Music Classroom Research Articles

Developing teaching strategies for rural school pupils’ concentration in the distance music classroom

Developing teaching strategies for rural school pupils’ concentration in the distance music classroom

The Importance of Developing the Child’s Sense of Touch in the Music Classroom

Sensory learning can be traced back to ancient Greek times, and the sense of touch holds multiple types of benefits for classroom music learning. Touch is also a prerequisite for children’s future intellectual and social development. Between ages three and seven, a child’s physical and perceptual development is in a formational stage. Despite challenges that can sometimes be associated with touch, for example, behavior issues, overcrowded classrooms, increased student needs related to touching, teacher liability, and spread of viral germs, tactile activities involving human touch and manipulatives can prepare students to play musical instruments, think abstractly, and achieve socioemotional competency. Human touch activities can foster self-awareness, awareness of others, and even empathy. This article examines past theories and practices involving tactile learning, discusses research findings relevant to music instruction, offers strategies and ideas for using tactile activities, and proposes a rationale for integrating tactile learning within general music instruction.

Feedback Methods in the Music Classroom: A Review of Literature

Feedback is widely recognized as an effective instructional tool. Different feedback types and the efficacy of their role in the classroom have been researched extensively because all forms of feedback are impressionable to students. Research findings have indicated ways that feedback has been implemented into the classroom successfully. In this review, I summarize previous literature on feedback according to the following themes: (a) feedback types and (b) the role of feedback in the classroom. Based on these findings, I provide suggestions for music educators and their use of feedback applicable in the classroom, studio, or rehearsal. I also give implications for further research regarding burgeoning feedback frameworks.

Brass Haptics: Comparing Virtual and Physical Trumpets in Extended Realities

Despite the benefits of learning an instrument, many students drop out early because it can be frustrating for the student, expensive for the caregiver, and loud for the household. Virtual Reality (VR) and Extended Reality (XR) offer the potential to address these challenges by simulating multiple instruments in an engaging and motivating environment through headphones. To assess the potential for commercial VR to augment musical experiences, we used standard VR implementation processes to design four virtual trumpet interfaces: camera-tracking with tracked register selection (two ways), camera-tracking with voice activation, and a controller plus a force-feedback haptic glove. To evaluate these implementations, we created a virtual music classroom that produces audio, notes, and finger pattern guides loaded from a selected Musical Instrument Digital Interface (MIDI) file. We analytically compared these implementations against physical trumpets (both acoustic and MIDI), considering features of ease of use, familiarity, playability, noise, and versatility. The physical trumpets produced the most reliable and familiar experience, and some XR benefits were considered. The camera-based methods were easy to use but lacked tactile feedback. The haptic glove provided improved tracking accuracy and haptic feedback over camera-based methods. Each method was also considered as a proof-of-concept for other instruments, real or imaginary.

The Application of Music Games in Elementary School Classes

Music games have been a teaching method in school music classrooms in recent years. The essence of music games is games, with the aim of experiencing and perceiving music. The essence of music games is to stimulate students' attention, interest, and physical activity, which is in line with the psychological characteristics of children's strong curiosity, short attention span, and playfulness. Music games mainly use physical movements, loud reading, and classroom games to experience the basic components of music, such as the strength of beats and the segmentation of music. Music games enable students to become the main body of music cognition, fully mobilize their enthusiasm, liberate them from the originally dull music classroom, and thus improve the classroom efficiency of music classes. The theme of this article is mainly divided into two parts. The first part focuses on the classification of music games, the actual classroom design of music games, and the basic principles that music games need to follow. The second part mainly introduces the experience summary after practice in the music classroom. Through the analysis and summary of music games, explore the connection between music games and the content in textbooks, and explore the connotation of music games to make students the main body of music. Understand music from the structure and motivation of music, and achieve the goal of easy and enjoyable learning.

Context matters: adaptation of student-centred education in China school music classrooms

ABSTRACT In the twenty-first century, there has been significant discussion worldwide about students and their learning processes. This study, designing with a student-centred education (SCE) training for three school music teachers over the nine weeks, aims to fill a gap left by the inadequate number of empirical studies examining the implementation of music lessons in China in an SCE era; it also aims to support a global understanding of SCE’s pedagogical adaptation to the Chinese context by using a multiple case study conducted in Province X. The findings illustrate that although SCE has been well promoted in China and its adaptation might seem to be characterised by teacher-centred education, there might be within music education an adjusted SCE adaptation with reasonable contextual challenges and difficulties. Thus, in lieu of descriptions of the Chinese adaptation of SCE as a ‘failed implementation’, this study reveals a more nuanced situation in which SCE is adapted to China’s specific cultural and logistical contexts with large classes, in which instruction takes place.

Fostering Trust in Music Classrooms: A Review of the Literature

This article is a systematic review of literature related to collective and relational trust in general school settings, with applications to music education. We focused on trauma-sensitive approaches and emerging pedagogies of trust and considered how they interact with theoretical facets of relational trust (vulnerability, confidence, honesty, openness, reliability, benevolence, and competence) in music learning settings. Trauma-sensitive approaches to trust include (a) using consistent rules and routines, (b) creating engaging lessons that are fun and enjoyable, and (c) praising students honestly and authentically. Pedagogies of trust involve (a) promoting collaboration and consistency, (b) open communication and authentic listening, (c) commitment and persistence to shared goals, and (d) the teacher’s willingness to be vulnerable, take musical risks, and continue learning along with students. More research is needed to understand processes of trust involving racial trauma as well as generational differences in how trust is viewed, developed, and/or received.

Retracted: An Investigation on the Effectiveness of Creating a Music Classroom Teaching Environment Based on Psychological Expectations.

[This retracts the article DOI: 10.1155/2022/8951587.].

Music teachers’ perceptions and implementations of restorative justice practices

The purpose of this study was to examine music teachers’ perceptions and implementations of restorative justice practices in their classrooms. I collected data through a survey of music teachers (N = 1,658) in a Mid-Atlantic state that requires restorative justice practices to be used as a school-wide discipline method in all public schools. The survey included belief statements regarding restorative justice practices and items on administrative support, teacher self-efficacy, and usage of music-specific restorative practices. Findings suggest that music teachers have varied district and administrative expectations, use a broad range of general and music-specific restorative practices in their classrooms, and are eager to receive training on implementing restorative practices in the unique spaces of their music classrooms. These findings have implications for state and local policymakers, school administrators, and music educators as more states adopt measures requiring the use of restorative justice practices.

Reimagining the Music Classroom: Student Engagement with Learning and Self-Corrective Strategies through Play-Based Music Education

The phenomenon of musical play has gained significant traction in recent research pertaining to music education. However, despite the popularity of this topic in both educational and research settings, investigation into the pedagogical potential of play has largely been limited to elementary-aged students. As such, middle and high school students (13-18 years) often experience rigid pedagogies that fail to appreciate the complexity of the adolescent stage of development. In response, this article draws on a single case study of play-based music education in middle school, and examines the ways in which social learning environments promote student engagement with learning and self-correction strategies. Based on analysis of the collected data, the research found that learning in play-based environments is cyclical, where the adoption of self-correction strategies is largely driven by the adolescent’s desire to participate in social interactions and experience the resulting sense of belonging. Therefore, the results indicate that student learning is enhanced by utilising pedagogies that respect the socio-cultural environments that adolescents experience.

Pasquale Ciricillo (1907-1978): From “Melephone Wonder” to “Music Man” Schoolteacher

Pasquale “Pat” Ciricillo (1907-1978) was a twentieth-century musician-teacher who incorporated multiple musical approaches in his work. Born to an Italian family in Cleveland, Ohio, Ciricillo’s affinity for wide-ranging musicianship afforded him a storied career as a professional trumpet player in New York City. His success as a jazz, popular, and classical musician served as a catalyst for the latter part of his career, when he became a school music teacher who created innovative school curricula based on his extensive musical background. This biographical investigation features three distinct periods in Ciricillo’s career: early life in Cleveland, Ohio (1907-1929); life as a professional performer in New York City (1929-1956); and life as a school music teacher in The Bronx and the Rockland County (NY) Schools (1956-1976). Of special interest are the intersections between Ciricillo’s performer and teacher identities and the pedagogical practices that he enacted in the music classroom. Ciricillo’s life and career hold implications for current and future teaching practices in school music programs.

Simulation and Characteristic analysis of college music teaching based on nonlinear equation

Abstract In order to understand the nonlinear equation, the author puts forward a research on college music teaching simulation and feature analysis. In the basic music education, the main form of music education is classroom teaching. As “prospective teachers” who are about to step into their posts, music normal students should not only have systematic professional knowledge, but also have good teaching skills. In the author’s research, a questionnaire survey was conducted on the students of music teachers’ college in Grade 09 and Grade 10 who participated in the simulation teaching, and interviews were also conducted with the teachers and assistant teachers of the simulation teaching. Through the review and analysis of literature, as well as the summary of practical teaching during the period of serving as a music simulation teaching assistant, the deficiencies of music normal students’ classroom teaching skills are found out, through thinking and analyzing its influencing factors, reasonable suggestions for improvement are put forward. From the summary and analysis of the survey results, the factors that affect the poor mastery of classroom teaching skills in simulation teaching mainly include the following aspects: 1, First, students themselves; 2, Teaching; 3, Teachers. From the practice of music simulation teaching, six reasonable suggestions are summarized, namely: 1, Correct learning attitude and role play; 2, Increase the preparation time to enhance the effectiveness of questions; 3, Emphasizing the proper use of multimedia in music noumenon; 4, Strengthen theoretical study and expand the content of observation; 5, Enrich the content of standardized evaluation of teaching mode; 6, Improve the allocation of teachers. The six suggestions put forward can promote the training of music classroom teaching skills in normal universities.

Application of audio technology of Internet of Things based on parallel storage system in music classroom

Application of audio technology of Internet of Things based on parallel storage system in music classroom

Student Perceptions of Glover/Curwen Hand Signs in the Elementary Music Classroom

Elementary music educators use a variety of strategies in classroom instruction. The purpose of this case study was to explore student perceptions of Curwen hand signs, a common instructional strategy in elementary music classrooms. Second- and third-grade students reported various challenges, benefits, and influential factors surrounding hand sign use. Results indicated that students enjoyed movement activities and benefited from visual and physical reminders of singing tasks during instruction. They described several challenges, including multitasking, required background knowledge, and distraction. Influential factors included a learning curve, accuracy, placement, pattern length and complexity, and enjoyment. The results of this study suggest that hand signs should be considered one instructional strategy in a toolbox of multiple approaches.

Equity in Music Education: Dismantling Racism through Supportive Feedback in the Music Classroom

Equity in Music Education: Dismantling Racism through Supportive Feedback in the Music Classroom

Playing Musically: Developing Healthy and Expressive Singing Instrumentalists

When working with beginning instrumentalists, many music educators emphasize executive skills specific to the mechanics of playing an instrument. However, beginning students can also benefit from focused vocal instruction as a complement to their musical growth in the instrumental setting. Because instrumental music educators may feel ill equipped to implement vocal strategies, it is important to arm instrumental music teachers with practical tools specific to students’ singing voices. In this article, we share the benefits of vocal instruction in the instrumental music classroom, considerations for the changing voice, and specific strategies for applying singing activities to help students’ musical development. The activities and strategies provided opportunities for students to create, perform, and respond to music in a variety of ways while developing their singing voices and strong musicianship skills and knowledge, promoting lifelong music engagement.

A TPACK-Based Case Study of Music Technology Integration in Liberal Music Education at a Vocational College: Exploring Student Learning Outcomes and Engagement

Based on the TPACK theoretical framework, the purpose of this research is to investigate how the incorporation of music technology affects student learning outcomes and participation in liberal arts music education in vocational colleges. Data were gathered via questionnaires and classroom observations, and statistical analysis was performed to process the data. A case study approach was utilized, the participants were course participants, the research environment was a music classroom in a school. The findings demonstrate how incorporating music technology can greatly enhance student learning outcomes and engagement. In addition, the TPACK theoretical framework serves as a helpful resource and roadmap for instructors who want to teach integrated music technology.

Trauma-Informed Classroom Management in Music Education: A Literature Review

Students who have experienced trauma may be especially likely to present challenging behaviors in the classroom. With an increase of trauma-affected students in music classrooms, it is important for music educators to consider classroom management (CM) practices that support trauma-affected students’ healing without triggering students’ trauma responses. In this review of literature, I discuss childhood trauma and trauma-informed positive education (TIPE), research-supported CM strategies in music education, and the ways in which these CM practices do or do not support the trauma-informed approach outlined by TIPE. In addition, I provide my own definition for trauma-informed CM in music education and suggest implications for the music education field.

Digital Competences in Teacher Training and Music Education via Service Learning: A Mixed-Method Research Project

This study investigates applied service learning (SL) methodology with the goal of analyzing digital competence in teacher training. Twenty-three preservice teachers completed validated questionnaires regarding both general and specific digital competence in music as well as a self-evaluation of SL in a case study complemented by a quasi-experimental quantitative pre-post-test comparison. The experience highlighted in this paper not only includes the application of a variety of didactic, musical, and technological knowledge and strategies but also emphasizes the aspects of reflection, analysis, and the proper use of digital media for personal, educational, and social purposes on the part of students at different educational levels. The results indicate that preservice teachers acquired the values of social and personal responsibility (82.6% of participants) and became aware of the advantages of incorporating technologies into the music classroom (87.5% of participants). Moreover, the research design provided these teachers with an in-depth perspective on the evaluation of the SL experience and its significance.

Facilitating Collective Free Improvisation Learning in Teacher Education

Collective free music improvisation (CFMI) develops musicians’ relationships, identity, and communication skills and engages musicians from different cultures by tapping into their diversities in the music-making process. It also develops an open attitude toward working with children’s creative potential—by paving the way for open, egalitarian teaching approaches. However, teachers may not know how to incorporate it in their music classes due to the lack of teacher preparation in its practice and pedagogy. This interest article offers a theoretical basis for engaging preservice music teachers (PMTs) in CFMI learning in a teacher preparation course—by drawing on research and the author’s experiences facilitating CFMI classes. In combination with theory, pedagogical strategies that develop PMTs’ free improvisational skills based on a socio-communicative framework are described. These strategies offer practical pathways to introducing free improvisation to PMTs that could motivate and enable them to bring the practice into their future music classrooms.