Music Education Students Research Articles

A Study on How to Cultivate Musical Transitions Using A. Copland’s Theory of Students of Liberal Arts Music Education at University

This study adopted literature analysis and hermeneutic research methods, utilizing Aaron Copland's theory of film music to explore strategies for promoting musical transfer among students in college-level general music education. Music courses in liberal arts education at the university level typically focus on enhancing students' appreciation and understanding of music. however, given the nature of such courses, there may be limitations in applying musical concepts to real-life situations unless a specific instructional design is considered. To address this issue, this study developed a preliminary educational model through a literature review, and subsequently refined and finalized the model by incorporating revisions identified during the actual process of designing lessons using film music. The findings indicate that the educational model employing film music has the potential to enhance students' musical comprehension and appreciation skills and serves as an effective tool for facilitating the transfer of musical concepts across various contexts. These results suggest that the integration of film music into liberal arts music education is an effective approach for expanding students' musical thinking and experiences, thus presenting a new direction for music education.

Movement of Chinese Music Student Teachers Through Fuller and Bown Stages of Concern: A Comparison of Survey Ratings and Free Response

Student teaching is a critical element in music teacher preparation. Fuller and Bown’s three-stage model of teacher concerns development has been widely utilized in the United States, but little is known about the development of concerns of Chinese preservice music teachers. Therefore, the purpose of this mixed-method study was to investigate Chinese student teachers’ ( N = 65) concerns and shift-of-concern patterns before and after student teaching. A rating survey translated to Chinese and written free responses were used to examine concerns. Both quantitative and qualitative data indicated that teaching experience, as predicted, notably decreased student teachers’ self concerns. Analysis of written comments revealed that many concerns were context-specific, and thus we added a new category: social concerns, including legitimacy of music as a subject, physical work environment, and others. Comparisons between the two types of dependent measures showed notable differences. By ratings, task concerns were ranked significantly higher than self and student impact concerns both before and after student teaching. The written comments, however, revealed that Chinese student teachers had the most self concerns before student teaching but emphasized social concerns after student teaching. In-depth discussion includes emerging themes, cultural context, possible factors associated with concerns shifts, and implications for future research.

A partnership composition project between professional composers, a university music education program, and a comprehensive school extended music program

In this Finnish-based study, professional composers ( n = 2), student music teachers ( n = 6), eighth-grade comprehensive school pupils studying in an extended music program ( n = 22), and university and school music educators ( n = 2) were brought together to pilot a partnership model for teaching and learning music composition. The one-year project offered (a) a composition pedagogy course for student music teachers, including lectures by composers and a seminar and teacher training in a comprehensive school, and (b) collaborative composition workshops for eighth-grade pupils under the supervision of student music teachers, professional composers, and a school music teacher. In Part 1, we conducted a survey to investigate pupils’ experiences relating to their creative musical agencies and basic psychological needs. In Part 2, we used a phenomenographic approach to examine educators’ perceptions of student music teachers’ development as composition teachers. In Part 3, we used phenomenography to study the student music teachers’ experiences of their development as composition teachers. The results indicate that (a) the musical agency and basic psychological needs of the eighth-grade pupils were supported; (b) the educators succeeded in planning and implementing the pilot course, taking into account both the social and pedagogical aspects of collaborative composition; and (c) the student music teachers felt that their attitudes toward teaching music composition changed and that their confidence increased during the project. We recommend future modifications to the present educational model and consider its potential implications for music education in the Finnish context.

Democratising the Music Curriculum: Integrating Ubuntugogy for the Africanisation of South African Higher Education

In recent years, there has been an ongoing debate about the need for redress in South African higher education which is largely informed by Western perspectives, and the music curriculum is no exception. Even though there is growing progress, music education continues to be dominated by the Western classical canon. Therefore, the purpose of this article was to provide a comprehensive investigation of how ubuntugogy can be successfully and effectively merged into the South African higher education music curriculum. The researcher used ubuntugogy as a theoretical framework to advocate for the integration of ubuntugogy—a teaching philosophy rooted in African values and communal learning—to democratise and Africanise the music curriculum in South African higher education. This article used a qualitative content analysis grounded in examining existing literature on a similar subject under the guidance of the research questions developed earlier. The findings of this study show that ubuntugogy provides an approach that can Africanise the curriculum and pedagogy by incorporating indigenous musical practices, oral traditions, and cultural values into the teaching and learning process. The results of this article revealed that applying ubuntugogy as a method of teaching and learning can help in preparing music education students to engage with the world from a culturally informed and empowered perspective. This article concludes by affirming that ubuntugogy as a method of teaching and learning provides a transformative framework for Africanising music education in South African higher education.

Views on distance education sight-disabled students receiving professional music education

In this research, of sight-disabled professional music education students’ opinions regarding distance education were examined. Answers were sought to questions about to what extent distance education, a widely used education model of our age, is effective and sufficient for students with special needs. The study group of this research consisted of sight-disabled professional music education students studying at the undergraduate and graduate levels. The data were collected using semi-structured interview and the data were analyzed using content analysis. Findings obtained from the data revealed that the distance education model had deficiencies for sight-disabled professional music education students. It was determined that students had problems especially with accessibility. Suggestions have been made to make the model in question more suitable for the sight-disabled.

Online Social Comparison and Impostor Phenomenon Among Music Education Undergraduates

The purpose of this study was to investigate online social comparison and impostor phenomenon (IP) in undergraduate music education students. In Phase 1, participants provided demographic information and completed measures of online social comparison, Facebook use, and the Clance Impostor Phenomenon Scale (CIPS). Facebook social comparison emerged as the only significant predictor of IP in participants accounting for 13.3% of the variance in CIPS scores. In Phase 2, I conducted focus groups to investigate participants’ perceptions of how they engaged in online social comparison. I identified four themes in the data: (a) comparing to peers online, (b) using Facebook for professional purposes, (c) psychological effects of online comparison, and (d) withdrawing from social media to avoid adverse effects. The findings provide insight for music teacher educators into how online social interactions among students may influence music educator identity and well-being during the undergraduate degree.

Exploring Confidence and Experience in Improvisation

This study examines the role of improvisation in music education and the challenges of integrating it into collegiate-level courses. Despite its significance in music learning, improvisation is often overlooked in school curricula. The research reveals a gap between the importance of improvisation and its limited presence in music education beyond jazz. The case study focuses on undergraduate music education students and addresses key research questions related to professors' perspectives, challenges in providing improvisational experiences, current implementation, and possibilities for further integration. Five participants, who are music professors specializing in music education, performance, and entrepreneurship, were interviewed, and observed. Data analysis identified primary themes, including confidence and experience, value, relevance, and time constraints as the main challenges to integrating improvisation. Further research will shed light on professors' views and the incorporation of improvisation in collegiate music curricula.

Satisfied? Examining Focus of Attention in Self-Directed Practice

In a series of three video-recorded assignments over a 6-week period, undergraduate music education students ( N = 16) enrolled in an instrumental methods course described aloud what they were thinking about as they practiced a three-note melody on a secondary brass instrument. Later, I completed a content analysis of the students’ practice verbalizations (PVs) captured in their assignment videos. Brass primary students ( n = 3) described thinking about predominantly external components of performance (the effects their physical actions produced). Non-brass primary students ( n = 13) described thinking about internal (parts of the body) and external components in relatively equal proportion, often focusing their attention on paired action-outcome (i.e., internal–external) relationships. After the final assignment, non-brass students reported higher levels of satisfaction with their progress than the brass primary students and expressed confidence in their ability to guide their own practice independently and effectively toward the accomplishment of meaningful goals.

Caring for our planet: a world apart or same difference? A global music collaboration

PurposeThe impact and collective threat of climate change is of key concern to all. Music and arts education can play a role by responding to the ongoing climate crisis through the creation of artworks as activism. This paper discusses a collaborative online international music project and its potential contribution to sustainable development education.Design/methodology/approach 10,427 miles and 11 hours apart, music education students undertook the project, working in groups with a mix of students from Aberdeen, Scotland and Melbourne, Australia in each group. Each student collected video footage that captured their experience of climate concerns related to their environment. Students combined and edited the footage then collaboratively composed music to accompany the footage. This research was conceived as a collaborative self-study project undertaken by the authors as music teacher educators.FindingsThe results show a range of musical and extra musical outcomes and challenges. Evidence suggests that a collaborative online international music learning experience may contribute to sustainable development education and regenerative practice more broadly. Students began to develop their practice as educators for school and community contexts embedding learning for sustainability and climate consciousness, thus enabling them to develop as active global citizens.Originality/valueThis paper argues for greater attention to the affordances of digital collaborative music technology tools to facilitate creative projects as well as the need to reimagine musical experience, drawing together strands of music, sustainability education, technology and global citizenship. This paper also argues for the importance of embedding the UN Sustainable Development Goals in teaching and learning in Higher Education.

Tutoring as a form of work and preventive activity by music school teachers

The article aims to present the use of tutoring in individualised work with music education students and show the benefits of this work style. Initially, the tutoring method and its philosophical and methodological assumptions were introduced. Then, the specificity of music education was discussed, along with the possibilities of using tutoring in working with students and their parents. Finally, the preventive function of this method and its use to build students' mental resilience in accordance with the concept of resilience were discussed. The methodical aspect of tutoring combined with the teacher's competencies creates an opportunity to create a unique master-student relationship, typical of music education.

“We Just Kind of Found Ourselves”: A Narrative Study of First-Generation College Students and Belonging in Music Education

As the field of music education explores ways to mitigate barriers for underrepresented populations along the path to becoming a music teacher, the experiences of first-generation college students (FGCSs) in music teacher education programs warrant exploration. The purpose of this narrative study was to explore the lived experiences and perspectives of music educators who were FGCSs. Networks of support and mentoring were key in both the successes and challenges that participants experienced. Belonging was not a given for participants despite shared coursework and requirements with peers. Finding peers with similar backgrounds, accessing supportive relationships with faculty, and perseverance aided participants through college. Recommendations for music teacher educators include building relationships with FGCSs in targeted and strategic ways, starting in students’ first year, providing more intensive and proactive communication and advising structures, and building faculty knowledge of campus resources that may benefit FGCSs.

Self-Efficacy and Commitment Among Music Student Teachers

Abstract The purpose of this study was to investigate the network of relationships among sources of self-efficacy, teaching efficacy (comprising music teaching efficacy and classroom management efficacy), and commitment to teaching among music student teachers. A secondary purpose was to examine how participants described influences on their teaching efficacy and commitment through open-ended responses. Participants were music student teachers (N=125) from universities across the United States. Results revealed that student teachers at the elementary level felt significantly more efficacious than those teaching at the secondary level. In the context of this study, verbal/social persuasion explained the most amount of variation among music teaching efficacy, while physiological state explained the most amount of variation in classroom management efficacy. These findings vary from previous research that has pointed to mastery experiences as the most impactful source of self-efficacy. Path analyses indicated that those with relatively stronger feelings of music teaching efficacy also tended to have stronger feelings of commitment to the music teaching profession as well as an increased sense of classroom management efficacy. Open-ended responses indicated that participants felt verbal/social persuasions were the most impactful on their sense of confidence as a teacher, while past music teachers were the most common influence on student teachers’ sense of professional commitment.

An online community of interns: Examining the music student teaching seminar in a virtual setting

Communities of Practice are integral as a network for engaging in regular interactions, sharing resources, and offering support. As online collegiate communities continue to expand, exploration of virtual courses—specifically, the music student teaching seminar—seems necessary. The purpose of this instrumental case study was to describe music student teachers’ (MSTs, N = 20) and instructors’ experiences in a virtual music student teaching seminar in the United States. Data collection included (a) observations of weekly seminar meetings; (b) focus group interviews with MSTs and seminar instructors; (c) text chat transcripts from virtual meetings and the class Facebook® group; and (d) course documents. Findings highlight the successes and challenges of developing, instructing, and facilitating the seminar in a virtual space, the perceived impact of online chat platforms/functions as an instructional and reflective tool, the benefits of regular seminar meetings, and participants’ perceived purpose of the music student teaching seminar.

Exploring music students' resistance to innovation as a moderator in the relationship between e‐learning adoption and academic performance

AbstractA teaching strategy known as an “e‐learning system” involves the use of electronic technology to encourage and assist learning in a classroom setting. According to the increasing rise in the number of pupils using modern communication technologies, alterations to the e‐learning system are now feasible. The study aims to explore the relationship between e‐learning adoption, attitude, and academic performance in the regulations of students' resistance to innovation from the perspective of Chinese students. Recognizing the mediating impact of e‐learning adoption (ELAD) as well as the regulating function of resistance to innovation (RTI) is crucial for completely comprehending how e‐learning attitude (ELAT) influences music student performance (SP). The objective of this study is to find an association between ELAT and students' performance and to find out the association between ELAD and students' performance. A random sampling technique was utilized quantitatively. Data were collected from 293 music education students in China using a questionnaire method. The study obtained data were analyzed through descriptive statistics using SPSS statistical software. The research was conducted in Chinese music educational institutions in Beijing. PLS‐SEM stands for Partial Least Squares Structural Equation Modeling. It's a statistical method used for analyzing relationships between variables. Partial Least Squares (PLS) software is chosen for its versatility in handling complex relationships with small sample sizes. PLS is known for its ability to handle multicollinearity, making it a robust choice for research requiring accurate and stable predictions with limited data. The study analyzes the connection between music student performance and e‐learning attitude. The findings of the study indicate the regulating role of objections to innovation and the mediation effect of e‐learning adoption. The study suggests that a positive attitude toward e‐learning adoption enhances students' work performance. The findings underline the significance of ELAT and ELAD and offer useful policies for improving students' performance.

Developing emotional intelligence in a static and interactive music learning environment.

The concept of a static electronic learning environment implies the utilization of tools that do not necessitate any active participation on the part of the learner aside from familiarizing oneself with the provided materials. In contrast, an interactive electronic learning environment necessitates active engagement and interaction from the learner. The research purpose is to compare the impact of interactive and static learning environments on students' emotional intelligence. Music education students (n = 216) took a theoretical course on emotional intelligence during one academic semester at the university. The students were randomly divided into two equal groups: Group A (n = 108) attended the course in a lecture format, using videos and additional reading materials. Group B participated in online forums, completed interactive exercises, and discussed individual personal diaries kept at home with the teacher. At the end of the semester, both groups completed the Mayer-Salovey-Caruso emotional intelligence test. The results suggest that the total score for emotional intelligence was higher in Group B. After another 6 months of training, students passed the same test again to assess the effectiveness of the long-term intervention strategy. The post-training results suggest that Group B has an advantage in training over Group A. At the same time, in the Managing Emotions subcategory, Group B was behind Group A, but after 6 months of training, Group B significantly improved the results (value of p = 0.01). The research summarizes the practical significance of the theoretical course on the development of emotional intelligence among music education students.

Expressive semitones: Music students’ perceptual preferences for melodic intonation on the violin

Studies of performance intonation and musicians’ own statements suggest that classical string instrumentalists often deviate in their intonation from equal temperament for expressive purposes. However, it is not clear to what extent corresponding perceptual preferences for intonational deviations might rely on listeners’ instrumental expertise or such contextual aspects as the metrical placement of tones. We investigated higher-education music students’ perceptual preferences for melodic intonation of local leading tones in unaccompanied classical violin performances. Recordings of 12 excerpts were manipulated in the size of ascending semitones (110, 90, or 70 cents) leading to tones that were more stable in the tonal context. Groups of violin students and music education students listened to pairs of excerpts differing only in the size of semitones and chose the intonation variant that they preferred. In the comparison between 90- and 110-cent semitones, violin students showed a stronger group consensus for preferring 90 cents. However, greater instrumental expertise did not result in a stronger overall preference for the sharpest 70-cent variant. Instead, the violin students showed an expertise-related connection between intonation preference and meter, which was not observed for the music education students. In particular, the violin students more often preferred 70-cent intonation (i.e., the sharpest leading tones) in metrically unaccented than in accented positions. In effect, this is to prefer an expressive intonation that colors the music while not challenging the harmonic structure at metrically salient tones. It is argued that understanding expressive intonation in musical performance requires consideration of the metrical context.

Where is Mi Gente? Codeswitching (Afro)Latinidad in the music classroom

Musical codeswitching (CS) entails mixing musical ideas and genres. The term CS originated in linguistics, based on language alternations attested in bilinguals. Switches in sociocultural behaviors also now receive scholarly attention as CS. The current multiple case study explores CS domains (music, language, and behavior) in the context of music education programs, where CS remains under-researched. This study also fills a gap by examining historically underrepresented individuals’ (HURIs) participation in music education. Here, a CS-based account provides a deeper understanding of the complex sociocultural capital, linguistic resources and lived experiences that HURIs navigate. As part of an interpretive qualitative study design, semi-structured interviews were carried out with a HURI subpopulation (bilingual, [Afro]Latina/o/x faculty, and students) in music education. Findings show participants perceive CS to be mandatory for accessing dominant U.S. music school culture. Additional findings reveal HURIs must master CS in musical, linguistic, and behavioral domains to avoid negative outcomes, yet sustained multi-CS scenarios may have psychological and even physical costs. Insights from CS are thus critical for pinpointing institutional barriers to greater HURI involvement in music education.

Undergraduate Students in Vocational Music Education's Using Social Media to Improve their Instrument Playing Skills

Undergraduate Students in Vocational Music Education's Using Social Media to Improve their Instrument Playing Skills

Study of Cognitive Structures of Professional Music Education Students Regarding the Concept of Aesthetics

Study of Cognitive Structures of Professional Music Education Students Regarding the Concept of Aesthetics

Korean Preservice Music Teachers’ Perceptions of Portfolio-based Teacher Education: A qualitative study

Objectives This qualitative study aimed to examine Korean preservice music teachers’ perceptions of portfo-lio-based teacher education.
 Methods A focus group interview along with an open-ended survey was executed with five preservice music teachers who were enrolled in the same portfolio-based music history education course at a graduate school of education in Seoul, Korea. The collected data were transcribed in Korean, translated it into English, and then in-ductively analyzed.
 Results The findings show as follows. First, all the participants have rarely experienced portfolio-based learning. Second, the portfolio-based learning approach is perceived as a way to self-driven learning experience, which promoted their own growth and capacity for critical thinking and self-expression. Meanwhile, heavy-loaded as-signments and inconcrete learning objectives were found to form their negative perceptions of portfolio-based learning approach. Third, for succesful portfolio-based learning and teaching, teacher educators’ detailed learning objectives and guidelines along with good questions as well as assignment qualities are found to be essential.
 Conclusions In conclusion, portfolio-based teacher education approach can promote preservice music teachers’ capacity for self-driven learning and teaching. As for its open-ended nature, teacher educators’ role and attitude can be key components component for successful portfolio-based learning and teaching experiences. For future stud-ies, it is important to continue to discuss possibilities and limitations of portfolio-based music teacher education by reflecting the study’s findings and implications. It will ultimately optimize ways to empower music student teachers’ agency and capacity. This study contributes to underrepresented portfolio-based Korean music teacher education theory and practice.