To see the other types of publications on this topic, follow the link: Country music – Instruction and study.
Journal articles on the topic 'Country music – Instruction and study'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Country music – Instruction and study.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Hendel, Catherine. "Behavioral Characteristics and Instructional Patterns of Selected Music Teachers." Journal of Research in Music Education 43, no. 3 (October 1995): 182–203. http://dx.doi.org/10.2307/3345635.
Full textAbstract:
The purpose of this study was to (a) identify factors that contribute to effective music teaching; (b) examine the relationship of teacher-defined traits, which emerge qualitatively, to operationally defined characteristics of effective instruction resulting from quantitative research; and (c) explore the complementary nature of qualitative and quantitative methods. Nine experienced, elementary specialists from three regions of the country were observed, taped, and interviewed; student interviews and instructional documents supplemented the data. Qualitative evaluation and quantitative measures were used for analysis. Although operational definitions were modified for elementary teachers, results revealed instructional patterns that supported previous research in teacher magnitude and sequential patterns of instruction. Analysis of sequential patterns resulted in categorical expansion of complete/incomplete patterns. Qualitative evaluation revealed personal values relative to teaching. Combined analyses disclosed high-intensity behaviors and permitted more specific interpretation. Findings may be useful for teacher training and evaluation among experienced specialists.
2
Bulgren, Christopher W. "Jail Guitar Doors: A case study of guitar and songwriting instruction in Cook County Jail." International Journal of Community Music 13, no. 3 (December 1, 2020): 299–318. http://dx.doi.org/10.1386/ijcm_00026_1.
Full textAbstract:
Jail Guitar Doors USA (JGD USA) is an initiative that provides guitars and songwriting instruction in correctional facilities. Founded in 2009, JGD USA is currently in 100 jails, prisons and youth facilities with a waiting list of 50. This study examined the phenomenon of JGD USA in Cook County Jail (Chicago, Illinois) and was guided by the following research question: How do participants describe their experiences in the case of JGD USA in Cook County Jail? Participants consisted of six adult male residents. Other data sources included interviews with the class teacher, the jail administrator who implemented JGD USA, Billy Bragg (founder of the original JGD) and Wayne Kramer (founder of JGD USA). This study employed instrumental case study methodology in order to explore a real-world phenomenon of guitar instruction in jail. Data sources included observation, a focus group interview, four semi-structured phone interviews and examination of lyrics and chord structure. Data were coded for emergent themes. Analysis of data sources revealed themes of group dynamics, expression, flow and intrinsic motivation. Other findings included insights related to the benefits of guitar and songwriting instruction in correctional settings.
3
Smith, Camille M. "Access to String Instruction in American Public Schools." Journal of Research in Music Education 45, no. 4 (December 1997): 650–62. http://dx.doi.org/10.2307/3345429.
Full textAbstract:
This study is an examination of string access in American public schools; the researcher sought to determine the actual number of school districts in each state that offered string instruction and at which grade levels. Specific questions posed were (a) What is the current relationship between access to string instruction and school-district location, size, and socioeconomic level? (b) How does access vary by school type—elementary, middle, high school? (c) How does access vary in different regions of the country? Data were obtained for each of the 14,183 school districts listed in the 1994-1995 Market Data Retrieval School Directories. A total of 2,268 districts (15.99%) were identified that offered string instruction. Of these, it was found that 71.42% (N = 1,620) offered string instruction at the elementary school level, 78.52% (N = 1,781) at the middle school level, and 80.15%) (N = 1,818) at the high school level. The findings also indicated that string instruction was offered most often in average-socioeconomic-level, medium-sized, urban districts in the Eastern, North Central, and Northwest Music Educators National Conference divisions, and in average-socioeconomic-level, large, metropolitan districts in the Southern, Southwestern, and Western divisions. String instruction was offered least often in low-socioeconomic-level school districts (N = 100) regardless of location or size.
4
Nichols, Jeananne, and Brian M. Sullivan. "Learning through dissonance: Critical service-learning in a juvenile detention center as field experience in music teacher education." Research Studies in Music Education 38, no. 2 (September 18, 2016): 155–71. http://dx.doi.org/10.1177/1321103x16641845.
Full textAbstract:
Though many pre-service music teachers have received exemplary instruction in their high school music programs, these programs may not be representative of the social, cultural, and economic diversity of their broader communities. This insularity may hinder their perceptions of their community as they step into an increasingly diverse school environment. The Champaign County Juvenile Detention Center (CCJDC) Arts Project was adopted as a critical service-learning course in order to introduce pre-service music teachers to students and ways of teaching that may be different from what they typically encounter through their university field experiences. Participants in the project designed and facilitated music and arts experiences with the incarcerated youth once per week over an entire semester. In this case study we examine the experiences of six pre-service music teachers who participated in the CCJDC Arts Project during 2012, looking for moments of “dissonance,” which Kiely defines as incongruities between participants’ past experiences and the challenging reality they encounter through the project. Entry into the facility, interactions with the youth at the facility, and the musical practices shaped by the needs of the facility all worked in tandem to challenge participants’ latent expectations and beliefs about their community, and to heighten their awareness of the sociocultural systems that shape their future students, their developing teaching practices, and their own privileged positions in school and society.
5
Khosravishakib, Mohammad. "Essential of Cultural (literature, Art, Music, customs …) Negotiation as a Resources of Smart and soft Power in Age of Globalization." International Journal of Applied Linguistics and English Literature 6, no. 6 (September 1, 2017): 101. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.6p.101.
Full textAbstract:
One imperative form of public negotiation and soft authority is cultural negotiation so that contains of concepts, facts, art and additional facets of culture between people in way to shared understanding. The determination of cultural negotiation is for external country to cultivate a considerate of the population's principles and organizations in determination to shape expansive maintenance for financial and administrative aims. Cultural negotiation could reveal the depth of a public; with the intention of in other opportunity generates encouragement and effects. It can suppose that cultural negotiation flask and does a significant character in accomplishing general security purposes. This cultural diplomacy conventionally has helped to accomplish affairs between positions and other gatherings by instructing and modeling external strategy, so as to eventually organizes and acquires detailed condition and benefits in the global ground. This paper will study the process of cultural cooperation witch has been developed to increase lenient control and take how cultural negotiation has improved to the contemporary world and also encourage greater association within the peoples of other countries.
6
Brook, Julia, Rena Upitis, and Wynnpaul Varela. "Informal music making in studio music instruction: A Canadian case study." British Journal of Music Education 34, no. 2 (March 28, 2017): 153–67. http://dx.doi.org/10.1017/s0265051716000450.
Full textAbstract:
The purpose of this study was to gain an in-depth understanding of how one classically trained musician adapted his pedagogical practices to accommodate the needs and interests of his students. A case-study methodology was employed to explore the perceptions and practices of this teacher, and data were collected over a two-year period through interviews and observations. Findings indicated that students were engaged in music-making throughout the lesson, and that many of the lesson characteristics aligned with Lucy Green's (2002, 2008) descriptions of an informal pedagogical orientation. The overarching aim of the teacher's instruction was to support students’ development of musical knowledge and skills that would enhance their learning, and to expand their understanding of musical genres and performance practices.
7
Buonviri, Nathan O. "Successful AP Music Theory Instruction: A Case Study." Update: Applications of Research in Music Education 36, no. 2 (August 2, 2017): 53–61. http://dx.doi.org/10.1177/8755123317724326.
Full textAbstract:
The purpose of this case study was to examine the instructional approach of a highly successful Advanced Placement Music Theory teacher. I visited the participant’s class twice a week for 14 weeks, taking field notes, conducting interviews, and collecting instructional artifacts. Analysis of qualitative data revealed three main themes: classroom atmosphere, instructional strategies, and the Advanced Placement exam. The participant’s classroom atmosphere was built on effective pacing, student rapport, and an active, open learning environment. His instructional strategies included offering individual attention to students, asking questions to model thinking, and connecting sight to sound. He used the Advanced Placement exam as both an instructional guidepost and motivational tool. Implications for music educators include the need to focus on specific approaches conducive to successful theory teaching, which may share both similarities and differences with approaches they use when directing ensembles.
8
신지혜. "A Study of Verbal Instruction and Modeling in Music Teaching." Journal of Future Music Education 1, no. 2 (December 2016): 39–56. http://dx.doi.org/10.36223/jnafme.2016.1.2.003.
Full text
9
Rizqiani, Diyah Ayu. "LANGUAGE POLICIES IN THE FORMER COLONIZED COUNTRIES: A COMPARATIVE STUDY." UAD TEFL International Conference 1 (November 20, 2017): 154. http://dx.doi.org/10.12928/utic.v1.163.2017.
Full textAbstract:
Colonialism shapes the history of a country. The language policy of a former colonized country could be seen as a mirror to see the long history of colonialism. The colonizers have strong influence in establishing the education system and language instruction used at school. In this case, language as the important element in education system could be seen as manifestation of colonialism. The language instruction in the classroom is usually the official language of the country. Some former colonized countries proudly used English as academic language. On the other hand, there are other former colonized countries which use their indigenous language as the language instruction in the classroom. By comparing these two different language policies would also give different effects to their cultural and national identity. The aims of this paper are explaining the language policies, analyzing the effect of colonialism on education system, and describing the relation between language policy and nationalism.
10
Salvador, Karen. "Assessment and individualized instruction in elementary general music: A case study." Research Studies in Music Education 41, no. 1 (May 3, 2018): 18–42. http://dx.doi.org/10.1177/1321103x18773092.
Full textAbstract:
Elementary general music teachers have differing perspectives on the meaning and value of assessment, and few studies have examined how the results of assessment are applied in the classroom. In this case study, I investigated how one elementary general music teacher used information from assessments to individualize instruction. Over the course of seven weeks of observation, think-alouds, interviews, and reading the teacher’s journals, I discovered that my guiding questions had implied a simplistic, linear relationship of assessment and differentiation of instruction—that assessment led to individualization. Rather than the direct relationship my questions anticipated, Ms. Stevens’ music teaching was more like a tapestry that included nearly omnipresent threads of assessment and individualized instruction—threads that were often so interwoven as to be somewhat indistinguishable. This article describes the reciprocal, spiraling, intertwined nature of individualized assessment, teaching, and learning in Ms. Stevens’ classroom. I also discuss the related emergent themes of normalizing independent musicking and structuring open-response activities, which were impacted and undergirded by Ms. Stevens’ beliefs regarding the musicality of all children and the purpose of music education.
11
Royer, James M., Barbara A. Greene, and Stephen J. Anzalone. "Can U.S. Developed CAI Work Effectively in a Developing Country?" Journal of Educational Computing Research 10, no. 1 (January 1994): 41–61. http://dx.doi.org/10.2190/pmhq-pycd-2jb7-plb8.
Full textAbstract:
The study examined the impact of computer-assisted instruction (CAI) developed in the United States on the reading and math performance of students enrolled in the Grenada school system. Over a three year period students in standards one through five substituted CAI instruction in reading and math for part of their conventional instruction. These students were compared to students from three control schools thought to be comparable to the CAI school, and to a school in an urban area that had the reputation of being one of the better schools in the country. The results of reading tests indicated that an initial negative impact of CAI during the first two years of the study turned into a positive impact during the third year. The impact of CAI instruction in mathematics was uniformly positive over the three years of the project. The study also produced evidence that lower ability students may have benefited more from CAI instruction than higher ability students.
12
Chesky, Kris, and Karendra Devroop. "The Effects of College Music Instruction, Gender, and Musician Type on Income from Performing Music." Medical Problems of Performing Artists 18, no. 2 (June 1, 2003): 72–77. http://dx.doi.org/10.21091/mppa.2003.2014.
Full textAbstract:
Studies in the social sciences imply a relationship between levels of employment and potential adverse effects on health. The lack of information regarding musicians makes it difficult to describe and prepare for the potential adverse relationships between musicians’ economic patterns and health. The purpose of this study was to characterize economic patterns of musicians and to investigate the relationships between income from performing music and college music instruction, age, and gender. A total of 4,017 subjects participated in an Internet-based musician survey. Data analysis included the use of descriptive statistics, analysis of covariance, and multiple regression analysis. Results support the view that many musicians hold multiple jobs and that income from music performance is often a secondary source of income. Musicians with ≥4 years of college music instruction earned higher levels of income from performing music compared with musicians with less college music instruction. This study recognizes the need to consider the economic patterns of musicians and how these patterns may affect health adversely.
13
Menard, Elizabeth A. "Music Composition in the High School Curriculum." Journal of Research in Music Education 63, no. 1 (April 2015): 114–36. http://dx.doi.org/10.1177/0022429415574310.
Full textAbstract:
Student and teacher perceptions regarding composition instruction were investigated using case study techniques in two high school music programs: a general music program providing accelerated instruction to gifted musicians in small classes and a typical performance-based band program. Students in both programs participated in a composition instruction program. Qualitative data included student and teacher interviews, observation, and participant journals. Quantitative data included administration of a composition attitude survey and assessment of student compositions. Analysis of band director perceptions revealed themes identifying challenges to implementing composition instruction: performance culture traditions, time, class setting, teacher preparation, and lack of student fundamental musical knowledge. Teachers in both programs identified benefits as development of student potential, importance of exposure to composition, and increased musical understanding. In the band program, student attitude toward composition increased significantly from pre- to post-instruction, while the general music students, with previous composition experience, showed no change in attitude. Students from both programs identified time as a challenge to composition and also indicated frustration in their lack of fundamental music knowledge. Students identified enjoyment, improved musical understanding, personal expression, increased interest in music, and understanding composition process as benefits to composition experience.
14
McGinnis, Emily J. "Developing the Emotional Intelligence of Undergraduate Music Education Majors: An Exploratory Study Using Bradberry and Greaves’ (2009) Emotional Intelligence 2.0." Journal of Music Teacher Education 27, no. 2 (August 8, 2017): 11–22. http://dx.doi.org/10.1177/1057083717723919.
Full textAbstract:
Research focused on the relationship of emotional intelligence (EI) to academic and professional success in education, and whether and how it might be taught and learned, is inconclusive. The purpose of this study was to examine the degree to which undergraduate music education majors experienced a change in EI after implementing strategies from Emotional Intelligence 2.0. Participants included 10 junior-year music education majors enrolled in a semester-long music teaching foundations course. Participants predicted their EI scores, completed the Emotional Intelligence Appraisal pretest, and, following instruction, completed the Emotional Intelligence Appraisal posttest. Results indicate a significant difference between predicted and pretest scores, as well as between pretest and posttest scores. While undergraduate music education majors overestimated their EI prior to instruction, EI was improved by using the Emotional Intelligence 2.0 model in combination with classroom instruction.
15
Kaleli, Yavuz Selim. "The Effect of Computer-Assisted Instruction on Piano Education: An Experimental Study with Pre-service Music Teachers." International Journal of Technology in Education and Science 4, no. 3 (June 19, 2020): 235–46. http://dx.doi.org/10.46328/ijtes.v4i3.115.
Full textAbstract:
This study investigated the effect of computer assisted teaching practices in piano courses in Department of Music Education of Faculty of Education on students’ success, piano playing skills and to what extent they provided permanent learning. The research was carried out with the pre-test/post-test research design with a control group, one of quasi experimental designs. In the study, the experimental group was provided computer-assisted piano instruction, while the control group received the regular curriculum instruction. There were 7 female and 6 male students in the control group and 6 male and 7 female students in the experimental group. A computer-assisted piano instruction program was developed for the experimental group. Instruction in the experimental and control groups lasted for 10 lessons. Piano Achievement Test and Piano Observation Form were used as data collection tools. Mann Whitney U test was used to test permanent learning and the success and piano skills of the groups. The results of the research show that computer assisted piano instruction applied in the experimental group is more effective than the regular curriculum instruction in increasing students’ course success and permanent learning. However, no significant difference was found between the post-test levels of the experimental and control groups in terms of piano skills.
16
Duke, Robert A., Carol A. Prickett, and Judith A. Jellison. "Empirical Description of the Pace of Music Instruction." Journal of Research in Music Education 46, no. 2 (July 1998): 265–80. http://dx.doi.org/10.2307/3345628.
Full textAbstract:
The present study was designed to assess novice teachers* perceptions of timing in music instruction and to identify the aspects of timing that are associated with positive perceptions of instructional pacing. We selected eight 1-3-minute excerpts from teaching-practicum videotapes of four novice teachers teaching in a choral rehearsal, a band rehearsal, and two elementary music classrooms. Each teacher appeared in two excerpts that differed with regard to the pace of instruction depicted in each. Novice teachers (N = 44) viewed the videotaped excerpts and evaluated the pace of instruction along six semantic differential scales: fast—slow; appropriate—inappropriate; tense—relaxed; smooth-uneven; too fast-too slow; good-bad. Subjects discriminated among the faster and slower examples on five of the six evaluation dimensions, and among teachers on all six dimensions. Subjects rated the pace of instruction more positively when the rates of student performance episodes and teacher activity episodes were higher rather than lower, and when the mean durations of teacher and student activity were shorter rather than longer. These variables may function as operational measures of the pace of instruction in music performance.
17
Flowers, Patricia J. "The Match between Music Excerpts and Written Descriptions by Fifth and Sixth Graders." Journal of Research in Music Education 48, no. 3 (October 2000): 262–77. http://dx.doi.org/10.2307/3345398.
Full textAbstract:
The purpose of this study was to examine the effect of instruction in writing about music on descriptions of music excerpts. Fifth and sixth graders received 4 days of instruction in music description focusing on metaphor and emotion, analytic music elements, and temporal language. Then, they wrote brief descriptions of six excerpts that were counterbalanced for instrumentation and style. Their descriptions were compared to those of students who did not receive instruction. There were no significant differences between children receiving and not receiving instruction within each grade level, except that the taught fifth graders mentioned significantly more musical elements than did fifth graders who did not receive instruction. There were no significant differences within grade levels in the rate at which expert readers matched descriptions to the original music excerpt, but sixth graders significantly outperformed the fifth graders. When excerpts were not correctly matched, they were usually misassigned to the excerpt with the same instrumentation, corroborating the priority of naming instruments in music description tasks.
18
Jaeeun Jeong and 최미영. "An Exploratory Study on the Effectiveness of Instruction Models for Music Appreciation." Teacher Education Research 55, no. 1 (March 2016): 47–56. http://dx.doi.org/10.15812/ter.55.1.201603.47.
Full text
19
Choi, Eunshik, Hae-Kyung Shin, and Jin-Won Chung. "A Study of a Teacher’s Experience and Perception on Music Creativity Instruction." Korean Music Education Society 47, no. 3 (September 30, 2018): 169–91. http://dx.doi.org/10.30775/kmes.47.3.08.
Full text
20
Choi, Eunshik, Hae-Kyung Shin, and Sunah Kim. "A Comparative Study on Music and Art Teachers' Perceptions about Differentiated Instruction." Korean Journal of Teacher Education 29, no. 4 (October 30, 2013): 227–53. http://dx.doi.org/10.14333/kjte.2013.29.4.227.
Full text
21
Phillips, Kenneth H., and Randall E. Aitchison. "Effects of Psychomotor Instruction on Elementary General Music Students' Singing Performance." Journal of Research in Music Education 45, no. 2 (July 1997): 185–96. http://dx.doi.org/10.2307/3345579.
Full textAbstract:
This study is an investigation of the effects of a year-long program of vocal instruction I on measures of respiration (vital capacity, peak flow, duration) and singing performance (high pitch, low pitch, total range, pitch accuracy) among general music students in Grades 4, 5, and 6 (n = 269). A posttest-only control-group design was used with intact classes randomly assigned to either experimental or control conditions. Results of 2 ? 2 ? 3 factorial analyses (MANOVA and ANOVA) were as follows: (1) breath support (peak flow) may be improved with instruction; (2) vital capacity seems to be affected more by age than by instruction; (3) breath control (duration) may be improved with instruction, especially among fifth-grade students; (4) highest pitch of vocal range may be improved with instruction; (5) lowest pitch of vocal range may be improved with instruction, especially for boys; (6) total vocal range may be improved with instruction, especially for boys; (7) pitch accuracy seems to be greater for girl than for boys, and boys pitch accuracy may not be helped with vocal instruction when there is a reluctance to sing in the treble range.
22
Woody, Robert H. "The Effect of Various Instructional Conditions on Expressive Music Performance." Journal of Research in Music Education 54, no. 1 (April 2006): 21–36. http://dx.doi.org/10.1177/002242940605400103.
Full textAbstract:
This study is a comparison of the effectiveness of three approaches used to elicit expressivity in music students' performances: (a) aural modeling, (b) verbal instruction addressing concrete musical properties, and (c) verbal instruction using imagery and metaphor. Thirty-six college pianists worked with three melodies, one in each instructional condition. With each, subjects first gave a baseline performance, then received instruction for performing more expressively, and then gave a final performance. Subjects also verbally reported their thoughts during the process. Results confirmed that musicians can accommodate all three types of instruction used in the study and that each has strengths and weaknesses related to the characteristics of the music being performed and the musicians themselves. Additionally, analysis of the verbal reports suggested that musicians may use a cognitive translation process whereby they convert metaphor/imagery information into more explicit plans for changing the expressive musical properties of their performance (e.g., loudness, tempo, articulation). August 22, 2005 January 30, 2006
23
Hewitt, Michael P. "The Impact of Self-Evaluation Instruction on Student Self-Evaluation, Music Performance, and Self-Evaluation Accuracy." Journal of Research in Music Education 59, no. 1 (December 16, 2010): 6–20. http://dx.doi.org/10.1177/0022429410391541.
Full textAbstract:
The author sought to determine whether self-evaluation instruction had an impact on student self-evaluation, music performance, and self-evaluation accuracy of music performance among middle school instrumentalists. Participants ( N = 211) were students at a private middle school located in a metropolitan area of a mid-Atlantic state. Students in intact classes, grades 5 through 8, were assigned to one of three treatment groups: self-evaluation instruction (SE-I), self-evaluation only (SE-O), or no self-evaluation (SE-No) for treatment lasting 5 weeks. All groups played through music used in the study at each lesson and heard a model recording of it. Participants in the SE-I group received instruction in self-evaluation while students in the SE-O group self-evaluated their performances daily and the SE-No group received no additional instruction. Results suggest that instruction in self-evaluation had little impact on students’ self-evaluation accuracy or music performance, although grade level did influence music performance. Additional time may be necessary for students to learn to evaluate their own performances effectively; however, it is interesting that students’ music performance did not appear to suffer from time spent in self-evaluation instruction or practice. Music teachers may wish to consider implementing self-evaluation strategies to help students develop the skills necessary for successful self-regulation of music performance.
24
Hartley, Linda A., and Ann M. Porter. "The Influence of Beginning Instructional Grade on String Student Enrollment, Retention, and Music Performance." Journal of Research in Music Education 56, no. 4 (January 2009): 370–84. http://dx.doi.org/10.1177/0022429408329134.
Full textAbstract:
The purpose of this study was to investigate three primary variables concerning the starting grade level of beginning string instruction in public schools: (a) initial enrollment, (b) retention data for both the end of the first year and at the seventh-grade year of instruction, and (c) music performance level in the seventh grade. Secondary variables including schedule of instruction, decision makers, grade-level organization, and private lessons also were examined. Research objectives were developed to provide string teachers with information for use when they consider the grade level of beginning instruction in their school districts. Later starting grades yielded the highest retention rates, when retention data for both the end of the initial year of instruction and the beginning of seventh grade were compared with starting grade level. The starting grade level of instruction did not, however, affect initial enrollment figures or music performance of string ensembles.
25
Putra, Yoffrizal, and Yos Sudarman. "PENGGUNAAN VIDEO YOUTUBE UNTUK MENINGKATKAN HASIL BELAJAR SENI MUSIK PADA SISWA KELAS XI SMA NEGERI 3 PAYAKUMBUH." Jurnal Sendratasik 9, no. 3 (September 15, 2020): 50. http://dx.doi.org/10.24036/jsu.v9i1.109435.
Full textAbstract:
AbstractStarting from the problem of music learning which has been developed by the use of the internet and YouTube at SMA Negeri 3 Payakumbuh, the researcher conducted a research with the aim to explain that the use of Youtube videos can improve the learning outcomes of students in XI MIPA-2 of SMA Negeri 3 Payakumbuh.The theory used in this research includes learning and instruction, internet based instruction, instruction done through YouTube videos, use of lecture and presentation methods in instruction, and learning outcomes theory.This is a quantitative research with a true-experiment-design approach. The study population was all students of grade XI, and the sample was class XI MIPA-2 (as the experimental class) and XI MIPA-3 (as the control class). The results of observation, interview, and literature study were used as the research instruments.The results statistically prove that the hypothesis test for H1 is accepted while the null hypothesis H0 is rejected. The data, which can be explained qualitatively, show that YouTube video integrated with the Powerpoint shows used by the researcher in providing music instruction through lecture and presentation is easier to understand.Keywords: YouTube videos, learning, Instruction, music arts, modern music
26
Johnson, Daniel C. "The Effect of Critical Thinking Instruction on Verbal Descriptions of Music." Journal of Research in Music Education 59, no. 3 (August 12, 2011): 257–72. http://dx.doi.org/10.1177/0022429411415860.
Full textAbstract:
The purpose of this study was to determine the effect of critical thinking instruction on music listening skills of fifth-grade students as measured by written responses to music listening. The researcher compared instruction that included opportunities for critical thinking (Critical Thinking Instruction, CTI) with parallel instruction without critical thinking opportunities (Activity-Based Instruction, ABI). The same music teacher delivered both instructional treatments concurrently in a series of sixteen 45-minute classroom lessons. Two randomly assigned, intact classes of participants ( n = 41 and 40) made up the CTI and ABI treatment groups, respectively. Three independent judges scored participants’ pretest and posttest responses using a researcher-designed instrument. Using a multivariate analysis of variance (MANOVA), the researcher found a significant test by treatment interaction. The post hoc analysis indicated that while the CTI participants scored higher on the posttest as compared with the pretest, ABI participants demonstrated no significant differences by test. Readers should note the larger than expected standard deviations when considering the positive effects of the CTI treatment. Implications include recommendations for future research and for designing music listening lessons to incorporate critical thinking skills in classroom music instruction.
27
Goolsby, Thomas W. "Verbal Instruction in Instrumental Rehearsals: A Comparison of Three Career Levels and Preservice Teachers." Journal of Research in Music Education 45, no. 1 (April 1997): 21–40. http://dx.doi.org/10.2307/3345463.
Full textAbstract:
Part 1 of this study was an investigation of the verbal instruction used during 60 rehearsals by expert, novice, and student teachers. Frequency distributions were established for 15 performance variables and 10 rehearsal variables and comments as well as for the number of complete sequential patterns of instruction. Part 2 was a pre-experimental study to determine changes in instruction evidenced by preservice teachers (22 rehearsals) exposed to guided observation as part of an instrumental methods course. Evidence suggests that all three groups of teachers address rhythm/tempo the most frequently. Expert teachers devoted more time to overall ensemble sound (including more demonstrations, instruction/explanations on intonation, and guided listening); of their rehearsal segments, 23% were complete sequential patterns. Novice teachers spent the most time tuning individual notes, whereas student teachers spent the most time correcting wrong notes. Gains for the undergraduates included less emphasis on wrong notes and greater emphasis on rhythm/tempo and style. The percentage of complete sequential patterns of instruction used by undergraduates nearly tripled with minimal training.
28
Portowitz, Adena, Patricia A. González-Moreno, and Karin S. Hendricks. "Students’ motivation to study music: Israel." Research Studies in Music Education 32, no. 2 (December 2010): 169–84. http://dx.doi.org/10.1177/1321103x10385049.
Full textAbstract:
As a part of a larger international mapping exercise to examine students’ motivation to study music as compared to other school subjects, this article reports data drawn from a sample of 2257 Israeli students (primary to high school). Questionnaires were based on the expectancy-value theoretical framework by examining students’ perceptions of values, competence and task difficulty. Mixed-design ANOVAs were used to examine differences in students’ motivational beliefs across school levels, between music and non-music learners, and between girls and boys. Results of the analyses showed two major issues distinctive from the comparison of the eight-country analyses: (a) the lowest perceptions of task values and competence beliefs for any country among non-music learners in the upper level grades, and (b) a significant developmental increase in task difficulty for music as compared to other school subjects. In addition, the results of the Israeli data revealed that music learners attached higher values to music, art and science than non-music learners, and expressed significantly lower perceptions of difficulty for music, art and science than non-music learners. Furthermore, while music was one of the lowest-ranked subjects for in-school study, it was one of the highest-ranked subjects for out-of-school study. This suggests that music participation itself is not lacking in motivation or interest among students in Israel, but that the school system is not presently providing for the musical needs and interest of much of its youth population, in upper-level grades (middle and high school).
29
Guilbault, Denise Marie. "The Effect of Harmonic Accompaniment on the Tonal Achievement and Tonal Improvisations of Children in Kindergarten and First Grade." Journal of Research in Music Education 52, no. 1 (April 2004): 64–76. http://dx.doi.org/10.2307/3345525.
Full textAbstract:
The purpose of this research was to examine the effect of harmonic accompaniment on the tonal achievement and tonal improvisations of young children. The specific problems of this study were the following: (1) Does the addition of a root melody accompaniment to song instruction affect the tonal achievement of children in kindergarten and first grade? (2) Does the addition of a root melody accompaniment to song instruction affect the tonal strength of the improvisations of children in kindergarten and first grade? Results indicated that song instruction with a root melody accompaniment had no significant effect on the tonal achievement of children in kindergarten and first grade. However, children who received song instruction with root melody accompaniment improvised melodies with implied harmonic functions while maintaining the tonic pitch and tonality of the song better than those children who did not have such instruction.
30
Mantasa, Dedi, and Yos Sudarman. "PENGGUNAAN APLIKASI BASIC GUITAR CHORDS 3D PADA PEMBELAJARAN SENI BUDAYA (MUSIK) DI KELAS VII SMP NEGERI 3 KECAMATAN HARAU." Jurnal Sendratasik 9, no. 3 (September 15, 2020): 41. http://dx.doi.org/10.24036/jsu.v9i1.109436.
Full textAbstract:
AbstractThis study aims to describe the activities of Culture and Arts (music) teachers in grade VII of SMP Negeri 3 Harau District, Lima Puluh Kota Regency in implementing music instruction using the Basic Guitar Chords 3D application for learning guitar at school. The use of this guitar playing application provides an opportunity for students to learn guitar playing virtually with a different learning atmosphere from how guitar learning was theoretically and practically conducted before.This study uses references to results from relevant research and several theoretical studies especially those related to learning and instruction, learning methods, guitar learning through application, and Culture and Arts (music) instruction in junior high school.This is a qualitative research with a descriptive analysis approach. The object of research was teachers’ activities in implementing music instruction in grade VII of SMP Negeri 3 Harau. The learning observed involves learning guitar under the topic of playing a string instrument in a musical ensemble. The research instruments used were observation notes, interview notes, and document studies. The results of the study explain that learning guitar using the Basic Guitar Chords 3D application can create new experiences for students in learning music using the android application. However, due to the fact that the use of this application coincides with learning musical ensembles under the Basic Competence of playing simple music, this application conceptually does not support learning musical ensembles by using actual musical instruments.However, the teachers’ thought to explain that playing music can be done through application surely gives a point, and it can be developed by the teachers in learning music at school.Keywords: Android application, guitar, learning, instruction, ensemble
31
Dieringer, Shannon Titus, David L. Porretta, and Diane Sainato. "Music and On-task Behaviors in Preschool Children With Autism Spectrum Disorder." Adapted Physical Activity Quarterly 34, no. 3 (July 2017): 217–34. http://dx.doi.org/10.1123/apaq.2015-0033.
Full textAbstract:
The purpose of our study was to determine the effect of music (music with lyrics versus music with lyrics plus instruction) relative to on-task behaviors in preschool children with autism spectrum disorder (ASD) in a gross motor setting. Five preschool children (4 boys, 1 girl) diagnosed with ASD served as participants. A multiple baseline across participants in conjunction with an alternating-treatment design was used. For all participants, music with lyrics plus instruction increased on-task behaviors to a greater extent than did music with lyrics. The results of our study provide a better understanding of the role of music with regard to the behaviors of young children with ASD.
32
Han, Yun-Yi. "A Study on the Sigimsae Instruction Presented in Music Textbooks for Elementary Schools." National Gugak Center 40 (December 31, 2019): 265–99. http://dx.doi.org/10.29028/jngc.2019.40.265.
Full text
33
Chen, Steve Shihong, and J. Richard Dennis. "Linking Different Cultures by Computers: A Study of Computer-Assisted Music Notation Instruction." Journal of Educational Technology Systems 21, no. 3 (March 1993): 207–24. http://dx.doi.org/10.2190/cyr8-7en1-ldme-cru0.
Full textAbstract:
CAMNI, which stands for Computer-Assisted Music Notation Instruction, is self-educational software designed and developed with HyperCard. This program features interactive hypermedia (inter-linked musical notation knowledge, musical tempo controlled by the user, the use of digital sounds and animation), multiple representation mode (the staff notation, the number notation, the letter name of notes and the piano keyboard, four representations are linked and can be switched from one to another easily or presented at the same time in terms of a user's need), graphical user interface “GUI,” context-sensitive-sound icon (the use of a sound icon in lesson navigation and sub-index design), direct manipulation (pointing and clicking objects to interact with the program), and self-directed but computer-context-sensitive-guided environment (multi-path navigation characterized by an author-designed but user-defined and individualized learning approach). The CAMNI was specifically designed for Chinese students who would like to study the staff notation whether or not they have background with the number notation (the traditional Chinese musical notation system).
34
Wolfe, Jocelyn. "An investigation into the nature and function of metaphor in advanced music instruction." Research Studies in Music Education 41, no. 3 (September 19, 2018): 280–92. http://dx.doi.org/10.1177/1321103x18773113.
Full textAbstract:
Metaphors are an important linguistic device that can enable music teachers to explain expressive performance features in a way that makes sense to their students. This study extends the limited literature on the application of metaphors within advanced music instruction, providing new insights into the nature and function of metaphor in the way that music is perceived, performed and taught. It is based on an investigation of 80 hours of teacher instruction recorded across five instrument areas: strings, woodwinds, brass, percussion and keyboard. Metaphors were identified, analysed in relation to contextual meanings, and explored in relation to relevant literature. The findings suggest that with attentive use, metaphors can be useful “bridges to learning” in music instruction contexts.
35
Montemayor, Mark, and Brian A. Silvey. "Conductor Expressivity Affects Evaluation of Rehearsal Instruction." Journal of Research in Music Education 67, no. 2 (March 5, 2019): 133–52. http://dx.doi.org/10.1177/0022429419835198.
Full textAbstract:
The purpose of this study was to examine the effect of conductor expressivity on the evaluation of rehearsal instruction. We video recorded two conductors in rehearsal with a university band. We extracted a 3.5-min excerpt of their rehearsals that featured alternation between conductor talk and expressive conducting. For one of the conductors (the “experimental” conductor), we also re-recorded the same rehearsal excerpt with the conductor using unexpressive gestures. In postproduction, we created two versions of the experimental conductor’s rehearsal—one unaltered and the other altered to show unexpressive conducting gestures. The footage of the experimental conductor’s verbal instruction was identical in both versions. Collegiate musicians ( N = 134) viewed the rehearsal excerpts of both the experimental conductor (either expressive or unexpressive) and the control conductor and evaluated both conductors on eight criteria related to instructional effectiveness. Significant differences were found between conditions in the composite evaluations of the experimental conductor. Further inspection revealed significantly higher evaluations favoring the expressive condition on seven of the eight criteria. Notable among these results is the influence of expressive gesture on the perception of distinctly verbal conductor behaviors. We suggest this may indicate the inseparability of gestural and verbal aspects of rehearsal instruction.
36
Abu Bakar, Kamariah, and Mohamad Azam Samsudin. "Teaching Young Children Early Mathematics through Music and Movement." International Journal of Learning, Teaching and Educational Research 20, no. 5 (May 30, 2021): 271–81. http://dx.doi.org/10.26803/ijlter.20.5.15.
Full textAbstract:
The purpose of this study was to explore the integration of music and movement elements into young children’s mathematics classrooms. Using a qualitative approach, this research was a case study. Three teachers were purposely selected as participants for this study. The teachers were interviewed to gain information about the songs and movements they chose to employ into their instruction. Additionally, their lessons were observed to attain the ways they incorporated music and movement. These sessions were video recorded to gain a rich picture of the songs and movements incorporated as well as the benefits of such practice in the teaching and learning of mathematics. The findings from the interviews (with teachers), classroom observations, and photographs exhibited that the teachers used familiar, easy and simple songs to be incorporated in their instruction. It was also evident that embedding music and movement activities into young children's mathematics lessons had a positive impact on the students' learning of early mathematics. The students focused on what the teachers were doing and repeating after them. This enhanced their mathematics learning. The implication of this study is that mathematics instruction should be employed in a fun yet meaningful way by incorporating music and movement activities as teaching and learning activities. More importantly, is that children learn mathematics with understanding.
37
Watson, Kevin E. "The Effects of Aural Versus Notated Instructional Materials on Achievement and Self-Efficacy in Jazz Improvisation." Journal of Research in Music Education 58, no. 3 (October 2010): 240–59. http://dx.doi.org/10.1177/0022429410377115.
Full textAbstract:
The purpose of the present study was to investigate the effects of aural versus notated pedagogical materials on achievement and self-efficacy in instrumental jazz improvisation performance. A secondary purpose of this study was to investigate how achievement and self-efficacy may be related to selected experience variables. The sample for the study consisted of collegiate instrumentalists ( N = 62) enrolled as music majors at one of six Midwestern universities. All study participants received identical instructional materials but were assigned to one of two differing instructional modalities. Participants engaged in three 70-minute instructional treatment sessions over 4 days and completed pre- and postinstruction improvisation performances that were evaluated by four expert judges using the researcher-constructed Jazz Improvisation Performance Achievement Measure. Self-efficacy was measured using the researcher-constructed Jazz Improvisation Self-Efficacy Scale. Results indicated a significant ( p < .05) interaction effect for pre- to postinstruction and instructional method, with the aural instruction group demonstrating significantly greater gains than the notation group. Posttreatment achievement scores indicated nonsignificant correlations with experience variables. Participants’ self-efficacy for jazz improvisation increased significantly ( p < .001) following exposure to improvisation instruction; however, no interaction effect was found for instruction and mode of instruction.
38
Norgaard, Martin, Laura A. Stambaugh, and Heston McCranie. "The Effect of Jazz Improvisation Instruction on Measures of Executive Function in Middle School Band Students." Journal of Research in Music Education 67, no. 3 (August 9, 2019): 339–54. http://dx.doi.org/10.1177/0022429419863038.
Full textAbstract:
Research investigating links between academic achievement and active music instruction has not previously differentiated between different types of instruction. In the current study, 155 seventh- and eighth-grade middle school band students were divided into two groups. Both groups received 2 months of instruction in jazz phrasing, scales, and vocabulary, but only the experimental group was taught to improvise. All instruction was part of the warm-up routine in regular band classes. All students were tested before and after instruction on the Wisconsin Card Sorting Task (cognitive flexibility) and the classic Stroop task (inhibitory control). At posttest, eighth-grade students in the experimental group scored significantly better on cognitive flexibility with a smaller percentage of perseverative errors, whereas the treatment had no effect on seventh-grade students on this outcome. Seventh graders, but not eighth graders, in the experimental group increased their posttest scores for inhibitory control, though this result was only marginally significant. In relation to previous research, the current results strongly suggest that far-transfer effects of active music participation depend on the nature of the instruction. Results of prior and future studies should therefore be interpreted in light of the type of music-making engaged by participants.
39
Smith, Tawnya D., Karin S. Hendricks, Ronald P. Kos, and Andrew Goodrich. "Balancing String Instruction in an Instrumental Lab Setting: An Intrinsic Evaluative Case Study." String Research Journal 11, no. 1 (July 2021): 19–38. http://dx.doi.org/10.1177/19484992211020735.
Full textAbstract:
There is an expected increase in the need to provide adequate string-specific training for non-string specialists in the future and for preservice music teachers to develop the requisite pedagogical content knowledge to teach a variety of instruments. A multiyear instrumental lab ensemble university course was designed to help preservice music teachers integrate knowledge and skills in various instrument- and ensemble-specific areas. The purpose of this intrinsic evaluative study was to determine the extent to which the new course was successful toward these aims. Data included interviews of students and instructors, observations of lab classes, and reflective journals of teaching faculty and two external observers. Data were coded and then analyzed using the program goal statements found in the course syllabus. Findings indicated that students considered the lab format more authentic to their teacher preparation than their previous coursework, and that performance and pedagogy skills on secondary instruments elevated more rapidly than anticipated. Recommendations include the need for more explicit connection between course readings and lab activities, and improved guidelines for course teaching assistants.
40
Springer, D. Gregory, Amanda L. Schlegel, and Andrew J. Lewis. "Effects of Dark and Bright Timbral Instructions on the Production of Pitch and Timbre." Journal of Research in Music Education 68, no. 4 (August 6, 2020): 482–98. http://dx.doi.org/10.1177/0022429420944347.
Full textAbstract:
The purpose of this study was to examine the effects of timbral instructions on pitch and timbre production. High school ( n = 28) and collegiate ( n = 28) trumpeters played sustained tones at two octave levels (written C4 and C5) following three types of timbral instructions (dark-timbre, bright-timbre, or neutral instructions). Presentation orders were randomly assigned. Dependent variables included one acoustical measure of pitch (absolute cent deviation) and one acoustical measure of timbre (spectral centroid). Participants also reported which type of instruction they perceived to result in their “best sound” and their “most in-tune performance.” Results indicated a significant interaction between timbral instruction condition and octave. Post hoc testing revealed that timbral instructions affected participants’ absolute cent deviation, but different effects were observed in each octave. The effect of timbral instructions on participants’ spectral centroid was nonsignificant. Participants demonstrated a preference for the neutral instruction over the dark- and bright-timbre instructions, and their tuning accuracy varied by octave and instruction condition. These data suggest that music educators may need to use timbral instructions judiciously so that the instruction to play with a different timbre does not result in unintentional changes in pitch.
41
Buonviri, Nathan O., and Andrew S. Paney. "Technology use in high school aural skills instruction." International Journal of Music Education 38, no. 3 (March 1, 2020): 431–40. http://dx.doi.org/10.1177/0255761420909917.
Full textAbstract:
In this study, we investigated the use of digital technology for aural skills instruction in Advanced Placement Music Theory (APMT) classes in the United States. Our research questions focused on which technologies teachers use for aural skills, how they incorporate them, and what influences their decisions to use them. We created, piloted, and distributed a survey electronically to a stratified sample by state of 866 instructors. Participants who completed the survey ( N = 317, response rate = 36%) were current APMT teachers representing 48 states. Of the 91% of respondents who used digital technologies for teaching aural skills, 93% used websites, 47% used software programs, and 38% used mobile apps. Participants incorporated technology for student practice outside class (93%) and during class (78%), and to present new material during class (55%). Of those who did not use technologies ( n = 29), 41% cited lack of funds and 34% cited lack of class time. Participants noted that technology can provide extra practice for students and customization for their needs, but that students’ lack of access and limitations of the programs may temper these benefits. Implications for pedagogical practice and music teacher training are discussed.
42
Kiraly, Zsuzsanna. "Solfeggio 1: A Vertical Ear Training Instruction Assisted by the Computer." International Journal of Music Education os-40, no. 1 (May 2003): 41–58. http://dx.doi.org/10.1177/025576140304000105.
Full textAbstract:
The aim of this paper is to describe the process of solfège learning when assisted by computers. The research was conducted in the Länsi-Uusimaa Music Institute in Finland. The study focused on pupils’ attitudes, opinions, motivation, and learning-outcomes using computer-based music learning. We also examined how Solfeggio 1, the new electronic ear-training material, works. Jukka Louhivuori (1990) has examined the didactical questions of computer-assisted music education. He emphasized that learning music with a computer does not mean the replacement of “real” music. The notions of learning and teaching can change in quality, mainly in the area of “learning-by-doing” and “discovery learning” in the computer-assisted music classroom. It was found that computer-assisted music learning is more agreeable and effective than traditional music learning. Although results showed that we need a well-functioning, modern environment and a well-educated “researcher-teacher,” well-motivated pupils are the most important aspects.
43
Sehmann, Karin Harfst. "The Effects of Breath Management Instruction on the Performance of Elementary Brass Players." Journal of Research in Music Education 48, no. 2 (July 2000): 136–50. http://dx.doi.org/10.2307/3345572.
Full textAbstract:
The present study is an investigation of the effects of breath management instruction on the performance of elementary brass players. The experimental group ( N = 32) received instruction on the use of air during brass performance. The control group ( N = 29) continued with instruction from their method books. Three measures for breathing (thoracic displacement, abdominal displacement, and lung capacity) and for performance (range, duration, and tone quality) were the dependent variables. The data were analyzed using multivariate and univariate analyses of covariance. Independent variables included group (experimental and control), instrument (trumpet, horn, and trombone), and grade level (fourth, fifth, and sixth). Main effects for group showed that the experimental group had significantly higher scores on measures of abdominal displacement, range, and duration ( p < .05). There were no treatment-by-instrument or treatment-by-grade-level interactions. Breathing instruction in group lessons was effective in improving the breathing and performance of elementary brass players.
44
Guilbault, Denise Marie. "The Effects of Harmonic Accompaniment on the Tonal Improvisations of Students in First Through Sixth Grade." Journal of Research in Music Education 57, no. 2 (June 18, 2009): 81–91. http://dx.doi.org/10.1177/0022429409337201.
Full textAbstract:
The purpose of this research was to examine the effects of harmonic accompaniment on the tonal improvisations of elementary school students. Specifically, this study was designed to (a) determine if the addition of a root melody accompaniment to song instruction affects the implied harmonic changes and harmonic rhythm in the tonal improvisations of students in first through sixth grade and (b) determine whether age affects the tonal improvisation scores of students in first through sixth grade. Results indicated that students who received song instruction with root melody accompaniment received significantly higher tonal improvisation rating scores than those students who did not have such instruction. No statistical difference was found for the main effect of grade level.
45
Smolej Fritz, Barbara, and Cirila Peklaj. "A case study of music instruction according to E. Willems’ pedagogy in children with intellectual disabilities: Its impacts on music abilities and language skills." International Journal of Music Education 37, no. 2 (March 13, 2019): 243–56. http://dx.doi.org/10.1177/0255761419833082.
Full textAbstract:
The aim of this case study was to explore the effects of music instruction according to the E. Willems teaching method on the music abilities and language skills in students with intellectual disabilities (ID). Eight students with ID (average age 9.64 years) participated in the study. They attended 35 music lessons during the school year. Each lesson included tasks for developing four domains: auditory perception, rhythm, singing songs and natural body movement. We developed the tasks for measuring music abilities and language skills and applied them three times: before the music training, immediately after the training and in delayed measurement 10 months after the training. Results showed a significant improvement in the music abilities in rhythm between the first and the second measurements. The improvements between the first two measurements were also found in language skills, in following instructions and in discrimination and repetition of phonemes in pairs. The research method used does not allow for the generalization of results, but it is the first step in empirical research into the effects of music instruction according to the principles of E. Willems’ pedagogy in children with ID.
46
Silvey, Brian A., D. Gregory Springer, Christian M. Noon, Christopher M. Baumgartner, Alec D. Scherer, and Mark Montemayor. "Band Directors’ Perceptions of Instrumental Conducting Curricula." Journal of Music Teacher Education 30, no. 1 (June 18, 2020): 65–78. http://dx.doi.org/10.1177/1057083720933218.
Full textAbstract:
The purpose of this study was to examine inservice band directors’ perceptions of their undergraduate instrumental conducting curricula. Members ( N = 141) of the Facebook Band Directors Group who had completed undergraduate conducting and rehearsal techniques coursework responded to an online survey. Respondents felt more confident demonstrating technical conducting behaviors versus expressive ones, perceived their instruction in conducting skills superior to their rehearsal skill instruction, and desired additional conducting and rehearsal experiences that were more representative of what they encountered once they began teaching. Respondents’ most desired curricular change was for additional instruction in rehearsal planning, error detection and correction, and instrument-specific pedagogy. The three most frequently used score study behaviors were “initial, casual read-through of the score,” “define all unfamiliar terms,” and “marking important cues.” Based on our findings, we discuss ways in which music teacher educators can improve their instrumental conducting courses.
47
Salvador, Karen. "Music instruction for elementary students with moderate to severe cognitive impairments: A case study." Research Studies in Music Education 37, no. 2 (October 23, 2015): 161–74. http://dx.doi.org/10.1177/1321103x15613645.
Full text
48
Bergonzi, Louis. "Effects of Finger Markers and Harmonic Context on Performance of Beginning String Students." Journal of Research in Music Education 45, no. 2 (July 1997): 197–211. http://dx.doi.org/10.2307/3345580.
Full textAbstract:
This study is an investigation of the effects of finger placement markers (FPMs) and I harmonic context on the left-hand technique, intonation performance skills, and overall musical performance skills of sixth-grade beginning string students. Central to this study was the question of how a tactile/visual reference and an aural reference influence the development of string intonation performance skills. Subjects were assigned to research conditions in a 2 ? 2 factorial design (FPMs by harmonic context). Students received 90 minutes of weekly, heterogeneous-group instruction from the same teacher and used researcher-prepared audio home practice tapes to accentuate their class experience. Subjects with FPMs played significantly more in tune than those who did not have FPMs. Students whose instruction and practice were accompanied by harmonic background demonstrated a higher degree of overall musical performance ability. Differences were significant even after adjusting for musical aptitude. There were no differences in left-hand technique. Results of this study endorse the theoretical and practical support for the use of these teaching techniques in beginning string instruction.
49
Hash, Phillip M. "Music Instruction at Selected State Normal Schools during the Nineteenth Century." Journal of Research in Music Education 67, no. 4 (December 2, 2019): 413–39. http://dx.doi.org/10.1177/0022429419888740.
Full textAbstract:
The purpose of this study was to explore music instruction in selected normal schools of the United States during the nineteenth century. The sample consisted of all eighteen state normal schools organized before the end of the U.S. Civil War and provided insight into the earliest period of music at these institutions. Research questions focused on normal school music (a) faculty, (b) curricula, and (c) diploma/degree programs, as well as (d) influence on the teaching profession, normal school students, and society at large. Normal schools prepared future classroom teachers and eventually specialists to teach music to K–12 students throughout the United States. They also helped professionalize the role of music teacher, solidify music’s place in K–12 curricula, and improve the efficacy of instruction among America’s youth. The preparation normal schools provided contributed to the national culture and the ability of average citizens to experience music as both listeners and performers. Although teacher education has evolved a great deal since the nineteenth century, practices related to music instruction in state normals during this time might hold implications for solving current problems in music education and preparing generalists and specialists today.
50
Demorest, Steven, Bryan Nichols, and Peter Q. Pfordresher. "The effect of focused instruction on young children’s singing accuracy." Psychology of Music 46, no. 4 (June 20, 2017): 488–99. http://dx.doi.org/10.1177/0305735617713120.
Full textAbstract:
The purpose of this study was to test the effect of daily singing instruction on the singing accuracy of young children and whether accuracy differed across four singing tasks. In a pretest-posttest design over seven months we compared the singing accuracy of kindergarteners in a school receiving daily singing instruction from a music specialist to a control school receiving no curricular music instruction. All children completed four singing tasks at the beginning and end of the study: matching single pitches, matching intervals, matching short patterns, and singing a familiar song from memory. We found that both groups showed improvement on the pitch-matching tasks from pretest to posttest, but the experimental group demonstrated significantly more improvement. Performance on the familiar song task did not improve for either group. Students achieved the highest accuracy scores when matching intervals. Regular singing instruction seems to accelerate the development of accurate singing for young children, but the improvement was evident only in the pitch-matching tasks. It is possible that singing skill development proceeds from pitch-matching to the more difficult task of singing a song from memory. If so, this has implications for how we structure singing instruction in the early grades.