Pub Date : 2023-07-29DOI: 10.1177/87551233231188673
Melody Morrison
Class piano has been a subset of piano pedagogy that has been growing in popularity since its establishment 200 years ago. The purpose of this literature review was to synthesize the research and materials related to the history of class piano and its function in (a) K-12 school settings, (b) collegiate student settings, and (c) adult student settings. Results from previous studies suggest that class piano has benefits for students such as increased musical creativity and motivation. Previous studies also indicate that it is important for class piano teachers to successfully handle the aspects of a group class and be aware of goals and resources among different age groups. Further evidence suggests that although there are a considerable number of resources in collegiate class piano teaching, there is less available in K-12 school settings. Based on these findings, I offer recommendations for potential and current class piano educators of all levels.
{"title":"Class Piano: A Review of Literature","authors":"Melody Morrison","doi":"10.1177/87551233231188673","DOIUrl":"https://doi.org/10.1177/87551233231188673","url":null,"abstract":"Class piano has been a subset of piano pedagogy that has been growing in popularity since its establishment 200 years ago. The purpose of this literature review was to synthesize the research and materials related to the history of class piano and its function in (a) K-12 school settings, (b) collegiate student settings, and (c) adult student settings. Results from previous studies suggest that class piano has benefits for students such as increased musical creativity and motivation. Previous studies also indicate that it is important for class piano teachers to successfully handle the aspects of a group class and be aware of goals and resources among different age groups. Further evidence suggests that although there are a considerable number of resources in collegiate class piano teaching, there is less available in K-12 school settings. Based on these findings, I offer recommendations for potential and current class piano educators of all levels.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"72 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41266075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-10DOI: 10.1177/87551233231186533
Ramon Cardenas
Feedback is widely recognized as an effective instructional tool. Different feedback types and the efficacy of their role in the classroom have been researched extensively because all forms of feedback are impressionable to students. Research findings have indicated ways that feedback has been implemented into the classroom successfully. In this review, I summarize previous literature on feedback according to the following themes: (a) feedback types and (b) the role of feedback in the classroom. Based on these findings, I provide suggestions for music educators and their use of feedback applicable in the classroom, studio, or rehearsal. I also give implications for further research regarding burgeoning feedback frameworks.
{"title":"Feedback Methods in the Music Classroom: A Review of Literature","authors":"Ramon Cardenas","doi":"10.1177/87551233231186533","DOIUrl":"https://doi.org/10.1177/87551233231186533","url":null,"abstract":"Feedback is widely recognized as an effective instructional tool. Different feedback types and the efficacy of their role in the classroom have been researched extensively because all forms of feedback are impressionable to students. Research findings have indicated ways that feedback has been implemented into the classroom successfully. In this review, I summarize previous literature on feedback according to the following themes: (a) feedback types and (b) the role of feedback in the classroom. Based on these findings, I provide suggestions for music educators and their use of feedback applicable in the classroom, studio, or rehearsal. I also give implications for further research regarding burgeoning feedback frameworks.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42120147","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-08DOI: 10.1177/87551233231184835
D. G. Springer
The purpose of this study was to examine master’s students’ attitudes toward research in music education. Participants ( N = 140) were students enrolled in master’s programs in music education in the United States who completed an online questionnaire. Participants reported generally positive attitudes toward research in music education, although there was a notable amount of variability. No significant differences in research attitudes were found among participants enrolled in academic year, online, and summer degree programs. However, participants who indicated future plans for doctoral study reported significantly more positive research attitudes than those who did not plan to pursue doctoral study. Responses to open-ended questions indicated ways that participants believed their master’s program improved their skills and knowledge regarding both teaching and research. These results provide descriptive data that illustrate how music educators view research and integrate it into their teaching.
{"title":"The Role of Research in Music Education Master’s Programs: Examining Students’ Attitudes","authors":"D. G. Springer","doi":"10.1177/87551233231184835","DOIUrl":"https://doi.org/10.1177/87551233231184835","url":null,"abstract":"The purpose of this study was to examine master’s students’ attitudes toward research in music education. Participants ( N = 140) were students enrolled in master’s programs in music education in the United States who completed an online questionnaire. Participants reported generally positive attitudes toward research in music education, although there was a notable amount of variability. No significant differences in research attitudes were found among participants enrolled in academic year, online, and summer degree programs. However, participants who indicated future plans for doctoral study reported significantly more positive research attitudes than those who did not plan to pursue doctoral study. Responses to open-ended questions indicated ways that participants believed their master’s program improved their skills and knowledge regarding both teaching and research. These results provide descriptive data that illustrate how music educators view research and integrate it into their teaching.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45066963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-29DOI: 10.1177/87551233231183366
K. Hendricks, Diana R. Dansereau, Betty Bauman-Field, Cheryl M. Freeze
This article is a systematic review of literature related to collective and relational trust in general school settings, with applications to music education. We focused on trauma-sensitive approaches and emerging pedagogies of trust and considered how they interact with theoretical facets of relational trust (vulnerability, confidence, honesty, openness, reliability, benevolence, and competence) in music learning settings. Trauma-sensitive approaches to trust include (a) using consistent rules and routines, (b) creating engaging lessons that are fun and enjoyable, and (c) praising students honestly and authentically. Pedagogies of trust involve (a) promoting collaboration and consistency, (b) open communication and authentic listening, (c) commitment and persistence to shared goals, and (d) the teacher’s willingness to be vulnerable, take musical risks, and continue learning along with students. More research is needed to understand processes of trust involving racial trauma as well as generational differences in how trust is viewed, developed, and/or received.
{"title":"Fostering Trust in Music Classrooms: A Review of the Literature","authors":"K. Hendricks, Diana R. Dansereau, Betty Bauman-Field, Cheryl M. Freeze","doi":"10.1177/87551233231183366","DOIUrl":"https://doi.org/10.1177/87551233231183366","url":null,"abstract":"This article is a systematic review of literature related to collective and relational trust in general school settings, with applications to music education. We focused on trauma-sensitive approaches and emerging pedagogies of trust and considered how they interact with theoretical facets of relational trust (vulnerability, confidence, honesty, openness, reliability, benevolence, and competence) in music learning settings. Trauma-sensitive approaches to trust include (a) using consistent rules and routines, (b) creating engaging lessons that are fun and enjoyable, and (c) praising students honestly and authentically. Pedagogies of trust involve (a) promoting collaboration and consistency, (b) open communication and authentic listening, (c) commitment and persistence to shared goals, and (d) the teacher’s willingness to be vulnerable, take musical risks, and continue learning along with students. More research is needed to understand processes of trust involving racial trauma as well as generational differences in how trust is viewed, developed, and/or received.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47319451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-21DOI: 10.1177/87551233231181457
C. Gerrard
Although issues concerning immigration have been debated for decades, the results of the 2016 U.S. presidential election ignited additional politicization, particularly regarding undocumented immigration. Dominant narratives of undocumented persons continue to be framed in damaging and deficit perspectives that position individuals as unhuman (“alien”) and criminal (“illegal”). Considering the ongoing anti-immigrant climate, it is imperative to learn from undocumented student experiences and how citizenship status might impact access to and participation in music classes. Importantly, learning from undocumented students’ experiences could help educators and administrators better support a significant population in school communities. In this review of literature, I explore research relevant to undocumented immigrant students in the United States and offer implications for working with undocumented students and families.
{"title":"Undocumented Immigrant Status: Implications for Music Education","authors":"C. Gerrard","doi":"10.1177/87551233231181457","DOIUrl":"https://doi.org/10.1177/87551233231181457","url":null,"abstract":"Although issues concerning immigration have been debated for decades, the results of the 2016 U.S. presidential election ignited additional politicization, particularly regarding undocumented immigration. Dominant narratives of undocumented persons continue to be framed in damaging and deficit perspectives that position individuals as unhuman (“alien”) and criminal (“illegal”). Considering the ongoing anti-immigrant climate, it is imperative to learn from undocumented student experiences and how citizenship status might impact access to and participation in music classes. Importantly, learning from undocumented students’ experiences could help educators and administrators better support a significant population in school communities. In this review of literature, I explore research relevant to undocumented immigrant students in the United States and offer implications for working with undocumented students and families.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42824126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-05DOI: 10.1177/87551233231177623
Yue Liu
The purpose of this descriptive research study was to examine collegiate instrumentalists’ applications of practice strategies and their motivation orientations to practice. Respondents ( N = 128) were music majors who enrolled in concert band or orchestra. Results indicated that pianists spent more time in practice followed by percussionists, brass, other instrumentalists (e.g., organ), woodwind, and string players. Collegiate instrumentalists used systematic practice strategies most frequently, followed by error correction techniques, using a metronome and listening to recordings, concentration control, analytic strategies, and the organization of practice sessions. In addition, collegiate instrumentalists were more motivated by intrinsic factors than extrinsic factors. Weekly practice hours were negatively correlated with Extrinsic Motivation: Avoid Failure, but positively correlated with Intrinsic Motivation: Growth. Implications for instrumental teaching and learning are discussed.
{"title":"Collegiate Instrumentalists’ Applications of Practice Strategies and Practice Motivation","authors":"Yue Liu","doi":"10.1177/87551233231177623","DOIUrl":"https://doi.org/10.1177/87551233231177623","url":null,"abstract":"The purpose of this descriptive research study was to examine collegiate instrumentalists’ applications of practice strategies and their motivation orientations to practice. Respondents ( N = 128) were music majors who enrolled in concert band or orchestra. Results indicated that pianists spent more time in practice followed by percussionists, brass, other instrumentalists (e.g., organ), woodwind, and string players. Collegiate instrumentalists used systematic practice strategies most frequently, followed by error correction techniques, using a metronome and listening to recordings, concentration control, analytic strategies, and the organization of practice sessions. In addition, collegiate instrumentalists were more motivated by intrinsic factors than extrinsic factors. Weekly practice hours were negatively correlated with Extrinsic Motivation: Avoid Failure, but positively correlated with Intrinsic Motivation: Growth. Implications for instrumental teaching and learning are discussed.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43068887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-05DOI: 10.1177/87551233231176218
Whitney Mayo
Elementary music educators use a variety of strategies in classroom instruction. The purpose of this case study was to explore student perceptions of Curwen hand signs, a common instructional strategy in elementary music classrooms. Second- and third-grade students reported various challenges, benefits, and influential factors surrounding hand sign use. Results indicated that students enjoyed movement activities and benefited from visual and physical reminders of singing tasks during instruction. They described several challenges, including multitasking, required background knowledge, and distraction. Influential factors included a learning curve, accuracy, placement, pattern length and complexity, and enjoyment. The results of this study suggest that hand signs should be considered one instructional strategy in a toolbox of multiple approaches.
{"title":"Student Perceptions of Glover/Curwen Hand Signs in the Elementary Music Classroom","authors":"Whitney Mayo","doi":"10.1177/87551233231176218","DOIUrl":"https://doi.org/10.1177/87551233231176218","url":null,"abstract":"Elementary music educators use a variety of strategies in classroom instruction. The purpose of this case study was to explore student perceptions of Curwen hand signs, a common instructional strategy in elementary music classrooms. Second- and third-grade students reported various challenges, benefits, and influential factors surrounding hand sign use. Results indicated that students enjoyed movement activities and benefited from visual and physical reminders of singing tasks during instruction. They described several challenges, including multitasking, required background knowledge, and distraction. Influential factors included a learning curve, accuracy, placement, pattern length and complexity, and enjoyment. The results of this study suggest that hand signs should be considered one instructional strategy in a toolbox of multiple approaches.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42503257","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1177/87551233221090232
Peter Miksza, Brenda Brenner
The purpose of this descriptive study was to investigate changes in advanced musicians’ self-regulated practice as they worked to acquire mastery of an étude across 2 weeks. Four advanced collegiate violinists recorded themselves practicing an étude in seven practice sessions, each approximately 20 min in length. Data were gathered via questionnaire, practice diaries, behavioral observations, an automated offline score-following program (which documented the measures played during practicing), and stimulated recall interviews in which participants commented on their own practice recordings. Several compelling changes in self-regulation sub-processes pertaining to forethought (goals, plans) and performance (strategies used, material addressed, time spent) self-regulation sub-processes across practice sessions were found. In addition, distinct differences in self-regulated learning tendencies were observed between participants. These results suggested that the participants struggled to implement a self-regulated learning approach, despite being advanced musicians and having much knowledge of practice methods. Suggestions for making practice instruction more explicit are discussed.
{"title":"A Descriptive Study of Intra-Individual Change in Advanced Violinists’ Music Practice","authors":"Peter Miksza, Brenda Brenner","doi":"10.1177/87551233221090232","DOIUrl":"https://doi.org/10.1177/87551233221090232","url":null,"abstract":"The purpose of this descriptive study was to investigate changes in advanced musicians’ self-regulated practice as they worked to acquire mastery of an étude across 2 weeks. Four advanced collegiate violinists recorded themselves practicing an étude in seven practice sessions, each approximately 20 min in length. Data were gathered via questionnaire, practice diaries, behavioral observations, an automated offline score-following program (which documented the measures played during practicing), and stimulated recall interviews in which participants commented on their own practice recordings. Several compelling changes in self-regulation sub-processes pertaining to forethought (goals, plans) and performance (strategies used, material addressed, time spent) self-regulation sub-processes across practice sessions were found. In addition, distinct differences in self-regulated learning tendencies were observed between participants. These results suggested that the participants struggled to implement a self-regulated learning approach, despite being advanced musicians and having much knowledge of practice methods. Suggestions for making practice instruction more explicit are discussed.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"41 1","pages":"22 - 36"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47794583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-22DOI: 10.1177/87551233231173535
B. Silvey
Along with my wonderful editorial assistant, I review all manuscripts for general acceptability when authors submit them to Update. Although my initial overview is cursory, the reviews undertaken by our Editorial Board in helping our authors improve all aspects of their writing from the conceptual to the granular are not. I have always thought it would be fascinating for prospective authors to see how the submitted manuscript differs from the one that is ultimately published. In nearly all cases, there are substantial changes made during the review process. Given the myriad of feedback that is received from authors by the Editorial Board, me, and the copyediting team at Sage, the final product that appears online is a collaborative effort. Having seen the types of comments that are provided from our Editorial Board (and ones that I have received from anonymous peer reviews of my own research), I would like to provide eight general writing tips that I think will prove helpful for graduate music education students, novice researchers, and even experienced authors when submitting their academic work.
{"title":"Comments From the Editor: Write Right","authors":"B. Silvey","doi":"10.1177/87551233231173535","DOIUrl":"https://doi.org/10.1177/87551233231173535","url":null,"abstract":"Along with my wonderful editorial assistant, I review all manuscripts for general acceptability when authors submit them to Update. Although my initial overview is cursory, the reviews undertaken by our Editorial Board in helping our authors improve all aspects of their writing from the conceptual to the granular are not. I have always thought it would be fascinating for prospective authors to see how the submitted manuscript differs from the one that is ultimately published. In nearly all cases, there are substantial changes made during the review process. Given the myriad of feedback that is received from authors by the Editorial Board, me, and the copyediting team at Sage, the final product that appears online is a collaborative effort. Having seen the types of comments that are provided from our Editorial Board (and ones that I have received from anonymous peer reviews of my own research), I would like to provide eight general writing tips that I think will prove helpful for graduate music education students, novice researchers, and even experienced authors when submitting their academic work.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"41 1","pages":"3 - 4"},"PeriodicalIF":0.0,"publicationDate":"2023-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44342858","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-16DOI: 10.1177/87551233231173149
Betty Bauman-Field
Students who have experienced trauma may be especially likely to present challenging behaviors in the classroom. With an increase of trauma-affected students in music classrooms, it is important for music educators to consider classroom management (CM) practices that support trauma-affected students’ healing without triggering students’ trauma responses. In this review of literature, I discuss childhood trauma and trauma-informed positive education (TIPE), research-supported CM strategies in music education, and the ways in which these CM practices do or do not support the trauma-informed approach outlined by TIPE. In addition, I provide my own definition for trauma-informed CM in music education and suggest implications for the music education field.
{"title":"Trauma-Informed Classroom Management in Music Education: A Literature Review","authors":"Betty Bauman-Field","doi":"10.1177/87551233231173149","DOIUrl":"https://doi.org/10.1177/87551233231173149","url":null,"abstract":"Students who have experienced trauma may be especially likely to present challenging behaviors in the classroom. With an increase of trauma-affected students in music classrooms, it is important for music educators to consider classroom management (CM) practices that support trauma-affected students’ healing without triggering students’ trauma responses. In this review of literature, I discuss childhood trauma and trauma-informed positive education (TIPE), research-supported CM strategies in music education, and the ways in which these CM practices do or do not support the trauma-informed approach outlined by TIPE. In addition, I provide my own definition for trauma-informed CM in music education and suggest implications for the music education field.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44376739","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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