Pub Date : 2021-09-16DOI: 10.1177/87551233211043887
William J. Coppola
Humility is an important social virtue for musicians as they expose their own egos in the pursuit of artistic self-expression. Research findings have confirmed that humility is an important virtue of strength that lends itself meaningfully to prosocial and ethical interactions among musicians and music educators. In this article, I synthesize research on various forms of humility that emerge from unique social situations in which musicians and music educators might find themselves. In actively seeking to develop their own humility, musicians may relinquish their egotistic self-interest in favor of more meaningful and productive music experiences to be shared by all.
{"title":"Theme and Variations on a Virtue: Humility as a Multidimensional Construct for Musicians and Music Educators","authors":"William J. Coppola","doi":"10.1177/87551233211043887","DOIUrl":"https://doi.org/10.1177/87551233211043887","url":null,"abstract":"Humility is an important social virtue for musicians as they expose their own egos in the pursuit of artistic self-expression. Research findings have confirmed that humility is an important virtue of strength that lends itself meaningfully to prosocial and ethical interactions among musicians and music educators. In this article, I synthesize research on various forms of humility that emerge from unique social situations in which musicians and music educators might find themselves. In actively seeking to develop their own humility, musicians may relinquish their egotistic self-interest in favor of more meaningful and productive music experiences to be shared by all.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"40 1","pages":"30 - 38"},"PeriodicalIF":0.0,"publicationDate":"2021-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43916909","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 : 2021-09-03DOI: 10.1177/87551233211043438
Deanna Nicole Herb
In this study, I examined the relationship between undergraduate music education and nonmusic education majors and their music self-perception, or how they perceived themselves as musicians. A secondary purpose of the research included investigating the relationship between music self-esteem, gender, concentration, year in school, and continued arts participation. Participants (N = 66) were music education and nonmusic education undergraduate volunteers from one band, one chorus, and four music education classes at a large, public university in the Northeastern United States. The participants completed a shortened version of Schmitt’s Self-Esteem of Musical Ability Scale, along with questions about gender, ensemble participation, major, and instrument. Results indicated no significant difference between music self-esteem in music education majors and nonmusic education majors who participated in college ensembles. There were significant differences in music education majors’ comparison of themselves to their high school peers, self-comparisons over 1 year, and planned future ensemble participation. More years of experience in ensembles predicted higher Schmitt’s Self-Esteem of Musical Ability Scale scores.
{"title":"Effects of Music Self-Perception on Music Education and Nonmusic Majors’ Ensemble Participation","authors":"Deanna Nicole Herb","doi":"10.1177/87551233211043438","DOIUrl":"https://doi.org/10.1177/87551233211043438","url":null,"abstract":"In this study, I examined the relationship between undergraduate music education and nonmusic education majors and their music self-perception, or how they perceived themselves as musicians. A secondary purpose of the research included investigating the relationship between music self-esteem, gender, concentration, year in school, and continued arts participation. Participants (N = 66) were music education and nonmusic education undergraduate volunteers from one band, one chorus, and four music education classes at a large, public university in the Northeastern United States. The participants completed a shortened version of Schmitt’s Self-Esteem of Musical Ability Scale, along with questions about gender, ensemble participation, major, and instrument. Results indicated no significant difference between music self-esteem in music education majors and nonmusic education majors who participated in college ensembles. There were significant differences in music education majors’ comparison of themselves to their high school peers, self-comparisons over 1 year, and planned future ensemble participation. More years of experience in ensembles predicted higher Schmitt’s Self-Esteem of Musical Ability Scale scores.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"40 1","pages":"20 - 29"},"PeriodicalIF":0.0,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48120084","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 : 2021-09-02DOI: 10.1177/87551233211043889
Christina J. Sisson
As students with special needs become increasingly mainstreamed into music classes, there is a demand for strategies to help teachers meet these students’ needs. The purpose of this review of literature was to review and synthesize the literature focused on teaching students with an emotional/behavioral disorder (EBD) in the music classroom and to explore the possibility of culturally responsive teaching (CRT) being a method of engaging students with EBDs. Using targeted database searches, I reviewed the literature on the topic of culturally relevant teaching and synthesized the results into the following categories: (a) CRT and EBD and (b) CRT and music education. Becoming a culturally responsive teacher requires becoming culturally competent, designing culturally relevant curricula, demonstrating cultural caring, building a community of learners, and maintaining high expectations for students. By incorporating this mind-set into daily teaching, music teachers should find success working with students with EBDs.
{"title":"Culturally Responsive Teaching as a Method for Teaching Students With Emotional/Behavioral Disorders in the Music Classroom","authors":"Christina J. Sisson","doi":"10.1177/87551233211043889","DOIUrl":"https://doi.org/10.1177/87551233211043889","url":null,"abstract":"As students with special needs become increasingly mainstreamed into music classes, there is a demand for strategies to help teachers meet these students’ needs. The purpose of this review of literature was to review and synthesize the literature focused on teaching students with an emotional/behavioral disorder (EBD) in the music classroom and to explore the possibility of culturally responsive teaching (CRT) being a method of engaging students with EBDs. Using targeted database searches, I reviewed the literature on the topic of culturally relevant teaching and synthesized the results into the following categories: (a) CRT and EBD and (b) CRT and music education. Becoming a culturally responsive teacher requires becoming culturally competent, designing culturally relevant curricula, demonstrating cultural caring, building a community of learners, and maintaining high expectations for students. By incorporating this mind-set into daily teaching, music teachers should find success working with students with EBDs.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46452499","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 : 2021-08-25DOI: 10.1177/87551233211042585
Phillip M. Hash
The purpose of this review was to synthesize the literature on attrition and retention in instrumental music and to identify strategies to encourage students’ continued participation in school bands and orchestras. Retaining members from 1 year to the next is a key factor in building ensembles and helping individual musicians reach their full potential. At least 35 years of research, however, has yielded little consistency in determining why students persist in or dropout of instrumental study. Most decisions likely involve (a) practical considerations, especially related to scheduling and other interests and commitments; (b) students’ attitudes on their musicianship and various aspects of the program; and (c) the influence of other people. The MUSICSM Model of Motivation can provide a framework through which stakeholders examine how their school bands and orchestras meet the needs of students, thus influencing their decisions to leave or remain in the program.
{"title":"Student Retention in School Bands and Orchestras: A Literature Review","authors":"Phillip M. Hash","doi":"10.1177/87551233211042585","DOIUrl":"https://doi.org/10.1177/87551233211042585","url":null,"abstract":"The purpose of this review was to synthesize the literature on attrition and retention in instrumental music and to identify strategies to encourage students’ continued participation in school bands and orchestras. Retaining members from 1 year to the next is a key factor in building ensembles and helping individual musicians reach their full potential. At least 35 years of research, however, has yielded little consistency in determining why students persist in or dropout of instrumental study. Most decisions likely involve (a) practical considerations, especially related to scheduling and other interests and commitments; (b) students’ attitudes on their musicianship and various aspects of the program; and (c) the influence of other people. The MUSICSM Model of Motivation can provide a framework through which stakeholders examine how their school bands and orchestras meet the needs of students, thus influencing their decisions to leave or remain in the program.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"40 1","pages":"11 - 19"},"PeriodicalIF":0.0,"publicationDate":"2021-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45652676","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 : 2021-08-20DOI: 10.1177/87551233211040735
Matthew A. Boswell
A common rationale for the continued existence and support of music education in schools has been the development of skills and attitudes leading to a lifetime of music-making for all students. Therefore, the purpose of this review of literature was to examine previous research on adult participation in large ensemble (i.e., band, choir, or orchestra) community music settings. The research literature included in this study was summarized and presented according to three broad categories: (a) status studies of both demographic information and the music backgrounds of large ensemble community music participants; (b) the motivations encouraging or discouraging such participation; and (c) potential issues, both concrete and philosophical, in what Jellison (2000) termed the transition between school-based music and that of the adult world. Implications for music educators and potential ideas for future research are discussed.
{"title":"Music for a Lifetime: How Are We Doing? A Review of Literature on Adult Participation in Large Community Music Ensembles","authors":"Matthew A. Boswell","doi":"10.1177/87551233211040735","DOIUrl":"https://doi.org/10.1177/87551233211040735","url":null,"abstract":"A common rationale for the continued existence and support of music education in schools has been the development of skills and attitudes leading to a lifetime of music-making for all students. Therefore, the purpose of this review of literature was to examine previous research on adult participation in large ensemble (i.e., band, choir, or orchestra) community music settings. The research literature included in this study was summarized and presented according to three broad categories: (a) status studies of both demographic information and the music backgrounds of large ensemble community music participants; (b) the motivations encouraging or discouraging such participation; and (c) potential issues, both concrete and philosophical, in what Jellison (2000) termed the transition between school-based music and that of the adult world. Implications for music educators and potential ideas for future research are discussed.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"215 ","pages":"56 - 65"},"PeriodicalIF":0.0,"publicationDate":"2021-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41253208","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 : 2021-08-20DOI: 10.1177/87551233211040088
Amalia A. Allan
Inclusion has been a prominent topic in music education since the passage of the Education for All Handicapped Children Act of 1974 (now known as the Individuals with Disabilities Education Act or IDEA 2004). In 2000, music educators at the Housewright Symposium presented a list of goals for music education for the year 2020 in a document called Vision 2020, and one of those goals stated that barriers would be removed for the inclusion of all students. The purpose of this literature review was to examine the past 20 years of music education research (1999–2019) to determine how well the inclusion goal of Vision 2020 has been met. Four themes emerged: Perceptions in Schools, Practices in Schools, University Coursework, and Unique Topics. A concluding section summarizes findings and presents implications for meeting the Vision 2020 inclusion goal as it pertains to students with disabilities.
{"title":"Vision 2020: A Review of 20 Years of Inclusion Studies in Music Education","authors":"Amalia A. Allan","doi":"10.1177/87551233211040088","DOIUrl":"https://doi.org/10.1177/87551233211040088","url":null,"abstract":"Inclusion has been a prominent topic in music education since the passage of the Education for All Handicapped Children Act of 1974 (now known as the Individuals with Disabilities Education Act or IDEA 2004). In 2000, music educators at the Housewright Symposium presented a list of goals for music education for the year 2020 in a document called Vision 2020, and one of those goals stated that barriers would be removed for the inclusion of all students. The purpose of this literature review was to examine the past 20 years of music education research (1999–2019) to determine how well the inclusion goal of Vision 2020 has been met. Four themes emerged: Perceptions in Schools, Practices in Schools, University Coursework, and Unique Topics. A concluding section summarizes findings and presents implications for meeting the Vision 2020 inclusion goal as it pertains to students with disabilities.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"40 1","pages":"47 - 55"},"PeriodicalIF":0.0,"publicationDate":"2021-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47627571","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 : 2021-08-18DOI: 10.1177/87551233211040726
Bryan E. Nichols, A. Liu
Starting pitch selection—whether intentional or habitual or otherwise— has been theorized to vary according to multiple variables. The purpose of this study was to explore starting pitch selection in undergraduate nonmusic major singers by using four well known songs and nonsinging tasks. Participants were actively singing in a college choir and majoring in fields outside of music. Performances indicated very small deviations in the median starting pitch for each criterion song (100–200 cents). Data indicated discrimination in starting pitch selection between songs. Active singers may place songs in the middle portion of the vocal range compared with the tendency toward lower range in nonsingers in previous research. A history of voice lessons was significantly associated with a positive response to a follow-up questionnaire item “I chose an intentional range for my voice.”
{"title":"Starting Pitch Selection is Precise in Exploratory Study of Collegiate Nonmusic Majors","authors":"Bryan E. Nichols, A. Liu","doi":"10.1177/87551233211040726","DOIUrl":"https://doi.org/10.1177/87551233211040726","url":null,"abstract":"Starting pitch selection—whether intentional or habitual or otherwise— has been theorized to vary according to multiple variables. The purpose of this study was to explore starting pitch selection in undergraduate nonmusic major singers by using four well known songs and nonsinging tasks. Participants were actively singing in a college choir and majoring in fields outside of music. Performances indicated very small deviations in the median starting pitch for each criterion song (100–200 cents). Data indicated discrimination in starting pitch selection between songs. Active singers may place songs in the middle portion of the vocal range compared with the tendency toward lower range in nonsingers in previous research. A history of voice lessons was significantly associated with a positive response to a follow-up questionnaire item “I chose an intentional range for my voice.”","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"40 1","pages":"37 - 46"},"PeriodicalIF":0.0,"publicationDate":"2021-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47134274","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 : 2021-08-07DOI: 10.1177/87551233211030167
Kensley Behel, A. Evans, Bridget Rennie-Salonen
Many musicians experience performance-related health problems (PRHPs), most of which are preventable. Music educators play a primary role in the prevention of PRHPs in the music classroom. Stress velopharyngeal insufficiency (SVPI) in wind musicians is a condition affecting soft palate closure, causing air to escape through the nose while blowing through the mouth into the instrument. Although SVPI is serious and potentially career ending for wind instrumentalists, there are limited resources for music educators on SVPI prevalence, causes, management, and prevention. Therefore, this synthesis of existing literature on SVPI in musicians provides music educators with awareness and understanding of SVPI. Information on SVPI symptoms, treatment pathways, prevention, and recommendations for practical solutions to manage SVPI in the music studio are given. A comprehensive understanding of terminology, symptoms, prevalence, and solutions may equip music educators to intervene more effectively in identifying SVPI in their classroom or studio.
{"title":"Synthesizing the Literature on Stress Velopharyngeal Insufficiency in Musicians: Recommendations for Music Educators","authors":"Kensley Behel, A. Evans, Bridget Rennie-Salonen","doi":"10.1177/87551233211030167","DOIUrl":"https://doi.org/10.1177/87551233211030167","url":null,"abstract":"Many musicians experience performance-related health problems (PRHPs), most of which are preventable. Music educators play a primary role in the prevention of PRHPs in the music classroom. Stress velopharyngeal insufficiency (SVPI) in wind musicians is a condition affecting soft palate closure, causing air to escape through the nose while blowing through the mouth into the instrument. Although SVPI is serious and potentially career ending for wind instrumentalists, there are limited resources for music educators on SVPI prevalence, causes, management, and prevention. Therefore, this synthesis of existing literature on SVPI in musicians provides music educators with awareness and understanding of SVPI. Information on SVPI symptoms, treatment pathways, prevention, and recommendations for practical solutions to manage SVPI in the music studio are given. A comprehensive understanding of terminology, symptoms, prevalence, and solutions may equip music educators to intervene more effectively in identifying SVPI in their classroom or studio.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"40 1","pages":"27 - 36"},"PeriodicalIF":0.0,"publicationDate":"2021-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43109981","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 : 2021-08-05DOI: 10.1177/87551233211037669
Jessica Nápoles
In this review of literature related to burnout, I compiled definitions of the term, discussed factors contributing to burnout, effects of burnout, and prevention/possible remedies for burnout. Although there is no consensus on the term’s definition, it is well understood that burnout has three dimensions: emotional exhaustion, depersonalization/cynicism, and personal accomplishment. There are personal (internal) and organizational (external) factors that contribute to burnout. When teachers feel lack of control, overloaded, and underresourced, the potential for burnout is amplified. Burnout is manifested in physical (poor health) and psychological ways (detachment, boredom, and rigidity). Prevention strategies generally fall into the categories of (a) in-school interventions (including being more prepared and developing high quality interpersonal relationships), (b) out of school interventions (better work–life balance), and (c) mentoring. Given that engagement is the antithesis of burnout, keeping teachers engaged and feeling valued are mitigating factors for burnout.
{"title":"Burnout: A Review of the Literature","authors":"Jessica Nápoles","doi":"10.1177/87551233211037669","DOIUrl":"https://doi.org/10.1177/87551233211037669","url":null,"abstract":"In this review of literature related to burnout, I compiled definitions of the term, discussed factors contributing to burnout, effects of burnout, and prevention/possible remedies for burnout. Although there is no consensus on the term’s definition, it is well understood that burnout has three dimensions: emotional exhaustion, depersonalization/cynicism, and personal accomplishment. There are personal (internal) and organizational (external) factors that contribute to burnout. When teachers feel lack of control, overloaded, and underresourced, the potential for burnout is amplified. Burnout is manifested in physical (poor health) and psychological ways (detachment, boredom, and rigidity). Prevention strategies generally fall into the categories of (a) in-school interventions (including being more prepared and developing high quality interpersonal relationships), (b) out of school interventions (better work–life balance), and (c) mentoring. Given that engagement is the antithesis of burnout, keeping teachers engaged and feeling valued are mitigating factors for burnout.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"40 1","pages":"19 - 26"},"PeriodicalIF":0.0,"publicationDate":"2021-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/87551233211037669","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43932125","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 : 2021-07-30DOI: 10.1177/87551233211036069
Tina Beveridge
In this literature review, I explore poverty, the barriers to participation that exist for students in poverty, and why this issue should matter to music educators. Research findings about students and poverty generally fall into three categories: logistics, teacher attitudes, and policy. I identify participation barriers in each of these categories and offer suggestions how they might be addressed. Overall, findings involving poverty and music education indicate that when teachers are well-supported at the micro and macro level by legislators, administrators, parents, and other teachers, most barriers can be reduced or eliminated, and participation increases.
{"title":"Does Music Education Have a Poverty Problem?","authors":"Tina Beveridge","doi":"10.1177/87551233211036069","DOIUrl":"https://doi.org/10.1177/87551233211036069","url":null,"abstract":"In this literature review, I explore poverty, the barriers to participation that exist for students in poverty, and why this issue should matter to music educators. Research findings about students and poverty generally fall into three categories: logistics, teacher attitudes, and policy. I identify participation barriers in each of these categories and offer suggestions how they might be addressed. Overall, findings involving poverty and music education indicate that when teachers are well-supported at the micro and macro level by legislators, administrators, parents, and other teachers, most barriers can be reduced or eliminated, and participation increases.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"40 1","pages":"10 - 18"},"PeriodicalIF":0.0,"publicationDate":"2021-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/87551233211036069","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44926485","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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