse analysis and assisted by the Maxqda software package we analysed the lyrics of 65 of the most popular reggaetón songs of 2020. Results suggest that reggaetón reprises certain traditional masculine stereotypes (machismo). In our discussion we compare alternative approaches and positions concerning the reggaetón genre. We feel it is necessary that educational spaces adopt a critical and consciousness raising approach to reggaetón due to the powerful influence exerted on young people by this product of the culture industry.
{"title":"Education and the reggaetón genre: does reggaetón socialize in traditional masculine stereotypes?","authors":"E. Díez-Gutiérrez, Eva Palomo-Cermeño, Benjamín Mallo-Rodríguez","doi":"10.1080/14613808.2023.2193209","DOIUrl":"https://doi.org/10.1080/14613808.2023.2193209","url":null,"abstract":"ABSTRACT\u0000 Reggaetón music is very popular among young people of school-age. Thus, we intend to examine the values of equality transmitted in the lyrics of this music genre. Using critical discourse analysis and assisted by the Maxqda software package we analysed the lyrics of 65 of the most popular reggaetón songs of 2020. Results suggest that reggaetón reprises certain traditional masculine stereotypes (machismo). In our discussion we compare alternative approaches and positions concerning the reggaetón genre. We feel it is necessary that educational spaces adopt a critical and consciousness raising approach to reggaetón due to the powerful influence exerted on young people by this product of the culture industry.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"25 1","pages":"136 - 146"},"PeriodicalIF":2.3,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45553984","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 : 2023-03-15DOI: 10.1080/14613808.2023.2193210
Andrea Fernández-Barros, David Duran, Laia Viladot
ABSTRACT The aim of this study was to investigate the potential and limitations of peer tutoring in the development of the intonation of violin and viola students in elementary music education. Researchers have found that peer tutoring is a highly beneficial learning strategy. Peer tutoring is defined as the pairing of learners in an asymmetric relationship, who learn by teaching and start with a common, known, shared goal and an interaction framework previously structured by the teacher. After presenting a didactic proposal based on peer tutoring for the development of intonation, this research adopted a mixed-method approach to present quantitative improvements in intonation. The analysis of the pairs’ interaction explains these improvements as coming from the framework fostered by the pairs and the opportunities to learn through teaching. It is concluded that peer tutoring is a very effective tool for improving the intonation of string students.
{"title":"Peer tutoring as a tool for developing the intonation of violin and viola students in elementary music education","authors":"Andrea Fernández-Barros, David Duran, Laia Viladot","doi":"10.1080/14613808.2023.2193210","DOIUrl":"https://doi.org/10.1080/14613808.2023.2193210","url":null,"abstract":"ABSTRACT The aim of this study was to investigate the potential and limitations of peer tutoring in the development of the intonation of violin and viola students in elementary music education. Researchers have found that peer tutoring is a highly beneficial learning strategy. Peer tutoring is defined as the pairing of learners in an asymmetric relationship, who learn by teaching and start with a common, known, shared goal and an interaction framework previously structured by the teacher. After presenting a didactic proposal based on peer tutoring for the development of intonation, this research adopted a mixed-method approach to present quantitative improvements in intonation. The analysis of the pairs’ interaction explains these improvements as coming from the framework fostered by the pairs and the opportunities to learn through teaching. It is concluded that peer tutoring is a very effective tool for improving the intonation of string students.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"25 1","pages":"176 - 189"},"PeriodicalIF":2.3,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47059256","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 : 2023-03-15DOI: 10.1080/14613808.2023.2183494
L. Ellefsen, S. Karlsen, S. Nielsen
ABSTRACT This article reports on a survey of Norwegian compulsory school music teachers, in which 293 teachers from 239 schools participated. In addition to providing demographic information, the teachers were asked what kinds of music their students listened to, sang, played, and created during lessons, and what activities this music was part of. We explore this material with respect to which forms of activities were included and how they were distributed, how the activities were related to teacher characteristics, what forms of participation the activities allowed for, and how this participation relates to broader societal patterns. The findings show that a broad palette of activities was implemented, but also that teachers with less formal competence in music chose activities that allowed for broader participation than their more musically specialised colleagues. Drawing on Bourdieu's concept of refraction, we interpret this as the latter being loyal to the logic of the art field.
{"title":"What happens in school music in Norway? Findings from a national survey of music teachers","authors":"L. Ellefsen, S. Karlsen, S. Nielsen","doi":"10.1080/14613808.2023.2183494","DOIUrl":"https://doi.org/10.1080/14613808.2023.2183494","url":null,"abstract":"ABSTRACT\u0000 This article reports on a survey of Norwegian compulsory school music teachers, in which 293 teachers from 239 schools participated. In addition to providing demographic information, the teachers were asked what kinds of music their students listened to, sang, played, and created during lessons, and what activities this music was part of. We explore this material with respect to which forms of activities were included and how they were distributed, how the activities were related to teacher characteristics, what forms of participation the activities allowed for, and how this participation relates to broader societal patterns. The findings show that a broad palette of activities was implemented, but also that teachers with less formal competence in music chose activities that allowed for broader participation than their more musically specialised colleagues. Drawing on Bourdieu's concept of refraction, we interpret this as the latter being loyal to the logic of the art field.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"25 1","pages":"160 - 175"},"PeriodicalIF":2.3,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44691131","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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