Music Education Research Articles

The Impact of the New Decolonization of the Music and Music Education in the Ewe Land

The Impact of the New Decolonization of the Music and Music Education in the Ewe Land

Research on the Pathways for Innovative Cultural Development of University Music Courses Based on Music Education Concepts

In order to improve the music education in colleges and universities for cultivating students' comprehensive quality and enriching students' cultural literacy. In this paper, firstly, we optimize the music teaching mode, based on the theory of multiple intelligences and centered on the characteristics of students' intelligence structure, we innovate the teaching mode of music courses in colleges and universities, and emphasize the authenticity and context of the teaching environment. Secondly, the ant colony algorithm is used to find the optimal solution of music course classroom-time. In the solution process, hard constraints and soft constraints are considered to set up a class schedule that teachers and students are satisfied at the same time. Next, the optimal results of music course scheduling without and with conflicts are calculated. The traditional teaching model was set as a control class, and the final validation found that the experimental class scored the highest 90.2 ± 9.4 for music knowledge mastery and was statistically significant. In terms of music composition and music understanding, the experimental class fully agreed with 43% and 48%, higher than 41.0% and 40% of the control class, and the innovative music teaching content was above the students' psychological acceptability, with an average cultural satisfaction score of 4.2487 and an average cultural recommendation score of 4.5347. Therefore, colleges and universities should base their curriculum on the concept of music education, constantly explore and innovate, improve the rationality of curriculum arrangement, and promote the dissemination and development of music culture.

Analysis of the Development of Chinese Music Education based on the Comparative Analysis of Chinese-American Music Education

Analysis of the Development of Chinese Music Education based on the Comparative Analysis of Chinese-American Music Education

Practice as Research through Inquiry-Based Learning: A Pedagogical Intervention with Music Students in Higher Education

This paper presents the results of a Participatory Action Research, whose main objective was to validate a pedagogical intervention characterized by adopting an inquiry-based learning methodology (IBL), and the paradigm of Practice as Research focused on musical performativity. This intervention sought to foster autonomy, the relationship between theory and practice, and the development of critical reflexive skills in professional music students. The co-participants (12 students in the first cycle and 9 in the second) belonged to university training programs in vocal and instrumental interpretation, composition, and music pedagogy at different levels. In the intervention cycles, students were able to organize themselves collaboratively to achieve the learning objectives and research products designed in the intervention. During the process, they redefined research as a tool for professional development in their discipline. This empowered the participants, as they became aware that they themselves could build knowledge in their field. The intervention was validated, and the results highlight the potential of inquiry activities focused on musical performativity and Practice as Research in the context of higher music education, playing an integrating role in the construction of knowledge by and for practitioners.

Hungarian choral tradition from the music pedagogical reforms to the end of the twentieth century

ABSTRACT In the first half of the twentieth century a vast transformation in Hungarian school music education occurred. The ideological foundations of music pedagogical reforms and the means of their implementation were laid down by Zoltán Kodály. The music pedagogical model of Kodály’s concept strongly linked the Central European life reform movement and pedagogical reform trends of the early twentieth century. Kodály’s pedagogy emphasised the concept of developing the individual throughout his or her entire lifespan, nature appreciation, folk music, community engagement, and the transformative power of the arts. Kodály believed in the profound impact of choral singing on individuals and communities. László Lukin (1926–2004), an outstanding music educator of the twentieth century, significantly impacted Hungarian choral life. He remained a consistent presence in professional publications until his death. This study focuses on showcasing his writings on choral pedagogy in the music trade press and how Lukin incorporated and modified Kodály’s guidance on choral singing. The results reveal that Kodály’s key principles in choral pedagogy are also evident in Lukin’s articles. Lukin aimed to fulfil the musical reform ideals of the early century by realising the “education of the whole person” through singing communities and musical experiences.

How (not) to write a B♭ french horn beginners method book

Name: Isabelle Roelofs Main subject: Master Natural Horn Research supervisor: Daniel Salbert Title: How (not) to write a Bb French Horn beginners method book Research question: How (not) to write a Bb French Horn beginners method book Summary of the results: As a horn teacher, I realize that the existing Dutch method books seem not to be written from the perspective of a beginning, young horn player. They show little consideration for the specific physical abilities of children at a young age when learning to play the horn, probably because those methods are mostly not written by a horn player. Therefore, I have researched the do's and don'ts behind writing a method book. If playing the exercises in a method is not physically feasible, it can lead to frustration for the student, which, in my opinion, is detrimental to the learning process. I have always learned that moments of success are crucial for the development and maintenance of motivation. I find these moments of success lacking in existing Dutch-language horn methods. I also believe that they progress too quickly to emphasize reading notation. I notice that my own students often prioritize correctness over musicality. I have critically examined and compared the available Dutch horn method books. Additionally, I interviewed fellow horn teachers to gather their perspectives. Furthermore, I attended a lesson for young horn players at BASIS (Royal Conservatory of the Hague) where auditory learning takes precedence. I am not the first to consider writing my own method. Other horn teachers have embarked on this journey, each with their unique motivations. My research has revealed that I am not the only one who has critical thoughts about the existing horn method books. A significant part of the interviewed teachers also emphasized this same point. Based on the obtained results, I have outlined the initial steps that, in my opinion, are necessary for a starting young horn player, along with the corresponding range of tones. Biography: Isabelle Roelofs, an accomplished horn player and dedicated music teacher, earned degrees in French Horn and Music Education from Codarts University. Graduating with honors from the Royal Conservatory of Antwerp, she is currently pursuing a Master's in Natural Horn at The Hague Conservatory with Teunis van der Zwart. Isabelle is the founder of Belle Musique (2018), where she imparts her musical knowledge through personalized horn lessons, shaping the future of horn players step by step.

The Awareness and Proficiency of Tutors in using Software Programmes for Music Education at Methodist College of Education, Akim Oda

The establishment of an ultra-modern ICT laboratory at the Methodist College of Education, Akim Oda has propelled the need to introduce music students to computer and software programmes in music education. However, to make recommendations for the realization of this vision, this study considered the awareness and proficiency of the tutors in computer and software programmes in music education. This descriptive study described the views of music tutors about their awareness and proficiency in computer and software programmes. The results from this study disclosed that three out of the four music tutors at the Methodist College of Education, Akim Oda are strongly aware of computer software programmes for music education and are proficient in Finale and Perfect Ear software programmes. The study recommended that the college should organise workshops for the music tutors to be trained in software programmes for music creation and education, such as EarMaster, Auralia, Piano Teacher.

A Theoretical Review Towards a Conceptual Framework for Creating ‘Neoclassic Big-Band Highlife Music’

It is a truism that highlife, Ghana’s first acculturated popular music, presents various styles employing various musical ensembles and playing to different audiences. However, the diverse highlife stylistic trends have declined in musical works recently due to generational differences and tastes. As a result, modern-day recorded highlife compositions sound similar and, in some cases, the same. Despite its iconicity in Ghanaian popular music, it is also quite surprising that highlife music still struggles for compositional and theoretical relevance in Ghanaian academic programmes of schools, colleges and universities. This paper, therefore, presents a characterisation of the diverse highlife music trends as an attempt to develop a conceptual framework for creating ‘neoclassic big-band highlife music’ that transcends diverse styles and generational tastes. Drawing on my experience as a highlife practitioner and music educator, I reviewed theories, concepts, and literature relevant to highlife music to conceptualise a framework for creating works that transcend the generational differences and tastes of highlife music. This paper expands the frontiers of highlife music practice and scholarship. Therefore, it is not just a recommendation but a call to action for Music composition professors to adopt this conceptual framework as a blueprint to begin a taught course on ‘Highlife Music Composition’ in music institutions. The involvement of Music composition professors in this process is crucial to enhancing the structural and theoretical trajectory of highlife music.

Towards a model of playful music learning for primary classrooms: recommendations based on a review of literature

Abstract Playful practices have been linked to increased motivation, engagement, learning and skill development. However, limited research has explored what playful music learning might look like for primary schools, and how teachers might incorporate a range of playful music practices within their classrooms. Our conceptual model for playful music learning amalgamates and builds upon previous philosophy, theory and research in the education and music education spheres. In doing so, it extends musical play across a continuum of ownership as has been proposed by Zosh et al. (2017) in the realm of playful learning more generally. Playful elements associated with the work of music education pedagogues Kodály and Kokas and other researchers in the field are outlined. Examples of musical games-play and guided musical play for primary classrooms are illustrated, and some recommendations are provided to support teachers in facilitating increasingly playful music learning.

The Influence of Music Training on Language Processing Skills in Adolescents in South Korea

Purpose: The aim of the study was to analyze the influence of music training on language processing skills in adolescents in South Korea. Methodology: This study adopted a desk methodology. A desk study research design is commonly known as secondary data collection. This is basically collecting data from existing resources preferably because of its low cost advantage as compared to a field research. Our current study looked into already published studies and reports as the data was easily accessed through online journals and libraries. Findings: The study on the influence of music training on language processing skills in adolescents in South Korea revealed significant positive correlations between music education and language processing abilities. Adolescents who received music training demonstrated enhanced linguistic skills, including vocabulary acquisition and syntactic comprehension, compared to their peers without musical instruction. The findings suggest that musical training may contribute to cognitive advantages in language development during adolescence. Unique Contribution to Theory, Practice and Policy: Neurocognitive theory of music, transfer of learning theory & socio-cultural theory may be used to anchor future studies on the influence of music training on language processing skills in adolescents in South Korea. Advocate for the integration of structured music education programs in South Korean schools, emphasizing its potential benefits for language development. Advocate for policies that support the inclusion of music education as a core component of the curriculum, highlighting its role in fostering holistic cognitive development and academic achievement.

The effects of music on brain development

The influence of music on brain development is a complex and widely studied area in science. Studies show that being exposed to music, especially in early stages of life, can improve different cognitive abilities like language, reasoning, and spatial-temporal skills. Engaging with music also helps in regulating emotions and developing social skills. Furthermore, music education supports creativity and self-expression, which are crucial for overall brain development. With a deeper understanding of how music affects the brain at a neurological level, educators, therapists, and parents can leverage its advantages to enhance well-being and cognitive functions for people of all ages.

The musical-creative and pedagogical activity of Solomiya Krushelnytska: contribution to the development of Ukrainian music education

This article examines the musical-creative and pedagogical activity of the prominent Ukrainian opera singer Solomiya Krushelnytska (1872-1952) and her contribution to developing Ukrainian music education in the first half of the 20th century. Utilising theoretical approaches to studying personality within the cultural-historical context, we explore Krushelnytska's life path as an example of combining artistic activity and pedagogical practice. The research analyses biographical materials, students' memoirs, and critical reviews of the singer's performances. The results show that Krushelnytska significantly contributed to popularising Ukrainian vocal art internationally and played an essential role in developing vocal pedagogy in Ukraine. Her pedagogical principles, grounded in her personal experience and methods of the Italian vocal school, promoted the formation of new generations of Ukrainian opera performers.

Lived Experiences of Diversity, Equity, and Inclusion Leaders in U.S. Music Education Professional Associations

Abstract Music education professional associations (MEPAs) are membership-based nonprofit organizations focused on advancing music education through actions including professional development, policy work, and advocacy. In this instrumental case study, we interviewed diversity, equity, and inclusion (DEI) leaders from MEPAs in the United States (N = 16) to elicit self-reports of their leadership experiences. Participants identified the deep, personal work involved in enacting and sustaining DEI efforts. They reported experiences of harm in DEI work and described progress toward liberation for people of color as a slow, exhausting slog. Participants’ responses also indicated movement toward intersectional approaches to equity and justice. MEPA DEI leader experiences have important implications for advancing equity and justice in music education, including the need for MEPA leadership to consider ways institutional logics create harm and take steps to support and uplift people who are striving for equity and justice within the organizations, including through compensation, solidarity, and structural changes.

Study on the Influence of AI Composition Software on Students' Creative Ability in Music Education

Generative AI technology for human-assisted tools has made great strides in recent years, and studying the impact of this technology on students' compositional abilities plays an important role in promoting changes in music education. Previous studies have focused on the performance of music composition software itself in terms of composition, with less consideration given to the impact of creators' compositional ability after using assistive composition tools. Thus, this paper designs a controlled experiment to investigate the changes in students' compositional ability before and after using AI composition tools. This paper finds that students' compositional abilities in all areas of composition improved to varying degrees after using AI composition tools. This paper compares the differences in compositional abilities of students with and without the education of AI composition tools, which has practical implications for vigorously promoting the adoption of AI composition tools in university music education teaching.

Beyond the Divide Between Qualitative and Quantitative Research: A Comparison of Grounded Theory and Structural Equation Modeling

Abstract Researchers in music education tend to rely on either qualitative or quantitative modes of inquiry. Although scholars are likely to choose one paradigm over the other, no study is purely qualitative or quantitative. To illustrate this point, we aimed to contextualize and discuss both qualitative and quantitative research within a common framework. We then conducted a comparative analysis of a qualitative and a quantitative research approach—grounded theory and structural equation modeling—along a set of philosophical and methodological continua. We showed that grounded theory and structural equation modeling follow a similar overarching research process while integrating both qualitative and quantitative components. Our analysis served as an example to contemplate nuances within research practices and identify similarities between qualitative and quantitative studies. Drawing on this analysis, we highlighted the importance of developing a common research framework in research and education research within the context of music education.

Mental Health, Spirituality, and Self-Compassion Among K–12 Music Teachers During the COVID-19 Pandemic

Abstract We examined the influence of gender, age, and death of loved ones due to COVID-19, race/ethnicity, mode of instruction (hybrid, in-person, etc.), general religiosity, dispositional spirituality, and self-compassion among kindergarten through 12th-grade (K–12) music educators (N = 637) in order to assess how these factors impacted their mental health approximately 1 year after the onset of the COVID-19 pandemic. Our findings indicate a weak to moderate influence on mental health attributable to religiosity and spirituality, with feelings of connection to a higher power predicting better mental health while feelings of connection to other human beings and nature predicting the opposite. Additionally, there was a strong and statistically significant relationship between self-compassion and positive mental health, accounting for between a .87 to 1.09 decrease in stress, depression, and anxiety among participants based on one-unit increases in self-compassion. We discuss implications for music education research as well as preservice and in-service professional development based on these findings.

Shaping Habitus and “Good” Lifestyles: Music Education of Chinese Immigrant Families in the UK

This study investigates the phenomenon of “music fever” in the Chinese immigrant community in the UK, a relatively neglected research field in the English language literature. It explores the attitudes of Chinese immigrant parents towards their children’s music learning through three key concepts in Bourdieu’s cultural theory: capital, habitus, and field. Although the interviewees generally displayed a positive attitude towards their children’s music learning, it was conditional on it not interfering with their children’s academic studies. This study extends existing research on East Asian immigrants’ and parents’ perceptions of children’s music education, and contributes to the application of Bourdieu’s theoretical tool in research on East Asian cultural groups in both Western and non-Western contexts.

Workplace Well-Being and Classroom Space: An Exploratory Survey of K–12 Music Teachers

Abstract Kindergarten through 12th-grade (K–12) music teachers spend much of their professional lives occupying physical workspaces like classrooms and offices. Given that teachers occupy these spaces for extended periods of time, the impact of these spaces on teacher well-being should be considered. This exploratory survey study examined the relationships between K–12 music teachers’ workplace well-being and perceptions of the physical classroom spaces. A questionnaire was completed by 484 music teachers who were members of the National Association for Music Education. The questionnaire included the Workplace PERMA Profiler (a measure of workplace well-being) and the Structural, Physical, and Campus Environment Survey (a measure of teachers’ perceptions of their classrooms). Higher levels of well-being were positively correlated with favorable perceptions of classroom space. Scale and aesthetics, the visual environment, and spatial environment elements were the strongest predictors of well-being. Taking statistical and textual data together, specific features including windows, good natural light, quality and controllable lighting, aesthetically pleasant (e.g., decorations and colors) rooms, ample space and storage, comfortable temperatures, good organization, and control over the classroom space had the largest positive impact on well-being among the participating teachers.

A Survey and Research on the Current Situation of the Introduction of Chinese Ethnic Instrumental Music into Classes ——Taking Jining of Shandong Province as an Example

Chinese traditional ethnic musical instruments have undergone a legacy of five thousand years, from the exquisite bone flutes of the ancient Xia and Shang dynasties to the pinnacle of plucked string music in the Sui and Tang dynasties. Many ethnic instruments and musical pieces with enchanting tones and boundless charm have been passed down, making them a brilliant gem in the world of music. Since the early 1990s, Xu Le has advocated for the inclusion of these excellent traditional instruments in primary and secondary school music classes to enrich the content of music education and strongly promote the implementation and popularization of aesthetic education policies. Chen Jinfeng believes that take introducing ethnic instrumental music as basic education can comprehensively cultivate students’ interests, enrich their aesthetic experiences and tastes, and achieve a high degree of integration between traditional ethnic instrumental music and quality education. This paper investigates the implementation of introducing ethnic instrumental music into classroom in three primary and secondary schools in Jining, Shandong Province. The data is collected and analyzed by field interviews and online questionnaires. And the necessity and urgency of introducing ethnic instrumental music is highlighted after summarizing, comparing and analyzing the study. It is hoped that this research will continuously propel the introduction of ethnic instrumental music in primary and secondary school curricula, contributing to the enhancement of overall quality and the popularization of aesthetic education.

Improving student–student interactions in early childhood classrooms using inclusive dance activities

ABSTRACT The social and functional diversity of public educational centres requires continuous assessment of the school organisation and searching for effective methods that generate new forms of communication between students. This case study aimed to evaluate an inclusive dance programme involving group activities included four public early childhood education centres in Spain from the public network where the Barenboim-Said Public Foundation (BSPF) implemented the Children’s Musical Education Project. The methodology used was based on a group interview and the formation of four discussion groups of a total of 15 preschool teachers and four BSPF specialists. The results correspond to the analysis and categorisation of the data collected and recorded in notebooks by teachers during fieldwork. These provide information on external and internal factors that improve student – student interactions and cooperative skills in the classroom and establish an ideal framework for using approaches involving physical contact, movement, and music by preschool teachers.