Middle School Band Research Articles

Darkhearts by James L. Sutter

Reviewed by: Darkhearts by James L. Sutter Aaren Tucker Sutter, James L. Darkhearts. Wednesday/St. Martin’s, 2023 [336p] Trade ed. ISBN 9781250869746 $20.00 E-book ed. ISBN 9781250869753 $11.99 Reviewed from digital galleys R Gr. 9-12 David, Chance, and their friend Eli were Darkhearts, the hottest middle school band in Seattle, until Chance’s ego and Eli’s creative control drove David to quit. Shortly after, Darkhearts were signed to a major record label and David’s two best friends [End Page 339] left him behind for a life of fame and fortune. Fame is not all it’s cracked up to be: two years later Eli has died from alcohol poisoning, and Chance and David find themselves reconnecting at his funeral. David still can’t stand arrogant, charismatic Chance, but he’s drawn in by their memories and shared grief over Eli. In spite of himself, David’s feelings soon become more than friendly, but he will have to let go of his resentment and jealousy if he wants to have a shot at something real. Sutter’s swoony YA debut ticks all the boxes of the friends-to-enemies-to-lovers trope, but this pitch-perfect pop star romance leans out of the wish-fulfillment fantasy by exploring the darker side of fame and the often exploitative behavior of people in the record industry. Sutter’s character development is expert, utilizing David’s first-person POV to reveal Chance’s personality through David’s perceptions, which inadvertently reveals more about David then he even realizes. Chance is by turns pretentious, arrogant, and vulnerable, drawn to David specifically because he can be his true self around someone who doesn’t like him anyway; bitter, sarcastic David is full of philosophical insights about everything and everyone but himself. Their relationship is built on a series of small moments and the fun they have together when they set their differences aside. This book is romance at its absolute best, exploring dark and heavy themes counterbalanced by the hope and buoyancy of falling in love. Recommend it to teens who love Simon vs. the Homo-Sapiens Agenda or who read BTS fanfiction. Copyright © 2023 The Board of Trustees of the University of Illinois

Jazz Feminism is to Soul as Purple is to Lavender

Jazz Feminism is to <i>Soul</i> as Purple is to Lavender

Dreaming Out Loud: Four Music Educators Dream for the Future of Music Education

Abstract In order to hold hope for a future music education profession that addresses racial inequities in music teaching, music educators must possess the tools and concepts needed to discuss race and racism. This research specifically explores how four music educators, informed by critical race theory, dream for the future of music education. Two participants identify as cisgender women; one teaches middle school band (Beth) and the other high school band (Angela). The other two participants identify as cisgender men; one teaches elementary general music (Jesse) and the other high school beat-making and songwriting in an after-school setting (Ty). Each participant engaged in an eight-session professional learning community focused explicitly on critical race theory. During the final professional learning community workshop, the participants were asked to use the new knowledge they gained to dream for the future of music education. Freedom dreaming (Kelley, 2002; New York Collective of Radical Educators, 2020) is a powerful tool to imagine a most ideal future by challenging oppressive structures. Love (2019) discusses the importance of being able to dream for a future that embraces justice and equity where students who experience systemic hardship can thrive. Critical race theory can provide a lens for music educators to critically examine their own practices as teachers and consider what equitable teaching practices look like for them. Results from this study show the importance of learning about race and racism within music education and highlight the value of emphasizing student autonomy through exploration in the music classroom.

Comparing Time Use and Teacher Behaviors in Beginning and Advanced Middle School Band Settings: An Exploratory Study

The purpose of this study was to compare teachers’ time use and teaching behaviors including teacher talk, modeling, physical location/proximity to students, conducting, and instructional choices in middle school (Grades 6–8) beginning and advanced band settings, with the goal of identifying practices that are specific or unique to each setting. Participants ( N = 5) were expert middle school teachers who were recorded while teaching a heterogeneous beginning band and an advanced band class. I compared episodes of teacher and student behaviors including instruction, modeling, group/individual performance, and student talk, documenting frequency and time use in both settings. Results indicated differences in frequency and time for all observed episodes, with differences supporting greater emphasis placed on individuals in the beginning setting. I also found that teachers in the advanced setting addressed rehearsal frame targets representing traditional rehearsal goals more frequently (e.g., phrasing, articulation), whereas teachers in the beginning setting addressed targets representing typical beginning band goals more frequently (e.g., vocabulary/terms, rhythm literacy.)

“It’s More Than Playing Music”: Exploring Band in a Predominantly Latinx Community

Abstract Drawing from Irizarry and Raible’s (2011) barrio-based epistemologies and ontologies as a theoretical framework, I examined a middle school band program with a high enrollment of Latinx students to explore the compatibility of the traditional concert band model with this population of youth. Additionally, I assessed how asset-based principles functioned in this environment. Data collection in this case study included semistructured interviews, field observations, and material culture. A total of 19 participants engaged in interviews comprising band directors, band students, band parents, teachers, and administrators. Findings indicated that some aspects of this traditional band program corresponded with asset-based practices, specifically the band directors’ cultivation of community among students and stakeholders, and their cognizance of the sociopolitical context of which the students were a part. Importantly, band directors and other school personnel were keenly aware of stressors students and families experienced, which included cultural barriers and issues pertaining to undocumented citizenship status. Band, however, did not resonate entirely with all participants, as some students expressed a desire for creative music-making opportunities that more closely aligned with their personal interests. Implications from this study provide insights for improving music education practices in Latinx communities, such as the importance of reducing language barriers, supporting students’ cultural identities, and developing an awareness of sociopolitical issues that significantly impact the daily lives and well-being of students and their families.

The Impact of Music Practice Instruction on Middle School Band Students’ Independent Practice Behaviors

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.

The Effect of Jazz Improvisation Instruction on Measures of Executive Function in Middle School Band Students

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.

Prevalence of Noise-Induced Hearing Loss in Middle and High School Band Members: A Preliminary Study

Objective: This study was aimed at determining the risk of developing noise-induced hearing loss (NIHL) in middle school band (MSB) and high school band (HSB) members. Method: Between-group comparison of hearing thresholds. Eleven MSB members and 6 MSNB controls, 20 HSB members and 5 HSNB controls. Results: Sixty-four percent of school-age band members presented with 15 dB HL or greater notch at 4,000 or 6,000 Hz in at least one ear. The high school students were slightly more likely to present with a notch. Conclusions: Results indicate that participation in band even as early as middle school increases the risk of developing NIHL, and that the longer the participation the higher the risk. Steps to insure hearing preservation in school-age band members are recommended.

Effects of Focus of Attention on Performance by Second-Year Band Students

This study tested the effect of the motor learning paradigm of internal and external focus of attention (FOA) with middle school band students. A total of 56 second-year band students (woodwinds n = 28; valved brass n = 18; trombones n = 10) practiced isochronous, alternating pitch patterns (e.g., eighth notes C–A–C–A–C–A–C) in three conditions: control (no FOA), internal (“think about your fingers”), and external (“think about your sound”). At retention testing approximately 24 hr later, students played each stimulus three times with no directed FOA. Performance trials were scored for the average duration of each pitch per trial, or evenness. No significant differences were found between conditions (control, internal, external) on Day 1 or Day 2 ( p &gt; .05). Likewise, no significant differences were found within instrument groups from Day 1 to Day 2 ( p &gt; .05). When evenness scores were examined at the level of the individual student, more woodwind and valved brass players benefited from the internal (fingers) FOA than from control or external conditions. Individual differences among trombone players were less pronounced, slightly favoring the external (sound) condition. Music teachers should consider implementing both internal and external FOAs with their beginning wind students.

Development and Validation of a Scale Assessing Midlevel Band Performance: A Mixed Methods Study

This study’s purposes were to develop a rating scale for midlevel band performance and validate a theoretical structure for the scale. Research questions were (a) What qualities describe excellent seventh- and eighth-grade band performance? (b) What items constitute a Midlevel Band Performance Rating Scale (MBPRS)? (c) How reliable is the MBPRS? and (d) Does the MBPRS demonstrate construct validity? Mixed methods were employed, in particular the exploratory sequential design, which has a three-phase variant involving the development of an instrument of assessment. During Phase 1, 20 middle school band directors were asked to provide descriptions of excellent band performance at the middle level, of whom 10 responded. Their statements were grouped into categories and translated into 27 items appropriate for a rating scale. During Phase 2, 151 students participating in four different concert band ensembles at three universities used the items to rate one seventh- and one eighth-grade band performance. After item analyses confirmed their suitability, the 27 items became a Midlevel Band Performance Rating Scale. Internal consistency (coefficient alpha) of the 27 items was good for both sets of ratings, .90 for seventh grade and .92 for eighth grade. Phase 3 established construct validity for the two sets of ratings by confirming that their underlying structures were consistent with previous research.

A mixed methods investigation of flow experience in the middle school instrumental music classroom

Although flow theory is one way of measuring the quality of a student’s experience in a music ensemble, the majority of flow research utilizes samples of high school or collegiate level musicians thus causing us to generalize findings to young adolescent (middle school) populations. Using a convergent parallel mixed methods design, the purpose of this study was to examine factors that may contribute to flow experiences of students in a middle school band. Quantitative data (surveys that included the Experience Sampling Method) and qualitative data (case study of an eighth grade band) were analyzed separately before being merged into a final analysis. Results provide evidence to support that flow is an individualized experience even though students were not in flow based on self-perceived ratings of challenge and skill. Mixed methods results also suggest that young adolescent students may not conceptualize flow in the same manner as older adolescents, thus erroneously suggesting that flow did not occur. Recommendations for future research include exploring alternative vocabulary for flow characteristics for use in Experience Sampling Method surveys, expanding the sample to include music programs at multiple middle schools to create additional regression model predictor variables, and longitudinal explorations of flow over time within large ensembles.

Perceptions of Cooperating Music Teachers on Service Motives, Relationships, and Mentoring Strategies During Student Teaching

The purpose of this qualitative study was to examine the perceptions of four cooperating teachers concerning their role in the music student teaching experience. Participants included an elementary music educator, middle school band director, high school band director, and a high school choir director. Research questions were (a) What are the personal and professional motivations for hosting a student teacher? (b) How do cooperating teachers describe relationships with student teachers? and (c) What strategies do cooperating teachers use in mentoring student teachers? Data collected included two interviews with each participant and a focus group interview. Participants expressed a desire to help the next generation of music teachers and an eagerness to learn new teaching strategies from interns and collaborate with them in a co-teaching model. Relationships were built around student teachers’ skill sets, personality, and work ethic. Mentoring strategies included modeling, facilitating learning opportunities, and regular discussion and reflection activities.

Correlations between teacher turnover and specific non-pecuniary school characteristics among secondary band and choral programs in a large urban district

This study was designed to examine teacher turnover among secondary choral and band programs ( N = 124) in a large, urban school district in the USA during a 10-year period (1999–2000 through 2009–2010). Also, this study investigated correlations between teacher turnover and specific non-pecuniary school attributes, including total school enrollment, total number of minority students enrolled in the school, total number of students classified as low-poverty, total number of suspension incidents, and total number of expulsion incidents. Overall, secondary music teacher turnover in this urban district negatively correlated with enrollment, minority, and suspension incidents. Specifically, middle school choral teacher turnover was negatively correlated with enrollment and minority, middle school band teacher turnover was negatively correlated with enrollment, minority, and suspension incidents and high school choral teacher turnover was negatively correlated with enrollment, minority, and suspension incidents. Interestingly, high school band teacher turnover was not correlated with any of the non-pecuniary school characteristics.

Music Practice Instruction in Middle School Instrumental Ensembles: An Exploratory Analysis

Abstract The purpose of this study was to investigate the impact of music practice instruction on middle school band and orchestra students’ practice behaviors. Participants received 4 weeks of practice strategy instruction. Prior to, and following the intervention, self-reported practice strategy lists (N = 136) and video of individual practice sessions (n = 35) data were collected from 7th- and 8th-grade band and orchestra students. Self-reported data were coded and analyzed using descriptive statistics. More than 23 hours of video data (participants’ independent practice sessions) were analyzed using a practice frames evaluation scheme. Video data were further analyzed using an observational measure of self-regulation. Analyses revealed that participants identified and employed significantly more practice strategies following the intervention. Although repetition was the most commonly observed practice strategy overall, posttest practice sessions included more strategic forms of repetition (e.g., repetition of shorter sections and whole-part-whole repetition). Video analysis further revealed that following practice strategy instruction, participants exhibited significantly fewer and longer practice frames as well as more varied practice objectives. Weak relationships emerged between participants’ practice behaviors and their overall degree of self-regulation. Implications for classroom practice and future research are discussed.

Reviewing Practices: Engagement and the Middle School Band

Reviewing Practices: Engagement and the Middle School Band

Middle school band students’ self-determination to practice

The purposes of this study were to examine factors that motivate middle school band students to practice their instrument and to validate a researcher-modified survey instrument for use with middle school music students, using self-determination theory as a theoretical lens. Fifth (10–11 years old, n = 444) and eighth grade (13–14 years old, n = 352) band students from the state of Ohio, United States’ public school districts completed a researcher-modified questionnaire that was used to collect data to determine (a) students’ levels of self-determination for practicing their instrument, (b) the relationship between students’ self-determination for practicing their instrument and the number of years they have played their instrument, (c) the relationship between students’ self-determination for practicing their instrument and the amount of time they reported practicing their instrument per week, and (d) the effect of grade level, gender, instrument choice, and private lesson study on the students’ self-determination for practicing their instrument. Positive significant relationships ( p &lt; .05) were found between middle school band student participants’ motivation to practice and (a) their years of experience playing their instrument, and (b) the amount of time spent practicing. Significant differences were also found for the variables (a) grade level for six of the seven self-determination subscales, (b) gender for two intrinsic and one extrinsic motivation subscales, (c) instrument for one intrinsic, two extrinsic, and the amotivation subscales, and (d) private lesson study for one intrinsic motivation and the amotivation subscales.

Peer connectedness in the middle school band program

Previous research suggests that students participating in school-based musical ensembles are more engaged in school and more likely to connect to their peers in school; however, researchers have not specifically investigated peer connectedness among adolescents in school-based music ensembles. The purpose of this study was to explore middle school band students’ perceptions of peer connectedness. Participants ( N = 317) indicated moderately high levels of peer connectedness both within the concert band and school. Levels of peer connectedness differed between schools; however, no statistical difference was found by grade/band level or SES. Suggestions for future research and implications for youth development and music education professions are discussed.

Middle School Students’ Perceptions of Bullying

Abstract This descriptive study explored middle school band students’ (N = 291) perceptions of bullying behavior. Research questions were designed to generate data regarding the frequency of physical, verbal, and socially aggressive acts self-reported by middle school students enrolled in the band class while in the band classroom, during band-related activities, as well as within the school setting. Using a researcher-modified version of Parada’s (2000) Adolescent Peer Relations Instrument (Cronbach’s alpha = .95 Perpetrator Scale / .95 Victimization Scale) with a response rate of 88%, adolescents in 6th–8th grade were asked to report the frequency of aggressive behaviors. Participants reported experiencing peer victimization more frequently outside of the band classroom than inside the band classroom. Male participants reported slightly higher frequencies of physical victimization than females and Minoritized band students reported slightly higher frequencies of social aggression than White band students. Results suggest that band students’ experiences with bullying behaviors differ depending on biological sex and self-reported race. Suggestions for future research and implications for the profession are discussed.

Self-Efficacy, Self-Evaluation, and Music Performance of Secondary-Level Band Students

In the present study, relationships between two components of self-regulation (self-efficacy and self-evaluation) and gender, school level, instrument family, and music performance were examined. Participants were 340 middle and high school band students who participated in one of two summer music camps or who were members of a private middle school band program. Students indicated their level of self-efficacy for playing a musical excerpt before performing it and then self-evaluated their performance immediately afterward. Findings suggest that there is a strong and positive relationship between self-efficacy and both music performance and self-evaluation. There was also a strong negative relationship between self-evaluation calibration bias and music performance, indicating that as music performance ability increased, students were more underconfident in their self-evaluations. Gender differences were found for self-evaluation calibration accuracy, as female students were more accurate than males at evaluating their performances. Middle school males were more inclined than females to overrate their self-efficacy and self-evaluation as compared to their actual music performance scores. These gender differences were reversed for high school students. There were no other statistically significant findings.

Gender and Musical Instrument Stereotypes in Middle School Children

Previous studies have established that gender stereotypes are associated with children’s choice of musical instrument. Though some have suggested that these gender stereotypes may be trending toward change, other studies have indicated that gender stereotypes are long-standing and still very much at issue. This descriptive study of middle school band students ( N = 99) examined instrument gender stereotypes using improved methods of measurement and found evidence that instrument gender stereotypes remain entrenched and pose a persisting problem facing music educators. Importantly, younger and more inexperienced band members may be more open to counterstereotypical views. Suggested changes in research methods and directions for future study are discussed, as are implications for music educators.