Band Rehearsal Research Articles

Exploring five children’s experiences of charismatic worship activities in kids band rehearsals

ABSTRACT Researching children’s experiences of charismatic worship activities was relatively uncharted territory until recently. For the purpose of this intrinsic case study, activities to cultivate children’s own developing worship styles were implemented through engagement with music during kids band rehearsals in a charismatic church. These activities included vocal and instrumental training, immersive activities, spontaneous worship, intercession and reflection on experiences. Data was collected through observations and interviews with five children who reported on their experiences in a children’s band in a charismatic church at weekly kids band practices. The findings suggested that participation in worship activities in kids band rehearsals alongside others could nurture the ways children experience spirituality and connection with a higher power, the music, and each other.

Knowledge and Abilities of Music Teachers in Primary and Secondary Schools: A Survey of Graduates from a Normal University in GuiZhou, China

The teaching quality of primary and secondary schools is closely related to the level of teachers’ knowledge and abilities. Besides, the level of teachers’ knowledge and abilities is directly related to the quality of teachers’ pre-service education. In this research, 177 teachers who work in primary and secondary schools and graduated from a music major at a normal university in Guizhou from 2016 to 2020 were surveyed by random sampling to identify the current knowledge and abilities of primary and secondary music teachers. Apart from that, Excel and SPSS software were used for the statistical analysis of questionnaire data. As shown by the results, the music teachers in primary and secondary schools have a solid grasp of the laws and regulations related to education, knowledge, and subject-professional knowledge, but their abilities of subject-professional skills and comprehensive abilities need to be improved, especially the abilities of music creation, choreography, small band rehearsal, and information technology application and research abilities. It is hoped that this research could provide enlightenment and references for the reform and development of music teachers’ pre-service education in primary and secondary schools in China.

Ein neues Einlassen – musiktherapeutische Bandarbeit im Maßregelvollzug

Music therapy in forensic mental health units often includes group offerings such as band rehearsals. This article will discuss how this option can assist in the treatment of patients with dissocial personality disorder, substance abuse disorders, and schizophrenia in forensic settings. Using the tool developed by Schumacher et al. (2011) to assess the quality of relationships, selected levels of this course of action are examined within the context of developmental psychology and potential possibilities for treatment of the respective disorders are addressed.

The educational backgrounds of DIY musicians

In this qualitative, exploratory study we examined the music education backgrounds and current creative practices of thirteen self-described do-it-yourself (DIY) musicians from around the United States. A growing community of scholars within and outside of education have noted the relative inclusionary nature of DIY communities as compared to mainstream society. Several themes have emerged in DIY music participation literature, including social influences and isolation, and music making for self care and self expression. DIY music-making can offer a potentially liberating space for those marginalized by traditional schooling, providing students with social, educational and musical opportunities they could not find or participate in at school. Through an analysis of interviews and participation-observations of creative practices such as band rehearsals and improvisation sessions, we found that similar themes emerged in our own data. Implications for music education include the importance of more individualized instruction and opportunities for self care and self expression.

Through the looking glass: A researcher's perspectives on a collaborative music composition project.

Making Music: Composing with Young Musicians was a multi-year, multi-site research project partnered with the Ottawa-Carleton District School Board and the Canadian Music Centre to commission composers to collaborate with teachers and students to write educational music. On-site observations undertaken by the co-author and examined through a pragmatic lens employing Brief Focused Inquiry focused on the contributions of students, teachers and composers to the collaborative music compositions. Students contributed their creativity and knowledge of musical elements and concepts, and they provided feedback to the teachers and composers. Teachers contributed technical, instrumental feedback to the composers and their understanding of musical elements and concepts. Furthermore, they led band rehearsals and played musical instruments with the students. Composers contributed their musical creativity and feedback while undertaking a teacher-like role. The composers, teachers and students also used technology during this creative endeavor. The findings will be of potential interest to post-secondary music educators, composers, music teachers, and music publishers.

High School Band Directors’ Perceptions and Applications of Democratic Rehearsal Procedures in Concert Band Rehearsals

The purpose of this study was to examine inservice high school band directors’ perceptions and applications of democratic rehearsal procedures in concert band rehearsals. Respondents ( N = 216) were members of the National Association for Music Education who were currently teaching concert band at the high school level. Respondents indicated that “identify and describe opportunities for individual and ensemble performance improvement” and “student-led sectionals” were considered the most important democratic rehearsal procedures for their students to experience. These same procedures were also the most frequently used democratic rehearsal procedures. Analysis of open-ended responses revealed that respondents believed student ownership, student engagement, and student growth as musicians and leaders were advantages to implementing democratic rehearsal procedures. Potential disadvantages included issues related to student ability, rehearsal time limitations, unfamiliar classroom dynamics, and availability of classroom resources. Implications for music teachers are discussed.

The effects of frequent use of a web-based sight-reading software on eighth graders’ music notational literacy

Due to its potential of improving an individual’s music notational literacy and the ease of use within the ensemble setting, the purpose of this study was to determine if frequent use of a web-based sight-reading software (sightreadingfactory.com) in full band rehearsals and group lessons would improve a band student’s individual music notational literacy level. For this study, the researcher utilized the pretest–post-test control–group statistical design with three groups of eighth-grade band students. Group 1 (n = 25) used the software at the beginning of every full band rehearsal, Group 2 (n = 31) used the software at the beginning of every small group lesson rehearsal, and Group 3 (n = 23) did not use the software in any capacity and served as the control group. The study lasted for eight weeks. The researcher individually administered the pretest to all student participants in Week 1 of the study and the post-test during Week 8. In order to determine which treatment caused the greatest change in music notational literacy, the researcher compared the mean gain scores of each group using an ANOVA and found statistically significant findings (F = 3.84, df = 2, p = 0.026). Group 1 (n = 25, M = 2.80, SD = 1.76) students’ mean gain scores were significantly higher than Group 3’s (n = 20, M = 0.90, SD = 2.02, p = 0.006 indicating) evident that the web-based software was most effective in the full ensemble rehearsals.

In-Service Music Teachers’ Self-Perceived Sources of Pedagogical Content Knowledge

Abstract The purpose of this multiple case study was to examine the perceived sources of identifiable pedagogical content knowledge (PCK) used by 5 in-service secondary band teachers. Participants agreed to plan, teach, and video-record a 30-minute band rehearsal early in the second semester of the school year. I viewed each video and created a log of applications of PCK based on previous models. An independent researcher confirmed the identified instances of applied PCK. Without exception, participants confirmed the researcher-identified applications of PCK. The responses from the participants varied: 1 participant reported apprenticeship of observation as the primary source of PCK; 1 reported apprenticeship of observation and methods courses equally; another reported intuition and peers equally; 1 reported peers; and another reported cooperating teacher. Participants recognized the positive impacts this type of metacognition had on their teaching and expressed eagerness to reflect about their PCK in the future.

Achievement motivation for band: A cross-cultural examination of the 2 × 2 achievement goal motivation framework

The purpose of this study was to explore the achievement goal motivation orientations of instrumental music students in the US and Singapore. Participants in this study were volunteer band students ( N = 359) from eight American public high schools ( n = 217) and five polytechnics in Singapore ( n = 142). Data were collected via a questionnaire that included measures of (a) the 2 × 2 achievement goal orientation constructs (mastery approach, mastery avoid, performance approach, and performance avoid), (b) flow in band rehearsal, (c) grit in practicing, and (d) commitment to band. Confirmatory factor analyses indicated that the 2 × 2 achievement goal framework specifying four latent variables (mastery approach, mastery avoid, performance approach, performance avoid) was the best relative fit to the data when compared with competing dichotomous and trichotomous models. In contrast to previous research comparing achievement goals of learners from collectivistic and individualistic cultures, no significant differences in achievement goal sub-scale means were found as a function of culture. However, some differentiated patterns of relationship were found between the achievement goal sub-scales and flow, grit, and commitment to band as a function of culture.

Marching band hearing responses: Indoor rehearsal vs outdoor performance configurations

Marching band performer responses are gathered to compare how well each performer hears: (1) oneself playing; (2) others playing the same part and instrument; and (3) others playing different parts, by instrument. The measurement protocol is repeated in an indoor purpose-built band rehearsal venue with adjustable sound diffusive vs absorptive wall treatments and, at an open-air outdoor performance venue (grass playing field). All scaled responses are gathered using a personal response system, providing immediate, simultaneous, and anonymous responses that can be compared online. Prior to each set of responses, all performers play together a well-rehearsed score. Responses vary indoors by absorptive treatment and band configuration and, outdoors, by band configuration. Discussion will focus on how marching bands, indoors or outdoors, might be reconfigured to improve hearing for performers, directors, and audiences.

Popular music pedagogy: Band rehearsals at British universities

There has been little published pedagogical research on popular music group rehearsing. This study explores the perceptions of tutors and student pop/rock bands about the rehearsals in which they were involved as a part of their university music course. The participants were 10 tutors and 16 bands from eight British tertiary institutions. Analysis of participants’ interview responses suggested their perceptions could be grouped into three over-arching categories: operational mechanics of rehearsing; rehearsing activities; and group dynamics in the rehearsal. These categories, comprising a master list of 12 themes, are used to provide a basis for establishing 12 pedagogical guidelines for tutors involved in undergraduate pop/rock band rehearsal activities. Abstracted from the research are two illustrative pedagogical models, which are offered as suggestions for practice and further debate.

Hearing Conservation Program for Marching Band Members: A Risk for Noise-Induced Hearing Loss?

To examine the risk for noise-induced hearing loss (NIHL) in university marching band members and to provide an overview of a hearing conservation program for a marching band. Sound levels during band rehearsals were recorded and audiometric hearing thresholds and transient otoacoustic emission were measured over a 3-year period. Musician's earplugs and information about hearing loss were provided to the students. The hearing thresholds of other college students were tested as a partial control. There were no significant differences in hearing thresholds between the two groups. During initial testing, more marching band members showed apparent high-frequency notches than control students. Follow-up hearing tests in a subsequent year for the marching band members showed that almost all notches disappeared. Persistent standard threshold shift (STS) across tests was not observed in the band members. Band members showed no evidence of STS or persistent notched audiograms. Because accepted procedures for measuring hearing showed a lack of precision in reliably detecting early NIHL in marching band members, it is recommended that signs of NIHL be sought in repeated measurements compared to baseline audiograms rather than in a single measure (a single notch). A hearing conservation program for this population is still recommended because of lengthy rehearsal times with high sound-level exposure during rehearsals.

Forte Fortissimo for Amateur Musicians: No Effect on Otoacoustic Emissions

Many amateur musicians are likely to be exposed to high sound levels during rehearsals. Measuring otoacoustic emissions (OAE) is an objective technique to assess hearing ability and can be used as an early predictor of hearing loss. This study aimed to record sound levels at an amateur brass band rehearsal and to examine the cochlear function of the musicians by evaluating distortion product (DP) OAE amplitudes before and after sound exposure. Twenty-four brass band musicians and 10 office workers were examined with personal noise measurements and DPOAE tests before and after a music rehearsal or one office workday, respectively. The sound levels in the brass band ranged from 92 to 100 dBA, LaEQ 96 dBA. However, the amateur brass band members had no change in DPOAEs after this exposure compared to pre-exposure levels and compared to office workers.

Random or non-random thoughts: What senior adults think about within their ensemble settings

The purpose of the current study was to describe band members' perceptions of important and frustrating issues they experienced in band rehearsals. Musicians (N=159) from three New Horizons bands from three different states participated in the current study. The four administrations of the two-item questionnaire asked, 'What was the most important aspect to you in today's rehearsal', and, 'Was anything frustrating or confusing in today's rehearsal?' Results highlight the contextual components that the musicians perceived to be important and frustrating in their rehearsal settings. Comments tended to be cogent and focused, and conclusions highlight the possible benefits of using the one-minute assessment process for improving adult community music instruction.

Soundscape study methods of band rehearsal room

Soundscape study methods were applied to a band rehearsal room to understand the acoustical issues involved in this situation. A taxonomy of sound sources, direct observation to identify the specific sonic events and the multiple source and receiver paths involved in the complex listening and performing tasks that occur during band rehearsals were identified. It was found that students spend almost 1/2 of their rehearsal time involved with verbal instruction and discussion. Interviews with conductors and questionnaires administered to music students in three different band rooms were used to determine what musicians are listening for during rehearsals. Source and receiver combinations for physical acoustical measurements were located to study the multiple listening tasks identified in the questionnaires. Musicians were constantly trying to “hear each other” for intonation, rhythm, dynamics, articulation, and tone quality during rehearsals. Statistical models linking the qualitative results of the questionnaires with the acoustical measurements and architectural features of the rooms show that the ceiling height, room volume, area of sound diffusing surfaces, low frequency sound level, early reflected sound energy, and reverberation were related to the ability of musicians to hear each other and the detailed attributes of music.

Soundscape of band room: Listening criteria.

Three band rehearsal videos have been analyzed to investigate the specific issues that conductors address or work on during a band rehearsal. These specific issues were also identified by the conductors and music students as the listening criteria during the rehearsal through interviews with conductors and questionnaires administered to music students. The analysis of video recordings of three band rehearsals shows that the conductor addressed to issues related to intonation (17%), rhythm (27%), dynamics (18%), articulation (19%), and other musical issues such as style, phrasing, tone quality, breath release time, and/or nonmusical issues such as student’s discipline (21%) of the time. Questionnaires given to student musicians and faculty instructors yielded similar results with 73%–94% of students and 50%–83% of instructors naming these as primary issues dealt with in college and high school music rehearsals. This raises questions that these issues should form the basis for acoustical design criteria for this building type.

Assessing personal attributes in the group rehearsal

This is a study of the marks that were awarded for students' personal attributes, when used as peer assessment criteria, in their band rehearsals. Successive cohorts of first-year undergraduate students, from 2001 to 2009, were involved in the research comprising of 191 students and 84 bands. Data analysis focused on the strength of marking agreement and the variances between self- and peer-assessments. Personal attribute assessments that exhibited the greatest strength of marking agreement arose from when criteria were formulated together by bands, especially those attributes to which the group, as a whole, aspired; to a lesser extent, personal weakness criteria formulated by bands for each member. High flyers and female students underestimated themselves in their self-assessments, compared with those awarded by the band, especially when using criteria arising from their personal weaknesses; weaker students over-estimated themselves. In considering such misjudgements, this study raises questions about band members' self-efficacy belief.

The acoustical balancing act for music rehearsal spaces in schools.

Conflicting acoustical criteria are encountered in the design of music rehearsal spaces, particularly when a single space must serve both orchestra and band rehearsals, not to mention the situation when the space must also serve for chorus rehearsals. For example, the criterion commonly found in the literature for room volume or more explicitly ceiling height conflicts with the requirement for an appropriate reverberation time or design goal loudness level, which are also dependent on the group (band, orchestra, and chorus) that will use the space and for that matter on the individual music teacher. The degree of involvement of music teachers in the design of these spaces and their potential impact on the end result is discussed. Case histories are presented to illustrate the good, the bad, and the ugly with respect to music rehearsal spaces in schools.

Perceived Instructional Needs of Middle School and Senior Citizen Band Members

The purpose of this study was to describe and compare adult and middle school band members' perceptions of music education issues, including effective teaching and musical environment. The participants were 94 band members from three states: 28 middle school band participants from three middle schools and 66 senior citizen band participants from three adult bands. At a band rehearsal, the band members answered a 49-item questionnaire with 26 Likert-type questions on the topic of effective teaching. While the overall means are high for all component skills, musical skills were rated lowest, followed by instructional skills and personality characteristics. Older and younger musicians responded similarly across the musical, instructional, and personality components. Conclusions highlight the collegiate instructional issues that may help meet older and younger musicians' instructional preferences.

Adult Musicians' Perceived and Measured Pulmonary Function

The research questions for this study were 1) what was the measured pulmonary function of a group of senior adult musicians, and 2) was there a perceived and measured difference between senior adult musicians' pulmonary function scores before and after a rehearsal? The participants in this study were 57 adult musicians in two senior citizen bands in north Texas. Participants completed spirometry tests administered before and after band rehearsals on two occasions to ascertain repeated pulmonary function scores. Results showed that the participants were able to complete the spirometry task at the most basic level. On most pulmonary function measures, younger participants, males, and non-smokers tended to have higher scores. Seven percent of the participants perceived short-term increases in breath capacity after participating in a given rehearsal, and 35% of the participants perceived increases in breath capacity since joining the band. No statistically significant difference between the mean pulmonary function scores were found before and after rehearsal. Implications are addressed concerning the issues related to the measurement and pedagogy of adult music making.