Journal articles on the topic 'School music – Instruction and study – Singapore'
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Cai, Y. Y., B. F. Lu, Z. W. Fan, C. W. Chan, K. T. Lim, L. Qi, and L. Li. "Proteins, Immersive Games and Music." Leonardo 39, no. 2 (April 2006): 135–37. http://dx.doi.org/10.1162/leon.2006.39.2.135.
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The authors present their research on using virtual reality (VR) in the presentation of protein music and immersive games. They first describe the core components of VR technology for protein modeling, visualization and interaction. They then present their implementations of VR protein games and protein-derived computer music. Instruction in protein-structure learning is discussed in the context of the authors' trial project in the Chinese High School in Singapore and an exhibition at Singapore Art Museum.
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Yongbing, Liu, and Zhao Shouhui. "Chinese Language Instruction in Singapore Primary School Classrooms: A Comparative Study." Pedagogies: An International Journal 3, no. 3 (June 13, 2008): 168–86. http://dx.doi.org/10.1080/15544800802026629.
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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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Lum, Chee-Hoo. "Musical behaviours of primary school children in Singapore." British Journal of Music Education 26, no. 1 (March 2009): 27–42. http://dx.doi.org/10.1017/s0265051708008255.
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In this ethnographic study, the musical behaviours of 28 primary school children in Singapore were examined for their meaning and diversity as they engaged in the school day. A large part of these children's musical behaviours stemmed from their exposure to the mass media. Children's musical inventions emerged in the context of play, occasionally using musical play as an aid to academic learning. Instances of rhythmic play were more prevalent compared with melodic utterances. The children tended to motivate and encourage each other in their daily activities through the use of rhythmic play while melodic utterances seemed more prominently tied to expression and communication.
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Buonviri, Nathan O., and Andrew S. Paney. "Technology use in high school aural skills instruction." International Journal of Music Education 38, no. 3 (March 1, 2020): 431–40. http://dx.doi.org/10.1177/0255761420909917.
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In this study, we investigated the use of digital technology for aural skills instruction in Advanced Placement Music Theory (APMT) classes in the United States. Our research questions focused on which technologies teachers use for aural skills, how they incorporate them, and what influences their decisions to use them. We created, piloted, and distributed a survey electronically to a stratified sample by state of 866 instructors. Participants who completed the survey ( N = 317, response rate = 36%) were current APMT teachers representing 48 states. Of the 91% of respondents who used digital technologies for teaching aural skills, 93% used websites, 47% used software programs, and 38% used mobile apps. Participants incorporated technology for student practice outside class (93%) and during class (78%), and to present new material during class (55%). Of those who did not use technologies ( n = 29), 41% cited lack of funds and 34% cited lack of class time. Participants noted that technology can provide extra practice for students and customization for their needs, but that students’ lack of access and limitations of the programs may temper these benefits. Implications for pedagogical practice and music teacher training are discussed.
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Smith, Camille M. "Access to String Instruction in American Public Schools." Journal of Research in Music Education 45, no. 4 (December 1997): 650–62. http://dx.doi.org/10.2307/3345429.
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This study is an examination of string access in American public schools; the researcher sought to determine the actual number of school districts in each state that offered string instruction and at which grade levels. Specific questions posed were (a) What is the current relationship between access to string instruction and school-district location, size, and socioeconomic level? (b) How does access vary by school type—elementary, middle, high school? (c) How does access vary in different regions of the country? Data were obtained for each of the 14,183 school districts listed in the 1994-1995 Market Data Retrieval School Directories. A total of 2,268 districts (15.99%) were identified that offered string instruction. Of these, it was found that 71.42% (N = 1,620) offered string instruction at the elementary school level, 78.52% (N = 1,781) at the middle school level, and 80.15%) (N = 1,818) at the high school level. The findings also indicated that string instruction was offered most often in average-socioeconomic-level, medium-sized, urban districts in the Eastern, North Central, and Northwest Music Educators National Conference divisions, and in average-socioeconomic-level, large, metropolitan districts in the Southern, Southwestern, and Western divisions. String instruction was offered least often in low-socioeconomic-level school districts (N = 100) regardless of location or size.
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Miksza, Peter, and Brent M. Gault. "Classroom Music Experiences of U.S. Elementary School Children." Journal of Research in Music Education 62, no. 1 (March 5, 2014): 4–17. http://dx.doi.org/10.1177/0022429413519822.
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The primary purpose of this study was to describe the music experiences elementary school children in the United States receive in the academic classroom setting. The data were drawn from the Early Childhood Longitudinal Study of the Kindergarten Class of 1998–1999 (ECLS-K), a nationally representative study that followed kindergarteners through to their eighth-grade school year with the last data collection wave in 2006–2007. The variables pertaining to music experiences in the academic classroom that were available in the ECLS-K were (a) the frequency and duration with which children received music instruction, (b) the frequency that music was used to teach math, and (c) the percentage of children receiving formal music instruction outside of school. Each of these variables also was analyzed as a function of child urbanicity, socioeconomic status (SES), and race. Statistically significant ( p < .001) disparities among children based on urbanicity, SES, and race were found on each of the music experience variables. Overall, White suburban students of high levels of SES tended to receive significantly more music experiences than students of color from urban and rural settings and of low SES. The findings support the need to advocate for high-quality music programs for all students and particularly for those from traditionally underserved populations.
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Ng, Hoon Hong. "Enabling Popular Music Teaching in the Secondary Classroom – Singapore Teachers' Perspectives." British Journal of Music Education 35, no. 3 (March 19, 2018): 301–19. http://dx.doi.org/10.1017/s0265051717000274.
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The pervasiveness of popular music and its associated practices in current youth cultures brings into question the relevance and effectiveness of more traditional music pedagogies, and propels a search for a more current and engaging music pedagogy informed by popular music practices. With this as the basis, this study seeks to explore factors that may enable the success and effectiveness of popular music programmes in public schools through the lenses of three Singapore secondary school teachers as they conducted their popular music lessons over seven to ten weeks. In the process, the study also describes how these teachers pragmatically negotiated the execution of these programmes within Singapore's unique educational context. The findings may serve to inform music teachers and school leaders keen to establish similar programmes as a matter of on-going dialogue.
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Karuppiah, Nirmala. "Enhancing the quality of teacher-child interactions in Singapore pre-school classrooms." Journal of Childhood, Education & Society 2, no. 1 (February 19, 2021): 58–68. http://dx.doi.org/10.37291/2717638x.20212187.
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This exploratory study was aimed primarily at developing baseline data on the quality of teacher-child interactions in Singapore pre-school classrooms. Data were collected through observations of teacher-child interactions in 80 pre-schools, using the Classroom Assessment Scoring System (CLASS) in the three key domains which are 1) Emotional Support, 2) Classroom Organisation, and 3) Instructional Support (Pianta, La Paro, & Hamre, 2008). It was found that the overall quality of teacher-child interactions in the Singapore pre-school classrooms was low to moderate, with Instruction Support being the lowest. This finding is similar to that found in studies conducted in many other countries including China and the U.S. (Slot, 2017). Possible reasons and explanations will be presented, and suggestions to improve or enhance the quality of teacher-child interactions will be proposed. This study has implications on pre-school teacher education and professional development as well as government policies and regulations for the Singapore pre-school sector.
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Norgaard, Martin, Laura A. Stambaugh, and Heston McCranie. "The Effect of Jazz Improvisation Instruction on Measures of Executive Function in Middle School Band Students." Journal of Research in Music Education 67, no. 3 (August 9, 2019): 339–54. http://dx.doi.org/10.1177/0022429419863038.
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Research investigating links between academic achievement and active music instruction has not previously differentiated between different types of instruction. In the current study, 155 seventh- and eighth-grade middle school band students were divided into two groups. Both groups received 2 months of instruction in jazz phrasing, scales, and vocabulary, but only the experimental group was taught to improvise. All instruction was part of the warm-up routine in regular band classes. All students were tested before and after instruction on the Wisconsin Card Sorting Task (cognitive flexibility) and the classic Stroop task (inhibitory control). At posttest, eighth-grade students in the experimental group scored significantly better on cognitive flexibility with a smaller percentage of perseverative errors, whereas the treatment had no effect on seventh-grade students on this outcome. Seventh graders, but not eighth graders, in the experimental group increased their posttest scores for inhibitory control, though this result was only marginally significant. In relation to previous research, the current results strongly suggest that far-transfer effects of active music participation depend on the nature of the instruction. Results of prior and future studies should therefore be interpreted in light of the type of music-making engaged by participants.
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Lim, Tock Keng, and Liang See Tan. "A pull-out gifted programme in Singapore." Gifted Education International 12, no. 1 (January 1997): 43–46. http://dx.doi.org/10.1177/026142949701200110.
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A variety of programming models, both part- and full-time, have been designed to provide gifted children with appropriate instruction to fulfil their needs and potential. In January 1993, The Chinese High School, an independent school in Singapore, started on a pull-out gifted program where students are selected to attend a challenging, differentiated and enriched curriculum in Mathematics, Science and Computer Science. Interesting enrichment activities carried out in the programme included a Mentor Link programme and a creative computing camp. The strength of such a programming model is that while the gifted students are provided with opportunities for rapid progress and challenging activities within Mathematics, Science and Computer Science, they also have the opportunities to study and interact with their regular classmates and to be leaders in their regular classes. The pull-out gifted programme, as set up in Chinese High, was able to combine the advantages of both full- and part-time programmes. This paper presents the characteristics and activities of the pull-out programme.
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Vogel, Dorothy. "“Are You Only an Applauder?” American Music Correspondence Schools in the Early Twentieth Century." Journal of Research in Music Education 62, no. 4 (November 10, 2014): 446–61. http://dx.doi.org/10.1177/0022429414554230.
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The purpose of this study was to examine correspondence schools of music in the early twentieth century. Advertisements in widely circulated household and music periodicals and archival copies of courses from Siegel-Myers Correspondence School of Music, United States School of Music, American College of Music, and others were examined. Research questions focused on course offerings, faculty, recruitment, and reputation of the schools. The study also examined the advantages and disadvantages of this first generation of distance education and implications for current distance education practices today. Results revealed that correspondence schools of music had more breadth and, in some cases, depth than previous research had indicated. Instruction at numerous schools was offered on a wide variety of instruments, including voice, as well as in music history, music theory, and music teacher education. One of the prominent teacher education resources was Frances Elliott Clark’s Course in Public School Music offered through Siegel-Myers Correspondence School of Music. Instruction reached a wide demographic, including segments of the population without alternate access to music education. This rich history shows that distance education has been and will remain a viable and valuable option for accessing music education.
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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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Miranda, Martina L. "Developmentally Appropriate Practice in a Yamaha Music School." Journal of Research in Music Education 48, no. 4 (December 2000): 294–309. http://dx.doi.org/10.2307/3345365.
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Pedagogical practices in a Yamaha Music School were explored using ethnographic techniques to collect data during one semester of instruction. Two groups of participants served as informants in this study: (1) children 4-6 years of age, who were enrolled in the Yamaha Junior Music Courses, and (2) their teachers and parents in the setting. Developmentally Appropriate Practice (DAP) guidelines as published by the National Association for the Education of Young Children were the theoretical grounding for the study. The following question guided the investigation: In what ways are the events and interactions in a Yamaha music class congruent or incongruent with DAP guidelines ? Congruent events and interactions were the pace and variety of instructional activities, recognition of individuals, involvement of parents, and inclusion of dramatic play. Incongruent events and interactions were the approach to two-hand playing, fixed accompaniment tempos, minimal peer interactions, and fixed curricular goals.
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Ihas, Dijana. "A Mixed Methods Study on the Status of School Orchestra Programs in Oregon: An Explanation of Inhibiting and Promoting Factors." String Research Journal 9, no. 1 (June 25, 2019): 5–22. http://dx.doi.org/10.1177/1948499219851144.
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The purpose of this explanatory sequential mixed methods study was to examine the status of school orchestra programs in Oregon and to explain the reasoning behind the descriptive data. The quantitative phase of the study reported the data on the number of school districts and schools by type that offer orchestra instruction as well as the profile of those schools, their orchestra programs, and orchestra teachers. Unexpected findings from the quantitative phase indicated that among the three large school districts that are comparable in size, budget, and students’ demographics, only one offers orchestra instruction in every school within the district ( n = 65) while the other two districts offer orchestra instruction in one high school each. This finding prompted the qualitative phase of the study that illuminated factors that inhibit and promote the quality of education within Oregon schools. The mixed methods findings explained the discrepancy in music offerings among the three large school districts through the perspectives of the three arts administrators, one from each district.
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Cho, Suni. "A Study on the Instruction of the Physical Expression of Multicultural Music in Elementary School." Korean Music Education Society 50, no. 1 (February 28, 2021): 155–77. http://dx.doi.org/10.30775/kmes.50.1.155.
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Corcoran, Sean. "Teaching creative music in El Sistema and after-school music contexts." International Journal of Music Education 39, no. 3 (February 2, 2021): 313–26. http://dx.doi.org/10.1177/0255761421990820.
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El Sistema music programmes have blossomed over the past decade, with the aim of fostering social development through intensive orchestral music instruction. Many scholars agree that creative music making can facilitate student agency development, increase a sense of belonging and promote creative expression by allowing students to bring their perspectives to the learning context. With these benefits apparent, it seems rational that El Sistema should incorporate creative music making into its curriculum. To build understanding of how creative music approaches function in some programmes, I used a multiple qualitative case study to examine eight teachers’ perspectives of creative music making within El Sistema and after-school music programmes in Canada and the United Kingdom. Findings revealed that teachers conceptualized creative music making as activities that develop agency through collaborative music creation, that have the benefit of creating a sense of belonging and that give students the opportunity to contribute to their community. Successful nurturing of creative music making seems to rely on connecting students to their wider community, which is achieved in part through incorporating students’ own musical tastes. Teachers’ experiences with creative music making in their own music education played a crucial role in preparing them to teach creative music.
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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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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.
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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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Parkes, Kelly A., Brett D. Jones, and Jesse L. M. Wilkins. "Assessing Music Students’ Motivation Using the MUSIC Model of Academic Motivation Inventory." Update: Applications of Research in Music Education 35, no. 3 (December 4, 2015): 16–22. http://dx.doi.org/10.1177/8755123315620835.
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The purpose of this study was to investigate the reliability and validity of using a motivation inventory with music students in upper-elementary, middle, and high school. We used the middle/high school version of the MUSIC Model of Academic Motivation Inventory to survey 93 students in the 5th to 12th grades in one school. Our analysis revealed the inventory produced reliable and valid scores on the five MUSIC scales (MUSIC is an acronym for empowerment, usefulness, success, interest, and caring). Findings provide empirical evidence to support the validity of the five-factor structure of the MUSIC Model of Motivation for music students. Thus, the inventory may be used by music teachers as a reliable means to assess students’ motivation-related perceptions. We provide several strategies that music teachers can consider in designing instruction to be consistent with each component of the MUSIC model, as well as possible implications.
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Martin, Lisa D. "A Case Study of a Noncredentialed, Second-Career Music Educator." Journal of Music Teacher Education 28, no. 1 (July 27, 2018): 83–101. http://dx.doi.org/10.1177/1057083718788017.
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Throughout the United States, educators lacking formal credentials have increasing opportunities to assume classroom teaching positions. The purpose of this instrumental case study was to explore the career decision making and early-career teaching experiences of Holly, a noncredentialed music educator working in a public charter school. Data were collected over 6 months in the form of semistructured interviews, teaching and performance observations, and artifact analysis. Holly’s pathway to classroom teaching as a second career was characterized by nonlinear decision making, exploring numerous options before choosing to teach school music. Her early classroom teaching experiences were similar to those of traditional early-career music teachers with regard to classroom management concerns; however, her experience in private lesson instruction and directing community music theater equipped her with more practical pedagogical skill sets than typical early-career music educators. The discussion includes considerations of the value of formal credentialing and implications for music teacher education program recruitment.
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Seifried, Scott. "Exploring the outcomes of rock and popular music instruction in high school guitar class: a case study." International Journal of Music Education 24, no. 2 (August 2006): 168–77. http://dx.doi.org/10.1177/0255761406065478.
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Nguyen, Dong Thanh, David Ng, and Pui San Yap. "Instructional leadership structure in Singapore: a co-existence of hierarchy and heterarchy." Journal of Educational Administration 55, no. 2 (April 10, 2017): 147–67. http://dx.doi.org/10.1108/jea-05-2016-0060.
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Purpose The purpose of this paper is to explore the instructional leadership practices and structure in Singapore primary schools. Design/methodology/approach The study employs a qualitative approach. Data were collected from interviews of 30 Singapore primary school principals and 25 working-day observations of five principals. A grounded theory method was utilized to analyze the qualitative data. Findings The instructional leadership roles of principals can be categorized into four key themes: vision development and implementation, physical and organizational structure, professional development, and leading and managing instruction. Importantly, the study illuminates a hybrid structure of instructional leadership in which both hierarchical and heterarchical elements exist. Originality/value The current study expands the global knowledge base on instructional leadership by providing indigenous knowledge of how instructional leadership is enacted in Singapore schools. Simultaneously, this study suggests an agenda for future research on instructional leadership.
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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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Abril, Carlos R., and Brent M. Gault. "The State of Music in the Elementary School." Journal of Research in Music Education 54, no. 1 (April 2006): 6–20. http://dx.doi.org/10.1177/002242940605400102.
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This study is an examination of school principals' perceptions of the elementary school music curriculum. A survey, mailed to 350 elementary school principals (61% response rate), was designed to answer the following questions: What are principals' perceptions of music learning outcomes and broad educational goals that result from school music instruction at their respective schools? How do they believe these should exist in ideal conditions? Is there a difference between principals' ratings for current and ideal conditions? To what degree do certain variables affect the music program? Results revealed that principals were generally satisfied with their music programs' ability to meet music education standards and broad educational goals. However, significant differences between the current and ideal conditions imply that they believe improvement is possible. Principals reported that the No Child Left Behind Act, budgets, standardized tests, and scheduling had the most negative effects on their music programs. September 15, 2005 November 30, 2005
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Demorest, Steven, Bryan Nichols, and Peter Q. Pfordresher. "The effect of focused instruction on young children’s singing accuracy." Psychology of Music 46, no. 4 (June 20, 2017): 488–99. http://dx.doi.org/10.1177/0305735617713120.
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The purpose of this study was to test the effect of daily singing instruction on the singing accuracy of young children and whether accuracy differed across four singing tasks. In a pretest-posttest design over seven months we compared the singing accuracy of kindergarteners in a school receiving daily singing instruction from a music specialist to a control school receiving no curricular music instruction. All children completed four singing tasks at the beginning and end of the study: matching single pitches, matching intervals, matching short patterns, and singing a familiar song from memory. We found that both groups showed improvement on the pitch-matching tasks from pretest to posttest, but the experimental group demonstrated significantly more improvement. Performance on the familiar song task did not improve for either group. Students achieved the highest accuracy scores when matching intervals. Regular singing instruction seems to accelerate the development of accurate singing for young children, but the improvement was evident only in the pitch-matching tasks. It is possible that singing skill development proceeds from pitch-matching to the more difficult task of singing a song from memory. If so, this has implications for how we structure singing instruction in the early grades.
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Guilbault, Denise Marie. "The Effects of Harmonic Accompaniment on the Tonal Improvisations of Students in First Through Sixth Grade." Journal of Research in Music Education 57, no. 2 (June 18, 2009): 81–91. http://dx.doi.org/10.1177/0022429409337201.
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The purpose of this research was to examine the effects of harmonic accompaniment on the tonal improvisations of elementary school students. Specifically, this study was designed to (a) determine if the addition of a root melody accompaniment to song instruction affects the implied harmonic changes and harmonic rhythm in the tonal improvisations of students in first through sixth grade and (b) determine whether age affects the tonal improvisation scores of students in first through sixth grade. Results indicated that students who received song instruction with root melody accompaniment received significantly higher tonal improvisation rating scores than those students who did not have such instruction. No statistical difference was found for the main effect of grade level.
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Stipančević, Nataša, and Jovana Milošević. "The influence of music culture teaching on the social-emotional development of younger school-age children." Norma 25, no. 2 (2020): 281–98. http://dx.doi.org/10.5937/norma2002281s.
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The social-emotional development of young school-age children is, in different theoretical studies, often linked with different influences of music in its cultural, entertaining, educational, and other contexts. In the context of formal education, music is included in the education and development of children mostly through the organization and realization of musical culture instruction. Considering the numerous influences of music and musical culture, both on the life of a man seen from a general perspective, and on a child, it is significant and interesting to study the topic of the influence of musical culture instruction on the different segments of young school-age children development, considering the numerous specificities that come with this age, where the beginning of formal education could be the most important one. The main focus of the research conducted for the needs of the paper was to examine the existence of differences in the opinions of the parents of young school-age children, towards the role of musical culture instruction content on the social-emotional development of their children. The key results of this research indicate that the respondents have a mostly positive opinion towards different segments of music culture teaching in the context of their children's social-emotional development. Parents whose children are involved in extracurricular music activities have a more positive opinion about the impact of the content of music culture classes on the social-emotional development of their children compared to parents whose children do not attend extracurricular activities.
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Prichard, Stephanie. "The Impact of Music Practice Instruction on Middle School Band Students’ Independent Practice Behaviors." Journal of Research in Music Education 68, no. 4 (August 24, 2020): 419–35. http://dx.doi.org/10.1177/0022429420947132.
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The purpose of this study was to investigate the impact of music practice instruction on middle school band students’ ability to articulate and incorporate practice strategies. Participants were middle school band students at a large suburban middle school ( N = 105). Using a pretest–posttest quasi-experimental design, participants were divided into control ( n = 53) and experimental ( n = 52) groups. Participants in the experimental group received 3 weeks of practice strategy instruction during ensemble warm-up time, and the control group continued with their typical warm-up routine. Pretest and posttest data included self-reported practice strategy lists ( N = 105) and video of individual practice sessions ( n = 20). Both self-reported and video data were coded and analyzed using descriptive statistics as well as pretest–posttest within-groups comparisons. Thirteen hours of video data were further analyzed using an observational measure of self-regulation. Analyses revealed that experimental group participants identified and utilized significantly more practice strategies following the instructional intervention. Posttest experimental group practice sessions also revealed a more mature approach to practicing, including more strategic behaviors, greater variety in musical objectives, and longer periods spent focused on short excerpts of music. Implications for future research and middle school instrumental classroom practice are discussed.
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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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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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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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Demorest, Steven M., and William V. May. "Sight-Singing Instruction in the Choral Ensemble: Factors Related to Individual Performance." Journal of Research in Music Education 43, no. 2 (July 1995): 156–67. http://dx.doi.org/10.2307/3345676.
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In this study, we examined individual sight-singing skills of choir members in relation to their private musical training, their choral experience, the difficulty of the melodic material, and the system used for group sight-singing instruction. The subjects (N= 414) were drawn from both the first and second choirs of four Texas high schools. Two schools used the fixed-do system of sight-singing; the other two, the movable-do system. Subjects were randomly assigned to two melody conditions of varying difficulty. A multiple-regression analysis of musical background variables indicated that the number of years of school choir experience was the strongest predictor of individual success, followed by years of piano, instrumental, and vocal lessons, respectively. Scores for the more challenging Melody Condition B were significantly lower than those for Melody A. An analysis of covariance revealed that students in the movable-do groups scored significantly higher than did those in the fixed-do groups. However, this finding was tempered by the existence of other differences between the groups regarding private lessons, the consistency of method in the students' early solfege training, and the sight-singing assessment procedures used in each school district.
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Cher Leng, Lee. "Compliments and Compliment Responses of Singapore Chinese University Students." Global Chinese 1, no. 1 (April 1, 2015): 169–201. http://dx.doi.org/10.1515/glochi-2015-1007.
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Abstract This paper examines the compliments and compliment responses of Singapore Chinese university students from naturally occurring data. Both Mainland China and Taiwan have received more attention in compliments research. Unlike China and Taiwan, Singapore is in the outer circle (Kachru 1992) of the Mandarin speaking community. Although the population of Singapore comprised of three-quarters of ethnic Chinese, Mandarin is taught in school as a second language with the medium of instruction of all other subjects being English (see Lee 2012). The different language environment and cultural bearings from the Mainland Chinese and Taiwan Chinese are reflected in this study. This study shows that unlike Taiwan college students (Wang and Tsai 2003) whose preferred compliment topic is Appearance, Singapore Chinese students prefer to compliment on Ability/Performance. Contrary to all other studies on Chinese compliment responses which show that Chinese are more modest and therefore tend to Reject compliments, this study shows that there are overall more Accept compliment responses especially between close friends. This is due to the predominant English-speaking environment in Singapore. In addition, Appreciation Token which is known to be a western response to compliments is also used more frequently by Singapore Chinese students. The linguistic features of code-switching to English and the presence of local discourse particles (from southern Chinese dialects and Malay language) are unique features of the diasporic colloquial Mandarin spoken in Singapore.
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Smith, Jacqueline C. "Hidden in Plain Sight: A Music Therapist and Music Educator in a Public School District." International Journal of Music Education 36, no. 2 (June 19, 2017): 182–96. http://dx.doi.org/10.1177/0255761417712319.
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The purpose of this intrinsic case study was to clarify the roles of a music educator and music therapist in a North American public school district. This case was unique because some of the students with special needs received both music instruction and music therapy services, yet there was little collaboration between the two disciplines. In an effort to learn more about each music discipline and to add to the knowledge base of the connections between music education and music therapy I posed four research questions: (1) What were the goals of the music teacher and music therapist for the students in their classrooms? (2) What were the perceptions of the music teacher regarding music therapy services in an educational setting? (3) What were the perceptions of the music therapist regarding student experiences in the music classroom? (4) In what ways did the music therapist and music educator collaborate, or not, to improve outcomes for students with special needs? I found the goals of the educator and therapist in music were unique yet complementary, and clarification of these goals is needed to assist educators who work with students with special needs.
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Brendell, Janna K. "Time Use, Rehearsal Activity, and Student Off-Task Behavior during the Initial Minutes of High School Choral Rehearsals." Journal of Research in Music Education 44, no. 1 (April 1996): 6–14. http://dx.doi.org/10.2307/3345409.
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In this study, the use of rehearsal time during the initial minutes (i.e., the warm-up time) of 33 high school choral rehearsals was examined. Student attentiveness was also investigated during initial rehearsal activities. Trained observers used interval observation techniques in collecting attentiveness, rehearsal activity, and time usage data. Interobserver agreement averaged .93 for off-task, .88 for activity coding, and .85 for rehearsal timing. Conductors averaged 43.45 elapsed seconds prior to the first verbal statement to begin and 14 minutes 19 seconds prior to rehearsal of literature. Time allotted to rehearsal activities was the following: sight-reading, 22.23%; vocal warm-up, 9.63%; getting ready, 6.75%; physical warm-up, 3.37%; literature instruction, 1.84%; and other activity, 1.46%. Off-task percentages were: getting ready, 26.14%; physical warm-up, 18.48%; other, 16.53%; literature instruction, 16.27%; vocal warm-up, 15.07%; and sight-reading, 9.22%. Results indicated that the highest percentages of off-task behavior occurred during activities requiring less singing and active participation. Off-task behavior seemed to be a function of the nature of the activity.
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Ruismäki, Heikki, and Tarja Tereska. "Students' assessments of music learning experiences from kindergarten to university." British Journal of Music Education 25, no. 1 (March 2008): 23–39. http://dx.doi.org/10.1017/s026505170700770x.
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This article reports on a retrospective study of Finnish pre-service elementary teachers' assessments of their musical experiences in nursery school and elementary and secondary school and real-time study of their experiences in teacher training. The participants (N = 590) had received musical instruction in five age groups (4–6 years, 7–12 years, 13–15 years, 16–19 years, 20–25 years). The assessments were most positive in the 4–6 years group and thereafter declined until puberty in the 13–15 years group. A change in a positive direction was perceived in the 16–19 years group and also in the 20–25 years group (during teacher training). Gender differences were statistically significant except during upper secondary school. The most enjoyable activities in formal music education were singing and playing; music theory was experienced most negatively.
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Akutsu, Taichi. "Constructing a “fast protocol” for middle school beginner violin classes in Japan." International Journal of Music Education 36, no. 1 (February 3, 2017): 96–107. http://dx.doi.org/10.1177/0255761417689918.
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This study aimed to investigate the process of constructing a “fast-protocol” for violin instruction. Since learning string instruments has not been common, and because there are limited hours for music in Japanese schools, the author, a violinist, collaborated with the general music teacher at a middle school in the Tokyo metropolitan area, and co-created the protocol which contains three lesson units as follows: (1) to play an open string on the violin; (2) to discriminate pitch by string crosses on the violin; (3) to discriminate pitch by using fingers on the violin. As for data collection, the study videotaped students’ learning, and maintained log notes. This study also collected students’ commentary focusing on perceived challenges after each class ( N = 120). Based on all gathered data, after completing the coding process, researcher and teacher co-constructed the narrative. Findings include critical examinations of readiness in violin teaching and learning, and variations on violin-specific challenges associated with enjoyment and satisfaction for beginners.
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Moore, Randall S. "Influence of Multicultural Singing Games on Primary School Children'S Attentiveness and Song Preferences in Music Classes." International Journal of Music Education os-39, no. 1 (May 2002): 31–39. http://dx.doi.org/10.1177/025576140203900104.
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In this study, eight multicultural songs with varying amounts of movement were taught to one hundred ninety-five 4- to 7-year-olds in a school setting during three weeks of daily music lessons. Three observers recorded group and individual attentiveness behavior during 17 hours of music instruction. At the end of the research period, subjects were asked in groups and individually to tell how much they liked the eight songs they had learned. Results indicated over 95% group on-task behavior during music instruction, and attention varied with amount of action in each song. A Spearman correlation of -.90 (p = .01) indicated that as the amount of activity in songs increased, the amount of off-task behavior decreased. Group and individual attitudes correlated moderately highly (r = .75) and confirmed that two forms of attitude assessment, group rating and individual interviewing, showed consistency in preferences. Additional observation of ten individuals showed that on-task behavior for listening was 88%, singing 64%, and moving 84%. It appears that young children enjoy moving and singing together and show preferences for songs with more actions. Music educators are encouraged to use singing games when teaching young children, particularly multicultural songs in foreign languages that might otherwise be eschewed.
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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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Bautista, Alfredo, Guo-Zheng Toh, and Joanne Wong. "Primary school music teachers’ professional development motivations, needs, and preferences: Does specialization make a difference?" Musicae Scientiae 22, no. 2 (November 14, 2016): 196–223. http://dx.doi.org/10.1177/1029864916678654.
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There is widespread agreement that one-size-fits-all professional development (PD) has limited potential to foster teacher learning and that PD should be ‘responsive’ to the demands of teachers with different profiles. The purpose of this exploratory study was to analyze the PD motivations, needs, and preferences of Singapore primary school music teachers according to their level of specialization in music education. This variable has been relatively unexplored within the field of music-teacher PD. A nationwide survey was run to collect the data. Participants were 286 primary music teachers (about 40% of the entire population), who were split into three groups based on their music education background (Major = 113, Minor = 64, Generalist = 109). Findings indicated that the three groups of teachers had different motivation levels to participate in music-specific PD (e.g., generalists being the least motivated), various needs for further training (e.g., music education majors being the most interested in improving their music content knowledge), and different preferences regarding PD providers and learning formats (e.g., generalists preferring to learn from other fellow colleagues within informal settings). We concluded that the level of specialization in music education plays a major role in determining teachers’ PD motivations, needs, and preferences. This study has the potential to inform the design of more responsive PD initiatives.
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Caldarella, Paul, Leslie Williams, Krystine A. Jolstead, and Howard P. Wills. "Managing Student Behavior in an Elementary School Music Classroom: A Study of Class-Wide Function-Related Intervention Teams." Update: Applications of Research in Music Education 35, no. 3 (January 8, 2016): 23–30. http://dx.doi.org/10.1177/8755123315626229.
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Classroom management is a common concern for teachers. Music teachers in particular experience unique behavior challenges because of large class sizes, uncommon pacing requirements, and performance-based outcomes. Positive behavior support is an evidence-based framework for preventing or eliminating challenging behaviors by teaching and reinforcing appropriate social skills. Class-Wide Function-Related Intervention Teams (CW-FIT), a specific positive behavior support intervention involving social skills instruction, positive reinforcement, and group contingencies, has proven effective in elementary schools but has not been evaluated specifically in music classrooms. The present study sought to investigate the effectiveness of CW-FIT in increasing on-task behavior and teacher praise-to-reprimand ratios in a sixth-grade music classroom. A single-subject reversal (ABAB) design was used. Results indicated that student on-task behavior increased when CW-FIT was implemented. Teacher praise-to-reprimand ratios also improved. Results suggest the teacher and the students found CW-FIT valuable and enjoyable. Study limitations and implications are addressed.
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Demorest, Steven M. "Improving Sight-Singing Performance in the Choral Ensemble: The Effect of Individual Testing." Journal of Research in Music Education 46, no. 2 (July 1998): 182–92. http://dx.doi.org/10.2307/3345622.
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The purpose of this study was to examine the effect of individual testing, in conjunction with group instruction, on students' sight-singing skills. A quasi-experimental study was designed to test the following prediction: Choir students given a regular program of individual testing will show a significantly greater improvement in individual sight-singing over students given group sight-singing instruction alone. A sample of 306 subjects was drawn from the beginning and advanced choirs of six high schools in the State of Washington where sight-singing was taught. Intact choirs were randomly assigned in a pretest-posttest control group design to examine the effect of a señes of three individual tests administered to the experimental group throughout one semester. Results showed a significantly greater gain in individual sight-singing performance on the major melody for members of the experimental group. Members of the advanced choirs scored significantly higher on the major melody across conditions. There were no significant differences in either variable for the minor melody. There was a significant school-to-school difference in individual achievement for both melodies, but no interaction with the treatment. Individual testing was found to be an effective means of improving individual sight-singing performance in group instructional situations.
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Anderson, Kate T. "The discursive construction of lower-tracked students: Ideologies of meritocracy and the politics of education." education policy analysis archives 23 (November 8, 2015): 110. http://dx.doi.org/10.14507/epaa.v23.2141.
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This study considers the discursive construction of a particular type of student in Singapore - the lowest-tracked, Normal Technical (NT), secondary school student. Shaped by meritocratic policies, educational practices, and ideologies common to many late-modern societies, students in the NT track are institutionally and individually constructed through the results of high-stakes testing regimes and essentialist views of ability. This article extends an understanding of the NT student as a widely held, deficit construction in Singapore by considering its use as an ideological label in interpersonal and institutional discourse. I consider how school leaders’ and government commentaries about NT students’ abilities, opportunities, and supposed characteristics provide insights about the processes through which students are recruited into institutional categories of deficit and risk¾i.e. differentiated instruction, ascribed ability, and these processes’ translation into educational structures and practice in the name of meritocracy. While the illustration of this phenomenon is uniquely Singaporean, implications include concerns about equity, constructions of ability, and ideologies of merit common to late modern society.
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Shaw, Julia T. "“The Music I Was Meant to Sing”." Journal of Research in Music Education 64, no. 1 (February 9, 2016): 45–70. http://dx.doi.org/10.1177/0022429415627989.
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This article is based on a multiple embedded case study, the purpose of which was to explore adolescent choral students’ perceptions of culturally responsive pedagogy (CRP) in three demographically contrasting choirs of an urban nonprofit children’s choir organization. The case presented here focused on an after-school choir situated in a Puerto Rican enclave, where a multiethnic teacher designed instruction that was responsive to a community with a significant migrant and immigrant Hispanic population. Adolescents perceived their teacher’s culturally responsive practice as honoring their own cultural backgrounds while also expanding their cultural and intellectual horizons. Although the students generally perceived their choral experiences to be culturally responsive, they also identified potential barriers to practicing CRP. Perceived barriers related to the complexity of students’ cultural identities and challenges inherent in practicing CRP equitably given constraints on instructional time. By encouraging style shifting between performance practices associated with diverse musical genres and meaningfully bridging students’ musical experiences at home and school, the culturally responsive learning environment explored in this study fostered connections between students’ musical and cultural identities.
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Harte, Colin. "The Historical Development of Music Education in Brazil through the Lens of Colégio Pedro II in Rio de Janeiro (1837–2011)." Journal of Historical Research in Music Education 39, no. 1 (March 20, 2017): 5–24. http://dx.doi.org/10.1177/1536600617697438.
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The purpose of this study is to investigate the historical development of Brazilian music education legislation in relation to the Brazilian public school, Colégio Pedro II. Located in Rio de Janeiro, Colégio Pedro II has consistently offered music instruction since its inception in 1837. The historical narrative presented in this article details the shifting nature of educational legislation in Brazil and its subsequent implementation at Colégio Pedro II from 1837 to 2011. A unique perspective is provided, offering insights into the role and function of music instruction in both the state of Rio de Janeiro and in the nation of Brazil. The research seeks to explain the motivations and intentions behind the drafting of different educational laws and discusses the manner in which these laws are realized at Colégio Pedro II. Because of the dearth of English language sources regarding this topic, the results of this study contribute to the broader academic understanding of the historical development of music education in Rio de Janeiro, Brazil.
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Gillespie, Robert, Joshua A. Russell, and Donald L. Hamann. "String Music Educators’ Perceptions of the Impact of New String Programs on Student Outcomes, School Music Programs, and Communities." Journal of Research in Music Education 62, no. 2 (June 6, 2014): 175–87. http://dx.doi.org/10.1177/0022429414531987.
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The purpose of this study was to examine the impact of newly initiated string programs on teachers, schools, districts, communities, and existing music program administration and students. Research questions pertained to (a) locations, student access, and instructional offerings; (b) educators; and (c) perceived impact on student outcomes. Data from 64 participants were analyzed. Results indicated that new string programs were largely developed at the middle and high school levels, located in suburban (59%), urban (23%), and rural (18%) areas, with instruction held during the regular school day. The majority (86%) of teachers were credentialed string specialists. While participants cited some frustrations, such as scheduling difficulties and lack of performance facilities, they identified several benefits from the new programs, including increased student participation in all music programs, more student collaborative opportunities, increased community and local music business support, and the more comprehensive nature of the music curriculum.
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Hospital, Michelle Marie, Staci Leon Morris, Eric F. Wagner, and Eva Wales. "Music Education as a Path to Positive Youth Development: An El Sistema-Inspired Program." Journal of Youth Development 13, no. 4 (December 14, 2018): 149–63. http://dx.doi.org/10.5195/jyd.2018.572.
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The El Sistema music education philosophy links positive individual and social development through musical education. This study is a longitudinal examination of the impact of participation in an El Sistema-inspired program, the Miami Music Project, on positive youth development. We hypothesized that over the course of a school year, participation in ensemble-based after-school music programming would significantly enhance factors associated with positive youth development. Specifically, we evaluated social emotional constructs aligned with the Five Cs of Positive Youth Development: Competence, Confidence, Caring, Character, and Connection. Results revealed that participants showed significant increases across all five Cs over the course of the year. Additionally, findings showed that Miami Music Project students showed greater enhancements over time in Character, Competence and Caring when compared to a group of youth who did not participate in music education. This study presents empirical documentation of the numerous meaningful social and emotional enhancements that participation in an El Sistema-inspired program is engendering among youth. In this type of rigorous orchestral model of musical instruction, youth seem to acquire not only cognitive benefits but also a host of social and emotional enhancements, ostensibly from learning in an environment that requires disciplined social cohesion. These findings provide insight into the holistic approach foundational to the El Sistema philosophy and adds to our overall understanding of musical instruction in important ways.
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Palkki, Joshua. "“My voice speaks for itself”: The experiences of three transgender students in American secondary school choral programs." International Journal of Music Education 38, no. 1 (December 11, 2019): 126–46. http://dx.doi.org/10.1177/0255761419890946.
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With the purpose of furthering lesbian, gay, bisexual, transgender, queer, questioning, and allies/agender/asexual (LGBTQA) dialogue in music education and to improve choral instruction for trans(gender) students, this multiple narrative case study explores the experiences of trans students in secondary school choral music programs in the United States. The emergent research design employed narrative and ethnographic techniques to honor and highlight voices of the three participants. The connection or lack thereof between voice and gender identity was different for each student. The policies of the students’ school districts, school officials, choral programs, and state music organizations shaped and influenced the participants as they navigated their trans identity within the high school choral context. Mentors (including teachers) and other “important others” helped these students as they traversed their gender journeys. From this research, it emerges that schools and choral programs can make policy changes to better serve trans youth, and more professional development and incorporation of (trans)gender issues is necessary for choral music educators.
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Simoni, Mary. "Project Lovelace: unprecedented opportunities for music education." Organised Sound 8, no. 1 (April 2003): 57–60. http://dx.doi.org/10.1017/s1355771803001067.
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Project Lovelace is a school-based programme for students aged twelve to eighteen years interested in learning about making music by using technology. The programme is designed to encourage equal and equitable participation by male and female students through instruction in technology-enhanced music performance, improvisation, composition, analysis and notation. Project Lovelace is named in honour of the contributions of the female mathematician Ada Augusta, Countess of Lovelace, who in 1842 predicted that computers could be used for musical composition (Roads 1996).The goals of Project Lovelace are to develop collaborative-based methods for gender-balanced school music technology programmes, amass a gender-balanced repertoire suitable for school music technology programmes, nurture creativity and analytical skills in music technology, and conduct a longitudinal study that documents the changing attitudes and perceived competencies of participating students and teachers.The motivation to initiate Project Lovelace was the timely convergence of two vexing issues perennially facing music technology programmes in higher education, specifically at the University of Michigan: the proportionally small number of female applicants to university music technology programmes and the need to continually upgrade or replace laboratory equipment. Why not allocate second-generation university laboratory equipment to the schools with the intent of building school-based music technology curricula that lead to a gender-balanced university applicant pool?