Journal articles: 'Group music education'

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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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FAUTLEY, MARTIN. "Notation and Music Education." British Journal of Music Education 34, no. 2 (June 26, 2017): 123–26. http://dx.doi.org/10.1017/s0265051717000031.

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Every year on the pre-service teacher education course with which I am associated in England, we have something we have come to refer to as ‘the notation argument’. When this happens varies, but it normally occurs fairly near the beginning of the course. In essence, what happens is that a divide opens up between those pre-service teachers who believe they need to teach western classical stave notation in isolation from other aspects of music, and that this needs to be done in advance of other musical activities, as preparation for them. The other group of pre-service trainee teachers counter this with the case that there should be some sort of a need for this knowledge, and that acquiring it in isolation is unlikely to happen anyway. This notation argument can rage, on and off, for a good proportion of the first term, depending on how the issues are dealt with, and how passionate the various advocates are.

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Hogenes, Michel, Bert van Oers, René F. W. Diekstra, and Marcin Sklad. "The effects of music composition as a classroom activity on engagement in music education and academic and music achievement: A quasi-experimental study." International Journal of Music Education 34, no. 1 (June 4, 2015): 32–48. http://dx.doi.org/10.1177/0255761415584296.

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The present study aims to contribute to the understanding of the effects of music education, in particular music composition as a classroom activity for fifth- and sixth-graders. The intervention (experimental condition) focused on a three-step-model for music composition, based on the Cultural Historical Activity Theory of education, and has been compared with a teacher-centered approach mainly based on students’ reproduction of music (control condition). Results indicated that after the six-month intervention period, students in the experimental group were more engaged in music education compared to students in the control group. The research did not show a statistical difference in learning outcomes with regard to intelligence, academic achievement and music achievement, although the students of the experimental group performed better with regard to reading comprehension than their counterparts in the control group. The authors conclude that music composition as a classroom activity is feasible and useful in elementary schools.

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Nwokenna, Edith N., Nneka Nwosu, Uche L. Igbokwe, Vera Victor-Aigbodion, Ogechi Nnamani, and Bartholomew C. Nwefuru. "Music Intervention for Perceived Stress Among English Education Students." Global Journal of Health Science 11, no. 8 (June 17, 2019): 23. http://dx.doi.org/10.5539/gjhs.v11n8p23.

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OBJECTIVE/BACKGROUND: This research objective was to examine the effect of music intervention on perceived stress among English education students. METHOD: Out of 200 students surveyed, 56 English education undergraduate students who were having high-stress level participated in the study. The 56 eligible participants were randomized into one of two study groups: music intervention group (n = 28) and waitlist control group (n = 28) using computer-generated random numbers. All participants completed baseline evaluation and posttests at 4, 8 and 12 weeks. Participants completed the Perceived Stress Scale. The statistical tool used for data analysis was within and between ANOVA. RESULT: There was a significant difference in perceived stress between English education students in the music intervention group and waitlisted group. Significant reduction in the level of perceived stress among English education students was observed in the music intervention group, but the waitlisted group demonstrated no significant reduction in their stress score both at 4, 8 and 12 weeks posttests respectively. CONCLUSION: Music intervention is an effective means of handling stress among English education students. Further studies are required to investigate the role of music therapy in burnout reduction among English education students in Nigerian universities.

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Öztürk, Erhan, and Ajda Aylin Can. "The effect of music education on the social values of preschool children." Cypriot Journal of Educational Sciences 15, no. 5 (October 29, 2020): 1053–64. http://dx.doi.org/10.18844/cjes.v15i5.5150.

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This study aims to explore the effect of music education on the acquisition of social values by preschool children. In this study, a quasi-experimental pattern model with the pretest–posttest control group is employed. The Preschool Social Values Scale is used for collecting the data. The participants of this study are 26 preschool children (the experimental and control groups contain 13 children each). Whilst the experimental group underwent 30 minutes of music training twice a week for 10 weeks, the control group pursued their preschool education. Music education with the experimental group consists of activities, where students are active and experience music. Songs containing social values were taught to children in the unity of play music and movement. At the end of the study, the scores related to the social values of the experimental group improved as compared to that of the control group. No meaningful difference was detected between the posttest and follow-up test social values’ scores. Keywords: Music education, social values, preschool education, value education.

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Thorpe, Vicki. "Assessing complexity. Group composing for a secondary school qualification." British Journal of Music Education 34, no. 3 (September 7, 2017): 305–20. http://dx.doi.org/10.1017/s0265051717000092.

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This article examines a unique music curriculum and assessment environment through the findings of a practical action research project carried out in secondary schools. I address two current international educational issues: the relationship between formal and informal learning in music, and how individuals’ contributions in collaborative groups might be summatively assessed. Following this I present a model of group composing and explain how it was used as a pedagogical tool in secondary music classrooms. The purpose of this was to help students and their teacher to conceptualise collaborative composing, thereby leading to a clearer understanding and more valid assessment of the processes in which they were engaged.

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Swanwick, K. "Music education liberated from new praxis." International Journal of Music Education os-28, no. 1 (November 1996): 16–24. http://dx.doi.org/10.1177/025576149602800102.

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This article is in response to that of Robert Walker (IJME, 27, 2-15). It is proposed that attempts to define music in terms of either sonic material or socio-cultural acoustic phenomena are inadequate. Furthermore, it is important to distinguish between the view that all music is culturally rooted and the doubtful assertion that all music is uniquely reflective and expressive of a culture. This form of referentialism overlooks the transactional nature of musical discourse. The concept of discourse suggests a group of principles for music educators: care for music as conversation, care for the autonomy of students, teaching for expressiveness and promoting fluency before literacy. These complement the main dimensions of a formal music curriculum: analysis of cosmopolitan musical elements (by participation) and involvement in local musical events.

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Barratt, Elisabeth, and Hilary Moore. "Researching group assessment: jazz in the conservatoire." British Journal of Music Education 22, no. 3 (October 21, 2005): 299–314. http://dx.doi.org/10.1017/s0265051705006467.

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This article presents the results of research into methods and scorings for jazz assessment in Trinity College of Music, London, focusing on the possibility of introducing group assessment. It considers the advantages of group assessment methods, contrasting these with the more traditional approach, firmly established in conservatoires, of evaluating individual musicians. We question the role of jazz within the conservatoire, exploring not only the way institutions may transform jazz practice, but also the ways jazz may contribute to the evolution of higher education. The research formed part of a larger grant aimed at curricular development at Trinity College of Music. As such, we present it as an example of research's potential for immediate impact upon education policy. The project is also unusual in its use of students and instrumental professors not only as subjects of research but as participators fully involved in their own self-assessment and development.

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Prickett, Carol A., and Madeline S. Bridges. "Familiarity with Basic Song Repertoire: Music Education/Therapy Majors versus Elementary Education Majors." Journal of Research in Music Education 46, no. 4 (December 1998): 461–68. http://dx.doi.org/10.2307/3345343.

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An audiotape of the tunes of 25 standard songs assumed to be known by everyone who has finished Grade 6 was played for 273 undergraduate music therapy and music education students and 306 elementary education students who were beginning a music skills class. Music majors identified significantly more tunes than did elementary education majors, but the means for both groups indicated that neither had developed a strong repertoire of standard songs outside the college classroom. Several songs that music educators have stated are very important for children to learn could not be identified by even half the students in either group. It is recommended that those preparing elementary education students emphasize building a song repertoire and that those teaching music therapy and education students consider adding this goal to appropriate courses.

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Gül, Gülnihal. "Teachers' Views on Music Education Practices in Secondary Education in Distance Education During the COVID-19 Pandemic Process." Journal of Education in Black Sea Region 6, no. 2 (May 21, 2021): 95–111. http://dx.doi.org/10.31578/jebs.v6i2.235.

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In this study, it was aimed to determine the views of music teachers who have worked in secondary education during the COVID-19 Pandemic process regarding the music lessons conducted via distance education. The study group of the research consisted of 11 music teachers who were determined by the convenience sampling method. The data were collected using a semi-structured interview consisting of 6 questions and a demographic information form. In line with the findings obtained from this study, it was determined that the music teachers participating in the research had difficulties in classroom management, parents' approaches, technological equipment, internet problems and students' motivation. Besides, it was determined that the teachers used different technological teaching materials in the course, the achievements in the curriculum were partially achieved and the course evaluation process could not be carried out effectively enough. Key words: COVID-19, pandemic, distance education, secondary education, music education

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Baek, Yoomee, and Kellie Taylor. "Not just composing, but programming music in group robotics." Music Education Research 22, no. 3 (May 21, 2020): 315–30. http://dx.doi.org/10.1080/14613808.2020.1767558.

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Beegle, Amy C. "A Classroom-Based Study of Small-Group Planned Improvisation With Fifth-Grade Children." Journal of Research in Music Education 58, no. 3 (October 2010): 219–39. http://dx.doi.org/10.1177/0022429410379916.

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The purpose of this study was to examine and describe children’s music improvisations and the interactions that transpired within their four-person groups during regular weekly music classes as they planned and performed music improvisations in response to three different prompts: a poem, a painting, and a musical composition. Participants were two classes of fifth-grade children at the elementary school where the researcher was the general music teacher. Sixteen children in four focus groups were chosen for closer observation and a series of interviews. Data were gathered over a 12-week period, utilizing audio- and video-recorded observations, daily field notes, and interviews following students’ viewing of their own performances on video. The findings of this study demonstrate that (a) all children utilized a similar planning process, and social roles and relationships were often correlated to musical roles and relationships; (b) children’s music products differed based on the nature of the prompt, and children viewed prompts along a continuum of providing freedom of expression; and (c) children evidenced three specific strategies and expressed three valued considerations for planning and evaluating improvisation performances.

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Revenko, Vira. "Education and Music Culture in the Context of Web 2.0." International Journal of Emerging Technologies in Learning (iJET) 16, no. 10 (May 25, 2021): 96. http://dx.doi.org/10.3991/ijet.v16i10.19693.

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Total digitalization of culture requires the extensive integration of Web 2.0 ser-vices and capabilities into music education. The penetration of digital technologies is not reduced to the technologies for fixing and distributing musical works or the means of their broadcasting but also dramatically transforms the process of creat-ing musical works. Web 2.0 offers a new distributed creativity culture and pro-vides musicians with specific opportunities to work and distribute creative prod-ucts. The study is devoted to the integration of music education and the services and opportunities that Web 2.0 provides to the mass audience (free specialized and non-specialized services), its impact on the quality of music education, as well as on the most important psychological parameters of students of music uni-versities. The study involved 150 students of R. Glier Kyiv Municipal Academy of Music (Kyiv, Ukraine); there were three groups of 50 participants: two exper-imental groups and a control one. In Experimental Group 1, training was partially integrated with Web 2.0 services; in Experimental Group 2, there was a more complete and structured integration. Based on the results of semester training and the objective test scores, a significant increase in the results of experimental groups was observed (an increase by 1.3 points in Group 1 and 2.84 points in Group 2 on a 5-point scale); Group 2 demonstrated a more significant improve-ment. The subjective assessment of the level of involvement, motivation and anx-iety showed a statistically significant decrease in academic anxiety in the experi-mental groups (2.99 and 2.01 compared to 3.98 in the control group, respective-ly) and a statistically significant increase in motivation and involvement in the group with deep integration of Web 2.0 services (Experimental Group 2). The hypothesis of the study that deep integration of Web 2.0 services and capabilities into music education will increase objective academic results, motivation and stu-dent involvement has been fully confirmed. It has also been revealed that it helps students reduce academic anxiety. The research results can be used as a basis for further research and in the course of the development of music education curricu-la based on online learning, mobile learning and the integration of music learning into a digital environment.

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Ang, Kathryn, Clorinda Panebianco, and Albi Odendaal. "Parent–teacher partnerships in group music lessons: a collective case study." British Journal of Music Education 37, no. 2 (July 8, 2019): 169–79. http://dx.doi.org/10.1017/s026505171900024x.

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AbstractDeveloping effective parent–teacher relationships in music lessons is important for the well-being and learning outcomes of the learners. The aim of this collective case study was to explore the relationship between teachers and parents of pre-school children in group music lessons in the Klang Valley, which is an area in West Malaysia centred on Kuala Lumpur. It includes the neighbouring cities and towns in the state of Selangor. Interviews were conducted with nine parents and three teachers of three group music classes for pre-school children. The results point to the values and attitudes that parents and teachers hold and the interactions between them that both encouraged and discouraged parent–teacher partnerships, which are relationships where trust, reciprocity, mutuality, shared goals and decision making are essential characteristics.

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Varvarigou, Maria. "Group Playing by Ear in Higher Education: the processes that support imitation, invention and group improvisation." British Journal of Music Education 34, no. 3 (October 17, 2017): 291–304. http://dx.doi.org/10.1017/s0265051717000109.

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This article explores how group playing by ear (GEP) through imitation of recorded material and opportunities for inventive work during peer interaction was used to support first year undergraduate western classical music students’ aural, group creativity and improvisation skills. The framework that emerged from the analysis of the data describes two routes taken by the students, whilst progressing from GEP to group improvisation and it is compared to Priest's (1989) model on playing by ear through imitation and invention. The article concludes with suggestion on how these two routes could be used to scaffold the development of western classical musicians’ improvisation skills.

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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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Pendergast, Seth, and Nicole R. Robinson. "Secondary Students’ Preferences for Various Learning Conditions and Music Courses: A Comparison of School Music, Out-of-School Music, and Nonmusic Participants." Journal of Research in Music Education 68, no. 3 (June 22, 2020): 264–85. http://dx.doi.org/10.1177/0022429420931826.

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This study was an investigation of middle and high school students’ preferences for various music learning conditions and secondary music course offerings. The stratified random sample included students who were and were not enrolled in school music classes ( N = 827). Participants represented secondary school music students ( n = 369), students who only participate in music outside of school ( n = 254), and nonparticipants in music ( n = 204). The research questions for this study concerned students’ preferences for teacher role, group size, and repertoire in the music classroom as well as interest in six different secondary music courses. Findings showed out-of-school music participants and nonparticipants had a stronger preference for small group learning environments and repertoire choice when compared to school music participants. In-school and out-of-school music participants expressed similar levels of interest in four music course offerings and ranked them as follows: (1) piano/guitar class, (2) music composition with technology class, (3) popular music groups, and (4) music history/theory class. In-school and out-of-school music participants differed on only two course offerings: large ensembles and world music groups. In-school music participants expressed high interest in large ensembles, whereas out-of-school music participants conveyed a lower interest in large ensembles.

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Brown, Geoffrey, and Helen Harrison. "Motivation and Musical Literacy in the Education of Year 3 Children." British Journal of Music Education 12, no. 1 (March 1995): 45–50. http://dx.doi.org/10.1017/s0265051700002382.

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This paper describes how a teacher explored her teaching of an introduction to recorder playing to children, and how she tested her belief that music notation was an essential component of that teaching.Two roughly parallel classes of 7 to 8 year-olds were introduced to recorder playing. One group was given tuition accompanied by music notation, the other group learned to play by ear. An interaction was found between the ability of the child and the relative success of a method of teaching. More able pupils became demotivated without access to written music, whilst less able pupils retained their interest when playing by ear. An intermediate strategy, using notation with the names of the notes written below, proved effective for those of average ability.An holistic assessment of the quality of performance created by the two groups was independently assessed. Contrary to expectations the playing by ear group produced better quality sound than that of the group exposed to music notation.The implication for the introduction of music performance to young children is discussed.

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Silverman, Marissa. "I drum, I sing, I dance: An ethnographic study of a West African drum and dance ensemble." Research Studies in Music Education 40, no. 1 (October 28, 2017): 5–27. http://dx.doi.org/10.1177/1321103x17734972.

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The purpose of this ethnographic study was to investigate the Montclair State University’s West African drum and dance ensemble. Analyses of the data revealed three themes related to individual participants and the “lived reality” of the group as a whole, and to the social-cultural teaching–learning processes involved: spirituality, community-as-oneness, and communal joy. My motivation for undertaking this inquiry arose from the fact that, beginning in the 1960s, music education scholars in the United States have been concerned about the widespread marginalization of non-Western musics in American music teacher education programs. This situation is still a major concern because American undergraduate and graduate music teacher preparation remains overwhelmingly dominated by Western classical styles. This situation runs contrary to the massive social, cultural, situational, and musical diversity of American students’ lives. As one small effort to advance musical diversity in my own university music school context, I developed the proposal for and initiated the Montclair State University’s West African drum and dance ensemble.

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Lage-Gómez, Carlos, and Roberto Cremades-Andreu. "Group improvisation as dialogue: Opening creative spaces in secondary music education." Thinking Skills and Creativity 31 (March 2019): 232–42. http://dx.doi.org/10.1016/j.tsc.2018.12.007.

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Glover, Jo. "Music, Gender and Education Conference, Bristol University, March 1993." British Journal of Music Education 10, no. 3 (November 1993): 151–52. http://dx.doi.org/10.1017/s0265051700001698.

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The Music, Gender and Education Conference was organised jointly by Women in Music and Bristol University and held as a weekend event with contributors from a wide field of working contexts and interests in music education. The group of papers which follows is indicative of the breadth of standpoints and approaches to research which were represented.

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Alekna, Mallory, and Soyeon Kang. "Equity in Music Education: Making a Place for Everyone." Music Educators Journal 106, no. 4 (June 2020): 66–68. http://dx.doi.org/10.1177/0027432120908492.

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A group of students and faculty at Arizona State University, Tempe, occupied a parking space outside the School of Music for an hour to do an experiment in creative placemaking and music-making. The results of their efforts are shared in this article.

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Rickels, David A., Edward C. Hoffman, and William E. Fredrickson. "A Comparative Analysis of Influences on Choosing a Music Teaching Occupation." Journal of Research in Music Education 67, no. 3 (May 29, 2019): 286–303. http://dx.doi.org/10.1177/0022429419849937.

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The purpose of this study was to compare motivations and influences of high school music students who express an interest in a career in music teaching and those who do not. A previous survey was adapted for the study and administered to a pre-college population that included musicians who stated a preference to pursue music teaching or other music careers and musicians who stated a preference for other nonmusic occupations. Items were analyzed using a discriminant analysis of principal components (DAPC) data reduction strategy, which used a principal components analysis as a first step to determine item loadings onto orthogonal components. The three occupation groups (music teaching, other music, and other nonmusic) were then compared using a discriminant analysis of the resulting components. The model correctly classified 69.8% of cases, with one significant component primarily separating both music groups from the nonmusic career group and three additional significant components separating the music teaching group from the other music careers group. Using this model, the choice of an occupation appears multidimensional, and discrete sources of influence (e.g., music teachers and music teaching experiences explored in prior studies) are not necessarily individually predictive of the overall choice to pursue music teaching.

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Kabataş, Mustafa. "How Do Kastamonu University Education Faculty Fine Arts Education Department Music Education Department Students Use Their Smartphones?" World Journal of Education 11, no. 1 (February 20, 2021): 1. http://dx.doi.org/10.5430/wje.v11n1p1.

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This work; Kastamonu University, Department of Fine Arts Education Faculty of Education was made to students in the Music Department in Turkey. The study is a descriptive field study and it was conducted with a questionnaire model. The study group of this study consists of all students of Kastamonu University Education Faculty Music Education Department. The aim of this study is to get an idea about the use of smart phones by music department students. In the study, a review was made of how music students use their smartphones. The questionnaire method was used to answer questions such as what kind of applications they use on smartphones and how much they benefit from the applications they use professionally. Research questions were asked which applications are the most popular for personal and school use, which applications are satisfied and which applications they are not satisfied with. The data obtained were presented in the form of a table and interpreted. It was concluded that the students used certain programs on their smartphones beneficial for their field education. The study is important because it contributes to researchers, field experts and similar studies.

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Prickett, Carol A., and Madeline S. Bridges. "A Comparison of the Basic Song Repertoire of Vocal/Choral and Instrumental Music Education Majors." Journal of Research in Music Education 48, no. 1 (April 2000): 5–9. http://dx.doi.org/10.2307/3345452.

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Following up on an earlier study, an audiotape of the tunes of 25 standard songs, assumed to be known by everyone who has finished 6th grade, was played for 135 undergraduate instrumental music education students and 79 undergraduate vocal/choral music education students. There was no significant difference in the ability of either group to identify the songs. The means for both groups indicated that neither had developed a strong repertoire of standard songs outside the college classroom. Several songs that music educators have stated are very important for children to learn could not be identified by even half the students in either group. It is recommended that professors preparing music education students for their future careers consider adding activities to music education courses that build a strong song repertoire.

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Kocaj, Agata, and Izabela Krasińska. "Musical education from the perspective "Musical news" (1925-1926)." Edukacja Muzyczna 15 (2020): 363–77. http://dx.doi.org/10.16926/em.2020.15.20.

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In Poland, over a hundred music magazines appeared in the interwar period. They were divided into several categories: subject and methodological, social and cultural music press, music and li- turgical magazines, regional music periodicals, as well as musicological and popular science mag- azines. The final group includes the subject of this article, “Wiadomości Muzyczne” (1925–1926), edited by the music collector and journalist Edward Wrocki. The article is the first attempt at a monograph elaboration of this periodical, both in terms of the formal and publishing aspects and its content. However, it focuses mainly on educational content, training and professional develop- ment of musicians and music and singing teachers in various types of schools (conservatories and music academies, primary and secondary schools, courses).

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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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Pulman, Mark. "Assessing personal attributes in the group rehearsal." Music Education Research 12, no. 4 (December 2010): 395–414. http://dx.doi.org/10.1080/14613808.2010.519383.

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Addison, Richard. "Music and Play." British Journal of Music Education 8, no. 3 (November 1991): 207–17. http://dx.doi.org/10.1017/s0265051700008482.

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The writer looks at the meanings of the word ‘play’ and its properties, and draws attention to the common elements and the differences to be observed in the play of young people and adults respectively. He applies these observations to music, giving examples.He then considers how classroom teachers have used some of the ‘play’ principles in their work, and introduces the idea of drawing instrumental teachers into similar patterns of action – to be fully developed in the other articles in this group. He summarises recent writings on the subject and his own practical contributions over the last few years.

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Madsen, Clifford K., and John M. Geringer. "Responses of Multi-Aged Music Students to Mid-20th-Century Art Music." Journal of Research in Music Education 63, no. 3 (August 6, 2015): 336–48. http://dx.doi.org/10.1177/0022429415595621.

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This investigation replicates previous research into K–12 students’ responses to mid-20th-century art music. The study extends that research to include undergraduates and graduates as well as an additional group of graduate students who had taken a 20th-century music class. Children’s responses showed remarkable consistency and indicated that younger children gave higher mean liking ratings than did older students. Kindergarten and third-grade youngsters preferred all but two of the excerpts compared to their older counterparts. There appeared to be a large difference between younger students’ responses compared to 6th- and 9th-grade students, who were more similar to undergraduate and graduate music students, while 12th graders generally gave the lowest responses. Preferences for the group of graduate students who studied 20th-century music were not significantly higher than those of graduate students who had not had an additional course. These results corroborate previous research that illustrates differences in preference between different ages of listeners.

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Rickels, David A., Wesley D. Brewer, Kimberly H. Councill, William E. Fredrickson, Michelle Hairston, David L. Perry, Ann M. Porter, and Margaret Schmidt. "Career Influences of Music Education Audition Candidates." Journal of Research in Music Education 61, no. 1 (March 5, 2013): 115–34. http://dx.doi.org/10.1177/0022429412474896.

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In this descriptive study, we examined the influences and experiences motivating students to enter college-level music schools as reported by a population of precollegiate students auditioning (but not yet accepted) to music education degree programs. As a follow-up to a published pilot study, this research was designed to quantify the various experiences respondents had as part of their precollege school and community programs that related to teaching and music. Results indicate a strong connection between respondents’ primary musical background and future teaching interest. The top three influential experiences were related to high school ensemble membership (band, choir, orchestra), and the most influential group of individuals in the decision to become a music educator were high school ensemble directors. Respondents from all four primary background groups (band, choir, orchestra, and general or other) rated private lesson teaching as their second strongest future teaching interest, just behind teaching at the high school level in their primary background. Respondents rated parents as moderately influential on their desire to become a music teacher.

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Conkling, Susan Wharton. "Socialization in the Family: Implications for Music Education." Update: Applications of Research in Music Education 36, no. 3 (September 21, 2017): 29–37. http://dx.doi.org/10.1177/8755123317732969.

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Socialization in the family commonly is considered a process by which children acquire self-understanding and learn to successfully interact with others in a specific cultural context. At one time, scholars conceived of socialization as a process limited to early childhood; thus, greater understanding about socialization, including how music is used in processes of socialization, exists for that stage of development. Now scholars view socialization as a process that continues throughout the life span. The emergent research includes studies on cultural variation in socialization processes, as well as on how parents continue as important socializing agents even as children mature and become influenced by schooling and a peer group. Relevant to music education are findings that parents and caregivers select and support older children’s and adolescents’ participation in specific extracurricular activities to help ensure their well-being and develop a desirable peer group.

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Bjøntegaard, Bjørg Julsrud. "A combination of one-to-one teaching and small group teaching in higher music education in Norway – a good model for teaching?" British Journal of Music Education 32, no. 1 (June 20, 2014): 23–36. http://dx.doi.org/10.1017/s026505171400014x.

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Instrumental teachers in higher music education in Norway and elsewhere traditionally organise their teaching as individual lessons with one teacher and one student. This paper takes a closer look at how a horn teacher at the Norwegian Academy of Music has organised her weekly teaching in individual, small group and master class lessons with all her students. The project being described in the paper has since been extended to other instruments, but this paper concentrates on the horn model. The main focus is on small group lessons where the students themselves play and comment on fellow students’ performances. The evidence suggests that a combination of teaching in individual, small group and master class lessons is the best way of educating students as responsible, reflective and professional musicians.

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Permatasari, Pitria. "PERBEDAAN PENGARUH PAPARAN MUSIK MOZART, BEETHOVEN DAN CHOPIN SELAMA KEBUNTINGAN TERHADAP EKSPRESI BRAIN DERIVED NEUROTROPHIC FACTOR DI CREBELLUM RATTUS NORVEGICUS BARU LAHIR." JURNAL ILMIAH OBSGIN : Jurnal Ilmiah Ilmu Kebidanan & Kandungan P-ISSN : 1979-3340 e-ISSN : 2685-7987 11, no. 2 (November 27, 2019): 46–50. http://dx.doi.org/10.36089/job.v11i2.86.

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ndonesia's Human Development Index (HDI) for 2015 was ranked 113 out of 188 countries. Education would be needed to raise HDI’s rank. One principle component of education is the quality of the brain. BDNF expression in the brain was affected by many stimuli. Mozart classical music had a neurobiological effect which had ability to increase BDNF. Whereas, other classical musics such as Beethoven and Chopin had never been studied. This study aims to cerebellum’s BDNF expression in the offspring of Rattus norvegicus that ere exposed to the Mozart , Beethoven, Chopin during pregnancy. The method used is pure laboratory experiment with posttest only control group design. The variables measured were BDNF expression in the brain. The samples were divided into 4 groups of each 6 rats. The results showed that significant differences in BDNF expressions between control group and Mozart (p=0,023; p<0,05), between Mozart group and Chopin (p=0,003). There were no statistically detected differences between control group and Beethoven (p=0,256), control group and Chopin (p=0,684), Mozart group and Beethoven (p=0,092) and Beethoven group and Chopin (p=0,292). Based on the above results it can be concluded that the exposure of Mozart’s music during pregnancy had a higher expression of BDNF in the offspring-rat’s cerebellum compare to those which exposed by Beethoven and Chopin’s music.

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Egger, John Okley. "Effects of cooperative learning on preservice elementary teachers’ interest in and integration of music into core academic subjects." International Journal of Music Education 37, no. 4 (August 2, 2019): 608–21. http://dx.doi.org/10.1177/0255761419852173.

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The author investigated the effects of a cooperative learning environment on the implementation of integrating music into core academic subjects. Using a quasi-experimental design, participants ( N = 59) were preservice generalist elementary and special education majors from four course sections of a required music methods course, where two course sections worked in a cooperative learning environment and two course sections worked individually. For six weeks, participants worked on a final project that integrated music into academic core subject lessons. At the conclusion of six weeks, each participant individually microtaught one lesson created from the music integration project. Additionally, participants completed an interest survey after the study was concluded. Results showed that participants in the cooperative learning group scored statistically significantly higher ( p < .05) on the music integration project, microteaching evaluations, and rated statistically significantly higher interest on their projects from the student interest survey. These results suggest that participants in the cooperative learning group produced work of a higher quality than participants in the control group and that the cooperative learning group also showed a higher level of interest in their own music integration projects.

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Haddon, Elizabeth. "Piano performance: Group classes for the lifelong learner." Research Studies in Music Education 39, no. 1 (April 3, 2017): 57–71. http://dx.doi.org/10.1177/1321103x17702972.

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This qualitative research presents data relating to eight amateur pianists who completed a 10-week Piano Performance course for lifelong learners at the University of York, UK. This article discusses the development of learning through the impact of group participation, challenges faced by learners and pedagogical strategies used by the leader to create a positive and productive learning environment. The findings suggest that learning in a non-assessed semi-formal group not only informs individual practice, technique, musicianship, analytical and performance skills but also has a positive impact on other areas of the participants’ lives.

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Wristen, Brenda. "Demographics and motivation of adult group piano students." Music Education Research 8, no. 3 (November 2006): 387–406. http://dx.doi.org/10.1080/14613800600957503.

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Silva, Líliam Barbosa, Sônia Maria Soares, Maria Júlia Paes da Silva, Graziela da Costa Santos, and Maria Teresinha de Oliveira Fernandes. "The use of music in group educational activities in Family Health." Revista Latino-Americana de Enfermagem 21, no. 2 (April 2013): 632–40. http://dx.doi.org/10.1590/s0104-11692013000200022.

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OBJECTIVE: describe how music is used in the development of group educational activity in Family Health. METHODS: a qualitative, descriptive and exploratory study, developed with 10 group coordinators, distributed in five basic care units in Belo Horizonte, Minas Gerais, Brazil. Data were collected from March to July, 2009, with non participant observation in the group itself, and semi-structured interviews with the coordinators. Information was organized and categorized according to thematic analysis. To interpret the data, the Snyderian concepts in addition to theoretical references about music, communication and health education were used. RESULTS: three thematic nuclei were found: the affective dimension of music; recreative dimension of music and the reflexive dimension of music. CONCLUSION: an attempt by the coordinators was observed, to overcome the pathological barriers with the use of music, considering the group as a whole. As advancement for the production of knowledge, this study shows the need for qualification of these coordinators, by means of workshops and constant follow-up of their musical practices.

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Pike, Pamela D. "The differences between novice and expert group-piano teaching strategies: A case study and comparison of beginning group piano classes." International Journal of Music Education 32, no. 2 (November 12, 2013): 213–27. http://dx.doi.org/10.1177/0255761413508065.

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Good-Perkins, Emily. "Arab students’ perceptions of university music education in the United Arab Emirates: A discussion of music education and cultural relevance." International Journal of Music Education 37, no. 4 (June 15, 2019): 524–35. http://dx.doi.org/10.1177/0255761419853627.

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The purpose of this study was to explore with five Arab young adults their perceptions of Western and Arabic musical cultures as well as their perceptions of the Western classical vocal teaching they experienced at an American-modeled university in the United Arab Emirates. Of interest were issues of cultural relevance and the role of music and music education in Arab society. Data collection methods for this study included individual, semi-structured interviews with each participant and three focus group discussions. This paper will explore the following four themes from the interviews: Theme 1: Western classical university music teaching was incongruent with Arabic classical music teaching. Theme 2: Despite the incongruencies, participants found the university music experience to be transformative. Theme 3: Participants have a strong personal connection to Arabic music. Theme 4: Lack of music education has cultural ramifications; however, it is a complex issue. Using Paris’ conception of culturally sustaining pedagogy as a theoretical lens through which to view participants’ perceptions of music and music education in the United Arab Emirates as well as the juxtaposition of heritage and emergent musical traditions within a globalized traditional society, issues of cultural relevance, personal transformation, and musical identity will be further discussed.

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Djacic, Ivana, Dusanka Lazarevic, Ana Orlic, and Snezana Radisavljevic-Janic. "The effects of application of music on the formation of students’ attitude towards physical education." Zbornik Instituta za pedagoska istrazivanja 46, no. 2 (2014): 364–84. http://dx.doi.org/10.2298/zipi1402364d.

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A positive attitude towards physical education (PE) is an important component of students? engagement in classes and extracurricular physical activities. Relying on students? interests when planning the class work can contribute to the formation of such an attitude. The research was aimed at verifying the effects of the experimental programme ?Inclusion of music in Physical Education classes? on the formation of students? attitude towards PE. An experiment with parallel groups that lasted for 26 classes was applied in the research on the sample of 141 primary school students attending the seventh grade. In the initial and final testing two instruments for measuring the attitudes were applied: the Students? Attitudes toward Physical Education - SATPE and the Connotative Differential (CD-15). In the final testing, the experimental group also completed the questionnaire on students? assessment of classes with and without music. The analysis of variance has shown that the experimental group achieved considerably higher scores at the final testing compared to the initial on the cognitive and conative subscales of the CD-15 instrument. This change was not linked to gender, PE grade and involvement in music. It has been shown that students in the experimental group assessed more positively the classes accompanied by music compared to the classes without music, measured by the questionnaire on students? assessment of classes with and without music. It can be concluded that the application of music has influenced the development of a more positive attitude towards PE, observed via the cognitive and conative dimension, which points to the fact that it is justifiable and desirable to use music in PE education.

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Ray, James, and Karin S. Hendricks. "Collective Efficacy Belief, Within-Group Agreement, and Performance Quality Among Instrumental Chamber Ensembles." Journal of Research in Music Education 66, no. 4 (October 19, 2018): 449–64. http://dx.doi.org/10.1177/0022429418805090.

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We examined collective efficacy beliefs, including levels of within-group agreement and correlation with performance quality, of instrumental chamber ensembles (70 musicians, representing 18 ensembles). Participants were drawn from collegiate programs and intensive summer music festivals located in the northwestern and western regions of the United States. Individuals completed a five-item survey gauging confidence in their group’s performance abilities; each ensemble’s aggregated results represented its collective efficacy score. Ensembles provided a video-recorded performance excerpt that was rated by a panel of four string specialists. Analyses revealed moderately strong levels of collective efficacy belief and uniformly high within-group agreement. There was a significant, moderately strong correlation between collective efficacy belief and within-group agreement ( rs = .67, p < .01). We found no relationship between collective efficacy belief and performance quality across the total sample, but those factors correlated significantly for festival-based ensembles ( rs = .82, p < .05). Reliability estimates suggest that our collective efficacy survey may be suitable for use with string chamber ensembles. Correlational findings provide partial support for the theorized link between efficacy belief and performance quality in chamber music settings, suggesting the importance for music educators to ensure that positive efficacy beliefs become well founded through quality instruction.

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Chiţu, Alexandru, and Ioan Bradu Iamandescu. "Contributions to music play selection for music therapy on the patients with hypertension and coronary." Romanian Medical Journal 63, no. 3 (September 30, 2016): 237–42. http://dx.doi.org/10.37897/rmj.2016.3.10.

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In one tentative selection of music songs for music therapy for the hypertensive and coronary patients, the authors tried to evaluate the predilection for this patients for one music with fast tempo which is contraindicate because the activation of sympathetic tone with hypotensive effect and with increasing myocardial oxygen consumption effect. Preferences for fast or slow tempo music were evaluated in 200 subjects (four groups of patients: hypertension, coronary heart disease, non-cardiac + a control group of healthy subjects). The attractiveness of the subjects investigated for music was performed by awarding marks from 1 to 10 couples of the 6 songs heard (fast vs. slow). Statistical processing of differences between the averages of 4 groups showed significantly increased preference for fast music group coronary (p <0.01) and hypertension (p <0.05). The opinion of the authors is to advise these patients to listen predominant cardiac slow classical music (especially baroque, with major psychological relaxing effects but also having the effect of decreasing sympathetic hypertension.

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Conway, Colleen, John Eros, Kristen Pellegrino, and Chad West. "Instrumental Music Education Students’ Perceptions of Tensions Experienced During Their Undergraduate Degree." Journal of Research in Music Education 58, no. 3 (October 2010): 260–75. http://dx.doi.org/10.1177/0022429410377114.

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In response to recent concern regarding music education major retention and as an effort to contribute to the “lives of teachers” scholarship in music education, the primary research question for this study was: How do undergraduate students describe their lived experiences within the instrumental music education community? Data included a questionnaire from sophomore, junior, and senior undergraduate students ( N = 34); researcher journals; 12 undergraduate student interviews; an undergraduate student focus group; and 6 study team meetings. What the authors learned from this inquiry is organized by the following themes: (a) participants perceive themselves as “different” from other music students; (b) participants perceive music education to be “different” within the music school; and (c) participants’ musician/ teacher identity changed throughout their experience.

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Altun, Zühal Dinc, and Gülçe Eyüpoğlu. "Investigating Views and Practices of Music Teachers’ about Inclusive Education." Journal of Education and Training Studies 6, no. 11 (September 16, 2018): 83. http://dx.doi.org/10.11114/jets.v6i11.3466.

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This study aims to investigate music teachers’ views on the education of special needs students (inclusive) in their classes. The study was carried out within the qualitative research approach and designed as a case study. Views of five middle and one high school music teachers who have special needs students in their classes were taken for investigation. The purposeful sampling method was used for creating the study group. Qualitative data was collected through the use of a semi-structured interview technique which was designed by the researchers. During the interviews, teachers were asked open-ended questions such as how they integrate special needs students into music classes, what they think about the environment of schools for special education needs students, the sufficiency of education taken during faculty years about special education. Obtained data was analysed through content analysis. In the analysis themes and categories were created and findings were presented in tables. In order to support findings, direct quotations from teacher conversations were also included. According to the results of the study, it is determined that music teachers are inadequate in terms of having related knowledge and skills for educating special needs students in their classrooms. In addition, it was found that music teachers do not prepare individual education programs for special needs students but carry on with the present curriculum and they mentioned that the training on special needs given during faculty years was inadequate. At the end of the study, some recommendations were made for improving the quality and productivity of music lessons of music teachers for special education needs students.

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Kivijärvi, Sanna, and Ari Poutiainen. "Supplying social capital through music education: A study on interaction in special educational needs students’ concerts." Research Studies in Music Education 42, no. 3 (June 29, 2019): 347–67. http://dx.doi.org/10.1177/1321103x19843005.

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While the interest in understanding how music affects an individual’s development is growing, the significance of music education for a more equal society has also been frequently discussed. In this study, we pay special attention to the potential for social capital that music learning, making, and experiencing offer. We report upon the reactions and feedback from the audience and performers in attendance at concerts organised by the Resonaari Centre for Music Education in 2012 and 2014. Our research is based on two online questionnaires and group discussions with the students, teachers, and audience members. The findings explicate the importance and benefits of music, music-making, and music education for student musicians with special educational needs and for their relatives, friends, and audience.

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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.

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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.

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Cunningham, C. "'Keep talking': using music during small group discussions in EAP." ELT Journal 68, no. 2 (February 24, 2014): 179–91. http://dx.doi.org/10.1093/elt/cct097.

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Faulkner, Robert. "Group Composing: pupil perceptions from a social psychological study." Music Education Research 5, no. 2 (July 2003): 101–24. http://dx.doi.org/10.1080/1461380032000085504.

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Ng, Hoon Hong. "The Value of Learning Collective Free Music Improvisation: Preservice Music Educators’ Perspectives." Journal of Music Teacher Education 30, no. 3 (June 2021): 40–53. http://dx.doi.org/10.1177/10570837211018287.

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I conducted a case study to explore preservice music teachers’ behaviors, thoughts, and feelings when engaged in collective free music improvisation. Nine preservice music teachers were taught how to freely improvise within groups as part of a teacher education course and participated in interviews and focus group discussions. Major themes highlighted learning across three segments that emphasized communication and collaborative skills, entrepreneurial skills and risk taking, and reconciliation and transformation. I concluded that the sociomusical outcomes produced by collective free improvisation may complement those of more formal and idiomatic improvisation practices, and that by introducing preservice music teachers to free improvisation activities, they may be more willing to engage PK–12 students in free improvisation lessons that enhance the existing school music curriculum.

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Journal articles on the topic 'Group music education'

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