Music Education Research Articles

PLAYING WITH SOUNDS. EARLY AND PRESCHOOL MUSIC EDUCATION THROUGH KODALY APPROACH AND EDWIN GORDON’S MUSIC THEORY

The early introduction of children to the art of music is a recommendation in numerous curricula and approaches to music education. However, there is a need for a more profound understanding and the development of clear guidelines for working with music educators in children's educational institutions. In addition to guidance for music educators, it is crucial to persuade parents, the primary source of musical stimulation for their children, to engage with their children's musical development. Children in early childhood express natural curiosity in exploring the sounds of their environment. The incorporation of music into the natural surroundings of children can stimulate their interest in singing, dancing, and playing musical instruments. Many scholars engaged in research on children’s music education are interested in understanding how to develop children’s musical abilities to support their understanding of musical language.

MICHAIL GOLEMINOV’S SOUNDSCAPES – A STEP AHEAD

The article portrays one of Bulgaria’s leading composers of the past few decades, who has received international recognition, particularly in the field of electroacoustic music. Michail Goleminov (1956-2022) composed scores for chamber and symphony orchestras. He was a multi-media artist and author of various programming applications, notation games, and generative software. He specialized in musical notation with long years of professional experience as an editor at the Vienna-based Doblinger Publishers and an active pianist and performer of free improvisations. Goleminov completed his musical education in Bulgaria but left for Austria at the age of 28, where he resided, studied, and worked for 16 years. In 2000/2001, he returned to Bulgaria and created Orange Factory Psychoacoustic Arts, an experimental studio for contemporary art, along with pianist Angela Tosheva. They have organized concerts, festivals, master classes, and competitions for musical compositions, published books, and released audio and video productions and multi-media applications at various levels. The duo was also actively engaged in educational activities. Together they carried out more than 250 projects over the years 2001-2022.

PERCEPTIONS OF CLASSICAL MUSIC AND ITS IMPACT IN SCHOOL

This article examines the impact of music-making activities on children's development. It considers the musical perceptions of pupils in mainstream schools and the effect of classical music on their momentary emotional state. It also presents strategic models for integrating classical music samples into the learning process, which are tailored to the age range of students and the music curriculum to serve the music educator.

Rapid Integration Algorithm for Music Education Information Resources Based on Data Mining

Rapid Integration Algorithm for Music Education Information Resources Based on Data Mining

Studying Abroad as a Means of Preparing Future Music Teachers in China

The concept of studying abroad as a means of preparing future music teachers in China has a rich and complex history, reflecting the nation’s evolving educational philosophies, political changes, and cultural exchanges. The purpose of this study is to present the genesis of using studying abroad as part of the professional training for future music teachers, detailing the goals and social mandates across various stages of Chinese state development. The article also draws attention to the organic "embeddedness" of such a means of training future music teachers in the Chinese system of professional and higher music-pedagogical education, especially of vocal practices that are not traditional for Chinese culture. Methodology. The study employs a historical-analytical approach, examining primary and secondary sources to trace the evolution of studying abroad as a practice for Chinese music educators. This includes an analysis of normative documents and policy papers available on official educational authority and institution websites. Additionally, qualitative data from interviews with contemporary music educators who have studied abroad provide insights into current practices and perceptions. The findings reveal that the practice of studying abroad for music education, primarily for personal music career development and secondarily for teaching, has been prevalent throughout Chinese history, and has undergone significant transformations over the past century. In the modern period, China continues to send a significant number of students abroad, supported by initiatives such as the China Scholarship Council and ‘One Belt – One Road’ Initiative. These programs facilitate grant support and promote cultural exchange and international cooperation, enriching the professional development of future music teachers in China. The study concludes that international educational experiences have profoundly impacted Chinese music education. Educators trained abroad have introduced diverse musical styles, innovative teaching methodologies, and a global perspective that enhance the learning experience of Chinese students. The integration of international practices has elevated the standards of music education in China, and gained global recognition. However, challenges remain in balancing traditional Chinese music with Western influences, and ensuring equitable access to international education opportunities. The study highlights the need for continuous adaptation and the development of strategies to address these challenges, ensuring that the benefits of studying abroad are fully realised in the Chinese educational context.

No one is going to rock up and tell you! How a hidden blend of family capitals facilitates access to and success in structured instrumental music education in Ireland

ABSTRACT While the dominant orthodoxy within the field of educational research tends to document educational inequalities, it often fails to name the key drivers of advantage. By reflecting on core concepts of Bourdieu this article seeks to name the complex blend of parental capitals that enable access to and success in structured, extra-curricular activities (ECA) such as instrumental and vocal music education (IME). Besides the intrinsic benefits of IME, the article points to a particular extrinsic benefit that is unique to Ireland, in that performance is one of the essential activities on the Leaving Certificate (LC) music syllabus. This is important as it has implications for universal equality of access and opportunity. The research draws data from selected interviews conducted with mothers whose children were engaged in structured IME. In highlighting the often hidden and taken for granted capitals needed for IME access, the research also raises the issue of intra-class differences which can and do impact on outcome when navigating the structured IME market in Ireland. It also seeks to operate as a springboard for a set of broader theoretical arguments and highlights the role of institutional demands and material forces when considering the power of family capitals in this context.

Research on Improvement Strategies of Psychological Training and Stage Expressiveness in Percussion Performance

With the continuous development of music education, percussion, as an important form of performance, has led to growing attention to the psychological training of its performers. This study aims to explore how psychological factors in percussion performance impact stage expressiveness and to propose corresponding psychological training strategies. By analyzing relevant domestic and international literature, we found that psychological training not only enhances performers’ confidence and alleviates performance anxiety but also contributes to an overall improvement in performance quality. This study shows that methods such as emotional management and cognitive restructuring exhibit promising application potential in practice. Therefore, exploring a systematic psychological training program is significant for improving the stage expressiveness of percussion performers.

Music-specialized teachers’ reasoning on music practice in preschool: Music knowledge, courage, and visions

According to the Swedish curriculum (SKOLFS 2018, p. 50), preschool teachers bear the responsibility for teaching and incorporating music into preschool practice. However, due to limited time dedicated to music in preschool teacher education, teachers specialized in music play a critical role as valuable resources in practice. Existing music education research has focused predominantly on music in preschool from the perspectives of preschool teachers and students, rather than specifically examining a group of teachers specialized in music. Hence, this study aims to explore and discuss how teachers specialized in music approach music practice within preschool settings. The study adopts an educational philosophy and music didaktik perspective in analyzing focus group discussions with teachers specialized in music. The results reveal that music knowledge focuses on craftsmanship, courage, and visions for the music specialist. Alternative combinations of theoretical perspectives shed light on a complex and intertwined practice with shifting emphases.

SỬ DỤNG PHƯƠNG PHÁP DẠY HỌC ÂM NHẠC ORFF-SCHULWERK ĐỂ PHÁT TRIỂN NĂNG LỰC DẠY HỌC TÍCH HỢP CHO SINH VIÊN SƯ PHẠM ÂM NHẠC

Using the Orff-Schulwerk method in music teaching at high school levels has created an experiential learning environment that not only helps students develop musical knowledge but also brings educational experiences. diverse and rich but also contributes to helping students develop comprehensively and have flexible thinking in the learning process. Therefore, this research article points out the principles of music teaching according to the Orff-Schulwerk method and focuses on analyzing and using nursery rhymes and folk songs in the lesson design process. From there, deploy lectures for music pedagogy students according to Orff-Schulwer's teaching method to develop integrated teaching capacity for music pedagogy students.

The Integration of Ideological and Political Elements in Music Education and Its Role in Shaping Students' Values

In the context of contemporary educational reform, music education is not only responsible for cultivating artistic literacy but also bears the responsibility of ideological and political education. By organically integrating ideological and political elements into music education, teachers can enhance students' aesthetic abilities while reinforcing their cultural confidence, social responsibility, and patriotic sentiment. This study explores the importance of ideological and political elements in music education, analyzes their critical role in shaping students' values, and proposes specific implementation strategies. The research results show that effectively integrating ideological and political elements into music education not only improves students' aesthetic literacy but also, through emotional resonance and the transmission of core values, promotes the formation of students' correct worldview, outlook on life, and values. This paper provides theoretical support and practical guidance for educators, aiming to promote the deep integration of music education and ideological and political education.

A Systematic Approach to Innovative Strategies for Vocal Instruction in Higher Education: Enhancing Student Performance

This study presents a systematic approach to developing innovative strategies for vocal instruction in higher education, focusing on enhancing student performance. Using Huaiyin Normal University as a case study, the research examines current vocal instruction practices within its Music Department, identifying both strengths and areas needing improvement. The study first provides an overview of traditional and contemporary pedagogical approaches, highlighting the importance of student-centered learning and the integration of technology in music education. Data were collected through interviews with vocal instructors and surveys with students to analyze the effectiveness of existing methods and the feedback from those directly involved. Key findings reveal a need for greater incorporation of collaborative learning, multicultural repertoires, and personalized vocal techniques to foster a more engaging and comprehensive learning environment. The study discusses the implications of these findings for higher education in music and compares them with practices at other institutions. It also addresses the challenges faced in implementing innovative strategies and provides practical recommendations for curriculum development. This research contributes to the broader discourse on enhancing vocal education through adaptive, inclusive, and modernized teaching practices.

The Role of Experiential Learning in Transforming Music Appreciation Education and Pedagogical Practices

This study examines the role of experiential learning in transforming high school music appreciation education. Grounded in the experiential learning theories of John Dewey, Kurt Lewin, and Jean Piaget, the research explores how active and immersive approaches can enhance students' emotional and intellectual engagement with music. Utilizing a mixed-methods approach, the study incorporates teacher interviews, student surveys, and a case study centered on a specific music lesson (Homesickness Melody). Results indicate that experiential learning fosters creativity, deeper emotional connections, and critical thinking skills, while addressing some of the limitations of traditional music teaching methods. However, challenges such as teacher readiness, resource availability, and student participation were identified as key barriers to implementation. The case study demonstrated the effectiveness of kinesthetic and sensory activities in enhancing students' appreciation of music. Overall, the findings suggest that experiential learning offers a promising pedagogical strategy for music education, promoting both aesthetic literacy and emotional engagement.

A Qualitative Examination of Instructor Experiences Regarding Pedagogical Challenges in Classical Guitar Education

This study investigates the pedagogical challenges faced by classical guitar instructors at Linyi University’s Music Department, with a focus on the integration of traditional Chinese musical elements into Western classical guitar education. Employing a qualitative research design, the study explores the lived experiences of 20 instructors through interviews, observations, and document analysis. Key findings reveal significant technical challenges, issues in repertoire selection, and difficulties in maintaining student engagement. The study also examines the strategies adopted by instructors, the influence of institutional support, and the impact of cultural factors on teaching practices. The results contribute to the broader discourse on cross-cultural music education and offer practical recommendations for instructors and institutions aiming to enhance classical guitar pedagogy in diverse cultural settings.

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.

Challenges, Perspectives, and Recommendations for Online Instrumental Music Education among College Students in Shanxi, China

Challenges, Perspectives, and Recommendations for Online Instrumental Music Education among College Students in Shanxi, China

The role of innovative musical education in the development of social skills in children and adolescents

This article aims to investigate the significance of innovative musical education in fostering social skills among children and adolescents. To achieve this objective, the authors devised teaching approaches centered on the development of social skills through vocal training, utilizing modern technologies such as Minute Voice WarmUp and Swiftscales. The curriculum was designed to facilitate the formation of articulatory approaches to vocal singing, the enhancement of technical skills in vocal performance, the cultivation of emotional expression in execution, and the establishment of dual-voice rendition. Findings revealed that emotional expression in singing (0.491) and articulation (0.483) played pivotal roles in developing social skills, along with dual-voice rendition (0.207), influencing the freedom and confidence in execution. Moreover, the study results demonstrated that among the acquired social skills in children and adolescents, presenting vocal capabilities effectively (1.96) stood out prominently, enabling individuals to express their opinions in the interpretation of melodies. Additionally, students developed voice control skills (1.83), closely associated with the precision of word pronunciation and the conveyance of inherent intonation. The practical significance of this work lies in the potential for shaping social skills through vocal singing, guided by the utilization of digital applications such as Minute Voice WarmUp and Swiftscales.

Dialectic tension: music education majors’ lived experience in an international choir trip

ABSTRACT The purpose of this phenomenological case study was to examine music education majors' lived experience of negotiating cultural differences in an international choral trip from the US to China. Eight music education majors from a music college in the eastern U.S. participated in this study. I collected three types of data describing their cultural exchange experience: participants' daily journals, and the research assistant's observation notes during the trip, and a series of focus group interviews after the trip. Through the process of epoché, phenomenological reduction, horizontalization, and structural synthesis, four themes emerged: (a) Explicit knowledge acceptance by superficial cultural engagement, (b) Elatedness over common musical characteristics, (c) Implicit othering attitude, and (d) Moments of self-reflexivity. In the essence of their cultural interactions, participants experienced dialectic tension between musical similarities and differences, surficial and deep cultural engagement, universal and non-universal consideration, and their centrality toward self and others.

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.

Fostering inclusivity: Transforming South African school music programmes through the dalcroze approach

This article explores the transformative potential of the Dalcroze Approach in South African school music programs, with a focus on fostering cultural inclusivity. Employing a qualitative research methodology grounded in content analysis, the study systematically examines diverse sources, including archival materials, books, and peer-reviewed journal articles. The triangulation method enhances the robustness of data by cross-referencing information from platforms like Google Scholar, JSTOR, ResearchGate, and university repositories. The Dalcroze Approach, rooted in holistic and embodied learning experiences, emerges as a transformative pedagogy with the capacity to address historical disparities and celebrate South Africa's diverse musical traditions. Findings indicate a compelling alignment between the approach and inclusivity goals, emphasising the adaptability of the Dalcroze principles to the nation's cultural tapestry. The findings of this article reveal that educators, administrators, and students play pivotal roles in shaping the success of implementing the Dalcroze Approach. Educators witness positive impacts on student engagement and creativity, administrators recognise its strategic value, and students experience a transformative shift in their music learning journey. In conclusion, this article advocates for comprehensive professional development programs, collaboration with curriculum developers, and ongoing research initiatives to ensure the sustained integration of the Dalcroze Approach. By embracing this transformative pedagogy, South African music education can evolve into a more inclusive and culturally responsive domain, reflecting the nation's rich musical heritage.

Ethnocultural technologies of vocal training of students of pedagogical universities of China

The training of music teachers in China's pedagogical universities is based on strategies for linking national cultural traditions and innovative education systems in other countries. Today, special attention is paid to the training of music teachers, which is due to the increased demand of children and parents for music education. The deepening of such training is facilitated by the special specializations of students, which allow them to acquire knowledge and performing skills in a particular type of musical activity in the final semesters of study at the university. But, since students receive education in pedagogical universities, this performance training should be based on Chinese ethnocultural traditions, and be organically combined with pedagogical training. The article examines an ethnocultural technologist based on the traditions of the national Chinese opera, contributing to the formation of stage skills necessary both for staging an opera performance by students and for replenishing the pedagogical baggage of a school music teacher. The introduction of this technology into the "Performing Arts" subject of the "Vocal Music" specialization among fourth-year students has shown its effectiveness both for staging fragments of opera performances, not only by Chinese but also by Western composers and for replenishing the pedagogical skills of future music teachers.