Pub Date : 2024-10-15DOI: 10.1177/00224294241290358
Peter Miksza
{"title":"Forum","authors":"Peter Miksza","doi":"10.1177/00224294241290358","DOIUrl":"https://doi.org/10.1177/00224294241290358","url":null,"abstract":"","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"120 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142440157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-10-08DOI: 10.1177/00224294241285323
Karen Koner, Jennifer Gee
The purpose of this study was to explore research and publishing preparation, experiences, and expectations of music education faculty members employed at higher education institutions. We developed the Publishing Preparation and Expectations Survey (PPES) to examine music education faculty members’ current areas of research, peer-reviewed journals they read and published in, and their experiences with peer reviewers. Utilizing the Directory of Music Faculties from the College Music Society, we distributed the PPES to 1,081 music education faculty members across 487 higher education institutions in the United States, resulting in 179 responses. The participants self-reported as predominantly White ( n = 157, 87.7%), female ( n = 101, 56.4%), and possessing a PhD ( n = 145, 81.0%). Additionally, 83 participants (46.4%) initially submitted a research article for publication in a peer-reviewed music education journal during their doctoral programs. Participants anticipated publishing an average of 11.44 articles ( SD = 8.89) for promotion to associate professor and had an average of 9.81 ( SD = 11.02) peer-reviewed research articles previously published. Finally, participants shared their experiences with peer reviewers using descriptors such as “discouraging,” “harsh,” and “cruel.”
{"title":"Publishing Preparation, Experiences, and Expectations of Music Education Faculty in Higher Education","authors":"Karen Koner, Jennifer Gee","doi":"10.1177/00224294241285323","DOIUrl":"https://doi.org/10.1177/00224294241285323","url":null,"abstract":"The purpose of this study was to explore research and publishing preparation, experiences, and expectations of music education faculty members employed at higher education institutions. We developed the Publishing Preparation and Expectations Survey (PPES) to examine music education faculty members’ current areas of research, peer-reviewed journals they read and published in, and their experiences with peer reviewers. Utilizing the Directory of Music Faculties from the College Music Society, we distributed the PPES to 1,081 music education faculty members across 487 higher education institutions in the United States, resulting in 179 responses. The participants self-reported as predominantly White ( n = 157, 87.7%), female ( n = 101, 56.4%), and possessing a PhD ( n = 145, 81.0%). Additionally, 83 participants (46.4%) initially submitted a research article for publication in a peer-reviewed music education journal during their doctoral programs. Participants anticipated publishing an average of 11.44 articles ( SD = 8.89) for promotion to associate professor and had an average of 9.81 ( SD = 11.02) peer-reviewed research articles previously published. Finally, participants shared their experiences with peer reviewers using descriptors such as “discouraging,” “harsh,” and “cruel.”","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"23 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142384445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-09-28DOI: 10.1177/00224294241281825
Olivia Gail Tucker, Kari Adams, Kelsey Nussbaum
Adjudicated performances have been a component of music education for more than a century, and the policies and structures associated with these events intersect with curriculum, instruction, and teacher evaluation. The purpose of this study was to describe state-organized large group performance evaluation (LGPE) practices for high school bands, choirs, and orchestras across the United States. We asked the following research questions: (a) How prevalent are state-organized LGPEs in the United States? (b) What organizations administer them? (c) How common are sight-reading requirements, use of prescribed music lists, and piece difficulty rules in the structures of state-organized LGPEs? and (d) How common are adjudicator training, comments-only options, and score availability at state-organized LGPEs? We found that most states had state-organized processes, and most were administered by music education organizations whose leadership was comprised of practicing and retired teachers. Choral educators generally had more flexibility than band and orchestra teachers in terms of prescribed music lists and repertoire difficulty. Adjudication training practices were inconsistent across states and ensemble types. The pervasive nature of LGPE participation in the ensemble setting has implications for educators’ ability to align with the National Association for Music Education’s curriculum standards and equity-based strategic plan.
{"title":"Large Group Performance Evaluation in the United States","authors":"Olivia Gail Tucker, Kari Adams, Kelsey Nussbaum","doi":"10.1177/00224294241281825","DOIUrl":"https://doi.org/10.1177/00224294241281825","url":null,"abstract":"Adjudicated performances have been a component of music education for more than a century, and the policies and structures associated with these events intersect with curriculum, instruction, and teacher evaluation. The purpose of this study was to describe state-organized large group performance evaluation (LGPE) practices for high school bands, choirs, and orchestras across the United States. We asked the following research questions: (a) How prevalent are state-organized LGPEs in the United States? (b) What organizations administer them? (c) How common are sight-reading requirements, use of prescribed music lists, and piece difficulty rules in the structures of state-organized LGPEs? and (d) How common are adjudicator training, comments-only options, and score availability at state-organized LGPEs? We found that most states had state-organized processes, and most were administered by music education organizations whose leadership was comprised of practicing and retired teachers. Choral educators generally had more flexibility than band and orchestra teachers in terms of prescribed music lists and repertoire difficulty. Adjudication training practices were inconsistent across states and ensemble types. The pervasive nature of LGPE participation in the ensemble setting has implications for educators’ ability to align with the National Association for Music Education’s curriculum standards and equity-based strategic plan.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"18 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142328992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-30DOI: 10.1177/00224294241265014
Gary E. McPherson, Jennifer Blackwell
Teacher feedback is an integral component of helping students understand their current level of achievement and what they can do to improve their performance. This study built on literature in educational psychology by adopting a framework developed by Hattie and Timperley to explore how different types of feedback are used in studio instrumental lessons. For this study, we investigated the use of feedback of highly experienced collegiate instrumental studio music teachers ( N = 6) and their students ( N = 18). Results indicated that around 83% of all teacher comments were classified as “feed-back” (i.e., reflections on what the student just played), with far fewer focused on “feed-forward” (16%) strategies for improving performance and “feed-up” (<1%) goal setting. Task-level comments on what the student had just done comprised 85% of the feedback, in contrast to process-level (9%) feedback that provides strategies for improving the next performance attempt and self-regulation comments (<1%) that cue the learner to monitor and control their own performance. Discussion of these results include comparisons between classroom and studio teaching practices and ways of refining instrumental teachers’ abilities to provide more targeted and effective feedback to their students.
{"title":"Teacher Feedback in Collegiate Instrumental Music Lessons","authors":"Gary E. McPherson, Jennifer Blackwell","doi":"10.1177/00224294241265014","DOIUrl":"https://doi.org/10.1177/00224294241265014","url":null,"abstract":"Teacher feedback is an integral component of helping students understand their current level of achievement and what they can do to improve their performance. This study built on literature in educational psychology by adopting a framework developed by Hattie and Timperley to explore how different types of feedback are used in studio instrumental lessons. For this study, we investigated the use of feedback of highly experienced collegiate instrumental studio music teachers ( N = 6) and their students ( N = 18). Results indicated that around 83% of all teacher comments were classified as “feed-back” (i.e., reflections on what the student just played), with far fewer focused on “feed-forward” (16%) strategies for improving performance and “feed-up” (<1%) goal setting. Task-level comments on what the student had just done comprised 85% of the feedback, in contrast to process-level (9%) feedback that provides strategies for improving the next performance attempt and self-regulation comments (<1%) that cue the learner to monitor and control their own performance. Discussion of these results include comparisons between classroom and studio teaching practices and ways of refining instrumental teachers’ abilities to provide more targeted and effective feedback to their students.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"102 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141857976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-28DOI: 10.1177/00224294241264894
Peter Miksza
{"title":"Editor’s Forum","authors":"Peter Miksza","doi":"10.1177/00224294241264894","DOIUrl":"https://doi.org/10.1177/00224294241264894","url":null,"abstract":"","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"41 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141794902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-27DOI: 10.1177/00224294241259483
Brian P. Shaw
The purpose of this study was to describe the grades given to students in U.S. public high school music courses and to examine the relationships between student characteristics, music course grades, and grades in additional subjects. Using descriptive statistics, logistic regression, and latent profile analysis, I analyzed over 5,000 student transcripts from the U.S. Department of Education’s High School Longitudinal Study of 2009 that contained at least one grade in music. Fifty-six percent of all music grades were As, and 79% were As or Bs. Ensemble grades were generally higher than general music grades, which were more evenly distributed. Regression modeling revealed that ethnoracial identity, socioeconomic status, and having an individualized education program (IEP) were closely associated with students’ music grades, with students representing two or more minoritized populations being particularly unlikely to earn an A in music. Latent profile analysis illustrated that student demographics explained differences in music grades even among students with equivalent grades in other school subjects.
{"title":"A National Analysis of High School Music Course Grades","authors":"Brian P. Shaw","doi":"10.1177/00224294241259483","DOIUrl":"https://doi.org/10.1177/00224294241259483","url":null,"abstract":"The purpose of this study was to describe the grades given to students in U.S. public high school music courses and to examine the relationships between student characteristics, music course grades, and grades in additional subjects. Using descriptive statistics, logistic regression, and latent profile analysis, I analyzed over 5,000 student transcripts from the U.S. Department of Education’s High School Longitudinal Study of 2009 that contained at least one grade in music. Fifty-six percent of all music grades were As, and 79% were As or Bs. Ensemble grades were generally higher than general music grades, which were more evenly distributed. Regression modeling revealed that ethnoracial identity, socioeconomic status, and having an individualized education program (IEP) were closely associated with students’ music grades, with students representing two or more minoritized populations being particularly unlikely to earn an A in music. Latent profile analysis illustrated that student demographics explained differences in music grades even among students with equivalent grades in other school subjects.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"40 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141794932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-26DOI: 10.1177/00224294241256929
Sandra Sanchez Adorno
This collective case study explored the musical lives of second-generation immigrant children in Miami, Florida, USA, to gain greater insight into music’s role in the negotiation, construction, and expression of their “identities in music” and “music in identities.” Four children between the ages of 8 and 12 who had at least one parent born outside of the United States participated in the study. Data were collected through participant-created artifacts, observations, and semistructured interviews with the children and other key figures in their homes and communities. Findings suggest that the children explored and evaluated their musical identities through a continuous cycle of musical experiences and social comparisons and that formal, informal, and nonformal music experiences in school, at home, and with the media informed the children’s understandings and expressions of musical identities. Additionally, music allowed the children to explore the values, traditions, and expectations of particular social groups. Children’s musical experiences also served as a source for understanding, maintaining, and expressing their ethnic, gender, and youth identities.
{"title":"Navigating Identities: The Musical Lives of Four Second-Generation Immigrant Children","authors":"Sandra Sanchez Adorno","doi":"10.1177/00224294241256929","DOIUrl":"https://doi.org/10.1177/00224294241256929","url":null,"abstract":"This collective case study explored the musical lives of second-generation immigrant children in Miami, Florida, USA, to gain greater insight into music’s role in the negotiation, construction, and expression of their “identities in music” and “music in identities.” Four children between the ages of 8 and 12 who had at least one parent born outside of the United States participated in the study. Data were collected through participant-created artifacts, observations, and semistructured interviews with the children and other key figures in their homes and communities. Findings suggest that the children explored and evaluated their musical identities through a continuous cycle of musical experiences and social comparisons and that formal, informal, and nonformal music experiences in school, at home, and with the media informed the children’s understandings and expressions of musical identities. Additionally, music allowed the children to explore the values, traditions, and expectations of particular social groups. Children’s musical experiences also served as a source for understanding, maintaining, and expressing their ethnic, gender, and youth identities.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"28 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141768443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-29DOI: 10.1177/00224294241247267
Kenneth Elpus, Carlos R. Abril
In this study, we examined demographic patterns of participation and persistence in high school elective music ensembles. We extend prior research that has only compared music and non-music students by explicitly modeling persistence across multiple years of ensemble enrollment. The research draws on data from the High School Longitudinal Study of 2009 and employs a zero-inflated Poisson regression model to analyze the data. This hurdle model, suitable for count data with a large number of zero observations, allows us to jointly examine factors related to enrolling in at least 1 year of a music ensemble (moving from 0 years to 1 year of music) and those factors related to accruing additional years of music ensemble enrollment (moving beyond 1 year to multiple years). We found that family socioeconomic status, birth-assigned sex, academic achievement, shared parent/student outside arts event attendance, and out-of-school arts engagement were significant predictors of both students’ music participation and persistence. By examining persistence, we add important nuance to the prior research examining demographic predictors of elective high school music enrollment, particularly for issues of birth-assigned sex and socioeconomic status in the choral context.
{"title":"Participation and Persistence in High School Elective Music Ensembles","authors":"Kenneth Elpus, Carlos R. Abril","doi":"10.1177/00224294241247267","DOIUrl":"https://doi.org/10.1177/00224294241247267","url":null,"abstract":"In this study, we examined demographic patterns of participation and persistence in high school elective music ensembles. We extend prior research that has only compared music and non-music students by explicitly modeling persistence across multiple years of ensemble enrollment. The research draws on data from the High School Longitudinal Study of 2009 and employs a zero-inflated Poisson regression model to analyze the data. This hurdle model, suitable for count data with a large number of zero observations, allows us to jointly examine factors related to enrolling in at least 1 year of a music ensemble (moving from 0 years to 1 year of music) and those factors related to accruing additional years of music ensemble enrollment (moving beyond 1 year to multiple years). We found that family socioeconomic status, birth-assigned sex, academic achievement, shared parent/student outside arts event attendance, and out-of-school arts engagement were significant predictors of both students’ music participation and persistence. By examining persistence, we add important nuance to the prior research examining demographic predictors of elective high school music enrollment, particularly for issues of birth-assigned sex and socioeconomic status in the choral context.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"31 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140820036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-29DOI: 10.1177/00224294241250087
Peter Miksza
{"title":"Editor’s Forum","authors":"Peter Miksza","doi":"10.1177/00224294241250087","DOIUrl":"https://doi.org/10.1177/00224294241250087","url":null,"abstract":"","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"33 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140820037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-26DOI: 10.1177/00224294241247578
Karen Salvador, Saleel Adarkar Menon
Many adults do not see themselves as musical, and about 17% believe they are tone deaf. People who identify as tone deaf often believe this condition is congenital and permanent and prevents them from ever singing accurately. In many early childhood music (ECM) classes, adults participate as musical models, interacting with their children by moving, chanting, vocalizing, and singing. Using phenomenological inquiry, we explored the lived experiences of six adult self-identified nonmusicians/nonsingers as they made music with their child over the course of a 10-week session of ECM. Participants reported changes in their thinking about what makes someone a musician, evolving feelings about their singing voices, and increased enjoyment of singing and willingness to sing. We conclude with implications for ECM teachers and other music educators working with adults who see themselves as unmusical.
{"title":"Lived Experiences of Adult Caregiver “Nonmusicians” and “Nonsingers” in Early Childhood Music Classes","authors":"Karen Salvador, Saleel Adarkar Menon","doi":"10.1177/00224294241247578","DOIUrl":"https://doi.org/10.1177/00224294241247578","url":null,"abstract":"Many adults do not see themselves as musical, and about 17% believe they are tone deaf. People who identify as tone deaf often believe this condition is congenital and permanent and prevents them from ever singing accurately. In many early childhood music (ECM) classes, adults participate as musical models, interacting with their children by moving, chanting, vocalizing, and singing. Using phenomenological inquiry, we explored the lived experiences of six adult self-identified nonmusicians/nonsingers as they made music with their child over the course of a 10-week session of ECM. Participants reported changes in their thinking about what makes someone a musician, evolving feelings about their singing voices, and increased enjoyment of singing and willingness to sing. We conclude with implications for ECM teachers and other music educators working with adults who see themselves as unmusical.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"10 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140651922","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"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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