Pub Date : 2023-04-21DOI: 10.1177/00224294231165681
C. Bennett
The purpose of this study was to examine the nature of culturally responsible music teaching (CRMT) from the perspective of U.S. music teachers working in various formal settings. “Cultural responsibility” is an emergent concept regarding teaching and learning that (a) connects with students’ cultural frames and lived experiences, (b) empowers students in their own construction of knowledge and art, and (c) opens students to multiple viewpoints and perspectives on the world and music so that students will have meaningful music experiences and a more meaningful life due to music. I selected a constructivist grounded theory methodology to examine the development of cultural responsibility as a complex, detailed process over time. I sought and found 31 participants who identified as progressive K–12 music teachers who empower diverse learners. Thirteen facets of cultural responsibility were found: inviting, relatable, reachable, interactive, active and student-driven, creativity-based, musically diverse, interdisciplinary, multimodal, enjoyable, heartfelt, crafted, and determined teaching and learning. Music teachers described engaging students in such processes in various, distinct ways. Data revealed that music teachers are more or less culturally responsible because of the elements (methods, aims, and beliefs) of their pedagogy and, in relation, the presence or absence of each facet.
{"title":"A Grounded Theory of Culturally Responsible Music Teaching","authors":"C. Bennett","doi":"10.1177/00224294231165681","DOIUrl":"https://doi.org/10.1177/00224294231165681","url":null,"abstract":"The purpose of this study was to examine the nature of culturally responsible music teaching (CRMT) from the perspective of U.S. music teachers working in various formal settings. “Cultural responsibility” is an emergent concept regarding teaching and learning that (a) connects with students’ cultural frames and lived experiences, (b) empowers students in their own construction of knowledge and art, and (c) opens students to multiple viewpoints and perspectives on the world and music so that students will have meaningful music experiences and a more meaningful life due to music. I selected a constructivist grounded theory methodology to examine the development of cultural responsibility as a complex, detailed process over time. I sought and found 31 participants who identified as progressive K–12 music teachers who empower diverse learners. Thirteen facets of cultural responsibility were found: inviting, relatable, reachable, interactive, active and student-driven, creativity-based, musically diverse, interdisciplinary, multimodal, enjoyable, heartfelt, crafted, and determined teaching and learning. Music teachers described engaging students in such processes in various, distinct ways. Data revealed that music teachers are more or less culturally responsible because of the elements (methods, aims, and beliefs) of their pedagogy and, in relation, the presence or absence of each facet.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"229 - 259"},"PeriodicalIF":1.4,"publicationDate":"2023-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48540728","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 : 2023-04-20DOI: 10.1177/00224294231164776
Phillip M. Hash
The purpose of this study was to examine instrumental music lessons taught for schoolchildren over the radio by Joseph Maddy in the 1930s and early 1950s. Research questions addressed (a) conditions, circumstances, and details surrounding the lessons and (b) pedagogical principles, strategies, methods, and didactic materials utilized in these broadcasts. Maddy, a pioneer in music education and a professor at the University of Michigan, taught band instruments over WJR in Detroit beginning in February 1931. He added lessons for strings in January 1933 and continued both series for the next four years. After a successful trial over WMAQ in Chicago during the 1935–1936 school year, the National Broadcasting Company (NBC) scheduled Maddy’s band lessons nationwide starting with the 1936–1937 season. Maddy expanded the program beginning fall 1937 to include winds, percussion, orchestral strings, piano, accordion, and fretted instruments. The broadcasts ended in spring 1939 due to lackluster sales of instructional materials and other factors. String lessons returned in February 1950 and continued locally through the fall of 1951 over WUOM at the University of Michigan. These programs contributed to the development of school bands and orchestras in North America and hold implications for distance learning in music today.
{"title":"Joseph E. Maddy’s Instrumental Music Lessons via Radio","authors":"Phillip M. Hash","doi":"10.1177/00224294231164776","DOIUrl":"https://doi.org/10.1177/00224294231164776","url":null,"abstract":"The purpose of this study was to examine instrumental music lessons taught for schoolchildren over the radio by Joseph Maddy in the 1930s and early 1950s. Research questions addressed (a) conditions, circumstances, and details surrounding the lessons and (b) pedagogical principles, strategies, methods, and didactic materials utilized in these broadcasts. Maddy, a pioneer in music education and a professor at the University of Michigan, taught band instruments over WJR in Detroit beginning in February 1931. He added lessons for strings in January 1933 and continued both series for the next four years. After a successful trial over WMAQ in Chicago during the 1935–1936 school year, the National Broadcasting Company (NBC) scheduled Maddy’s band lessons nationwide starting with the 1936–1937 season. Maddy expanded the program beginning fall 1937 to include winds, percussion, orchestral strings, piano, accordion, and fretted instruments. The broadcasts ended in spring 1939 due to lackluster sales of instructional materials and other factors. String lessons returned in February 1950 and continued locally through the fall of 1951 over WUOM at the University of Michigan. These programs contributed to the development of school bands and orchestras in North America and hold implications for distance learning in music today.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"38 7","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41243981","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 : 2023-04-20DOI: 10.1177/00224294231163848
David S. Miller
The purpose of this study was to investigate issues of equity in access, uptake, and outcomes of high school music education in the context of an individual state, Maryland. I explored equity through four angles: (a) representation among music students and teachers, (b) factors associated with access to music courses, (c) student and school characteristics associated with music enrollment, and (d) postsecondary enrollment outcomes of students who did and did not enroll in music. Sample members included all students enrolled in a public high school in Maryland belonging to the 2015 to 2016 ninth-grade cohort ( N = 55,500) and public high school teachers ( N = 17,250) during the 2015 to 2016 school year. Approximately 22% of all students were enrolled in a music course their ninth-grade year, and there were substantive differences in demographic representation in band, chorus, orchestra, piano, and guitar classes compared to the student body. Logistic regression results showed that school size was the most salient predictor of access to a music course. Multilevel modeling revealed student-, school-, and teacher-level characteristics were all associated with student enrollment in an ensemble music course. Finally, students who enrolled in music courses did not suffer an opportunity cost regarding college enrollment.
{"title":"Public High School Music Education in Maryland: Issues of Equity in Access and Uptake","authors":"David S. Miller","doi":"10.1177/00224294231163848","DOIUrl":"https://doi.org/10.1177/00224294231163848","url":null,"abstract":"The purpose of this study was to investigate issues of equity in access, uptake, and outcomes of high school music education in the context of an individual state, Maryland. I explored equity through four angles: (a) representation among music students and teachers, (b) factors associated with access to music courses, (c) student and school characteristics associated with music enrollment, and (d) postsecondary enrollment outcomes of students who did and did not enroll in music. Sample members included all students enrolled in a public high school in Maryland belonging to the 2015 to 2016 ninth-grade cohort ( N = 55,500) and public high school teachers ( N = 17,250) during the 2015 to 2016 school year. Approximately 22% of all students were enrolled in a music course their ninth-grade year, and there were substantive differences in demographic representation in band, chorus, orchestra, piano, and guitar classes compared to the student body. Logistic regression results showed that school size was the most salient predictor of access to a music course. Multilevel modeling revealed student-, school-, and teacher-level characteristics were all associated with student enrollment in an ensemble music course. Finally, students who enrolled in music courses did not suffer an opportunity cost regarding college enrollment.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43498834","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 : 2023-04-01DOI: 10.1177/00224294221150380
Peter Miksza
{"title":"Forum","authors":"Peter Miksza","doi":"10.1177/00224294221150380","DOIUrl":"https://doi.org/10.1177/00224294221150380","url":null,"abstract":"","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"3 - 5"},"PeriodicalIF":1.4,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46312283","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 : 2023-02-17DOI: 10.1177/00224294231154277
K. Fitzpatrick, B. Sweet
This study explored the perceptions of music professors as to their experiences navigating both the academy and motherhood. We utilized a multiple critical case study approach to understand the experiences of six participants, two of each representing early-career (assistant professors), midcareer (associate professors), and late-career (full professors) female-identifying music faculty with children. Analysis of the data revealed three themes. The first, living within two worlds, represented participants’ lived experiences of parenthood and their careers as faculty within the music academy, highlighting participants’ use of “drastic measures to make it all work.” The second theme, motherhood and gender equity, represented the participants’ experiences of motherhood as a gendered phenomenon, including navigating microaggressions and discrimination in the workplace. The final theme, navigating the academic world: structures and people, represented participants’ experiences related to tenure and promotion, the lack of support they frequently perceived from academic colleagues, and the financial ramifications of their dual positionality. Recommendations for further research and suggestions for practice are discussed.
{"title":"Motherhood in the Music Academy","authors":"K. Fitzpatrick, B. Sweet","doi":"10.1177/00224294231154277","DOIUrl":"https://doi.org/10.1177/00224294231154277","url":null,"abstract":"This study explored the perceptions of music professors as to their experiences navigating both the academy and motherhood. We utilized a multiple critical case study approach to understand the experiences of six participants, two of each representing early-career (assistant professors), midcareer (associate professors), and late-career (full professors) female-identifying music faculty with children. Analysis of the data revealed three themes. The first, living within two worlds, represented participants’ lived experiences of parenthood and their careers as faculty within the music academy, highlighting participants’ use of “drastic measures to make it all work.” The second theme, motherhood and gender equity, represented the participants’ experiences of motherhood as a gendered phenomenon, including navigating microaggressions and discrimination in the workplace. The final theme, navigating the academic world: structures and people, represented participants’ experiences related to tenure and promotion, the lack of support they frequently perceived from academic colleagues, and the financial ramifications of their dual positionality. Recommendations for further research and suggestions for practice are discussed.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44374178","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 : 2023-01-30DOI: 10.1177/00224294221150019
Sara E. Marino, Clark A. Chinn
The purpose of this study was to investigate the effectiveness of a beginning jazz improvisation learning environment for middle school instrumentalists, including whether one of two instructional ...
{"title":"Jazz Improvisation Pedagogy: Evaluating the Effectiveness of a Beginning Jazz Improvisation Learning Environment for Middle School Instrumentalists","authors":"Sara E. Marino, Clark A. Chinn","doi":"10.1177/00224294221150019","DOIUrl":"https://doi.org/10.1177/00224294221150019","url":null,"abstract":"The purpose of this study was to investigate the effectiveness of a beginning jazz improvisation learning environment for middle school instrumentalists, including whether one of two instructional ...","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"19 3","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50167700","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 : 2023-01-25DOI: 10.1177/00224294221147489
Marie McCarthy
I’m honored to accept the Senior Researcher Award (SAR), humbled too, and immensely grateful for this recognition. To Carlos Abril, Chair of the Society for Research in Music Education (SRME), and other colleagues who wrote in support of the nomination, I offer deepfelt thanks. To the SRME Executive Committee and the National Executive Board of NAfME, thank you for bestowing this honor. Former and current colleagues at the two institutions where I have been fortunate to spend my career—the University of Maryland and the University of Michigan—you have supported and sustained me as a scholar, and I thank you. Graduate students have consistently inspired curiosities and enriched my perspective— to all I’ve had the privilege of sharing a seminar or guiding their studies, I’m ever so grateful.
{"title":"Inquiry in the Space Between: A Researcher’s Perspective Senior Researcher Award Acceptance Address","authors":"Marie McCarthy","doi":"10.1177/00224294221147489","DOIUrl":"https://doi.org/10.1177/00224294221147489","url":null,"abstract":"I’m honored to accept the Senior Researcher Award (SAR), humbled too, and immensely grateful for this recognition. To Carlos Abril, Chair of the Society for Research in Music Education (SRME), and other colleagues who wrote in support of the nomination, I offer deepfelt thanks. To the SRME Executive Committee and the National Executive Board of NAfME, thank you for bestowing this honor. Former and current colleagues at the two institutions where I have been fortunate to spend my career—the University of Maryland and the University of Michigan—you have supported and sustained me as a scholar, and I thank you. Graduate students have consistently inspired curiosities and enriched my perspective— to all I’ve had the privilege of sharing a seminar or guiding their studies, I’m ever so grateful.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"264 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136043847","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 : 2023-01-20DOI: 10.1177/00224294221146534
Marta Frey-Clark, O. Tucker, Justin J. West
The purpose of this phenomenology was to examine the lived experience of being a first-year music teacher during the COVID-19 pandemic. Across two data waves, the first in winter 2020 and the second in late spring 2021, we collected written reflections and conducted online interviews with 10 music teachers who began their careers in 2020 to 2021. We found that participants’ experiences were characterized by overwhelm, disconnection, a pervasive concern for well-being, and a sense of missing out. These experiences were shaped by contextual factors like being responsible for mixed instructional modalities, coping with inconsistent student attendance, and navigating safety protocols that presented barriers to learning. The essence of being a first-year music teacher during the pandemic was the feeling of being adrift amid a largely lost year, looking to the next year as another first year of teaching. We suggest that this cohort of novice music teachers is distinct from previous cohorts, having been shaped by an intensified teaching experience. Induction supports such as mentoring may need to be extended through the first 3 years of their careers, and researchers should continue to follow this cohort because their trajectory is unclear.
{"title":"A Phenomenology of First-Year Music Teaching During the COVID-19 Pandemic","authors":"Marta Frey-Clark, O. Tucker, Justin J. West","doi":"10.1177/00224294221146534","DOIUrl":"https://doi.org/10.1177/00224294221146534","url":null,"abstract":"The purpose of this phenomenology was to examine the lived experience of being a first-year music teacher during the COVID-19 pandemic. Across two data waves, the first in winter 2020 and the second in late spring 2021, we collected written reflections and conducted online interviews with 10 music teachers who began their careers in 2020 to 2021. We found that participants’ experiences were characterized by overwhelm, disconnection, a pervasive concern for well-being, and a sense of missing out. These experiences were shaped by contextual factors like being responsible for mixed instructional modalities, coping with inconsistent student attendance, and navigating safety protocols that presented barriers to learning. The essence of being a first-year music teacher during the pandemic was the feeling of being adrift amid a largely lost year, looking to the next year as another first year of teaching. We suggest that this cohort of novice music teachers is distinct from previous cohorts, having been shaped by an intensified teaching experience. Induction supports such as mentoring may need to be extended through the first 3 years of their careers, and researchers should continue to follow this cohort because their trajectory is unclear.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41846333","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 : 2023-01-16DOI: 10.1177/00224294221147008
Chunxiao Zhang, J. L. Y. Kwan, B. Leung
In this study, we evaluated the validity and reliability of a Chinese adaptation of the Self-Regulated Practice Behavior (SRPB) scale developed by Miksza. Tasks included supplementing, altering, and translating items to create a viable adaptation for Chinese music majors and evaluating the construct validity and reliability of the Chinese-adapted Self-Regulated Practice Behavior (C-SRPB) scale. Confirmatory factor analysis and exploratory structural equation modeling (ESEM) were used to analyze responses provided by Chinese music majors (N = 880) from various music conservatories and universities. Results indicated that an adjusted six-factor ESEM model was the best fit to the data. Internal consistency reliability coefficients for the subscales ranged from good to excellent (αs = .77–.86). Significant correlations between six subscales of C-SRPB and practice habits (i.e., daily duration, self-rated efficiency, and percentage of time spent on informal practice) provided criterion validity evidence. Overall, the findings suggested that the C-SRPB is a valid and reliable tool for measuring the self-regulated music practice of music majors in China. The results also suggest that music majors’ understanding of self-regulated practice vary according to individualistic and collectivist culture contexts.
{"title":"Adaptation of a Self-Regulated Practice Behavior Scale for Chinese Music Majors","authors":"Chunxiao Zhang, J. L. Y. Kwan, B. Leung","doi":"10.1177/00224294221147008","DOIUrl":"https://doi.org/10.1177/00224294221147008","url":null,"abstract":"In this study, we evaluated the validity and reliability of a Chinese adaptation of the Self-Regulated Practice Behavior (SRPB) scale developed by Miksza. Tasks included supplementing, altering, and translating items to create a viable adaptation for Chinese music majors and evaluating the construct validity and reliability of the Chinese-adapted Self-Regulated Practice Behavior (C-SRPB) scale. Confirmatory factor analysis and exploratory structural equation modeling (ESEM) were used to analyze responses provided by Chinese music majors (N = 880) from various music conservatories and universities. Results indicated that an adjusted six-factor ESEM model was the best fit to the data. Internal consistency reliability coefficients for the subscales ranged from good to excellent (αs = .77–.86). Significant correlations between six subscales of C-SRPB and practice habits (i.e., daily duration, self-rated efficiency, and percentage of time spent on informal practice) provided criterion validity evidence. Overall, the findings suggested that the C-SRPB is a valid and reliable tool for measuring the self-regulated music practice of music majors in China. The results also suggest that music majors’ understanding of self-regulated practice vary according to individualistic and collectivist culture contexts.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"343 - 365"},"PeriodicalIF":1.4,"publicationDate":"2023-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41736772","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 : 2023-01-13DOI: 10.1177/00224294221144254
S. Hill, Marshall Haning, Dennis P. Giotta, Briana Nannen, Jocelyn Stevens Prendergast, Amy Spears, Elizabeth Tracy, Jill Wilson
To better understand existing ensemble requirements for music education majors at U.S. institutions, we conducted a content analysis of ensemble requirements for 1,021 degree programs at 465 colleges and universities accredited by the National Association of Schools of Music (NASM). The mean number of ensemble credits required for each degree program was 7.25 (SD = 2.89), and the mean number of semester enrollments required was 7.86 (SD = 1.95). There were significant differences between degree types (e.g., instrumental-focused, choral-focused) in terms of total ensemble credits required and number and kind of subrequirements (e.g., chamber or small ensemble). A majority of programs did not contain specific subrequirements beyond traditional large ensembles, suggesting that many students may not undertake the varied complement of ensemble experiences called for in the NASM standards. By continuing to diversify ensemble offerings and encouraging or requiring students in all degree specializations to develop their musicianship through a variety of ensemble experiences, music programs may be able to make valuable ensemble experiences even more beneficial for undergraduate music education students.
{"title":"Examining Ensemble Requirements for Music Education Majors","authors":"S. Hill, Marshall Haning, Dennis P. Giotta, Briana Nannen, Jocelyn Stevens Prendergast, Amy Spears, Elizabeth Tracy, Jill Wilson","doi":"10.1177/00224294221144254","DOIUrl":"https://doi.org/10.1177/00224294221144254","url":null,"abstract":"To better understand existing ensemble requirements for music education majors at U.S. institutions, we conducted a content analysis of ensemble requirements for 1,021 degree programs at 465 colleges and universities accredited by the National Association of Schools of Music (NASM). The mean number of ensemble credits required for each degree program was 7.25 (SD = 2.89), and the mean number of semester enrollments required was 7.86 (SD = 1.95). There were significant differences between degree types (e.g., instrumental-focused, choral-focused) in terms of total ensemble credits required and number and kind of subrequirements (e.g., chamber or small ensemble). A majority of programs did not contain specific subrequirements beyond traditional large ensembles, suggesting that many students may not undertake the varied complement of ensemble experiences called for in the NASM standards. By continuing to diversify ensemble offerings and encouraging or requiring students in all degree specializations to develop their musicianship through a variety of ensemble experiences, music programs may be able to make valuable ensemble experiences even more beneficial for undergraduate music education students.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"174 - 187"},"PeriodicalIF":1.4,"publicationDate":"2023-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46992726","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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