Music Education Research Articles

Recent Patents on Piano Tuning System

Piano tuning plays a very important role in piano playing and music education. Regular tuning can prolong the service life of the piano, improve the sound saturation, and make the sound more concentrated and full. Automated mechanical equipment, controllers, sensors, and other equipment are used to automatically tune pianos to solve the problems of human error, overtone resonance interference, string breakage, etc., occurring in manual tuning. To solve the above problems, based on the synthesis of related patents and research results, the patents on automatic tuning system and methods for modulating piano are introduced in detail. An automatic tuning system can replace manual tuning, simplify the complex process of tuning, and consider the problem of overtone interference caused by the vibration of the strings to improve the accuracy of tuning; it can, at the same time, perform real-time monitoring of the string tension, protecting the strings from breaking due to tuning. The automatic tuning system has a simple structure and a high degree of automation; its method is highly accurate and it can replace professional tuning technicians, being highly innovative and widely practical.

Flüt Eğitimi’nde Dil Tekniklerinin Öğretimine Yönelik Bir Durum Analizi

This research aims to analyze the existing situation regarding the instruction of language techniques used in flute education. It was a descriptive-based qualitative study conducted using the case study pattern one of the qualitative research methods; therefore, a semi-structured interview form was prepared as the data collection tool. The population of the study consisted of flute teachers teaching in the Departments of Music Education of the Faculties of Education in Turkiye. In the research, a specific sampling method has not been preferred, and an attempt has been made to reach the entire population. Accordingly, all flute teachers teaching in the Departments of Music Education affiliated with the Faculties of Education at the universities that approved the study were contacted, and the study was conducted with 12 flute teachers who voluntarily agreed to participate. The data obtained with the interview form were analyzed by content analysis. The study concluded that all twelve participants included the topic of tongue techniques in the flute curriculum for eight semesters. Some participants used the "demonstration method" while others used the "lecturing method" to teach tongue techniques. Most of the flute teachers did not utilize teaching materials for tongue technique instruction. The syllables "tu, tu-ku, tu-ku-tu" were commonly used by flute teachers. The "Taffanel" sourcebook was the most frequently used resource for teaching tongue techniques. None of the teachers employed Turkish methods, and the problems encountered in relation to tongue techniques were often attributed to issues with hand and tongue coordination.

Joining alone: factors that influence the musical participation of young adults after leaving school

Abstract When young people leave the musical world of their school environment, a lack of clear routes into adult musical engagement brings a risk of wasted ability, motivation and enjoyment, which arguably undermines the value of music education. This study explored the factors that influence continued musical participation among young British adults who had been actively engaged in school music. Musical participation is defined in this research as group music-making in either a formal or informal setting. Participants (n = 102) completed an online questionnaire or were interviewed (n = 6) about their past and present musical experiences along with future expectations for music-making. The stark headline finding was that while 87% of participants had intended to continue with music-making beyond school, only 48% had found groups to join. Nonetheless, 78% expected to continue with music-making in the future. Our research therefore suggests that any break from musical participation need not be permanent for individuals who have established strong musical identities through their early experiences. To conclude, we present a model of lifelong musical participation that illustrates the influences, motivations and choices that contribute to sustained musical engagement.

Song Heritage of “The Beatles” in Academic Musical Interpretations

The purpose of the research. The paper reveals the features of the approaches of academic musicians to the creativity of “The Beatles” and characterises the musical projects created on the basis of the song heritage of the legendary British group. The research methodology consists in the application of historical cultural, comparative and musical analytical methods, which allowed to reveal the academic potential of “The Beatles” music and outline the ways and directions of academisation of their song creativity. The scientific novelty consists in the fact that for the first time academic interpretations of the songs of “The Beatles” group, carried out by L. Berio, J. Bayless and P. Breiner, were characterised, and two approaches to musical transcriptions of the song heritage of the group were outlined – academic and academicized, the type corresponds to all the parameters of academic music, the second gravitates towards classical crossover as a direction of pop music. Conclusions. Among the numerous cover versions, transcriptions and paraphrases of “The Beatles” music, a number of original musical interpretations are attractive, the authors of which turn to the Baroque style. The vocal cycle “Beatles Songs” by L. Berio (1967), the instrumental albums “Bach Meets the Beatles” (1984), “Bach Meets the Beatles. Revisited” (2004) by J. Bayless and “Beatles Go Baroque” (1993) by P. Breiner have already acquired the status of iconic. Their authors, who received a classical musical education, give priority to academic interpretive versions, where the songs of “The Beatles” group are considered as thematic material, which becomes the basis for academic type compositions with classical musical dramaturgy formed in the instrumental music of the Modern period. A number of compositions, in which the basic features of a song are preserved, gravitate towards academicized type interpretations, approaching a classical crossover, and can represent both academic and pop musical creativity.

Exploring the Integration of Chinese Music in Western Musicological Literature: Trends, Gaps, and Multicultural Perspectives

The purpose of the article is to analyse Western musicological literature to identify key trends and gaps in existing research on Chinese music as an integral part of the contemporary multicultural educational space. The research methodology is based on content analysis, comparative analysis, and bibliographic review. The primary method is content analysis, involving a systematic review of academic articles, monographs, reviews, and other publications on Chinese music in Western musicological literature. Comparative analysis is used to compare Western research on Chinese music with scholarly work from China and other countries. Bibliographic review helps to identify scientific gaps and trends in Chinese music research. The scientific novelty of the study lies in the comprehensive analysis of Western musicological literature on Chinese music to reveal key trends and gaps in existing research. The use of content analysis, comparative analysis, and bibliographic review allows for the first systematic organisation and comparison of approaches to studying Chinese music in different cultural contexts. The study also provides new insights into the role of Chinese music in the contemporary multicultural educational space, contributing to its integration and popularisation. Conclusions. Over the past three decades, publications on Chinese music within the context of multicultural music education have been irregular. Although the number of studies is not large, it shows moderate activity in the 1990s and early 2000s, with a noticeable increase after 2007 and periods of decline between 2010 and 2014. This indicates the need for further analysis of the reasons behind this dynamic and a deeper exploration of the integration of Chinese music into the Western educational context. The literature review shows that research covers a broad range of educational contexts, from early childhood to higher education and teacher professional development, indicating the potential for integrating Chinese music at various levels of formal education. The review also reveals that research on Chinese music often has a Eurocentric approach, evaluating it through the lens of Western music theory. This limits the full understanding and integration of Chinese musical traditions, highlighting the need for a deeper and more comprehensive approach that would foster an understanding of Chinese music in its own context.

Analysis of music teacher education programs in Puerto Rico

This article presents a descriptive analysis of eight music teacher education programs in Puerto Rico. Within the international landscape, music education in Puerto Rico faces obstacles similar to other countries in the form of government cutbacks and limited offerings in school settings. This study presents an analysis and evaluation of the curricular characteristics of music education bachelor’s degrees and a depiction of preservice music teacher education in the country. This was achieved through the use of the Project ALFA II-0448-A analysis matrix, an instrument that compiles four forms of data: (a) general information; (b) history of the program, (c) structure and duration; and (d) curricular principles. Information was obtained from the official web pages of each institution and/or department. Comparisons with programs in other countries reveal a propensity to adopt foreign music education models, with our analysis also outlining the implications of adopting external approaches. Musical instruction in Puerto Rican music teaching degrees is exclusively on Western art music; none of the programs offer musical instruction through popular music or the country’s traditional music or music-pedagogical lessons conducive to teaching such art forms. The lack of education in popular and Indigenous music renders it challenging for music educators to offer school-level students culturally responsive music lessons. The case of Puerto Rico thus demonstrates the perpetuation of European cultural hegemony in higher music education spaces, driven by adherence to foreign standards and approaches to music pedagogy that emanate from the global north.

Civil wind bands beyond music education: a scoping review (2010-2021)

The aim of the present study is to provide a comprehensive scoping review focused on the educational effects of active music-making participation in wind bands. This review combines mapping studies to identify the primary sources, authors, institutions, and types of evidence available in wind band research and a literature review to identify the key concepts underpinning this research domain. Based on peer-review journal literature published between 2010 and 2021, a total of 712 records were examined, resulting in 459 papers screened and 84 studies included in the analysis. Findings indicate that, in the past decade, the essential contribution to research about active music-making participation in wind bands came from Western English-speaking academic institutions based in the United States of America, Australia, the United Kingdom and Canada. The research’s relevant focus was on the purposes of music education and the psychosocial and health effects of participation. Furthermore, the psychosocial effects encompassed a comprehensive set of themes, such as social bonding, community music participation, emotional well-being, and individual quality of life. Nevertheless, all these topics are closely linked to the single overarching expression of the quality of life. Other than music education, educational effects were not at the heart of the last decade of wind band research. A few gaps in the literature exist, including a lack of research concerning the educational benefits of informal and intergenerational environments of wind band practices. Equally important is the lack of research on the impacts of wind band activities on social cohesion or the inclusive intercultural development of their local communities. Lastly, there is a significant opportunity to provide up-to-date insights into the educational potential of non-school contexts and the impacts of wind band activities on supporting their places’ cultural ecology.

Possibilities of music preferences measures in younger school age children

The musical-preference framework of a child at younger school age is gradually formed and shaped. The study outlined the possibilities of measuring musical taste at a younger school age and draws attention to the real specifics that this entails. We verified the newly created instrument - Musical Preference Questionnaire of Younger Pupils - MPQ-YP on 84 pupils (n=84) aged from 6 to 10 years (Mage=8.23). The 3-factor solution, which divides MPQ-YP into 3 categories of music genres - reflective and unconventional music; energetic and rhythmic music; optimistic and complex music, turned aout to be satisfactory. Psychometric properties are adequate, MPQ-YP seems to be sufficiently valid (construct and content validity) and reliable (measure of internal consistency and split-half reliability). Pilot descriptive results of younger schoolchildren's musical taste provide information about recognized musical genres and their preferences. The findings can be applied to the practice of music educators, music philetics and music therapists.

Aligning music education curriculum with employment market demands: a case study of Jiangxi Normal College

Aligning music education curriculum with employment market demands: a case study of Jiangxi Normal College

Solo music performance assessment criteria: a systematic review.

Assessment is a crucial aspect of music performance. In pedagogical contexts, an effective assessment process can measure student achievement and inform instructional decisions that contribute to improving teaching and learning. However, music performance assessment is particularly challenging due to its inherent subjectivity, involving personal expression and interpretation, which can lead to divergent opinions. In this PRISMA systematic review (registration DOI: 10.17605/OSF.IO/CSM8Q), we aimed to delimit and analyze solo music performance assessment systems found in the literature to date, including their corresponding evaluation categories and descriptive criteria, rating methodology, and target audience. A search in three main scientific databases (Web of Science, Scopus, ERIC) was conducted using keywords associated with the topic of assessment in the field of solo music performance. Ultimately, 20 papers were selected and examined, resulting in 26 original assessment systems for analysis. Regarding sample characteristics, we found that studies mainly focused on evaluating high school and university students, with music teachers and faculty members serving as primary evaluators. Many assessment systems were designed to be applicable across various instruments, although some were tailored to specific instruments (e.g., piano, voice) and families (e.g., brass, woodwind). Systems typically structured evaluation around technical, interpretative/expressive, and various musical feature categories (e.g., pitch, rhythm, intonation), further elaborated with descriptive items. While five-point Likert scales were commonly used, recent studies indicated a shift towards rubrics for detailed feedback, which aids examiners' understanding and supports student progress. No differentiation was found in assessment criteria based on students' learning stages, suggesting an area for improvement in refining these assessment methods. This study identifies gaps and proposes improvements in existing assessment systems, providing a foundation for educators and policymakers to enhance curriculum design and instructional practices in music education.

Gender equality in higher music education: Consecrated and peripheral positions

Studies have shown that gender inequality in higher music education is maintained through unreflective actions. Efforts to address the issue have been made and gender-equality programmes have been instigated in several European countries. This study takes a sociological approach to music education, with the goal of revealing constructions of gender inequality in four higher music education institutions in northern, eastern, and central Europe. The aim is to illuminate obstacles to gender-equal education within the field of higher music education. Data was collected through interviews with both students and teachers, with the analysis taking a two-stage structure. The analysis was first performed thematically, and then driven by Connell’s gender theory and Bourdieu’s field theory. The findings are presented as: The objectified body, A natural state of mind, Claming space and Changes in sight. The findings show that gender equality activities seem to increase awareness among both students and staff, but they also show that such awareness does not necessarily lead to changes in practice.

Christian perspectives on music education: A framework for teaching to reach heads, hearts, and hands

The purpose of this article is to present a Christian perspective on teaching music. Throughout history, Christianity has pervaded the field of music education, impacting the way and the reasons music is taught. This article presents a brief review of historical and theological concepts relating to the philosophy of music education, with specific attention given to orthodoxy, orthopathos, and orthopraxis (or in simpler terms, head, heart, and hands). A preliminary philosophical framework is presented for incorporating the concept of teaching music to educate heads, hearts, and hands.

A STUDY ON THE CHARACTERISTICS OF ANCIENT CHINESE PHILOSOPHY REGARDING MUSIC EDUCATION

The work reveals the features of ancient Chinese philosophy in the context of music education. The specific characteristics of the corresponding ancient Chinese concepts are considered. The theories of music education in the works of the followers of Confucianism and Taoism are described. The development and evolution of thought regarding teaching the art of music to the younger generation is presented in a historical perspective. The author analyses the educational function of music in Chinese culture, as well as elements of the state official propaganda in music education in Ancient China. The influence of the traditions of Chinese philosophy on modern philosophy of music and music pedagogy in the People's Republic of China is considered. It is concluded that the Chinese philosophy of music education is based on harmony and aesthetic pleasure from performing and listening to a piece of music, as well as on performing various rituals.

Metaphor in Music Pedagogy and Its Connection to Embodiment Consciousness

This paper provides a commentary on “Embodiment Consciousness in Music Performance Pedagogy” by Alves and Nogueira, developing the notion that metaphorical language and extra-musical information can allow expert teachers to convey various teaching strategies. I expand upon some of the themes that are addressed in the article and the concept of metaphor in particular. This opens up some interesting ideas around how metaphors are culturally understood phenomena, ones that expert teachers can use to their advantage. The authors provide a framework in which this can be understood in terms of embodiment consciousness. However, there is room for more nuance as it relates to process.

Publishing Preparation, Experiences, and Expectations of Music Education Faculty in Higher Education

The purpose of this study was to explore research and publishing preparation, experiences, and expectations of music education faculty members employed at higher education institutions. We developed the Publishing Preparation and Expectations Survey (PPES) to examine music education faculty members’ current areas of research, peer-reviewed journals they read and published in, and their experiences with peer reviewers. Utilizing the Directory of Music Faculties from the College Music Society, we distributed the PPES to 1,081 music education faculty members across 487 higher education institutions in the United States, resulting in 179 responses. The participants self-reported as predominantly White ( n = 157, 87.7%), female ( n = 101, 56.4%), and possessing a PhD ( n = 145, 81.0%). Additionally, 83 participants (46.4%) initially submitted a research article for publication in a peer-reviewed music education journal during their doctoral programs. Participants anticipated publishing an average of 11.44 articles ( SD = 8.89) for promotion to associate professor and had an average of 9.81 ( SD = 11.02) peer-reviewed research articles previously published. Finally, participants shared their experiences with peer reviewers using descriptors such as “discouraging,” “harsh,” and “cruel.”

Artistic expression as a property of resonant musical experience: an interview study with upper secondary school music teachers

Background The curriculum for the courses given at the music specialization of the upper secondary school’s aesthetic program in Sweden includes the concept of artistic expression (AE). Being a criterion for assessment, no definition is provided by the National Agency of Education and there exists no consensus of how to interpret artistic expression among music teachers and music teacher students. Methods In order to explore how teachers understand, teach, and assess the concept and phenomenon of artistic expression, twelve qualitative interviews with music teachers were conducted and analyzed through an open coding process. Results The findings show that the concept of artistic expression is multifaceted and evasive. The results focus on two analytic threads: (i) situatedness and (ii) entanglement. (i) AE is situated due to context-specific parameters which underpins the meaning of the concept in this particular educational setting. (ii) Furthermore, the phenomenon of artistic expression is entangled (a) with the ongoing relationship between teacher and student, and (b) in a temporally unfolding and interactive musical event. The phenomenon of artistic expression as entangled is discussed, primarily through Hartmut Rosa’s concept of resonance, which brings into focus the intersubjective character of aesthetic experience. Doing so questions understandings of – and assessment procedures surrounding – artistic expression that relies on skill-based interpretations or reductions of entanglement. One example of such reduction is assessment of recordings of student performances which limits (a) the relational perspective (if assessed by a third person) or (b) the entanglement with the musical event. The perspective of resonance brings forth the teacher’s role during a student performance as characterized by self-efficacy and active listening, thus co-constitutive of artistic expression. Conclusions The article concludes with reflections on how the findings may contribute to the continuous discussion on how scientific grounding and proven experience may inform both the music education at upper secondary school and music teacher education. The concept of resonance provides a possibility to reframe conceptions of artistic competence in art education as being grounded in intersubjective and relational terms, rather than being reified as a set of measurable skills, an understanding which in turn risks replacing learning with criteria compliance.

PERFORMING ACTIVITY AS A MEANS OF DEVELOPMENT OF MUSICAL THINKING

This article deals with the problem of developing the creative independence of a musician-performer in the process of interpreting the composer’s image of a musical work. The author proves that the psychotechnical approach to work on a composition prevails in modern music pedagogy, whereas the approach based on the theory of psychophysical unity is much more effective. A comparison of the two approaches, their positive and negative sides is given. The conclusion of the article is understanding of the need for a creative dialogue between the composer and the performer of a musical text, which also implies unconditional command of the musical “language”, subordinate to mastery of musical “speech”.

Optimizing the Impact of Musical Education on Mental Health of Students using Q-Learning

Optimizing the Impact of Musical Education on Mental Health of Students using Q-Learning

A portrait of self-regulated musical learning behaviors among rock musicians: Applications in music education

Rock music and Western classical music seem very different but musicians in the two cultures may have enough self-regulated musical learning behaviors in common for concurrent application in school-based music education. In this paper, I describe the self-reported self-regulated musical learning behaviors of seven successful rock musicians, compare their behaviors to those expected in the Western classical tradition, and suggest ways to combine norms from both traditions in effective music education programs. Data are collected through digital ethnography methodology from a series of interviews published in YouTube. Emergent themes in the self-regulated musical learning behaviors of rock musicians include (1) passion for music making, (2) the importance of choice, (3) a need for personal control over learning, and (4) an emphasis on musical composition in daily practice.

Musical education and resilience: A path to economic and emotional empowerment for rural children

Musical education and resilience: A path to economic and emotional empowerment for rural children