Music Students Research Articles

The structural and activity method of studying the universal creative personality (on the example of musical culture)

The trend of the global educational process aimed at developing a universal creative personality is leading young people to expand their professional spectrum. The study of the universal personality of a musical artist is a prominent issue in the context of socio-cultural changes in the life of modern society. The aim of the research is to study the specific and characteristic features of a creative personality as well as to clarify the aspects of the formation of a musician’s universal personality. This article uses the following scientific methods to study the issue of universal creative personality of a music student: description, analysis, synthesis, comparison, abstraction and generalisation. The paper highlights the issues of formation and development of the universality of the creative personality in the representatives of musical culture. The authors studied the functions of leading and auxiliary activities in the process of forming a musician’s creative personality in view of personal motivation. The work analyses and highlights the ways of forming and developing the creative aspects of a musician’s personality. This study also examines the typology of the universal creative personality, which resulted in the formation of the following types of musical personalities, in particular, the musician-master and the musician-creator and the differences between them. The article explores the structure and activity of the creative personality of a composer, performer, musicologist, teacher and public figure. The authors’ work can be a subject of further investigation by researchers and teachers who will study the topic of universal creative personality of music students.

A Study on the Application of Constructivist Theory in School Piano Teaching and Performance

This study investigates the application of constructivist theory in piano teaching at two music schools in China. The results reveal widespread utilization of constructivist teaching methods, such as activating prior knowledge, creating cognitive dissonance, and providing feedback. Piano teachers encountered challenges related to prior knowledge, dependency on rote learning, and inconsistent student engagement. Recommendations include encouraging students' independent exploration, promoting collaborative learning, employing multimodal strategies, and offering positive feedback. The application of constructivist theory in music education is expected to significantly transform the approach to nurturing the next generation of musical prodigies.

Exploring Academic Self-efficacy in Piano Practice among Students at Preschool Colleges in China

Exploring Academic Self-efficacy in Piano Practice among Students at Preschool Colleges in China

A Pedagogical Model for Creating African-Inspired Piano Compositions: A Conceptual Thought

This paper is a review to establish a pedagogical model aimed at fostering creativity and cultural expression in piano composition through the lens of African musical traditions. As the world of music education embraces diversity and inclusivity, there is a growing need to explore pedagogical approaches that empower students to draw inspiration from their cultural heritage while developing their compositional skills. It is a proposed model that integrates elements of African musical traditions, including rhythms, melodies, and harmonic structures, into the process of piano composition for the various proficiency levels of piano instruction. The pedagogical model seeks to broaden the creative horizons of African compositions for the piano and deepen the understanding of the composers to exhibit cultural expression and inclusivity in music. Through a literature review, the paper births a model that can be leveraged to compose piano works within a certain complexity level at the students' experience. It is envisaged that the developed model can be used by composers for the piano within the concept of African pianism to make a potential impact on students' musical development. The paper contributes immensely to practical insights for educators seeking to inspire creativity and innovation in piano composition instructions.

Inspiring Repertoire for Enrichment

One of the enduring challenges for piano teachers is selecting appropriate repertoire to enrich a student’s piano education, which has foundations in leveled books. A response to the challenge is to select a collection from a composer’s works to immerse the student in the style and technical demands of that specific composer. In this study, Edvard Grieg’s Lyric Pieces Opus 12 were investigated for their effectiveness as pedagogical tools for intermediate piano students. The analysis included: (1) contextualizing the collectionhistorically through related literature; (2) identifying primary technical elements to determine an effective pedagogical approach for introducing the specific elements to students; and (3) identifying stylistic features and Norwegian cultural connections to provide meaningful insights for students’ interpretation of the pieces and lead to a set of guiding questions to pose to students. Historically, Grieg’s Lyric Pieces capture the Norwegian spirit by incorporating folkloric elements into classical compositions, and his intention in the compositions was to supply his music school with short, digestible instructional material. The Lyric Pieces are accessible piano pieces that allow students to discover complex technical elements such as melodic nature, varied approaches to the keys (touch), complex rhythms, and ornamentation. They also provide opportunities for students to grow their understanding of stylistic features through the titles and descriptive phrases, as well as connections to Norwegian culture, which allow them to develop their interpretation of the pieces. This study contributes to the professional learning of studio piano teachers and the application of Grieg’s Lyric Pieces in teaching intermediate students.

University students facilitating hip hop in a community engagement project: experiences and perceptions

ABSTRACT Hip hop is the most popular music in the US and remains on the fringes of the music education profession as both under-integrated, researched, and utilised. The purpose of this project was to investigate the experiences and perceptions of undergraduate music students who facilitated a hip hop project with hip hop experts in a local youth arts organisation located in the southeastern region of the US. As a qualitative investigation, analysis of these data revealed four themes associated with undergraduate music student experiences, which included (1) adaptability, (2) connection, (3) discomfort, and (4) impact. These data suggest direct influences on participant understandings related to hip hop with implications for the field of music education to include hip hop experiences in democratic and learner-led classrooms.

Qualitative Study on Playing-related Injury of College Student Pianists

This study aimed to investigate student pianists' playing-related musculoskeletal disorder (PRMD) from the perspective of qualitative research. This study used a transcendental phenomenological approach to collect data through one-on-one interviews and focus group discussions. Four themes emerged in these data: experiencing memories of PRMD, pianist's self-awareness, social support, and deal with injury. The findings are highly relevant regarding self-awareness, social relationships, education, and healthcare and provide educators and healthcare personnel with an experienced way to understand the PRMD of student pianists. The results show that maintaining student pianists' playing careers and coping with PRMD requires joint efforts from multiple fields, including the pianists themselves to establish good self-awareness, social relations to provide support and help, higher education institutions to provide and strengthen health education, and health care personnel to develop tailored ways to deal with injury for pianists. The study suggests that more research in the future could focus on the experiences of musicians and the group of tertiary music students. The study also hopes that this kind of research can be paid attention to and valued by music education, health education, and medical care to develop suitable PRMD intervention and treatment strategies for different types of musicians.

Bookshelf

Abstract: Debra Greschner reviews four recent publications. The Cambridge Companion to Amy Beach , which is comprised of contributions by editor E. Douglas Bomberger and ten other authors, provides an overview of the life and music of this American composer. Patricia Caicedo offers biographical information about two South American composers in collections of their art songs. The complete works of Argentinian Irma Urteaga and a song cycle by Colombian Jaime León include phonetic transcriptions and interpretative guidance. Advice for Young Musicians by Ian Howell is a collection of counsel for music students.

Face the (unamplified) music: Key findings for musicians.

Music is complex. There are risks to hearing health associated with playing due to excessive sound exposure. Face the Music is an on-going cross-sectional project to assess the risks to unamplified classical musicians. Key findings over the first fifteen years are presented based on the research undertaken with a leading conservatoire on more than 5000 classical music students. The work covers hearing health surveillance, education and awareness, sound exposure, and new technology. The future of the research programme is discussed along with opportunities in objective hearing health assessment and new acoustic solutions. A lot has changed in fifteen years, but the research was driven by a change in United Kingdom legislation. It is hoped that the research results can inform future regulation.

Harmonizing musculoskeletal health: transformative effects of 8-week intervention program on posture in music students

Background and Study Aim. Musculoskeletal complaints are common among music students, irrespective of gender. They develop due to intense practice over an instrument; spending long hours of practice may cause muscular imbalance, tension, and awkward posture. The repetitive nature of practice in music students may cause overuse and fatigue. This increases the risk of acute pain and can affect both quality of life and performance. Therefore, the present study aimed at evaluating the transformative effects of an 8-week intervention program on posture in music students. Material and Methods. The 8-week intervention program with transformative effects was conducted over 8 weeks (from September 18 to November 12) on Mondays and Thursdays, for 45 minutes each session. The program aimed to benefit 25 music students, of whom (i) 15 were in the experimental group (with an average age of 24.20 years, average weight of 82.40 kg, and average height of 178.60 cm), and (ii) 10 were in the control group (with an average age of 24.60 years, average weight of 78.40 kg, and average height of 182.20 cm). All participants were enrolled in the second year of a master's degree program in Performing Arts. Standardized measures for evaluating posture (utilizing Klein and Thomas's method, as refined by Mayer) were conducted both before (Week 1, September 18) and after (Week 8, November 12) the intervention. The impact of the 8-week intervention program was assessed using the Wilcoxon Rank-Sum Test, Wilcoxon Signed-Rank Test, and Pearson's r. Results. Significant differences (p ˂ 0.05, ˂ 0.01) between 25 music students (M); in particular experimental group (n = 15) and control group (n = 10), were in 4 (80%) segments of body in post-test: (i) Head and neck; (ii) Abdomen and pelvis; (iii) Curvature of spine; (iiii) Shoulders and scapulas. Insignificant differences (p ˃ 0.05) between 25 music students (M) were in pre-test. Conclusions. Significant differences (p ˂ 0.05, ˂ 0.01) indicated the transformative effects in the experimental group's (n = 15) posture. This emphasizes the potential of the 8-week intervention program in promoting musculoskeletal health of music students. Therefore, additional research is necessary to investigate the lasting resilience (sustainability) of advantages and enhance the intervention plan in music education.

Social Learning Experience and Its Impact on Piano Performance among Chinese Students

This study explores the benefits of piano study for students' personal and professional development, the challenges of online piano instruction, and potential solutions to these problems. Surveying both students and educators in China, this study employs a descriptive research strategy rooted in a blend of positivism and interpretivism to ascertain their stand on the matter. Everyone agrees that learning to play the piano has positive effects on one's intellectual and ethical development, according to the results. It was obvious that social skills were crucial; musicians' skill levels usually rose after collaborating with peers and working on group projects. Nevertheless, challenges related to social learning were found. Some of the suggested methods include interactive video courses and online peer cooperation. By bringing attention to the significance of both human and technology resources, this research contributes to the continuing discussion on what constitutes excellent music education.

Performance-related pain and disability among music students versus professional musicians: a multicenter study using a validated tool.

To evaluate prevalence of performance-related pain among musicians and compare pain characteristics, associated disability and approach to pain management, between music students and professional musicians. A multicenter cross-sectional study was performed in a multi-stage stratified cluster random sample of 585 musicians, stratified by music students (294, among which 234 were at pre-university level and 60 at university level) and professional musicians (291). The main outcome was performance-related pain, measured by Performance-related Pain among Musicians Questionnaire (PPAM). Secondary outcomes were: pain management approach, physical activity levels, fatigue, distress, and health-related quality of life. The lifetime prevalence of performance-related pain was 55.0% (n = 322), being significantly higher among professionals (57.5% vs 42.5%, P < .001). Pain intensity scores were significantly higher in professional musicians (P < .05), but pain interference in performance was higher among music students, who also reported significantly higher levels of fatigue (P = .008) and distress (P < .001), and lower quality of life (P < .001). Regardless of the high levels of pain intensity and interference, fatigue, anxiety and depression, and low levels of quality of life, 33% musicians who developed pain had never looked for healthcare (this proportion is significantly higher for music students, 57%, P < .001). We present the first multicenter study on performance-related pain among musicians with different backgrounds, using a validated tool, and distinguishing music students from professional musicians. Performance-related pain is a highly prevalent and disabling condition among musicians, however, its proper evaluation and management are still often underappreciated, contributing to significant impairments and reduced quality of life.

A Comparative Study of Gifted Music Programs in Malaysia: The Impact on Tertiary Music Education and Talent Development

This article uses data generated from interviews with three music education practitioners in Malaysia to compare two music education institutions: the Muzik Permata Seni and the Sekolah Seni Malaysia. In so doing, it aims to evaluate the impact of these programs on tertiary music education within Malaysia. Grounded Theory was employed to develop a preliminary theory based on previous research conducted on gifted music students at Sultan Idris Education University in Perak, Malaysia. By employing a similar case sampling approach, this project extends the theory’s transferability to other locations in Malaysia. This article focuses on both understanding the environment in which young musicians in Malaysia grow and identifying factors crucial for their talent development. Additionally, it explores the professional developmental paths available to young musicians in the country. The findings contribute to the ongoing discourse on nurturing musical talent and can serve as a valuable resource for stakeholders seeking to improve the standards of music education in Malaysia.

Putting the ego aside: A case study of the peer-to-peer feedback dialogue among electronic popular music makers within higher education

Settings where students showcase their original songs to peers and teachers can seem advantageous and harmless. However, beneath this surface is a complex, multifaceted negotiation. In this article, I engage with the construction of this complexity. I interviewed eight Norwegian electronic popular music students at the university level on how they experienced the real-time peer group song assessment (PGSA) setting. Through semi-structured interviews, I seek to give a critical view on how PGSA works as a vehicle for learning. I discuss how the student’s experience of risk varies according to what the student is presenting and what the feedback focuses on. The interviews indicate that feedback that engages with elements that contain the highest degree of creative and personal investment is the hardest feedback to give and yet most desirable to receive. offers suggestions for presenters, peers and teachers related to the PGSA setting.

A scoping review of occupational health education programs for music students and teachers

Embedding musicians’ occupational health training in music education curricula is widely recommended due to the well-documented high prevalence of performance-related health problems (PRHPs) among musicians across their lifespan. A scoping review was conducted to examine the range of evidence from implementations of musicians’ health education programs, regarding the maintenance of hearing, musculoskeletal, psychological, and vocal health, as well as injury prevention strategies to minimize the risk of PRHP. Eligible sources of evidence included published and unpublished studies reporting occupational health education programs (which may have incorporated information on physical or psychological health, exercise, or somatic movement training) implemented with pre-tertiary and tertiary music students and teachers. Studies reporting stand-alone psychological health education were excluded. Key characteristics from included studies were extracted and charted. Data charts outline commonalities across the reported results, including physical, psychological, educational, and behavioral change outcome measures. Out of 46 records included for data extraction, 35 reported programs with tertiary-aged music students, seven reported programs with pre-tertiary-aged music students, two reported programs with music teachers, and two reported systematic reviews. Reported benefits from this research with both pre-tertiary and tertiary music students suggest that musicians’ health education and injury prevention strategies reduce self-reported playing-related pain and music performance anxiety. However, future implementation studies need to address identified challenges such as effective behavior change and the enablers and barriers to the long-term adoption of strategies for optimal music performance and health outcomes. This review highlights the need for further research into designing and embedding musicians’ health education into all music training settings, including more implementations with pre-tertiary music students, as well as training to support the professional development needs of instrumental and vocal teachers.

Application of entertainment virtual technology based on network information resources in piano teaching

With the rapid development of digital technology, e-learning and robot technology are gradually applied in various fields. As an innovative form of traditional piano education, digital piano teaching is faced with the challenge of how to improve the learning effect and add interest. The purpose of this study is to explore the application of e-learning and virtual robot technology in digital piano teaching, so as to provide an effective teaching method and improve the learning experience and effectiveness of learners. This paper uses e-learning platform and virtual technology software to create a virtual piano learning environment. Through robotics, interaction with learners is achieved to simulate a real piano teacher. Design appropriate teaching content and assessment methods to ensure that learners can fully understand and master relevant knowledge and skills. The results show that the digital piano teaching method using e-learning and robot virtual technology can effectively improve learners' interest and participation, improve their piano playing skills and music understanding ability. Learners give positive evaluation to this new teaching method, and think that it is highly practical and innovative.

Evolution of Piano Education in China: Analysis of Socio-Cultural Impact and Prospects for Development

Evolution of Piano Education in China: Analysis of Socio-Cultural Impact and Prospects for Development

Interaction of motor practice and memory training in expressive piano performance: expanding the possibilities of improvisation.

This paper aimed to investigate the influence of motor practice and music performance experiences on musicians' auditory memory, the effect of auditory distinctiveness on melody recognition, and the differences in the working memory of classical and jazz pianists. The study was conducted among 26 jazz and 24 classical music students at Shenyang Conservatory of Music. To achieve the goal set, a melody recognition ability was analyzed after listening, performing without sound, and simultaneous listening and performing using computer recordings and pianist-taken notes. The study was conducted following repeated measures mixed design. The within-group variable was the learning condition. As the within-participant variable, the number of melody practicing trials was chosen. The type of influence on auditory memory was chosen as a between-group variable. The dependent variables were auditory recognition score, motor imagery ability, and auditory imagery ability. Students' recognition of the heard melodies was assessed by means of a 3-point Likert scale. Pearson's correlation coefficient was calculated to investigate the relationship between working memory and other student characteristics. The study outcomes unveiled that pianists are much better at recognizing tunes they generate themselves in auditory-motor practice than auditory practice alone. It was pointed out that the ability to recognize melody in auditory-motor learning is influenced by its acoustic characteristics. Hence, melodies that are slow in tempo and regular in time and intensity are easier to recognize than more variable pieces.

Exploring the Reform of Piano Course Teaching based on AGIL Model

University music performance majors are strongly encouraged to take a piano fundamentals course as one of their necessary foundational topics. For college music achievement majors, it is very crucial to develop and raise students' piano playing proficiency and expertise. For the analysis and creation of complex systems, the AGIL model serves as a theoretical framework. This model may be used to create a complete methodology for piano instruction that emphasizes the growth of the student's flexibility, goal achievement, skill integration, and pause in action. Learning to play the piano may test these connections in the brain that control movement in students and people with poor motor abilities, and it can even improve coordination. Thus, we suggested the AGIL model for the reform of piano course teaching to further encourage the creative growth of piano instruction for music majors in colleges and universities in a diverse environment. The dataset used was made up of Chinese piano students. The performance measures used to assess suggested efficacy include ideal teaching, student performance, note-reading skill, teamwork ability, and student support rate. The evaluation's results indicate that the AGIL approach has provided 98.5% which seems to be useful for improving students' piano skills.

Evaluation of Multimedia Teaching Platform for Piano Accompainment Using Logic Pro

The role of education in a country's progress is crucial. It ensures the intellectual and human resources a country needs to grow. There has been a growing consensus in China that gaining a thorough understanding of advanced foreign theories and effective teaching is crucial to keeping up with the country's rapid advancement and growth of its higher education system and the continuous intensifying and improved performance of the reform of education and teaching activities. College and university music programs often include piano teaching (PT) as a required curriculum component. As a result, the job it does in the classroom is crucial to developing modern musical literacy and understanding.. This article shows how to regulate the classroom tempo by utilizing multimedia instructional tools, how to pique students' interest in learning, and how to use multimedia tools to improve the quality of piano instruction. We used a logic programming system to design a piano teaching platform.it is used to analyze the knowledge of piano learners and manipulate their interference. By gathering user behavior from different Internet distribution platforms and evaluating the feature vector by the function space created by the pertinent evaluation metrics, the analysis system is also utilized to assess some instructional techniques' online public thought assessment. The system's accuracy is 96%, indicating a successful teaching assessment. The system's value evaluation paradigm makes it possible to comprehend user behaviors precisely and apply them to other disciplines.