Pub Date : 2022-10-20DOI: 10.1080/14613808.2022.2138844
A. Sutherland, Stewart J. Smith
ABSTRACT For many music students studying classical piano in tertiary institutions, techniques in improvisation are not included in their undergraduate curriculum. Despite the acknowledged musical benefits of improvisation, piano pedagogy curricula remain firmly rooted in the nineteenth century, focusing on the performance of the familiar canon of classical repertoire. In this study, in which we set out to explore the possible benefits of introducing formal improvisation lessons, eight students were selected from two universities in Hong Kong and Perth respectively. Using an active research methodology, the students were given four one-hour improvisation lessons each of which was followed by a focus group interview. In addition to making recommendations for improvisation to occupy a space in undergraduate classical piano curricula, other unexpected findings regarding group teaching for pianists, and teaching across an international context are presented.
{"title":"Stepping into the unknown: the experiences of tertiary piano students studying improvisation","authors":"A. Sutherland, Stewart J. Smith","doi":"10.1080/14613808.2022.2138844","DOIUrl":"https://doi.org/10.1080/14613808.2022.2138844","url":null,"abstract":"ABSTRACT For many music students studying classical piano in tertiary institutions, techniques in improvisation are not included in their undergraduate curriculum. Despite the acknowledged musical benefits of improvisation, piano pedagogy curricula remain firmly rooted in the nineteenth century, focusing on the performance of the familiar canon of classical repertoire. In this study, in which we set out to explore the possible benefits of introducing formal improvisation lessons, eight students were selected from two universities in Hong Kong and Perth respectively. Using an active research methodology, the students were given four one-hour improvisation lessons each of which was followed by a focus group interview. In addition to making recommendations for improvisation to occupy a space in undergraduate classical piano curricula, other unexpected findings regarding group teaching for pianists, and teaching across an international context are presented.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"24 1","pages":"564 - 573"},"PeriodicalIF":2.3,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49449020","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 : 2022-10-20DOI: 10.1080/14613808.2022.2138843
Kate Moloney, Helen F. Mitchell
ABSTRACT Music is vulnerable to unconscious bias through visual extramusical factors. Traditional male/female gender bias affects instrument choice and impacts performance evaluation negatively. This study investigates gender bias in assessing harp performance. Harp performers (one male, one female) recorded three musical excerpts, all dubbed with the female performer’s audio. Listener-viewers assessed performances on five criteria and were blinded to the study purpose. Follow-up interviews explored awareness of unconscious gender bias. There were no significant differences between ratings for each gender but there were significant interactions between gender and musical excerpt for overall performance quality, musicality and sensitivity. Interviews revealed no explicit gender bias but discovered feminine associations for harp performance resulting in gendered descriptors rather than musical assessments. Listener-viewers demonstrated preconceived gendered expectations of harpists and were susceptible to gender bias in their evaluations of each musical excerpt. Perceptual evaluations can inform and educate future music assessors about unconscious gender bias.
{"title":"Promoting awareness of unconscious gender bias in the evaluation of harp performance","authors":"Kate Moloney, Helen F. Mitchell","doi":"10.1080/14613808.2022.2138843","DOIUrl":"https://doi.org/10.1080/14613808.2022.2138843","url":null,"abstract":"ABSTRACT Music is vulnerable to unconscious bias through visual extramusical factors. Traditional male/female gender bias affects instrument choice and impacts performance evaluation negatively. This study investigates gender bias in assessing harp performance. Harp performers (one male, one female) recorded three musical excerpts, all dubbed with the female performer’s audio. Listener-viewers assessed performances on five criteria and were blinded to the study purpose. Follow-up interviews explored awareness of unconscious gender bias. There were no significant differences between ratings for each gender but there were significant interactions between gender and musical excerpt for overall performance quality, musicality and sensitivity. Interviews revealed no explicit gender bias but discovered feminine associations for harp performance resulting in gendered descriptors rather than musical assessments. Listener-viewers demonstrated preconceived gendered expectations of harpists and were susceptible to gender bias in their evaluations of each musical excerpt. Perceptual evaluations can inform and educate future music assessors about unconscious gender bias.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"24 1","pages":"588 - 598"},"PeriodicalIF":2.3,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47384027","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 : 2022-10-20DOI: 10.1080/14613808.2022.2134330
André de Quadros, F. Abrahams
ABSTRACT This study examined the changes in perception toward systemic racism of twenty-six first-year students at a mid-sized university in central New Jersey. All were members of the first-year choir and, with their conductor, participated in a three-week workshop called ‘No Justice, No Peace.’ The goal was to examine social justice issues and systemic racism in society and to produce multimedia works of art to express their changing attitudes. Reacting to prompts by the facilitator, they created original poetry, singing, movement, and visual art projects recorded and posted on YouTube for public viewing. Critical pedagogy, critical pedagogy for music education, and activist pedagogy provided the theoretical frameworks. Coding techniques from the grounded theory literature offered a structure for the data analysis. We invited four students from the choir to participate in open-ended interviews and to share their final projects. We found that the students had positive feelings about the project, which did provide a safe space for dialogue among the students. But little changed in their attitudes and understandings about systemic racism and/or their commitments to social justice by condemning acts of racism and injustice when they see evidence of it in society.
{"title":"No justice, no peace: an arts-based project with a college choir","authors":"André de Quadros, F. Abrahams","doi":"10.1080/14613808.2022.2134330","DOIUrl":"https://doi.org/10.1080/14613808.2022.2134330","url":null,"abstract":"ABSTRACT This study examined the changes in perception toward systemic racism of twenty-six first-year students at a mid-sized university in central New Jersey. All were members of the first-year choir and, with their conductor, participated in a three-week workshop called ‘No Justice, No Peace.’ The goal was to examine social justice issues and systemic racism in society and to produce multimedia works of art to express their changing attitudes. Reacting to prompts by the facilitator, they created original poetry, singing, movement, and visual art projects recorded and posted on YouTube for public viewing. Critical pedagogy, critical pedagogy for music education, and activist pedagogy provided the theoretical frameworks. Coding techniques from the grounded theory literature offered a structure for the data analysis. We invited four students from the choir to participate in open-ended interviews and to share their final projects. We found that the students had positive feelings about the project, which did provide a safe space for dialogue among the students. But little changed in their attitudes and understandings about systemic racism and/or their commitments to social justice by condemning acts of racism and injustice when they see evidence of it in society.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"24 1","pages":"533 - 548"},"PeriodicalIF":2.3,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42163991","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 : 2022-10-20DOI: 10.1080/14613808.2022.2138842
Dale Cox, Melissa Forbes
ABSTRACT One-to-one lessons based on the master-apprentice model are recognised in research and practice as an indispensable foundation for the training of professional musicians including singers. Given its primary importance to musician training, it is essential that researchers of this pedagogical model adopt methodologies and methods well-suited to illuminating the unique nature of one-to-one pedagogy. This article on methodology introduces multi-sited ethnography (MSFE) for one-to-one pedagogy research, exemplified through its use in a research project focused on one-to-one musical theatre singing voice pedagogy. MSFE is presented as ‘Big Q’ qualitative research approach which cohesively engages with epistemological, ontological, and methodological considerations facilitating the use of research methods which are well-suited to the private and ephemeral nature of the one-to-one lesson. MSFE is positioned as a research methodology which extends on and can address the challenges of extant research approaches in one-to-one pedagogy. MSFE is of particular use when researching participants across a broad cultural group (for example, studio teachers of a particular instrument or voice at multiple educational sites). We conclude with a discussion of the limitations of MSFE and make recommendations for further research.
{"title":"Introducing multi-sited focused ethnography for researching one-to-one (singing voice) pedagogy in higher education","authors":"Dale Cox, Melissa Forbes","doi":"10.1080/14613808.2022.2138842","DOIUrl":"https://doi.org/10.1080/14613808.2022.2138842","url":null,"abstract":"ABSTRACT One-to-one lessons based on the master-apprentice model are recognised in research and practice as an indispensable foundation for the training of professional musicians including singers. Given its primary importance to musician training, it is essential that researchers of this pedagogical model adopt methodologies and methods well-suited to illuminating the unique nature of one-to-one pedagogy. This article on methodology introduces multi-sited ethnography (MSFE) for one-to-one pedagogy research, exemplified through its use in a research project focused on one-to-one musical theatre singing voice pedagogy. MSFE is presented as ‘Big Q’ qualitative research approach which cohesively engages with epistemological, ontological, and methodological considerations facilitating the use of research methods which are well-suited to the private and ephemeral nature of the one-to-one lesson. MSFE is positioned as a research methodology which extends on and can address the challenges of extant research approaches in one-to-one pedagogy. MSFE is of particular use when researching participants across a broad cultural group (for example, studio teachers of a particular instrument or voice at multiple educational sites). We conclude with a discussion of the limitations of MSFE and make recommendations for further research.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"24 1","pages":"625 - 637"},"PeriodicalIF":2.3,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41326824","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 : 2022-10-14DOI: 10.1080/14613808.2022.2134329
Matthew Clauhs, R. Sanguinetti
ABSTRACT The purpose of this study was to examine the attitudes, values, and beliefs of New York music teachers towards the inclusion of popular music in the classroom. This research was guided by the following questions: 1) To what extent are K-12 teachers interested in teaching a variety of popular music instruments and styles? 2) What attitudes and beliefs do music teachers express about popular music education? 3) What popular music approaches are used most frequently by music teachers? and 4) What are the opportunities or barriers associated with popular music classes and ensembles in school settings? Survey respondents (N = 120), all of whom were members of the New York State School Music Association in the United States, showed strong support for the inclusion of popular music education in school programmes, with approximately 75 per cent of respondents agreeing or strongly agreeing that popular music instruments and repertoire should be included in K-12 schools.
{"title":"Music teacher attitudes toward popular music education","authors":"Matthew Clauhs, R. Sanguinetti","doi":"10.1080/14613808.2022.2134329","DOIUrl":"https://doi.org/10.1080/14613808.2022.2134329","url":null,"abstract":"ABSTRACT The purpose of this study was to examine the attitudes, values, and beliefs of New York music teachers towards the inclusion of popular music in the classroom. This research was guided by the following questions: 1) To what extent are K-12 teachers interested in teaching a variety of popular music instruments and styles? 2) What attitudes and beliefs do music teachers express about popular music education? 3) What popular music approaches are used most frequently by music teachers? and 4) What are the opportunities or barriers associated with popular music classes and ensembles in school settings? Survey respondents (N = 120), all of whom were members of the New York State School Music Association in the United States, showed strong support for the inclusion of popular music education in school programmes, with approximately 75 per cent of respondents agreeing or strongly agreeing that popular music instruments and repertoire should be included in K-12 schools.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"24 1","pages":"549 - 563"},"PeriodicalIF":2.3,"publicationDate":"2022-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46391971","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 : 2022-10-06DOI: 10.1080/14613808.2022.2128319
Fangna Peng
ABSTRACT This study aims to discuss the fundamentals of music copywriting in music education and identify pathways for integrating musical compositions into the learning process without infringing copyright and prohibiting the use of specific music pieces. To achieve this goal, the authors used methods of analysis to identify the available resources in the field of music copywriting and education. The study reports that 35% of students give their preference to classical music, 32% want to use traditional Chinese music, and only 22% consider it possible to play modern melodies. To avoid copyright infringement in the presentation of theory that is available on the Internet, authors should document their original approach to learning and publish the data in books and monographs. The authors found that the use of classical music in the classroom was not an infringement of copyright because the statute of limitations had expired. The findings suggested that the students whose similarity scores ranged from 0 to 24% in the music compositions got better knowledge, with the coefficient of effectiveness of 2.5.
{"title":"Music copywriting and the problems of music education: overcoming prohibitions and the use of music in teaching","authors":"Fangna Peng","doi":"10.1080/14613808.2022.2128319","DOIUrl":"https://doi.org/10.1080/14613808.2022.2128319","url":null,"abstract":"ABSTRACT This study aims to discuss the fundamentals of music copywriting in music education and identify pathways for integrating musical compositions into the learning process without infringing copyright and prohibiting the use of specific music pieces. To achieve this goal, the authors used methods of analysis to identify the available resources in the field of music copywriting and education. The study reports that 35% of students give their preference to classical music, 32% want to use traditional Chinese music, and only 22% consider it possible to play modern melodies. To avoid copyright infringement in the presentation of theory that is available on the Internet, authors should document their original approach to learning and publish the data in books and monographs. The authors found that the use of classical music in the classroom was not an infringement of copyright because the statute of limitations had expired. The findings suggested that the students whose similarity scores ranged from 0 to 24% in the music compositions got better knowledge, with the coefficient of effectiveness of 2.5.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"25 1","pages":"1 - 12"},"PeriodicalIF":2.3,"publicationDate":"2022-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42411833","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 : 2022-09-29DOI: 10.1080/14613808.2022.2128318
R. Angel-Alvarado, Amalia Casas-Mas, Guadalupe López-Íñiguez, Lauren Johnson
ABSTRACT Sociomusical identity pursues integrative goals, as it establishes bridges between musical identities from a perspective based on transculturation and post-ethnicity. The current study aims to observe the influence of social groups in the construction of sociomusical identity, using a simple random sample comprised of 417 students who attend Chilean schools classified in a condition of social vulnerability. The chosen nonexperimental quantitative method is survey research, as two scales were applied to measure musical activities in different social groups. Results indicated that the musical performance variable explains social differences in the distribution of sociomusical capital because, just as Western culture fosters the musician-listener dualism, it also causes gaps in sociomusical identity. In conclusion, differentiation points in sociomusical identity are linked to social matters concerning musical performance, as school-goers’ musical practice is not encouraged inside nor outside of schools.
{"title":"Patterns of variation in sociomusical identity of school-goers in a condition of social vulnerability and musical gaps in their education","authors":"R. Angel-Alvarado, Amalia Casas-Mas, Guadalupe López-Íñiguez, Lauren Johnson","doi":"10.1080/14613808.2022.2128318","DOIUrl":"https://doi.org/10.1080/14613808.2022.2128318","url":null,"abstract":"ABSTRACT Sociomusical identity pursues integrative goals, as it establishes bridges between musical identities from a perspective based on transculturation and post-ethnicity. The current study aims to observe the influence of social groups in the construction of sociomusical identity, using a simple random sample comprised of 417 students who attend Chilean schools classified in a condition of social vulnerability. The chosen nonexperimental quantitative method is survey research, as two scales were applied to measure musical activities in different social groups. Results indicated that the musical performance variable explains social differences in the distribution of sociomusical capital because, just as Western culture fosters the musician-listener dualism, it also causes gaps in sociomusical identity. In conclusion, differentiation points in sociomusical identity are linked to social matters concerning musical performance, as school-goers’ musical practice is not encouraged inside nor outside of schools.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"25 1","pages":"74 - 87"},"PeriodicalIF":2.3,"publicationDate":"2022-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44577396","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 : 2022-09-23DOI: 10.1080/14613808.2022.2118248
Kirsty Devaney
ABSTRACT In the study being reported here, heads of composition at a selection of music conservatoires (n = 6) in the UK were invited to share their experiences of teaching composition. Arising from the analysis of interview data, three main themes, termed 'pedagogical goals', emerged as important for undergraduate and postgraduate students to progress as composers. These included: becoming independent learners; developing one’s own compositional voice; and building confidence. Findings revealed that these three themes and the pedagogical tools used to achieve them could create tensions between student expectations of what they believed traditional composition teaching to be. On top of this, the interviewees reported having to navigate increasingly neoliberal higher education policy and performativity measures such as the emphasis on student satisfaction, employability and the rising sense of competition between institutions, causing them to reflect on their role as professional educators. Implications for practice are highlighted, particularly around how conflicting priorities and expectations within creative subjects such as composing can in turn create pedagogical conflict. This calls for further research on how composers learn and develop, especially within higher music education contexts.
{"title":"Heads of composition perspectives on the role of composition teaching in UK music conservatoires composition department","authors":"Kirsty Devaney","doi":"10.1080/14613808.2022.2118248","DOIUrl":"https://doi.org/10.1080/14613808.2022.2118248","url":null,"abstract":"ABSTRACT In the study being reported here, heads of composition at a selection of music conservatoires (n = 6) in the UK were invited to share their experiences of teaching composition. Arising from the analysis of interview data, three main themes, termed 'pedagogical goals', emerged as important for undergraduate and postgraduate students to progress as composers. These included: becoming independent learners; developing one’s own compositional voice; and building confidence. Findings revealed that these three themes and the pedagogical tools used to achieve them could create tensions between student expectations of what they believed traditional composition teaching to be. On top of this, the interviewees reported having to navigate increasingly neoliberal higher education policy and performativity measures such as the emphasis on student satisfaction, employability and the rising sense of competition between institutions, causing them to reflect on their role as professional educators. Implications for practice are highlighted, particularly around how conflicting priorities and expectations within creative subjects such as composing can in turn create pedagogical conflict. This calls for further research on how composers learn and develop, especially within higher music education contexts.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"24 1","pages":"611 - 624"},"PeriodicalIF":2.3,"publicationDate":"2022-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46162706","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 : 2022-09-15DOI: 10.1080/14613808.2022.2118249
Anu Sepp, J. Kangas, L. Hietanen, Heikki Ruismäki
ABSTRACT In numerous countries, primary school class teachers have problems regarding music teaching. It has been reported that there is a lack of both confidence and musical skills. However, the question often relates not only to a lack of self-efficacy beliefs but also to the organisation of the studies. This research looks for sources influencing the formation of self-efficacy beliefs through the lens of self-efficacy theory considering music studies and seeks possible solutions to motivate and develop student teachers’ interest in teaching music at the primary school level. The research revealed several self-efficacy factors that had a significant influence on student teachers’ later motivation for teaching music in the future.
{"title":"Sources influencing primary school student teachers’ self-efficacy beliefs in their music studies","authors":"Anu Sepp, J. Kangas, L. Hietanen, Heikki Ruismäki","doi":"10.1080/14613808.2022.2118249","DOIUrl":"https://doi.org/10.1080/14613808.2022.2118249","url":null,"abstract":"ABSTRACT In numerous countries, primary school class teachers have problems regarding music teaching. It has been reported that there is a lack of both confidence and musical skills. However, the question often relates not only to a lack of self-efficacy beliefs but also to the organisation of the studies. This research looks for sources influencing the formation of self-efficacy beliefs through the lens of self-efficacy theory considering music studies and seeks possible solutions to motivate and develop student teachers’ interest in teaching music at the primary school level. The research revealed several self-efficacy factors that had a significant influence on student teachers’ later motivation for teaching music in the future.","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"25 1","pages":"36 - 48"},"PeriodicalIF":2.3,"publicationDate":"2022-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47350845","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: 10.1080/14613808.2022.2108202
M. Stakelum
{"title":"RIME 2023The 13th International Conference for Research in Music Education","authors":"M. Stakelum","doi":"10.1080/14613808.2022.2108202","DOIUrl":"https://doi.org/10.1080/14613808.2022.2108202","url":null,"abstract":"","PeriodicalId":46798,"journal":{"name":"Music Education Research","volume":"24 1","pages":"530 - 531"},"PeriodicalIF":2.3,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42621519","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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