Pub Date : 2021-06-01DOI: 10.1177/87551233211012798
B. Silvey
A few statements that are probably not overheard in the hallways at your school or institution: “I ran a multiple linear regression analysis with standardized beta coefficients! Rock on!” “My analysis included a 12 × 12 repeated measures analysis of variance with a sample size of 878,000 soprano saxophonists! They were really in tune!” But wait, there’s more. “I ran a t-test that compared two samples.” Well, you may have actually heard the last of these statements, but that test does not seem very complicated. A t-test? Isn’t that one of the easier analyses to compute? Heck, I can compute that by hand or even have Microsoft Excel do that. What about those fancy statistical software programs that I spent forever learning? Well, I hate to break it to you, but nobody cares how you analyzed your data. (Well, some people such as editors and editorial board review members care, and you probably should, but that’s not the purpose of these comments.) Selecting the right statistical test or analysis approach is critical to correctly understanding and interpreting your data. According to Nayak and Hazra (2011), “it is important that the appropriate statistical analysis is decided before starting the study, at the stage of planning itself” (p. 85). Although inferential statistics are not typically used in qualitative, historical, or philosophical research, the same planning processes extend to the types of analyses undertaken with these research methodologies. There are several excellent resources available for how to choose the appropriate statistical test or qualitative analysis approach (e.g., McDonald, 2014; Padgett, 2012).1 But selecting the right analysis before you begin a study is only part of the planning process. A critical component that surprisingly often gets overlooked is refining important and interesting research questions. Using a spiffy test or analysis may be fun, but should not be the primary factor when determining what type of data to collect or the rationale for why you chose to conduct a research study. A framework that I had not previously considered for crafting a good research question uses the acronym FINER—Feasible, Interesting, Novel, Ethical, and Relevant (Hulley, 2007). I know that not all—if any—of my research questions over the years have necessarily reflected all of these criteria. Nonetheless, I do believe this gives authors something to consider as they formulate their research questions. For example, let’s take one of the research questions that appears in this issue of Update. In his article, “High School Band Directors’ Perceptions and Applications of Democratic Rehearsal Procedures in Concert Band Rehearsals,” Scherer posits the following: How important do high school band directors believe it is for students to engage in democratic rehearsal procedures? Once you read the study, you’ll know that this was feasible, as he distributed a 10-minute questionnaire to a national sample of high school band directors. The topi
{"title":"Comments From the Editor: Nobody Cares How You Analyzed Your Data","authors":"B. Silvey","doi":"10.1177/87551233211012798","DOIUrl":"https://doi.org/10.1177/87551233211012798","url":null,"abstract":"A few statements that are probably not overheard in the hallways at your school or institution: “I ran a multiple linear regression analysis with standardized beta coefficients! Rock on!” “My analysis included a 12 × 12 repeated measures analysis of variance with a sample size of 878,000 soprano saxophonists! They were really in tune!” But wait, there’s more. “I ran a t-test that compared two samples.” Well, you may have actually heard the last of these statements, but that test does not seem very complicated. A t-test? Isn’t that one of the easier analyses to compute? Heck, I can compute that by hand or even have Microsoft Excel do that. What about those fancy statistical software programs that I spent forever learning? Well, I hate to break it to you, but nobody cares how you analyzed your data. (Well, some people such as editors and editorial board review members care, and you probably should, but that’s not the purpose of these comments.) Selecting the right statistical test or analysis approach is critical to correctly understanding and interpreting your data. According to Nayak and Hazra (2011), “it is important that the appropriate statistical analysis is decided before starting the study, at the stage of planning itself” (p. 85). Although inferential statistics are not typically used in qualitative, historical, or philosophical research, the same planning processes extend to the types of analyses undertaken with these research methodologies. There are several excellent resources available for how to choose the appropriate statistical test or qualitative analysis approach (e.g., McDonald, 2014; Padgett, 2012).1 But selecting the right analysis before you begin a study is only part of the planning process. A critical component that surprisingly often gets overlooked is refining important and interesting research questions. Using a spiffy test or analysis may be fun, but should not be the primary factor when determining what type of data to collect or the rationale for why you chose to conduct a research study. A framework that I had not previously considered for crafting a good research question uses the acronym FINER—Feasible, Interesting, Novel, Ethical, and Relevant (Hulley, 2007). I know that not all—if any—of my research questions over the years have necessarily reflected all of these criteria. Nonetheless, I do believe this gives authors something to consider as they formulate their research questions. For example, let’s take one of the research questions that appears in this issue of Update. In his article, “High School Band Directors’ Perceptions and Applications of Democratic Rehearsal Procedures in Concert Band Rehearsals,” Scherer posits the following: How important do high school band directors believe it is for students to engage in democratic rehearsal procedures? Once you read the study, you’ll know that this was feasible, as he distributed a 10-minute questionnaire to a national sample of high school band directors. The topi","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":" ","pages":"3 - 4"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/87551233211012798","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45919652","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 : 2021-05-28DOI: 10.1177/87551233211020989
R. Sorenson
The ability to accurately detect performance errors is a fundamental skill for music educators and has been a popular topic of research within the field of music education. In fact, it has been suggested that roughly half of all ensemble rehearsals are dedicated to error detection. The purpose of this literature review was to synthesize the research literature related to error detection among preservice and inservice music educators. The majority of error detection studies have centered on the topics of (a) defining errors and error hierarchy, (b) developing tests and programmed materials, (c) personal characteristics related to error detection ability, and (d) factors that influence error detection ability. Results from existing error detection studies suggest that not only are there valid and reliable methods for testing error detection ability, but certain variables have the potential to increase or decrease that ability. In addition, findings revealed that a tension exists between designing error detection studies with high ecological validity (real world, contextual relevance) and those with high internal validity (elimination of confounding variables). Based on these findings, I offer several recommendations for inservice music educators and music education faculty.
{"title":"Error Detection in Music Education: A Review of Literature","authors":"R. Sorenson","doi":"10.1177/87551233211020989","DOIUrl":"https://doi.org/10.1177/87551233211020989","url":null,"abstract":"The ability to accurately detect performance errors is a fundamental skill for music educators and has been a popular topic of research within the field of music education. In fact, it has been suggested that roughly half of all ensemble rehearsals are dedicated to error detection. The purpose of this literature review was to synthesize the research literature related to error detection among preservice and inservice music educators. The majority of error detection studies have centered on the topics of (a) defining errors and error hierarchy, (b) developing tests and programmed materials, (c) personal characteristics related to error detection ability, and (d) factors that influence error detection ability. Results from existing error detection studies suggest that not only are there valid and reliable methods for testing error detection ability, but certain variables have the potential to increase or decrease that ability. In addition, findings revealed that a tension exists between designing error detection studies with high ecological validity (real world, contextual relevance) and those with high internal validity (elimination of confounding variables). Based on these findings, I offer several recommendations for inservice music educators and music education faculty.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"40 1","pages":"54 - 62"},"PeriodicalIF":0.0,"publicationDate":"2021-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/87551233211020989","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44660959","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 : 2021-05-27DOI: 10.1177/87551233211019999
Josef Hanson
Teaching music can be a stressful endeavor. Decades of research findings indicate that music teachers are especially prone to professional burnout. The purpose of this research-to-resource article is to equip music teachers and other educational stakeholders with research-informed definitions, warning signs, and potential remedies for burnout. Practical recommendations for addressing the macro-level, classroom-level, and intrapersonal contributors to burnout are provided.
{"title":"Research-to-Resource: Confronting and Overcoming Music Teacher Burnout","authors":"Josef Hanson","doi":"10.1177/87551233211019999","DOIUrl":"https://doi.org/10.1177/87551233211019999","url":null,"abstract":"Teaching music can be a stressful endeavor. Decades of research findings indicate that music teachers are especially prone to professional burnout. The purpose of this research-to-resource article is to equip music teachers and other educational stakeholders with research-informed definitions, warning signs, and potential remedies for burnout. Practical recommendations for addressing the macro-level, classroom-level, and intrapersonal contributors to burnout are provided.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":" ","pages":"5 - 9"},"PeriodicalIF":0.0,"publicationDate":"2021-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/87551233211019999","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47340472","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 : 2021-05-27DOI: 10.1177/87551233211018209
R. Fisher, Nancy L. Summitt, Ellen B. Koziel
The purpose of this study was to describe the voice change and voice part assignment of male middle school choir members. Volunteers (N = 92) were recruited from three public middle school choral programs (Grades 6-8). Participants were audio-recorded performing simple vocal tasks in order to assess vocal range and asked to share the music they were currently singing in class. Results revealed 23.91% of participants’ voices could be categorized as unchanged, 14.13% as Stage 1, 3.26% as Stage 2, 10.87% as Stage 3, 26.09% as Stage 4, and 21.74% as Stage 5. The majority of sixth-grade participants were classified as unchanged or in Stage 1 of the voice change and the majority of eighth-grade participants were classified in Stages 4 to 5 of the voice change. Of the participants labeled “tenors” in their choir, over 60% were classified as either unchanged voices or in Stage 1 of the voice change.
{"title":"A Description of Middle School Male Singers’ Voice Change and Voice Part Assignment","authors":"R. Fisher, Nancy L. Summitt, Ellen B. Koziel","doi":"10.1177/87551233211018209","DOIUrl":"https://doi.org/10.1177/87551233211018209","url":null,"abstract":"The purpose of this study was to describe the voice change and voice part assignment of male middle school choir members. Volunteers (N = 92) were recruited from three public middle school choral programs (Grades 6-8). Participants were audio-recorded performing simple vocal tasks in order to assess vocal range and asked to share the music they were currently singing in class. Results revealed 23.91% of participants’ voices could be categorized as unchanged, 14.13% as Stage 1, 3.26% as Stage 2, 10.87% as Stage 3, 26.09% as Stage 4, and 21.74% as Stage 5. The majority of sixth-grade participants were classified as unchanged or in Stage 1 of the voice change and the majority of eighth-grade participants were classified in Stages 4 to 5 of the voice change. Of the participants labeled “tenors” in their choir, over 60% were classified as either unchanged voices or in Stage 1 of the voice change.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"43 1","pages":"45 - 53"},"PeriodicalIF":0.0,"publicationDate":"2021-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/87551233211018209","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66081778","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 : 2021-05-19DOI: 10.1177/87551233211018395
Melissa Baughman
The purpose of this study was to explore the status and experiences of women in collegiate choral conducting positions. Out of all collegiate choral conductors (N = 992) at institutions accredited by the National Association of Schools of Music in the United States, 68.65% (n = 681) were men and 31.35% (n = 311) were women at the time of this study; I invited the women collegiate choral conductors to serve as study participants. Ninety-six respondents completed an online survey, resulting in a response rate of 30.86%. I collected data through a researcher-designed survey. First, I asked respondents to provide demographic information and respond to Likert-type and open-ended prompts related to three domains: gaining entry into the profession, navigating the profession, and issues surrounding gender. I analyzed data through descriptive statistics and qualitative methods of assigning codes, combining codes into themes, and displaying the data. I addressed general discrepancies in the self-reported attitudes of respondents. Although women reported an overall attitude of satisfaction as choral conductors in their Likert-type responses, many respondents detailed several instances of gender discrimination and other challenges in their open-ended responses. Implications for the music profession, including specific strategies to help empower women in collegiate choral conducting settings, are discussed.
{"title":"Shattering the Glass Podium: Successes and Setbacks of Women in Collegiate Choral Conducting","authors":"Melissa Baughman","doi":"10.1177/87551233211018395","DOIUrl":"https://doi.org/10.1177/87551233211018395","url":null,"abstract":"The purpose of this study was to explore the status and experiences of women in collegiate choral conducting positions. Out of all collegiate choral conductors (N = 992) at institutions accredited by the National Association of Schools of Music in the United States, 68.65% (n = 681) were men and 31.35% (n = 311) were women at the time of this study; I invited the women collegiate choral conductors to serve as study participants. Ninety-six respondents completed an online survey, resulting in a response rate of 30.86%. I collected data through a researcher-designed survey. First, I asked respondents to provide demographic information and respond to Likert-type and open-ended prompts related to three domains: gaining entry into the profession, navigating the profession, and issues surrounding gender. I analyzed data through descriptive statistics and qualitative methods of assigning codes, combining codes into themes, and displaying the data. I addressed general discrepancies in the self-reported attitudes of respondents. Although women reported an overall attitude of satisfaction as choral conductors in their Likert-type responses, many respondents detailed several instances of gender discrimination and other challenges in their open-ended responses. Implications for the music profession, including specific strategies to help empower women in collegiate choral conducting settings, are discussed.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"40 1","pages":"10 - 17"},"PeriodicalIF":0.0,"publicationDate":"2021-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/87551233211018395","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44696138","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 : 2021-05-10DOI: 10.1177/87551233211015730
Brian J. Panetta
The topics of inclusivity and diversity in music education have drawn increased attention to how different minority groups experience music education. Unlike concerns surrounding most gender and race issues, lesbian, gay, bisexual, trans, queer, and other sexual and/or gender minority (LGBTQ+) students and teachers are not always as visibly identifiable as other minority groups and therefore can easily be overlooked. In this literature review, I examine research specific to the LGBTQ+ community, representing an invisible minority group in music classrooms with the aim to raise awareness of the unique obstacles that LGBTQ+ music teachers and students face, so that further discussions engaging music educators might have a stronger knowledge base. Findings suggests that many LGBTQ+ music educators struggle to fully embrace their identity, often having to negotiate professional and personal personalities out of fear or uncertainty. Although music classrooms are often considered safe spaces for LGBTQ+ students, the music curriculum should be more inclusive.
{"title":"Understanding an Invisible Minority: A Literature Review of LGBTQ+ Persons in Music Education","authors":"Brian J. Panetta","doi":"10.1177/87551233211015730","DOIUrl":"https://doi.org/10.1177/87551233211015730","url":null,"abstract":"The topics of inclusivity and diversity in music education have drawn increased attention to how different minority groups experience music education. Unlike concerns surrounding most gender and race issues, lesbian, gay, bisexual, trans, queer, and other sexual and/or gender minority (LGBTQ+) students and teachers are not always as visibly identifiable as other minority groups and therefore can easily be overlooked. In this literature review, I examine research specific to the LGBTQ+ community, representing an invisible minority group in music classrooms with the aim to raise awareness of the unique obstacles that LGBTQ+ music teachers and students face, so that further discussions engaging music educators might have a stronger knowledge base. Findings suggests that many LGBTQ+ music educators struggle to fully embrace their identity, often having to negotiate professional and personal personalities out of fear or uncertainty. Although music classrooms are often considered safe spaces for LGBTQ+ students, the music curriculum should be more inclusive.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"292 ","pages":"18 - 26"},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/87551233211015730","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41273413","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 : 2021-04-23DOI: 10.1177/87551233211010401
J. Potter
The purpose of investigation was to examine the perceptions of elementary music teachers concerning the preparation of elementary music performances and the impact on their perceived stress. Participants were practicing elementary general music teachers (N = 3) representing three different elementary schools from a metropolitan area in the Midwest. All participants were interviewed twice over a period of two months via Zoom. Data were analyzed through an open coding process (Gibbs, 2007), which yielded three themes: time management, control, and isolation. Facets of time management included strategic planning, organizational techniques, and instructional time; control concerned scheduling, repertoire selection, equipment, and performance venues; and isolation pertained to relationships with colleagues and administrators and an overwhelming amount of responsibility. These findings indicate the importance of acknowledging various stressors affecting music educators and how those might positively and negatively affect teachers and students.
{"title":"Elementary General Music Performances and Teachers’ Perceptions of Stress","authors":"J. Potter","doi":"10.1177/87551233211010401","DOIUrl":"https://doi.org/10.1177/87551233211010401","url":null,"abstract":"The purpose of investigation was to examine the perceptions of elementary music teachers concerning the preparation of elementary music performances and the impact on their perceived stress. Participants were practicing elementary general music teachers (N = 3) representing three different elementary schools from a metropolitan area in the Midwest. All participants were interviewed twice over a period of two months via Zoom. Data were analyzed through an open coding process (Gibbs, 2007), which yielded three themes: time management, control, and isolation. Facets of time management included strategic planning, organizational techniques, and instructional time; control concerned scheduling, repertoire selection, equipment, and performance venues; and isolation pertained to relationships with colleagues and administrators and an overwhelming amount of responsibility. These findings indicate the importance of acknowledging various stressors affecting music educators and how those might positively and negatively affect teachers and students.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"40 1","pages":"36 - 44"},"PeriodicalIF":0.0,"publicationDate":"2021-04-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/87551233211010401","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44663859","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 : 2021-04-01DOI: 10.1177/87551233211006388
Laura Singletary
The purpose of this study was to compare teachers’ time use and teaching behaviors including teacher talk, modeling, physical location/proximity to students, conducting, and instructional choices in middle school (Grades 6–8) beginning and advanced band settings, with the goal of identifying practices that are specific or unique to each setting. Participants (N = 5) were expert middle school teachers who were recorded while teaching a heterogeneous beginning band and an advanced band class. I compared episodes of teacher and student behaviors including instruction, modeling, group/individual performance, and student talk, documenting frequency and time use in both settings. Results indicated differences in frequency and time for all observed episodes, with differences supporting greater emphasis placed on individuals in the beginning setting. I also found that teachers in the advanced setting addressed rehearsal frame targets representing traditional rehearsal goals more frequently (e.g., phrasing, articulation), whereas teachers in the beginning setting addressed targets representing typical beginning band goals more frequently (e.g., vocabulary/terms, rhythm literacy.)
{"title":"Comparing Time Use and Teacher Behaviors in Beginning and Advanced Middle School Band Settings: An Exploratory Study","authors":"Laura Singletary","doi":"10.1177/87551233211006388","DOIUrl":"https://doi.org/10.1177/87551233211006388","url":null,"abstract":"The purpose of this study was to compare teachers’ time use and teaching behaviors including teacher talk, modeling, physical location/proximity to students, conducting, and instructional choices in middle school (Grades 6–8) beginning and advanced band settings, with the goal of identifying practices that are specific or unique to each setting. Participants (N = 5) were expert middle school teachers who were recorded while teaching a heterogeneous beginning band and an advanced band class. I compared episodes of teacher and student behaviors including instruction, modeling, group/individual performance, and student talk, documenting frequency and time use in both settings. Results indicated differences in frequency and time for all observed episodes, with differences supporting greater emphasis placed on individuals in the beginning setting. I also found that teachers in the advanced setting addressed rehearsal frame targets representing traditional rehearsal goals more frequently (e.g., phrasing, articulation), whereas teachers in the beginning setting addressed targets representing typical beginning band goals more frequently (e.g., vocabulary/terms, rhythm literacy.)","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"40 1","pages":"27 - 35"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/87551233211006388","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42096143","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 : 2021-03-20DOI: 10.1177/87551233211003839
Jason P. Cumberledge
COVID-19 mitigations significantly altered college marching band operations during the fall 2020 football season. Modified band operations may have affected students’ sense of community and togetherness. The purpose of this study was to investigate college marching band students’ perceptions of community and other band experiences during the COVID-19 pandemic. College marching band students (N = 765) from 10 universities across the United States responded to survey questions related to several aspects of pandemic marching band operations, including (a) mitigation strategies, (b) perceived mitigation effectiveness, (c) band community, (d) perceived band experiences, and (e) the extent to which some aspects of band modifications could continue postpandemic. Results indicated that feelings of community and opportunities for togetherness in marching band were substantially reduced during the pandemic. Implications including the importance of music performance, virtual learning, and monitoring of student physical and mental health are discussed.
{"title":"Band Together: How College Marching Band Students Perceived Community During the COVID-19 Pandemic","authors":"Jason P. Cumberledge","doi":"10.1177/87551233211003839","DOIUrl":"https://doi.org/10.1177/87551233211003839","url":null,"abstract":"COVID-19 mitigations significantly altered college marching band operations during the fall 2020 football season. Modified band operations may have affected students’ sense of community and togetherness. The purpose of this study was to investigate college marching band students’ perceptions of community and other band experiences during the COVID-19 pandemic. College marching band students (N = 765) from 10 universities across the United States responded to survey questions related to several aspects of pandemic marching band operations, including (a) mitigation strategies, (b) perceived mitigation effectiveness, (c) band community, (d) perceived band experiences, and (e) the extent to which some aspects of band modifications could continue postpandemic. Results indicated that feelings of community and opportunities for togetherness in marching band were substantially reduced during the pandemic. Implications including the importance of music performance, virtual learning, and monitoring of student physical and mental health are discussed.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"39 1","pages":"67 - 74"},"PeriodicalIF":0.0,"publicationDate":"2021-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/87551233211003839","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47256572","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 : 2021-03-12DOI: 10.1177/87551233211001048
J. Lordo
Musicians and athletes share many common traits. Both groups learn a combination of physical and mental skills to attain expert status. In this literature review, I provide a short history of research on expertise development and two models: Bloom’s model of expertise development and the Developmental Model of Sport Participation. The Bloom model categorizes learning activities between combinations of free play and deliberate practice throughout the three stages of development. However, Developmental Model of Sport Participation includes a new category, deliberate play, which combines aspects of play and deliberate practice. Research indicating music learning through deliberate practice, deliberate play, and music play is presented. If students are able to learn through the more enjoyable deliberate play and music play, teachers should consider including these activities to better match developmental stages and potentially improve retention. Implications for future research and music teachers are discussed.
{"title":"The Development of Music Expertise: Applications of the Theories of Deliberate Practice and Deliberate Play","authors":"J. Lordo","doi":"10.1177/87551233211001048","DOIUrl":"https://doi.org/10.1177/87551233211001048","url":null,"abstract":"Musicians and athletes share many common traits. Both groups learn a combination of physical and mental skills to attain expert status. In this literature review, I provide a short history of research on expertise development and two models: Bloom’s model of expertise development and the Developmental Model of Sport Participation. The Bloom model categorizes learning activities between combinations of free play and deliberate practice throughout the three stages of development. However, Developmental Model of Sport Participation includes a new category, deliberate play, which combines aspects of play and deliberate practice. Research indicating music learning through deliberate practice, deliberate play, and music play is presented. If students are able to learn through the more enjoyable deliberate play and music play, teachers should consider including these activities to better match developmental stages and potentially improve retention. Implications for future research and music teachers are discussed.","PeriodicalId":75281,"journal":{"name":"Update (Music Educators National Conference (U.S.))","volume":"39 1","pages":"56 - 66"},"PeriodicalIF":0.0,"publicationDate":"2021-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/87551233211001048","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42338551","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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