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}
Pub Date : 2022-09-29DOI: 10.1177/00224294221126889
Jessica Nápoles, Jamey Kelley, Thomas J. Rinn
The purpose of this exploratory study was to examine variables that contribute to burnout among Texas choral teachers. Specific research questions included: (1) What demographic variables predict burnout in Texas choir teachers? and (2) How do perceptions of teacher agency impact Texas choir teachers’ experience of burnout? After providing demographic information, participants (N = 151) completed a researcher-designed questionnaire assessing perceived teacher agency and the Maslach Burnout Inventory. We conducted three multiple regression analyses for each of the three dimensions of burnout: emotional exhaustion, depersonalization, and personal accomplishment. Four variables (perceived teacher agency, teaching at a Title 1 school, years of teaching experience, and outside employment work hours) significantly predicted emotional exhaustion. Perceived teacher agency, gender, teaching at a Title 1 school, and years of teaching experience significantly predicted depersonalization. Perceived teacher agency and years of teaching experience significantly predicted personal accomplishment. When perceived teacher agency was lower, teachers experienced greater emotional exhaustion, more depersonalization, and reduced personal accomplishment. Women experienced more depersonalization compared to men, and teachers who taught at Title 1 schools reported more emotional exhaustion and depersonalization. Years of teaching experience correlated negatively with emotional exhaustion and depersonalization but positively with personal accomplishment.
{"title":"Burnout and Perceived Agency Among Texas Choir Teachers","authors":"Jessica Nápoles, Jamey Kelley, Thomas J. Rinn","doi":"10.1177/00224294221126889","DOIUrl":"https://doi.org/10.1177/00224294221126889","url":null,"abstract":"The purpose of this exploratory study was to examine variables that contribute to burnout among Texas choral teachers. Specific research questions included: (1) What demographic variables predict burnout in Texas choir teachers? and (2) How do perceptions of teacher agency impact Texas choir teachers’ experience of burnout? After providing demographic information, participants (N = 151) completed a researcher-designed questionnaire assessing perceived teacher agency and the Maslach Burnout Inventory. We conducted three multiple regression analyses for each of the three dimensions of burnout: emotional exhaustion, depersonalization, and personal accomplishment. Four variables (perceived teacher agency, teaching at a Title 1 school, years of teaching experience, and outside employment work hours) significantly predicted emotional exhaustion. Perceived teacher agency, gender, teaching at a Title 1 school, and years of teaching experience significantly predicted depersonalization. Perceived teacher agency and years of teaching experience significantly predicted personal accomplishment. When perceived teacher agency was lower, teachers experienced greater emotional exhaustion, more depersonalization, and reduced personal accomplishment. Women experienced more depersonalization compared to men, and teachers who taught at Title 1 schools reported more emotional exhaustion and depersonalization. Years of teaching experience correlated negatively with emotional exhaustion and depersonalization but positively with personal accomplishment.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"283 - 296"},"PeriodicalIF":1.4,"publicationDate":"2022-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44234547","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 : 2022-09-21DOI: 10.1177/00224294221125183
Sabahat Burak, Oğuzhan Atabek
The purpose of this research was to investigate the potential relationships between self-regulated learning with regard to instrument practice, amount of instrument practice time, and Big Five personality traits. Participants were 172 preservice teachers enrolled in music teaching undergraduate programs of three universities in Turkey. Data were collected via a demographics questionnaire, musical behaviors questionnaire, the Big Five Inventory (BFI), and the Self-Regulated Learning in Instrument Practice Scale (SRLIPS). BFI includes neuroticism, extraversion, openness, agreeableness, and conscientiousness dimensions, and SRLIPS has forethought, performance, and self-reflection dimensions. The results revealed that preservice music teachers’ last exam grade and daily practice hours on their main instrument and SRLIPS scores did not differ significantly by their year of study. Participants’ last exam grades correlated significantly with their scores on the dimensions of conscientiousness, forethought, performance, and self-reflection. Daily practice hours correlated with the dimensions of conscientiousness, forethought, and performance. Years of playing the main instrument correlated significantly with performance dimension. Moreover, each SRLIPS dimension correlated significantly with each dimension in the BFI. Regression analyses revealed that forethought and self-reflection were predicted by conscientiousness and performance scores were explained by openness. Finally, last exam grade was predicted by forethought and conscientiousness dimensions.
{"title":"Relationships Between Self-Regulated Learning, Big Five Personality Traits, and Amount of Instrument Practice","authors":"Sabahat Burak, Oğuzhan Atabek","doi":"10.1177/00224294221125183","DOIUrl":"https://doi.org/10.1177/00224294221125183","url":null,"abstract":"The purpose of this research was to investigate the potential relationships between self-regulated learning with regard to instrument practice, amount of instrument practice time, and Big Five personality traits. Participants were 172 preservice teachers enrolled in music teaching undergraduate programs of three universities in Turkey. Data were collected via a demographics questionnaire, musical behaviors questionnaire, the Big Five Inventory (BFI), and the Self-Regulated Learning in Instrument Practice Scale (SRLIPS). BFI includes neuroticism, extraversion, openness, agreeableness, and conscientiousness dimensions, and SRLIPS has forethought, performance, and self-reflection dimensions. The results revealed that preservice music teachers’ last exam grade and daily practice hours on their main instrument and SRLIPS scores did not differ significantly by their year of study. Participants’ last exam grades correlated significantly with their scores on the dimensions of conscientiousness, forethought, performance, and self-reflection. Daily practice hours correlated with the dimensions of conscientiousness, forethought, and performance. Years of playing the main instrument correlated significantly with performance dimension. Moreover, each SRLIPS dimension correlated significantly with each dimension in the BFI. Regression analyses revealed that forethought and self-reflection were predicted by conscientiousness and performance scores were explained by openness. Finally, last exam grade was predicted by forethought and conscientiousness dimensions.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"208 - 228"},"PeriodicalIF":1.4,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47820618","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 : 2022-09-13DOI: 10.1177/00224294221121053
Tevis L. Tucker, A. Winsler
According to music educators, persistence beyond a student’s initial enrollment in middle and high school music is a problem; however, there has been little research to substantiate this claim. Although several recent large-scale, longitudinal studies of initial selection into music classes have been conducted, longitudinal studies on who persists (vs. quits) in music—especially from middle to high school—are overdue. We prospectively followed a large (n = 3,393), ethnically diverse (62% Hispanic, 29% Black), predominately low-income (77% free/reduced-price lunch) sample of eighth-grade middle school music students to high school (ninth grade) to understand predictors of persistence. Overall, only 24.5% of students taking a music elective in eighth grade continued to do so in ninth grade (band = 20.4%, chorus = 21.8%, guitar = 12.3%, orchestra = 20.4%). Initially more academically competent students (higher eighth-grade grade point average and reading and math scores) and students with disabilities were more likely to persist with music from eighth to ninth grade. Predictors varied somewhat by music type. A multigroup analysis showed moderation across music types with respect to the effect of gender, gifted status, and math on music persistence (e.g., high math scores predict band but did not predict other music-type persistence). Implications for music educators and researchers are discussed.
{"title":"Who Takes Music With Them When They Transition to High School?","authors":"Tevis L. Tucker, A. Winsler","doi":"10.1177/00224294221121053","DOIUrl":"https://doi.org/10.1177/00224294221121053","url":null,"abstract":"According to music educators, persistence beyond a student’s initial enrollment in middle and high school music is a problem; however, there has been little research to substantiate this claim. Although several recent large-scale, longitudinal studies of initial selection into music classes have been conducted, longitudinal studies on who persists (vs. quits) in music—especially from middle to high school—are overdue. We prospectively followed a large (n = 3,393), ethnically diverse (62% Hispanic, 29% Black), predominately low-income (77% free/reduced-price lunch) sample of eighth-grade middle school music students to high school (ninth grade) to understand predictors of persistence. Overall, only 24.5% of students taking a music elective in eighth grade continued to do so in ninth grade (band = 20.4%, chorus = 21.8%, guitar = 12.3%, orchestra = 20.4%). Initially more academically competent students (higher eighth-grade grade point average and reading and math scores) and students with disabilities were more likely to persist with music from eighth to ninth grade. Predictors varied somewhat by music type. A multigroup analysis showed moderation across music types with respect to the effect of gender, gifted status, and math on music persistence (e.g., high math scores predict band but did not predict other music-type persistence). Implications for music educators and researchers are discussed.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"22 - 48"},"PeriodicalIF":1.4,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47698728","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 : 2022-09-09DOI: 10.1177/00224294221123076
K. Salvador, Amy Sierzega
In music education professional associations (MEPAs), volunteer member-leaders collaborate to guide music education and provide services such as professional development. Recently, we observed some MEPAs creating diversity, equity, and inclusion (DEI) initiatives, positions, or committees. The purpose of this survey study was to examine the characteristics and formative experiences of the people leading these efforts. Survey participants (n = 62) were representative of the music educator profession in terms of gender. Regarding other characteristics, respondents were older, more educated, and more racially diverse than music educators as a group. Respondents were nearly all practicing music educators who taught a variety of content areas in PK–16 settings. Most did not feel prepared to lead DEI initiatives. While few respondents described their undergraduate education as relevant to DEI leadership, some named graduate education as an important formative experience. Respondents described life experiences as catalysts and preparation for leadership and indicated they taught themselves about DEI through reading, social media, and attending optional professional development. We discuss how these findings illustrate a leadership conundrum and exemplify structural issues in MEPA DEI action. We conclude with implications for teacher education and professional development.
{"title":"Characteristics and Formative Experiences of DEI Leaders in Music Education Professional Associations","authors":"K. Salvador, Amy Sierzega","doi":"10.1177/00224294221123076","DOIUrl":"https://doi.org/10.1177/00224294221123076","url":null,"abstract":"In music education professional associations (MEPAs), volunteer member-leaders collaborate to guide music education and provide services such as professional development. Recently, we observed some MEPAs creating diversity, equity, and inclusion (DEI) initiatives, positions, or committees. The purpose of this survey study was to examine the characteristics and formative experiences of the people leading these efforts. Survey participants (n = 62) were representative of the music educator profession in terms of gender. Regarding other characteristics, respondents were older, more educated, and more racially diverse than music educators as a group. Respondents were nearly all practicing music educators who taught a variety of content areas in PK–16 settings. Most did not feel prepared to lead DEI initiatives. While few respondents described their undergraduate education as relevant to DEI leadership, some named graduate education as an important formative experience. Respondents described life experiences as catalysts and preparation for leadership and indicated they taught themselves about DEI through reading, social media, and attending optional professional development. We discuss how these findings illustrate a leadership conundrum and exemplify structural issues in MEPA DEI action. We conclude with implications for teacher education and professional development.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"133 - 154"},"PeriodicalIF":1.4,"publicationDate":"2022-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45481286","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 : 2022-08-23DOI: 10.1177/00224294221118899
Kristina R. Weimer, Jessica Vaughan-Marra
The purpose of this study was to describe the experiences of music educators at varying career stages and teaching positions who experience chronic illnesses. Participants (n = 8) represented a variety of chronic illnesses and self-identified career stages. Research questions centered on how participants described navigating their chronic illnesses and how their illnesses impacted or influenced their work. Data included individual and focus group interviews. We found two themes. The first theme connected to realities and misconceptions of illness, including living with ever-present and often invisible symptoms and unpredictable flare-ups, which led to silence and isolation. The second theme described how participants adjusted their work with an emphasis on flexibility, including personal and professional modifications and considerations due to COVID-19. Recommendations are described in terms of professional support, representation, understanding, communication, community, self-advocacy, and broadening the scope of teacher wellness.
{"title":"You Don’t Look Sick: Voices of Music Educators Living With Chronic Illnesses","authors":"Kristina R. Weimer, Jessica Vaughan-Marra","doi":"10.1177/00224294221118899","DOIUrl":"https://doi.org/10.1177/00224294221118899","url":null,"abstract":"The purpose of this study was to describe the experiences of music educators at varying career stages and teaching positions who experience chronic illnesses. Participants (n = 8) represented a variety of chronic illnesses and self-identified career stages. Research questions centered on how participants described navigating their chronic illnesses and how their illnesses impacted or influenced their work. Data included individual and focus group interviews. We found two themes. The first theme connected to realities and misconceptions of illness, including living with ever-present and often invisible symptoms and unpredictable flare-ups, which led to silence and isolation. The second theme described how participants adjusted their work with an emphasis on flexibility, including personal and professional modifications and considerations due to COVID-19. Recommendations are described in terms of professional support, representation, understanding, communication, community, self-advocacy, and broadening the scope of teacher wellness.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"49 - 66"},"PeriodicalIF":1.4,"publicationDate":"2022-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45858591","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 : 2022-08-10DOI: 10.1177/00224294221109854
Peter Miksza
The collection of articles included in this issue of the Journal of Research in Music Education address a range of topics sure to be of interest to many in the field. In the first article, Kenneth Elpus leveraged data gathered from the 2016 Arts National Assessment of Educational Progress (NAEP) to investigate the proportions of middle school students in the US who participate in music classes as well as how that varies as a function of student characteristics. The data also allowed for a comparison of NAEP music achievement test scores according to type of music class enrollment, which revealed interesting and perhaps even surprising findings. This article can serve as an excellent model for those who wish to conduct secondary analyses of large-scale data sets to investigate issues critical to music education.
{"title":"Editorial Forum","authors":"Peter Miksza","doi":"10.1177/00224294221109854","DOIUrl":"https://doi.org/10.1177/00224294221109854","url":null,"abstract":"The collection of articles included in this issue of the <i>Journal of Research in Music Education</i> address a range of topics sure to be of interest to many in the field. In the first article, Kenneth Elpus leveraged data gathered from the 2016 Arts National Assessment of Educational Progress (NAEP) to investigate the proportions of middle school students in the US who participate in music classes as well as how that varies as a function of student characteristics. The data also allowed for a comparison of NAEP music achievement test scores according to type of music class enrollment, which revealed interesting and perhaps even surprising findings. This article can serve as an excellent model for those who wish to conduct secondary analyses of large-scale data sets to investigate issues critical to music education.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"30 7","pages":""},"PeriodicalIF":1.4,"publicationDate":"2022-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50168031","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 : 2022-07-20DOI: 10.1177/00224294221111715
K. Adams, D. G. Springer, John M. Geringer, Jessica Nápoles, M. Davis
The purpose of this study was to investigate the effect of transitional elements on listeners’ aesthetic responses. Participants (N = 81) viewed an excerpt of a choral performance while manipulating a Continuous Response Digital Interface to record their aesthetic responses. Participants in one group viewed the original choral performance, which included two purposeful transitions and no applause between pieces. In the other group, participants viewed the same choral performance but with applause over a black screen added between pieces. Participants then answered two open-ended questions to indicate the features of the performance most salient to their aesthetic responses. Mean aesthetic responses during each transition were higher for the continuous transition group compared to the applause group; however, differences between groups were statistically significant only during the attacca transition between the second and third piece. In response to “What factors contributed the most to your aesthetic response?” participants most commonly cited ensemble musicianship, followed by compositional elements such as harmonic, melodic, or rhythmic material; performer engagement; and song choices. When describing what kept them most engaged, participants mentioned programming most frequently, with the majority of comments referencing variety. We discuss implications for music teaching and learning.
{"title":"Effects of Transitional Elements on Listeners’ Aesthetic Responses to a Choral Performance","authors":"K. Adams, D. G. Springer, John M. Geringer, Jessica Nápoles, M. Davis","doi":"10.1177/00224294221111715","DOIUrl":"https://doi.org/10.1177/00224294221111715","url":null,"abstract":"The purpose of this study was to investigate the effect of transitional elements on listeners’ aesthetic responses. Participants (N = 81) viewed an excerpt of a choral performance while manipulating a Continuous Response Digital Interface to record their aesthetic responses. Participants in one group viewed the original choral performance, which included two purposeful transitions and no applause between pieces. In the other group, participants viewed the same choral performance but with applause over a black screen added between pieces. Participants then answered two open-ended questions to indicate the features of the performance most salient to their aesthetic responses. Mean aesthetic responses during each transition were higher for the continuous transition group compared to the applause group; however, differences between groups were statistically significant only during the attacca transition between the second and third piece. In response to “What factors contributed the most to your aesthetic response?” participants most commonly cited ensemble musicianship, followed by compositional elements such as harmonic, melodic, or rhythmic material; performer engagement; and song choices. When describing what kept them most engaged, participants mentioned programming most frequently, with the majority of comments referencing variety. We discuss implications for music teaching and learning.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"111 - 128"},"PeriodicalIF":1.4,"publicationDate":"2022-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47354888","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 : 2022-07-03DOI: 10.1177/00224294221108497
Sangmi Kang, C. Fung, Hyesoo Yoo
We investigated whether preference transfer occurred from 18 taught world music pieces to 18 untaught pieces from the same regions among preservice music teachers. Eighty-three preservice music teachers participated in an interactive, culturally diverse music curriculum over the course of a semester. Participants learned 18 African, Asian, and Latin American folk songs in small groups from culture bearers via video conferencing. They then team-taught the same songs to their peers. Before and after the curriculum intervention with taught pieces only, we tested participants’ preferences for the taught and untaught pieces. Wilcoxon signed-rank test results indicated that the participants’ preference scores increased from the pretest to posttest for both taught and untaught world music pieces in all three regions. This result suggests the existence of possible preference transfer from taught to untaught pieces. Through follow-up interviews and instructor’s reflective notes analyses, we identified four interconnected themes across cognitive, cultural, social, and pedagogical dimensions that explained reasons for preference transfer: applying principles from taught pieces, appreciating cultures with authenticity and legitimacy, learning safely via intra- and intergroup interactions, and experiencing reciprocal course structure. We discuss implications for the profession that bridge formal and informal endeavors of teaching and learning music from diverse cultures.
{"title":"Preservice Music Teachers’ World Music Preference for Taught Pieces and Its Transfer to Untaught Pieces","authors":"Sangmi Kang, C. Fung, Hyesoo Yoo","doi":"10.1177/00224294221108497","DOIUrl":"https://doi.org/10.1177/00224294221108497","url":null,"abstract":"We investigated whether preference transfer occurred from 18 taught world music pieces to 18 untaught pieces from the same regions among preservice music teachers. Eighty-three preservice music teachers participated in an interactive, culturally diverse music curriculum over the course of a semester. Participants learned 18 African, Asian, and Latin American folk songs in small groups from culture bearers via video conferencing. They then team-taught the same songs to their peers. Before and after the curriculum intervention with taught pieces only, we tested participants’ preferences for the taught and untaught pieces. Wilcoxon signed-rank test results indicated that the participants’ preference scores increased from the pretest to posttest for both taught and untaught world music pieces in all three regions. This result suggests the existence of possible preference transfer from taught to untaught pieces. Through follow-up interviews and instructor’s reflective notes analyses, we identified four interconnected themes across cognitive, cultural, social, and pedagogical dimensions that explained reasons for preference transfer: applying principles from taught pieces, appreciating cultures with authenticity and legitimacy, learning safely via intra- and intergroup interactions, and experiencing reciprocal course structure. We discuss implications for the profession that bridge formal and informal endeavors of teaching and learning music from diverse cultures.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"71 1","pages":"91 - 110"},"PeriodicalIF":1.4,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46433080","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 : 2022-07-01Epub Date: 2021-10-25DOI: 10.1177/00224294211049425
Justine Pomerleau-Turcotte, Maria Teresa Moreno Sala, Francis Dubé, François Vachon
Sight-singing is prevalent in aural skill classes, where learners differ in experience and cognitive abilities. In this research, we investigated whether musical experience, level of study, and working memory capacity (WMC) can predict sight-singing performance and if there is a correlation between WMC and performance among some subgroups of participants. We hypothesized that more experienced students and those with a higher WMC might sight-sing better than those with less experience and lesser WMC. We also hypothesized that the relationship between WMC and sight-singing performance would be more salient for less experienced and less proficient sight-singers. We surveyed 56 subjects about their experience with music, assessed their WMC, and evaluated their performance on a short sight-singing task. The results showed that the age when students began learning music could predict sight-singing performance independently from the number of years of experience and the educational level, suggesting a possible developmental component to sight-singing skill. We also found a negative relationship between WMC and pitch score in the low-performing group and between rhythm and pitch score, suggesting that pitch and rhythm are processed differently. Teachers should be aware of how students' backgrounds might be related to performance and encourage them to develop strong automated skills, such as reading music or singing basic tonal patterns.
{"title":"Experiential and Cognitive Predictors of Sight-Singing Performance in Music Higher Education.","authors":"Justine Pomerleau-Turcotte, Maria Teresa Moreno Sala, Francis Dubé, François Vachon","doi":"10.1177/00224294211049425","DOIUrl":"10.1177/00224294211049425","url":null,"abstract":"<p><p>Sight-singing is prevalent in aural skill classes, where learners differ in experience and cognitive abilities. In this research, we investigated whether musical experience, level of study, and working memory capacity (WMC) can predict sight-singing performance and if there is a correlation between WMC and performance among some subgroups of participants. We hypothesized that more experienced students and those with a higher WMC might sight-sing better than those with less experience and lesser WMC. We also hypothesized that the relationship between WMC and sight-singing performance would be more salient for less experienced and less proficient sight-singers. We surveyed 56 subjects about their experience with music, assessed their WMC, and evaluated their performance on a short sight-singing task. The results showed that the age when students began learning music could predict sight-singing performance independently from the number of years of experience and the educational level, suggesting a possible developmental component to sight-singing skill. We also found a negative relationship between WMC and pitch score in the low-performing group and between rhythm and pitch score, suggesting that pitch and rhythm are processed differently. Teachers should be aware of how students' backgrounds might be related to performance and encourage them to develop strong automated skills, such as reading music or singing basic tonal patterns.</p>","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"70 2","pages":"206-227"},"PeriodicalIF":1.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://ftp.ncbi.nlm.nih.gov/pub/pmc/oa_pdf/2c/3d/10.1177_00224294211049425.PMC9242514.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"40568109","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}
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