Music Education Research Papers - Academia.edu (original) (raw)

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- Music Education, Higher Education, Employability Skills, Conservatoire training

In order to contribute to the Inclusive Education of children with Special Needs in the
Specialized Artistic Teaching of Music in Portugal, an Action-Research project started in 2018. Our objective is to show the results of the diagnosis made on the characterization of the child with Cerebral Palsy that originated the study. For this, nine interviews were carried out, considering the person in charge of the child’s education and the different education and health professionals who work with that child. All the compiled information was organized and studied through content analysis supported by software on the webQDA platform, using the Sources, Coding and Questioning tools, which proved to be effective for the characterization of the child. The results
obtained allow us to observe that the interviewees consider the child's personal characteristics relevant from a temporal perspective. That is, they refer to aspects that pertain to the child’s past, present and future perspectives. In all of these aspects, the importance given to the use of Support Products, curriculum adaptations and the support network (people) is evident for the child under study to be successful, namely in the learning of Music. The need to enhance the different factors in the contexts (environment) is highlighted, promoting accessibility.
https://doi.org/10.36367/ntqr.2.2020.687-702

- by Davys Moreno and +1
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- Music Education, Inclusion, Content Analysis, Cerebral Palsy

This paper discusses the interaction of vocal music skill development with phonemic awareness (the ability
to hear and manipulate phonemes, the smallest units of language) and fluency training in kindergarten and
grade one language arts instruction. The phonemic awareness and fluency activities provided in language
arts curricula are often music related: songs, chants and rhymes. Research is discussed regarding auditory
processing related to vocal production; developmentally appropriate singing, prosody (the intentional
grouping of words into phrases), and music perception as it relates to reading achievement. The
pedagogical strategies necessary for developmentally appropriate modeling in both music and language arts
instruction are discussed.

Since the DCMS Creative Industries Mapping Document highlighted the key role played by creative activities in the UK economy and society, the creative industries agenda has expanded across Europe and internationally. It has the support of local authorities, regional development agencies, research councils, arts and cultural agencies and other sector organisations. Within this framework, higher education institutions have also engaged in the creative agenda but have struggled to define their role in this growing sphere of activities. Higher Education and the Creative Economy critically engages with the complex interconnections between higher education, geography, cultural policy and the creative economy. This book is organised into four sections which articulate the range of dynamics that can emerge between higher education and the creative economy: partnership and collaboration across higher education institutions and the creative and cultural industries; the development of creative human capital; connections between arts schools and local art scenes; and links with broader policy directions and work. While it has a strong UK component, it also includes international perspectives, specifically from Australia, Singapore, Europe and the USA. This authoritative collection challenges the boundaries of creative and cultural industry development by bringing together international experts from a range of subject areas, presenting researchers with a unique multidisciplinary approach to the topic. This edited collection will be of interest to researchers and policy-makers working in the area of creative and cultural industries development.

- by Dawn Bennett
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- Music, Music Education, Higher Education, Social Capital
- by Dan Shevock
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- Music Education, Spirituality, Ecological Literacy, Autoethnography

Burnout and attrition are issues facing many professions. In a bid to better understand this phenomenon and ways to address it, this paper explores experiences of praxis shock, well-being, burnout, and self-efficacy during teachers' careers. Regression and mediation analyses of 836 responses to a questionnaire reveal that praxis shock may occur at multiple points in a music teachers' career. Findings reveal that praxis shock predicts patterns of reported burnout, well-being and self-efficacy. This impacts on the development of productive professional identities, career satisfaction and success. Evidence is presented regarding praxis shock and its impact across a teaching career.

- by James Retell
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- Psychology, Music Education, Teacher Education, Professional Identity

This paper first outlines the focus of ethnomusicology as a discipline, pointing to its concentration on music examined as intersocial activity and identifying the methodological givens that follow from that assumption. It then looks at concerns shared with researchers in the field of music education, with references to the ethnomusicological literature. The concept of music and topics of musical transmission and ability are treated in depth, to show what ethnomusicological approaches offer to specialists in music education. A final section introduces the writing of ethnography, prior to the conclusion, which identifies further areas of mutual interest.

- by Jonathan Stock
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- Music Education, Curriculum and Pedagogy
- by Juan José Pastor Comín
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- Music, Music Education, Critical Pedagogy, Pedagogy

He centrado mi investigación en el estudio técnico y analítico de los principales métodos del siglo XX que han destinado una parte de sus tratados en la explicación y práctica de la sujeción del instrumento, así como los cambios de posición, ambas partes relacionadas dentro de una misma categoría de la técnica de mano izquierda. En concreto, he escogido para la realización de este estudio como eje central los dos principales métodos de violín del siglo XX: El arte de tocar el violín (Carl Flesch, 1923) e Interpretación y enseñanza del violín (Ivan Galamian, 1962).

- by Alfonso Aldeanueva Hernández
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- Music Education, Musicology, Violin Pedagogy, Violin
- by Anna Bull
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- Music Education, Classical Music
- by Dylan van der Schyff
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- Music, Music Education, Musicology, Ontology

Im "War Requiem" übernimmt Benjamin Britten als Künstler gesellschaftliche Verantwortung. Gleichzeitig hat Musikunterricht das Ziel, Schüler*innen für Musik zu interessieren und zu begeistern - auch für Musik, die ihnen zunächst fremd, ungewohnt, sperrig und eher verschlossen ist. Die sachliche Verbindung von zeitgeschichtlichen und musikanalytischen Aspekten soll als Hörschlüssel dienen, um die "Aussage über die Welt", die in der Musik steckt, mit subjektiven Erfahrungsmöglichkeiten der Schüler*innen zu verbinden. Die Materialien sind so konzipiert, dass sich auch Schüler*innen ohne vertiefte Notenkenntnisse oder Vorerfahrungen mit klassischer Musik gut darauf einlassen können.

- by Dorothee Barth
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- Music Education, Musikpädagogik

Of the many genres and types of groups young composers learn to write for, orchestra can be especially challenging, requiring both depth and breadth of training. Studies have shown that the practical experience in working with an orchestra is essential to the development of the composer’s craft, and that the score is the primary source of communication between the composer and interpreters, including performers and conductors. Based on the research literature and my extensive experience as a conductor and coach of student composers, I provide suggestions and strategies for teaching and learning to compose for orchestra.

- by Chaowen Ting
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- Conducting, Orchestral Conducting, Music Education, Orchestral Studies

Il volume descrive i primi approcci allo strumento: dalla postura corretta alla posizione delle mani e all’imboccatura, per proseguire con le tecniche di respirazione, articolazione, e con vere e proprie proposte didattiche. Pedagogia, metodologia e didattica dello strumento sono per la prima volta affrontati in un manuale pensato appositamente per i docenti di clarinetto delle scuole medie a indirizzo musicale, dei licei musicali, dei corsi pre-accademici e accademici dei conservatori, e per gli aspiranti docenti che vorranno prepararsi al concorso a cattedra.

- by Libreriauniversitaria.it Edizioni
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- Music Education, Musicology, Clarinet, History of music

In this essay I approach the mysterious art of music from several perspectives. As a classical pianist, I think about music as an immensely powerful way of communication. As a music teacher, I am interested in explaining tangibles of music in the clearest terms possible. And as a scholar in the cognitive sciences, I believe that the psychology of music can advance our understanding of the human mind.

- by Marina Korsakova-Kreyn
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- Music Education, Musicology, Music Psychology, Philosophy of Music
- by Bill Thompson
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- Evolutionary Biology, Ethology, Psychology, Cognitive Science
- by Juan Pablo Fernández-Cortés
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- Music Education, Classical Music, Leonard Bernstein
- by Anna Szemere
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- Music Education, Popular Music Studies, Pedagogy

This paper is part of a PhD research that studies the development of music education in Brazil as an area of knowledge. In this specific part we present the Brazilian methodologies of musical education, its history, the educators and the... more

- by Éliton Pereira
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- Music Education, Brasil, Metodologias, Material Didáctico

This is an analysis on the two songs that appear in The Lion King (the movie) which shows how these songs depict Simba's innocence and gradually growing up to maturity.

- by Wai-Chai Tam
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- Music Education, Musicology

How To Sing From Your Diaphragm - How To Breathe From Your Diaphragm. In today's article I am going to discuss and demonstrate one of the basics of singing, how to breathe from your diaphragm. If you have been singing for a while you may... more

- by Fiore Collins
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- Music, Music Education, Singing

Por meio de uma investigação de revisão da produção científica brasileira em Educação Musical, foram encontradas 300 teses produzidas na área, dos anos de 1989 até 2017. Este livro apresenta índices por data e por linhas de investigação das 300 teses. Apresenta também um lista com as referências e um catálogo com detalhes sobre as características das produções doutorais brasileiras sobre Educação Musical.

- by Éliton Pereira
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- Music Education, Música, Educação Musical, Gestores de referencias
- by Evanthia Boulakou
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- Cultural History, Music, Music Education, Music History

This paper includes a comprehensive review of human needs theories and explores applications for music education.

Esta investigación analiza la relevancia social, pedagógica y cognitiva de la integración del ordenador, de sus recursos multimedia y de softwares musicales y pedagógico-musicales en la enseñanza musical en escuela de educación básica que posee laboratorio de informática. Verifica la viabilidad de estas tecnologías como mediadores pedagógicos en el proceso de enseñanza-aprendizaje musical y como agente de inclusión digital. Presenta una contextualización y conceptualización de la Informática-Educativa-Musical. Explicita los resultados de una investigación-acción realizada junto a los alumnos de la enseñanza básica de una escuela pública de Brasil. Se señalan las contribuciones del socio-constructivismo a la educación musical en la escuela de enseñanza básica, aclarando el proceso de desarrollo en las dimensiones sociales y cognitivas de los participantes de la investigación. La evaluación del proceso de desarrollo musical de los sujetos posibilitó verificar que la integración interdisciplinaria música / informática en la escuela favorece el desarrollo de competencias cognitivo-musicales y sociales en un aprendizaje por descubrimientos, en la cual los alumnos construyen conceptos musicales y se desarrollan culturalmente.

- by Norbert Schläbitz
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- Music Education

Bringing together interdisciplinary leaders in methodology and arts-based research (ABR), this comprehensive handbook explores the synergies between artistic and research practices and addresses issues in designing, implementing, evaluating, and publishing ABR studies. Coverage includes the full range of ABR genres, including those based in literature (such as narrative and poetic inquiry); performance (music, dance, playbuilding); visual arts (drawing and painting, collage, installation art, comics); and audiovisual and multimethod approaches. Each genre is described in detail and brought to life with robust research examples. Team approaches, ethics, and public scholarship are discussed, as are innovative ways that ABR is used within creative arts therapies, psychology, education, sociology, health sciences, business, and other disciplines.

- by Patricia Leavy
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- Fiction Writing, Sociology, Public Sociology, Visual Sociology

Musicians' drive to be productive on the Internet led to the development of practices that can inform popular music education. Expanding the concept of popular music education to include online participatory culture practices provides inspiration for musicking online relevant not only in times of uncertainty (like during mandated quarantines experienced during the COVID outbreak in 2020), but also during times of prosperity when practices can be explored in classrooms and during leisure time. In this article, the author discusses three dispositions towards online musicking: DIY-disposition (do-it-yourself), DIWO-disposition (do-it-with-others) and DIFO-disposition (do-it-for-others). The development of these dispositions leads to online and musical literacies that help develop the skills needed for online musicking and performance. This text offers a creation theory about approaching online musicking that can be applied to new technologies and media as online platforms appear and fade on the Internet.

- by Christopher Cayari
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- Music, Music Education, Music Technology, Popular Music Studies

In 1983, Howard Gardner shook the foundations of intelligence testing and the field of education by suggesting that there are seven distinct intelligences. These intelligences had testable and distinct attributes that were supported by his research at the Boston Veterans Administration. This research cited the existence of savants and prodigies, isolation by brain damage, and psychometric findings as support for Multiple Intelligence Theory (MI). Widely accepted by the education community at large, the application of MI principles has been further elaborated in the writings of Thomas Armstrong and David Lazear. Can the principles of MI theory be applied in the area of modern vocal pedagogy? After surveys of the foundations of vocal pedagogy and the principles of MI theory, the author suggests they can. What follows is an analysis of two current vocal pedagogy texts, Van Christy's Foundations in Singing and Jan Schmidt's Basics of Singing, to determine the variety and use of MI principles in each. After the analysis, the author suggests applications of MI principles, using aspects of their song learning chapters as a template that can be adapted to any vocal pedagogy text.

- by Robb Dennis
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- Music, Music Education, Multiple Intelligences, Vocal Pedagogy

This study explored the personal narratives of six AFAB (“assigned female at birth”) singers – three cis and three trans/non-binary performers of varying ages, ethnicities and locales – to understand how their experiences informed their... more

- by Felix Graham
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- Music, Music Education, Transgender Studies, Gender

Take voice lessons to improve your singing ability The appeal of singing is incontestable. Popular programs built on vocal skills are American Idol, The Voice, and of course the X Factor. The success of Karaoke in local bars and... more

- by Fiore Collins
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- Music, Music Education, Singing
- by Jonny Hedz
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- Music Education

This study extends an eight-country mapping exercise (McPherson & O’Neill, 2010; see Research Studies in Music Education issues 2010–2011) to include students’ motivation to study music within the Australian context. It sought to determine whether music learners (students learning an instrument or voice), might be more motivated to study academic subjects at school, and whether gender and socio-economic status (SES) affected student motivation to learn music at school. A total of 2,727 students from grades 5 to 12 completed a questionnaire based on Eccles and Wigfield’s expectancy-value framework. Data collected included: ratings of competence beliefs, interest, importance, usefulness and difficulty for music, English, maths, and science; indications of whether the students were currently learning a musical instrument or voice (music learners); and whether they would like to if given the opportunity. There was an overall significant decline in competence beliefs, interest, importanc...

Dr. Chris Stout Influencer David Frangioni is quite the polymath-as he is an entrepreneur, award-winning veteran of the music industry, technologist, producer, engineer, author, and perhaps most fundamentally, a drummer. He is the Founder of Audio One and CEO of Frangioni Media and All Access IDA (Inspire and Develop Artists). He has dedicated his life to designing and building world-class studios, production facilities, and innovative music technology solutions in order to produce music and develop artists, and just recently he became the publisher of Modern Drummer Magazine.

- by Chris Stout
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- Music, Music Education, Music History, Technology
- by Yojan D Castellanos
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- Music, Music Education, Musicology

Often the music making that occurs in a community can be more proactive outside the school than inside the school. Many student-initiated musical activities found outside the school have a strong sense of learning within a community, where new ideas are produced through autonomous engagement. This idea of making, which in this case is a musical encounter, is taken in this paper as an analogue of Martin Heidegger’s reading of the thing (Heidegger, 2001a). The thing in Heidegger, becomes not just an object, de-contextualised and removed from who has made the thing, but is seen as the embodiment of a shared musical making and meaning. What then is the role of assessment of music for those involved in this making process? For Heidegger the makers of the thing are those who are qualified to validate the thing? Following this thought is it that an external assessor, the teacher, has no validity in Heidegger’s reading? The implication is that those who teach music should work with students to comprehend their knowledge, so as to have any relevance in this context. This it seems is the only way to make the assessment relevant to those working outside the school to develop and sustain their interest. Without addressing this sense of two musical worlds schools will continue to be seen as a de-contextualised experience that does little for those whose experience is located and grounded in music that is predominantly social and autonomous.

El uso de la tecnología se nos presenta como un aliado en pro de la interdisciplinariedad entre las diversas áreas de conocimiento. Este artículo presenta una propuesta de innovación realizada recientemente dirigida al alumnado de la etapa secundaria que une los ámbitos de música, expresión visual y plástica, historia del arte y las nuevas tecnologías. Para ello, y desde el área de educación musical y del área de educación visual y plástica, se propone el uso de software libre (Storyboardthat, Musescore, Audio-tool, Audacity, Gimp, Scribus, Moviemaker, iMovie, Wondershare, VirtualDub y Wax) para, a través de la creación y edición de sonido e imagen, realizar un producto audiovisual que tiene como objetivo asimilar conceptos referidos a la evolución histórica del arte y las características principales de las diversas etapas artísticas en lo que a imagen y sonido se refiere.

- by Diego Calderon-Garrido
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- Music Education, Tecnologia

... Anxiety disorders in children have been associated in adolescence with increased risk ofsubstance misuse (Popper, 1993 ... Fairbanks et al., 1997; Velosa and Riddle, 2000) and cognitive-behaviour therapy (Labellarte et al ... Music... more

Key Words: Music, cerebral dominance, cerebral lateralization, hand
dominance.

- by Suleyman Tarman
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- Music, Music Education, Music Technology, Music Psychology

Learning to Listen: Audience, listening and experience in the classical music concert hall " presents recent research conducted with community orchestras in rural and regional Australia. The paper focuses on the nature and practice of being a 'listener' within the 'audience' and valuing the role that audiences play in the classical music concert hall placing arts organisations as educators and facilitators for learning.

Wenn wir von einem dergestalt erweiterten Musikbegriff ausgehen, wenn also, so wie der Grundsatzartikel dies entwickelt, die ganze Welt Klang ist, dann sind wir, in allem was wir tun und lassen, die Komponistinnen und Interpreten unserer Welt. Wir alle, Komponisten und Interpretinnen in Personalunion, ob wir dies wollen oder nicht. Dann sind wir verantwortlich, als Mitschöpferinnen, für den Klang der Welt, dann ist es an uns die Tore zum Paradies zu öffnen, von innen und von aussen; denn, gerade im Zusammenhang mit persönlichen Glückserfahrungen, kennen wir ja das Paradies bereits aus eigener Anschauung. Elementare musikalische Strukturen können uns bei dieser Aufgabe behilflich sein. Durch ihre Alltäglichkeit verstecken sie sich aber sehr gut im täglichen Leben und es braucht die bewusste aktive Suche und Auseinandersetzung um sich dieses Instrument zu erschliessen. Dazu kommt die Chance -und wenn man sie nicht nutzt, wird sie zur Schwierigkeit -dass eine ernsthafte Auseinandersetzung mit Musik die Praxis braucht, sei es im Schulalltag oder in der bildungstheoretischen Diskussion. Die Wichtigkeit der Handlungsorientierung von Unterricht wird kaum mehr ernsthaft in Frage gestellt. In der Auseinandersetzung um Fragen der musikalischen Bildung aber, um Wert, Sinn und Inhalte von Musik im Unterricht überhaupt, da wird die Schwierigkeit musikalische Sachverhalte verbal festzuhalten kaum richtig ernst genommen. Sehr oft erschweren zudem die unterschiedlichen praktischen Erfahrungen der einzelnen Gesprächspartner die Kommunikation.

- by Markus Cslovjecsek
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- Religion, Music, Music Education, Teacher Education

Is commun knowledge that many teachers teach students to perform, compose, and appraise, but tend to assess music learning through written tests. This fact shows that some teachers believe that they are really assessing the music making processes, and also that other teachers think it is very difficult to assess musical making because of the immaterial nature of music. It is not only a very interesting problem, but also a generalized one, that affects specialist music teachers and non-specialists like kindergarten and primary school teachers. The experiments conducted during the last three years in the Master of Arts in Teaching Music for General Schools kept the written tests to assess theoretical knowledge, but introduced a new assessment device, rubrics with progression descriptors. These rubrics, although sharing common principles, are tailored for each musical activity, piece of music, and class, and applied both on live and on audio/video recordings. Rubrics are written by teachers, not by students, but are used by the later as a formative self-assessment tool to devise and overcome musical problems. In each activity we compared the assessment by the teachers with students’ self-assessment and obtained a very high positive co-relation. We still need to confirm these results by conducting a new research involving a larger group of teachers. The music making assessment rubrics will be part of the next continuous professional development programme at the higher education institution previously mentioned.

The present study employed population-level educational records from 4 public school student cohorts (n ϭ 112,916; Grades 7-12) in British Columbia (Canada) to examine relationships between music education (any participation, type of participation, music achievement, and engagement level) and mathematics and science achievement in Grade 10 as well as English achievement in Grades 10 and 12, while controlling for language/cultural background, Grade 7 academic achievement, and neighborhood socioeconomic status. Music participation was related to higher scores on all 4 subjects and these relationships were stronger for instrumental music than vocal music (Cohen's d range: .28 to .44 [small-medium effect sizes] and .05 to .13 [null-small effect sizes]). School music achievement positively related to scores on all subjects; such relationships were stronger for achievement in instrumental music compared with vocal music. Higher levels of music engagement (number of courses) was related to higher exam scores on all subjects; this pattern was more pronounced for very high engagement in instrumental music (d range: .37 to .55; medium effect sizes) compared with vocal music (d range: .11 to .26; small effect sizes). The effect sizes of these group differences are greater than the effect sizes corresponding to average annual gains of students' academic achievement during high school-in other words, highly engaged instrumental music students were, on average, academically over 1 year ahead of their peers. The findings suggest that multiyear engagement in music, especially instrumental music, may benefit high school academic achievement. Findings and implications are discussed within the broader interdisciplinary literature on music learning. Educational Impact and Implications Statement This large-scale study identified evidence of positive relationships between school music participation and high school exam scores in English, mathematics, and science using population-level educational records for over 110,000 students in British Columbia, Canada. Participation in school music (especially instrumental music) was related to higher exam scores, and students with higher levels of school music engagement had higher exam scores. The positive relationships between music engagement and academic achievement were independent of students' previous (Grade 7) achievement, sex, cultural background, and neighborhood socioeconomic status, and were of considerable magnitude: The group differences observed in our study were greater than average annual gains in academic achievement during high school. In other words, students highly engaged in music were, on average, academically over 1 year ahead of the peers not engaged in school music. In light of this study (the largest of its kind to date), as well as supporting evidence suggesting music learning in childhood may foster competencies (e.g., executive functioning) that support academic achievement, educators may consider the potential positive influence of school music on students' high school achievement.

- by Peter Gouzouasis
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- Psychology, Cognitive Science, Music, Music Education

As provided by Finnish law, the aim of compulsory schooling is to secure adequate equity in education throughout the country. In recent years, however, there have been signs that music education in primary schools may not be living up to the aim of equity (Suomi 2019; Vesioja 2006). The concern about music education provision in grades 1–6 is shared by many countries around the world. In this study, we examined the variation in how teachers (N = 133) experience their ability to support pupils in realising the objectives for music eduction in the national curriculum and how principals (N = 82) describe the organisation of music education in their schools. Data was generated through an online survey in Swedish-speaking primary schools in Finland and analysed with both quantitative and qualitative methods (descriptive statistics, analysis of variance, regression analysis, qualitative content analysis). The findings suggest that there is a wide and significant variation in how the music...

- by Jens Knigge
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- Music Education, Curriculum and Instruction, Primary Education