Pub Date : 2022-07-01Epub Date: 2021-08-05DOI: 10.1177/00224294211034735
Emma Allingham, Clemens Wöllner
The constrained action hypothesis states that focusing attention on action outcomes rather than body movement improves motor performance. Dexterity of motor control is key to successful music performance, making this a highly relevant topic to music education. We investigated effects of focus of attention (FOA) on motor skill performance and EMG muscle activity in a violin bowing task among experienced and novice upper strings players. Following a pedagogically informed exercise, participants attempted to produce single oscillations of the string at a time under three FOA: internal (on arm movement), external (on sound produced), and somatic (on string resistance). Experienced players' number of bow slips was significantly reduced under somatic focus relative to internal, although number of successful oscillations was not affected. Triceps electromyographic activity was also significantly lower in somatic compared to internal foci for both expertise groups, consistent with physiological understandings of FOA effects. Participants' reported thoughts during the experiment provided insight into whether aspects of constrained action may be evident in performers' conscious thinking. These results provide novel support for the constrained action hypothesis in violin bow control, suggesting a somatic FOA as a promising performance-enhancing strategy for bowed string technique.
{"title":"Effects of Attentional Focus on Motor Performance and Physiology in a Slow-Motion Violin Bow-Control Task: Evidence for the Constrained Action Hypothesis in Bowed String Technique.","authors":"Emma Allingham, Clemens Wöllner","doi":"10.1177/00224294211034735","DOIUrl":"https://doi.org/10.1177/00224294211034735","url":null,"abstract":"<p><p>The constrained action hypothesis states that focusing attention on action outcomes rather than body movement improves motor performance. Dexterity of motor control is key to successful music performance, making this a highly relevant topic to music education. We investigated effects of focus of attention (FOA) on motor skill performance and EMG muscle activity in a violin bowing task among experienced and novice upper strings players. Following a pedagogically informed exercise, participants attempted to produce single oscillations of the string at a time under three FOA: internal (on arm movement), external (on sound produced), and somatic (on string resistance). Experienced players' number of bow slips was significantly reduced under somatic focus relative to internal, although number of successful oscillations was not affected. Triceps electromyographic activity was also significantly lower in somatic compared to internal foci for both expertise groups, consistent with physiological understandings of FOA effects. Participants' reported thoughts during the experiment provided insight into whether aspects of constrained action may be evident in performers' conscious thinking. These results provide novel support for the constrained action hypothesis in violin bow control, suggesting a somatic FOA as a promising performance-enhancing strategy for bowed string technique.</p>","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"70 2","pages":"168-189"},"PeriodicalIF":1.4,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/00224294211034735","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"40568110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-06DOI: 10.1177/00224294221099833
Sangmi Kang
The purpose of this study was to examine music teachers’ experiences with flow while performing and teaching music. A model with four flow antecedents (Challenge, Skills, Goal Clarity, and Feedback) and three dimensions of flow state (Absorption, Enjoyment, and Intrinsic Motivation) was adopted to investigate music teachers’ flow experiences in performing and teaching. Two hundred twenty-five music teachers completed the Flow in Music Performing and Teaching Scale, modified from Buil et al. The analyses revealed that the four flow antecedents in the proposed model explained a substantial amount of variance in music teachers’ flow state for both performing and teaching music settings (54.0% in performing, 34.7% in teaching). Participants’ open-ended descriptions of flow were also collected to further explore music teachers’ personal experiences with flow. The open-ended descriptions revealed that music teachers cited topics pertaining to Challenge, Skills, Absorption, Enjoyment, and Flow Disruptor when describing flow in performance. In contrast, they tended to cite topics pertaining to Feedback, Goal Clarity, and Group Flow when describing flow in teaching. Because Feedback and Goal Clarity appeared to be more closely associated with flow in teaching, executing lesson plans to accomplish goals while flexibly responding to students’ spontaneous feedback may elicit flow for teaching.
{"title":"An Exploratory Study of Music Teachers’ Flow Experiences Between Performing and Teaching Music","authors":"Sangmi Kang","doi":"10.1177/00224294221099833","DOIUrl":"https://doi.org/10.1177/00224294221099833","url":null,"abstract":"The purpose of this study was to examine music teachers’ experiences with flow while performing and teaching music. A model with four flow antecedents (Challenge, Skills, Goal Clarity, and Feedback) and three dimensions of flow state (Absorption, Enjoyment, and Intrinsic Motivation) was adopted to investigate music teachers’ flow experiences in performing and teaching. Two hundred twenty-five music teachers completed the Flow in Music Performing and Teaching Scale, modified from Buil et al. The analyses revealed that the four flow antecedents in the proposed model explained a substantial amount of variance in music teachers’ flow state for both performing and teaching music settings (54.0% in performing, 34.7% in teaching). Participants’ open-ended descriptions of flow were also collected to further explore music teachers’ personal experiences with flow. The open-ended descriptions revealed that music teachers cited topics pertaining to Challenge, Skills, Absorption, Enjoyment, and Flow Disruptor when describing flow in performance. In contrast, they tended to cite topics pertaining to Feedback, Goal Clarity, and Group Flow when describing flow in teaching. Because Feedback and Goal Clarity appeared to be more closely associated with flow in teaching, executing lesson plans to accomplish goals while flexibly responding to students’ spontaneous feedback may elicit flow for teaching.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"70 1","pages":"407 - 424"},"PeriodicalIF":1.4,"publicationDate":"2022-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45167405","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}
Akbota Sametova, Sabit Kurmashev, Zhannat Ashikbayeva, Aida Amantayeva, Wilfried Blanc, Timur Sh Atabaev, Daniele Tosi
In this work, we report the design of an optical fiber distributed sensing network for the 2-dimensional (2D) in situ thermal mapping of advanced methods for radiofrequency thermal ablation. The sensing system is based on six high-scattering MgO-doped optical fibers, interleaved by a scattering-level spatial multiplexing approach that allows simultaneous detection of each fiber location, in a 40 × 20 mm grid (7.8 mm2 pixel size). Radiofrequency ablation (RFA) was performed on bovine phantom, using a pristine approach and methods mediated by agarose and gold nanoparticles in order to enhance the ablation properties. The 2D sensors allow the detection of spatiotemporal patterns, evaluating the heating properties and investigating the repeatability. We observe that agarose-based ablation yields the widest ablated area in the best-case scenario, while gold nanoparticles-mediated ablation provides the best trade-off between the ablated area (53.0-65.1 mm2, 61.5 mm2 mean value) and repeatability.
{"title":"Fiber-Optic Distributed Sensing Network for Thermal Mapping of Gold Nanoparticles-Mediated Radiofrequency Ablation.","authors":"Akbota Sametova, Sabit Kurmashev, Zhannat Ashikbayeva, Aida Amantayeva, Wilfried Blanc, Timur Sh Atabaev, Daniele Tosi","doi":"10.3390/bios12050352","DOIUrl":"10.3390/bios12050352","url":null,"abstract":"<p><p>In this work, we report the design of an optical fiber distributed sensing network for the 2-dimensional (2D) in situ thermal mapping of advanced methods for radiofrequency thermal ablation. The sensing system is based on six high-scattering MgO-doped optical fibers, interleaved by a scattering-level spatial multiplexing approach that allows simultaneous detection of each fiber location, in a 40 × 20 mm grid (7.8 mm<sup>2</sup> pixel size). Radiofrequency ablation (RFA) was performed on bovine phantom, using a pristine approach and methods mediated by agarose and gold nanoparticles in order to enhance the ablation properties. The 2D sensors allow the detection of spatiotemporal patterns, evaluating the heating properties and investigating the repeatability. We observe that agarose-based ablation yields the widest ablated area in the best-case scenario, while gold nanoparticles-mediated ablation provides the best trade-off between the ablated area (53.0-65.1 mm<sup>2</sup>, 61.5 mm<sup>2</sup> mean value) and repeatability.</p>","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"51 1","pages":""},"PeriodicalIF":4.9,"publicationDate":"2022-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9138323/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90480957","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-10DOI: 10.1177/00224294221096701
Laura K. Hicken, Robert A. Duke
To assess allocation of attention by music teachers with different levels of experience and expertise, we recruited five participant flautists: an artist teacher, two graduate students, and two undergraduates, all of whom observed nine brief video recordings of flute, clarinet, and saxophone players; a juggler; a baseball batter; and a ballerina. We tracked participants’ gaze using wearable eye-tracking hardware and software, and we analyzed the targets and durations of over 1,300 visual fixations and the paths of participants’ eye movements while observing the videos. The gaze behavior of the artist teacher and one of the graduate students, when they observed flute playing, was much like that of the experts in other domains of human experience. These two participants’ fixations were longer than those of the other three participants, and the sequence of fixation targets reflected a hierarchical prioritization of the fundamentals of flute playing. These same features were not apparent when these same two participants observed the other videos, and they were not observed in the gaze behavior of the other three participants in any of the videos observed. The results of this study demonstrate that allocation of attention, as indicated by gaze behavior, is reflective of expertise in music teaching as it is in other domains.
{"title":"Differences in Attention Allocation in Relation to Music Teacher Experience and Expertise","authors":"Laura K. Hicken, Robert A. Duke","doi":"10.1177/00224294221096701","DOIUrl":"https://doi.org/10.1177/00224294221096701","url":null,"abstract":"To assess allocation of attention by music teachers with different levels of experience and expertise, we recruited five participant flautists: an artist teacher, two graduate students, and two undergraduates, all of whom observed nine brief video recordings of flute, clarinet, and saxophone players; a juggler; a baseball batter; and a ballerina. We tracked participants’ gaze using wearable eye-tracking hardware and software, and we analyzed the targets and durations of over 1,300 visual fixations and the paths of participants’ eye movements while observing the videos. The gaze behavior of the artist teacher and one of the graduate students, when they observed flute playing, was much like that of the experts in other domains of human experience. These two participants’ fixations were longer than those of the other three participants, and the sequence of fixation targets reflected a hierarchical prioritization of the fundamentals of flute playing. These same features were not apparent when these same two participants observed the other videos, and they were not observed in the gaze behavior of the other three participants in any of the videos observed. The results of this study demonstrate that allocation of attention, as indicated by gaze behavior, is reflective of expertise in music teaching as it is in other domains.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"70 1","pages":"369 - 384"},"PeriodicalIF":1.4,"publicationDate":"2022-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49039058","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 : 2022-05-04DOI: 10.1177/00224294221093521
Lydia Wan, Renée Crawford, L. Jenkins
In this study, we explored the ways in which listening tools within technology-mediated environments can facilitate children’s self-regulation of instrumental music learning between lessons. This interpretive multiple case study utilized a software application assigned for 22 weeks to a piano teacher and four students (ages 8–10). Data sources include student and teacher semistructured interviews and practice session observations. Self-regulated learning theory informed the recommended learning approach with technology and provided a lens for within- and cross-case thematic analysis. Study findings suggest that digital tools that provide accessible and customizable listening experiences can be used strategically to promote independent listening opportunities between lessons, in turn facilitating processes of aural familiarity and problem-solving. However, students’ self-regulatory development was also dependent on learning preferences and sustained teacher facilitation. The recommendations in this study can inform instrumental teachers about pedagogical approaches with technology, and the implications can contribute to the design of digital environments to support children’s instrumental learning.
{"title":"Digital Listening Tools to Facilitate Children’s Self-Regulation of Instrumental Music Practice","authors":"Lydia Wan, Renée Crawford, L. Jenkins","doi":"10.1177/00224294221093521","DOIUrl":"https://doi.org/10.1177/00224294221093521","url":null,"abstract":"In this study, we explored the ways in which listening tools within technology-mediated environments can facilitate children’s self-regulation of instrumental music learning between lessons. This interpretive multiple case study utilized a software application assigned for 22 weeks to a piano teacher and four students (ages 8–10). Data sources include student and teacher semistructured interviews and practice session observations. Self-regulated learning theory informed the recommended learning approach with technology and provided a lens for within- and cross-case thematic analysis. Study findings suggest that digital tools that provide accessible and customizable listening experiences can be used strategically to promote independent listening opportunities between lessons, in turn facilitating processes of aural familiarity and problem-solving. However, students’ self-regulatory development was also dependent on learning preferences and sustained teacher facilitation. The recommendations in this study can inform instrumental teachers about pedagogical approaches with technology, and the implications can contribute to the design of digital environments to support children’s instrumental learning.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"67 - 90"},"PeriodicalIF":1.4,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44963198","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 : 2022-04-08DOI: 10.1177/00224294221088856
O. Tucker
The purpose of this instrumental case study was to investigate band teacher agency in a high-stakes performance environment. Research questions were: (1) What experiences and professional relationships were most salient in the past (iterative), present (practical-evaluative), and future (projective) dimensions of band teacher agency in a high-stakes performance environment? and (2) How did high-stakes performance practices, mediated by teacher agency, shape music teaching and learning in school bands? I used Emirbayer and Mische’s chordal triad of agency and Priestley et al.’s ecological framework of teacher agency as theoretical frameworks, and I collected data in the forms of interviews, observations, and document review in 2019. Participants’ agency emerged from their interactions with music education organizations that perpetuated a high-stakes performance environment. Powerful structures (state associations) and individual agents (band teachers) sustained each other through norms and values derived from their contextual discourse. Findings indicated that visions for holistic music-making and greater diversity and inclusion in school music must include structural changes in professional organizations. For example, state associations could enact policies that incentivize teachers to exert agency to engage students in other forms of music learning in addition to performance preparation.
{"title":"Band Teacher Agency in a High-Stakes Performance Environment","authors":"O. Tucker","doi":"10.1177/00224294221088856","DOIUrl":"https://doi.org/10.1177/00224294221088856","url":null,"abstract":"The purpose of this instrumental case study was to investigate band teacher agency in a high-stakes performance environment. Research questions were: (1) What experiences and professional relationships were most salient in the past (iterative), present (practical-evaluative), and future (projective) dimensions of band teacher agency in a high-stakes performance environment? and (2) How did high-stakes performance practices, mediated by teacher agency, shape music teaching and learning in school bands? I used Emirbayer and Mische’s chordal triad of agency and Priestley et al.’s ecological framework of teacher agency as theoretical frameworks, and I collected data in the forms of interviews, observations, and document review in 2019. Participants’ agency emerged from their interactions with music education organizations that perpetuated a high-stakes performance environment. Powerful structures (state associations) and individual agents (band teachers) sustained each other through norms and values derived from their contextual discourse. Findings indicated that visions for holistic music-making and greater diversity and inclusion in school music must include structural changes in professional organizations. For example, state associations could enact policies that incentivize teachers to exert agency to engage students in other forms of music learning in addition to performance preparation.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"70 1","pages":"385 - 406"},"PeriodicalIF":1.4,"publicationDate":"2022-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47863778","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 : 2022-03-10DOI: 10.1177/00224294221083376
{"title":"2022 Call for Nominations: NAfME Senior Researcher Award","authors":"","doi":"10.1177/00224294221083376","DOIUrl":"https://doi.org/10.1177/00224294221083376","url":null,"abstract":"","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"1 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2022-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42698492","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 : 2022-03-08DOI: 10.1177/00224294221081000
V. L. Bond, Martina Vasil, Julie D. Derges, Bryan E. Nichols
Mentoring is a critical element in the well-being, socialization, and professional identity development of graduate students. Yet in music education, little is known about the graduate student mentoring experience from the mentors’ perspective. Therefore, the purpose of this mixed-methods study was to examine music teacher educators’ perspectives on and experiences with graduate student mentoring. We used a concurrent nested approach to mixed-methods phenomenological research (QUAN + PHEN) with a survey of a national sample of music teacher educators (N = 142) and a phenomenology built from a three-interview series with individuals (n = 6) at various career stages. After analyzing each phase separately, we engaged in data integration and interpretation of study findings to reveal a description of current mentoring practices and beliefs. Key elements include relationship building, a multilayered community of practice, and intentional acts of anticipatory socialization that empower students as they transition to the role of colleague.
{"title":"Mentoring Graduate Students in Music Education: A Mixed-Methods Phenomenological Study","authors":"V. L. Bond, Martina Vasil, Julie D. Derges, Bryan E. Nichols","doi":"10.1177/00224294221081000","DOIUrl":"https://doi.org/10.1177/00224294221081000","url":null,"abstract":"Mentoring is a critical element in the well-being, socialization, and professional identity development of graduate students. Yet in music education, little is known about the graduate student mentoring experience from the mentors’ perspective. Therefore, the purpose of this mixed-methods study was to examine music teacher educators’ perspectives on and experiences with graduate student mentoring. We used a concurrent nested approach to mixed-methods phenomenological research (QUAN + PHEN) with a survey of a national sample of music teacher educators (N = 142) and a phenomenology built from a three-interview series with individuals (n = 6) at various career stages. After analyzing each phase separately, we engaged in data integration and interpretation of study findings to reveal a description of current mentoring practices and beliefs. Key elements include relationship building, a multilayered community of practice, and intentional acts of anticipatory socialization that empower students as they transition to the role of colleague.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"70 1","pages":"425 - 448"},"PeriodicalIF":1.4,"publicationDate":"2022-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41986956","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 : 2022-02-21DOI: 10.1177/00224294221078512
Kenneth Elpus
The purpose of this study was to examine the demographic characteristics and music achievement of eighth-grade students in the United States using evidence from the 2016 National Assessment of Educational Progress in the Arts (NAEP). Analyzing NAEP data from a nationally representative sample of 4,340 eighth graders attending public and private middle schools in the United States in 2016, The author estimated enrollment percentages in various kinds of music classes and compared Music NAEP scores across various individual characteristics. Results showed that 64% of eighth graders enrolled in a school music class, with 34% of eighth graders enrolling in an ensemble class. Among ensemble students, there was underrepresentation of Black and Latinx students and underrepresentation of students of lower socioeconomic status. Students who were enrolled in general music and not an ensemble did not follow this pattern: Black and Latinx students and students of lower socioeconomic means were overrepresented among general music students. Controlling for contextual and demographic characteristics, ensemble music students significantly outscored nonmusic students on the Music NAEP, but students enrolled in general music as their only music course scored statistically indistinguishably from their nonmusic peers.
{"title":"Middle School Music Uptake and Achievement: Evidence From the 2016 Arts National Assessment of Educational Progress","authors":"Kenneth Elpus","doi":"10.1177/00224294221078512","DOIUrl":"https://doi.org/10.1177/00224294221078512","url":null,"abstract":"The purpose of this study was to examine the demographic characteristics and music achievement of eighth-grade students in the United States using evidence from the 2016 National Assessment of Educational Progress in the Arts (NAEP). Analyzing NAEP data from a nationally representative sample of 4,340 eighth graders attending public and private middle schools in the United States in 2016, The author estimated enrollment percentages in various kinds of music classes and compared Music NAEP scores across various individual characteristics. Results showed that 64% of eighth graders enrolled in a school music class, with 34% of eighth graders enrolling in an ensemble class. Among ensemble students, there was underrepresentation of Black and Latinx students and underrepresentation of students of lower socioeconomic status. Students who were enrolled in general music and not an ensemble did not follow this pattern: Black and Latinx students and students of lower socioeconomic means were overrepresented among general music students. Controlling for contextual and demographic characteristics, ensemble music students significantly outscored nonmusic students on the Music NAEP, but students enrolled in general music as their only music course scored statistically indistinguishably from their nonmusic peers.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"70 1","pages":"248 - 270"},"PeriodicalIF":1.4,"publicationDate":"2022-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42211107","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 : 2021-12-17DOI: 10.1177/00224294211065096
Giulia Ripani
Using the Theory of Social Representations as a theoretical and methodological framework, the purpose of this study was to describe children’s representations of music, musical identities, and musical engagement across middle childhood. Participants were primary students aged 8 to 11 (N = 132) from four schools in a large city in the Southeastern United States. Previous studies have documented that projective techniques (linguistic associations with textual stimuli) can access latent dimensions of thinking. Accordingly, linguistic associations with the textual stimuli “music,” “music and me,” music at school,” and “music outside school” were used to gain insight into children’s representations of music, musical identities, and musical engagement. Participants were also asked to provide socio-demographic data that might influence their responses. The Correspondences Analysis technique was used to reconstruct representational fields associated with the stimuli. For each stimulus, a three-factor extraction identified hidden dimensions in children’s linguistic responses and summarized the links between contextual variables and children’s representations. Major findings suggest that children at increasingly younger ages express preferences and construct their own representations of music and musical identities.
{"title":"Children’s Representations of Music, Musical Identities, and Musical Engagement: Content and Socio-Demographic Influences","authors":"Giulia Ripani","doi":"10.1177/00224294211065096","DOIUrl":"https://doi.org/10.1177/00224294211065096","url":null,"abstract":"Using the Theory of Social Representations as a theoretical and methodological framework, the purpose of this study was to describe children’s representations of music, musical identities, and musical engagement across middle childhood. Participants were primary students aged 8 to 11 (N = 132) from four schools in a large city in the Southeastern United States. Previous studies have documented that projective techniques (linguistic associations with textual stimuli) can access latent dimensions of thinking. Accordingly, linguistic associations with the textual stimuli “music,” “music and me,” music at school,” and “music outside school” were used to gain insight into children’s representations of music, musical identities, and musical engagement. Participants were also asked to provide socio-demographic data that might influence their responses. The Correspondences Analysis technique was used to reconstruct representational fields associated with the stimuli. For each stimulus, a three-factor extraction identified hidden dimensions in children’s linguistic responses and summarized the links between contextual variables and children’s representations. Major findings suggest that children at increasingly younger ages express preferences and construct their own representations of music and musical identities.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"70 1","pages":"271 - 296"},"PeriodicalIF":1.4,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49526905","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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