Music Education Practice Research Articles

Examining Elementary General Music Teaching Practices Through a Reggio Emilia Lens

Abstract Elementary general music teachers (N = 280) from Colorado, Idaho, Montana, Utah, and Wyoming completed the Characteristics of Elementary General Music Teaching questionnaire. Responses were analyzed for congruence between current teaching practices and three components of the Reggio Emilia Approach (REA) to education: child as protagonist, documentation of learning, and the hundred languages. Overall, respondents described teaching practices that reflect some, but limited, congruence with the REA. Teachers collect some types of student artifacts, display evidence of student learning in certain forms, adapt instruction based on observation of students, provide students opportunities to translate between symbolic systems, and demonstrate a student-centered approach to music education by modifying their teaching practices at the student, class, grade, or developmental level. Variance in the congruence between teaching practice and the concepts of documentation and symbolic translations could not be explained by education level or general music pedagogical influence. Suggestions are shared for elementary general music teachers to engage in critical self-reflection of their teaching practice through a Reggio Emilia-inspired lens. The review of literature and this study demonstrate a need for further research on Reggio Emilia-inspired music education; suggestions are included.

Research on music teaching practice based on fuzzy intelligent interactive tablet

With the development of economy and the progress of science and technology, China, as a powerful country in science and technology and education, has been constantly improving the level of educational informatization and perfecting the basic teaching equipment, which has realized informatization and modernization to a certain extent. This research takes intelligent interactive tablet as interactive means and combines the theories of aesthetics, psychology, pedagogy and fuzzy teaching to research the appreciation, singing and creation aspects of music teaching practice. After three months of teaching practice, the students are evaluated and construct fuzzy cluster evaluation model, investigation and analysis and other methods, which verified that the fuzzy intelligent interactive tablet can provide rich content for music teaching, improve the teaching efficiency of students’ participation, and prove that the fuzzy intelligent interactive tablet has a great auxiliary effect on music teaching.

Jammin' the Blues: Experiencing the "Good Life".

The purpose of this study was to examine the characteristics, attitudes, and perceptions of older musicians who participated regularly in a local blues jam. Six core dimensions of eudaimonic well-being and their conceptual foundations provided a framework for examining the way that music-making contributes to subjective well-being during the lifespan of an individual. The following research questions guided this investigation: (1) In what ways do biographical factors and engagement with music influence the lives of older adult blues/rock musicians who participate in a local blues jam? (2) What implications for subjective well-being with regard to music learning might be used to inform music education practices? Interviews and observations over a 2-month period provided data for understanding how lived experiences impacted personal well-being, and musical growth and development over time. Findings suggested that eudaimonic well-being is the result of active engagement in human activities that are goal-directed and purposeful, and a good life involves the self-realization of individual dispositions and talents over a lifetime. Implications for music education include individualized pedagogical approaches that encourage learners to discover a sense of well-being in and through music.

Teachers' Views on Music Education Practices in Secondary Education in Distance Education During the COVID-19 Pandemic Process

In this study, it was aimed to determine the views of music teachers who have worked in secondary education during the COVID-19 Pandemic process regarding the music lessons conducted via distance education. The study group of the research consisted of 11 music teachers who were determined by the convenience sampling method. The data were collected using a semi-structured interview consisting of 6 questions and a demographic information form. In line with the findings obtained from this study, it was determined that the music teachers participating in the research had difficulties in classroom management, parents' approaches, technological equipment, internet problems and students' motivation. Besides, it was determined that the teachers used different technological teaching materials in the course, the achievements in the curriculum were partially achieved and the course evaluation process could not be carried out effectively enough.
 Key words: COVID-19, pandemic, distance education, secondary education, music education

Theoretical and methodological basis of music education: structure and contents

The research subject of the article is the theoretical and methodological basis of music education represented in a traditional four-level structure (developed by A. Yudin within the system approach), consisting of: 1) a philosophical, 2) a general scientific, 3) a specific scientific, 4) a methodological level. Based on the thesis about the connection between theory and practice in music education, the second part of the article briefly describes the contents of the first three levels of the structure of the theoretical and methodological basis which are believed to be the most academical. The author focuses on two aspects: 1. The goals and potentials of the level under consideration; 2. The problems arising at each level. The author arrives at the following conclusions: 1) the philosophical level of the theoretical and methodological basis of music education, being the most general and therefore the leading one, is necessary for training prospective musicians for the formation of the value, moral and spiritual, and esthetic components of education; 2) the general scientific level helps systematize the philosophic provisions and concepts into certain approaches and principles which can be introduced into the pedagogical practice as models of integral formation of education processes; 3) the level of socio-scientific disciplines, which is the most thoroughly developed due to the close connection with practical aspects and problems, consists in the aspects of the contents of education (musicology), the methodology of teaching (pedagogics), and the study subject/instrument (performance art).   

A Comparison of the Educational Methods of Zoltán Kodály and his Student, Klára Kokas

After the presentation of Klára Kokas’ pedagogical methods and her own invented musical activities with children, I shall try to compare these methods with Zoltán Kodály’s music educational practices and innovations to emphasize the continuity and discontinuity of Hungarian music educational practice. Kokas centered her pedagogical concept on children’s creativity, human relations, acceptance of and complete attention paid to others. This world view and ideology was constructed around a child-centered sensitivity, music being her primary pedagogical resource. The goal of this paper is to explore the main elements and characteristics of Klára Kokas’s pedagogy, which were revolutionary and new in the fields of personality development, music and complex art education. I will draw out those elements, which show similarity between his work and Kokas’s, then I will point out those components in which Kokas offered excess for personality development. The main elements of this concept is music, dance improvisation, motions, imaginative stories, visual arts, painting and drawing, but it’s most important component is that very specific and intimate relation, which connected her to the children. My purpose is to highlight the contours of the Kokas’ pedagogy. In my comparative research I mention the reform pedagogical elements of the Zoltán Kodály’s concept, and I seek the common and different elements of their music educational ideas and innovations. The importance of her beliefs and moral convictions in the art of education will be outlined then.

The Current Status of Elementary Music Education in Yangon, Myanmar

Public schools in Myanmar have offered music education as part of the regular curriculum since 2000; however, very little information is available about the current teaching practices of music education as well as differences and problems regarding music education in different types of schools. Therefore, the purpose of this study was to investigate the current status of elementary music education in Yangon, Myanmar in three different types of schools: Public schools, private schools, and international schools. A mixed-method design was employed to achieve the purposes of the study. Qualitative data were collected using in-depth interviews with seven key informants. Quantitative data were collected from 93 respondents—33 music teachers and 60 classroom teachers responsible for teaching music—using a web-based questionnaire and telephone interviews. Both the quantitative and qualitative results indicated that compared to private schools and public schools, international schools receive more practical support in terms of qualified music teachers, standard music programmes, and excellent facilities. Although the Ministry of Education in Myanmar has commenced curriculum reform to include music as a compulsory subject in public schools at the elementary level since the 2016-2017 academic year, there are still many challenges regarding music training for teachers, the effectiveness of music curricula, and adequate support for music facilities and other necessities such as musical instruments, teaching aids, musical equipment, and educational resources. The findings of the study also confirm that the support of the government is crucial for music education policy and partnership in Public schools and Private schools.

Equity via relations of equality: Bridging the classroom-society divide

Although music educators have asserted the importance of naming systemic inequities, the mechanisms through which practices within music classrooms, such as community formation, may directly challenge the systemic inequities beyond them remain undertheorized. The purpose of this philosophical inquiry is to investigate the nature of equity and to consider which music education practices might best support more equitable societal relations. Explaining the problems of paternalistically imposing one’s vision of equity on others, I offer that by functioning in “relations of equality,” members of society might collaboratively name and challenge contemporary inequities. In considering how music educators might best foster the skills and dispositions needed for lifelong relations of equality, I posit the possibilities of communicative cultural capital, which involves community members interacting effectively across cultural differences, and academic skills cultural capital. When music educators assume that students will develop academic skills through music making, rather than emphasize how to develop such skills, they may end up benefiting students who learn those dispositions in privileged home environments. I also consider how identifying as part of a musical community can motivate individuals to challenge inequities throughout their lives. Equity is not a stable end but a relational value.

Academy of Music and Arts for Special Education (AMASE): An Ethnography of an Individual Music Instruction Program for Students With Disabilities

This 3-year ethnography explored the culture of the Academy of Music and Arts for Special Education (AMASE), a university undergraduate volunteer organization offering music instruction for individuals with disabilities. We examined the organization and its impact on students, parents, and volunteers through the lens of the social relational model of disability. Findings clustered around three pillars of organizational values: ability, community, and service. The organization’s philosophy of ability cultivated a community that acknowledged the impairments of the students while actively seeking ways to break down the socially imposed barriers to musical learning that were disabling to them. The program filled a need where access to music education had previously been limited or denied. Undergraduate volunteers’ experiences raised their awareness of inequity for people with disabilities and motivated them to consider ways to serve this community in their future careers. Findings illustrate the potential impact of a social relational model on music education philosophy and practice, suggesting a need for music educators to challenge implicit beliefs about students’ capabilities and actively inquire into the ways in which music education contexts may be inherently disabling.

“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.

Teachers’ Awareness and Practice of Child and Play-Centered Early Childhood Music Education: With a Focus on the 2019 Revised Nuri Curriculum

Teachers’ Awareness and Practice of Child and Play-Centered Early Childhood Music Education: With a Focus on the 2019 Revised Nuri Curriculum

Campos criativos pedagógico-musicais nas bordas da cidade negra, atravessada por urbanidades e escolaridades brancas

The author creates a dialogue between rural education and music education in (semi-)urban black contexts, to establish a triangulation between music education, the teaching of Afro-Brazilian history and culture and the specificities of rural, urban and peripheral in terms of diverse racial and sociocultural identities, which has been very little taken into account, both in the areas of music education and in the areas of rural education. The methodology takes place in two different moments, proposing a dialogue between a first experience of engaged research in music education, in the old neighborhood of Palafitas in Alagados – Uruguai in Salvador, and the current research project Koringoma (UNEB), directed by the author, which through the tools of qualitative research, has been dedicated to mapping and studying black musical and socio-educational territories in Salvador and region. The narrative connects with a kind of longitudinal research, which has been resuming and claiming the debate on a theory and practice of music education for over 20 years, based on the diverse sound and performance knowledge and roots of African identity. It also debates possible paths in education for the diversity of musicalities and corporeality in Bahia, questioning the separation between urbanity and rurality in rural education, with regard to peripheral black cultures and musicalities.

Investigation of the effects of religious music education practices on perceived stress levels of gifted students

The main purpose of this study is to find an answer to the question "Does Turkish religious music education practices have a positive effect on the perceived stress levels of gifted students?" For the purpose of the study, a total of 305 students between the ages of 8 and 18, studying at Science and Art Centers providing education to gifted students across Ankara, constituted the control group of the study and the data collection tool was applied to this group. In addition, 25 students who were diagnosed with gifted in the field of music formed the experimental group and were subjected to 10-weeks religious music education by the researcher, after these training, the data collection tool was also applied to these students. When the findings of the study are examined, it is concluded that religious music education practices do not affect perceived stress levels positively or negatively.

DEVLET OKULLARI VE ÖZEL OKULLARDAKİ MÜZİK EĞİTİMİ UYGULAMALARINA İLİŞKİN BİR DEĞERLENDİRME

Bu araştırmada devlet okulu ve özel okullarda müzik. Araştırmanın çalışma grubunu kolay ulaşılabilir örneklem yöntemiyle belirlenmiş 10 müzik öğretmeni oluşturmaktadır. Çalışma grubuna açık uçlu 7 sorudan oluşan görüşme formu ve 4 soruluk demografik bilgi formu uygulanmıştır. Görüşmeler sonucunda elde edilen verilerin çözümlenmesinde betimsel analiz tekniğinden yararlanılmıştır. Bu çalışmadan elde edilen bulgular doğrultusunda devlet okullarında görev yapan müzik öğretmenlerinin ders yüklerinin az olduğu; özel okullarda görev yapan öğretmenlerin ise yoğun bir ders yükü ve iş yükü ile stres altında çalıştıkları, anaokulundan liseye kadar tüm kademelerde müzik derslerini gerçekleştirdikleri tespit edilmiştir. Ayrıca özel okul öğretmenlerin çalıştıkları kurumların fiziki ve maddi koşullarının yeterli olduğu yönünde; devlet okullarında görev yapan öğretmenlerin ise çalıştıkları kurumların fiziki ve maddi koşullarının yeterli olmadığı yönünde görüş bildirdikleri belirlenmiştir.Bu makale için 30-06-2021 tarihinde bir düzeltme yayınlandı. https://dergipark.org.tr/tr/pub/ejmd/issue/63535/963363

Authentic learning in senior secondary music pedagogy: an examination of teaching practice in high-achieving school music programmes

AbstractAuthentic learning approaches are designed to immerse students in contexts that promote real-life applications of knowledge, and provide meaningful learning experiences beyond the abstract instruction of the classroom. In a grounded theory study of music teaching practice in high-achieving schools, 50 teachers from 23 schools across New South Wales (NSW), Australia, were asked to describe how they taught their senior secondary students and the musical environment they curated within their school. Through examination of the interview data, authentic learning exposed itself as uniquely situated in classroom music teaching of high-achieving music programmes for senior secondary students in NSW. This is shown through the use of thorough inquiry-based and student-centred learning tasks like video journals, the use of professional resources and expertise and collaborative learning in authentic contexts, in and outside of the classroom.

My View on Confucius’ Musical Aesthetics

During the Spring and Autumn Period and Warring States Period, the ideology environment was severe. Hundreds of scholars competed and argued, and they all used their own musical concepts and aesthetic consciousness to influence social life. Confucius was one of them. As we all know, Confucius was the great pre-Qin period thinker, politician, and educator of etiquette and music. His achievements in music aesthetics are different from other schools of “contend of a hundred schools of thought”. Confucius’s aesthetic thoughts are actually the aesthetic thoughts he formed in the practice of ritual and music education. This article discusses his musical spirit, the aesthetic propositions of “benevolence”, “perfect perfection”, “neutrality”, and music education.

”Konstnären”, ”fostraren”, ”tjänstemannen” och ”rebellen”: Musiklärares dramaturgiska framträdanden kring musikundervisning, social rättvisa och demokrati

This article intends to explore how some Swedish music teachers present their teaching in relation to democracy and social justice. Present-day social issues such as socio-economic vulnerability and ever more segregated schools have accentuated the need for critical reflection on social and democratic aspects in all teaching. This also has consequences for music educational practices. During two focus group interviews with Swedish music teachers from both the community school of music and arts and elementary school, the organisation of the teaching practice, as well as the teachers’ respective opportunities and challenges in relation to their specific contextual social and democratic issues are discussed. With the aid of dramaturgical theory and interview analysis it is shown how the teachers’ joint discussions make space for four social roles in relation to those themes: the artist, the fosterer, the civil servant and the rebel. In spite of some similarities in the staging opportunities of the two different music educational contexts, some differences appear in terms of the dramaturgical significance of the respective roles, as well as the force of the connections between them. In both contexts, still a common ambivalence is displayed in the perception of democracy and social justice in relation to the very practical task of teaching music. Following the article’s results in relation to social justice, the music teachers’ opportunities for internal professional control and joint negotiation of their teaching task are discussed. The article thus advocates further reflection on the institutional structures and basic philosophical assumptions that appear to govern perceptions of music teaching, democracy and social justice in music educational practices at large.

Innovation Research of Network Technology in Music Teaching Environment

Internet multimedia has brought great convenience to people’s life.The teaching method of vocal music is also challenged by multimedia with the development of network.Universities as an important base of vocal music talents training in China provide a large number of high-quality and high-level vocal talents for the society every year.According to the actual situation of vocal music teaching in domestic colleges and universities, there is still a certain lag in teaching methods and teaching concepts.The network era has brought abundant teaching resources and broadened the way of knowledge transmission. The application of modern information technology is changing the traditional teaching methods in Colleges and universities. This paper analyzes the problems and innovation strategies in vocal music teaching in Colleges and universities, expounds the specific reform measures of college vocal music teaching innovation, and puts forward that we should make full use of network technology, expand vocal music course content, change vocal music teaching methods, enrich vocal music teaching practice, promote the construction of vocal music curriculum database, and constantly improve students’ vocal music skills and comprehensive artistic quality.

Contesting music education policies through the concept of reasonable accommodation: Teacher autonomy and equity enactment in Finnish music education

This theoretical article focuses on reasonable accommodation in education by offering conceptual tools that could prove beneficial in resolving policy concerns for equity in music education. Providing reasonable accommodation entails making necessary and appropriate modifications that may include depending on the circumstances, physical or interaction-related changes. From the perspective of teacher autonomy, this article focuses on two aspects of reasonable accommodation: (a) its definition and (b) its implications for music education practice. Responsibility for reasonable accommodation is considered in the context of Finnish music education through three illustrations that address matters such as music notation and instrument selection. We conclude that the concept of reasonable accommodation offers students and teachers tools to prevent disadvantageous musical and pedagogical conventions from being enforced at the level of the local curriculum and through teachers’ actions, potentially resulting in inequities and discrimination.

The policy and practice of music education in England, 2010–2020

Since the introduction of the National Plan for Music Education there have been significant changes in music education within England. Whilst some celebrate figures that report increased access and engagement, many teachers and others continue to have legitimate concerns regarding the quality of the music education on offer in schools and Music Education Hubs. There are concerns that the provision of music education is incoherent and patchy across the country. Many would argue that the opportunity to access high‐quality music education has become a ‘postcode lottery’. There is a sense that the fragmentation of music education as a result of curriculum reforms and the diversity of approaches taken by Music Education Hubs and other bodies has significantly enhanced this incoherence. This article seeks to review the policy and practice of music education in England over the last 10 years. It draws on recent research from various sources and maintains a particular focus on government policy and the consequences of this for the field as a whole. It reflects on how things could be improved in the future. It argues for a clearer focus on a practitioner‐led approach to research and advocacy, in particular one led by the notion of ‘policy as practice’ rather than continuing with the current approach and its intrinsic failings.