Pub Date : 2023-01-05DOI: 10.1177/87551233221148297
B. Silvey
I spend too much of my free time perusing the Band Directors Facebook Group. The group is (mostly) a terrific resource for instrumental music educators who are looking for advice about a variety of topics such as repertoire selection, dealing with administrators and caregivers, and classroom management strategies. Periodically, as is often the case with social media, someone will post a screed about something that they found terrible. Put more diplomatically, a “thought-provoking essay.” One of these appeared online after the November 2022 National Association for Music Education National Conference. Essentially, the author thought that many presenters at the conference were espousing that (a) general music approaches should be the primary approach to music education because ensembles are exclusionary and cost-prohibitive, (b) nontraditional music classes and ensembles should be the future of music education, and (c) competition is too much the focus of large ensemble performance. (If you want to read the comments related to this post, I suggest getting some popcorn and scheduling a good hour.) Having attended the conference, I did not believe that these topics were the primary focus of those who presented, but it did spark my interest as to why so many large ensemble directors become agitated when these ideas are circulated. Our world has turned in to one where we feel the need to win, resulting in an often-polarized society (Klein, 2020). As a result, the idea that “two things can be true at once” does not resonate with a large swath of the population. Because I help prepare undergraduates to become instrumental music educators and am a band director myself, I believe in the importance of the large ensemble as part of a holistic music education experience. (One thing is true.) However, I also believe that we have placed too much emphasis on secondary school large ensembles (e.g., funding and staffing, the exalted place of specific composers and their pieces as artifacts, the need for competitions to justify our importance, and a top-down approach to music teaching and learning). (Another thing is true.) I also understand how directors who have spent their careers positively affecting the lives of hundreds and thousands of students could see a perceived move away from the large ensemble as the central force in music education as detrimental or counterproductive. My encouragement to K–12 music teachers and university music education faculty members is to remember the axiom that “one size does not fit all.” I want to advance this idea briefly through the prism of the three viewpoints that were mentioned earlier:
{"title":"Comments from the Editor: Band Is a Four-Letter Word","authors":"B. Silvey","doi":"10.1177/87551233221148297","DOIUrl":"https://doi.org/10.1177/87551233221148297","url":null,"abstract":"I spend too much of my free time perusing the Band Directors Facebook Group. The group is (mostly) a terrific resource for instrumental music educators who are looking for advice about a variety of topics such as repertoire selection, dealing with administrators and caregivers, and classroom management strategies. Periodically, as is often the case with social media, someone will post a screed about something that they found terrible. Put more diplomatically, a “thought-provoking essay.” One of these appeared online after the November 2022 National Association for Music Education National Conference. Essentially, the author thought that many presenters at the conference were espousing that (a) general music approaches should be the primary approach to music education because ensembles are exclusionary and cost-prohibitive, (b) nontraditional music classes and ensembles should be the future of music education, and (c) competition is too much the focus of large ensemble performance. (If you want to read the comments related to this post, I suggest getting some popcorn and scheduling a good hour.) Having attended the conference, I did not believe that these topics were the primary focus of those who presented, but it did spark my interest as to why so many large ensemble directors become agitated when these ideas are circulated. Our world has turned in to one where we feel the need to win, resulting in an often-polarized society (Klein, 2020). As a result, the idea that “two things can be true at once” does not resonate with a large swath of the population. Because I help prepare undergraduates to become instrumental music educators and am a band director myself, I believe in the importance of the large ensemble as part of a holistic music education experience. (One thing is true.) However, I also believe that we have placed too much emphasis on secondary school large ensembles (e.g., funding and staffing, the exalted place of specific composers and their pieces as artifacts, the need for competitions to justify our importance, and a top-down approach to music teaching and learning). (Another thing is true.) I also understand how directors who have spent their careers positively affecting the lives of hundreds and thousands of students could see a perceived move away from the large ensemble as the central force in music education as detrimental or counterproductive. My encouragement to K–12 music teachers and university music education faculty members is to remember the axiom that “one size does not fit all.” I want to advance this idea briefly through the prism of the three viewpoints that were mentioned earlier:","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":" ","pages":"3 - 4"},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49261647","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 : 2023-01-05DOI: 10.1177/87551233221145684
Nathan D. Haines
The purpose of this study was to investigate ensemble members’ perceptions of their studio orchestra experiences. Survey data were collected from participants ( N = 50) enrolled in a studio orchestra at a major collegiate institution in the Southeastern United States. A studio orchestra is a group of musicians who collaborate, compose, arrange, record, and perform original compositions designed for film, video games, and other works from popular culture. Survey results indicated that members of the ensemble had high rates of satisfaction with their experience, and preferred playing music from popular films and video games alongside original works in those genres. Participants also preferred a more student-led format. Music educators who create and structure ensembles like a studio orchestra can promote a diverse repertoire and enhance student satisfaction with their musical activities.
{"title":"Engaging With Film and Video Game Music: Perceptions of a Studio Orchestra Experience","authors":"Nathan D. Haines","doi":"10.1177/87551233221145684","DOIUrl":"https://doi.org/10.1177/87551233221145684","url":null,"abstract":"The purpose of this study was to investigate ensemble members’ perceptions of their studio orchestra experiences. Survey data were collected from participants ( N = 50) enrolled in a studio orchestra at a major collegiate institution in the Southeastern United States. A studio orchestra is a group of musicians who collaborate, compose, arrange, record, and perform original compositions designed for film, video games, and other works from popular culture. Survey results indicated that members of the ensemble had high rates of satisfaction with their experience, and preferred playing music from popular films and video games alongside original works in those genres. Participants also preferred a more student-led format. Music educators who create and structure ensembles like a studio orchestra can promote a diverse repertoire and enhance student satisfaction with their musical activities.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49094626","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 : 2022-11-14DOI: 10.1177/87551233221132258
Hyesoo Yoo
A Tripartite Model of Cultural Humility-Music (TMCH-Music) includes three tenets, which are essential to forming a humble character: (a) commitment to lifelong, critical self-reflection; (b) recognition and mitigation of power imbalances; and (c) mutually beneficial partnerships with communities. In this model, I situate cultural humility as a mindset that necessitates careful consideration relating to educational context, content, and pedagogy in music education. Adopting a humble mindset, music teachers may acknowledge their own biases, stereotyping, and prejudices relating to educational context, content, and pedagogy. A commitment to lifelong introspection through self-reflection and critique may help teachers continue to investigate new ways to redress power imbalances inherent in music education, as well as build their relationships with communities bidirectionally. I describe each dimension of the model and provide suggestions for how music educators may use this humble mindset of TMCH-Music in practice.
{"title":"Research-to-Resource: A Tripartite Model of Cultural Humility-Music (TMCH-Music) in Music Education","authors":"Hyesoo Yoo","doi":"10.1177/87551233221132258","DOIUrl":"https://doi.org/10.1177/87551233221132258","url":null,"abstract":"A Tripartite Model of Cultural Humility-Music (TMCH-Music) includes three tenets, which are essential to forming a humble character: (a) commitment to lifelong, critical self-reflection; (b) recognition and mitigation of power imbalances; and (c) mutually beneficial partnerships with communities. In this model, I situate cultural humility as a mindset that necessitates careful consideration relating to educational context, content, and pedagogy in music education. Adopting a humble mindset, music teachers may acknowledge their own biases, stereotyping, and prejudices relating to educational context, content, and pedagogy. A commitment to lifelong introspection through self-reflection and critique may help teachers continue to investigate new ways to redress power imbalances inherent in music education, as well as build their relationships with communities bidirectionally. I describe each dimension of the model and provide suggestions for how music educators may use this humble mindset of TMCH-Music in practice.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"42 1","pages":"5 - 11"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46958302","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 : 2022-10-06DOI: 10.1177/87551233221128532
Alec D. Scherer, Bradley J. Regier
Method books serve as a key curricular resource in beginning band classrooms. Previous examinations of beginning band method books focused primarily on performance technique and pedagogy; however, a curriculum with a singular emphasis on performance will not meet all elements of the 2014 National Core Arts Standards. Therefore, we analyzed 16 beginning band method books for exercises that included creative activities such as compose, arrange, and improvise. Results indicated that 2.53% (n = 66) of the total exercises (N = 2,612) contained creative activities. The most frequently identified creative activity instruction type was improvise (n = 31, 44.93%), followed by compose (n = 27, 39.13%), and arrange (n = 11, 15.94%). These data provide insight into the degree to which beginning band method books contain exercises that include creative activities, specific activity types, and instructional directives, and may support inservice music educators and fine arts administrators in selecting method books.
{"title":"Opportunities for Creativity in Beginning Band Method Books","authors":"Alec D. Scherer, Bradley J. Regier","doi":"10.1177/87551233221128532","DOIUrl":"https://doi.org/10.1177/87551233221128532","url":null,"abstract":"Method books serve as a key curricular resource in beginning band classrooms. Previous examinations of beginning band method books focused primarily on performance technique and pedagogy; however, a curriculum with a singular emphasis on performance will not meet all elements of the 2014 National Core Arts Standards. Therefore, we analyzed 16 beginning band method books for exercises that included creative activities such as compose, arrange, and improvise. Results indicated that 2.53% (n = 66) of the total exercises (N = 2,612) contained creative activities. The most frequently identified creative activity instruction type was improvise (n = 31, 44.93%), followed by compose (n = 27, 39.13%), and arrange (n = 11, 15.94%). These data provide insight into the degree to which beginning band method books contain exercises that include creative activities, specific activity types, and instructional directives, and may support inservice music educators and fine arts administrators in selecting method books.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"42 1","pages":"43 - 50"},"PeriodicalIF":0.0,"publicationDate":"2022-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45401057","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 : 2022-09-21DOI: 10.1177/87551233221126645
Giulia Ripani
As a growing number of immigrant children enter formal music education, research is crucial to understand their experiences and to promote culturally relevant and socially just music education pedagogies. Whereas, researchers have traditionally focused on immigrant adolescents and music, I chose to synthesize studies on musical childhood in immigration contexts. In addition, this review draws on the acculturation literature to interpret music research findings. Researchers have documented meanings and forms of immigrant children’s musical engagement in formal and informal learning contexts. Research findings have indicated that immigrant children mix different musical traditions while using music to navigate their bicultural identities. Several studies have also addressed the perspectives of immigrant parents and the challenges of music teachers in diverse classrooms. Although this body of literature has provided descriptive accounts of musical childhood in immigration contexts, studies have offered valuable suggestions for more effective musical activities in multicultural learning environments.
{"title":"Music in the Lives of Immigrant Children: A Review of Literature","authors":"Giulia Ripani","doi":"10.1177/87551233221126645","DOIUrl":"https://doi.org/10.1177/87551233221126645","url":null,"abstract":"As a growing number of immigrant children enter formal music education, research is crucial to understand their experiences and to promote culturally relevant and socially just music education pedagogies. Whereas, researchers have traditionally focused on immigrant adolescents and music, I chose to synthesize studies on musical childhood in immigration contexts. In addition, this review draws on the acculturation literature to interpret music research findings. Researchers have documented meanings and forms of immigrant children’s musical engagement in formal and informal learning contexts. Research findings have indicated that immigrant children mix different musical traditions while using music to navigate their bicultural identities. Several studies have also addressed the perspectives of immigrant parents and the challenges of music teachers in diverse classrooms. Although this body of literature has provided descriptive accounts of musical childhood in immigration contexts, studies have offered valuable suggestions for more effective musical activities in multicultural learning environments.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"42 1","pages":"51 - 60"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47242083","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 : 2022-09-14DOI: 10.1177/87551233221125272
B. Silvey
{"title":"Comments From the Editor: Increasing the Visibility and Use of Music Education Research","authors":"B. Silvey","doi":"10.1177/87551233221125272","DOIUrl":"https://doi.org/10.1177/87551233221125272","url":null,"abstract":"","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"41 1","pages":"3 - 3"},"PeriodicalIF":0.0,"publicationDate":"2022-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44295565","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 : 2022-09-03DOI: 10.1177/87551233221117258
Samuel Tsugawa, Marcus Voght
The purpose of this narrative action research study was to tell Marcus’s story as an ensemble director learning how to teach composition in his middle school orchestra program. Marcus collaborated with Sam, a university professor, and designed a study to examine his teaching in his 49-member advanced orchestra class. As time passed, the focus of the study shifted from examining the specific elements of Marcus’s curriculum to the inclusion of changes in the creative culture of his program. In response to this shift, we used a narrative inquiry approach to understand how Marcus’s teaching story unfolded. Transcripts of his video journal, research meetings, and student focus group interviews helped Marcus improve his teaching and develop his curriculum. As co-narrators of this story, we used different font styles to identify whose voice is in the foreground.
{"title":"Teaching Composition in a Middle School Orchestra Classroom: A Narrative Action Research Study","authors":"Samuel Tsugawa, Marcus Voght","doi":"10.1177/87551233221117258","DOIUrl":"https://doi.org/10.1177/87551233221117258","url":null,"abstract":"The purpose of this narrative action research study was to tell Marcus’s story as an ensemble director learning how to teach composition in his middle school orchestra program. Marcus collaborated with Sam, a university professor, and designed a study to examine his teaching in his 49-member advanced orchestra class. As time passed, the focus of the study shifted from examining the specific elements of Marcus’s curriculum to the inclusion of changes in the creative culture of his program. In response to this shift, we used a narrative inquiry approach to understand how Marcus’s teaching story unfolded. Transcripts of his video journal, research meetings, and student focus group interviews helped Marcus improve his teaching and develop his curriculum. As co-narrators of this story, we used different font styles to identify whose voice is in the foreground.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"42 1","pages":"61 - 71"},"PeriodicalIF":0.0,"publicationDate":"2022-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46384804","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 : 2022-08-22DOI: 10.1177/87551233221118905
O. Yinger, Martina Vasil, A. Robinson, Megan Jaspersen, E. Eisenbaum, L. Mullis
The purpose of this qualitative study was to evaluate a summer music camp, designed using principles of Universal Design for Learning, for children with disabilities. Data included one parent–child group interview, a children’s musical self-efficacy rating scale, children’s drawings, and children’s explanations of their drawings. Participants were elementary school children with disabilities (n = 4) and their mothers (n = 4). The children were all male, aged 5 to 8 years. Three children had Autism Spectrum Disorder; one had a diagnosis not specified by his mother. Three themes for children’s perceptions of the camp (social interaction/play, enjoyment of making music, and positive representation) and three themes for parents’ perceptions (camp structure, camp teachers, and benefits for the children) emerged. Musical self-efficacy ratings did not change, but the children’s explanations of the sources of musical self-efficacy indicated that two children may have experienced positive changes in musical self-efficacy.
{"title":"Universal Design for Learning in a Music Camp: Perspectives and Musical Self-Efficacy of Children With Disabilities","authors":"O. Yinger, Martina Vasil, A. Robinson, Megan Jaspersen, E. Eisenbaum, L. Mullis","doi":"10.1177/87551233221118905","DOIUrl":"https://doi.org/10.1177/87551233221118905","url":null,"abstract":"The purpose of this qualitative study was to evaluate a summer music camp, designed using principles of Universal Design for Learning, for children with disabilities. Data included one parent–child group interview, a children’s musical self-efficacy rating scale, children’s drawings, and children’s explanations of their drawings. Participants were elementary school children with disabilities (n = 4) and their mothers (n = 4). The children were all male, aged 5 to 8 years. Three children had Autism Spectrum Disorder; one had a diagnosis not specified by his mother. Three themes for children’s perceptions of the camp (social interaction/play, enjoyment of making music, and positive representation) and three themes for parents’ perceptions (camp structure, camp teachers, and benefits for the children) emerged. Musical self-efficacy ratings did not change, but the children’s explanations of the sources of musical self-efficacy indicated that two children may have experienced positive changes in musical self-efficacy.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"42 1","pages":"33 - 42"},"PeriodicalIF":0.0,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43469168","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 : 2022-08-22DOI: 10.1177/87551233221120235
Erin E. Price
Elementary general music teachers encounter challenging behaviors in the music classroom when teaching students with emotional/behavioral disorders (EBD), which require prevention and response. In this article, I reviewed literature on pedagogical strategies and interventions for students with EBD in the elementary general music classroom. The review is organized as follows: (a) introduction and process, (b) overview of trauma, (c) overview of EBD, (d) principles of trauma-informed care, and (e) summary and recommendations. Through this review, I present current knowledge on best practices for understanding and framing the unique behavioral needs of special learners with EBD through a trauma-informed lens.
{"title":"Behavioral Strategies for Trauma-Informed Elementary General Music Education for Students With Emotional/Behavioral Disorders: A Review of the Literature","authors":"Erin E. Price","doi":"10.1177/87551233221120235","DOIUrl":"https://doi.org/10.1177/87551233221120235","url":null,"abstract":"Elementary general music teachers encounter challenging behaviors in the music classroom when teaching students with emotional/behavioral disorders (EBD), which require prevention and response. In this article, I reviewed literature on pedagogical strategies and interventions for students with EBD in the elementary general music classroom. The review is organized as follows: (a) introduction and process, (b) overview of trauma, (c) overview of EBD, (d) principles of trauma-informed care, and (e) summary and recommendations. Through this review, I present current knowledge on best practices for understanding and framing the unique behavioral needs of special learners with EBD through a trauma-informed lens.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"41 1","pages":"38 - 47"},"PeriodicalIF":0.0,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46956930","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 : 2022-07-27DOI: 10.1177/87551233221111980
Karen Koner, Jennifer Potter-Gee, Brianne Borden
The purpose of the study was to examine the impact of yoga as a mindfulness practice on music educators’ stress and stress management. We designed this multiple-case study through the conceptual framework of practicing yoga to reduce teachers’ stress because yoga reduces stress in some populations. Participants attended a weekly virtual yoga class for 45 min and answered weekly reflection questions from the Five Facet Mindfulness Questionnaire and the Mindfulness Attention Awareness Scale. Findings indicated that yoga positively impacted participants in terms of improving mood, reducing stress, feeling more relaxed, remembering to breathe, and maintaining more focus while teaching. Participants also indicated that they were bringing yoga and mindfulness practices into their teaching and focusing on their breath to help with stress management.
{"title":"Yoga as a Mindfulness Practice on Music Educators’ Stress During the COVID-19 Pandemic","authors":"Karen Koner, Jennifer Potter-Gee, Brianne Borden","doi":"10.1177/87551233221111980","DOIUrl":"https://doi.org/10.1177/87551233221111980","url":null,"abstract":"The purpose of the study was to examine the impact of yoga as a mindfulness practice on music educators’ stress and stress management. We designed this multiple-case study through the conceptual framework of practicing yoga to reduce teachers’ stress because yoga reduces stress in some populations. Participants attended a weekly virtual yoga class for 45 min and answered weekly reflection questions from the Five Facet Mindfulness Questionnaire and the Mindfulness Attention Awareness Scale. Findings indicated that yoga positively impacted participants in terms of improving mood, reducing stress, feeling more relaxed, remembering to breathe, and maintaining more focus while teaching. Participants also indicated that they were bringing yoga and mindfulness practices into their teaching and focusing on their breath to help with stress management.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"42 1","pages":"22 - 32"},"PeriodicalIF":0.0,"publicationDate":"2022-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43971089","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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