Music Education Research Articles

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

Survey on acoustic preferences in Korean music practice spaces

.In 2021, the acoustic quality criteria for music practice rooms was standardized as ISO 23591. This standard will be very useful in constructing and utilizing music education facilities to train excellent music players. "Gugak," Korea's traditional music, is taught and related performers are trained at major national educational institutions. Recently, a variety of Korean music content has been introduced internationally. The Korean traditional music practice room is used similarly to a general music practice room. However, the acoustic characteristics of traditional houses where Korean traditional music is played do not have a long reverberation time and are flat across frequency bands, so we investigated what acoustic characteristics actual Korean traditional music players prefer as a practice space. The room acoustic characteristics of Korean music practice spaces at Seoul National University were measured, and a preference survey was conducted on professional performers who actually use the practice spaces. In the future, we plan to investigate preferences for Korean traditional music practice spaces using real-time sound audibility technology.

Global artistic citizenship: (Re-)imagining interculturalism, collaboration, and community engagement as central elements of higher music education

This article seeks to better understand the impacts of placing interculturalism and community engagement as central elements in higher music education and its effects on students’ experiences, learning outcomes, and societal contributions. Qualitative data is drawn from three contexts of intercultural learning environments, including graduates of a degree programme in global music, as well as current students participating in an intercultural arts camp and a refugee community project as part of their studies. Findings emerge in terms of the ways intercultural learning environments impact students’ sense of global artistic citizenship, develop extra-musical skills, provide opportunities to engage with societal issues, and expand professionalism, enhancing the ability to create a career and engage with the changing world. Key findings and conclusions point to the need to continuously re-imagine the structures of institutions and the ways they can become more inclusive, pluralistic, intercultural, and connected to the world around them.

The Construction of Localized Teaching Model of Orff Music Teaching Method Based on Big Data Analysis

This paper discusses how Orff's music education system is combined with the localized teaching mode under the background of globalization, especially with the support of big data analysis to realize the innovation of music education. Orff's music education has attracted worldwide attention for its openness, diversity and innovation. In China, its localization practice aims to balance the international educational concept with the local cultural needs. The innovations of this paper are as follows: firstly, the big data analysis technology is integrated into the localized teaching mode, and the new mode of music teaching is analyzed; Secondly, advocate students' active participation, get rid of the shackles of traditional teaching and make music learning lively and interesting; Thirdly, from a new discipline perspective, combined with the frontier concept of national music education, this paper interprets Orff's localization theory and practice in order to push Orff's music education in China out of the dependent development mode.

How does the use of modern technologies affect students’ perception of information? The effectiveness of holographic projection technology in music education

ABSTRACT The article studies the holographic projection technology in an innovative music classroom during full-time education. The study addresses the influence of this technology on the effectiveness and efficiency of learning, as well as on the perception and memorisation of educational material by students. It describes an innovative music classroom with equipment for using a 3D Hologram (3DH) for face-to-face lectures. An educational experiment was conducted within a three-month course. The experiment enrolled 111 foreign students in the first year of studying at higher educational institutions in China. The evaluation of the emotional background of the learning environment in the innovative music classroom indicates a positive attitude of students towards educational activities. The activities aroused their interest, admiration and trust; the environment was friendly and joyful. The findings can facilitate the search for innovative solutions to improve pedagogical activity or foster the introduction of holographic innovations into teaching practice.

Music education training for kindergarten teachers: a workshop integrating Shulman’s pedagogical content knowledge and pedagogical reasoning and action model

ABSTRACT Kindergarten teachers often express concerns about the insufficient preparation they receive in their training programs to effectively teach music. This lack of confidence in their music teaching and musical ability can impact their effectiveness of teaching, which in turn can affect children’s music learning. To address this deficiency in music training for preservice teachers, this study consists of a workshop that integrates Shulman’s Pedagogical Content Knowledge (PCK) through the Pedagogical Reasoning and Action Model (PRA). The workshop takes an experiential approach, moving away from the traditional separation of content knowledge and pedagogy. Nine participants took part in the workshop and were interviewed to address two research questions: 1. How do preservice teachers perceive the significance of their musical competence and music pedagogy skills when conducting a music lesson? 2. In what ways does the workshop contribute to the professional growth and effectiveness of preservice teachers in music teaching? The integrated approach employed in the workshop proved effective in enhancing the preservice teachers’ comprehension of PCK through PRA model. The study emphasizes the significance of designing training programs that encompass the breadth and depth of Shulman’s theory of teaching, equipping teachers to deliver music education.

The Thematic Representation of Female Composers in Classical Music on Streaming Platforms

Women have been increasingly fighting for their rights and equality in Society. Historically, in the 18th century, women’s musical education was considered a distraction and participation in family events, but professional engagement was not deemed acceptable. Given this context, questions arose about the existence of female classical music composers and whether their works are present on current music streaming platforms. Based on this, the study aimed to investigate how these composers are thematically represented on these platforms. Methodologically, the study is qualitative and exploratory, employing case study methods. The search terms used were “woman” and “classical music” along with the composers' names. The criterion for selecting composers was that they belonged to the 18th, 19th, and 20th centuries, as many male composers achieved enduring success during this period. The selected composers were Maria Anna Mozart, Fanny Mendelssohn, Clara Schumann, Chiquinha Gonzaga, and Alma Mahler-Werfel. The chosen platforms were Spotify, Amazon Music, Deezer, and Apple Music. The research demonstrated a scarcity of historical records about the analyzed composers’ lives. They were often compelled to abandon music due to family obligations, which contributed to the limited availability of their music on the platform.

Personalities of professional heroes in the musical pedagogy of the South Urals

The article continues a series of studies by the authors devoted to the consideration of the activities of famous musicians-teachers of the South Urals in the heroic paradigm – as outstanding masters who have achieved impressive results in pedagogical work, have received wide public recognition, are perceived by the professional community as a model of service to their cause and an axiological guideline for the younger generation. The purpose of this work is to present the activities of famous musical teachers of the Southern Urals in an integrative context. In this article, the personalities of outstanding teachers of the P.I. Tchaikovsky South Ural State Institute of Arts (hereinafter referred to as the Tchaikovsky Law School) - E.G. Bykov (balalaika), V.V. Kozlov (guitar), A.A. Heineman (French horn, orchestral conducting) are chosen for study. The methodology consists in using an integrated approach and synthesis of research methods in pedagogy, art history, and cognitive linguistics. The scientific novelty of the article lies in the fact that the heroization of the personality of the teachers-musicians of the Tchaikovsky YUrGII is revealed integratively: in the didactic aspect (creation of their own outstanding pedagogical school), culturological (enrichment of cultural achievements of the region through fruitful and highly productive creative work of professional heroes), communicative (establishment of stable artistic communication with the public through creative activity of students), axiological (formation of reference principles and methods of work of a professional teacher, acting as axiological guidelines for the younger generation of musicians). The theoretical significance is expressed in a systematic and consistent study of the pedagogical heritage of outstanding masters of art of the South Urals, which allows us to enrich the history of the development of the Tchaikovsky School as one of the leading creative universities in the region. As a result of the research, the hypothesis is proved that the activities of outstanding musical teachers should be considered as a phenomenon of the spiritual culture of society in the unity of transformative, cognitive, value-oriented, communicative potential, and only integrative perception allows us to identify aspects of the glorification of personality most fully and in relief.

The Teaching Effect Evaluation of Big Data Analysis in Music Education Reform

At present, the evaluation of the implementation effect of the music teaching reform project is a hot topic. This project establishes a teaching reform implementation effect evaluation model based on improving the accuracy of teaching reform plan effectiveness evaluation. This project first analyzes the current research status of the impact evaluation of the implementation of music education reform projects and builds a set of evaluation systems. The evaluation method of teaching reform plan implementation effect based on a ”big data-driven - support vector machine” was constructed. The simulation experiment verifies that this method can evaluate the implementation of the teaching reform plan well. The relative error of the evaluation results is small. It is practical in improving the effectiveness evaluation of the teaching reform plan. After verification, it is found that the research results of this project are feasible.

An Application of The Theory of Planned Behaviour: Factors Influencing Parental Decision on Children Involvment in Out-Of-School Music Education

In China's music education and training industry, the exploration of parents' and children's educational decisions on the demand side of the market is crucial to the healthy functioning of the music education market. The current study applies TPB theory and modelling to investigate the factors influencing parental decision-making in children's out-of-school music education participation. The study was conducted in Henan Province, China, with a sample of 650 parents from 21 music education institutions in seven cities in Henan Province. The results of data analyses showed that parental ATT, SN, and PBC all had significant positive effects on PI. PBC directly affected PD, while PI was the most significant influence on PD.

Postgraduate theses published in the field of preschool music education in Turkiye: a bibliographical study

Preschool music education is an important field that affects and shapes the whole life of the individual. Preschool music education, which has not become a separate discipline for many years, has become a separate field of study both in preschool departments and in units such as music education departments and music departments with the development of the university structure and the diversification of departments. Rapidly increasing scientific studies and new approaches every year indicate the need for this field. At this point, graduate theses that contribute to the literature are important. In this study, which aims to examine graduate theses published in the field of preschool music education in Türkiye from a bibliographic point of view, all theses between 1985, the date of the first thesis, and the present day were included in the study. The study sample was limited to theses registered in the Thesis Documentation Center of the Council of Higher Education and open to access, and 94 theses were included in the sample. In the study, theses were examined in terms of university, distribution according to the years they were written, types, institute, method used, research design, sample selection, sample scope, data collection tools and analysis methods used. Frequency (f) and percentage (%) were used to analyze the data and the results were shown in tables and figures. As a result of the research, it was found that most of the theses were written in 2019 at Gazi University, within the scope of Educational Sciences Institutes, and that quantitative methods were mostly used as methods in the theses, experimental models were used, sample selection was determined randomly, and children between 26-72 months were generally studied. While questionnaires were mostly used as data collection methods, it was concluded that frequency and percentage analysis methods were used. In line with the results of the research, it is thought that conducting bibliometric studies at certain intervals will contribute to the literature.

Mediación e interculturalidad en el aula de música a través de un proyecto colaborativo

The cultural diversity of today's society must be reflected in the didactic proposals to be carried out in the classroom, also with regard to music education. This paper presents the results of a collaborative musical experience in which different fields related to music education have taken part. The study, which has been carried out from a qualitative approach, seeks to deepen the understanding of educational and social phenomena that can contribute to the transformation of teaching practice. The main results show the relevance of this type of projects to facilitate knowledge and reflection on the different educational and social problems from music education.

KARL ORFF AND SHINICHI SUZUKI ON THE IMPORTANCE OF EARLY CHILDHOOD MUSIC EDUCATION

In this article the authors consider pedagogical concepts of Karl Orff (Germany) and Shinichi Suzuki (Japan), regarding music education of young children. As is known, they dedicated their lives to the musical and aesthetic education of children and made an invaluable contribution in world music pedagogy. Leading scientists and researchers highly rate their activities. The article presents an analysis of scientific sources, brief biographical data and information. In particular, it is reveals that the creative atmosphere in his family influenced the becoming of K. Orff as a composer, musician and teacher. The desire for improvisation, composing music, poems and stories, staging theatrical performances became the core that contributed to the emergence of an integral system of music-aesthetic education of children called «Orff-pedagogy». Its basic principle defined by the concept of «learning-doing creating». Various types of musical activities, on which he relied in his work, aimed to emotional-creative and moral-aesthetic education of the younger generation.The uniqueness of Suzuki's method emphasized by the necessity of forming creative activity in the process of musical-performance activity, in particular, in playing the violin, from the earliest childhood. The materials of the article also allow us to understand that Suzuki's "method of talent education" implies: reliance on the belief, regardless of the child's capabilities, that every child has musical abilities; manifestation of the teacher's love for young performers; training them to creative labor; joint work of the teacher and parents in the musical education of children; manifestation of care and mutual assistance.In spite of the fact that K. Orff and S. Suzuki are representatives of different ethnic groups, cultures and traditions, but their pedagogical views have much in common. This is, above all, the manifestation of great love for children, the desire to bring them up to be creatively active not only in the process of communicating with music, but also in their relationship with the world around.