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VILLARTA, BERNARDINA VIRAY. "Music Integration for Effective Delivery of Instruction: A Phenomenological Study." AIDE Interdisciplinary Research Journal 3 (April 24, 2023): 195–215. http://dx.doi.org/10.56648/aide-irj.v3i1.63.
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The objective of this study was to determine the teachers’ perspectives, experiences, problems, challenges, and intervention procedures used in integrating music into their classroom instruction. The study participants were delimited to elementary school teachers teaching in a private school in Imus Cavite, Philippines for the school year 2021-2022. The qualitative research strategy based on hermeneutic phenomenological research was used. A guided interview was used to collect data. Data collection and qualitative data analysis are usually done at the same time. The study came out with the following findings: The teachers need music workshops, training, and seminars to help them effectively employ music integration in their classroom for effective delivery of instruction, the teachers’ lack of supportive leadership from the school head, and the lack of resources to be used for teachers to integrate music. This conclusion points to the importance of providing workshops, training, and seminars to teachers, a need for a supportive school head and principal to motivate them to integrate music into their subject matter, and a provision of desired access to resources that would fill the needs of the teachers. Based on the above findings, the following conclusions are presented: The participants’ “lack of music training and ability” is the main reason behind the lack of an even more tremendous amount of implementation in the classroom. The participants do not have enough resources, materials, or a broad grasp of strategies and methods used for music integration. The following recommendations were drawn from the findings of this study: The school should provide desired access to resources and a source that would fill the needs of the participants. Also, the school should provide workshops, training, and seminars to the participants on integrating music in their classroom instructions in all subjects. Furthermore, Policy formulation on the adoption of integrating music into instruction may be formulated.
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MacLeod, Rebecca B. "The Perceived Effectiveness of Nonverbal, Co-Verbal, and Verbal String Ensemble Instruction: Student, Teacher, and Observer Views." Journal of Music Teacher Education 27, no. 3 (October 28, 2017): 65–79. http://dx.doi.org/10.1177/1057083717739790.
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The purpose of this study was to determine how students, teachers, and outside observers perceive teaching effectiveness within a university-level string ensemble rehearsal setting. Students, teachers, and observers reflected on six rehearsal segments that used primarily nonverbal, co-verbal, or verbal instruction as outlined by Bob Culver in the Master Teacher Profile. Overall, participants viewed the verbal teaching episodes as being most effective, and expressed a preference for several elements associated with the verbal instructional mode. Five common elements of effective rehearsals identified by participants were Specific Instructions and Feedback, Delivery Skills and Eye Contact, Audible and Focused Co-Verbal Instruction Prompts, Conducting Effectiveness, and Ensemble Progress. Effectiveness perceptions were colored by participants’ sense of each teacher’s comfort with the different instructional modes as well as the elements of rehearsal teaching they personally valued.
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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.
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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.
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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.
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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.
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Latifah, Diah. "EVALUASI MATA KULIAH PIANO UNTUK MENGHASILKAN GURU MUSIK DI SEKOLAH." Jurnal Penelitian dan Evaluasi Pendidikan 16, no. 2 (January 14, 2013): 457–73. http://dx.doi.org/10.21831/pep.v16i2.1127.
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Studi ini bertujuan untuk mengevaluasi mata kuliah instrumen pilihan wajib piano dan relevansinya terhadap tujuan kurikulum Jurusan Pendi-dikan Seni Musik Universitas Pendidikan Indonesia yang berkomitmen untuk menghasilkan pendidik musik profesional. Untuk memenuhi tuntut-an ini, metode penelitian yang digunakan adalah studi kasus sosial inkuiri. Instrumen penelitian yang digunakan adalah pedoman observasi, pedoman wawancara, lembar pertanyaan lanjutan hasil informasi, dan kajian doku-men serta dokumentasi. Hasil Penelitian menyatakan bahwa partisipan ma-ta kuliah ini belum mampu untuk mengggunakan piano sebagai pengantar pembelajaran musik umum. Informasi ini ditindaklanjuti dengan rekomen-dasi, penyempurnaan silabus dan implementasi pembelajaran mata kuliah instrumen pilihan wajib piano, seyogyanya dilengkapi dengan subjek peng-gunaan piano sebagai pengantar pembelajaran musik di sekolah.Kata kunci: ketidaksesuaian kurikulum, evaluasi, rekomendasi______________________________________________________________ COURSE EVALUATION IN PIANO SUBJECT TO PRODUCE MUSIC TEACHERS IN SCHOOLS Abstract This study was aimed at evaluating “piano as compulsary course” and its relevancy toward the objectives of the curriculum of music edu-cation department of UPI that stated a commitment to provide proffesio-nals music educators. To meet this demand, the research methode used is Case Study In Social Inquiry. The research instruments are observation manual, interview manual, information question, and documentation. The research result shows that participants of this course have not shown capability of using piano as introduction to general music instruction. This information is followed up by the recommendations, syllabus improve-ments, and instruction implementation on the subject. It is recommended that ”piano as compulsary course” is equiped with subject of piano usage as introduction of music instruction at schools.Keywords: inappropiate curriculum, evaluation, recommendation
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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.
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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.
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Kelly-McHale, Jacqueline. "The Influence of Music Teacher Beliefs and Practices on the Expression of Musical Identity in an Elementary General Music Classroom." Journal of Research in Music Education 61, no. 2 (May 14, 2013): 195–216. http://dx.doi.org/10.1177/0022429413485439.
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The purpose of this qualitative collective case study was to examine the ways an elementary general music teacher’s curricular beliefs and practices influence the expression of music in identity and identity in music for second-generation students. In addition to the music teacher, participants were 4 students whose families had immigrated to the United States from Mexico and who were attending the midwestern suburban school within the United States where the study took place. This research was designed to provide an understanding of the interactions between the roles of music instruction, cultural responsiveness, and musical identity. Within-case and cross-case analysis generated specific and broad themes that addressed the purpose of the study. The findings revealed that the role of the teacher’s view of the self as musician and educator, combined with the choice of instructional approach, created a music classroom environment that successfully met the teacher-directed goals for sequence-centered instruction. Nonetheless, the data revealed that the choice of instructional approach resulted in an isolated musical experience that did not support the integration of cultural, linguistic, and popular music experiences and largely ignored issues of cultural responsiveness.
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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.
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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.
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CAO, JIAKAI. "Enhancing Student Engagement and Learning Outcomes through Interactive Approaches in College Vocal Music Instruction." Pacific International Journal 7, no. 1 (February 15, 2024): 131–36. http://dx.doi.org/10.55014/pij.v7i1.535.
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This study investigates the enhancement of student engagement and learning outcomes in college vocal music instruction at Bozhou University, Anhui Province, China, through the implementation of interactive approaches. Recognizing the pivotal role of music education in shaping artistic and academic development, the research addresses the current challenges in student engagement and identifies the pressing need for innovative instructional strategies. The study employs a qualitative research design, conducting in-depth interviews with 25 undergraduate students to explore their perceptions of current vocal music instruction and the impact of interactive methodologies. Findings reveal diverse student perspectives on teaching methods, engagement levels, collaborative learning, technology integration, and assessment processes. The study highlights the potential of interactive elements, such as active learning strategies and technology-assisted instruction, to positively influence student engagement. Furthermore, it explores the implications of interactive approaches on learning outcomes, emphasizing holistic skill development and leveraging technology for effective learning facilitation. The discussion outlines practical implications for curriculum design, educator professional development, and the creation of a supportive learning environment. The findings contribute valuable insights to the ongoing discourse on effective music education strategies, providing a foundation for curriculum refinement and innovation in the evolving landscape of collegiate music education.
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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.
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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.
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Edward, Chamila Nishanthi, David Asirvatham, and Gapar Johar. "The Impact of Teaching Oriental Music using Blended Learning Approach: An Experimental Study." Malaysian Journal of Learning and Instruction 16, Number 1 (June 2, 2019): 81–103. http://dx.doi.org/10.32890/mjli2019.16.1.4.
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Purpose - The purpose of this experimental study is to investigate the impact of teaching Oriental Music using Blended Learning (BL) approach for the students of senior secondary level in Sri Lanka specifically focusing on their achievement on required competencies of Oriental Music at Ordinary Level. The study analyzes the academic performance of students with detailed comparison of BL environment and traditional learning environment. Authors propose the application of BL approach to teach Oriental Music and study its impact on improvement of students’ competency. The study conducted with the application of a mixed instructional design model of objectivist and constructivist approaches for the design of the blended learning course in a student centred learning environment. Methodology - The study was directed by using true experimental study design with pretest and posttest control groups. BL was applied to the experimental group and the traditional instruction method was applied to control group. 9 schools from Colombo district were randomly selected for the experimental and control groups covering all the three existing school types of Sri Lanka. The study group consisted of 360 students of Grade 10 and Grade 11 who has been studying Oriental Music as a subject for General Certificate of Education Ordinary Level. To analyze the data Descriptive statistics, Paired samples t test, Independent samples t test were utilized. Findings - The findings of the experiment indicated that students who has studied Oriental Music under BL strategy showed a significant improvement in their music academic performances after the intervention. The mean post-test of the experimental group was 71.75 which is significantly higher than the mean control group which was 52.07. The mean difference was 19.68 1.91. Hence, there is a statistically significant increase in the performance of students who studied Oriental Music under blended learning. Thus, it is clearly evident that the blended instruction was effective. Significance - This study indicated a positive platform to mould and cater the entire teaching learning process by introducing BL strategy to Sri Lankan secondary education system and fulfilled an existing research gap by utilizing BL to teach highly traditional abstract art. Results of the study contributes to the curriculum designing field with novel ideas to adapt blended instructions to teach secondary level students effectively.
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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.
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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.
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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.
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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
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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.
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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.
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Yoo, Hyesoo, and Sangmi Kang. "Instructional Approaches to Teaching a Korean Percussion Ensemble (Samulnori) to Preservice Music Teachers and Preservice Classroom Teachers: An Action Research Study." Journal of Music Teacher Education 28, no. 1 (May 28, 2018): 70–82. http://dx.doi.org/10.1177/1057083718777317.
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The purpose of this practical action research study was to explore how preservice music teachers, preservice classroom teachers, and a methods course instructor responded to the experience of rehearsing a Korean percussion ensemble piece. Seven preservice music teachers and nine preservice classroom teachers rehearsed Samulnori for 20 minutes per week for 8 weeks. Data sources included reflective narratives produced by the instructor and participants, observation field notes, and participant interviews. Through each step in the action research process, across multiple cycles of instruction and reflection, the teaching approach was altered to better fit participants’ needs and interests in the two groups. While preservice music teachers valued authentic music demonstrations and the hands-on process of learning to perform Samulnori in a polished and accurate manner, preservice classroom teachers required more detailed verbal explanations in addition to music demonstrations and showed interest in learning about the historical and cultural background of Samulnori.
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Paney, Andrew S., and Nathan O. Buonviri. "Developing Melodic Dictation Pedagogy: A Survey of College Theory Instructors." Update: Applications of Research in Music Education 36, no. 1 (February 13, 2017): 51–58. http://dx.doi.org/10.1177/8755123316686815.
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The purpose of this study was to identify pedagogical approaches to melodic dictation used by college music theory instructors at National Association of Schools of Music accredited institutions. Instructors ( N = 270) from 45 states responded to an online survey targeting melodic dictation instruction in their freshman theory courses. Results indicated that instructors: Chose pitch systems that emphasized scale degree function and rhythm systems that emphasized the meter, acknowledged the difficulty of compound meter for students, and advocated listening to a dictation completely before beginning to write. Respondents also listed the textbooks, software programs, and Web sites they used to supplement instruction and the types of music they chose for dictation assessments. Their replies to free-response questions highlighted several challenges of teaching dictation and aural skills in general. Knowledge of these instructional trends could be helpful when evaluating K–12 music curricula, especially for students who plan to major in music in college. The results of this study may benefit both college instructors and K–12 music educators in that their students face similar challenges and seek corresponding solutions.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Villanueva, Jed, Beatriz Ilari, and Assal Habibi. "Long-term music instruction is partially associated with the development of socioemotional skills." PLOS ONE 19, no. 7 (July 18, 2024): e0307373. http://dx.doi.org/10.1371/journal.pone.0307373.
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This study aims to investigate the development of pitch-matching, rhythmic entrainment, and socioemotional skills in children who received formal music instruction and other non-music based after school programs. Eighty-three children, averaging 6.81 years old at baseline, were enrolled in either a music, sports, or no after-school program and followed over four years. The music program involved formal and systematic instruction in music theory, instrumental technique, and performance. Most control participants had no music education; however, in some instances, participants received minimal music education at school or at church. Musical development was measured using a pitch-matching and drumming-based rhythmic entrainment task. Sharing behavior was measured using a variation of the dictator game, and empathy was assessed using three different assessments: the Index of Empathy for Children and Adolescence (trait empathy), the Reading the Mind in the Eyes Test (theory of mind), and a Fiction Emotion-Matching task (state empathy). Results revealed no time-related associations in pitch-matching ability; however, formal music instruction improved pitch-matching relative to controls. On the contrary, improvements in rhythmic entrainment were best explained by age-related changes rather than music instruction. This study also found limited support for a positive association between formal music instruction and socioemotional skills. That is, individuals with formal music instruction exhibited improved emotion-matching relative to those with sports training. In terms of general socioemotional development, children’s trait-level affective empathy did not improve over time, while sharing, theory of mind, and state empathy did. Additionally, pitch-matching and rhythmic entrainment did not reliably predict any socioemotional measures, with associations being trivial to small. While formal music instruction benefitted pitch-matching ability and emotion-matching to an audiovisual stimulus, it was not a significant predictor of rhythmic entrainment or broader socioemotional development. These findings suggest that the transfer of music training may be most evident in near or similar domains.
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Morrison, Steven J., Steven M. Demorest, Patricia Shehan Campbell, Sarah J. Bartolome, and J. Christopher Roberts. "Effect of Intensive Instruction on Elementary Students’ Memory for Culturally Unfamiliar Music." Journal of Research in Music Education 60, no. 4 (October 17, 2012): 363–74. http://dx.doi.org/10.1177/0022429412462581.
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Previous researchers have found that both adults and children demonstrate better memory for novel music from their own music culture than from an unfamiliar music culture. It was the purpose of this study to determine whether this “enculturation effect” could be mediated through an extended intensive instructional unit in another culture’s music. Fifth-grade students in four intact general music classrooms (two each at two elementary schools in a large U.S. city) took part in an 8-week curriculum exclusively concentrated on Turkish music. Two additional fifth-grade classes at the same schools served as controls and did not receive the Turkish curriculum. Prior to and following the 8-week unit, all classes completed a music memory test that included Western and Turkish music examples. Comparison of pretest and posttest scores revealed that all participants ( N = 110) were significantly more successful overall on the second test administration. Consistent with previous findings, participants were significantly less successful remembering items from the unfamiliar music culture, a result that was consistent across test administrations and between instruction and control groups. It appears that the effect of enculturation on music memory is well established early in life and resistant to modification even through extended instructional approaches.
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Johnston, Hugh. "The Use of Video Self-assessment, Peer-assessment, and Instructor Feedback in Evaluating Conducting Skills in Music Student Teachers." British Journal of Music Education 10, no. 1 (March 1993): 57–63. http://dx.doi.org/10.1017/s0265051700001431.
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This study examines the effectiveness of combining video self-assessment, peer-assessment, instructor feedback, and the use of a Conductor Peer/Self Evaluation form, in the instruction of conducting gestural technique. Twenty-five P.G.C.E. music students from the University of London Institute of Education were videotaped while conducting. Concurrently, they were being assessed by a peer, and given feedback by the instructor. The peer and the conductor reviewed the videotape and determined three areas of strength and three areas that need improvement in the conductor gestural technique. The experimenter tabulated the results and surveyed the group as to the effectiveness of the teaching process. Results indicate that the instructional process was effective, and the inclusion of peer-assessment helped to present a more accurate view of each conductors skills.
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MacLeod, Rebecca. "A Comparison of Instructional Strategies Used by Experienced Band and Orchestra Teachers When Teaching a First-Year Class an Unfamiliar Music Excerpt." Bulletin of the Council for Research in Music Education, no. 185 (July 1, 2010): 49–61. http://dx.doi.org/10.2307/41110365.
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Abstract The purpose of the study was to compare the instructional strategies used by experienced band and orchestra teachers when teaching a first-year class an unfamiliar music excerpt. Twelve teacher behaviors were identified and operationally defined: echoing technique, question and answer, verbal instruction, co-verbal instruction, modeling with instrument, modeling with instrument during student performance, modeling without instrument, modeling without instrument during student performance, conducting, student performance, pedagogical touch, and classroom management. Significant differences were found for nine out of the twelve behaviors. In general, band teachers used verbal instruction, conducting, question and answer techniques, and student performance with greater frequency than orchestra teachers, while orchestra teachers used echoing technique, co-verbal instruction, modeling, modeling with instrument during student performance, and pedagogical touch with greater frequency. No significant difference was observed between the two groups for classroom management, modeling without an instrument, and modeling without an instrument during student performance.
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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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Kaushal, Rajesh Kumar, and Surya Narayan Panda. "A Meta Analysis on Effective conditions to Offer Animation Based Teaching Style." Malaysian Journal of Learning and Instruction 16, Number 1 (June 2, 2019): 129–53. http://dx.doi.org/10.32890/mjli2019.16.1.6.
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Purpose - The purpose of this experimental study is to investigate the impact of teaching Oriental Music using Blended Learning (BL) approach for the students of senior secondary level in Sri Lanka specifically focusing on their achievement on required competencies of Oriental Music at Ordinary Level. The study analyzes the academic performance of students with detailed comparison of BL environment and traditional learning environment. Authors propose the application of BL approach to teach Oriental Music and study its impact on improvement of students’ competency. The study conducted with the application of a mixed instructional design model of objectivist and constructivist approaches for the design of the blended learning course in a student centred learning environment. Methodology - The study was directed by using true experimental study design with pretest and posttest control groups. BL was applied to the experimental group and the traditional instruction method was applied to control group. 9 schools from Colombo district were randomly selected for the experimental and control groups covering all the three existing school types of Sri Lanka. The study group consisted of 360 students of Grade 10 and Grade 11 who has been studying Oriental Music as a subject for General Certificate of Education Ordinary Level. To analyze the data Descriptive statistics, Paired samples t test, Independent samples t test were utilized. Findings - The findings of the experiment indicated that students who has studied Oriental Music under BL strategy showed a significant improvement in their music academic performances after the intervention. The mean post-test of the experimental group was 71.75 which is significantly higher than the mean control group which was 52.07. The mean difference was 19.68 1.91. Hence, there is a statistically significant increase in the performance of students who studied Oriental Music under blended learning. Thus, it is clearly evident that the blended instruction was effective. Significance - This study indicated a positive platform to mould and cater the entire teaching learning process by introducing BL strategy to Sri Lankan secondary education system and fulfilled an existing research gap by utilizing BL to teach highly traditional abstract art. Results of the study contributes to the curriculum designing field with novel ideas to adapt blended instructions to teach secondary level students effectively.
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Agbenyo, Samuel. "‘Empfindsamer Stil’ And Its Literary Connections: A Cue To Music Instruction." British Journal of Contemporary Education 1, no. 1 (December 30, 2021): 109–19. http://dx.doi.org/10.52589/bjce-lnpbmki0.
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Empfindsamer Stil is a German expression whose meaning has historically been debated as either a “human emotional disposition” or “a musical style”. This descriptive bibliographic study seeks to investigate the historical development of Empfindsamer Stil, its application in musical contexts, as well as its nexus with literacy works, to inform music instruction. Given the COVID-19 pandemic research environment, most of the data were collected virtually and reported thematically. Findings indicate that Empfindsamer Stil is characterized by an emphasis on the expression of a variety of deeply felt emotions within a musical work, with Carl Philipp Emanuel Bach being the principal exponent. The study also reveals that historians of philosophy across time failed to agree on the meaning of the term Empfindsamer Stil. It was therefore concluded that language is dynamic and evolving. Music educators must ensure to explore the history-contextual significance of musical terminologies, especially those that may be alien within the specific musico-cultural milieu of the learner. Also, in teaching, applying, and assessing lessons involving terminologies, music teachers must take a cue from specific historical epochs and cultures to maximize relevance and fairness. Future studies in music history, in correlation with modern psychology and literary works, will therefore help clarify further whether the term Empfindsamer Stil is best explained as a phenomenon of human emotional disposition or a musical style. Also, more research will better explain the interdependent coexistence of music and various literary works.
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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.
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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.
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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.
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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
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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.
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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.
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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.
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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
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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.
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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.
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Li, Jing, and Miao Yu. "A Study of the Effect of Sichuan Opera Singing on the Vocal Skills of Music Students." Journal of Contemporary Educational Research 8, no. 6 (July 3, 2024): 161–65. http://dx.doi.org/10.26689/jcer.v8i6.7204.
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The purpose of the article is to explore the effects of Sichuan opera singing on music majors’ vocal skills, focusing on three key aspects: pitch test, assessment of rhythmic perception, and emotional expression. Through a quasi-experimental design, 100 music majors were selected as research subjects and divided into an experimental group that received Sichuan opera singing instruction and a control group that received traditional vocal instruction. The results showed that compared with the control group, the experimental group receiving Sichuan opera singing teaching showed significant improvement in pitch mastery, rhythm perception, and emotional expression.
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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.
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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.
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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.
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Bautista, Alfredo, Ma del Puy Pérez Echeverría, J. Ignacio Pozo, and Bárbara M. Brizuela. "Piano Students’ Conceptions of Musical Scores as External Representations: A Cross-Sectional Study." Journal of Research in Music Education 57, no. 3 (September 30, 2009): 181–202. http://dx.doi.org/10.1177/0022429409343072.
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Musical scores are some of the most important learning tools for musicians’ acquisition of musical knowledge. However, despite their educational relevance, very little is known about how music students conceive of these cultural external representations. Given that these conceptions might act as mediators of students’ learning approaches, the importance of knowing these conceptions seems evident in order to eventually change them. The general aim of this investigation was to study the conceptions of piano students at Spanish music conservatories by adopting a developmental-instructional perspective. The participants were 215 students at intermediate and tertiary degree levels, representing three levels of the collapsed variable age— level of instruction. Data were collected by means of a written open-ended task and analyzed by means of descriptive, parametric, and nonparametric statistical methods.The findings suggested that (a) students’ conceptions were more sophisticated at higher age and education levels, (b) each developmental-instructional group typically focused on different musical aspects, which reflected an inclusive and hierarchical logic, and (c) five increasingly sophisticated conceptions could be identified among these students.
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Woody, Robert H. "Musicians' Cognitive Processing of Imagery-Based Instructions for Expressive Performance." Journal of Research in Music Education 54, no. 2 (July 2006): 125–37. http://dx.doi.org/10.1177/002242940605400204.
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This study addressed the cognitive processes of musicians using imagery to improve expressive performance. Specifically, it was an examination of the extent to which musicians translate imagery into explicit plans for the sound properties of music. Eighty four undergraduate and graduate music majors completed a research packet during individual practice sessions. Subjects worked with three melodies, each accompanied by an imagery example presented as a teacher's instructions for performing more expressively. The research packet guided subjects in considering the imagery-based instruction, practicing in light of it, and giving a final performance. The subjects wrote down their thoughts during the process. Results indicated that some musicians used a cognitive translation process, but others chose to develop and personalize the provided imagery. A curvilinear pattern in the data suggested an inverted-U relationship between the variables of private instruction received and cognitive translation usage. An interpretation of this result in light of previous research is offered.
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Oh, Jiyeon. "A Study on the Contents of the Integrated Instruction for Judae Sori." National Gugak Center 47 (April 30, 2023): 333–67. http://dx.doi.org/10.29028/jngc.2023.47.333.
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This study is motivated to make people have a wide range of thoughts of empathizing with Korean life through minyo (folk song) education and further to educate minyo that reflects locality. Accordingly, it examines educational contents utilizing judae sori, a folk song which has been handed down in the Incheon area, selecting an integrated educational method to obtain various information through the subject and develop communication skills.
The study was conducted as follows. First, it set a learning structure goal, reviewing the concept and necessity of integrated education. Second, it extracted the contents at a level that elementary school students can learn, examining the contents of judae sori . Third, it selected a subject corresponding to the extracted contents of judae sori and set a guidance direction for teaching and learning of judae sori , examining the 2015 revised curriculum. Fourth, it composed the contents of integrated instruction of judae sori and specified the instruction contents through teaching activities.
The results of the study are as follows. Judae sori includes geographical elements of learning the location and background of the region, cultural and historical elements of learning the background of the era in which the song was sung, ethical elements of learning through the connection between music and labor, and musical elements of learning singing. In elementary schools, these integrated elements of judae sori have a direct relationship with the subjects of society, ethnics, and music, while they can be reconstructed at the teacher's discretion in the subjects of Korean literature and arts according to the contents of the curriculum . It integrates the elements that make up judae sori and the corresponding subjects to select instructional contents, and plans learning activities in the stages of introduction, development, and organization following the set learning structure to design specific instructional contents for judae sori .…
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Hopkins, Michael T. "The Effects of Computer-Based Expository and Discovery Methods of Instruction on Aural Recognition of Music Concepts." Journal of Research in Music Education 50, no. 2 (July 2002): 131–44. http://dx.doi.org/10.2307/3345817.
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This study presents a comparison of the effectiveness of computer-based expository and discovery methods of instruction for fostering the aural recognition of selected musical concepts. The expository method (EM) contained the instructional sequence (a) definition of the concept, (b) examples, (c) practice exercises. The discovery method (DM) contained the instructional sequence (a) examples, (b) practice exercises, (c) opportunity to verbalize discovery, (d) definition of the concept. The DM group spent more time than the EM group working with the software (p = .03). The groups did not differ significantly on total time spent in instruction (p = .19). No significant differences were found between treatments on the posttest or retention test. Both groups improved from pretest to posttest and declined from posttest to retention test (p < .01). A relationship was found between subjects' ability to define the concepts verbally and their ability to recognize aurally examples of the musical concepts. Greater variance was found among DM subjects.
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Chen, Anqi. "Harmony Teaching Research — Implication for Music Education." Art and Society 3, no. 1 (February 2024): 13–44. http://dx.doi.org/10.56397/as.2024.02.02.
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This study aims to find out how students’ executive function skills are impacted by music instruction, especially harmonic instruction. The study adheres to ethical standards, ensuring participant confidentiality and freely given, informed consent. The introduction, which also provides background information on the importance of music education, outlines the goals and objectives of the study. In this review of the literature, we focus on constructivism and sociocultural theory as the theoretical frameworks for our analysis of the studies on music education and its impact on cognitive development. The techniques section describes the tools and how they were used; a questionnaire and open-ended comments were used to collect the data. The findings section includes both quantitative and qualitative results. The quantitative findings show a statistically significant positive association between executive function skill reports and the intensity of harmonic teaching, which may indicate a link between higher harmonic education progress and better executive function ability rises. The qualitative findings provide additional insights into the viewpoints and experiences of the participants, which strengthens the research. The conclusion summarizes the main findings and identifies the study’s limitations. Overall, emphasizes the value of music instruction in developing well-rounded individuals and presents solutions for integrating music instruction into the larger educational system that are supported by research. Because of the study’s rigorous research design, dedication to ethical principles, and use of appropriate statistical procedures and analytic tools, the findings are more believable and legitimate. The study’s findings and recommendations are meant to improve formal music education programs and advance understanding of how music education fosters students’ creativity and cognitive skills.
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W, W. Vinu, G. Vinod Kumar, and S. Sivachandiran. "Teaching Physical Exercise with Music – Pedometric Evaluation." EAI Endorsed Transactions on e-Learning 8, no. 2 (April 6, 2023): e3. http://dx.doi.org/10.4108/eetel.v8i2.3073.
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In everyday life and culture, music can be encountered and experienced in a variety of forms, and it plays a role in mood swings. Numerous studies have shown that listening to music while exercising increases both the amount of time spent exercising as well as the interest level in the activity. It is hypothesised that instructing pupils in physical activities through the medium of music would have a beneficial effect on them. Fifty-five students from the Faculty of Physical Education were chosen to serve as study subjects in order to investigate the impact that music has on the process of learning and doing the activity. This study was carried out over the course of two days, and the data was gathered by counting the number of footsteps that participants made throughout a period of 20 minutes of instruction with or without music. The exercises were demonstrated to the participants over the course of two days; on the first day, they were demonstrated with music, and on the second day, they were demonstrated without music. According to the findings of this study, there is a discernible contrast between instructing activities with and without the use of music. The topic revealed a tremendous amount of interest and vitality when it was practised with music. The pedometric measure improved with musical training, and males did much better than girls in this regard.
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Qian, Chen. "Research on Human-centered Design in College Music Education to Improve Student Experience of Artificial Intelligence-based Information Systems." Journal of Information Systems Engineering and Management 8, no. 3 (October 31, 2023): 23761. http://dx.doi.org/10.55267/iadt.07.13854.
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The integration of Artificial Intelligence (AI) technology with music instruction necessitates a delicate balance between technical advancement and the maintenance of humanistic teaching. This study examined how human-centered design concepts were used to optimize the integration of AI while also investigating the effects of AI technology on college-level music instruction in China. It aimed to identify potential, difficulties and make recommendations for ethical AI deployment in this particular environment. Semi-structured interviews with 20 music students and professors from Chinese higher education institutions were conducted using a qualitative study design. To condense significant themes and subthemes from the data, open coding, axial coding, and selective coding were used. The study revealed complex interactions between AI and Chinese music instruction. Themes included "Enhanced Learning with AI", emphasizing AI's role in motivating and personalizing music education; "User-Centric Design", emphasizing the importance of intuitive interfaces and aesthetic appeal; "Collaboration and Peer Learning", demonstrating AI's facilitation of collaborative projects; "Technical Challenges and Ethical Concerns", addressing technical obstacles and ethical concerns; and "Educator Support and Curriculum Alignment", emphasizing the importance of educator support and curriculum alignment. This study adds knowledge about how AI can be successfully incorporated into Chinese music teaching. It informs best practices for the adoption of AI, ensuring that technology enhances the learning experience for students while preserving cultural nuances. The study improves the conversation about innovative pedagogy and responsible technology integration. Implications include the potential for AI to change music education, cultural preservation, and global viewpoints. However, drawbacks such as sample bias and the dynamic nature of AI technology necessitate more study and development of educational techniques that use AI. Personalization and multimodal methods used in college music instruction in the future, to help increase student involvement. The importance of ethical issues, long-term effect analyses, and user-centered design will call for interdisciplinary cooperation. The future of AI-enhanced music education will also be shaped by assuring accessibility, diversity, and active engagement in policy and regulation discussions.
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Frischen, Ulrike, Antje Bullack, Ingo Roden, and Gunter Kreutz. "Short-term Effects of Listening to Music on Breathing and Emotional Affect in People Suffering From Chronic Lung Diseases." Music & Science 5 (January 2022): 205920432210746. http://dx.doi.org/10.1177/20592043221074665.
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Chronic lung diseases (CLD) are often associated with abnormal, ineffective breathing patterns. Some studies already suggest that nonpharmacological interventions can have positive effects on symptoms related to CLD. However, in the current state of research there is a lack of studies investigating the influence of music listening on breathing rate and oxygen saturation in people affected by CLD. In the present study, we conducted two quasi-experiments to investigate the immediate effects of attentive music listening and music listening combined with a breathing instruction on breathing rate, oxygen saturation, and emotional affect in people affected by CLD and healthy controls. In total, we recruited 58 participants affected by CLD and healthy controls. Participants with CLD and healthy controls were either quasi-randomized to a music-oriented instruction (Experiment 1) or to a breathing-related instruction (Experiment 2). In both experiments we measured physiological measures and emotional affect during a baseline measurement (silence) and during one “relaxing” and one “activating” piece of music. We conducted 3 × 2 repeated measures analyses of variances with condition (baseline/relaxing music/activating music) on the first and group (with/without CLD) on the second factor for both experiments. The results of the experiments suggest that there is no immediate effect of music listening on breathing related outcomes irrespective of the instruction of participants. Moreover, we found some indication that the disease severity might influence the processing of the music. Future studies could investigate whether music listening as a long-term intervention can lead to more promising results in relation to improved breathing.
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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.
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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.
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Weidner, Brian N. "A Grounded Theory of Musical Independence in the Concert Band." Journal of Research in Music Education 68, no. 1 (January 7, 2020): 53–77. http://dx.doi.org/10.1177/0022429419897616.
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Defined as the ability to engage in music activities on one’s own, musical independence is a frequent goal of music education. This yearlong study investigated musical independence within concert bands through interviews and observations of participants of secondary programs that included musical independence as a primary objective. Constructivist grounded theory analyses of the participants’ experiences led to a model of musical independence that included three interrelated outcomes: student agency, critical decision making, and lifewide/lifelong musicianship. These outcomes were the result of specific instructional practices that utilized cognitive modeling, scaffolded instruction, and authentic, regular, student-led music-making in curricular ensembles to promote student agency and decision making. These instructional practices relied upon preconditions for independence, including musical, social, and 21st-century skills foundations frequently found in large-ensemble classrooms. This study provides a model that can be situated within current large-ensemble practices to support the development of musical independence.
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Gromko, Joyce Eastlund. "The Effect of Music Instruction on Phonemic Awareness in Beginning Readers." Journal of Research in Music Education 53, no. 3 (October 2005): 199–209. http://dx.doi.org/10.1177/002242940505300302.
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The purpose of this study was to determine whether music instruction was related to significant gains in the development of young children's phonemic awareness, particularly in their phoneme-segmentation fluency. Beginning in January 2004 and continuing through the end of April 2004, each of four intact classrooms of kindergarten children ( n= 43) from one elementary school were taught music by one of four advanced music-methods students from a nearby university. Kindergarten children ( n= 60) at a second elementary school served as the control group. An analysis of the data revealed that kindergarten children who received 4 months of music instruction showed significantly greater gains in development of their phoneme segmentation fluency when compared to children who did not receive music instruction, t=−3.52, df= 101, p= .001. The results support a near-transfer hypothesis that active music-making and the association of sound with developmentally appropriate symbols may develop cognitive processes similar to those needed for segmentation of a spoken word into its phonemes.December 14, 2004August 1, 2005
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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.
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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.
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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.
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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.
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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.
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Hong, Seungyoun. "Exploring Instruction Methods for the Resting Tone in Elementary School Music Classes." European Journal of Education and Pedagogy 3, no. 6 (December 20, 2022): 222–25. http://dx.doi.org/10.24018/ejedu.2022.3.6.513.
Full textAbstract:
This study aims to explore some instructional methods for the resting tone in music education, especially elementary general music education in Korea. Before exploring the instructional methods, the important role of the resting tone in the view of a western music history was investigated. Establishing the instructional methods, Music Learning Theory, a contemporary music education theory by Gordon was based upon and adapted to apply. Four integral applicable methods for elementary school music teachers to instruct the resting tone were introduced. First, through singing the last pitch of the patterns teacher uses, second, through singing the first pitch of the patterns teacher uses, third, through singing the resting tone of the patterns teacher uses, fourth, through singing the resting tone of a song teacher introduces. The four kinds of methods introduced in this study can be applied to any elementary music classes.