Music Program Research Articles

Musical extracurricular activities and adjustment among children from immigrant families: A 2-year quasi-experimental study

This quasi-experimental study examines the impact on emotional/behavioral functioning (hyperactivity-inattention and internalizing symptoms) and school experiences (school engagement, positive experience in school) ofLa classe enchantée, a high-quality, non-selective extracurricular music program. Based on the program’s objectives and on the positive youth development model, it was anticipated that elementary school students participating inLa classe enchantéewould evolve more favorably in terms of these outcomes over the 2-year duration of the program spanning Grades 4 and 5, compared to non-participating schoolmates. The sample includes 72 children (25% in the intervention group, 47% girls, 93% first/second generation immigrants) from one low-income school, followed over 2 years starting in grade four (Mage= 9.30,SD= 0.49). Latent Growth Curve models show that, compared to classmates not in the program, children inLa classe enchantéeprogressed more favorably over time on self-reported measures of internalizing symptoms and positive experiences in school. For teacher-rated hyperactivity-inattention and school engagement, the slopes indicated stability over time in both groups, although hyperactivity-inattention tended to improve among those with relatively high initial levels in the intervention group. These results suggest that engagement in quality musical extracurricular activities might boost emotional and school well-being and potentially reduce hyperactivity-inattention among a specific subgroup of children from immigrant families.

“Indigenous for Days”: Indigenous Internationalism in Native American Music Radio

This article identifies and explores community-building in Indigenous music radio, drawing on music programming examples and practitioner insights from two Indigenous radio stations: KPRI FM and KSUT FM. The article considers ways in which multifaceted music programming across the two stations embodies the concept of grounded normativity (Coulthard and Betasamosake Simpson) and expands capacities for tribal community-building on-air, in turn reinforcing a cultural Indigenous internationalism. In particular, this article argues that Rez Dub Reggae and Songs of the Southwest at KPRI and the Tribal Radio Morning Show at KSUT enable and encourage Indigenous community-building through place-based practices of music radio production which in turn embody possibilities for Indigenous resurgence (Corntassel).

Industry: Bang on a Can and New Music in the Marketplace, by William Robin

<i>Industry: Bang on a Can and New Music in the Marketplace</i>, by William Robin

A Brief Analysis of How Online Teaching Can Develop Steadily and Be Far-Reaching in the New Era—A Case Study of Practical Course for College Music Programs

A Brief Analysis of How Online Teaching Can Develop Steadily and Be Far-Reaching in the New Era—A Case Study of Practical Course for College Music Programs

Understanding the impact of the “Fountains of Uke” Intergenerational Music Program on Long-Term Care Residents

As the aging population reaches an all-time high, depression and social isolation among seniors are becoming serious issues. Music engagement and intergenerational programming may improve depressive symptoms and reduce social isolation in seniors by fostering relationships and engagement. Thus, the “Fountains of Uke Program” combines musical experiences with intergenerational interactions to combat these outcomes. This study aims to investigate the program’s effects on residents in Long-Term Care homes. Behaviour, cognition, depression, and social isolation were measured before and after the intervention using validated scales and qualitative interviews. Quantitative measures did not show improvements in the outcomes of depression and social isolation. However, qualitative outcomes indicate the intergenerational music program had positive impacts on the Long-Term Care resident participants. Future studies should be implemented over a longer time period, in multiple Long-Term Care homes, and with a larger sample size to increase external validity. Future research should also consider the baseline health status of participants, as well as the normative mental and physical health decline among Long-Term Care residents over time when selecting outcome measures, analyzing data, and drawing conclusions.

Multimodal music training enhances executive functions in children: Results of a randomized controlled trial.

Music training programs have shown mixed results on children's executive functions. The purpose of the present study was to evaluate the impact of a 10-week multimodal music program with vocal development, bimanual coordination, and musical improvisation, on children's executive functions. We hypothesized that a 10-week music program would enhance executive functions in working memory in 4- to 6-year-old children. Eighty-four children were randomly assigned to a multimodal music program, an active control Lego program, or no treatment control condition (i.e., randomized controlled design). All children completed measures of music aptitude, music achievement, and executive functions (i.e., EF Touch) pre- and post-training. Results revealed enhanced pitch accuracy and working memory for children in the music training group as compared to the other conditions. Children in the Lego condition demonstrated significant enhancements of spatial working memory. Tonal music aptitude significantly predicted performance on measures of working memory. Contributions to the literature include the randomized controlled design, group multimodal music program appropriate for 4- to 6-year-old children, and the use of executive function measures sensitive to individual differences.

The problem with printing pitch: challenges in designing 3D printed claves

PurposeAlthough music education has been proven to benefit students, music programs are often cut when public school funding is reduced. The cost of instruments is a significant financial burden on music programs, which restricts student access to high-quality instruments that would benefit their learning. Therefore, this paper aims to develop additively manufactured, polylactic acid (PLA) claves that could reproduce the sound of wooden claves and be printed by students in schools at a reduced cost to promote equal access to music education regardless of a school’s financial status.Design/methodology/approachThis study developed a dual approach for analyzing clave vibration using mathematical analysis in MATLAB and SolidWorks finite element frequency simulation to predict the natural frequencies of 15 claves with varying geometries. To evaluate the performance of both models, the authors obtained natural frequencies experimentally by recording the claves and analyzing the resulting frequency spectra. The authors considered the possible effects of damping and determined the effective damping required in both models through comparison with experimental results.FindingsResults indicate that PLA claves cannot easily be made to replicate the high pitch of rosewood claves while maintaining typical clave dimensions. However, PLA claves could still be suitable in instances where matching pitch is not a primary concern or improved durability is desired. The SolidWorks simulation approach could accurately predict clave pitch for all varieties of clave, whereas the mathematical approach was only accurate in predicting pitch for the filled claves.Originality/valueIn this work, the authors attempted to create an analytical process for simple percussion instrument design, which is typically done with trial-and-error methods. Instead, the authors developed a two-pronged approach in which experimental results were compared to results obtained both mathematically and from a finite element simulation. Additionally, we limited the materials and equipment used to those that would be available in a school setting so that the clave prototypes could be reproduced by public school students, the population this research is intended to serve.

‘You don’t realise they’re helping you until you realise they’re helping you’: reconceptualising adultism through community music

ABSTRACT Recent work in children’s geographies and geographies of education has presented the argument that when conceptualising the various roles that adults occupy in children’s lives, it is equally important to conceptualise adultism. In this paper we argue that this existing work critiques adultism’s logics but does not adequately conceptualise adultism’s structural and scalar spatialities. We reconceptualise adultism as a structural and scalar phenomenon by examining our case study of a community music programme designed to reconnect children with their ‘learning identities’. We borrow the spatial metaphor of ‘chains’ from human geography’s postcapitalist literature to highlight how adultism structurally pervades this space of resistance, underscoring the more broadly applicable point that practices of resistance that fail to address adultism’s co-creative relationships with other structures of domination can end-up reasserting adultist relations. However, towards the end of the paper we argue that this reconceptualisation of adultism does not mean community music (or other critical pedagogies) should be abandoned, rather illustrating how the organisation in our case study innovate in order to address adultism’s structural and scalar facets.

Code Mixing and Switching Used in Breakout Music Program of Net TV

Bilingual and multilingual people present language variety called Code – Mixing and Code – Switching. The purpose of this study is to find the kinds of code mixing and code switching that used by the hosts in Breakout a music program in Net TV and to conclude the factor that influence the hosts mix and switch their utterances. This study was done by using description/qualitative method. This study used three of selected episodes, each utterances in each episode changed into the scripts, and the scripts made into the table form. As the result of this study, in generally, the hosts used two kinds of Code Mixing, they are Intra sentential code mixing and extra sentential code mixing, and five kinds of Code Switching on their utterances (Situational, Metaphorical, Tag Code switching, Inter-sentential switching, and Intra-sentential switching). The hosts mix and switch their utterances influenced by the setting and scene, participants, ends, key, norm of interaction as described by Dell Hymes, and also found the other factors, they are background of language, topic and the limited Indonesian vocabularies which can be hazy if it puts in Indonesian.

Tertiary music students’ perspectives on activist-musicianship: Approaches, challenges, and perceived role of higher music education

While tertiary music programs traditionally focus on developing musicians’ craft, there is an increasing emphasis on the need to develop students’ ability to use their craft in socially engaged ways. This has led to an increase in community music, mobility programs, and performance outreach opportunities being embedded into tertiary music programs. There is also, however, potential for students to develop their craft more explicitly in service of social change through activist-musicianship, but little academic exploration into how this might be embedded into tertiary music programs. This article, through interviews and focus groups, investigates tertiary music students’ perspectives on music’s role in activism, their social values and aspirations, and perceived opportunities and challenges for musicians and tertiary music institutions. Music activism was seen to be possible through focusing on the musician as embodying the message or the music communicating the message, with repertoire choice and the degree of explicit messaging deemed important considerations regarding potential impact. Students highlighted a desire to plant seeds for change, to encourage audience members to become aware of and question unconscious biases and values, and to spark ongoing conversations. Within their programs, students expressed a desire for more autonomy in repertoire selection, for training on the inclusion of extra-musical features to support messaging, and for strong integration and alignment of academic and performance courses that could provide opportunities to practice activist-musicianship as part of their programs. Further to this, there are a range of ethical considerations educators need to be mindful of, which are outlined throughout this article. Insights shared highlight a need for further understanding of the activist-musician and how associated skill sets and opportunities might be embedded within existing tertiary music programs.

Reflective writing in a community music project with students in higher music education

Meet4Music (M4M) is a low-threshold community music program based at the University of Music and Performing Arts Graz, Austria, offering free participatory sessions to people from all social and cultural backgrounds, including students. The program allows attendees to experience an emerging field of music pedagogy and approach current challenges of migration and cultural diversity from an artistic perspective. The purpose of this study was to explore how students considered and reflected on their M4M experiences. Research questions included the following: (1) How did students consider the experience of making music in a heterogeneous ensemble, and what meanings might they have made from it? And, (2) What aspects of M4M may have contributed to artistic and interpersonal enrichment, and in what ways? We examined meanings developed across the various practices involved in this artistic initiative, with a specific focus on the students’ experiences. To do so, qualitative data based on their written reflections are presented, analyzed, and discussed. Findings include attributions for M4M and personal impact. Themes center on a holistic understanding of the musical community of the program and students’ reflexive and responsive attitudes. Implications include refining notions of artistic citizenship and recommendations for higher music education.

Effective educational practices, assessment, and applications in acoustics and vibration at the University of Hartford.

The University of Hartford is home to two unique undergraduate engineering majors in acoustics, both sharing a core course layout of acoustics, vibrations, and projects. The Bachelor of Science in Mechanical Engineering with an Acoustics Concentration and the Bachelor of Science in Engineering in Acoustical Engineering and Music programs allow for two complementary tracks within the acoustics field, providing cohesive plans of study on many facets of listening and design. All Mechanical Engineering majors (regardless of concentration) are required to take Vibrations I and a course in Engineering and Environmental Acoustics. The department philosophy for this inclusion is that acoustics and vibration design considerations are an essential component for the development of the complete mechanical engineer. This paper outlines program educational goals and outcomes, along with pedagogical adjustments made based on continuous assessment and evaluation of select courses, including recent changes to adapt to measured deficiencies. The paper also details the historical development of the acoustics program, components of the Vibrations I and Engineering & Environmental Acoustics courses, and example research and design projects based on work in these courses. Among the included projects are modal analysis, community room acoustics assessment, and an open access computational room acoustics simulator for use and collaboration with colleagues in acoustics education.

Three Black Gospel Music Experts on Preparing, Teaching, and “Being” in the African American Aural-Oral Tradition

Abstract The purpose of this multiple case study was to gather musical and nonmusical perspectives from three experts on teaching Black gospel music in the African American aural-oral tradition. Research questions included: (a) What is the process Black gospel music experts engage in when preparing for and teaching gospel music in the aural-oral tradition? (b) In the view of Black gospel music experts, how does race intersect with the preparation, teaching, and performance of gospel music? (c) How do Black gospel music experts advocate for incorporating gospel music into public school vocal music programs? Participants were purposively selected, and data collection included observations, researcher-singer participation, and multiple interviews. Expert agreement emerged regarding teaching processes as a nonmusical “state of being” deeply infused with cultural, community, and spiritual values. Rehearsals were uninterrupted musical experiences with limited nonverbal instruction made possible from robust aural-oral immersion preparation. While participants insisted race was not a prerequisite for engagement in gospel music, they agreed the influence and mediation of race plays an active role, citing the proliferation of anti-Blackness in the academy as foremost among the barriers to rigorous preparation to teach Black gospel music. Experts advocated for teaching gospel music in schools to offer students the opportunity to participate in the accessible, inclusive, participatory, and communal experience available in gospel music.

Herrman S. Saroni: Paths to Success as a Composer in New York, 1844–52

Herrman S. Saroni: Paths to Success as a Composer in New York, 1844–52

Uluslararası Müzik Sertifika Programı Teori Sınavı İçeriklerine Yönelik Öğretim Elemanı Görüşleri

Araştırmanın amacı, müzik öğretmenliği lisans programındaki müzik teorisi derslerine yönelik içeriğin, The Associated Board of the Royal Schools of Music (ABRSM)’in baraj niteliği taşıyan 5. seviye teori sınavını aşmak için yeterli olup olmadığına ilişkin öğretim elemanları görüşlerini ortaya koymaktır. Araştırma, yöntemi bakımından niteldir. Araştırmada, Batı müziği teori ve uygulaması dersini yürüten 6 öğretim elemanı ile ABRSM 5. seviye teori sınavı içeriklerine yönelik görüşmeler yapılmıştır. Görüşmeler, yapılandırılmış görüşme tekniği ile gerçekleştirilmiş; veriler içerik ana lizi ile çözümlenmiştir. Öğretim elemanlarının görüşleri doğrultusunda ders içeriğini oluşturan nota/sus işareti değerleri, aralıklar, enarmonik perde bilgisi ve ilgili tonaliteyi bulma konularının öncelikli konular olarak sıralandığı; bu konular yeterince anlaşılmadan transpoze, terimler ve işaretler, çalgı ve ses grupları konularına geçilmediği anlaşılmakla birlikte; öncelikli konular dışındaki sorularda öğretim elemanlarının farklı görüşlerde olduğu ortaya çıkmıştır.

Jazz History in Thailand: From Profession to Music Education

This qualitative research has collected exhaustive data on topics ranging from the history of jazz in Thailand to the genre entering the realm of music education. Cassettes, CDs, gramophone records, online databases, research articles, and extant documents form the basis of the investigation. Observations and in-depth interviews with seventeen key informants—jazz teachers, jazz event organizers, jazz musicians, and business owners—were conducted. The study shows that initially, jazz in Thailand was inextricably linked to the entertainment venues in which Siamese aristocrats dined and were entertained. The subsequent growth of a jazz society involving musicians, music activists, jazz writers, jazz businesses and foreign-trained graduates became the catalyst for the development of a system that did not rely on formal education. Later, jazz big bands in government organizations, high schools, and universities came into existence. Presently in higher education, the three giants of Mahidol University, Silpakorn University, and Rangsit University offer outstanding music programs. Once considered a singular entity, the growth of jazz education has caused Thai jazz society to spread into various dimensions, including jazz in businesses and activities, performances, and education.

Experiences of Musical Improvisation: Self-Individuation and Participatory Sense-Making

Improvisation is an important element of global musical practices. However, musical improvisation is often neglected in K-12 and collegiate music education programs, with some music educators suggesting that improvisation cannot be taught. Rather, improvisation must be facilitated, enabled, and fostered. In this review of literature, I examined musicians’ experiences when improvising to provide information about the characteristics of the environment needed to foster student improvisation. I drew upon recent developments in music perception and cognition studies to frame a view of individual and group processes in improvisation, and I suggest steps teachers can take to facilitate improvisation in music education settings.

The Effects of a Dance and Music-Based Intervention on Parkinson's Patients' Well-Being: An Interview Study.

Previous research has shown the positive effects of music and dance-based interventions on the physical and psychosocial symptoms of Parkinson’s disease (PD). The aims of this study were: (1) to investigate how PD patients subjectively perceive the emotional, cognitive, and social benefits of a music- and dance-based intervention; (2) to apply an innovative methodology for an interview analysis combining findings from a linguistic text with an analytic approach and conducted with the software LIWC and from the content analysis performed by human coders. Extensive, open-ended interviews were conducted with 13 patients with PD who had participated in a dance and music program. The interviews were analyzed using both human coders and the computer-based approach. The results show that emotional and social aspects are considered the most frequent perceived benefits of the dance program. The data confirm the positive impact of dance- and music-based programs on promoting participants’ emotional and social well-being. A combined approach to text analysis appears to be a promising way to achieve more in-depth insights into patients’ subjective perceptions.

Project Unmute: A Digital Music Program Delivered by Adolescent Musicians to Older Adults with Cognitive Decline

ABSTRACT Effective intergenerational music programming has the power to positively influence the current lives of the millions of older adults who are experiencing Alzheimer’s disease and dementia, as well as to support the confidence of the newest generation of young musicians. To explore this potential, we designed a digital, intergenerational music program delivered by adolescent musicians to older adults with cognitive decline. This program utilized songs preferred by the older adults and an interactive activity that engaged the two generations. We believe this type of easily scalable programming could support older adults and young musicians, as well as promote new intergenerational relationships.

The Changing Face of Public Broadcasting in India

The invention of using radio waves, for sending voice signals over long distances, brought profound changes to human society. The idea was picked up, initially by enthusiasts called radio amateurs, and later by business entities, to start radio stations transmitting voice and music programs for public entertainment. This was the beginning of public broadcasting. Rapid progress in communication technology enabled transmission of video information in the same fashion, called television (TV). The development has been very rapid in the recent past. TV has finally reached the old concept of being the picture frame on the wall.