Instrumental Music Education Research Articles

Sense-Making, Meaningfulness, and Instrumental Music Education.

The purpose of this paper is to re-examine the nature of “meaning” and “meaningfulness” in the context of instrumental music education. By doing so, I propose to expand the ways in which instrumental music educators conceive their mission and the ways in which we may instill meaning in people’s lives. Traditionally, pursuits of philosophical deliberation have claimed that meaningfulness comes from either personal happiness (e.g., Jeremy Bentham and John Stuart Mill) or an impersonal sense of duty (e.g., St. Augustine, St. Thomas Aquinas, and Immanuel Kant). However, philosopher Wolf (2010) criticizes these positions in favor of a broader perspective, one that arises from understanding that there is a third sort of value, namely “meaningfulness.” Rightly understanding meaningfulness may help us engage more fully with a greater sense and understanding of the full potentials of eudaimonia: a life of significance and value for oneself and one’s community. Therefore, this paper links meaningfulness to a 4E (embodied, embedded, enacted, and extended) account of “sense-making” in/for instrumental music education. In doing so, I discuss the aims of public-school music education; aims that engage teachers and students in meaningfulness—a meaningfulness that is ethical, embodied, enacted, and extended—in, with, and through musics and, more directly, “instrumental” music making.

Speaking of your own repertoire: an investigation of music performance during practice

AbstractThe purpose of this study was to explore musicians’ approaches to performance during practice and identify the factors that underpinned their approaches. We hypothesised that musicians would be able to recall their focus, knowledge and thoughts of their own repertoire during music performance and that such data would reveal musicians’ cognitive behaviours during the performance. By analysing musicians’ retrospective verbal protocols, we found that musicians used four main reasoning processes –study, static analysis, intuitionandperformer’s analysis –in their approach to music performance. The findings show that musicians utilise multiple cognitive behaviours for music performance. The implications for instrumental music teaching are discussed.

Instrumental Opportunities: Music for All

Although resources exist to help instrumental music teachers assist learners in inclusive settings, students’ voices may be absent from those resources. As such, music teachers may struggle to honor the needs and experiences of students with physical differences. Students with physical differences may be steered away from instrumental music or toward an instrument that may not be the student’s preference. The purpose of this study was to understand the stories of students with physical differences and their teacher to examine how participation in instrumental music was enabled in this setting. Data were generated through examining artifacts and completing interviews with the instrumental music teacher, students, and students’ parents. Interview data were analyzed using process/action coding. Main themes that emerged were (a) previous experiences and prior knowledge, (b) recognizing strengths and challenges, (c) perseverance toward desires in the face of uncertainty, (d) help and support from others, and (e) materials. Implications for future research and possible applications to music teaching and music teacher education are discussed.

Young Musicians' Learning of Expressive Performance: The Importance of Dialogic Teaching and Modeling

Until recently little was known through systematic research about effective teaching methods to enhance children's expressiveness in music performance. A previous experimental study indicated that a dialogic teaching approach, consisting of questions and dialogue, improves pupils' expressive performance. Developing from this, a participatory action research study was conducted with the following objectives: (1) To explore how dialogic teaching and learning of expressiveness can be used in weekly individual instrumental lessons; (2) to investigate whether instrumental tutors find a dialogic teaching approach useful for facilitating pupils' learning of expressiveness; and (3) to explore what other complementing instructional modes tutors would like to employ. (4) To investigate pupils' views on their learning of expressiveness; and (5) pupils' views on the instructional strategies used for teaching expressiveness. Five instrumental music tutors participated in this research with two or three of their pupils (11 girls in total, aged 8–15, playing various instruments) for 4 months. Pupils played in informal performance sessions at the start, middle, and end of the project. Lessons and performances were video-recorded. Music diaries, questionnaires and video-stimulated recall interviews were used to collect information about participants' views. Participating tutors used mainly dialogic teaching, modeling, and playing along with pupils. Tutors thought that teaching and learning expressiveness is a complex process wherein “everything is intertwined”; several methods can be used within a dialogic teaching approach for working on various teaching aims. Aural modeling combined with dialogic teaching was seen as especially useful. Pupils' accounts indicate that they had learned to think about the musical character and how to convey this in performance. Tutors' questions had stimulated pupils' reflection and raised their awareness of the musical meaning, while teachers' modeling had helped to build up an aural picture of the music which had facilitated pupils' learning. The dialogic teaching approach supported by modeling had generated improved expressiveness in lessons and contributed to a growing sense of achievement, confidence, self-efficacy, and musical agency. These findings demonstrate the importance of dialogic teaching supported by modeling for meaningful instrumental music education as this can stimulate pupils' thinking, thus facilitating their learning and enhancing their expressiveness.

Ideas de los profesores de instrumento de conservatorio sobre las funciones y finalidades de la evaluación

La mayor parte de la investigación sobre las ideas del profesorado acerca de la evaluación proviene de estudios realizados con profesores de educación general (p.ej. primaria, secundaria, universidad). En contraste, existen pocos trabajos realizados con profesores de enseñanzas artísticas, específicamente de interpretación musical en conservatorios. El objetivo de este estudio fue describir las ideas de profesores de instrumento acerca de las funciones y finalidades de la evaluación, comparándolas con las ideas propuestas en el currículo de enseñanzas musicales vigente. Los participantes fueron 18 profesores de instrumento de la Comunidad de Madrid. Se realizó una entrevista semi-estructurada en la que preguntamos a los profesores sobre las finalidades que consideraban a la hora de evaluar. Las respuestas se analizaron mediante análisis de contenido. Encontramos que las finalidades fundamentales mencionadas con más frecuencia fueron las sumativa, formativa y autoevaluación del profesor, mientras que calificar fue mayormente referida como finalidad secundaria. Pocos profesores hicieron alusión a la finalidad formadora. Asimismo, hallamos que las respuestas hacían alusión tanto a las funciones social y pedagógica de la evaluación. Concluimos que las ideas de los profesores entrevistados reflejaban sólo parcialmente lo establecido en el currículo de música vigente. Esto es especialmente notable en la poca presencia de la finalidad formativa, en comparación con la relevancia prescrita desde el currículo. Se discuten las limitaciones del estudio y se sugieren futuras líneas de investigación que contemplen las tensiones entre las funciones pedagógica y social a lo largo de cada ciclo educativo.

Autonomy and the instrumental music teacher: negotiating culture in professional practice

ABSTRACTThis study provides valuable insights concerning the nature of professional practice in instrumental teachers working in a range of professional contexts in the UK. Using Bourdieu’s conceptual tools of habitus, field and capital, the analysis explores the way in which individuals negotiate the field of instrumental music education, revealing high levels of professional autonomy and specific understandings of the role of the contemporary professional musician. The findings demonstrate the extent to which musicians’ understandings and practices are culturally determined and perpetuated, highlighting the relationship between specific aspects of the field of instrumental teaching and learning and understandings of professional identity. The perception and experience of professional identity revealed in this study suggest a need to revise understandings of the role and identity of the professional musician in the context of contemporary portfolio careers in music. Using an explanatory sequential research design to combine data from a national survey of instrumental teachers with findings from eighteen individual case study interviews and one focus group, the research prioritises the lived experience of participants in generating understanding of professional lives and identities in this context.

Research on Chinese National Instrumental Music Teaching Centered on Appreciation

Research on Chinese National Instrumental Music Teaching Centered on Appreciation

Understanding the Meaningfulness of Vocal and Instrumental Music Teachers' Hand Gestures Through the Teacher Behavior and Gesture Framework

This article considers the usefulness of the recently proposed ‘Teacher Behaviour and Gesture (TBG) framework’ for understanding the meaningfulness of teachers’ hand gestures from an Enactive Cognition perspective (wherein cognition is fundamentally considered as embodied, embedded, enactive and extended). The framework is based on the main premise that gestures are part of an integral musical communicational process, fully integrated with speech and/or music-making and contextualised within specific teaching behaviours. By considering teachers’ teaching behaviours, it is possible to realise teachers’ pedagogical intentions. This, in turn, enables deeper understandings on teachers’ gestures from the points of view of meaning, function and purpose. Application of the TBG framework across instrumental and vocal music pedagogical contexts (one-to-one, small and large teaching groups) will bring relevant insights on developing practical scaffolding approaches, with direct implications on the quality of teaching and learning, for the benefit of both teachers and students.

The Role of Accompaniment Quality in Band Directors’ Evaluations of Solo Instrumental Performance

The purpose of this replication study was to examine the effects of accompaniment on evaluations of solo instrumental performances. Although previous findings have indicated that instrumental music education majors’ evaluations of soloists were not independent of accompaniment, it is unknown whether more experienced evaluators are similarly affected by accompaniment. In addition to using a new population (in-service band directors), we also extended the previous study by asking participants whether they believed their evaluations of a soloist were influenced by the accompaniment provided. Participants ( N = 58) listened to six excerpts of Haydn’s Concerto for Trumpet, which we created by pairing different recordings of solo trumpet performance (good or bad) with piano accompaniment (good, bad, or none). Participants evaluated the accuracy and expressivity of the soloist in each excerpt. Similar to the previous study, results indicated that participants discriminated between good and bad solo performances successfully, but a significant three-way interaction among solo, accompaniment, and order indicated that these differences were further influenced by the quality/presence of accompaniment and order. Most participants (72.4%) believed that their evaluations of the soloist were not influenced by the piano accompaniment, primarily because they were able to focus on the soloist or because they followed the instructions provided.

Band Project: A Model for Service Learning

Real-world experiences, such as situated learning, fieldwork, and student teaching have been among the most prevalent examples employed in teacher preparation programs. Despite the increasing evidence in support of service learning in music teacher preparation, there are a limited number of models specific to instrumental music education. The purpose of this study was to explore the experiences of participants in one such model, called Band Project. Participants included preservice music educators, young band students, and one lead teacher who also served as the instrumental music teacher at the school. The research question that guided this investigation was as follows: In what ways do participants in an afterschool band project describe their experience? Four themes emerged from analysis of data: (a) Relationships and Community, (b) Challenges and Tensions, (c) Aspirations, and (d) Transformations. Findings reinforced the importance of service learning for preservice music educators, particularly amid growing concerns for cross-cultural awareness, inclusion, and social justice in music teacher preparation.

Students’ and Teachers’ Perceptions of Undergraduate Conducting Curricula: A Review of Literature

Conducting courses are a common component of undergraduate instrumental music education programs. The experiences students have in those courses vary across and sometimes within institutions. This variation is due to many factors including choice of instructional materials and sequences, as well as whether textbooks or other instructional approaches (e.g., Laban movement theory) are used and how classes are designed for students to practice and refine their conducting. In this review, I summarized and synthesized literature related to the structure and content of undergraduate conducting curricula, as well as students’ and teachers’ perceptions of those curricula. I also made suggestions for teaching practice and for further research, and proposed a shift in the discourse on undergraduate conducting curricula toward authentic context, pedagogy-rich coursework aimed at preparing students to successfully adopt the conductor-educator role in their future careers.

The role of classroom video in music teacher research: a review of the literature

ABSTRACTWhile there are extensive literature reviews on how classroom video may support teacher learning, none is specific to music educators. We reviewed the literature published over the last 30 years in peer-reviewed journals, focusing on empirical studies where classroom videos had been used with pre- and/or in-service school music teachers. Twenty four articles were shortlisted and analysed according to six dimensions. Findings indicated that most research in this field has been qualitative (mainly exploratory), focused on general and/or instrumental primary and secondary music teachers, and conducted within formal teacher education programmes. Moreover, classroom videos have been mainly utilised to foster teachers’ reflection upon their own teaching, with the final goal of improving instructional practices. We conclude that the use of classroom video in music teacher education is still in its infancy as compared to mathematics, science, and literacy teacher education. Lines for further research are proposed.

Pspan: A New Tool for Assessing Pitch Temporal Processing and Patterning Capacity.

Purpose The purpose of this study was to evaluate whether merging the clinical pitch pattern test procedure with psychoacoustic adaptive methods would create a new tool feasible to capture individual differences in pitch temporal processing and patterning capacity of children and adults. Method Sixty-six individuals, young children (ages 10-12 years, n = 22), older children (ages 13-15 years, n = 23), and adults (ages 18-33 years, n = 21), were recruited and assigned to subgroups based on reported duration (years) of instrumental music instruction. Additional background information was collected in order to assess if the pitch temporal processing and patterning span developed, the Pspan, was sensitive to individual differences across participants. Results The evaluation of the Pspan task as a scale indicated good parallel reliability across runs assessed by Cronbach's alpha, and scores were normally distributed. Between-subjects analysis of variance indicated main effects for both age groups and music groups recruited for the study. A multiple regression analysis with the Pspan scores as the dependent variable found that 3 measures of music instruction, age in years, and paternal education were predictive of enhanced temporal processing and patterning capacity for pitch input. Conclusions The outcomes suggest that the Pspan task is a time-efficient data collection tool that is sensitive to the duration of instrumental music instruction, maturation, and paternal education. In addition, results indicate that the task is sensitive to age-related auditory temporal processing and patterning performance changes during adolescence when children are 10-15 years old.

Associations between training, employment, and motivational styles of Brazilian instrumental music teachers

Teachers follow a motivational style based on their own beliefs about motivation affected by environmental events. External events such as rules and traditions often affect orientation towards controlling; however, it is not known if events such as training and employment affect the extent to which music teachers try to control a student’s behavior. The aim of the current study is to investigate associations between the motivational styles of instrumental music teachers, their training, and the type of employment they possess. A survey was conducted with 358 instrumental music teachers. Participants accessed an online questionnaire to provide information about their motivational style and to answer questions about their training and employment. Trained musicians recorded higher scores in the controlling factor than trained music educators. Similarly, teachers who worked in public music schools recorded higher scores in the controlling factor than the ones who worked in private music schools. Our study suggests that motivational literature should be part of the higher education curriculum, since it could help to improve behaviors that support autonomy in instrumental music lessons. The study also recommends making changes to the lifelong job positions that are acquired through public tenders in order to prevent teachers from disregarding the perspective of their students.

Self-Regulated Music Practice: Microanalysis as a Data Collection Technique and Inspiration for Pedagogical Intervention

The purpose of this study was to explore a microanalysis technique for measuring instrumentalists’ self-regulation tendencies during music practice. A secondary purpose was to investigate whether an intervention informed by the features of the microanalysis technique would increase the students’ self-regulated learning tendencies. Three undergraduate instrumental music education majors volunteered to participate in this study. This study was designed as a multiple-baselines experiment spanning 15 consecutive days. Data sources included (a) entrance interviews; (b) daily practice efficacy ratings; (c) data gathered from pre- and posttest microanalysis sessions; (d) detailed behavioral analyses of video-recorded, pre- and posttest practice sessions; and (e) a focus group exit interview. The microanalytic intervention designed for this study involved a coaching session in which a member of the research team explicitly drew attention to the affective, behavioral, and metacognitive qualities related to effective practicing during a student’s practice session. The pretest microanalysis data revealed distinct learning profiles for each student that were corroborated with information from the other data sources. The intervention had modest effects that varied across participants, suggesting that it was useful for bringing to light and addressing individuals’ specific self-regulatory deficiencies in a manner respective to their needs.

“CONSIDERABLE STRESS and MISERY”: A first-year music teacher’s experiences

Preparing, inducting, mentoring, and retaining new music teachers remain concerns in our profession. This article began as a study of first-year music teachers who made regular entries in secure electronic journals and participated in mid- and end-of-year interviews. We initially sought to understand these new teachers’ experiences related to mentoring, professional development, collaboration, and standards-based instruction. Findings related to these topics were eclipsed, however, by challenging experiences that Elise, a first-year instrumental music teacher who participated in our study, reported. We used a narrative inquiry methodology to present Elise’s experiences in context of literature related to workplace incivility, gender, hierarchical structures, and emphasis on performance in instrumental music education. Based on findings, we offer recommendations for future research related to four stakeholder groups: pre-service teachers, early career in-service teachers, experienced in-service teachers, and administrators.

Beginning Band without a Stand: Fostering Creative Musicianship in Early Instrumental Programs

Approaches to teaching music notation and instrumental technique have been standardized and codified in the United States with great success in beginning instrumental programs. While these skills are important, we do a disservice to students if we do not equally develop comprehensive musicianship and creative thinking at a young age. Creating music is one of the four “Artistic Processes” that guide our instruction in the new National Core Arts Standards framework. It is also a process that many instrumental music teachers struggle to implement, especially in early stages of instruction when note-reading and technique seem to be the highest priority. Drawing on examples from an elementary school band program that shifted away from music notation in the rehearsal room and group lesson space, I examine how instrumental music teachers can move students beyond the music stand into a deeper and more creative understanding of the elements of music.

The Role of Accompaniment Quality in the Evaluation of Solo Instrumental Performance

The purpose of this study was to examine the effect of accompaniment quality on the evaluation of solo instrumental performance. Undergraduate instrumental music education majors ( N = 71) listened to and evaluated the accuracy and expressivity of six excerpts of Haydn’s Concerto for Trumpet in E-Flat Major, which we created by synchronizing recordings of good and bad performances of a trumpet soloist with good and bad performances of a piano accompaniment (as well as a no-accompaniment condition). Participants also chose one “best aspect of the performance” and one “aspect needing most improvement” for each excerpt. Significant main effects for accompaniment condition (good, bad, or none) and solo condition (good or bad) were found, in addition to interaction effects. Results of a Solo × Accompaniment interaction signified that participants’ ratings were not independent of accompaniment condition, and this effect was moderated by the performance quality of the trumpet soloist. Additionally, participants noted different “best aspects” and “aspects needing most improvement” based on both solo performance quality and accompaniment condition.

John Philip Sousa as Music Educator and Fundraiser during World War I

This study documents the music teaching and learning that took place in the U.S. Navy band program at the Great Lakes Naval Training Station (GLNTS) near Chicago during World War I, led by Lieutenant John Philip Sousa. The following six research questions helped guide this investigation: How did Sousa organize the Navy band program? What were the details of teaching the enlisted bandsmen? What other music experiences were provided? How did the bandsmen’s work benefit the Navy and the US government? Which of the military band experiences likely influenced teaching and learning of instrumental music education after the war? What were the benefits for Sousa to volunteer near the end of his career? Findings revealed that more than three thousand bandsmen were taught by Sousa and Navy bandmasters. Bandsmen served in several ways: intact bands were sent to Navy ships to boost sailors’ morale; bands served the training regiments; bands toured the nation selling bonds; the GLNTS band program impacted the supply of band teachers after the war; and Sousa’s and the militaries’ educational and training strategies survive in today’s classrooms. The study concludes with a critique of the US government’s and Sousa’s role in commodifying the bandsmen.

A framework for studying teachers’ hand gestures in instrumental and vocal music contexts

A framework for studying teachers’ hand gestures in instrumental music pedagogy is proposed, focusing on teachers’ teaching behaviours as a context-dependent basis for understanding the meaning and functionality of their gestures. The application of the Teacher Behaviour and Gesture framework across instrumental music pedagogical settings (one-to-one, small and large teaching groups and across singing, woodwind, brass, strings, and other pedagogical contexts) will bring understandings on the role of teachers’ gestures in their pedagogical interactions with students, with implications for student learning and instrumental music teachers’ teaching and education.