Music Education Research Articles

Affordances in music education

The affordances of objects in music education, such as tablets or musical toys, necessitate a domain-specific conceptual understanding to guide perception and bodily action, extending utilitarian values toward musical and educational goals. This article explores the concept of affordances in music education and elucidates the application of various types of affordances—specifically, cognitive, educational, mental, affective, and social—in the contexts of teaching and learning music. Several characteristics of affordances in music education were observed: (1) music serves as a form of communication, enabling learners to transcend established protocols in human interactions; (2) music is intertwined with the transmission of sociocultural and aesthetic values, as evidenced by historically informed musical practices and traditions; (3) engagement in music-making nurtures learners’ creativity and personal growth, fostering experiences that can be transferable; (4) music learning reveals individuals’ emotional capacities and expressiveness; and (5) music-making entails collaborative work, facilitating the development of interpersonal relationships and the construction of a community rooted in the values of equity, diversity, and inclusion (EDI). Practical recommendations for enhancing affordances in music education can heighten its awareness to music educators and foster explicit learning design in the development of educational tools. These suggestions have the potential to unlock possibilities that may otherwise remain unrealized.

Beowulf Opera Scenes: Classroom music pedagogy and knowledge when composing an opera with primary-school children

Beowulf Opera Scenes: Classroom music pedagogy and knowledge when composing an opera with primary-school children

EXPLORING MUSICAL IDENTITY DEVELOPMENT: PERSPECTIVES FROM STAGE THEORY, SELF-DETERMINATION THEORY, AND A LIFESPAN APPROACH

Music has a profound impact on a person's identity and has a complicated and deep relationship with the self. A psychological concept called "musical identity" includes a variety of elements derived from "personal, social, emotional, and musical competencies." It represents how people behave in a cultural and social context and is influenced by their involvement in music and practice. The study of how people acquire their musical knowledge and skills examines the cognitive, emotional, and social facets of this process. The stage theory by Trevarthen and Malloch, which hypothesizes discrete transitions in musical development across the lifespan, is a well-known framework in this area. Another approach is the Self-Determination Theory (SDT) application by Evans and McPherson, which emphasizes the significance of autonomy, competence, and relatedness in forming musical identity. Using a lifelong perspective, Lamont emphasizes the impact of social settings and cultural environments on the negotiation of musical identity. Her work emphasizes the significance of early musical encounters, the influence of formal and informal musical interactions during infancy, and the development of musical identity during adolescence and maturity. Understanding these frameworks advances our knowledge of how musical identities are formed and has implications for music education, therapy, and the encouragement of lifelong musical participation.

The construction of ‘we’ empowering music practice in kindergarten

ABSTRACT Singing together fosters connections across social contexts. While this activity is expected to flourish in kindergartens and nurseries, studies from multiple countries have highlighted a growing decline in confidence in singing among both kindergarten teachers and students. To address this, Kulset and Halle [(2020). Togetherness!: adult companionship – the key to music-making in kindergarten.’ Music Education Research 22 (3): 304–314] introduced ‘we’, promoting adult companionship and collective music-making. This study deepens the ‘we’ concept and its practical implications. Using Cultural-historical Activity Theory (CHAT), we compared recent studies on self-concept in musicality among kindergarten teachers and students. While existing research emphasises the significance of nurturing musical skills and a theoretical understanding of musicality, our analysis suggests that practical engagement in music-making mainly as a collaborative effort could catalyse a transformative shift towards fostering musical togetherness. We propose adjusting music programmes in kindergarten teacher education to prioritise such collaborative music-making skills. Practical ‘we’ implementation could reverse declining confidence in singing, instead fostering musical companionship.

An Examination of Career Readiness Among Music Education Doctoral Alumni

The purpose of this research was to examine recent doctoral music education alumni perceptions of how their doctoral programs informed their current work. We placed a specific focus on how the curricular, scholarly, and experiential facets of music education doctoral programs have transferred to graduates’ current positions. Participants ( N = 74) completed a researcher-designed survey based on previously conducted research that consisted of three categories: description of current positions, doctoral experiences, and the significance of doctoral experiences in preparation for their current positions. Results indicated that most participants were employed in full-time tenure track and nontenure track positions and that the most common opportunities during doctoral programs involved writing, presenting, and publishing research. Implications include examining recruitment practices for doctoral programs, degree program environments and expectations, the connection between degree programs and definitions of career success, and ways to prepare alumni for positions both in and outside of R1 institutions.

Music Therapy Sessions With Older Adults on YouTube: A Content Analysis for Academic Instruction

Abstract Prior research in music therapy has examined the availability and content of YouTube videos overall and in relation to veterans with post-traumatic stress disorder and pediatric medical music therapy. Anecdotally music educators use YouTube videos to provide students with clinical examples of music therapy sessions. It is unclear what clinical video content about music therapy with older adults is available. Therefore, this descriptive study aimed to examine the content of YouTube videos related to the clinical practice of music therapy with older adults for academic instruction. After conducting an initial search for music therapy clinical videos with older adults on YouTube, the authors completed a descriptive analysis of 23 videos that included clinical footage. Videos were analyzed to describe video-specific and therapy-specific content. In addition, the authors completed an exploratory analysis of diversity-specific content. Finally, the authors investigated the presence of American Music Therapy Association’s (AMTA) Competencies in clinical videos from the past 5 years (2018–2022). Results demonstrate varying amounts of video-specific, therapy-specific, and diversity-specific content leading to clinical and educational implications. The authors identify a need for future investigation of the use of videos in teaching by music therapy faculty, as well as student perceptions of music therapy content provided in clinical video clips.

Historical Development and Learning of Marimba in Chinese Educational Institutions

Background and Aim: The significance of the historical development and learning of the marimba in Chinese educational institutions lies in the evolutionary and developmental process of these institutions and the interesting nature of the learning process. It is necessary to study the introduction and learning process of the marimba. The aim is to explore the historical development and learning of the marimba in Chinese educational institutions. Materials and Methods: Qualitative research and content analysis were used, based on the principles of the historical development of the marimba, to convey and promote Chinese culture through marimba sound, playing techniques, and the learning process in educational institutions. Results: The marimba was introduced to China in the 1980s. Teaching and playing methods mainly follow the international mainstream. Due to its low popularity, few schools offer marimba courses. Automatic lifting systems have emerged. There is scope for further development. The learning is comprehensive, in-depth, and innovative, helping students gain proficiency and cultivate musical literacy and innovative abilities. It originated in Guatemala and spread worldwide, entering China in the 1980s. In China, it has gradually become an important part of the music education system. Courses and training programs have been established in various educational institutions. Learning requires basic skills and the pursuit of artistic expression and cultural understanding. In the future, the marimba will have broader prospects with the development of music education and the acceleration of the internationalization process. Conclusion: Despite its initial lack of popularity, the marimba—which was brought to China in the 1980s—has grown to be an essential part of the country's music education program. Students develop proficiency and musical literacy through thorough and creative teaching methods, and as internationalization and music education progress, the instrument's future in China appears bright.

Voluntary musical imagery in music practice: contextual meaning, neuroscientific mechanisms and practical applications

Practice is acknowledged as a crucial facilitator for musicians to achieve performance excellence. Despite the rich literature on incorporating musical imagery intentionally to improve one’s practice efficacy, limitations remain in the understanding of voluntary musical imagery (VMI) in the context of musical practice. Therefore, our aims in this review are threefold. First, we enriched the interpretation of VMI in the context of music practice through the lens of embodied cognition. Second, we integrated neuroscientific findings to elucidate how the deliberate use of musical imagery parallels physical practice in effectiveness. Third, we synthesize work on the application of VMI in enhancing musical learning from both theoretical and practical perspectives. By providing an integrated overview of voluntary musical imagery, we highlight gaps in the literature and encourage further research on (1) the impact of embodied experiences on VMI formation, (2) optimal imagery content and ratio combination to establish a personalized intervention protocol for more effective musical pedagogy, and (3) on physiological measures to access VMI effectiveness. Additionally, we highlight the crucial implications of VMI for researchers, performers, and music educators.

Challenging Classical Music’s Genre Conventions: Findings from a Project on Youth Voice in Instrumental Education

Abstract This article explores classical music education through analysing findings from a project on embedding ‘youth voice’ within instrumental teaching and learning. Drawing on theorizations of classical music as a genre, I describe how the young people in this project saw classical music’s genre conventions as working against a youth voice approach. The article also outlines the ways in which youth voice was shaped through social relations in this space as well as the ‘institutional ecology’ of music education. I argue that embedding youth voice approaches in instrumental education will only be effective if the genre itself is open to transformation.

Mentoring in the context of music teacher education: A systematic review

The preparation of music teachers represents a key factor within the educational framework. In a world in constant evolution, the need to integrate new training proposals that cater to different environments is of vital importance to strengthen music education. The aim of this study is to analyze the use of mentoring in the context of music teaching through a systematic review using PRISMA. Among the results, the main areas addressed by mentoring are observed, being centered around professional development and the accompaniment of both students and teachers who are new to teaching. The profile of the participants in the mentoring relationship (mentor-mentee) is detailed in the systematic review, being the formal models of mentoring, linked to an institution, the most widespread throughout the article. Among the main conclusions, the prominence of the USA in the research and development of mentoring programs is noted and the positive impact of mentoring in both formal and informal contexts is highlighted, emphasizing individualized and group mentoring for professional and personal development in higher education.

Reimaging Music Education Through a Rhizomatic Approach Focusing on Performing, Creating, Responding, and Connecting

In music educators’ endeavoring to integrate equity into our curriculum, adopting a rhizomatic approach could provide a valuable perspective for reassessing the Western classical tradition as the norm. From a philosophical perspective, the rhizome is perceived as an interconnected multiplicity, where various elements are intricately connected without a central or hierarchical control system. In essence, a rhizomatic approach is more expansive than top-down alternatives and inherently places greater emphasis on equity. Given a rhizome’s noncentered and nonhierarchical nature, the concept of a rhizome encourages engagement with music comparatively or relationally, fostering a broad perspective that recognizes the interconnectedness between musics. More importantly, lessons using a rhizomatic approach may promote teachers and students to view all forms of musics as equally significant, honoring diverse musical traditions rather than exclusively prioritizing Western classical heritage.

Research Strategies of “Instrumental Music in the Classroom” in Secondary School Music Teaching

Nowadays, the state vigorously develops aesthetic education, and secondary school music education, as a part of aesthetic education, has received more and more attention. With the provisions of the music curriculum standard and the promulgation of the new curriculum reform in 2022, the importance of instrumental music teaching is increasing. Starting from the current situation of instrumental music teaching in secondary schools, we analyze the problems of instrumental music teaching in secondary schools through the investigation of internship schools, interviews with teachers and the study of secondary school music textbooks, as a direction to explore the specific strategies of “instrumental music in the classroom”. Through literature review and interviews, we take the recorder as an example to provide relevant strategies, such as choosing suitable instruments, innovating recorder teaching methods and modes, cultivating teachers, compiling school-based teaching materials, standardizing recorder classroom behaviors, and perfecting the teaching evaluation mechanism, etc., so as to effectively implement instrumental music teaching in secondary school music classrooms.

The Case for Compulsory Music Education in U.S. K-12 Schools: A Path to Fostering Cultural Identity and Inclusivity

This paper investigates the possible advantages of having music education as a required part of the U.S. K-12 curricula, particularly relating to how it can help develop cultural identities and encourage social cohesion. Music education helps develop cultural identity in that it creates shared experiences, preserves heritage, and encourages intercultural understanding. Questions of practical implementation—equity disparities, curricular prejudices, and lack of finances—fall into place as some of these challenges. It is contended in the paper that compulsory music education, far from these challenges, has rich cultural and educational rewards and for that matter prescribes remediating through legislative advocacy and public-private partnerships, and culturally responsive teaching practices.

A Yin-Yang approach: Investigating students’ beliefs about teaching and learning in music among college students in Macau, China

This exploratory study aims to investigate the beliefs of college students in Macau, China, regarding teaching and learning in the field of music education, including factors influencing students’ views and their ideal music classroom environment. Employing a Rigorous Mixed Methods Framework that included surveys, observations, interviews, and reflective essays, a sample of ( n = 120). Chinese college students and ( n = 3) college music instructors were selected for participation. In the initial phase, findings revealed a nuanced perspective among students, demonstrating a stronger preference for the Constructivist Conception over the Traditional Conception. However, during the second and third phases, the findings revealed a preference for traditional and master-apprentice styles of learning in practice. Through the analysis of all three phases of research, this study unveiled a complex and juxtaposed ideology of music learning among Chinese students. While there was a misalignment between students’ ideologies and behaviors, they consistently expressed a desire for a more collaborative, creative, supportive, and open environment in which they can freely share their musical passion. Rather than adhering to a binary approach, the findings suggest the necessity of embracing a more nuanced “Yin-Yang” perspective in Macau.

“Once We Found Our Groove, . . .”: A Study of Preservice Music Teachers Engaged in a Popular Music Education Experience

The purpose of this intrinsic case study was to examine the perceived benefits and challenges of implementing informal learning practices through popular music education for preservice music teachers. Specifically, we sought to understand why and how preservice music educators would perceive benefits and challenges from their experiences in a modern band. We conducted a study with five preservice music teachers in a modern band outside of the curriculum in a music teacher education program. We collected the data for 9 weeks, gathering multiple interviews, participants’ written responses, artifacts, and researchers’ field notes. Three overarching themes emerged from the data analysis: (a) a self-navigating process of aural-based learning, (b) autonomy with freedom, and (c) reflective educators. Our findings indicated that the ultimate goal of informal learning practices in music teacher education may not be limited to mastering musical skills but should include improving problem solving and classroom decision making.

Unlocking the Beat: How AI Tools Drive Music Students' Motivation, Engagement, Creativity and Learning Success

ABSTRACTThis study explores the relationships among music students' artificial intelligence (AI) perceptions, motivation, engagement, creativity and learning success. Through a random sampling method, 521 Chinese music students participated in the research, which employed a range of questionnaires to assess AI perceptions, motivation, engagement, learning outcomes and creativity. The study utilised SPSS (version 27) and AMOS (version 24) for comprehensive statistical analysis. Findings reveal a significant relationship between students' perceptions of AI in music education and their motivation, engagement and learning success. Positive AI perceptions were found to enhance motivation by increasing interest in innovative learning tools and fostering engagement through interactive AI‐based learning environments. Moreover, these perceptions were predictive of higher motivation, engagement and learning success. The study suggests that AI can play a crucial role in enhancing educational outcomes by making learning more interactive, personalised and engaging, thus improving overall student performance and creativity in music education.

MODERN FORMS AND METHODS OF AESTHETIC EDUCATION OF PRIMARY SCHOOL STUDENTS IN THE PEOPLE’S REPUBLIC OF CHINA

With the deepening of the reform of China’s general education system and the popularisation of information technology, computer music software has become an essential component of music education in primary schools. The purpose of the article is to theoretically study modern forms and methods of aesthetic education of primary school students. The problems existing in general music education in China at the present stage are analysed, the important role of computer software in music lessons is explained, and ways and means of integrating information technology into the process of aesthetic education of schoolchildren are proposed.

Mixed reality strategies for piano education

Head-mounted mixed reality interfaces, in which a user perceives a seamless blend of real, virtual or remote content, have great potential in a wide range of educational contexts. In this paper, we explore the use of mixed reality (MR) in piano education. We begin with a review of previous examples of virtual and mixed reality for piano teaching and learning, identifying four major categories of functionality: remote teaching, learning to read musical notation, providing alternative notation systems to Western musical notation, and enhancing users’ understanding and experience of music. Following this review, we present an application designed to demonstrate the use of MR for facilitating remote student-teacher piano lessons. Additionally, hand-tracking enables real-time, bi-directional visualization of both the student’s and teacher’s hand movements while playing, which is a crucial communication channel in piano instruction. We also present the Piano Theory Hub, an interactive area for independent learning and practice designed to compliment remote instructions. The Piano Theory Hub uses MR to provide spatial in situ explanations and exercises on notes, intervals, scales, and chords. User studies were conducted to evaluate both remote and solo aspects of the application. The first study with 10 participants revealed a strong sense of immersion and co-presence with the teacher during remote lessons. Trials also revealed that, in addition to virtual hands, visual highlighting of key-presses was found to improve visualisation of the remote users’ play. The second study, with 15 participants found the Piano Theory Hub to be helpful for beginners and some intermediate players, with feedback suggesting improvements in user experience and highlighting the limitations of replacing traditional piano teachers. Our experiments demonstrate that MR can be successfully employed for the following strategies for piano education: hand interaction coaching, flexible virtual hand and piano visibility, augmented feedback including key highlighting, gamified learning elements, and flexible teacher positioning options. Overall, the findings suggest that mixed reality holds promise as an effective tool for remote piano learning and music education, offering immersive and engaging learning experiences.

‘If You Love Music You Should Learn How to DJ’: Maria Chavez and Elijah interviewed by Jake Williams

In this article, DJ and scholar Jake Williams speaks with Maria Chavez and Elijah about their ideas concerning education and pedagogy in electronic music. Although they come from very different musical backgrounds, the rationale for the joint interview was twofold: first, they are both DJs who think deeply about their practice and have strong pedagogical commitments; and second, their pedagogical practices have led to them to work between informal and formal educational spaces, across a range of age groups. The talk touches on their views on music education, academia, definitions of success, what it means to be ‘open source’ and, of course, DJing.

Preservice music educators’ perceived self-efficacy in teaching students with disabilities following special education coursework: A comparative mixed-methods study

Preservice music educators’ (PMEs) experiences teaching students with disabilities (SwD) often occurs through general education coursework. Researchers have examined the effect of content-specific course work on PMEs preparation to teach music to SwD but have not examined if differences in course and clinical settings impact their self-reported feelings of self-efficacy. The purpose of this study was to examine whether differences in the delivery (online or in-person) of music-specific coursework and clinicals affected PMEs confidence to teach music to SwD. Students who participated in an online course reported a significant decrease in their self-efficacy ( t (17) = 3.57, p = .002, d = 0.89), while those who participated in an in-person course reported a significant increase ( t (10) = 7.116, p = .001, d = 2.15). Although no statistical significance was found between groups ( t (28) = 0.976, p = .33, d = 0.36), a comparative analysis of interview data provided nuanced differences. Applications for preservice music educator needs and instruction are discussed.