Music Education Settings Research Articles

Assessing the influence of inspirational value on experience quality and electronic word-of-mouth in non-formal music education settings in Indonesia

Assessing the influence of inspirational value on experience quality and electronic word-of-mouth in non-formal music education settings in Indonesia

Fuzzy Integrated Optimization-Based College and University Music Education Teaching System

Fuzzy integrated optimization refers to the application of fuzzy logic techniques in the optimization process to handle uncertain or imprecise information effectively. In traditional optimization problems, precise data and deterministic relationships are assumed. This paper proposes the construction of a teaching system for music education in colleges and universities based on fuzzy integrated optimization. Fuzzy logic techniques are applied to handle uncertain or imprecise information inherent in the optimization process. traditional optimization methods that assume precise data and deterministic relationships, fuzzy integrated optimization allows for the modeling of uncertainties in music education settings. By incorporating fuzzy logic into the design of the teaching system, educators can better adapt to the diverse learning needs and preferences of students. The implementation of the teaching system for music education in colleges and universities based on fuzzy integrated optimization yielded significant improvements across various performance metrics. Student engagement levels increased by an average of 25%, with a corresponding rise in satisfaction rates by 30%. Additionally, learning outcomes showed measurable enhancements, with a 20% increase in average test scores compared to traditional teaching methods. The adaptive nature of the teaching system resulted in a 15% reduction in dropout rates, indicating improved student retention and progression through music education programs. Educators reported a 40% increase in efficiency in lesson planning and delivery, attributed to the system's ability to provide personalized recommendations and insights tailored to individual student needs.

Music-related wellbeing as a teaching objective? A critical interpretive synthesis

Educational researchers increasingly focus on psychosocial factors, implying the need for an improvement of school settings regarding child wellbeing. However, so far, studies which focus music-related wellbeing of primary school aged children are rare. The paper explores the essential question which empirically based frameworks offer concrete foundations for corresponding educational practices in the music classroom. Hence, the research conducted a critical interpretive review of English-language publications. In a multi-stage process, it sampled publications between 2017 and 2020 targeting children of early primary school age and focussing on a connection between musical practices and well-being. For a full-text analysis, the research selected studies offering theoretical frameworks for synthetic theorisation. Findings show that until now, few studies have focussed on primary school-aged children. However, it also indicates that an integrative model such as the PERMA Well-being Cycle can function as point of reference for the design of educational settings. Departing from ongoing reflections of this research, the paper argues for a differentiated professional perspective on psychosocial processes in the music classroom and music-related wellbeing as an explicit teaching objective instead of following implicit ‘hidden’, yet powerful agendas. The outcome might serve as the clarification of strategies to foster child wellbeing in music education settings.

Effects of music technology on language comprehension and self-control in children with developmental delays

This study explores musical technology widely used in special music education. Holistic music educational approach for young children (HMEAYC) is a two-decades-old innovative and local education model that combines modern science and technology, multi-sensory equipment, and traditional instruments with creative music in young children of the learning field in Taiwan. The educational benefits of HMEAYC with music technology for young children’s learning are increasingly well-documented. The opportunity to experience these benefits should be available to children in preschool education and special music education settings. Thus, we assessed the efficacy of music technology on the growth of language comprehension (LC) and self-control (SC), particularly investigating its effects on young children with developmental delays. The study examined the impact of LC and SC of music technology on young children with developmental delays. We conducted our research in one non-profit early intervention center using a pre-/post-test control group (CG) quasi-experimental research design. Teachers of the experimental group (EG) and CG used the method of the HMEAYC curriculum in the same research process. A qualitative approach was embedded in pre-/post-test CG to learn more about participants’ experiences when they accepted the intervention of music technology. Music technology was applied to EG, while CG was not provided any intervention related to equipment. EG included 252 students (64.8%) in total: 98 girls (38.9%) and 154 boys (61.1%). CG had 137 students (35.2%) in total: 65 girls (47.4%) and 72 boys (52.6%). An early childhood behavior evaluation system was used to collect quantitative information. At the same time, pre-tests were given to EG and CG participants before the practical intervention, and post-tests were given after the curriculum was finalized. The results indicated that EG’s LC and SC improved significantly compared to CG participants. The analyses of qualitative statistical findings provided positive changes that incorporating technology contributes to evidence in LC and enhanced SC among and between participants. The findings of this music technology study show that learning behavior of young children with developmental delays significantly improves with the inclusion of technology. Our findings match the results of previous studies. Consequently, the development of the research makes acceptable assumptions that implementing music technology in the educational learning environment will enable young children with developmental delays to integrate into the field of school education more positively and actively.

Whiteness as property in music education: considering the acceptance of Hamilton: an American Musical

ABSTRACT In consideration of white music educators’ perceptions of and engagement with matters of race and music, the purpose of this qualitative study was to problematise the acceptance and valuation of Hamilton, and possible hypervaluation of Whiteness through the perceptions and experiences of eight White music educators who were fans of the show. The research was guided by the following questions: (1) Does this acceptance of Hamilton reflect the repertoire and cultures included in their music curricula?; (2) Does Hamilton function as propertized Whiteness thereby deeming it worthy of inclusion in music education settings?; and (3) Does the experience that is Hamilton pass as white, therefore making it feel comfortable and accessible to white music educators commonly uncomfortable with rap music? Interviews were analysed using a framework of whiteness as property including: rights of disposition, rights to use and enjoyment, reputation as property, and the absolute right to exclude.

Students’ experiences of their agency in whole-class playing

The agency of primary school students has been studied increasingly in recent years; yet, we know relatively little about student agency in music educational settings or how students experience their participation in joint musical action. This study explores sixth-grade students’ experiences of their agency in whole-class playing. Qualitative content analysis of 11 pair interviews identified vulnerability as an essential element of participating in whole-class playing, highlighting the intrinsically emotional nature of the process, the immediacy of the musically shared moment and the safe place of entrainment. This study elucidates the enactment of agency and the resources facilitating and limiting agency within the context of whole-class playing from the perspective of students themselves.

The Collaborative Pedagogies of Solo Improvisation

Although extant literature has argued for the pedagogical value of free improvisation within music education settings, these studies have largely overlooked how musicians develop their musical and sociocultural knowledges through this process of making music. In response, I use this paper to examine the mechanisms of learning within Thomson's notion of the performance as classroom. To do so, I situate this analysis within the noise music genre and analyze a video of American noise artists Crank Sturgeon to unveil how musical knowledges form within this performance. In doing so, I assert that the distributed and non-anthropocentric understanding of collaboration at the heart of noise music expands the borders of performance as classroom to engage not only the performer on stage but the audience and music making technologies in the process of developing a supposedly individual artistic practice.

Experiences of Musical Improvisation: Self-Individuation and Participatory Sense-Making

Improvisation is an important element of global musical practices. However, musical improvisation is often neglected in K-12 and collegiate music education programs, with some music educators suggesting that improvisation cannot be taught. Rather, improvisation must be facilitated, enabled, and fostered. In this review of literature, I examined musicians’ experiences when improvising to provide information about the characteristics of the environment needed to foster student improvisation. I drew upon recent developments in music perception and cognition studies to frame a view of individual and group processes in improvisation, and I suggest steps teachers can take to facilitate improvisation in music education settings.

A comparison of federal and state special education laws: implications for music educators

State governments have the purview to interpret federal special education policies as they see fit. Interpretations of these policies to music education rarely are addressed within state special education policy. The authors selected four states to analyze and compare state special education policies; Illinois, Michigan, Texas, and Virginia. Policies highlighted by the authors include funding, LRE, access to information, and professional development. The authors outline how these policies may apply to music education settings and what music educators can do to more fully support students with disabilities. Additionally, the authors offer policy and practice recommendations.

On Embedding Indigenous Musics in Schools: Examining the Applicability of Possible Models to One School District's Approach.

Recent curriculum policy changes in British Columbia (BC) require that educators in all subject areas-including music-embed local Indigenous knowledge, pedagogies, and worldviews in their classes. Yet facilitating such decolonizing cross-cultural music education activities requires knowledge that music educators may not currently possess. We use four models created by an Indigenous Arts scholar to examine the interface of Indigenous and Western art musics in performing arts settings: (a) integration, (b) nation-to-nation music trading and reciprocal presentation, (c) a combination of the first two models, and (d) non-integrative encounters that are in relationship but have irreconcilable elements. We consider the applicability of these models in music education settings, using them to analyze our findings from a study in which we explored the ways teachers have embedded local First Nations songs and drumming in classes in a single metropolitan school district in BC.

A scoping review of international mindedness and related concepts in music education, 2000–2020

AbstractInternational mindedness (IM) is a term often used by the International Baccalaureate (IB), international schools and researchers in the field of international education. However, within the discipline of music education, this concept remains relatively unexplored. Conducted as a scoping review, using Arksey and O’Malley's (2005) framework, this study charts the research literature that explores IM and its related concepts within music education settings. A broad definition of music education was adopted, incorporating both formal and informal learning environments. Related concepts to IM, used as search terms, were taken from two IB commissioned reports (that is, Castro, Lundgren and Woodin, 2013; Singh and Qi, 2013). Only primary studies, with a publication date between 2000 and 2020, were included. In total, 218 studies satisfied the inclusion criteria, the majority of which addressed the concepts of multicultural education, intercultural competence, cultural awareness and social inclusion. No primary studies were included for the concepts of common humanity, human rights education, language rights, omniculturalism, transcultural competence and world mindedness/citizenship. Only four primary studies were found that address IM, conducted by the same two researchers, leading the author to question whether future research exploring IM in music education settings is a worthwhile endeavour. In sum, although a significant amount of literature was found through this scoping review, several concepts remain underdeveloped, or completely unexplored, within the field of music education.

Insights on K-12 Music Teachers’ Retention in Rural, Geographically Isolated Areas: Stories of Success

Due to the ever-growing teacher shortage, attention to the retention of teachers, in particular within rural settings, is important. While teacher retention studies have been conducted in lower grades and upper grade level teachers, particular focus on kindergarten through12 grade music teachers has yet to be done. The overarching objective of this qualitative study was to discover the stories of rural Missouri tenured music teachers and why they chose to remain in their rural place, guided by the conceptual underpinnings of rural education, rural music education, and rural teacher retention. Data collection included interviews with teachers, interviews with administrators, analyzed documents, and analyzed field notes collected from the six different school district building sites employing the participants. Two themes emerged through the six rural teachers’ stories: (a) administration and (b) culture. Transparent and bilateral administration communication with administration was coupled with continual student rapport building as overarching subthemes. Recommendations for rural administrators and professors of pre-service music teachers at institutions of higher education and implications for future research relevant in rural music education settings were included. Keywords : Rural music education, Teacher retention, School culture DOI: 10.7176/JEP/12-24-04 Publication date: August 31 st 2021

Language, Music, and Revitalizing Indigeneity: Effecting Cultural Restoration and Ecological Balance via Music Education

In this paper, we explore challenges in conveying the culturally constructed meanings of local Indigenous musics and the worldviews they manifest to students in K-12 school music classes, when foundational aspects of the English language, historical and current discourse, and English language habits function to thwart the transmission of those meanings. We recount how, in settler colonial societies in North America, speakers of the dominant English language have historically misrepresented, discredited, and obscured cultural meanings that inhere in local Indigenous musics. First, we examine three ways in which the use of English has distorted the cultural meanings of those musics. Next, we explain how historical discourses in English have intentionally undervalued or discredited the values intrinsic to those musics, also describing how some current music education discourse in English might work against the embedding of Indigenous meanings in school music education settings. We then consider additional factors distinguishing Indigenous languages from European languages (especially English) to show how a people’s “language habits” influence their perception of and thus their relationship with their natural environment. We conclude by considering the role of music education in revitalizing local Indigenous languages and musics and advancing the cultural values of their originating communities.

Health Education Literacy and Accessibility for Musicians: A Global Approach. Report from the Worldwide Universities Network Project.

To address the need for accessible health education and improved health literacy for musicians throughout their lifespan. Formation of a multicultural, international, and interdisciplinary collaborative research team, funded by the Worldwide Universities Network. The goal is to design a multi-strand research program to develop flexible and accessible approaches to health education for musicians, thus improving their health literacy. Two team meetings took place in 2018. The first was held 11 to 15 April 2018 in Perth, Australia, and involved a review of existing literature and interventions on health education in music schools, intensive development of research topics, aims, and methodologies, and identification of potential funding sources to support future large-scale research programs. This resulted in the draft design of three research projects, finalized during a second meeting in Maastricht, the Netherlands, 27 to 31 August 2018. These intensive meetings identified the need for both cultural change in music education settings as well as improved health literacy in musicians across global geographical regions. A global project to address health literacy and health education accessibility for musicians has commenced.

The (female) situated musical body

The starting point for the study presented in this article is constituted by experiences of using Simone de Beauvoir’s philosophy and Iris Marion Young theories aiming to describe and understand the becoming of musical women in Swedish schools. Earlier research conducted outside the area of music shows that Beauvoir’s theories can help to explain – and provide means of change for – situations where there is a risk that traditional gender roles will be conserved. A majority of gender studies in the field of music education are based on the performativity theory of Judith Butler. In comparison, de Beauvoir states that repetitions and habits are stratified in the body as experiences, and that human beings are able to make choices in a situation. The aim of the study is to explore how caring is nurtured among girls in Swedish music educational settings. Material generated through two phenomenological studies conducted within specialist music programs in lower respectively higher secondary education in Sweden, constituted the empirical base for conducting re-analysis. This re-analysis followed a hermeneutical phenomenological analytical model. Examples of how caring seemed to be nurtured among girls in music education appeared at different levels and in different situations. It concerns actions made by the girls aiming to make the social and musical setting function in agreed upon ways, namely in the form of taking initiatives, filling “gaps”, and being flexible. Finally we reflect upon causes and changes in relation to actions that seem to establish and maintain female students as immanent, and non-able to run their own projects.

Review of Literature: Pedagogical Content Knowledge and String Teacher Preparation

In the past few decades, there has been an increase in the percentage of non-string specialists teaching string classes. In this article, we review literature about subject-specific pedagogical content knowledge (PCK) in general and music education settings, to better understand the challenges that teachers with limited knowledge of string-specific content may face when teaching strings students. Included in this review are discussions concerning trends in the string teacher workforce, PCK in education and music, acquisition of PCK in general settings and music teacher preparation programs, and relationships between teacher content knowledge and instructional effectiveness, both in general and string education settings. Based on this review, we recommend that preservice and professional development curricula for music teachers include comprehensive preparation in both content-specific and pedagogical-specific knowledge for teaching strings.

Cultural Bias in Testing

The findings and discussions related to cultural bias in testing have in no way been unanimous. However, the considerations of this area of inquiry may possess meaningful implications for educators of any subject. In this review of literature, I describe the issues, research, and arguments surrounding cultural bias in testing and discuss implications for the field of music education. A working description of cultural bias in testing for the purpose of this article involves the notions of (a) significantly different results for definable subgroups from apparently similar ability levels and (b) issues with the fair and equitable interpretation and use of test results. Applications of general education scholarship to music education settings include investigations and perceptions of cultural bias as well as suggestions for improved fairness consisting of addressing group differences, offering diverse ways to perform, discouraging misuse, and accommodating for differences.

Descriptions of improvisational thinking by developing jazz improvisers

Research investigating improvisational skill development in adolescent learners is scant. In this study interviews with developing jazz improvisers are used to characterize the skill-building process. The findings were considered in light of two views of skill learning. In one view, students progress through several discrete levels, while in a different view students think like experts throughout development although the contextual demands vary. The six participants first improvised over a common 12-measure progression and then discussed their thinking in an interview that referenced their performance through approximate notation and audio recordings of their improvisation. Previous research with artist-level improvisers was used to develop an a priori coding frame to investigate to what extent the current participants described thinking that resembled that of experts. Results indicate that all six participants used monitoring and evaluation processes independent of skill level. However, only three participants with multiple years of jazz improvisation experience discussed how the underlying chord structure shaped their output. Also, experience level influenced the extent of planning during the improvisations, with novices thinking ahead a couple of notes while more experienced participants formulated plans for upcoming phrases and choruses. Pedagogical implications for improvisation in other music education settings are discussed.

“How Does That Apply to Me?” The Gross Injustice of Having to Translate

Abstract When we hear discourse that does not fit our own life schema but could with some subtle (or not so subtle) adjustments, the path of least resistance, in many cases, is simply to internally adjust the discourse to fit our schema. This article explores the injustice of students having to translate teacher discourse to apply to their own stories. I assert that translation is a socialized human process. The first part of this article argues that the necessity of engaging in translation is a microaggression continually encountered by individuals who embody difference. I focus specifically on the manifestations of this practice on the lesbian, gay, bisexual, transgender, queer, questioning, intersex, and asexual (LGBTQQIA) community and speak directly to the injustices of heteronormative and gender normative discourses in the context of school music. Drawing on different music education settings, I point to strategic practical choices educators can employ in classroom discourse to ensure that their language and other classroom representations include all students in the classroom. The discussion portion of this article interrogates the uncomplicated nature of the discursive suggestions I put forward in light of the biopolitical issues faced by the LGBTQQIA community.

Becoming musicians: situating young people’s experiences of musical learning between formal, informal and non-formal spheres

This article considers the processes of musical learning that take place across formal, non-formal and informal contexts and spaces. Building on notions of embodied knowledge, identity and culture within education studies, specifically the concept of ‘musical habitus’, this article explores processes of access, inclusion and appropriation of music learning environments. Based on focus group discussions with a diverse group of young Londoners (aged 16–25 years) taking part in Wired4Music, a publicly funded youth leadership programme, the article considers definitions and the significance of music and learning places to these emerging musicians. This includes the processes through which musical learning takes place and the relevant factors that contribute to productive learning. Often operating within a context of subsidised arts provision, these perspectives are also considered within the current cultural policy landscape in England. Participants described implicit and explicit processes of exclusion to some formal music education settings and approaches, whereby a less formal though still intentional approach to learning was enacted in response. This included re-appropriating spaces and creating music in communities of practice, embracing multi-modal approaches to learning across art forms and genres and self-directing learning opportunities. These findings strongly resonate with studies which have critically appraised the specific sites and spaces where education takes place, as well as those suggesting that theories of identity, taste and cultural consumption should also be considered in education praxis, whether formal, non-formal or informal.