Pub Date : 2023-05-24DOI: 10.1177/00224294231172983
Ian Cicco
The purpose of this survey study was to investigate the self-reported practices of P–6 elementary general music teachers ( N = 275) regarding their experiences with American folk songs with racist origins. A secondary purpose was to examine P–6 elementary general music teachers’ familiarity with and incorporation of anti-racist pedagogical practices into their teaching. Data were collected through an online questionnaire. Out of 19 folk songs with racist origins, “Jingle Bells” was the song most participants (67.6%) continued to teach and was the only song that 50% or more participants continued to teach. I categorized participants’ responses regarding why they discontinued teaching the 19 songs as follows: (a) racism/minstrelsy and (b) origins/history. Additionally, participants’ American folk songs with racist origins were categorized under teaching and planning. Musical enjoyment/utility and teaching about racism/minstrelsy were subcategories for teaching, while removing/replacing and learning through researching were subcategories for planning. Regarding anti-racist pedagogical practices, 76.6% of participants agreed that teachers should teach songs that represent various races and ethnicities in respectful ways even if they disagreed that teachers should use folk songs to challenge race, privilege, equity, and racial/ethnic injustices. Implications and recommendations for future research are discussed.
{"title":"Elementary Music Educators’ Use of Folk Songs With Racist Origins and Anti-Racist Pedagogical Practices","authors":"Ian Cicco","doi":"10.1177/00224294231172983","DOIUrl":"https://doi.org/10.1177/00224294231172983","url":null,"abstract":"The purpose of this survey study was to investigate the self-reported practices of P–6 elementary general music teachers ( N = 275) regarding their experiences with American folk songs with racist origins. A secondary purpose was to examine P–6 elementary general music teachers’ familiarity with and incorporation of anti-racist pedagogical practices into their teaching. Data were collected through an online questionnaire. Out of 19 folk songs with racist origins, “Jingle Bells” was the song most participants (67.6%) continued to teach and was the only song that 50% or more participants continued to teach. I categorized participants’ responses regarding why they discontinued teaching the 19 songs as follows: (a) racism/minstrelsy and (b) origins/history. Additionally, participants’ American folk songs with racist origins were categorized under teaching and planning. Musical enjoyment/utility and teaching about racism/minstrelsy were subcategories for teaching, while removing/replacing and learning through researching were subcategories for planning. Regarding anti-racist pedagogical practices, 76.6% of participants agreed that teachers should teach songs that represent various races and ethnicities in respectful ways even if they disagreed that teachers should use folk songs to challenge race, privilege, equity, and racial/ethnic injustices. Implications and recommendations for future research are discussed.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44925955","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 : 2023-05-18DOI: 10.1177/00224294231174168
Donald M. Taylor, Rashaad Calaham
The purpose of this narrative inquiry study was to explore how intersecting discourses of race, attractional orientation, and gender expression have influenced Author 2’s experiences as a Black, openly gay, gender-fluid middle school choir director. Rather than hiding his attractional orientation and gender expression, he leans into these characteristics, describing himself as “sassy and effeminate,” thereby challenging notions of compulsory heteroattraction, gender binaries, and whiteness in music education. He posits that being open with students is a vital component for establishing trust within his classroom, which he asserts is the foundation of good teaching. Black joy, Black Queer joy, and Queer Crit perspectives serve as theoretical lenses through which his story is discussed.
{"title":"Sassy and Strong: Intersections of Race, Attractional Orientation, and Gender Expression Within Music Education","authors":"Donald M. Taylor, Rashaad Calaham","doi":"10.1177/00224294231174168","DOIUrl":"https://doi.org/10.1177/00224294231174168","url":null,"abstract":"The purpose of this narrative inquiry study was to explore how intersecting discourses of race, attractional orientation, and gender expression have influenced Author 2’s experiences as a Black, openly gay, gender-fluid middle school choir director. Rather than hiding his attractional orientation and gender expression, he leans into these characteristics, describing himself as “sassy and effeminate,” thereby challenging notions of compulsory heteroattraction, gender binaries, and whiteness in music education. He posits that being open with students is a vital component for establishing trust within his classroom, which he asserts is the foundation of good teaching. Black joy, Black Queer joy, and Queer Crit perspectives serve as theoretical lenses through which his story is discussed.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42357268","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 : 2023-05-15DOI: 10.1177/00224294231173318
D. G. Springer, B. Silvey, Nickolas Doshier, Faith Hall
The purpose of this study was to examine the effects of conductor score use (conducting with a musical score vs. conducting without a score) on observers’ perceptions of conductors. We also examined how those effects may differ when viewed from the ensemble perspective compared to the audience perspective. Participants ( N = 126) were collegiate musicians who viewed two video recordings of a conductor leading a collegiate symphonic band through an excerpt of Grainger’s Colonial Song. In one video, participants viewed the conductor using a musical score. In the other video, the conductor did not use a musical score. Half of the participants viewed the videos showing the front view of the conductor (ensemble perspective), and the other half viewed the back view of the conductor (audience perspective). Participants rated the conductor’s competence and knowledge of the score in each video. Results indicated a significant effect due to score condition. However, that effect was not independent of viewing perspective or presentation order. Responses to open-ended questions indicated that conductor gesture was the most common aspect observed by participants, but participants also reported that conductor score use was one of the common aspects noticed when evaluating knowledge of the score.
{"title":"Effects of Conducting With or Without a Musical Score on Observers’ Perceptions of Conductors","authors":"D. G. Springer, B. Silvey, Nickolas Doshier, Faith Hall","doi":"10.1177/00224294231173318","DOIUrl":"https://doi.org/10.1177/00224294231173318","url":null,"abstract":"The purpose of this study was to examine the effects of conductor score use (conducting with a musical score vs. conducting without a score) on observers’ perceptions of conductors. We also examined how those effects may differ when viewed from the ensemble perspective compared to the audience perspective. Participants ( N = 126) were collegiate musicians who viewed two video recordings of a conductor leading a collegiate symphonic band through an excerpt of Grainger’s Colonial Song. In one video, participants viewed the conductor using a musical score. In the other video, the conductor did not use a musical score. Half of the participants viewed the videos showing the front view of the conductor (ensemble perspective), and the other half viewed the back view of the conductor (audience perspective). Participants rated the conductor’s competence and knowledge of the score in each video. Results indicated a significant effect due to score condition. However, that effect was not independent of viewing perspective or presentation order. Responses to open-ended questions indicated that conductor gesture was the most common aspect observed by participants, but participants also reported that conductor score use was one of the common aspects noticed when evaluating knowledge of the score.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41590949","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 : 2023-04-27DOI: 10.1177/00224294231168622
R. Matei, J. Ginsborg
Music students in tertiary education struggle with a range of health-related problems. We investigated students’ self-referrals for counseling at a UK conservatoire to explore trends in students’ attendance at counseling sessions over time and identify their reasons for seeking and continuing to attend counseling. We conducted a secondary analysis of data collected from 645 students by two in-house counselors at the conservatoire between 2000 and 2016. We obtained analogous data on all students registered during the same period for comparison and conducted nonparametric tests of association between the groups. A total of 645 students attended a mean of eight ( Mdn = 4) counseling sessions over the 16-year period: 63% were female, 79% were from the UK, and 72.5% were undergraduate students. The percentages of students attending counseling increased from 2 (1%) in 2000–2001 to 71 (13%) in 2015–2016. The presenting concerns of almost one in 10 students who sought counseling were related to self-esteem, self-confidence, ego strength, and coping ability. Their main reasons for continuing to attend counseling were also to do with self and identity, relationships, academic concerns, loss, abuse, and anxiety. Female students, postgraduate students, and those studying singing were most likely to attend counseling sessions.
{"title":"Why Do Music Students Attend Counseling? A Longitudinal Study of Reasons in One UK Conservatoire","authors":"R. Matei, J. Ginsborg","doi":"10.1177/00224294231168622","DOIUrl":"https://doi.org/10.1177/00224294231168622","url":null,"abstract":"Music students in tertiary education struggle with a range of health-related problems. We investigated students’ self-referrals for counseling at a UK conservatoire to explore trends in students’ attendance at counseling sessions over time and identify their reasons for seeking and continuing to attend counseling. We conducted a secondary analysis of data collected from 645 students by two in-house counselors at the conservatoire between 2000 and 2016. We obtained analogous data on all students registered during the same period for comparison and conducted nonparametric tests of association between the groups. A total of 645 students attended a mean of eight ( Mdn = 4) counseling sessions over the 16-year period: 63% were female, 79% were from the UK, and 72.5% were undergraduate students. The percentages of students attending counseling increased from 2 (1%) in 2000–2001 to 71 (13%) in 2015–2016. The presenting concerns of almost one in 10 students who sought counseling were related to self-esteem, self-confidence, ego strength, and coping ability. Their main reasons for continuing to attend counseling were also to do with self and identity, relationships, academic concerns, loss, abuse, and anxiety. Female students, postgraduate students, and those studying singing were most likely to attend counseling sessions.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45402823","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 : 2023-04-25DOI: 10.1177/00224294231170029
Peter Miksza
{"title":"Editor’s Forum","authors":"Peter Miksza","doi":"10.1177/00224294231170029","DOIUrl":"https://doi.org/10.1177/00224294231170029","url":null,"abstract":"","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"131 - 132"},"PeriodicalIF":1.4,"publicationDate":"2023-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42726644","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 : 2023-04-21DOI: 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}
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