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Journal articles on the topic 'Music – Examinations'
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1
Salaman, William. "The Role of Graded Examinations in Music." British Journal of Music Education 11, no. 3 (November 1994): 209–21. http://dx.doi.org/10.1017/s0265051700002175.
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The perceived benefits of graded examinations are compared with the actual benefits that they bring and are then weighed against the more general and widely accepted desirable outcomes of musical education in Great Britain. The syllabus of a typical graded examination is analysed in some detail and the conclusions drawn suggest that the time-honoured format of graded examinations serves only some of the musical needs of pupils. Some radical suggestions for up-dating examinations are discussed.This article is based on some of the materials prepared for the certificate course: Music Teaching in Private Practice to be mounted by the University of Reading Department of Arts and Humanities in Education in collaboration with the Incorporated Society of Musicians.
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Preston, Hamish. "A New Approach to Music Examinations." International Journal of Music Education os-6, no. 1 (November 1985): 27–30. http://dx.doi.org/10.1177/025576148500600106.
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Kilic, Deniz Beste Cevik. "An Investigation of Music Teacher Candidates’ Performance Anxiety Levels in Piano Examinations." Journal of Education and Learning 7, no. 1 (January 19, 2018): 299. http://dx.doi.org/10.5539/jel.v7n1p299.
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Examination anxiety in piano education, one of the important courses in music education, can negatively affect both success in examinations and the education of students. This study aimed to determine the anxiety levels of students in the music education departments of universities in western Turkey regarding their piano examinations and their significance according to different variables. The study sample consisted of 174 female and 107 male students. The study found the students’ performance anxiety levels related to piano examinations to be moderate. There were no statistically significant differences in their anxiety levels by gender or age. Students with their own pianos were less likely to have performance concerns regarding piano examinations than those without. It was also found that the students’ year of study had a significant effect on their performance anxiety levels in piano examinations.
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Hampton, Amanda, Alexandra Ford, Roy E. Cox, Chin-chi Liu, and Ronald Koh. "Effects of music on behavior and physiological stress response of domestic cats in a veterinary clinic." Journal of Feline Medicine and Surgery 22, no. 2 (February 12, 2019): 122–28. http://dx.doi.org/10.1177/1098612x19828131.
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Objectives Our objective was to determine if feline-specific music played in a veterinary clinical setting would promote lower cat stress scores (CSSs), lower mean handling scale scores (HSs) and reduced neutrophil:lymphocyte ratios (NLRs) in cats during physical examinations. Methods Cats were exposed to one of three auditory stimuli tests – silence, classical music and cat-specific music – during three physical examinations 2 weeks apart. CSSs were recorded at pre- and post-auditory tests and during the examination period. The HSs were recorded at the physical examination period. The physiological stress was assessed via NLRs. Results The pre-auditory test showed no difference in CSS between cats listening to silence, classical music and cat music. CSSs for post-auditory tests and examination periods were not significantly different between silence and classical music; however, CSSs were significantly decreased in cats listening to cat music vs silence and in cats listening to cat music vs classical music. HSs were not different in cats listening to silence vs classical music, but were significantly lower in cats listening to cat music vs silence and classical music. No difference was found in NLRs among all three auditory stimuli tests. Conclusions and relevance Listening to cat-specific music prior to, and during, physical examination was associated with lower CSSs and lower HSs in cats, but had no effect on the physiological stress responses measured by NLRs. We conclude that cat-specific music may benefit cats by decreasing the stress levels and increasing the quality of care in veterinary clinical settings.
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McPherson, Gary E. "Factors and Abilities Influencing Sightreading Skill in Music." Journal of Research in Music Education 42, no. 3 (October 1994): 217–31. http://dx.doi.org/10.2307/3345701.
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This study was designed to replicate and extend existing literature by seeking to determine important factors and abilities that influence sightreading skill in music. The Watkins-Farnum Performance Scale (WFPS) was administered to 101 high school clarinet and trumpet students who were completing Australian Music Examinations Board (AMEB) performance examinations. Findings show that, in the beginning stages of training, sightreading skill is not significantly correlated with the ability to perform a repertoire of rehearsed music for a comprehensive performance examination as assessed on the AMEB examination. As instrumentalists mature, however, correlations between these two aspects of performance seem to strengthen markedly. Consistent with other studies, results show that rhythmic errors far outweigh all other types of errors. Differing strategies used by high-scoring and low-scoring subjects on the WFPS and by two groups of high school subjects in school years 7-9 and 10-12 were observed and discussed.
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Diaz, Frank M., and Jason M. Silveira. "Music and Affective Phenomena." Journal of Research in Music Education 62, no. 1 (March 20, 2014): 66–77. http://dx.doi.org/10.1177/0022429413519269.
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The purpose of this study was to establish trends in the study of music and affective phenomena through a content and bibliometric analysis of three eminent music research journals, the Journal of Research in Music Education, Psychology of Music, and Music Perception, for the years 1990 through 2009. Excluding editorials, paper responses, and book reviews, 1,293 articles were examined, resulting in 286 (22%) publications that met criteria for further analysis. Data indicated several trends with respect to the sample analyzed, including a notable but not significant decrease of affective studies in the Journal of Research in Music Education, with significant increases in the journal Music Perception. Other trends indicated the emergence of topics and methods that were less prevalent when compared to the overall sample but that evidenced significant increases throughout the period analyzed. These increases occurred for topics relating to expression, physiological and neurological issues and for the use of descriptive methodologies. Other notable trends included increases in examinations of folk, jazz, and world musics.
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Hanley, Betty. "Gender in Secondary Music Education in British Columbia." British Journal of Music Education 15, no. 1 (March 1998): 51–69. http://dx.doi.org/10.1017/s0265051700003764.
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This study is a replication of Dr Lucy Green's (1993) research using responses to an open-ended questionnaire to interpret music teachers' perceptions about boys' and girls' achievements in music classes compared to their results on the General Certificate of Secondary Education examinations (GCSE) in music. Using a revised questionnaire, the British Columbia study examined secondary music teachers' perceptions of gender issues and compared them with Grade 12 Examination results. The impact of gender beliefs was most evident in composition, where the provincial grades contradict teachers' perceptions of success and where the possible impact of technology on girls has not yet been acknowledged.
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Bray, David. "An examination of GCSE music uptake rates." British Journal of Music Education 17, no. 1 (March 2000): 79–89. http://dx.doi.org/10.1017/s0265051700000176.
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The GCSE music examination is the principal form of accredited study for students aged 15+. (More students take the examination than previously took GCE O-level and CSE examinations combined.) For this reason the examination is generally thought of as a success. An analysis is made of uptake rates during the period 1994-8 and comparisons are made with uptake rates in other optional subjects. Based on this evidence, a suggestion is made that GCSE music is not as successful or attractive to students as is commonly thought. An assumption is made that there are factors that make this situation surprising and worth further research. Some possible reasons for the current situation are explored.
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Maugars, Cédricia. "Attitudes of music teachers towards final examinations in the French music conservatoires." International Journal of Music Education 24, no. 1 (April 2006): 43–55. http://dx.doi.org/10.1177/0255761406063106.
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Southcott, Jane. "Examining Australia: The Activities of Four Examiners of the Associated Board for the Royal Schools of Music in 1923." Journal of Historical Research in Music Education 39, no. 1 (May 12, 2017): 51–77. http://dx.doi.org/10.1177/1536600617709543.
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In the mid-nineteenth century, a system of music examinations was initiated in Britain that came to encompass the far-flung reaches of the British Empire. These examinations offered an internationally recognized system of professional and musical standards. For the next several decades the Associated Board of the Royal Schools of Music (ABRSM) and Trinity College London (TCL) maintained this extensive system of graded instrumental and vocal examinations across large parts of the globe, principally those countries that were part of the British Empire (later the Commonwealth). Both the ABRSM and TCL continued examining for many years and this article discusses the work of four examiners appointed by the ABRSM to travel throughout the Empire, with a particular focus on Australia. The year selected is 1923. This is for several reasons. By 1923 the system of traveling expert examiners undertaking examinations across the country was well established; the vicissitudes and hardships of World War I and the influenza pandemic had passed; the practice of examiners traveling long distances by boat and train had resumed. At this time the British examinations were at their height despite the establishment of a rival Australian system, the Australian Music Examinations Board. The examiners not only undertook all the examinations across the country but also were influential public figures who spoke about music education and modern music in Britain. They gave concerts and public lectures and their activities were influential because of repeated reporting in the popular press. As a historian I am interested in the history of the commonplace—those well-established and pervasive activities that are taken for granted. Learning a musical instrument and taking annual graded practical and theoretical examinations was and continues to be a commonplace occurrence in Australia.
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Powell, Bryan. "Community music interventions, popular music education and eudaimonia." International Journal of Community Music 00, no. 00 (February 24, 2021): 1–23. http://dx.doi.org/10.1386/ijcm_00031_1.
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The fields of community music and popular music education have expanded rapidly over the past few decades. While there are many similarities between these two fields, there are aspects that set these two areas of practice apart. This article seeks to explore the intersections of community music interventions and popular music education to explain how they are similar and in which ways they are unique. This discussion centres on examinations of facilitation, ownership of music, training and certification, inclusivity, life-long music making, amateur engagement, informal learning and non-formal education, and social concerns. The Greek philosophy of eudaimonism, understood as ‘human flourishing’ is then used to explore the opportunities for human fulfilment through popular music education and community music approaches.
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Hsiao, Feilin, Xueli Tan, Jonathan “Jaytee” Tang, and Juan Chen. "Factors Associated with Music Therapy Board Certification Examination Outcomes." Music Therapy Perspectives 38, no. 1 (November 29, 2019): 51–60. http://dx.doi.org/10.1093/mtp/miz017.
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Abstract The Music Therapy Board Certification (BC) Examination is a high-stakes test that affects test takers’ entry into the profession and reflects the quality of music therapy programs. Accumulating studies in the health sciences have identified the factors that contribute to first-time test takers’ success in passing credentialing examinations. However, these variables have not been investigated in music therapy. The purposes of this study are to investigate recent certificants’ perceptions and experiences of the BC examination and identify the predictors of success on the first attempt. It aims to delineate the factors associated with performance in the BC examination; identify effective strategies and resources for future test takers; and inform educators, internship directors, clinical supervisors, and test administrators regarding areas of concern and necessary support. A sample of 662 recent music therapy board certificants completed a 32-item online survey consisting of checklists, Likert scales, open-ended questions, and the Westside Test Anxiety Scale. Self-reported cumulative grade point average and general test anxiety scores were significant predictors of BC examination success on the first attempt. The results suggest the need for (a) a consistent standard for education programs that includes various theoretical orientations and clinical practice models to better prepare students with content knowledge and (b) program progression policies to identify students at risk of failing the examination and to provide remediation.
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Bay, Constanza, Romina Henriquez, Luis Villarroel, and Juan Cristóbal Gana. "Effect of music on pediatric endoscopic examinations: a randomized controlled trial." Endoscopy International Open 09, no. 04 (April 2021): E599—E605. http://dx.doi.org/10.1055/a-1352-3244.
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Abstract Background and study aims The primary objective was to measure the effect of music as an adjunct to sedation in patient anxiety levels during pediatric endoscopic examinations. Patients and methods We performed a single-blind randomized controlled trial comparing music with no music in children aged 2 to 18 years. Anxiety was measured using the Modified Yale Preoperative Anxiety Scale (m-YPAS) and the Visual Analog Anxiety Scale (VAS-anxiety). Patient perception of pain was evaluated with the Wong-Baker Faces Pain Rating Scale (WBFPRS). Patient experience, family satisfaction, and endoscopist perception of difficulty were evaluated. Sedative doses were recorded. Results A total of 51 children were randomized to the experimental group and 49 children to the control group. The mean ages were 10.5 years and 12.3 years, respectively. There were 63 % female subjects with no differences between groups. Overall, there were 85 upper endoscopies and 15 colonoscopies. In the recovery unit, the experimental group had lower average m-YPAS scores (mean score 27.7 vs 34.7; P < 0.001), a higher proportion of them had low m-YPAS scores (80 % vs 49 % P < 0.001), had lower VAS-anxiety scores [mean score 0.55 vs 1.57 (P = 0.003)], and had lower WBFPRS scores [mean score 2.7 vs 1.3 (P = 0.001)]. There were no statistically significant differences found in the amount of standard sedation given to the groups, nor in additional sedation administered. In the experimental group, the patient-reported experience was significantly better. Conclusions The study results show that music reduces anxiety and pain associated with endoscopic procedures in children. It also facilitates these procedures and improves patient satisfaction.
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FAUTLEY, MARTIN, and REGINA MURPHY. "Editorial." British Journal of Music Education 31, no. 2 (June 23, 2014): 109–11. http://dx.doi.org/10.1017/s0265051714000187.
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There is currently a debate taking place in the UK as to the form and nature of public examinations. This has been caused in part by the influence of the Programme for International Student Assessment, or PISA process as it is more commonly known, but also by the notion of a government wishing to take a tough stance on standards. Music has not escaped this attention, and questions are being asked about the type, purpose and role of examinations in music in schools, and the sorts of curricula that are appropriate.
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Jääskeläinen, Tuula. "Tuition fees, entrance examinations and misconceptions about equity in higher music education." Nordic Research in Music Education 2, no. 1 (April 6, 2021): 4–19. http://dx.doi.org/10.23865/nrme.v2.2803.
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The increasing participation rate in higher education has raised its own issues, such as how to fund the growth while retaining the quality of education. In Finland, it has been argued that the tuition-free higher education policy increases equality. On the other hand, in the United Kingdom, establishing a system of tuition fees supported by an income-contingent loan system for students has also been argued to increase equality. In Australia, students also face high tuition fees for higher education, as well as a support system focused on domestic students. In addition to tuition fees, entrance examinations also play a crucial part in higher education systems. In order to examine inequalities in higher education from the students’ point of view, tuition fees are scrutinised in connection with equality, and entrance examinations in relation to cultural reproduction. Comparing examples of higher music education institutions in Finland, the United Kingdom, and Australia shows that there are large differences between the tuition fees charged for domestic and international students, as well as between countries. Entrance examinations in higher music education are similar in these countries, but may include inequalities based on long traditions in the field of music, especially in classical music. By revealing misconceptions about equity in higher education, it is possible to have a critical debate about the role of tuition fee systems as they are connected with the economics of higher education, and about entrance examinations as reproducing social class inequalities. This discussion may contribute to the redefinition and reformation of more equitable and just education systems, and promote equality in general in society.
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Daubney, Alison, and Martin Fautley. "Editorial Research: Music education in a time of pandemic." British Journal of Music Education 37, no. 2 (June 11, 2020): 107–14. http://dx.doi.org/10.1017/s0265051720000133.
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AbstractThis article, written at the time it was taking place, discusses the effects that the COVID-19 pandemic is having on music education in schools, focusing on the UK. It discusses how schools and teachers have had to make a sudden shift to a largely on-line modality, and the effects of these on teaching and learning in music. It asks questions of curriculum and assessment, especially with regard to the fact that classroom teachers in England are having to use their professional judgment to provide grades for external examinations, where hitherto these would have come from examination boards. It questions the ways in which teachers have been inadequately prepared and supported for this, by years of neoliberal undermining of confidence. It goes on to question accountability, and teacher training, raising issues which, at the time of writing, are of significant concern or music education.
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McEwan, Molly. "Correspondence." British Journal of Music Education 2, no. 1 (March 1985): 95–96. http://dx.doi.org/10.1017/s0265051700004629.
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For seventy years of my life I have been a supporter of the Associated Board of the Royal Schools of Music examinations: first as a pupil, going through Grades 1–8, and then the L.R.A.M., and then as a teacher, guiding my pupils through the grades and stopping at the diploma. So I have had many, many opportunities of evaluating the work of the examinations, and to a lesser extent those of Trinity College of Music, theirs appearing less frequently. What strikes me – after probing in my memories – is how little they have changed! Surely some new thoughts should peep through the pages!
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Lesiuk, Teresa. "Personality and music major." Psychology of Music 47, no. 3 (March 27, 2018): 309–24. http://dx.doi.org/10.1177/0305735618761802.
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Early research investigating the personality of college-aged student and professional musicians examined traits of music performers, composers, and music teachers. Subsequent research studies followed with examinations of personality in university music programs, several of which employed the Myers-Briggs Personality Inventory (MBTI). The prevalence of MBTI types has not been examined amongst the diversity of music programs currently offered in many universities. The purpose of this study was to examine the prevalence of MBTI psychological type of university music students ( N = 217) across six different music majors (i.e., Music Business, Music Composition, Music Education, Music Engineering, Music Performance, and Music Therapy). The MBTI mental function of Intuitive–Feeling was found to be highly over-represented in the total music sample as compared to national norms, while several other personality preferences significantly dominated or were sparse in the music majors. The findings extend the personality and music research literature and have practical implications for music educators, academic counsellors, college-aged music students, and students who are considering music as a study and career.
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Stefani, Gino. "Melody: A Popular Perspective." Popular Music 6, no. 1 (January 1987): 21–35. http://dx.doi.org/10.1017/s0261143000006589.
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Current musicology has not developed such a methodical or systematic knowledge of melody as it has of other aspects of music. Music schools have courses and examinations in harmony, counterpoint, musical forms, etc., but not in melody; in the same way, books dealing with melody are rare exceptions.
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Ambrose, Robert. "The American College of Musicians Pioneers of Music Teacher Competency Examinations." Bulletin of Historical Research in Music Education 15, no. 3 (May 1994): 236–47. http://dx.doi.org/10.1177/153660069401500303.
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O’Laughlin, Danielle J., Brittany Strelow, Nicole Fellows, Elizabeth Kelsey, Sonya Peters, Joy Stevens, and Johanna Tweedy. "Addressing Anxiety and Fear during the Female Pelvic Examination." Journal of Primary Care & Community Health 12 (January 2021): 215013272199219. http://dx.doi.org/10.1177/2150132721992195.
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To review the anxiety and fear risk factors, pathophysiology, symptoms, screening and diagnosis while highlighting treatment considerations for women undergoing a pelvic examination. Methods: We reviewed the literature pertaining to anxiety and fear surrounding the pelvic examination to help guide health care providers’ on available screening options and to review options for individualized patient management. Results: Anxiety and fear are common before and during the pelvic examination. In fact, the pelvic exam is one of the most common anxiety-provoking medical procedures. This exam can provoke negative physical and emotional symptoms such as pain, discomfort, anxiety, fear, embarrassment, and irritability. These negative symptoms can interfere with preventative health screening compliance resulting in delayed or avoided care and significant health consequences. Conclusion: Assessing women for anxiety related to pelvic examinations may help decrease a delay or avoidance of examinations. Risk factor and symptom identification is also a key component in this. General anxiety questionnaires can help identify women with anxiety related to pelvic examinations. Strategies to reduce anxiety, fear and pain during a pelvic examination should routinely be implemented, particularly in women with high-risk factors or those identified with screening techniques as having anxiety, fear or pain with examinations. Treatment options should be targeted at understanding the patient’s concerns, starting conversations about pelvic examinations early, educating patient’s about the examination and offering the presence of a chaperone or support person. During an examination providers should ensure the patient is comfortable, negative phrases are avoided, the correct speculum size is utilized and proper lubrication, draping, dressing and positioning are performed. Treating underlying gynecologic or mental health conditions, consideration of cognitive behavioral therapy and complementary techniques such as lavender aromatherapy and music therapy should also be considered when appropriate.
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Vaughan, Victoria. "Music analysis in the practice room." British Journal of Music Education 19, no. 3 (October 28, 2002): 255–68. http://dx.doi.org/10.1017/s0265051702000347.
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This article examines the impact of analysis teaching on performance by documenting the progress of 12 students who took part in an advanced undergraduate class in music analysis. Each class participant was asked to keep a diary of their performances, both during practice time and in instrumental lessons, and these are documented and analysed. Finally, the students were given oral viva voce examinations. The data from this short qualitative study shows a variety of results that illustrate the extent to which individual students react to the teaching of music analysis in different ways.
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Whittaker, Adam. "Investigating the canon in A-Level music: Musical prescription in A-level music syllabuses (for first examination in 2018)." British Journal of Music Education 37, no. 1 (November 16, 2018): 17–27. http://dx.doi.org/10.1017/s0265051718000256.
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AbstractThe canon forming the backbone of most conceptions of Western music has been a feature of musical culture for decades, exerting an influence upon musical study in educational settings. In English school contexts, the once perceived superiority of classical music in educational terms has been substantially revised and reconsidered, opening up school curricula to other musical traditions and styles on an increasingly equal basis. However, reforms to GCSE and A-levels (examinations taken aged 16 and 18 respectively), which have taken place from 2010 onwards, have refocused attention on canonic knowledge rather than skills-based learning. In musical terms, this has reinforced the value of ‘prescribed works’ in A-level music specifications.Thus far, little attention has been paid to the extent to which a kind of scholastic canon is maintained in the Western European Art Music section of the listening and appraising units in current A-level music specifications. Though directed in part by guidance from Ofqual (Office of Qualifications and Examinations Regulation, the regulatory body for qualifications in England), there is evidence of a broader cultural trend at work. The present article seeks to compare the historical evidence presented in Robert Legg's 2012 article with current A-level specifications. Such a comparison establishes points of change and similarity in the canon of composers selected for close study in current A-levels, raising questions about the purpose and function of such qualifications.
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Patston, Tim. "Teaching stage fright? – Implications for music educators." British Journal of Music Education 31, no. 1 (July 3, 2013): 85–98. http://dx.doi.org/10.1017/s0265051713000144.
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Music performance anxiety (MPA) is a widely acknowledged condition in the field of music performance. However, MPA is rarely discussed in the field of music education. Classroom, studio and conservatoire teachers observe their students experiencing MPA related to performances, examinations or auditions, but few have the prerequisite skills to manage the condition. It is therefore essential for music educators to gain an understanding of MPA in order to assist their students. This paper discusses the nature of MPA and its prevalence in the various populations which have been reported in the literature, including children and adolescents, undergraduates, amateur and professional musicians, and music educators. The paper argues that music educators have a critical role in the developmental trajectory of the condition and provides music educators with advice on how teaching practice can ameliorate developing or extant MPA in their students.
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Buryakova, Lyubov Aleksandrovna, and Alexey Gennadievich Buryakov. "French Higher Music Education System." Общество: социология, психология, педагогика, no. 11 (November 27, 2020): 97–109. http://dx.doi.org/10.24158/spp.2020.11.17.
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The study provides a characteristic of the French model of higher musical education with a pronounced national specificity, which consists of a special division into levels, or cycles, with its own system of naming academic degrees, awarding diplomas, etc. The authors revealed that the organization of a complex “organism” of the musical education system, presented in a variety of types of public and private institutions, is based on the principle of complementarity of curricula and the identity of competitive examinations. The phenomenon of the high status of university music education is especially noteworthy. Although until recently it concerned mainly musicology and pedagogy, in the last two decades, obtaining an academic degree approved by the higher conservatory together with the university has become prestigious for musicians of various specialties, including concert performers.
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Ma, Dan, Eric Y. Pierre, Yun Jiang, Mark D. Schluchter, Kawin Setsompop, Vikas Gulani, and Mark A. Griswold. "Music-based magnetic resonance fingerprinting to improve patient comfort during MRI examinations." Magnetic Resonance in Medicine 75, no. 6 (July 16, 2015): 2303–14. http://dx.doi.org/10.1002/mrm.25818.
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Bay Muntnich, Constanza S., Romina Henriquez Diaz, Luis Villarroel del Pino, and Juan C. Gana Ansaldo. "602 EFFECT OF MUSIC IN PEDIATRIC ENDOSCOPIC EXAMINATIONS: A RANDOMIZED CONTROLLED TRIAL." Gastrointestinal Endoscopy 91, no. 6 (June 2020): AB52. http://dx.doi.org/10.1016/j.gie.2020.03.307.
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Kindall-Smith, Marsha, Constance L. McKoy, and Susan W. Mills. "Challenging exclusionary paradigms in the traditional musical canon: Implications for music education practice." International Journal of Music Education 29, no. 4 (October 11, 2011): 374–86. http://dx.doi.org/10.1177/0255761411421075.
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The authors propose that best practices in music education require a conceptual understanding of music teaching and learning based on a perspective of social justice and equitable access for all students. Examinations of the relationship between the tenets of culturally-responsive teaching and three dimensions of music teaching and learning (musical content, instruction, and context) are presented: (1) historically, through the identification of neglected African American contributions to Appalachian music; and (2) pedagogically, through the chronicling of social justice content and culturally-responsive instruction as taught in an urban university and public middle school. The implications of issues of power and social justice for music education are further contextualized within the lens of critical pedagogy to uncover possibilities for a 21st century canon of music teacher preparation that will maximize the potential to transform music education practice.
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Macgill, Andrew. "Composing in the School: Composing for the School." British Journal of Music Education 5, no. 1 (March 1988): 35–43. http://dx.doi.org/10.1017/s0265051700006318.
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This article describes some of the experiences of, and lessons learnt by a composer working as Head of Music in a secondary school. The article highlights in particular aspects which are considered to be of value to teachers and other colleagues now embarking on a new era of musical education in schools, notably aspects relevant to the composing component in public examinations. The text includes details of a recording of newly composed music.
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Wimbrayardi, Wimbrayardi, Irdhan Epria Darma Putra, and Bambang Parmadi. "Musik Garap Emotion of Sikatuntuang Sebagai Media Kreatif Musikal Siswa Sekolah Dasar." Jurnal PGSD: Jurnal Ilmiah Pendidikan Guru Sekolah Dasar 14, no. 1 (May 30, 2021): 90–98. http://dx.doi.org/10.33369/pgsd.14.1.90-98.
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Music is a sound that is gotten by people and fluctuates dependent on history, area, culture and individual preferences. The genuine meaning of music additionally shifts, including that (1) music is a sound/impression of something that is caught by the audience's detects, (2) music is a showstopper with all its primary and supporting components, and (3) music is all sounds. delivered deliberately by an individual or by a gathering of people introduced as music. From a portion of these definitions, music is all sounds created by people purposefully which are introduced as music. Different examinations have shown that improving music knowledge in grade school understudies should be possible differently, including (1) presenting music in the homeroom, (2) tuning in to music, (3) playing instruments in class. For each reason, the class is improved with music utilizing a wide range of methods. The utilization of music in the homeroom will help increment the fervor of elementary school understudies in learning and simultaneously can expand the adequacy of accomplishing objectives. No less significant is learning through music and additionally learning with music, and finding out about music can give numerous advantages to the physical and mental improvement of elementary school understudies.
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Chadwick, Sheelagh. "Working towards educational transformation through action research with Botswana's music teachers." British Journal of Music Education 32, no. 3 (November 2015): 247–58. http://dx.doi.org/10.1017/s0265051715000327.
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Contrary to government policy, schooling in Botswana remains largely teacher-centred, with music teaching being no exception. However, other possibilities for classroom dynamics arise under the pressure of practical examinations and when some students have better instrumental facility than their teachers. This article describes initial explorations into action research with music teachers in Botswana and outlines the possibilities and potential for change – both in teachers’ views of their work, and for approaches that bring students’ knowledge and skills to the forefront of music classrooms. Researcher mistakes and learning are also explored, demonstrating the need for ongoing critical reflection and adaptation in this complex setting.
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Alsop, Michael A. "The Research-Practice Gap in Music Education: Applying Brokerage Structures to Guide Future Inquiry." Journal of Music Teacher Education 30, no. 1 (July 8, 2020): 93–104. http://dx.doi.org/10.1177/1057083720941187.
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The research-practice gap in music education has been discussed for decades. Many attempts have been made to explain the gap and offer recommendations for bridging it. However, few systematic examinations of the gap have been undertaken. The purpose of this article is to demonstrate how a model of brokerage structures can be applied to guide future inquiry into the gap. Context around the research-practice gap in music education is provided, the concept of brokerage models in social settings is explained, and then four brokerage structures are elaborated on and applied.
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Sloggie, James, and James Ross. "Music in Scottish Secondary Schools: Towards a New Vision." British Journal of Music Education 2, no. 3 (November 1985): 267–77. http://dx.doi.org/10.1017/s0265051700000632.
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This is the story of a remarkable change in approach to musical education which has taken place in Scottish secondary schools during recent years.Readers will bear in mind that the system of education in Scotland is independent of, and different from, that established in England. It is administered locally by education authorities which, together with head-teachers, are responsible for the curriculum taught within the schools. The Secretary of State for Scotland, nevertheless, retains an overall responsibility for the structure and balance of the school curriculum, which he fulfils by providing education authorities and head-teachers with general advice and guidance on curriculum matters. He is advised on these matters by HM Inspectorate of Schools (Scotland) and by the Consultative Committee on the Curriculum. The Consultative Committee on the Curriculum, in turn, is advised on musical matters by its subcommittee, the Scottish Central Committee on Music. Two external examinations, Ordinary and Higher Grades – taken at ages 16 and 17 respectively – are the responsibility of the Scottish Examination Board.Scotland has a population of some five and a half million people. It has four professional orchestras – two with international reputations – professional opera and ballet companies, national youth brass and wind bands, and orchestra. There are over four hundred secondary schools. Instruction in music has been a feature of Scottish schools for centuries.
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Prichard, Stephanie. "A Profile of High-Stakes Assessment Practices in Music Teacher Education." Journal of Music Teacher Education 27, no. 3 (January 3, 2018): 94–105. http://dx.doi.org/10.1177/1057083717750079.
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The purpose of this study was to identify and describe high-stakes assessment practices in the field of music teacher education. Furthermore, I sought to compare institutional capstone assessment practices with state licensure requirements. Research questions involved the status of high-stakes assessments of general, content, and pedagogical knowledge, as well as high-stakes teacher performance assessments (e.g., edTPA). Participants in this study included faculty representatives ( N = 274) from National Association of Schools of Music–accredited music teacher education programs across all 50 states. The majority of participants indicated that preservice candidates were required to pass a test of general knowledge as a gatekeeper to acceptance into the music teacher licensure program, as well as a variety of other examinations prior to graduation. More than one half of participants reported that their institution required music teacher candidates to complete a teacher performance assessment (e.g., edTPA). Alignment between state and institution requirements was varied.
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Sipos, János. "In Bartók’s Footsteps A Folk Music Research Series Among Turkic People (1936–2019)." Studia Musicologica 60, no. 1-4 (October 21, 2020): 313–26. http://dx.doi.org/10.1556/6.2019.00015.
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The Hungarian language belongs to the Finno-Ugric linguistic family, but several pre-Conquest strata of Hungarian folk music are connected to Turkic groups. Intrigued by this phenomenon, Hungarian folk music researchers launched thorough comparative examinations. Investigations authenticated by fieldwork have also been ongoing to the present day, parallel to theoretical research. Initially, the main goal was to explore the eastern relations of Hungarian folk music, which gradually broadened into the areal research of the Volga-Kama-Belaya region. I further expanded this work to encompass the comparative investigation of Turkic-speaking groups living over the vast Eurasian territory. This paper provides a summary of the findings of this field research examining the folk music of Anatolian Turk, Azeri, Karachay, Kazakh, Turkmen, Uzbek and Kyrgyz people. I briefly describe the sources, the fieldwork, the methods of processing the collected material, and most interestingly, I summarize new findings. After providing an overview of traditional songs of several Turkic peoples, selected results are provided in three tables: 1) a grouping of Turkic folk-music repertoires; 2) Turkic parallels to Hungarian folk music styles; and 3) the current state of Turkic folk music research conducted by Hungarian scholars.
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Saidon, Zaharul Lailiddin, and Shahanum Mohd Shah. "Developing an Assessment and Certification System for Malaysian Traditional Music Based on the International Graded Music Examinations Model: Challenges & Concerns." Procedia - Social and Behavioral Sciences 141 (August 2014): 561–65. http://dx.doi.org/10.1016/j.sbspro.2014.05.098.
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Klimova, Nataliya V. "Visualization of Music as a Means for the Contemporary Composition to Function: Edison Denisov, “Three Pictures by Paul Klee”." ICONI, no. 4 (2019): 130–41. http://dx.doi.org/10.33779/2658-4824.2019.4.130-141.
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This publication presents informational and analytic materials to a class in 7th grade of children’s music schools with commentaries and elucidations of the artistic style of German artist Paul Klee and the personal perspective of his art works by 20th century Russian composer. Examination is made of the questions of visualization as a means of impact on the perception of a contemporary classical musical composition. The central portion of the class material is taken up by an analysis of Klee’s works (the visual element) and the analysis of the musical score of Denisov’s cycle. The musical score and the illustrations of the artist’s works are projected on the screen, and the musical fl ow is superimposed on the visual depiction. Thereby, the content of Denisov’s chamber cycle is comprehended in interconnection with and through the components of the visual means of the composition’s functioning. As the result of the attempt of a synthetic perception of art, the visual element provides essential help in providing instruction at the elementary stage of musical education. The choice of the composition is stipulated by the revised content of the 7th grade textbook for children’s music schools by Olga Averyanova “Otechestvennaya muzyka XX veka” [“20th Century Russian Music”, Moscow, 2014]. The article suggests a consistent and interdependent examinations of the parameters of connections between music and painting and their refl ection in the individual, sonorous fl ow of the musical composition
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Janka, Zoltán. "Musica et medicina." Orvosi Hetilap 160, no. 11 (March 2019): 403–18. http://dx.doi.org/10.1556/650.2019.31323.
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Abstract: Depending on the personal attitude toward a given style and performance, music can influence mental activities such as emotion, mood, motivation, psychomotor tempo and possibly cognition. Experimental data indicate that music can alter physiological parameters of somatic functions (blood pressure, heart rhythm, peripheral blood flow, respiration). However, efforts are taken in medicine and neuroscience to decipher brain physiological and morphological correlates in processing or performing music. Modern imaging techniques brought a significant advance in this respect. It appears that there is no single music center in the brain, but depending on the components (melody, rhythm) of the music, more cerebral areas with strong network connections participate in that. Important regions are the upper temporal area (primary, secondary, tertiary auditory cortex), and parts of the frontal and parietal lobes, limbic system, and cerebellum. Beyond the above aspects, medicine joins to music in the field of music therapy. Meta-analyses of controlled studies show that music can be suitable to decrease stress, anxiety, and depression in various disease groups (cardiovascular, oncological, mental) and in medical examinations (surgical, urological, cardiac catheterization). Improvements were observed in motor, cognitive and psychosocial functions after music interventions in stroke rehabilitation. The links between mood disorders and creativity in music belong to medicine as well, where eminent composers can be mentioned, and also the examples of scholar and practitioner physicians playing or composing music superbly. Orv Hetil. 2019; 160(11): 403–418.
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Perrott, Lisa. "Experimental animation and the neosurrealist remediation of popular music video." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 85–106. http://dx.doi.org/10.1386/ap3_00006_1.
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Once appearing to function primarily as a commercial tool for popular entertainment, the popular form of music video has recently been exposed by scholars as formally and functionally diverse, with a rich history stretching back decades before the advent of MTV. Animated music videos owe much to centuries old traditions spanning the visual, musical and performing arts, providing performative and material models that inspire contemporary video directors. Experimental animation, surrealism and music video form a matrix of historical and contemporary significance; however, few scholars have undertaken close examinations of the relations between them. John Richardson and Mathias Korsgaard show how music video directors have employed surrealist compositional strategies together with experimental animation methods, thus giving rise to challenging new forms that traverse disparate approaches to art and culture. Building upon their contributions, this article explores the continuity between experimental animation, surrealism and music video, with a view to discovering the subversive potential of this matrix. In order to probe this potential, the author examines how music video directors experiment with animation technique as a means of subversion and enrichment of popular music video. Through close analysis of music videos directed by Adam Jones, Stephen Johnson, Floria Sigismondi and Chris Hopewell, this article charts the continuity of surrealist strategy across culturally specific moments in history, thus provoking questions around the perceived functions of animated media and popular music video.
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Whittaker, Adam. "Teacher perceptions of A-level music: tension, dilemmas and decline." British Journal of Music Education 38, no. 2 (January 14, 2021): 145–59. http://dx.doi.org/10.1017/s0265051720000352.
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AbstractA-level music, a qualification taken most often in English and Welsh school contexts around the age of 18, has been a long-standing feature of the musical training of many musicians. Historically bound up with Western European Art Music, the qualification has somewhat broadened its horizons in recent times, though with mixed success in opening up new ways of thinking about music. Recent research has highlighted the seemingly precarious nature of A-level music in many English schools. The reasons for this picture of decline are highly complex and difficult to disentangle, and are part of a much broader diminishing of creative subjects in the school curriculum. Decreasing numbers of A-level music entries run somewhat counter to popular policy discourse, which celebrates flagship announcements of £79 million given to Music Education Hubs in 2019–2020, and 2018 survey results that reported more than 700,000 children learning to play a musical instrument through music hub provision. However, behind these headlines, although there are many children having the opportunity to learn a musical instrument, few continue through to A-level and beyond. Despite its declining numbers, A-level music is recognised as a valuable qualification amongst music teachers, offering something distinct from graded music examinations and other Level 3 musical qualifications. This article presents the results of a recent nationwide survey of A-level music teachers to offer an insight into teacher perceptions of current A-level music specifications, the extent to which it prepares students for entry into higher musical education, and its appropriateness for aspiring young musicians.
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Jane, Philip. "The Impact of Professional Music Diplomas on Women Music Teachers in Early Twentieth-Century New Zealand." Journal of Historical Research in Music Education 39, no. 2 (January 29, 2017): 148–70. http://dx.doi.org/10.1177/1536600617690003.
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At the end of the nineteenth century, music was an accomplishment that many women were encouraged to pursue. For some, this was merely an additional “ornament” to enhance marriage prospects, but a growing number took the opportunity to turn musical ability into a career option. A small group of musically educated women in New Zealand at the start of the twentieth century is studied. At this time, two British examining bodies, Trinity College, London, and the Associated Board, introduced professional diplomas as the culmination of their graded music exams. In their first five years, forty-five women were successful in these “higher examinations” and gained either an Associate from Trinity College (ATCL), or a Licentiate from the Associated Board (LAB). Armed with a prestigious qualification that granted the right to add “letters” after their name, some then followed a career as a teacher of music. Biographical details of each woman are explored and compared to see if any reasons can be found to explain why some continued with music while others didn’t. Similarities as to family and social background are revealed, while the main reason for not continuing with a musical career appears to be the intervention of marriage and family commitments.
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Ford, Charles. "Searching for ghosts: fluidity and temporal expansion in Joni Mitchell's first five albums (1968–1972)." Popular Music 38, no. 03 (October 2019): 399–422. http://dx.doi.org/10.1017/s0261143019000230.
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AbstractHaving first raised questions of musical evaluation, and introduced my analytical approach, I proceed to an empirical, in the sense of more-or-less objective, analysis of the metric and melodic aspects of the songs on those five LPs that constitute Joni Mitchell's early style: Song to a Seagull (1968), Clouds (1969), Ladies of the Canyon (1970), Blue (1971) and For the Roses (1972). The results of this style analysis are then summarised. Next I proceed to a more phenomenologically inclined examination of ethereal, since evanescent or ‘ghostly’, ‘haunting’ characteristics of musical fluidity and expansion in Mitchell's music. Such passages of ‘stretched’ musical time arise from several properties: regulated yet ambiguous metric irregularity, swinging around the beat and melodic flow. The essay concludes with close examinations of the longest and most fluid musical properties of ‘Willy’ (Ladies of the Canyon) and ‘Case of You’ (Blue).
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Priest, Philip. "Putting Listening First: A Case of Priorities." British Journal of Music Education 10, no. 2 (July 1993): 103–10. http://dx.doi.org/10.1017/s026505170000156x.
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The encouragement of aural methods should be basic to any fostering of musical experiences and understanding. This basis has been lost in European formal music education largely because of the all-pervading influence of musical literacy. Efforts to retain some importance for the aural experience through examinations have mostly been unsuccessful. If music is primarily an aural experience, then it is this that should govern the work of teachers at all times. A case is presented for both class and instrumental teachers to recognise the importance of psychomotor skills and the value of imitative methods for all pupils, enabling improvisation on all instruments. The argument draws on some examples of teaching and learning from other cultures.
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Rovner, Anton А. "Vocal and Choral Symphonies and Considerations on Text Representation in Music." ICONI, no. 2 (2020): 26–37. http://dx.doi.org/10.33779/2658-4824.2020.2.026-037.
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The article examines the genres of the vocal and the choral symphony in connection with the author’s vocal symphony Finland for soprano, tenor and orchestra set to Evgeny Baratynsky’s poem with the same title. It also discusses the issue of expression of the literary text in vocal music, as viewed by a number of influential 19th and 20th century composers, music theorists and artists. Among the greatest examples of the vocal symphony are Gustav Mahler’s Das Lied von der Erde and Alexander von Zemlinsky’s Lyrische Symphonie. These works combine in an organic way the features of the symphony and the song cycle. The genre of the choral symphony started with Beethoven’s Ninth Symphony and includes such works as Mendelssohn’s Second Symphony, Scriabin’s First Symphony and Mahler’s Second, Third and Eighth Symphonies. Both genres exemplify composers’ attempts to combine the most substantial genre of instrumental music embodying the composers’ philosophical worldviews with that of vocal music, which expresses the emotional content of the literary texts set to music. The issue of expressivity in music is further elaborated in examinations of various composers’ approaches to it. Wagner claimed that the purpose of music was to express the composers’ emotional experience and especially the literary texts set to music. Stravinsky expressed the view that music in its very essence is not meant to express emotions. He called for an emotionally detached approach to music and especially to text settings in vocal music. Schoenberg pointed towards a more introversive and abstract approach to musical expression and text setting in vocal music, renouncing outward depiction for the sake of inner expression. Similar attitudes to this position were held by painter Wassily Kandinsky and music theorist Theodor Adorno. The author views Schoenberg’s approach to be the most viable for 20th and early 21st century music.
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Potvin, Noah, and Cathleen Flynn. "Music Therapy as a Psychospiritual Ministry of Intercession During Imminent Death." Music Therapy Perspectives 37, no. 2 (2019): 120–32. http://dx.doi.org/10.1093/mtp/miz002.
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Abstract Imminent death is a critical stage in end-of-life care requiring a shared attention to the preparatory needs of both patient and caregiver(s). For many patients and caregivers who identify as Christian, the Holy Spirit can be an integral resource capable of facilitating a healthy death experience. Music therapy, as a resource-oriented practice, has the potential to be a ministry facilitating access to the Holy Spirit for patients and caregivers to use for unique purposes. Drawing from both music therapy and theological concepts and identifying their intersections, this paper frames an ethical and effective model of music therapy as ministry as shaped through three unique stakeholder roles: music therapist as minister of intercessory prayer; patient as vertically transcendental worshiper; and caregiver(s) as horizontally transcendental worshiper. These roles are implicitly and simultaneously assumed, fulfilling the functions necessary for a holistic, comprehensive plan of care to be enacted during a time-limited stage of urgent need such as imminent death. Theoretical postulations related to each stakeholder role are posited and discussed in context of clinical practice. Future examinations of music therapy as ministry through other faith lenses have the potential to yield additional psychospiritual functions of music therapy at the end of life, including identifying additional resources music therapy can address with Christian patients in end-of-life care settings.
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Lehmann, Andreas C. "Using Admission Assessments to Predict Final Grades in a College Music Program." Journal of Research in Music Education 62, no. 3 (August 26, 2014): 245–58. http://dx.doi.org/10.1177/0022429414542654.
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Entrance examinations and auditions are common admission procedures for college music programs, yet few researchers have attempted to look at the long-term predictive validity of such selection processes. In this study, archival data from 93 student records of a German music academy were used to predict development of musicianship skills over the course of a 4-year program. Audition grades for the principal instrument, aural skills, and basic knowledge of music theory were correlated with similar data available for the final exams. Final high school grades also were available. Results indicated moderate correlations between entrance and final grades for aural skills ( r = .69) and music theory (.45). Piano majors did better at aural skills and music theory than other candidates. A positive influence of keyboard proficiency also was found for the nonpiano majors. The correlation between initial and final grade on the principal instrument was dependent on the instrument category: piano (.64), followed by voice (.55), winds (.24), and strings (.05). Stronger academic performance prior to college was associated with superior performance in academic subjects in college, whereas no influence was found for academic strength on students’ principal instrument performance.
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Wardani, Indra K., Phakkharawat Sittiprapaporn, Djohan Djohan, Fortunata Tyasrinestu, and Prayoon Suyajai. "Keyseg: adaptive segmentation for spontaneous electroencephalography map series into spatially defined microstates of musicians’ brain." Bulletin of Electrical Engineering and Informatics 10, no. 4 (August 1, 2021): 2006–15. http://dx.doi.org/10.11591/eei.v10i4.3063.
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Music is being studied related to either its impact on the psychological interaction or cognitive process behind it. These examinations bring out music's coordination to numerous disciplines including neuroscience. A few past examinations exhibited the contrast among musicians and non-musicians regarding brain structure and brain activity. The current investigation exhibited the diverse brain activation while musicians tuned in to music with regards to their musical experiences utilizing microstate classes method analysis. The investigation intended to determine electroencephalography microstate changes in Karawitan musicians' brain while tuning in to Gendhing Lancaran. Applying the electroencephalography microstate investigation of Karawitan musicians, the occurrence parameters was computed for four microstate classes (A, B, C, and D). Microstate properties were compared among subjects and correlated to Gendhing Lancaran perception. The present results revealed that Karawitan musicians' brain were characterized by microstate classes with the increased prominence of classes A, B, and D, but decreased prominence of classes C while tuning in to Gendhing Lancaran. Our finding is the first study to identify the typical microstate characteristics of the Karawitan musician’s brains while tuning in to Gendhing Lancaran by using the microstate segmentaion method.
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Mitrovic, Slobodan, Rajko Jovic, Vesna Aleksic, and Biserka Cvejic. "Parameters of phoniatric examinations for solo singers." Medical review 55, no. 7-8 (2002): 309–13. http://dx.doi.org/10.2298/mpns0208309m.
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Introduction A phoniatrist analyzes the professional's voice at the beginning of his vocal studies or career but also later, in cases of voice disorder. Phoniatric examination of professional singers must be done according to "all inclusive" protocols of examination. Such protocols must establish the status of basic elements of phonatory system: activator generator and resonator of voice and articulatory space. Anamnesis All patients requiring phoniatric examination no matter if they are candidates for professional singers, need to provide anamnestic data about their previous problems regarding voice or singing. Clinical examination This examination is necessary and it must include: examination of nose, cavum oris, pharynx, ears and larynx. Subjective acoustic analysis This analysis is based on evaluation of physiological and pathophysiological manifestations of voice. Musical voice range Determination of musical voice range during phoniatric examination does not intend to make any classification of voice, nor to suggest to vocal teacher what he should count upon from future singers. Musical range can be determined only by a phoniatrist skilled in music or with musical training, but first of all vocal teacher. Objective acoustic analysis These methods are used for examination of phonatory function, or laryngeal pathology. They are not invasive and give objective and quantitative information. They include laryngostroboscopy, spectral analysis of voice (sonography) and fundamental parameters of voice signal (computer program). Speech examination Articulation is very important for solo singers, because good articulation contributes to qualitative emission of sound and expression of emotions. Hearing tests Tonal-threshold audiometry is performed as a hearing test. Additional tests They include rhinomanometry, vital capacity measurements maximal phonation time and phonation quotient. Conclusion Phoniatric examination is a necessary proceeding which must be performed before admission to the academy of solo singing, and then during singers' education and career. The phoniatric protocol must include a minimal number of parameters, which can be increased if required. All parameters of phoniatric examination must be adequatly evaluated by experts.
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Hou, Yimin, and Shuaiqi Chen. "Distinguishing Different Emotions Evoked by Music via Electroencephalographic Signals." Computational Intelligence and Neuroscience 2019 (March 6, 2019): 1–18. http://dx.doi.org/10.1155/2019/3191903.
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Music can evoke a variety of emotions, which may be manifested by distinct signals on the electroencephalogram (EEG). Many previous studies have examined the associations between specific aspects of music, including the subjective emotions aroused, and EEG signal features. However, no study has comprehensively examined music-related EEG features and selected those with the strongest potential for discriminating emotions. So, this paper conducted a series of experiments to identify the most influential EEG features induced by music evoking different emotions (calm, joy, sad, and angry). We extracted 27-dimensional features from each of 12 electrode positions then used correlation-based feature selection method to identify the feature set most strongly related to the original features but with lowest redundancy. Several classifiers, including Support Vector Machine (SVM), C4.5, LDA, and BPNN, were then used to test the recognition accuracy of the original and selected feature sets. Finally, results are analyzed in detail and the relationships between selected feature set and human emotions are shown clearly. Through the classification results of 10 random examinations, it could be concluded that the selected feature sets of Pz are more effective than other features when using as the key feature set to classify human emotion statues.
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Davidson, Jane, and Sarah Scutt. "Instrumental learning with exams in mind: a case study investigating teacher, student and parent interactions before, during and after a music examination." British Journal of Music Education 16, no. 1 (March 1999): 79–95. http://dx.doi.org/10.1017/s0265051799000169.
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Teaching and learning dynamics in musical instrument tuition, especially in one-to-one teacher–student contexts, have not been studied in a truly systematic manner. The research described in this paper attempts to bring some insights to this area, for teachers and students were studied over a period of six months. More specifically, in the fourth month of the study, all the learners took a practical instrumental examination of the Associated Board of the Royal Schools of Music (either violin or piano, ranging from Grades 1 to 8). It thus became possible to explore how the teachers aided, developed and structured the students' preparation up to, during and after the examination, and also how the students worked and responded to the examinations within the context of their families. Furthermore, parents were observed and interviewed about their interactions with their children – the students – and the teachers. Looking at four teachers and eighteen students, the results revealed a number of complex and interconnected themes which both aided and hindered learning. The current paper highlights these.