Middle School Band Research Articles

Warm-Up Activities of Middle and High School Band Directors Participating in State-Level Concert Band Assessments

The purpose of this study was to examine the warm-ups chosen by concert band directors participating in state-level performance assessments. We observed 29 middle and high school bands and coded the frequency and duration of warm-up activities and behaviors. Results indicated that most bands rehearsed music and played scales, long tones, and interval exercises; approximately one third concentrated on breathing, articulation, and chorales. More high school directors used singing exercises than middle school directors, and more middle school directors tuned their ensembles than high school directors. Middle school directors spent 23% of the warm-up time tuning with an electronic tuning device. Directors mostly spent time teaching, tuning, and playing through pieces, and mental warm-up exercises and imagery constituted less than 1% of all activities. Considering the abundance of recommended practices and limited time available for warm-up at a festival; this study may provide evidence for the profession to differentiate between warm-up practices for rehearsal and assessment.

Rehearsal Characteristics of “Superior” Band Directors

The purpose of this study was to investigate the rehearsal characteristics of “superior” middle and high school band directors. A total of 131 respondents from Florida, Kentucky, and North Carolina who received a “superior” rating for 4 out of the past 5 years, completed an open-ended essay question online asking them to describe which aspects and/or elements they considered to be the most important during their music rehearsal. Using a previously established descriptive approach consisting of qualitative coding techniques, responses were analyzed and placed into a taxonomic structure according to similar themes that emerged from the data. Results from the 792 comments listed indicate that both middle and high school directors spend the most time working on “Music Fundamentals,” with “Tone Quality/Production” listed as the most frequent response for both groups. Additionally, directors placed importance on “Conductor/Teacher Behaviors,” “Teaching Techniques,” “Classroom Environment/Behavior,” “Use of Specific Warm-ups to Teach,” “Selecting Literature,” and “Good Relations with Students.”

Silent Partners

The purpose of this study was to explore middle school and high school band students’ perceptions of two ongoing school–university partnerships. Interviews and focus group interviews were conducted with school students to capture their unique perspectives and to support the tenets of formative and action research designs. Findings indicated that the students’ overall assessment of the partnerships was positive, supportive, and enthusiastic, although students cited unclear expectations from preservice teachers as a concern. Recommended improvements for the preservice teachers included maintaining a proper teaching persona, varying rehearsal strategies, and selecting more difficult repertoire. Finally, the students firmly and altruistically viewed themselves as socializing agents for the preservice teachers and believed their role in the partnerships was essential. Consequently, the participants believed the rewards of working with the university students outweighed the challenges. Implications included creating space for student feedback, incorporating student repertoire selection, and modifying teaching persona.

Reframing Student Practice to Facilitate Lifelong, Joyful Musicianship

Teaching students to practice independently is an important part of a music teacher’s work. Yet, many common techniques used to teach and enforce student practicing, such as practice charts and performance tests, can backfire, causing students to practice inefficiently or lose their love of music. In search of a method of teaching practicing that promotes enduring, joyful musicianship, I surveyed eighty-nine adult musicians about their practice habits and attitudes. This survey data, along with a review of current research about music learning and motivation, became the basis of a strategic approach to teaching practicing. I taught this approach to my middle school band students and evaluated its success through parent surveys, student interviews, and analysis of videotaped practice sessions. Findings indicate that it is possible to increase the effectiveness of students’ practicing without decreasing their joy. This article details this research and provides a model for reframing practicing as a personally satisfying and healthful lifetime endeavor.

Exclusion, engagement and identity construction in a socioeconomically diverse middle school wind band classroom

The purpose of this multiple case study was to explore the wind band classroom as a social context and examine its influence on middle-school students' identity constructions. The integration of sociologically based identity theory and social identity theory from social psychology suggested by Deaux and Martin as well as Stets and Burke proved most applicable to this inquiry. Findings in this study indicated that middle-school band students made choices regarding course enrolment based on influences of those around them. Based on others' affirmation or rejection of their competency in particular band classroom roles, they reevaluated whether they felt they belonged to the band. Those who felt rejected or less competent chose to enrol in other courses. Students who felt successful and found unique roles within the band more strongly identified with the group. Additionally, increased awareness of socio-economic status appeared to influence students' emerging musical identities.

The Musical Self-Efficacy Beliefs of Middle School Band Students: An Investigation of Sources, Meanings, and Relationships with Attributions for Success and Failure

Abstract This study investigated the musical self-efficacy of middle school band students. A volunteer sample of 45 students from 14 suburban schools completed a 60-item questionnaire measuring students’ self-efficacy beliefs, as well as their attributions for success and failure in music. Background information, including practice habits and family participation in music, was also collected. Measures included the Schmidt Self-Efficacy Scale (2007), a researcher-adaptation of Hendricks’s Self-Efficacy Scale (2009), and the Asmus Motivating Factors (AMF) scale. Students reported generally high musical self-efficacy levels and cited ability as the strongest attributional factor in music success. Many significant relationships were detected among the self-efficacy measures and the AMF subscales (p < .01). A maximum variation subsample was selected for interviews designed to investigate experiences contributing to feelings of self-efficacy. Interview questions reflected Bandura’s (1994) four primary sources of influence upon perceived self-efficacy: mastery or failure experiences, social models, social persuasion, and somatic experience. Responses were transcribed and coded according to a researcher-developed coding scheme. Results revealed that mastery and failure experiences were cited nearly 1 1/2 times more by students with low musical self-efficacy than students with high musical self-efficacy. Somatic experiences were cited nearly equally among students regardless of self-efficacy beliefs.

The Development of a Measure of Self-Regulated Practice Behavior for Beginning and Intermediate Instrumental Music Students

The purpose of this study was to develop and test the construct validity and reliability of a self-report measure of self-regulated practice behaviors for beginning and intermediate instrumentalists. A questionnaire was designed to assess the motive, method, behavior, time management, and social influences dimensions of the theoretical model of self-regulation proposed by McPherson and Zimmerman. The questionnaire’s construct validity was tested using confirmatory factor analysis, and a preliminary assessment of predictive validity was estimated by correlating the measure with self-reported practice habits. The measure’s reliability in regard to internal consistency and consistency over time was assessed as well. The sample consisted of middle school band students in grades 6 to 8 ( N = 302). Confirmatory factor analyses indicated that a model including factors representing the dimensions self-efficacy, method/behavior combined, time management, and social influences was the best fit. Cronbach’s alpha and test–retest reliability results indicated good to excellent consistency across all self-regulation subscales, with coefficients ranging from .76 to .90. Significant correlations ( p < .001) between the self-regulation subscales and self-reported practice habits (i.e., time spent practicing, average daily practice efficiency, percentage of time spent on formal practice) provided preliminary evidence of predictive validity of the measure.

Ensemble-based instrumental music instruction: dead-end tradition or opportunity for socially enlightened teaching

Public school music education in the USA remains wedded to large ensemble performance. Instruction tends to be teacher directed, relies on styles from the Western canon and exhibits little concern for musical interests of students. The idea that a fundamental purpose of education is the creation of a just society is difficult for many music teachers who dream of conducting student musicians in polished performances. This paper describes a middle school band programme in which students teach instrument lessons to similarly aged children in a homeless shelter. This qualitative study is grounded in the writings of Maxine Greene and shows how teachers might ‘break through the frames of custom and touch the consciousness of those we teach’.

The Use of Student-Directed Instruction by Middle School Band Teachers

Abstract The purpose of this study was to describe the teaching and learning strategies demonstrated by middle school band teachers who reported a student-directed teaching style. This study used a twostage mixed methods design prioritizing quantitative data analysis, but also collecting qualitative data in the second stage to provide a deeper perspective. In the first stage, quantitative data were gathered using a researcher-designed demographic questionnaire and Gumm's Music Teaching Style Inventory (MTSI) (2004b). From a sample of 122 middle school band teachers, 49 surveys were returned (40.2%). Stage 1 data were analyzed to determine participant teaching styles and examine relationships and differences among selected demographics and MTSI scores. In the second stage, three of the most student-directed band teachers were observed and videotaped during five rehearsals each and interviewed. Videotapes, fieldnotes, and interviews provided insight into student-directed philosophies of band teachers and teaching strategies used in band programs.

Sociological Perspectives of School-University Partnerships: Contextual Learning through Three Lenses

Music teaching and learning are socially situated activities. School-university partnerships have the potential to impact preservice teachers’ identities and level of socialization. Thus, a sociologically based belief system for establishing and maintaining school-university partnerships may provide cooperating teachers and university faculty members with purpose and direction for meeting the needs of stakeholders. This article explores the sociological and pedagogical implications of school-university partnerships and illustrates how these underpinnings function in two middle school band collaborations. Specifically, this article examines how partnerships can be viewed through three sociological perspectives, how sociological experiences might impact preservice teachers’ futures, and how policymaking endeavors could impact the strength and continuance of school-university partnerships. What we learn from existing collaborations and how stakeholders respond to this information has the potential to reshape music teaching and learning in our society.

Trying on Teaching

The purpose of this study was to explore the effects of a precollegiate music teacher recruitment program that emphasized authentic context learning and mentoring. Study participants (21 high school students representing two cohorts) taught music to middle school band students over a 12-week period, completed an extensive questionnaire that addressed critical psychological facets of teacher development at the beginning and end of the study, and were video-recorded as they engaged in teaching activities. There were statistically significant increases in social motivation for teaching, teacher identity, and classroom management efficacy. A pattern of significant positive correlations linked teacher identity to intrinsic motivation, career commitment, and teaching strategy efficacy. Overall, there was no significant change in teaching effectiveness ratings, but participants who began the program with less teaching affect/skill demonstrated significantly larger gains than those who initially were considered more effective teachers. Greater end-of-program teaching effectiveness was associated with less commitment to music teaching as a career option.

Eyes Wide Open: High School Student Reflections on Music Teaching Experiences within a Pre-collegiate Recruitment Program

Abstract This is a preliminary investigation of a pre-collegiate, music teacher recruitment initiative. Interviews were conducted at three points in time with 11 high school students serving as sectional coaches in a 12-week, middle school band outreach program. A video-assisted, stimulated recall protocol was used to elicit the participants’ (a) awareness of their teaching, (b) thoughts about student improvement, (c) thoughts about potential improvements to their teaching, and (d) sense of teacher identity. Data consisted of over 1000 coded statements drawn from over 400 minutes of interviews. Responses indicated a predominance of concern about the following: evaluation of teaching, communication ability, establishing a sense of comfort, implementation of teaching strategies, student learning, student motivation, and adapting to students in the moment. Analyses of trends over time indicated progressively less concern with communication ability and comfort, and more focus on individualizing instruction and adapting to students in the moment. Participants ideas for improvements in their teaching revealed shifts from self-focus at interview 1 (e.g., mannerisms, organization) to a focus on the act of teaching at interviews 2 and 3 (e.g., efficiency, pacing). Participants’ sense of teacher identity increased significantly over time (p < .001) and 73% of those eligible (i.e., 6 of 8 seniors, 2 of 3 juniors) went on to pursue music education in college. Approaches for modifying the recruitment initiative are discussed.

Selected Nonmusic Predictors of Urban Students’ Decisions to Enroll and Persist in Middle School Band Programs

The purpose of this study was to fit theoretical models of prediction to students’ decisions to enroll and persist in urban middle school band programs using independent variables of academic achievement, socioeconomic status (SES), family structure, mobility, ethnicity, and gender. Two models were fitted to the data using logistic regression analysis techniques. One predicted initial enrollment (i.e., sixth grade); the other predicted retention (i.e., eighth grade). Academic achievement and family structure emerged as the only significant predictors of initial enrollment decisions. Higher academically achieving students and those from two-parent or two-guardian homes were more likely to begin band instruction. Higher academically achieving students and those from two-parent or two-guardian homes also were more likely to persist in band, as were students from higher SES and females. Comparisons between models suggest slight differences in the nonmusic factors affecting initial enrollment and retention.

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.

Time Usage of Middle and High School Band Directors in Sight-Reading Adjudication

Time Usage of Middle and High School Band Directors in Sight-Reading Adjudication

Including Composition in Middle School Band: Effects on Achievement, Performance, and Attitude

Including Composition in Middle School Band: Effects on Achievement, Performance, and Attitude

Lindy's Story: One Student's Experience in Middle School Band

What doeschool music mean to schoolchildren? If they were to describe their experience using their own words and understandings, what would they say? We as a profession often discuss the important attributes of music instruction in the lives of children -but do children see school music as we do? Do they understand school music to be an activity that encourages human expression, develops artistic sensitivity, and engages intellectual activity?2 If our students believe school music to be something drastically different from what we as music teachers intend it to be, we need to take a serious look at our practices as music teachers and as a profession at large. In the end, our beliefs and practices need to align in an effort to impart to our students what we believe music is. Several studies have been done on the effect of school music instruction on the self-concept of students,3 as well as on student perceptions of school music experiences,4 but few researchers have undertaken an in-depth inquiry of individual students to attempt to understand their possibly unique perceptions of school music. The purpose of this study was to look closely at one student's experience and perspective in a middle school band program in an attempt to see the program from the student's point of view.

Teaching Behaviors of Middle School and High School Band Directors in the Rehearsal Setting

The study was designed to investigate specific rehearsal behaviors exhibited by band directors in rehearsal settings. Of particular interest was the amount of time band directors engaged in conceptual teaching behaviors, defined as verbal behaviors of band directors in rehearsal settings in which the band director attempts to make students aware of, have an understanding of, and/or be able to transfer any musical concept. Participants ( N = 18) were full-time middle school or high school band, directors teaching in Florida. Each participant prepared a videotape of two or three regular band rehearsals. Randomly ordered 20-minute segments counterbalanced across all examples were extracted from each videotape for data analyses. Two trained observers viewed the prepared videotapes and simultaneously manipulated the dial of a Continuous Response Digital Interface (CRDI) to indicate perceived teacher behaviors. The CRDI dial was partitioned along a 256-degree arc into seven specific teacher behaviors. Results indicated that, on average, directors spent less than 3% of observed teaching time engaged in conceptual teaching behaviors. Percentages of time were computed for additional instructional, non-interactive, and feedback behaviors.

A Study of Middle School Band Students' Instrument Choices

The purpose of this study was to investigate reported influences on middle school band students' instrument choices. A questionnaire was developed to gather information concerning students' instrumental music experience, family participation in instrumental music, and reported reasons for instrument choice and nonchoice. The sample ( N = 990) consisted of sixth-, seventh-, eighth-, and ninth-grade band students from 13 middle schools in the Dade County (Florida) Public Schools. Results revealed strong gender/instrument associations, and students indicated that their instrument choices were most influenced by the instrument sound. Other reported influences included “people,” that is, middle school music teachers, parents, and friends. Although students did not indicate it directly, gender association with certain instruments seemed to override professed reasons for instrument selection.

The Effects of Learning Procedure, Tempo, and Performance Condition on Transfer of Rhythm Skills in Instrumental Music

In this study, I examined the effects of learning procedure and performance tempo on the ability of middle-school-level instrumentalists to perform previously learned rhythmic passages in novel test melodies. Sixty-four advanced- and intermediate-level middle school band students practiced four three-measure rhythmic passages, using one of four learning procedures for each rhythmic passage, until achieving a specified performance criterion, and subsequently performed lest melodies that included the same rhythms. The learning procedures represented verbal and manual techniques that are common in rhythm instruction in instrumental classes and that had been used regularly in daily lessons in which all subjects participated. Performances were evaluated on the basis of tempo accuracy, rhythm accuracy, and pitch accuracy. Results indicate no significant multivariate effect attributable to learning procedure; however, significant differences were found among performance tempi, p < .02. Subjects' tempo accuracy was adversely affected by differences between the tempo at which specific passages were originally learned and the tempi at which they were subsequently performed.