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Journal articles on the topic 'Children learning instrumental music'
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1
Ho, Wai-Chung. "The Perception of Music Learning among Parents and Students in Hong Kong." Bulletin of the Council for Research in Music Education, no. 181 (July 1, 2009): 71–93. http://dx.doi.org/10.2307/40319228.
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Abstract Music education is not confined to the school context, nor does learning stop after school hours. The out-of school experiences ofchildren y especially those gained at home, are just as valuable. Parent involvementy in the form of listening to music, concert attendance, instrumental learning, and aspirations in music education, has significant direct as well as indirect effects on childrens attitudes towards music. 19 families, including 20 parents and their 21 children, revealed a number of complex and interconnected themes, which both aided and hindered students’ participation in, and learning about, music. The interview data show that: (a) though the parents and their children have different musical experiences, parents influence concert attendance, and offer financial support for childrens participation in music; (b) although instrumental learning is commonly found among students, parents often question the value of persistent learning; and (c) school music education is highly regarded by most parents though they do not expect their children to aspire to further development of their musical abilities in the future. By looking at examples of interactions between parents and children with respect to music participation and learning, this study challenges conventional notions of the extent to which parent involvement could have a positive effect on students’ attitudes toward music learning.
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Verney, John P. "The Integrated Instrumental Teacher: Learning to Play Through Performance, Listening and Composition." British Journal of Music Education 8, no. 3 (November 1991): 245–69. http://dx.doi.org/10.1017/s0265051700008500.
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This article is written to show that composition can become an integral part of an instrumental teacher's methodology. Current musical education in schools in England and Wales is trying to give children a broad understanding of what music can contribute to the lives of all - listeners and performers. The starting point for this is composition. If instrumental teachers can introduce children to this discipline along with the disciplines of instrumental technique and a love of performing, we can create true, well-balanced musicians.Through this approach it is possible that we can develop an integrated music curriculum that joins together the expertise of the classroom music teacher and the instrumental teacher, with resulting benefits to children, who can then see that music is not divided between the creative classroom and the re-creative instrumental and performing worlds.
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Schenck, Robert. "Above all, Learning an Instrument must be Fun!" British Journal of Music Education 6, no. 1 (March 1989): 3–35. http://dx.doi.org/10.1017/s0265051700006811.
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This article deals with objectives in the teaching of musical instruments to children. Methods of establishing and re-establishing goals are suggested, and previous lists of objectives pertaining to music education in general, instrumental teaching and athletics are presented. Based on these lists, and on his experience as a teacher and consultant in instrumental methodology, the author presents a list of goals specifically formulated for the teaching of musical instruments to children. Some of the goals are far-reaching, dealing not only with progress on the instrument, but also with the overall musical and personal development of the pupils. The article concludes with a discussion about possible priorities among these objectives.
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Ranelli, Sonia, Leon Straker, and Anne Smith. "Prevalence of Playing-related Musculoskeletal Symptoms and Disorders in Children Learning Instrumental Music." Medical Problems of Performing Artists 23, no. 4 (December 1, 2008): 178–85. http://dx.doi.org/10.21091/mppa.2008.4036.
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Musculoskeletal problems related to playing musical instruments have long been identified with adults, but little is known about their development during childhood. What evidence does exist has not adequately considered risk factors, in particular the effects of gender and age. A cross-sectional questionnaire study gathered data from 731 children enrolled in the instrumental music programs of government primary and secondary schools in Perth, Western Australia. This study, the first in a series investigating risk factors, established the prevalence of playing-related musculoskeletal problems, both symptoms (PRMS) and disorders (PRMD), and the association with gender and age. In this group, 67% of children reported ever experiencing PRMS, with 56% reporting symptoms at least monthly. Females were more likely (odds ratio [OR] 1.5, p = 0.03) to experience symptoms and older children were more likely to have ever experienced symptoms (p < 0.001). Thirty percent reported the experience of a PRMD, being unable to play their instrument as usual. Females (OR 1.5, p = 0.035) and older children (p = 0.001) again were more likely to report the experience of a disorder. For children having reported the experience of a PRMS within the last month, 5% took medication to relieve the problem and 4% visited a health professional to seek advice for the problem.
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Ritchie, Laura, and Aaron Williamon. "Primary School Children’s Self-Efficacy for Music Learning." Journal of Research in Music Education 59, no. 2 (May 11, 2011): 146–61. http://dx.doi.org/10.1177/0022429411405214.
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The Self-Efficacy for Musical Learning questionnaire was adapted and tested with 404 primary school children, producing a robust Cronbach alpha (0.87) and confirming a single underlying factor through exploratory factor analysis. Test–retest scores showed the measure’s stability over a 9-month period. Data were collected on children’s prior music experience, extracurricular activities, and typical daily activities. Children also completed the Short Warwick-Edinburgh Mental Well-Being Scale and the Strengths and Difficulties Questionnaire. Those currently engaged in music tuition (learning an instrument or singing) had significantly higher self-efficacy scores than children who were not, and overall, girls’ scores were significantly higher than boys’. Correlations with various additional measures, including wellbeing and reading for pleasure, highlighted multifaceted relationships of self-efficacy to children’s lives. Regression analyses revealed that prior experience with instrumental tuition was the strongest predictor of music self-efficacy for learning; prosocial behaviors predicted boys’ scores, and well-being predicted girls’ scores.
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Robinson, Mitchell. "From the Band Room to the General Music Classroom: Why Instrumentalists Choose to Teach General Music." Bulletin of the Council for Research in Music Education, no. 185 (July 1, 2010): 33–48. http://dx.doi.org/10.2307/41110364.
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Abstract The purpose of this study was to investigate the reasons given by music educators who were trained as instrumentalists for choosing to teach elementary general music rather than instrumental (band) music in the schools. Analysis of participant responses to an emailed questionnaire resulted in the following four emergent themes: (a) a clear preference for working with young children; (b) a concern that the demands of a band teaching position would not allow for the sort of work/life balance they wished to have in their own lives; (c) a strong aversion to the "culture of competition" they perceived to be prevalent in the band world; and (d) a concern regarding the perceived limitations of instrumental music teaching and learning as it exists in the schools. The paper continues with a discussion of the goodness of fit between specific personality types and teacher candidates’ vocational choices, and the relationship of competitive types (i.e., hypercompetitiveness and personal development competitiveness) to teachers’ perceived feelings of success, achievement and career satisfaction. Implications for music teacher education, including increased emphasis on socialization strategies and reconceptualization of the enterprise of instrumental music as practiced in the schools, are also included.
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Tanja, Linnavalli, Soni García Adriana, and Tervaniemi Mari. "Perspectives on the Potential Benefits of Children’s Group-based Music Education." Music & Science 4 (January 1, 2021): 205920432110335. http://dx.doi.org/10.1177/20592043211033578.
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Recent empirical evidence suggests that attending individual instrumental training in music schools benefits the development of cognitive skills such as language and executive functions. In this article, we examine studies that have found these transfer effects provided by group-based music education in school and preschool contexts. We conclude that group-based music lessons may enhance children’s language skills and possibly executive functions, but evidence for the impact of music activities on intelligence—as measured by nonverbal intelligence tests—or long-term prosocial abilities is scarce. Although the beneficial effects of music on language skills and executive functions are small, they seem to be discernible. However, we do not know if they apply to all children or only to, for example, children who enjoy engaging in musical activities. We suggest that group-based music education should be part of the national school and preschool curricula, because of both the enjoyment of learning music-related skills and the impact it may have on children’s general learning. In parallel, we encourage new empirical longitudinal projects to be launched, enabling further investigations into the promises of music.
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Pomerleau Turcotte, Justine, Maria Teresa Moreno Sala, and Francis Dubé. "Factors Influencing Technology Use in Aural Skills Lessons." Revue musicale OICRM 4, no. 1 (June 26, 2017): 1–16. http://dx.doi.org/10.7202/1040297ar.
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In North America, aural skills (as) are usually taught to children during the instrumental music lessons. While learning musical dictation and sight-singing can be difficult for some learners, the use of appropriate technological tools could facilitate the process. However, the use of information and communication technologies (ict) by music teachers in aural skills instruction to children have not been documented. An online survey was conducted in the Province of Quebec (Canada) in order to answer the following questions: 1) To what extent do instrumental music teachers use ict when teaching as to children between 6 and 12 years old?; 2) Are the teachers’ socio-demographic characteristics, as training and perception of as teaching linked to the use and the frequency of use of ict? The results show that the use of ict to teach as is still relatively uncommon. Furthermore, it would be negatively correlated with age, competence felt during training and perceived competence to teach as. Finally, it appears that a smaller proportion of piano teachers and women use ict, or use them less often. A better understanding of the teachers’ perception of technology could help develop more adapted resources.
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Goins Frewen, Katherine. "Effects of Familiarity With a Melody Prior to Instruction on Children’s Piano Performance Accuracy." Journal of Research in Music Education 57, no. 4 (November 13, 2009): 320–33. http://dx.doi.org/10.1177/0022429409351178.
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The main purpose of this study was to examine the effects of familiarity with the sound of a melody on children’s performance of the melody. Children in kindergarten through fourth grade ( N = 97) with no previous formal instrumental instruction were taught to play a four-measure melody on a keyboard during an individual instruction session. Before learning to play the melody, half of the children listened to a model of the melody repeatedly in music class to become familiar with the music. Children’s familiarity with the melody was assessed through a melodic error identification test administered immediately before and after instruction. The results indicated that children who were familiar with the melody played significantly more correct notes than did children not familiar with the melody and that performance accuracy increased with grade level.
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Ranelli, Sonia, Leon Straker, and Anne Smith. "Playing-related Musculoskeletal Problems in Children Learning Instrumental Music: The Association Between Problem Location and Gender, Age, and Music Exposure Factors." Medical Problems of Performing Artists 26, no. 3 (September 1, 2011): 123–39. http://dx.doi.org/10.21091/mppa.2011.3021.
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PURPOSE: Playing-related musculoskeletal problems (PRMP) are common in adult musicians, and risk factors include gender, music exposure, and particularly instrument type. Emerging evidence suggests PRMP are common in children and adolescents and that risk factors may be similar. The aim of this study was to determine the prevalence of PRMP, both symptoms and disorders, and PRMP location in children and adolescents as well as the associations with gender, age, and music exposure factors such as type and number of instruments and playing time. METHODS: This study surveyed 731 children (460 females), aged 7 to 17 years, studying instrumental music in government schools in Perth, Australia. Lifetime and monthly symptoms, monthly disorders (inability to play an instrument as usual), and PRMP location were examined. Chi-squared analyses were used to evaluate associations between gender, age, music exposure, and PRMP outcomes. Logistic regression evaluated the independent association of these potential risk factors with PRMP prevalence and location. RESULTS: Sixty-seven percent of students reported PRMP symptoms at some point, 56% reported them within the last month, and 30% reported an inability to play as usual within the last month. After adjustment for gender and age, the type of instrument played (upper and lower strings, woodwind, and brass) was significantly associated with all PRMP (p<0.005) and playing three instruments was protective against monthly symptoms (OR 0.43, p=0.05). The right (24%) and left (23%) hand/elbow and neck (16%) were the most commonly reported PRMP locations, with females affected significantly more than males Prevalence of PRMP increased with age for neck (p<0.001), mid-back (p=0.007), low back (p<0.001), right hand/elbow (p=0.008), and mouth (p=0.011). PRMP prevalence for the left hand/elbow and right and left shoulders demonstrated high rates across all childhood ages. Odds ratios for the risk of PRMP in different locations varied by instrument played. CONCLUSIONS: The high prevalence and location of PRMP are important issues for child and adolescent instrumentalists. Gender, age, and music exposure are associated with PRMP risk and need to be addressed to ensure musicians’ personal well-being and musical longevity.
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Nedelcuț, Nelida, Ciprian Gabriel Pop, and Amalia Nedelcuț. "Distance Learning in the Musical Field in Romania through European-Funded Projects." International Journal of Advanced Corporate Learning (iJAC) 11, no. 1 (August 29, 2018): 36. http://dx.doi.org/10.3991/ijac.v11i1.9209.
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<p class="Abstract">The organization of Romanian distance learning in music has been supported in terms of research, collaboration and financing by European projects, with the following achievements: training of teaching staff involved in distance learning, assistance in activities meant to introduce ICT in general schools, construction of a platform dedicated to distance learning activities, creating a database with instrumental accompaniments for singers, designing multimedia courses, assessing distance learning programs offered by the Academy of Music Gheorghe Dima in Cluj-Napoca.</p><p class="Abstract">The Prelude Training Programme on ICT in Music Education – a project aimed at developing a training programme for in-service music educators, as there are many ways in which technology helps educators meet instructional goals: Programs designed to help students develop their musicianship or improve their knowledge of notation and skill in reading notation, support with improvisation skills, notation and sequencing programs which assist students in composition activities.</p><p class="Abstract">Vemus - Virtual European Music Schools - a programme which focuses on teaching music notation or performing instruments, involving execution of rhythm patterns, melody, music scores; E-vocal learning, with simultaneous appearance of sound and notation, conducted by famous musicians. DIMA - Direct Impact of Multimedia Application - a platform that comprises courses, audio and video examples focusing on music history, performing and listening activities.</p><p class="Abstract">The partners proceed from various areas (higher education, innovation/development centers), and the projects were conceived to stimulate the implementation of ICT in the educational process in music, approaching teaching staff as a target group, and students as an interested party.</p>The need for such products was revealed by interviews and questionnaires and the results’ evaluation proved that the online environment can be accessed in order to develop educational resources, enrich lesson content, motivate and engage children in music education, deliver information and learning opportunities, stimulate children in their musical endeavors.
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Mukmeneva, R. I. "General pedagogical foundations of D. V. Andrusenko’s work with children musical collectives." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 38–55. http://dx.doi.org/10.34064/khnum1-53.03.
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Background. The relevance of the topic of this article is determined by the trends of modern musicology to thorough studying the achievements of ensemble bandura performing, in order to use the practical experience of talented teachers-bandurists. As a result of the radical changes that took place in the cultural realm during the 1990s, the folk vocal-instrumental performing was a subject to stagnation. The mass character that had distinguished this area had been lost. However, the needs of contemporary (early 21st century) socio-cultural practices in the realities of existence of folk vocal-instrumental musical culture are increasingly being linked to the rethinking of former forms of collective music playing. After all, the folk vocal-instrumental performing is a form of manifestation of national consciousness, and therefore it functions as an important factor in restoring the Ukrainian national tradition. To bandura vocal-instrumental performing field a talented teacher, choirmaster, bandurist, master of making these musical instruments – Dmytro Vasyliovych Andrusenko (1895–1965) belongs, whose figure draws attention due to his contribution to pedagogical, cultural-educational, artistic space of some regions of Ukraine (Poltava, Sumy). Objectives. The article analyzes D. V. Andrusenko’s artistic-pedagogical activity. The peculiarities of work of the bandurist and conductor as an organizer and leader of children’s music collectives, capellas of bandurists and choirs, are highlighted. The results of the study. The pedagogical principles, techniques and methods of work of the teacher with the pupils in terms of mastering performing skills, development of vocal skills, civic and patriotic education are clarified. It should be emphasized that D. V. Andrusenko fruitfully worked not only as a musician, teacher, but also as a propagandist, popularizer of national culture. His pupils received musical, national-patriotic education, grew spiritually, enriched culturally. This is evidenced by their repertoire, which included a lot of songs in T. G. Shevchenko’s words, Ukrainian folk songs, classical works, as well as songs of different peoples – the members of the collectives got a spirit of respectful attitude towards musical cultures of other countries. As the organizer and leader of the collectives, D. V. Andrusenko taught his pupils vocal skills and playing bandura. He used the principles of music didactics to solve these problems. D. V. Andrusenko used such a system to work with bandurists of his capella, which was based on the leader methods of music pedagogy. His system included learning the techniques of playing the instrument, step by step, formation of pupils’ technical skills, systematic exercises. As a highly skilled choirmaster, D. V. Andrusenko used in his pedagogical arsenal the necessary basic methods of work for the formation of the voice apparatus of his pupils. The important task of the choir teacher is correct, vocally competent distribution of the pupils’ voices. This part of work was not difficult for D. V. Andrusenko, since he was a choirmaster of the high level, had absolute pitch. Musical-pedagogical activity of D. V. Andrusenko was connected with institutions of education and culture. On the basis of education institutions and houses of culture he organized large creative collectives: capellas of bandurists, choirs, instrumental ensembles. According to the memoirs of witnesses and participants of the collectives, their head, while selecting future pupils among the schoolchildren, carefully listened to each person. The selection was serious, the best pupils came to the collectives. It should be mentioned that D. V. Andrusenko – a teacher, musician, master – was an example for his pupils. They all mention him with respect, emphasizing his exceptional professionalism, intelligence, education and high moral qualities. Conclusions. Thus, the conducted research proves the presence of general pedagogical foundations in D. V. Andrusenko’s work with children’s musical collectives, the use of the leading principles of music teaching, such as: systematicity and graduality; availability of knowledge; retention of learning (by the methods of repetition, exercises); individual approach to the learning process; student and teacher activity; ostensiveness, visibility, clarity (by methods of showing and explanation); communication of learning with life practices; formation of a situations of creative competition and encouragement to success. The principles and methods used by D. V. Andrusenko as a teacher in his work with amateur musical teams have not lost their relevance today.
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Daynova, Guzel, Margarita Zabbarova, Laysan Karimova, Irma Levina, and Tatyana Politaeva. "Digital educational space in the professional training of music teachers." SHS Web of Conferences 98 (2021): 05025. http://dx.doi.org/10.1051/shsconf/20219805025.
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Professional training of music teacher is a versatile and creative process. It includes numerous areas, such as instrumental and vocal training, studying pedagogical technologies for working with children, studying masterpieces of world music art, and, certainly, studying digital resources and technologies. Digital education space is a digital environment integrating opportunities of digital education resources, computer-aided music technologies and tools, which is the basis in training music teacher. The importance of skills of setting as interactive accompaniment and basic user accompaniment in the form of phonogram is also stipulated by the specificity of accompaniment activity of music teacher as one of the major constituents of professional readiness. Imagination of music teacher as a concertmaster (accompanist of children singing) exerts the influence on whether he would be able by means of expressive playing and keyboard technique to underline and to support the temper of children singing, to present clearly and to reproduce instrument features by piano. That is, a music teacher should be aware of organology, know features of instrument sounding and peculiarities of various instruments. This is sufficiently aided by sequencer software with embedded banks of virtual tunes on synthesizer. In digital education space, video is presented as teaching aid for transfer of learning information, that is, it is considered as video aid, video device used for organization of education. Under existing conditions of distance learning, the interaction between teacher–choirmaster, teacher–vocalist, concertmaster, and students is supported by information and communication technologies. Therefore, mastering means and resources of digital education space is aimed at improved of professional training of future music teacher being the basis of formation of personal capabilities and skills of student.
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Howe, Michael J. A., and John A. Sloboda. "Young Musicians' Accounts of Significant Influences in their Early Lives. 2. Teachers, Practising and Performing." British Journal of Music Education 8, no. 1 (March 1991): 53–63. http://dx.doi.org/10.1017/s0265051700008068.
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This article reports further qualitative findings of an interview study involving 42 students (aged 10–18) attending a specialist music school, and parents of half of them. The students were encouraged to talk about events and experiences that influenced their progress in learning musical instruments. Observations by the children and their parents concerning perceptions of instrumental teachers, various aspects of practising activities, and attitudes towards performing. These insights complement previous quantitative and qualitative findings (Sloboda and Howe, 1991; Howe and Sloboda, 1991) and contribute descriptive knowledge of the precursors of musical accomplishments.
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MOROZ-REKOTOVA, L. "FORMATION OF MUSIC SKILLS OF A PRE-SCHOOL EDUCATIONAL INSTITUTION TEACHER." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 1 (July 6, 2022): 285–93. http://dx.doi.org/10.31494/2412-9208-2022-1-1-285-293.
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The article raises the issue of the importance of teaching future educators of preschool education to music, as a form of music lessons at a non-professional level. The results of a pilot study on the knowledge of elementary music theory of higher education students at the beginning of the discipline are presented. The necessity of mastering the elementary theory of music by future specialists of preschool education is substantiated. A brief analysis of the content of educational programs of the obligatory component of the educational program of the specialty 012 Preschool education «Theory and methods of music education» is given. The role of an educator in the musical education of preschool children is revealed, in particular in the organization and management of independent musical activity of children, the formation of competencies provided by the Standard of preschool education of Ukraine. The necessity of having a musical diploma in the music-educational work of an educator with preschool children is illustrated. The purpose, functions and specific features of music making in professional training of the future specialist of preschool education are given. Types of music making by genre (instrumental and choral), by type of organization (individual, group and collective), by level (professional, amateur), by form of activity (county, intermediate, active) are revealed. The necessity of music making of future educators of preschool institutions with reliance on the system of elementary music making by Karl Orff is substantiated. An approximate structure of seminars with the use of music by future educators of preschool institutions is given. The peculiarities of the content and technical support of these classes in the conditions of the audience are described. The list of mobile applications and online services for distance learning is given. The list of music skills of future educators of preschool institutions is indicated. The interconnected directions of elementary music making are concretized. The sequence of the process of learning elementary music making is determined. Key words: making music, music education, elementary music theory, types of children's music activities, future educator of preschool education.
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Ranelli, Sonia, Anne Smith, and Leon Straker. "The association of music experience, pattern of practice and performance anxiety with playing-related musculoskeletal problems (PRMP) in children learning instrumental music." International Journal of Music Education 33, no. 4 (September 9, 2015): 390–412. http://dx.doi.org/10.1177/0255761415597151.
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Kaczmarek, Stella. "Mental practice of musically gifted adolescents." Roczniki Psychologiczne 22, no. 4 (June 29, 2020): 353–71. http://dx.doi.org/10.18290/rpsych.2019.22.4-4.
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In the last decade, the growing interest in the subject of musicians’ mental practice has produced a significant increase in research on mental and instrumental practice. More than half of all the studies concerns professional musicians, and relatively little research is conducted on children or adolescents. The article will describe research on the mental practice of teenagers attending music schools in Poland and Germany. Questionnaire surveys answer the question of whether young people use mental practice, how they do it, and what the content of mental training while practicing an instrument is. The analysis suggests that gifted adolescents from both countries (1) do not use mental rehearsal very often and (2) use mental practice strategies in a similar way. What they differ in is the frequency of using mental practice as an integral part of their instrumental learning, using musical-analytical strategy, and the quality of mental practice. The study indicates the need to teach mental practice and its importance in increasing the effectiveness of instrumental practice.
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Hash, Phillip M. "The Universal Teacher, by J. E. Maddy and T. P. Giddings (1923)." Journal of Research in Music Education 58, no. 4 (November 2, 2010): 384–410. http://dx.doi.org/10.1177/0022429410385869.
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The Universal Teacher for Orchestra and Band Instruments ( UT), a class method by Joseph E. Maddy and Thaddeus P. Giddings published by the Conn Musical Instrument Company in 1923, was the subject of this study. Research questions focused on (1) details surrounding the writing and publishing of the UT; (2) philosophical, psychological, and pedagogical principles behind the method; (3) the influence of the UT on class teaching and subsequent books; and (4) implications of this research for modern practice. Maddy and Giddings wrote the UT from 1920 to 1922 while teaching summer methods courses together at Chautauqua, New York, and at the University of Southern California. The authors designed the book to appeal to children by applying the song method from elementary vocal music to instrumental instruction. This pedagogy differed from previous instrumental methods in that instructional material consisted entirely of melodies rather than scales and exercises. The UT also employed a detailed, systematic series of procedures intended to maximize the use of class time, hold students accountable for their progress, and allow independent learning with as little teacher intervention as possible.
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Davidson, Jane, and Sarah Scutt. "Instrumental learning with exams in mind: a case study investigating teacher, student and parent interactions before, during and after a music examination." British Journal of Music Education 16, no. 1 (March 1999): 79–95. http://dx.doi.org/10.1017/s0265051799000169.
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Teaching and learning dynamics in musical instrument tuition, especially in one-to-one teacher–student contexts, have not been studied in a truly systematic manner. The research described in this paper attempts to bring some insights to this area, for teachers and students were studied over a period of six months. More specifically, in the fourth month of the study, all the learners took a practical instrumental examination of the Associated Board of the Royal Schools of Music (either violin or piano, ranging from Grades 1 to 8). It thus became possible to explore how the teachers aided, developed and structured the students' preparation up to, during and after the examination, and also how the students worked and responded to the examinations within the context of their families. Furthermore, parents were observed and interviewed about their interactions with their children – the students – and the teachers. Looking at four teachers and eighteen students, the results revealed a number of complex and interconnected themes which both aided and hindered learning. The current paper highlights these.
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Ranelli, Sonia. "Hand and Upper Limb Playing-Related Musculoskeletal Problems in Children Learning Instrumental Music: the Influence of Gender, Age and Type of Instrument." Journal of Hand Therapy 23, no. 4 (October 2010): 433. http://dx.doi.org/10.1016/j.jht.2010.09.065.
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Prokopov, S. "J. S. Bach and G. F. Handel’s works performed by the choir of the Kharkiv National Kotlyarevsky University of Arts students." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 22–37. http://dx.doi.org/10.34064/khnum1-52.02.
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Background. In Ukraine both musicologists and performers (in particular the choirs conducted by well-known choirmasters) do much for the further development of the home Bach studies. For instance, the direction of the ‘choral bahhiana’ was actively developed by the leading choirmasters of that time professor M. Berdennikov (Kiev), Y. Kulik (Kharkiv) in the 60’s and 70’s. It is known that future students of the choral conducting departments first learn the choral heritage of J. S. Bach and G. F. Handel, as a rule, at the piano lessons at children musical schools and secondary schools. Unfortunately, their choral works aren’t often sounded today in the concert halls of musical academies and universities of arts. This music seemed to move from the concert stage to the classrooms. Analysis of publications according the topic. Among the researches that highlight the problems of the style of the sacred works of J. S. Bach and G. F. Handel, it is necessary to point out the fundamental studies of I. Givental and L. Gingold, M. Druskin, T. Livanova, V. Protopopov, A. Schweitzer, articles of modern authors by K. Berdennikova, N. Inutochkina, Y. Lyashenko, V. Semenuk, G. Skobtsova. However, the questions of the specifics of choral vocal technique remain, as a rule, outside the attention of scholars and they constitute the topic’s relevance of the article. Methods. The usage of the historical method contributed to the research of the educational choral performance at the present stage. It is involved structural-functional and intonational methods for establishing dramatic works’ features and concretization of their spiritual content. The comparative method is used to determine the differences between vocal style of J. S. Bach and G. F. Handel’s works and the technique of working with them. Objectives. The main goal is systematization of theoretical and practical observations with the performance of J. S. Bach and G. F. Handel’s choral works by the choir of the Kharkiv National Kotlyarevsky University of Arts students. The article is devoted to highlighting the problems of the performing process and the specifics of the choir practice of students with compositions by J. S. Bach (Cantata No. 140, ‘Wachet auf, ruft uns die Stimme’ and Magnificat) G. F. Handel (Dettingen Te Deum in D major, HWV 283). Results. The holding of the 22nd International Music Festival “Kharkiv Assemblies” devoted to the J. S. Bach and G. F. Handel’s oeuvre in 2015 was a significant event not only for Kharkiv but also the whole Ukraine’s musical life. The choir of the Kharkiv National Kotlyarevsky University of Arts students traditionally participated in it as in previous years (art director – Honored Art Worker of Ukraine, professor S. Prokopov, choirmasters – laureate of the all-Ukrainian competition H. Savelyeva, award winner of the all-Ukrainian competition O. Fartushka). The choir performed Magnificat and Cantata No. 140 by J. S. Bach ‘Wachet auf, ruft uns die Stimme’, fragments from the Dettingen Te Deum in D major, HWV 283 by G. F. Handel (the last two works are Kharkiv premieres). The work with them took place in short order and so it caused of some vocal technique difficulties and the problems of performative concept and performative style. Complaxities were intensified by the lack of necessary acoustic accumulation and the practical experience of performing the music of the Baroque by many young choirmasters, members of the choir group. The importance of studying the musical heritage of composers of genius in order to make a conductor-choirmaster personality is emphasized in the article. The main difficulties of learning choral scores due to the lack of performing experience, certain acoustic accumulation of choral music of the late baroque period which students of choral conducting specialization have. The approximation to the true understanding of the performing style of choral music by J. S. Bach and G. F. Handel may be provided with conditions of a thorough in-depth studying their works. The main tasks of the performative choices are described: appreciation of the entire depth of the spiritual content of J. S. Bach’s and G. F. Handel’s music by young performers, the correlation between vocal and instrumental principles, rational and emotional ones. One of the main tasks of the choir practice of students with J. S. Bach’s cantata No. 140 «Watchet auf, ruft uns die Stimme» was an adequate presentation of composer’s style. The composer treats the human voice as equal to the orchestra. Therefore, the vocal-instrumental nature of Bach’s choral style needs another way of sound-building, a greater unity of voices than our home choral music needs. They consider specific methods and techniques of work on such executive factors as tempo-rhythm, strokes. The questions of choral vocal technique, in particular, vocal intonation (significance of timbre expression, usage of different types of respiration, clear diction, active articulation) are raised. J. S. Bach’s interpretation of voice as an instrument, demands from performers a great deal of its mobility, almost virtuosity, especially in contrapuntal sections. As for the vocal style of G. F. Handel, the influence of the operatic style, which is felt in his oratorios and cantatas is emphasized. Conclusions. The choir practice of students and performing by the student choir of German composers’ genius works, the communication of young performers with outstanding conductors, singers (including foreign ones) became for them the true school of craftsmanship, promoted the professional growth of the choir group, revealed its new performance capabilities. Choral music of J. S. Bach and G. F. Handel should move from the educational audiences of universities and academies to the specific halls. The works of genius need to include in student choral groups’ repertoire.
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Nielsen, Siw G. "Learning strategies in instrumental music practice." British Journal of Music Education 16, no. 3 (November 1999): 275–91. http://dx.doi.org/10.1017/s0265051799000364.
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This case study of two organ students aims to identify learning strategies used in preparing a complex piece for performance. The results are based on data gathered from verbal reports given both during and after practice sessions. These sessions were also videotaped. The results show that the students used learning strategies to select and organise information and to integrate it with existing knowledge. In addition, they were systematic in their approaches to sorting the learning material.
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Doğantan-Dack, Mine. "Studio-based instrumental learning." Music Education Research 16, no. 2 (April 3, 2014): 220–22. http://dx.doi.org/10.1080/14613808.2014.895098.
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Nielsen, Siw. "Self-regulating Learning Strategies in Instrumental Music Practice." Music Education Research 3, no. 2 (September 2001): 155–67. http://dx.doi.org/10.1080/14613800120089223.
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Zhukov, Katie. "Student learning styles in advanced instrumental music lessons." Music Education Research 9, no. 1 (January 31, 2007): 111–27. http://dx.doi.org/10.1080/14613800601127585.
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Graabraek Nielsen, Siw. "Achievement goals, learning strategies and instrumental performance." Music Education Research 10, no. 2 (June 2008): 235–47. http://dx.doi.org/10.1080/14613800802079106.
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Paul, Stephen J., David J. Teachout, Jill M. Sullivan, Steven N. Kelly, William I. Bauer, and Michael A. Raiber. "Authentic-Context Learning Activities in Instrumental Music Teacher Education." Journal of Research in Music Education 49, no. 2 (July 2001): 136–45. http://dx.doi.org/10.2307/3345865.
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The purpose of this study was to examine the relationship between the frequency of particular authentic-context learning (ACL) activities during undergraduate instrumental music teacher training and the initial teaching performance (ITP) of undergraduate instrumental music student teachers. Subjects (N = 30) were instrumental music student teachers at four major universities. Four ACL activities, identified from the literature and limited to instrumental music settings, included (a) early field experience teaching episodes, (b) peer-teaching episodes, (c) episodes of subjects watching videotapes of their teaching, and (d) episodes of subjects watching videotapes of their teaching with a coaching instructor. ITP was determined by evaluating teaching episodes, which occurred within the first 3 weeks of student teaching, using the Survey of Teaching Effectiveness (Hamann & Baker, 1996). Significant correlations were found between ITP and three of the four ACL activities. In addition, an overall ACL experience value was calculated and categorized into high, medium, and low levels. Those with a high level of ACL experiences were significantly better teachers than those with medium or low levels of ACL experiences.
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West, Tore, and Anna-Lena Rostvall. "A Study of Interaction and Learning in Instrumental Teaching." International Journal of Music Education os-40, no. 1 (May 2003): 16–27. http://dx.doi.org/10.1177/025576140304000103.
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Eleven brass and guitar lessons in Sweden were videotaped, transcribed, and analyzed to investigate how teachers and students used speech, music, and body language; to what they focused their attention during the lessons; and how this affected student learning. A detailed description of each lesson was analyzed using cognitive concepts of experiencing and learning music, as well as concepts of educational genres of speech and music use. Five hours of video of 4 teachers and 21 students were minutely described and analyzed. The results of the study reflect how music during the lessons was broken down into separate note symbols as read from the score, rather than the expected musical phrases, rhythms and melodies. Surprisingly, expressive qualities of performing music were not addressed at all. The teacher controlled the interaction, while student attempts to take any initiative were ignored or questioned in a manner that was not anticipated.
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Allsup, Randall Everett. "Mutual Learning and Democratic Action in Instrumental Music Education." Journal of Research in Music Education 51, no. 1 (April 2003): 24–37. http://dx.doi.org/10.2307/3345646.
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This ethnography is an investigation of the notion of democracy as community-in-the-making. The researcher and nine band students came together to create music that was meaningful and self-reflective. The participants elected to split into two distinct ensembles. Group 1 chose not to compose on their primary band instruments, opting for electric guitar, bass, synthesized piano, and drums. Group 2 chose to create music using traditional concert band instruments. Choosing a genre and working with the traditions governing its creative processes seemed to be the largest determinant of a groups culture. The group members and researcher saw classical music as unproductive for group composing or community-making. Composing in a jazz or popular style was conceived of as fun, nonobligatory, self-directed, and personally meaningful. In such settings, there was an emphasis on interpersonal relationships, peer learning and peer critique, as well as an expectation that members will take care of each other.
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Rostvall, Anna-Lena, and Tore West. "Analysis of interaction and learning in instrumental teaching." Music Education Research 5, no. 3 (November 2003): 213–26. http://dx.doi.org/10.1080/1461380032000126319.
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Sindberg, Laura K. "Band Project: A Model for Service Learning." Update: Applications of Research in Music Education 38, no. 2 (August 29, 2019): 37–45. http://dx.doi.org/10.1177/8755123319873032.
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Real-world experiences, such as situated learning, fieldwork, and student teaching have been among the most prevalent examples employed in teacher preparation programs. Despite the increasing evidence in support of service learning in music teacher preparation, there are a limited number of models specific to instrumental music education. The purpose of this study was to explore the experiences of participants in one such model, called Band Project. Participants included preservice music educators, young band students, and one lead teacher who also served as the instrumental music teacher at the school. The research question that guided this investigation was as follows: In what ways do participants in an afterschool band project describe their experience? Four themes emerged from analysis of data: (a) Relationships and Community, (b) Challenges and Tensions, (c) Aspirations, and (d) Transformations. Findings reinforced the importance of service learning for preservice music educators, particularly amid growing concerns for cross-cultural awareness, inclusion, and social justice in music teacher preparation.
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Kai-Wen Cheng, Evangeline, and Colin Durrant. "An investigation into effective string teaching in a variety of learning contexts: a single case study." British Journal of Music Education 24, no. 2 (July 2007): 191–205. http://dx.doi.org/10.1017/s0265051707007413.
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This study aims to explore and investigate the factors that contribute to effective instrumental teaching and to understand the interdependence and interactions between these factors. The study obtained data using qualitative research tools from a series of individual and group instrumental teaching observations and a semi-structured interview with an instrumental teacher operating in a variety of teaching contexts. Findings from the study suggest that a great number of factors are required for instrumental teaching and learning to be effective. These factors interweave with each other and form a creative teaching style for the subject. The research indicated that it is helpful for the teachers to focus on pupils' learning processes rather than only on their learning outcomes. When real learning occurs, it is a positive experience for both teachers and pupils with long-term benefits in other areas of learning.
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Havrilova, Liudmyla H., Olena Ye Ishutina, Valentyna V. Zamorotska, and Darja A. Kassim. "Distance learning courses in developing future music teachers’ instrumental performance competence." CTE Workshop Proceedings 6 (March 21, 2019): 429–42. http://dx.doi.org/10.55056/cte.404.
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The scientific and methodological background of creation and development of the distance learning courses for the future music teachers is substantiated. The components and structure of future music teachers’ instrumental performance competence are defined; the content of the course is revealed. The materials are based on the authors’ teaching experience within the distance learning course “Basic Musical Instrument (Piano)”. The main blocks of the distance course design and development are considered among them to be theoretical, practical, individual work, and control blocks. The specificity of distance learning methods in the future music teachers’ instrumental and performance training is substantiated and three main methods are distinguished. The method of involving information and communication technologies, including multimedia; project method, and features of knowledge and skills controlling are elaborated. The results of implementation and experimental research of using distance learning courses for developing future music teachers’ instrumental performance competence are described. The influence of different methods use on students’ success is explored.
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Ilari, Beatriz, Susan Helfter, and Tina Huynh. "Associations Between Musical Participation and Young Children’s Prosocial Behaviors." Journal of Research in Music Education 67, no. 4 (October 16, 2019): 399–412. http://dx.doi.org/10.1177/0022429419878169.
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Collective music making has been associated with the emergence of prosocial behaviors in children and adults. Yet, the associations between participation in early childhood music education programs and prosocial skills in young children remain elusive. The purpose of this exploratory study was to examine how children with varied amounts of music participation—in a formal program and in the home—performed in two prosocial tasks (i.e., instrumental helping and sharing) and how their parents rated their prosocial tendencies and interests for music. Thirty-six children (ages between 3 and 4 years) with varied amounts of participation in an early childhood music program completed prosocial tasks of instrumental helping and sharing. Results indicated that there were no significant age or sex differences in children’s prosocial responses. Instrumental sharing was positively correlated with time spent in the music program. Sharing scores, in turn, correlated with children’s active musical participation and parental prosocial ratings. These findings are discussed in light of theories of musical and prosocial development in childhood.
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Zamorotska, Valentyna. "DISTANCE LEARNING IN DEVELOPING FUTURE MUSIC TEACHERS’ INSTRUMENTAL PERFORMANCE COMPETENCE." Scientific Bulletin of Uzhhorod University. Series: «Pedagogy. Social Work», no. 2(45) (June 24, 2019): 70–74. http://dx.doi.org/10.24144/2524-0609.2019.45.70-74.
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McDowall, Janet. "Making Music Multimodally: Young Children Learning with Music Technology." International Journal of Learning: Annual Review 16, no. 10 (2009): 303–16. http://dx.doi.org/10.18848/1447-9494/cgp/v16i10/46681.
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Haddon, Elizabeth. "Observational learning in the music masterclass." British Journal of Music Education 31, no. 1 (August 28, 2013): 55–68. http://dx.doi.org/10.1017/s0265051713000223.
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This article contributes to research on music masterclasses through examining learning through observation. It investigates how students are learning as observers in this context; whether and how they will transfer their masterclass learning to their own instrumental/vocal development, and whether they have discussed learning through observation. Data were gathered from higher education students observing two masterclasses. Their responses indicate observation of technical, musical, performative and pedagogic elements. However, they also suggest limited discussion of observation and of the processes involved in implementing observational learning within their own work. The findings suggest that there is scope for enhanced learning in the masterclass, including developing perception through facilitated engagement with systematic observation and consideration of processes of transferable learning. These may have positive implications for extending learning in other contexts.
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Edgar, Scott N. "Approaches of high school instrumental music educators in response to student challenges." Research Studies in Music Education 38, no. 2 (September 21, 2016): 235–53. http://dx.doi.org/10.1177/1321103x16668679.
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The purpose of this multiple instrumental case study was to explore approaches of four high school instrumental music educators assuming the role of facilitative teacher in responding to challenges affecting the social and emotional well-being of their students. This study utilized the framework of social emotional learning as a lens to view the educators’ interactions. The four participants represented diverse demographic settings and had at least 10 years of instrumental music teaching experience. Findings and implications include strategies for providing support, unique elements of the instrumental music classroom, and perceived outcomes from providing support.
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Priest, Philip. "Playing by Ear: its Nature and Application to Instrumental Learning." British Journal of Music Education 6, no. 2 (July 1989): 173–91. http://dx.doi.org/10.1017/s0265051700007038.
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Instrumental teaching methods in schools have resulted in a near total reliance on notation. Playing by ear has been undervalued by instrumental teachers, yet it is through such playing that some of the aims of music education can best be achieved.In this article different ways of playing without notation are distinguished theoretically and exemplified through the experiences of some players who have learned in this way. A case is made for all musical playing to be viewed as ‘by ear’, including when notation is involved, so that the aural basis for musicianship is maintained and a wider view of performance encouraged. A possible model for teachers is offered based on imitation and invention.
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Jørgensen, Harald. "Instrumental learning: is an early start a key to success?" British Journal of Music Education 18, no. 3 (October 26, 2001): 227–39. http://dx.doi.org/10.1017/s0265051701000328.
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The question of when it is convenient to start with vocal and instrumental lessons is a much-debated issue. This article studies a group of conservatoire students and looks at the relationship between their current level of vocal and instrumental performance and the age when they started formal lessons. It concludes that, for the whole student population, those with highest grades started earlier. Looking at separate instruments, however, we see both a positive and a negative relationship between an early start and a high level of performance in the conservatoire. Additionally, there are large differences between students. The findings are discussed in the context of expertise theory.
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Miyazaki, Ken’ichi, and Yoko Ogawa. "Learning Absolute Pitch by Children." Music Perception 24, no. 1 (September 1, 2006): 63–78. http://dx.doi.org/10.1525/mp.2006.24.1.63.
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This study is an attempt to depict the learning process of AP in Japanese children in a cross-sectional design. In this study, 104 children of 4 to 10 years of age in a music school were tested. The children had been trained within a music education system of the school since they entered the school at the age of 4. They had received a one-hour keyboard lesson a week in school and probably had everyday practice at home. The training during the initial 2-year course emphasized imitative singing with syllables in the fixed-do system while playing on the keyboard at the same time. In this training, particular emphasis was placed on establishing associations between pitches and solfège labels. In the AP test, test tones presented to the children ranged from C3 (131 Hz) to B5 (988 Hz). Children were instructed to name each tone out loud as rapidly as possible. The test score markedly increased for a fairly good number of the children with remarkable improvement from the age of 4 to 7. Children seemed to learn pitches in order of their appearance in music lessons; first, white-key notes, then black-key notes. However, one should be cautious about concluding from the present results that anyone can learn to develop AP with appropriate training, because there may be confounding factors (e.g., sampling bias and a certain dropout rate). Nevertheless, the present results are consistent with the early-learning theory of AP, and may explain the existence of partial AP (greater accuracy for white-key notes) and a high prevalence of AP in Japan.
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Franco, Fabia, Marcia Chew, and Joel Simon Swaine. "Preschoolers’ attribution of affect to music: A comparison between vocal and instrumental performance." Psychology of Music 45, no. 1 (August 6, 2016): 131–49. http://dx.doi.org/10.1177/0305735616652954.
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Research has shown inconsistent results concerning the ability of young children to identify musical emotion. This study explores the influence of the type of musical performance (vocal vs. instrumental) on children’s affect identification. Using an independent-group design, novel child-directed music was presented in three conditions: instrumental, vocal-only, and song (instrumental plus vocals) to 3- to 6-year-olds previously screened for language development ( N = 76). A forced-choice task was used in which children chose a face expressing the emotion matching each musical track. All performance conditions comprised “happy” (major mode/fast tempo) and “sad” (minor mode/slow tempo) tracks. Nonsense syllables rather than words were used in the vocals in order to avoid the influence of lyrics on children’s decisions. The results showed that even the younger children were able to correctly identify the intended emotion in music, although “happy” music was more readily recognised and recognition appeared facilitated in the instrumental condition. Performance condition interacted with gender.
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Halliwell, Patrick. "Learning the Koto." Canadian University Music Review, no. 14 (February 22, 2013): 18–48. http://dx.doi.org/10.7202/1014309ar.
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This paper examines traditionally-oriented teaching and learning processes in Japanese koto music. Earlier evaluations (negative and positive) by Western scholars are introduced, together with a brief comparison to Western practices. A distinction is made between "inside" and "outside" students; the former have greater exposure to music and speech about music, and teaching methods also may differ. Traditional methods of learning through imitation are shown to have other musical goals besides the transmission of musical "text." Playing together is fundamental; teachers may use speech, shôga (oral representation of instrumental sound), or purely musical means to convey information to the student. Notation, often used nowadays, is nevertheless of relatively minor importance. The dominant values underlying traditional teaching methods are expressed through the phrase "if you can steal it, that's OK." Finally, concepts of "text" and "interpretation" are considered in relation to values concerning change in traditional koto music.
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Espeland, Magne. "Music in Use: Responsive Music Listening in the Primary School." British Journal of Music Education 4, no. 3 (November 1987): 283–97. http://dx.doi.org/10.1017/s026505170000615x.
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The author invites us to re-examine the case for ‘music appreciation’ teaching. In a two-year project, ‘Music in Use,’ conducted in Norwegian primary schools, Magne Espeland and his colleagues developed new principles and methods for encouraging children to listen to music of many different styles – including modern instrumental and orchestral music, pop and jazz. Working from the belief that response on the part of the listener is crucial in musical understanding, the project group involved the children with a variety of activities which, while primarily related to the music itself, engaged also with experiences in verbal, visual and kinetic expression.
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Burnard, Pamela, and Tatjana Dragovic. "Characterizing Communal Creativity in Instrumental Group Learning." Departures in Critical Qualitative Research 3, no. 3 (2014): 336–62. http://dx.doi.org/10.1525/dcqr.2014.3.3.336.
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Situated broadly within the field of secondary (high) school education, and with a specific focus on the subject area (and extra-curricular educational setting) of instrumental music education, this essay provides evidence of the meaning of communal creativity as it arises in three interrelated practices: creative learning practice, creative teaching practice, and creative teacher leadership practice. This article reports on how learning is enhanced by experiences of communal creativity as illustrated in the case of a particular instrumental ensemble called Percussion 1. Findings support the specific nature of communal creativity, expressed in terms of embodiment, immersion, enhancement, and empowerment, and constituted socially (made manifest in a social context) through activity. Communal creativity has the potential to transform the experience of instrumental group learning with regard to the pedagogical values that aim to engage the whole community of learners.
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Creech, Andrea, and Susan Hallam. "Parent–teacher–pupil interactions in instrumental music tuition: a literature review." British Journal of Music Education 20, no. 1 (March 2003): 29–44. http://dx.doi.org/10.1017/s0265051702005272.
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This paper considers the literature that may inform our understanding of parent–teacher–pupil interactions in instrumental music. It draws on research directly concerned with instrumental music learning and that from the wider psychological, sociological and educational literature concerned with conceptions of effective learning and teaching; conceptions of effective parenting; and dimensions of interpersonal relationships. Finally, a systemic, dynamic model is proposed which may serve to guide future research in the field.
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Dymnikowa, Maria, and Joanna Lasoń. "Neurodydaktyczne podłoże klasycznych zasad nauczania – uczenia się dla wykonawstwa solowych instrumentalnych dzieł muzycznych klasycznych." Studia Edukacyjne, no. 61 (June 15, 2021): 229–58. http://dx.doi.org/10.14746/se.2021.61.13.
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The article combines the classical didactics and neuro-didactics of pedagogical areas, music psychology and instrumental music pedagogy of classical music art areas.The methodological study concerns:– the theme as the process of solo instrumental classical music performance;– the subject as the neuro-didactic basis of classical teaching principles - learning in this process;– the pragmatic scientific novelty as the methodological development of a set of key elements of thelesson as professional workshop activities for this process, for universal use for all musical instrumentsperformed by solo classical music works, for various available forms of professional classicalmusic education;– the practical usage for different levels of classical music education, depending on the level of people’spreparation for solo instrumental classical music performance, and promotion of this activity.
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Simones, Lilian Lima. "A framework for studying teachers’ hand gestures in instrumental and vocal music contexts." Musicae Scientiae 23, no. 2 (November 24, 2017): 231–49. http://dx.doi.org/10.1177/1029864917743089.
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A framework for studying teachers’ hand gestures in instrumental music pedagogy is proposed, focusing on teachers’ teaching behaviours as a context-dependent basis for understanding the meaning and functionality of their gestures. The application of the Teacher Behaviour and Gesture framework across instrumental music pedagogical settings (one-to-one, small and large teaching groups and across singing, woodwind, brass, strings, and other pedagogical contexts) will bring understandings on the role of teachers’ gestures in their pedagogical interactions with students, with implications for student learning and instrumental music teachers’ teaching and education.
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Zdzinski, Stephen F. "Parental Involvement, Selected Student Attributes, and Learning Outcomes in Instrumental Music." Journal of Research in Music Education 44, no. 1 (April 1996): 34–48. http://dx.doi.org/10.2307/3345412.
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This study examined relationships among selected aspects of parental involvement as they relate to the cognitive, affective, and performance outcomes of instrumental music students. Independent variables were music aptitude, parental involvement, grade level, and gender. Dependent variables were cognitive musical outcomes, performance outcomes, and affective outcomes. Subjects were instrumental music students ( N = 406) from five intact band programs located in rural New York and Pennsylvania. Wind and percussion volunteers from Grades 4 through 12 participated. Data were examined using descriptive analysis, correlational analysis, and analysis of variance. Major findings included: (1) Parental involvement was related to overall performance, affective, and cognitive musical outcomes. (2) For cognitive musical outcomes, parental involvement was only related at the elementary level. (3) For musical performance outcomes, parental involvement was only related at the elementary level. (4) For affective outcomes, the strength of the parental involvement relationship increased with student age. (5) Items concerning concert attendance, providing materials, participating in parent groups, and tape-recording student performances were related to all outcome areas.
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Burwell, Kim. "Apprenticeship in music: A contextual study for instrumental teaching and learning." International Journal of Music Education 31, no. 3 (April 20, 2012): 276–91. http://dx.doi.org/10.1177/0255761411434501.
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