Music Education Research Research Articles

The analysis of the development of artistic music in Kosovo from the historical and educational perspective

The development of artistic music is connected to the society’s overall development and at the same time depends on the artistic educational philosophy and institutional capacities in society. This is the first time that the development of artistic music in Kosovo is analyzed from both perspectives -historical and educational and will fill the gap about artistic music and music education research in Kosovo context. The purpose of this study is to explore in what ways the historical and societal factors have influenced the development of artistic music in Kosovo, since 1945 to recently. The study uses mainly content analysis of the documents reviewed, content analysis of the transcribed interviews and music analysis of the music works of specific periods. Interviews with persons, artists, composers, who have experienced those developments in various periods of time will shed more light and illustrate certain developments. The study finds that political regimes ruling in the early period 1945-1960 have shown no interest in the development of artistic music in Kosovo, mainly for the purposes of acculturating the Albanian population living in Kosovo, depriving them from cultural emancipation and development. At different political circumstances in other periods from 1970-1980 the focus on education as a tool for national and cultural emancipation, there were opportunities for greater development thus first artistic institutions were created. The political developments in the period 1980-1990 brought back the assault against cultural empowerment of the Albanian nation living in Kosovo, thus after 1990-1999 the artistic music life in Kosovo ceased to exist completely and hardly survived, including the artistic and educational institutions. This study looks at the one-way trajectory, in which artistic music life and artistic music education interrelate and collaborate, but there are different aspects remaining to be further researched, especially in relation to the status of previous artistic institutions that cease to exist further, the artists that left Kosovo and other interesting aspects in historical research about the music of one country. The results of the study can both serve for further research paths and also to be used by the appropriate institutions that manage the creation or maintenance of the artistic institutions that create, cultivate and promote artistic music in Kosovo. Finally, the cultural life in general, but especially the artistic music life and appropriate institutions rebuilt from scratch and new ones are created in a long, difficult yet dynamic and interesting development journey.

Evaluating the quality of posthuman music education research: diffracting quality criteria through response-ability

ABSTRACT Although encompassing a variety of research approaches, qualitative research in music education shares the assumption that reality is socially constructed; it takes this construction to be based on the specific perspective of the individual human; and it considers epistemology and ontology to be different fields of study. The posthuman theory of agential realism, on the other hand, argues that the world is becoming through intra-actions; it decentres the individual humanist subject; and it studies onto-epistemology – practices of knowing-in-being. Considering these fundamental differences, the quality criteria of qualitative research are not applicable to posthuman music education research. Nevertheless, posthuman research is concerned with the ethics of research and how to response-ably and ethically take part in the world’s becoming. Thus, the emerging field of posthuman music education research must develop other ways of evaluating research beyond the quality criteria found in qualitative methodologies. This paper argues that diffraction – both as a physical and musical phenomenon and as a philosophical concept – might be a fruitful approach. By reading quality criteria diffractively through the agential realist concept of response-ability, it poses critical and creative questions, moving us towards evaluating the quality of posthuman music education research on its own terms.

Assessment Practices and Beliefs of Secondary Choir Teachers

Previous research findings of assessment in choir indicated that teachers favor non-performance criteria such as attendance and attitude over music knowledge and skill. Music education researchers have encouraged teachers to instead use measurable learning goals that inform teaching practices and document student growth. New assessment technologies designed to assist teachers with individual assessment may have affected the assessment practices of secondary choir teachers. The purpose of this study was to describe the current assessment practices and beliefs among secondary choir teachers in Indiana. Respondents ( N = 182) completed an online survey regarding their use of formative and summative assessments in choir. Findings suggest that choir teachers in this study continued to rely upon non-achievement data such as attendance and participation in assessment. Given these findings, I offer implications and suggestions for practicing choral music educators.

Musical Instrumental Self-Concept, Social Support, and Grounded Optimism in Secondary School Students: Psycho-Pedagogical Implications for Music Education

Research in music education has shown that musical and academic self-concept, the social component, task achievement, and academic performance are highly interrelated constructs in musical learning in general and instrumental learning in particular in secondary school students. However, no studies in Spain have analyzed the relationship between musical self-concept and the variables of social support and optimism in compulsory secondary education. Therefore, our study aimed to explore the relationships between instrumental musical self-concept, social support, and grounded optimism. We hypothesize that there is a significant relationship between the variables of musical self-concept, social support, and grounded optimism The variables were measured using the Instrumental Musical Self-Concept Scale (IMSCS), an adaptation of the Perceived Social Support Scale in Spanish Conservatory Music Students to the Secondary School Level, and the Grounded Optimism Scale (BEEGC-RA/BEECESA-RA24). The study sample consisted of 980 students enrolled in compulsory secondary education in public and semi-private schools in the autonomous communities of Aragon and Navarra. An analysis of correlations and regressions allowed us to explore and quantify the relationship among the variables under study, confirming the existence of a significant relationship among the variables “instrumental musical self-concept”, “social support” and “grounded optimism”. The present study thus provides more in-depth knowledge of the variables involved in the teaching–learning process of music as a school subject and instrumental music in particular, as well as a greater knowledge of the individual’s performance and motivation in the subject, with various future implications to be taken into account.

Analysis of Music Education Research Trends for Film Music in South Korea

본 연구의 목적은 영화음악 교육 연구의 동향을 분석하고 향후 연구의 방향을 제안하는 데 있다. 2013년~2023년 8월까지 영화음악 교육에 해당하는 논문은 국내 석사학위논문 31편, KCI 학술논문 5편(총 36편)이 검색되었다. 분석 결과, 매년 9편 내의 논문이 발표되었고 연구 대상은 중고등학생에 집중되었다. 영화음악 활용의 목적은 기존 음악 이해(69.44%), 영화음악 이해(30.56%)로 2가지였다. 활용된 영화는 음악영화(47.22%)가 많고 일부 일반 극영화(11.56%,)가 있었다. 음악 활동은 이론 강의식 수업이 중심이 되는 감상(63.89%) 또는 간단한 음악 창작(33.33%)이 제시되었다. 교육학적 이론 및 교수학습 방법은 14편만이 적용되었고, 음악 및 영상 제작 프로그램은 7편에 활용되었다. 이에 따라 영화음악 자체에 대한 교육적 관심을 높이는 것이 중요하며, 영화음악의 기능과 역할을 교육하고 학생 주도의 활동을 중심으로 한 구체적이고 체계적인 음악 수업을 개발할 것을 제안하였다.

Rethinking the music curriculum theories: Towards an updated comprehensive student-centred approach

This article reports a theoretical investigation on music curriculum and explores the factors that shape the practice of music education in terms of the official and other music curricula. We drew on relevant literature and explored four key aspects of the design and implementation of music curriculum: policy-making contexts, teaching practices, students’ practices and attitudes, and school contexts. Currently, music education research focuses on student-centredness as an important element in music practice. Embracing students’ various ways of musical engagement as well as their music identities promotes further development of their musical-social skills and enhances their interests. We suggest the development of an updated and comprehensive music curriculum which is student-centred and based on new musical literacies that respond to students’ daily musical needs and address the challenges of today’s social context. Our suggestion is encompassed in five core principles: 1) Getting to know our students, 2) Discussing the teaching-learning goals with our students, 3) Adapting to local conditions, 4) Bottom-up and top-down perspectives: Finding the balance through authentic classroom activities, and 5) Contextualising assessment. The article advocates for the effective use of all types of music curricula so that students become active, responsible and critical thinkers in their personal, social and musical lives.

Effective Strategies and Methods to Enhance Music Practical Teaching in Higher Vocational Preschool Education

Abstract:This paper studies of effective strategies and methods to elevate music practical teaching in higher vocational preschool education. Acknowledging the pivotal role of higher vocational preschools in shaping the foundational years of a child's development, the study navigates through a comprehensive exploration of the significance of music education. Grounded in a robust literature review, the paper highlights the importance of curriculum design, instructional techniques, assessment methods, and the seamless integration of technology in shaping impactful music education experiences.Theoretical frameworks, notably the Suzuki Method and Vygotsky's Sociocultural Theory, offer insights into pedagogical and socio-cultural aspects, emphasizing the creation of positive and immersive musical environments and collaborative learning experiences. Subsequently, the paper presents effective strategies, including the incorporation of technology, active learning approaches, and the customization of lessons to individual needs. The multifaceted benefits of music practical teaching in cognitive, emotional, and social domains are explored, emphasizing its role in holistic preschooler development. The study advocates for continuous professional development for music educators, stressing the importance of staying abreast of evolving pedagogical trends, engaging in collaboration and networking, and remaining informed about current trends and research in music education. By embracing these strategies, educators can cultivate a vibrant and enriching musical environment that fosters a lifelong love for music and nurtures the holistic development of preschool learners.

Preference of Chinese pre-service music teachers and schoolteachers for three culturally diverse musical pieces.

Using three musical pieces as musical stimuli from Romania, Brazil, and Saudi Arabia, this study extended Fung's study by examining Chinese pre-service music teachers' (n = 115) and schoolteachers' (n = 131) personal preferences and external preferences for orchestral, folk, and popular music pieces. Two groups of participants were asked to select their preferred music from three pieces and to provide verbal descriptions of the reasons for their selections. The results showed (a) no significant differences in personal preference between the two groups but statistical significances in external preferences between the two groups; (b) the highest preference rating by both groups of teachers was folk music and the highest forced-choice preference was popular music; (c) statistically significant correlations between personal preference and external preference were evident in both groups across all three pieces; and (d) frequent descriptions by both groups of participants of the pieces in terms of musical characteristics were shared. The implications of this study are as follows. (1) Psychologists and music researchers gain insights about Chinese young adults' listening preferences, which might offer implications for future research in the field of psychology; and (2) By enhancing multicultural awareness, music education teachers and researchers should combine different music styles to broaden students' music horizons.

Bibliometric study of scientific production in music education from 2000 to 2022

The main aim of this study is to quantify and analyse scientific production on music education in different databases (WoS, Scopus, Dimensions and Lens) between 2000 and 2022. The selected sample comprises 17,373 articles, 3,394 journals, 23,145 authors and 23,473 keywords. A descriptive and inferential analysis of scientific output and structural analyses was performed using bibliometric techniques such as citation, co-citation, co-occurrence and collaboration. Results reveal exponential growth of scientific production related to music education. The majority of authors (77.07%) have published only one article and very few cover most scientific production. Among journals which have published most articles the top positions correspond to the International Journal of Music Education and Music Education Research, and a scattering of the scientific bibliography is observed, showing that a very small group of journals concentrate most bibliography in a discipline. Finally, regarding article subjects, an increase is seen in educational-musical studies over those in the field of psychology.

Teaching music theory in UK higher education today: contexts and commentaries

ABSTRACT This multi-authored article offers accounts of how programmes for teaching music theory within the Western-notated tradition were created in two UK higher education institutions. These accounts are followed by two more discursive reflections on the nature and purpose of music education today, advocating the importance of listening skills and inclusive pedagogies. The article is framed by an introduction and conclusion contextualising the issues raised in relation to a selection of prior contributions to Music Education Research and comparing approaches to music literacy and theory teaching as represented in recent music theory conferences in the UK and the United States.

An explanatory sequential pilot inquiry on music therapy and performance anxiety in university music education majors

Music Performance Anxiety (MPA) is prevalent among amateur and professional musicians. While music therapy has established itself as an effective therapy for reducing anxiety in numerous individuals with varying health issues, in depth research on the potential benefits of music therapy for managing MPA is lacking. This explanatory sequential pilot inquiry with 15 undergraduate music education majors from two large music faculties in Canada assessed the benefits of group music psychotherapy offered for 6 weeks in person or via telehealth on the experience of MPA. Test measures included the Spielberger State and Trait Anxiety Inventories (STAI) pre and post study, a pre and post study questionnaire, pre and post music psychotherapy session Likert scales for anxiety and mood, and a post study interview. Music psychotherapy interventions included breathing exercises, grounding and guided visualizations/meditations, and musical improvisation. Quantitative data, assessed for all participants combined and by group, revealed that anxiety and mood scores on the Likert scale improved after participation in six music psychotherapy sessions, while the STAI scores remained constant pre and post study. Qualitative themes suggest the benefits of music psychotherapy for changed perception and cognitions, sense of support, reduction in symptoms and overall continued and future management of MPA. The results of this study are promising, pointing to music psychotherapy as a potential short-term therapy for MPA symptom management, having practical implications for post-secondary music education and future research.

The Way I Feel, the Way I Play? The role of affect in goal realization in musical practice

We examined practice-related affect to determine the role it plays in four phases of goal realization in musical practice. Study 1 with a sample of 171 piano students and Study 2 with 235 students playing various instruments allowed for testing the relationships between four types of affect differing in valence and activation level based on the circumplex model and the phases of goal realization: practice intention, practice planning, actional phase of practice, and performance evaluation. In Study 2 we also analyzed longitudinal relationships between affect measured at Time 1 and actional phase of practice and performance evaluation measured 2 weeks later at Time 2. In both studies, highactivation positive affect was related to higher practice intention, while both high- and low-activation negative affect were related to more negative performance evaluation. The results are important for advancing affect and goal theories and for improving theoretical models of musical practice. They are relevant for music educators and music education researchers and can be used in screening and progressmonitoring efforts, shaping interventions to enhance students’ motivation to practice their instruments.

Research-to-Resource: ChatGPT as a Tool in Music Education Research

In this research-to-resource article, I introduce possible uses of ChatGPT, an artificial intelligence chatbot developed by OpenAI, for music education research settings. I discuss the impacts of artificial intelligence on education environments and highlight uses of ChatGPT as a tool, including the role of ChatGPT in information gathering, literature review assistance, research design conceptualization, statistical analysis support, research proposal review, and research publication support. I emphasize the importance of human expertise in filling knowledge gaps, detecting incomplete information, and using creative and critical thinking. While acknowledging concerns regarding ethics and plagiarism, I realize the unique qualities of human researchers and the need for purposeful mentoring and training on using artificial intelligence tools for appropriate tasks.

Delete the PDF and Start Again? Exploring the Potential for Innovative Dissemination Methods of Music Education Scholarship

Research from Sheehy (2016) found that in-service educators are increasingly disengaging from the scholarly field. This paper highlights and critiques paradigmatic approaches used to disseminate scholarly research in music education which ostensibly lead to teacher disengagement, including the use of academic language, issues of accessibility, and the “printable” formats of scholarly texts. It utilizes Reynolds’ (2009) discussion of factors which led to the development of the musical genre “post-punk” as a framework to critique, compare, and discuss how discourses of social media may inform the development of innovative scholarly research dissemination methods. In doing so a new “genre” of scholarly publication which is informed by normative academic practices and those associated with social media is both proposed and exemplified. It is argued that these proposed innovative dissemination methods have the potential to reengage in-service educators within the scholarly field; and foster academic publications which are considered more engaging, accessible, and relevant.

드뷔시의「달빛」을 통한 대학생의 미적 음악 경험 분석

This study was based on the ‘Affect-Space Framework (ASF)’ proposed by Schubert, North, & Hargreaves (2016) to analyze the emotional and affective responses of college students while listening to Debussy’s 「Clair de Lune」 and to deeply explore their aesthetic musical experiences. A total of 125 college students were asked to listen to the piece, and a survey was conducted regarding their emotional and affective reactions. The results are as follows: First, college students had more emotional responses than affective ones when listening to music, with responses based on an internal locus of emotion being the most prominent. Second, only 8.29% of the total responses corresponded to aesthetic emotions. This can be interpreted as most students not having an aesthetic experience while listening to Debussy’s 「Clair de Lune」. Third, there was a significant difference in the affective responses based on an external locus depending on gender. Fourth, groups who had an aesthetic experience tended to focus more on the content expressed by the music, while groups without an aesthetic experience focused more on their internal emotions. In conclusion, the ‘Affect-Space Framework (ASF)’ was highly effective in analyzing the emotional and affective reactions of college students during their listening to Debussy’s 「Clair de Lune」. Through ASF, the researcher was able to explore the deep dimensions of students’ aesthetic musical experiences, especially emotions and affections, and this provided a new direction for music education and psychological research.

Rethinking, Re-storying, and Reclaiming Narratives of Aging in Music Education Research

In this article, I address the contemporary discussion of later-life courses in music education research and how it might perpetuate the discrimination and stereotyping of older adults. Drawing from the sociology of aging, I aim to show that one possible way to tackle the ageist assumptions in music education is to reflect on rethinking, re-storying, and reclaiming the master narratives of aging by replacing the dominant linear life span view with an intersectional life course approach. Furthermore, I will present ideas to connect qualitative narrative inquiry with systems thinking, to challenge the practices and research traditions that contribute to the sustainment of stereotypical mental models of aging in music education and move towards a framework of sustainable aging. Finally, the transformative potential of such inquiry will benefit not only music educators interested in later-life questions but also the field at large. The music education of young children, for instance, can be seen as an investment in the musical agency of future older people.

Digital Musical Instruments in Special Educational Needs Schools: Requirements from the Music Teachers’ Perspective and the Status Quo in Germany

Digital musical instruments (DMIs) offer the possibility to create barrier-free access to active music-making and to unique sound aesthetics for a broad group of people, including those who experience disabling barriers to access when using traditional acoustic musical instruments. However, current music education research focuses primarily on app-based DMIs. Although these devices have numerous advantages, such as ubiquitous availability and flexibility, they may be experienced as disabling by people with severe cognitive or complex disabilities. Thus, they only partially exploit the potential of DMIs for special educational needs (SEN) music practices, which we outline in this article. However, given that no comprehensive studies have yet been conducted on the use of DMIs in SEN schools, the actual motives and barriers for SEN school teachers to employ different types of DMIs in class are largely unknown. To address this research gap, we present the results of a quantitative survey covering all SEN schools in 12 of Germany's 16 federal states. We surveyed the status quo of DMI use in SEN schools and the perceived potential of DMIs and DMI-related information needs from the music teachers’ perspective. Our findings demonstrate that DMIs are only rarely used in Germany, with the exception of established standard DMIs such as keyboards and music apps. Unfortunately, accessible DMIs (ADMIs) are hardly used. Related to the rare use of DMIs in SEN schools, we also identified a lack of domain-specific knowledge among music teachers and concluded that there was a need to develop DMIs specifically designed for use in classroom education. Finally, we discuss the potential of using open-source DMI technology as well as the importance of identifying music teachers’ attitudes during DMI development.

Gender equality discourse in classical music higher education: Women, individualisation, and change

This article takes its’ starting point in the ongoing debate about gender and gender equality in higher music education (HME) institutions where new policies, projects and initiatives have been developed during the first decades of the 21st century. This article’s analysis is framed by feminist scholarship on gender equality, and gender mainstreaming, as well as music education research about gender and gender equality. The aim is to investigate how gender and gender equality is talked about in classical music higher education, analyse how it is experienced and in what terms it is described. The main research question is, how is gender and gender equality constructed among leaders, teachers and students in three HME institutions in Nordic (Finland), Baltic (Estonia) and Central European (Hungary) countries. It is based on qualitative thematic semi-structured interviews with 45 participants, analysed with qualitative data-driven content analysis. In the discussion we argue that gender and gender equality are, in our material, constructed as being about women, that gender is rarely related to other types of discrimination or inequalities and that the cause of gender inequality is individualised. The conclusions suggest steps for further pursuing gender equality in HME.

Engaged pedagogy in teacher education: A literature review

The structures of North American school systems are often based in what bell hooks called rote, assembly-line teaching that includes top-down instructional practices. As a result, teacher educators often serve in an authoritarian role, making the decisions about what knowledge is important and how it should be learned. By comparison, engaged pedagogy promotes collaboration, whereby teachers and students transgress educational norms and become active participants in learning. The purpose of this review of literature is to understand how researchers in the field of education use engaged pedagogy in their teaching practice. It highlights three themes found throughout the literature: (re)designing courses, critical reflection, and sharing stories. Following each theme, a critical discussion contextualized within related research in music education provides practical implications for how music teacher educators can use engaged pedagogy in the classroom. Finally, the potential for issues of using engaged pedagogy in preservice music teacher education are illuminated for the reader, along with recommendations for future research in music education.

Centring perspectives of disabled children in music education research

ABSTRACT There is a need for music education research that uplifts and affirms disabled children by exploring their perceptions of participation in musical experiences in music classrooms. The purpose of this position paper is to a) define what it means to centre perspectives of disabled children, b) provide a rationale for centring perspectives of disabled children in music education research, c) describe and explore reasons why researchers often overlook the perspectives of disabled children, and d) provide information about best practices to centre the perspectives of disabled children in music education research. We highlight ideas for including disabled children in research from the fields of music education, disability studies, and music therapy. Recommendations include applications of participatory research, interviews with children, the Mosaic approach, and the In-The-Picture approach. By centring the perspectives of disabled children, researchers can learn a great deal and work to engage in anti-oppressive research practices.