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}
Pub Date : 2023-01-05DOI: 10.1177/00224294221143069
Carlos R. Abril
{"title":"Introduction to the Senior Researcher Award Acceptance Address","authors":"Carlos R. Abril","doi":"10.1177/00224294221143069","DOIUrl":"https://doi.org/10.1177/00224294221143069","url":null,"abstract":"","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"6 - 9"},"PeriodicalIF":1.4,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48320077","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 : 2023-01-01DOI: 10.1177/00224294221090432
M. Montemayor, Jessica Nápoles, B. Silvey, Lia Wiese
The purpose of this study was to examine the effects of score study and conducting gesture on collegiate musicians’ ability to detect errors in a choral score. Is there a combined effect of gesture and score study that impacts undergraduate conductors’ identification of errors in a score? Participants (N = 53) viewed a sequence of four choral score excerpts presented via Zoom video conferencing. We asked participants to identify errors under one of four conditions: score study with a correct model recording, conducting with a simple timekeeping pattern while listening, both score study and conducting, or neither. After listening to each excerpt, participants notified the researcher about the exact location, voice part, and error type of any error that they heard. There were significant differences among conditions, with post hoc tests indicating superior error detection scores for the score study conditions. Conducting during the error detection task resulted in lower error detection scores, especially when not preceded by score study with a correct aural model.
{"title":"Effects of Score Study and Conducting Gesture on Collegiate Musicians’ Ability to Detect Errors in a Choral Score","authors":"M. Montemayor, Jessica Nápoles, B. Silvey, Lia Wiese","doi":"10.1177/00224294221090432","DOIUrl":"https://doi.org/10.1177/00224294221090432","url":null,"abstract":"The purpose of this study was to examine the effects of score study and conducting gesture on collegiate musicians’ ability to detect errors in a choral score. Is there a combined effect of gesture and score study that impacts undergraduate conductors’ identification of errors in a score? Participants (N = 53) viewed a sequence of four choral score excerpts presented via Zoom video conferencing. We asked participants to identify errors under one of four conditions: score study with a correct model recording, conducting with a simple timekeeping pattern while listening, both score study and conducting, or neither. After listening to each excerpt, participants notified the researcher about the exact location, voice part, and error type of any error that they heard. There were significant differences among conditions, with post hoc tests indicating superior error detection scores for the score study conditions. Conducting during the error detection task resulted in lower error detection scores, especially when not preceded by score study with a correct aural model.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"70 1","pages":"449 - 462"},"PeriodicalIF":1.4,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46211740","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 : 2022-11-23DOI: 10.1177/00224294221134571
Zyxcban G. Wolfs, H. Boshuizen, S. Brand‐Gruwel
In this study, we explored associations between perception of musical features (pitch, tonality, timing, timbre, and loudness), vocal abilities (singing accuracy, melodic achievement, and rhythmic performance), and cognitive levels (reading accuracy and comprehension, grammar, and math) among children ages 6 to 12. Musical perception abilities were measured using the Implicit Tonal Ability Test. Vocal abilities were measured using the Vocal Musical Ability Test. Cognitive levels were measured using standardized Dutch performance tests on academic skills. We investigated which factors (age, gender, cognitive levels, school type, music perception abilities, and participation in music education) predict vocal abilities and how these abilities differed by age. Results showed that singing accuracy was best predicted by gender, math level, and music perception abilities. Melodic achievement was best predicted by age, school type, math level, and music perception abilities. Rhythmic performance was best predicted by age, instrumental music education, and music perception abilities. Regardless of their age, differences in singing abilities between children were large. We advise teachers to provide activities in which repetition and prediction of patterns, scales, all intervals, and intonation are practiced, including transposing melodies and repeating rhythmic patterns.
{"title":"About Crows and Nightingales: Which Factors Predict Vocal Abilities in Elementary School Children?","authors":"Zyxcban G. Wolfs, H. Boshuizen, S. Brand‐Gruwel","doi":"10.1177/00224294221134571","DOIUrl":"https://doi.org/10.1177/00224294221134571","url":null,"abstract":"In this study, we explored associations between perception of musical features (pitch, tonality, timing, timbre, and loudness), vocal abilities (singing accuracy, melodic achievement, and rhythmic performance), and cognitive levels (reading accuracy and comprehension, grammar, and math) among children ages 6 to 12. Musical perception abilities were measured using the Implicit Tonal Ability Test. Vocal abilities were measured using the Vocal Musical Ability Test. Cognitive levels were measured using standardized Dutch performance tests on academic skills. We investigated which factors (age, gender, cognitive levels, school type, music perception abilities, and participation in music education) predict vocal abilities and how these abilities differed by age. Results showed that singing accuracy was best predicted by gender, math level, and music perception abilities. Melodic achievement was best predicted by age, school type, math level, and music perception abilities. Rhythmic performance was best predicted by age, instrumental music education, and music perception abilities. Regardless of their age, differences in singing abilities between children were large. We advise teachers to provide activities in which repetition and prediction of patterns, scales, all intervals, and intonation are practiced, including transposing melodies and repeating rhythmic patterns.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"188 - 207"},"PeriodicalIF":1.4,"publicationDate":"2022-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44241413","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 : 2022-11-07DOI: 10.1177/00224294221134538
Seth A. Taft
Teaching music can be very stressful. The music education literature includes investigations of sources of stress and suggestions for stress relief, although it lacks a consistent underlying conceptual framework for stress. Role stress—a framework for understanding stress related to workplace dynamics—has the potential to provide structure while accounting for the nuance and complexity of organizations. The purpose of this study was to adapt and develop psychometrically sound questionnaires and then collect data to test a model to determine relationships among role stressors, role stress, and other variables of interest. Participants (N = 1,576) responded to items related to six hypothesized role stressors, specialization and teaching loads, holding multiple jobs, years taught, job satisfaction, organizational commitment, and intent to leave the current job. I analyzed the data using descriptive statistics, factor analysis, and structural equation modeling. Key findings included (a) strong relationships among role stress and negative occupational outcomes, (b) confirmation of four known role stressors but nonseparation of role conflict and role ambiguity in statistical models, and (c) weak relationships between role stress and model covariates (years teaching, within-specialization teaching, and having multiple jobs). These results have implications for current and prospective secondary music teachers, music teacher educators, and school administrators.
{"title":"Music Teacher Role Stress: A Structural Equation Model","authors":"Seth A. Taft","doi":"10.1177/00224294221134538","DOIUrl":"https://doi.org/10.1177/00224294221134538","url":null,"abstract":"Teaching music can be very stressful. The music education literature includes investigations of sources of stress and suggestions for stress relief, although it lacks a consistent underlying conceptual framework for stress. Role stress—a framework for understanding stress related to workplace dynamics—has the potential to provide structure while accounting for the nuance and complexity of organizations. The purpose of this study was to adapt and develop psychometrically sound questionnaires and then collect data to test a model to determine relationships among role stressors, role stress, and other variables of interest. Participants (N = 1,576) responded to items related to six hypothesized role stressors, specialization and teaching loads, holding multiple jobs, years taught, job satisfaction, organizational commitment, and intent to leave the current job. I analyzed the data using descriptive statistics, factor analysis, and structural equation modeling. Key findings included (a) strong relationships among role stress and negative occupational outcomes, (b) confirmation of four known role stressors but nonseparation of role conflict and role ambiguity in statistical models, and (c) weak relationships between role stress and model covariates (years teaching, within-specialization teaching, and having multiple jobs). These results have implications for current and prospective secondary music teachers, music teacher educators, and school administrators.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"264 - 282"},"PeriodicalIF":1.4,"publicationDate":"2022-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49112452","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 : 2022-10-03DOI: 10.1177/00224294221126681
Kristin Harney, J. L. Greene, H. Katz-Cote, K. Mulcahy, L. Stanley
In this mixed-methods study, we explored perspectives of ensemble directors (N = 306) regarding standards-based instruction and circumstances impacting standards-based instruction in the areas of creating, performing, responding, and connecting. Our research was modeled on Byo’s (1999) examination of teacher perceptions of the implementation of the 1994 music standards. We conducted an initial survey and completed follow-up interviews. Every participant indicated familiarity with the National Core Arts Standards, with many reporting that they regularly addressed standards in their teaching. The anchor standards related to performing were most commonly incorporated, whereas those related to creating and connecting were the least commonly addressed. Teachers shared strategies that promoted standards-based instruction and described barriers that prevented them from fully incorporating standards-based instruction. There is a need for ongoing professional development for in-service teachers, dedicated planning time, and realistic expectations related to the creating, responding, and connecting standards in performing ensembles.
{"title":"A View From the Inside: Ensemble Directors’ Perspectives on Standards-Based Instruction","authors":"Kristin Harney, J. L. Greene, H. Katz-Cote, K. Mulcahy, L. Stanley","doi":"10.1177/00224294221126681","DOIUrl":"https://doi.org/10.1177/00224294221126681","url":null,"abstract":"In this mixed-methods study, we explored perspectives of ensemble directors (N = 306) regarding standards-based instruction and circumstances impacting standards-based instruction in the areas of creating, performing, responding, and connecting. Our research was modeled on Byo’s (1999) examination of teacher perceptions of the implementation of the 1994 music standards. We conducted an initial survey and completed follow-up interviews. Every participant indicated familiarity with the National Core Arts Standards, with many reporting that they regularly addressed standards in their teaching. The anchor standards related to performing were most commonly incorporated, whereas those related to creating and connecting were the least commonly addressed. Teachers shared strategies that promoted standards-based instruction and described barriers that prevented them from fully incorporating standards-based instruction. There is a need for ongoing professional development for in-service teachers, dedicated planning time, and realistic expectations related to the creating, responding, and connecting standards in performing ensembles.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"155 - 173"},"PeriodicalIF":1.4,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44783296","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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