Etude Symposium: Motivating Your Musicians to Practice (original) (raw)
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Interest and choice: student-selected repertoire and its effect on practising behaviour
Motivational research in academic subjects has demonstrated that when students are interested in an activity and feel free to choose whether or not to do it, they are more likely to engage in higher-level cognitive functioning, ®nd it easier to concentrate, persevere, and enjoy their learning. This case study of a young beginning clarinettist named Clarissa consisted of interviews and computer analysis of videotaped practice sessions. Clarissa's practice behaviour in teacher-assigned repertoire was compared with her work on a piece she chose to learn herself. Results show that when practising self-selected repertoire, Clarissa was more likely to engage in strategies that are typical at more advanced stages of development, such as silent ®ngering, silent thinking and singing. She also spent more time practising the piece, and persevered when faced with dif®culties. Implications for instrumental pedagogy are discussed.
Music Teaching at the Elementary Level: Selecting a Song Repertoire
The Phenomenon of Singing, 2013
Considering the importance accorded to singing in elementary school music programs, and the recognition of the necessity of training children's singing voices, the music education specialist must have access to a repertoire of songs to be selected according to certain criteria. The abundance of children's vocal pieces, whether in score format, recording, or pedagogical material, and the absence of tools that would permit a critical analysis with regards to pertinent use in a pedagogical context constitute a major problem with regards to the selection of singing repertoire. What are the criteria one uses to make judicious repertoire selection for songs where the goal is music education in an elementary school? The goal of this research is to elaborate on a frame of reference resulting from the findings of two distinct sources: the first is from scientific and academic literature, and the second from research interviews with experienced music specialists. The methodology chosen for combining and comparing these findings is analysis of content. The frame of reference that results reveals four major categories of criteria for selection of repertoire, and each is examined in depth in order to clarify the active and reflective steps music educators and researchers must take.
Developing Musicality: Formal and Informal Practices
Action Criticism and Theory For Music Education, 2004
Once upon a time there was a young child who had a very nurturing and caring father. More than anything else in the world the father wanted the child to learn to love music and to be able to sing and play the piano. The dad loved opera. He listened to opera night and day. His favorites were Caruso, Nelson Eddy, and Jeannette McDonald. Once a week he might listen to Mitch Miller or Lawrence Welk but he knew that these were not great musicians. He wanted his daughter to be a great musician like Licia Albanese or
Motivating Students to Engage in Learning: The MUSIC Model of Academic Motivation
2009
The purpose of this article is to present a model of academic motivation that can be used by instructors to design courses that will engage students in learning. The model, based on research and theory, consists of five components that an instructor should consider when designing instruction: (1) empowerment, (2) usefulness, (3) success, (4) interest, and (5) caring. In this article, I describe the components of the model by discussing the key concepts of the components, summarizing the background research and theories that support the importance of the components, and providing questions, suggestions, and examples that instructors should consider when designing instruction. My hope is that novice, as well as experienced, instructors will find this model and the associated suggestions and examples useful as a reference tool to which they can refer when designing instruction.
Creativity in the Twenty First Century, 2019
Aims and Scope "Creativity in the Twenty-First Century Book Series" repositions "creativity" as a boundary-crossing discipline that is essential to learning and teaching, socialeconomic dialogues, academic discourses and cultural practices, as well as technological and digital communications. The series serves as a timely platform, bringing together like-minded scientists and researchers around the world to share their diverse perspectives on creativity and to engage in open and productive inquiries into promoting creativity for a more peaceful and harmonious world. Researchers and practitioners from all continents are invited to share their discipline-specific insights, research orientations and cultural practices, as well as to pose new questions on what creativity is, how to promote it, which directions to pursue, who should participate, and so on. The book series is led by emerging eminent and senior scientists, researchers, and educators in the fields of creativity, psychology, the cultural sciences and education studies. They create networks of sharing and spread innovative publishing opportunities within the communities of practice. They invest considerable time and effort in deepening creativity expertise, structuring creativity programs, and organizing creativity activities for the communities of interest. The book series aims not only to "glue together" like-minded scientists (community of practice) to share benefits of creativity theorizing, research and practice, but also to encourage nonexperts (community of interest) in all societies to become supporters and spokespersons of positive engagement in creative learning, teaching and dialogues.
2019
Keywords The purpose of this research is to determine the current situation of the song syllabus used in the implement of the outcomes of the primary school 3 rd grade music lesson, to understand the effectiveness of this song repertoire in the learning-teaching process by creating a new song repertoire and to contribute to improving the quality of teaching. Research is designed as an action research from qualitative research designs. The action plan consists of the songs that the researcher composed according to the outcomes, lesson plans and songs recorded. In the framework of the research, the action plan was applied in a total of 8 weeks and music lessons between March 27, 2014-May 21, 2014. Practice of the research was carried out with the participation of 30 students and class teachers in the third grade of an elementary school in the Central District of Isparta Province in the spring term of the 2013-2014 academic year. The research data were collected by using data collection tools consisting of personal information forms, semi-structured interviews, student, teacher and researcher diaries. "QSR-Nvivo 10", a computer-aided qualitative data analysis program, was used in the audio recordings of semi-structured interviews and in the analysis of video recordings of implementation lessons. The analysis of qualitative data was carried out with descriptive analysis and content analysis, and the findings were interpreted in the direction of the research questions. According to the results of the study, singing is performed in music lessons. It is seen that students remember songs but the achievements haven't been reached. However, during the implementation period and afterwards, it has been seen that the lessons were carried out in accordance with the action plans, that the teacher awareness of the lesson outcomes was expanded, that the students can reach to the lesson outcomes desired to be given in the music lessons with the song repertoire prepared according to the outcomes in this process. In addition, it has been determined that the students' ability to singing, listening, playing and coexisting improve with their song recordings and become aware of the areas of composition and performance during the implementation process. Findings are discussed within literature framework, suggestions offered for implementation and future research.
Oxford Research Encyclopedia of Education, 2021
Throughout history, music has been a dynamic force in both formal and informal settings of education for all ages, places, and cultural identities. Music as curriculum is focused on this phenomenon in and through a wide array of cultural and historical contexts. Connections between music and curriculum may be understood through Joseph Schwab’s four commonplaces of curriculum which are milieus, teacher, learner, and subject matter. These connections are recognized and understood in greater detail by exploring the role of music in creating or affirming solidarity, empathy, cultural identity, content acquisition, educational connoisseurship, as well as learner-centered curiosity. Music as curriculum explores these aspects holistically as a way to maximize educational experiences through multiple ways of knowing that are actively present in music.
Communicating through music: a tool for students' inspirational development
2021
Showing and discussing examples of how people achieve goals can become a great source of inspiration (Piirto, 2011). Young people, especially students of different socio-cultural backgrounds, should be initiated and engaged in authentic projects and ideas. This article gives concrete reasons to K-12 and higher education stakeholders of why and how such projects should become part of curricula. This case study presents the creation of a multicultural disc in three languages (Greek, Corsican, and French) as an attempt to add to the inspirational development of students to aid teachers to achieve overall educational aims.