Music Lessons Research Articles

Music Perception in Older Adults With Hearing Loss: Protective Effect of Musical Experience.

The goal of this project was to investigate the impact of musical experience, hearing loss, and age on music perception in older adults. The authors hypothesized that older adults with a varying degree of musical experience would perform better at music perception tasks than their counterparts without musical experience while controlling for age and hearing loss. This study used a descriptive correlational cross-sectional design. Seventy-seven older adults aged 60 to 90 years were recruited and divided into two groups based on their lifetime musical experience: the group without musical experience (n = 39) and the M group (with musical experience; n = 38). Participants in the M group had either played an instrument for 5 years or more and/or taken at least 1 year of music lessons. Following a hearing screening and a musical experience questionnaire, participants completed two music perception tasks: (1) a short version of the Montreal Battery Evaluation of Amusia (MBEA) measuring melodic (scale and contour) and rhythm perception, and (2) an instrument discrimination task measuring timbre perception. Results revealed that participants of the M group had a significantly higher accuracy in both tasks compared with the group without musical experience while controlling for age and hearing loss. Moreover, a significant interaction was found between group effect and hearing loss for the MBEA, suggesting that musical experience moderates the impact of hearing loss on melodic and rhythm perception abilities. Finally, the amount of musical experience was the most important positive predictor for MBEA accuracy in the M group. These results suggest that despite age-related hearing loss, older adults with musical experience still benefit from their experience-driven enhancement in melodic, rhythm, and timbre perception. Findings from this study support the notion that music training is beneficial for music perception abilities, providing protection against the impact of presbycusis.

세계 음악 교수법에 대한 예비교사의 인식 사례 연구

The purpose of this case study was to surface pre-service teachers’ perceptions of World Music Pedagogy(WMP) as designed by Patricia S. Campbell. Study participants(N = 20), who were enrolled in the Elementary Music Learning and Teaching Methods course, engaged with the pedagogical theory of WMP and learned a representative musical piece in the Cumbia of a coastal musical genre, <Chicitios pero Picos>. They participated in interviews, class discussions, and submitted reflection papers to share the pedagogical meaning from their perspectives. Findings centered around (a) expanding one’s understanding of global musical cultures and traditions; (b) encouraging one’s active participation and creativity via the content integration of music appreciation, performing, creating and interdisciplinary areas; and (c) maximizing one’s learning achievement from the creating stage. These findings strengthened the significance of the application of WMP to a diverse range of music genres around the world when in-service elementary teachers organize world music lesson plans.

Using state space grids for analysing teacher–student interaction in an intervention: The complex dynamics of teaching for musical creativity

ABSTRACT This paper highlights the use of State Space Grids (SSGs) for studying real-time classroom discourse in an intervention targeting professional development. State Space Grid analysis is both a powerful way to visualise patterns in interactional data, and a starting point for further quantitative analysis. In the present study SSGs were used to explore patterns in teacher–student interactions. The study shows the importance of using micro-level time-serial data and illustrates how change in interactions during and after an intervention can be studied. SSG analysis was applied to study interaction in terms of the coupling of a teacher and a student variable: autonomy support and musical creativity. Video data from 40 music lessons of five teachers and their classes was used as input for plotting teacher–student interactions in SSGs, consisting of two dimensions. SSGs allow visualising change in the situation of interactions in the grid and identifying change in patterns to different grid areas. The findings show how interactions tended to settle in areas representing more productive interaction for all but one class. We discuss the benefits of using SSGs in intervention studies and the implications for educational practice and research of using this time-serial approach.

MONITORING MUSICAL DEVELOPMENTOF CHILDREN OF THE THIRD YEAR OF LIFE,TAKING INTO ACCOUNT HOLISTIC THINKING

The article discusses the concept of functional asymmetry of the child’s cerebral hemispheres and the universal developmental paradigm. The universal developmental paradigm means that the characteristic of the world in which we exist is its duality, its division into right and left, light and dark, good and evil... It is thinking, as a function of the human mind, that can be considered the essence of man - a fundamentally intelligent being, and therefore thinking, since thinking is a system-forming factor of man as a living system, and at the same time a necessary and sufficient factor of his being as a rational being, as a species of Homo sapiens. Therefore, the main developmental goal of education should be considered the development of thinking in pupils. Preschool children's brains are used to remembering everything as it is - in a variety of colors, smells, sounds, and other factors. During reproduction, an image-model is created in the right hemisphere, and a verbal definition corresponding to the image is created in the left hemisphere. As a result, perception is not erased, it gives rise to brilliant poems, books, paintings, discoveries. This is unlimited and natural for him. During learning, in most cases, either the left or the right hemisphere of the brain is loaded, while the opposite remains unused. Experimentally, using K. Pearson’s criterion, it was confirmed that the musical development of a child of the third year of life will be more effective and qualitative if the holistic thinking of the two hemispheres of the child's brain is involved. Holistic thinking is the combined work of the two cerebral hemispheres, relying on all channels of information perception. Of course, the tasks of developing preschool children’s personality will be successfully solved if music lessons include consideration of the main issues of factual material. In this case, the music teacher varies the methods of study and forms of work. We propose conditions for individual and personal development of the child, namely, within the framework of the program, thematic planning, conducting classes, games, matinees, etc. the music teacher should have didactic material that changes the type and form of presentation of educational material, and the child has the freedom to choose the task (the same task should provide the possibility of its implementation through an image, word, scheme, modelling, musical accompaniment, movement, etc.), that is, to promote the integration of the right and left types of being in learning and development. Activities that involve two hemispheres of the preschoolers' brain simultaneously will be more effective.

СТАТИСТИЧНІ МЕТОДИ У ПРОВЕДЕННІ ПЕДАГОГІЧНИХ ДОСЛІДЖЕНЬ (ПРИКЛАДНИЙ АСПЕКТ)

The article discusses the concept of functional asymmetry of the child’s cerebral hemispheres and the universal developmental paradigm. The universal developmental paradigm means that the characteristic of the world in which we exist is its duality, its division into right and left, light and dark, good and evil. It is thinking, as a function of the human mind, that can be considered the essence of man - a fundamentally intelligent being, and therefore thinking, since thinking is a system-forming factor of man as a living system, and at the same time a necessary and sufficient factor of his being as a rational being, as a species of Homo sapiens. Therefore, the main developmental goal of education should be considered the development of thinking in pupils. Preschool children's brains are used to remembering everything as it is - in a variety of colours, smells, sounds, and other factors. During reproduction, an image-model is created in the right hemisphere, and a verbal definition corresponding to the image is created in the left hemisphere. As a result, perception is not erased, it gives rise to brilliant poems, books, paintings, discoveries. This is unlimited and natural for him. During learning, in most cases, either the left or the right hemisphere of the brain is loaded, while the opposite remains unused. Experimentally, using K. Pearson’s criterion, it was confirmed that the musical development of a child of the third year of life will be more effective and qualitative if the holistic thinking of the two hemispheres of the child's brain is involved. Holistic thinking is the combined work of the two cerebral hemispheres, relying on all channels of information perception. Of course, the tasks of developing preschool children’s personality will be successfully solved if music lessons include consideration of the main issues of factual material. In this case, the music teacher varies the methods of study and forms of work. We propose conditions for individual and personal development of the child, namely, within the framework of the programme, thematic planning, conducting classes, games, matinees, etc. the music teacher should have didactic material that changes the type and form of presentation of educational material, and the child has the freedom to choose the task (the same task should provide the possibility of its implementation through an image, word, scheme, modelling, musical accompaniment, movement, etc.), that is, to promote the integration of the right and left types of being in learning and development. Activities that involve two hemispheres of the preschoolers’ brain simultaneously will be more effective.

MODERN FORMS AND METHODS OF AESTHETIC EDUCATION OF PRIMARY SCHOOL STUDENTS IN THE PEOPLE’S REPUBLIC OF CHINA

With the deepening of the reform of China’s general education system and the popularisation of information technology, computer music software has become an essential component of music education in primary schools. The purpose of the article is to theoretically study modern forms and methods of aesthetic education of primary school students. The problems existing in general music education in China at the present stage are analysed, the important role of computer software in music lessons is explained, and ways and means of integrating information technology into the process of aesthetic education of schoolchildren are proposed.

중등학교 기악 교육의 내용과 방법, 평가에 관한 실태 분석

This study aims to analyze the current state, perceptions, and demands related to instrumental education in secondary school music classes, which has been receiving increasing emphasis in recent years, in order to identify issues and discuss possible solutions. To achieve this, various literature on the content, methods, and assessment of instrumental education was reviewed. Based on this review, a survey tool was developed to examine the actual state and demands of instrumental education, and a survey was conducted among secondary school music teachers across the nation. Statistical analysis was performed on the responses from 63 participants. The analysis revealed that secondary school music teachers strongly recognized the necessity of instrumental education. As a result, it was found that the majority of class time in music lessons is devoted to instrumental education. Most teachers also perceived a high level of student participation in instrumental lessons and held a very positive view of instrumental education. However, instrumental education was mainly limited to solo instrument instruction, focusing on posture, techniques, and basic performance skills, while instrumental ensemble activities were not well implemented, despite teachers’ high awareness of their importance. The predominant teaching method involved teachers directly demonstrating through performance and using modeling as an instructional approach. However, teachers felt that their own performance skills were inadequate. In terms of assessment, it was found that the evaluation of artistic and creative expression was not being adequately conducted.

중등음악교사의 국악 수업 경험: 서양음악을 전공한 음악교사들의 국악 수업 실천

This study aims to explore the difficulties faced by music teachers with a background in Western music when teaching traditional Korean music (gugak) in schools and to draw educational implications from these findings. The study involved six middle school music teachers who majored in Western music, and data were collected through in-depth interviews and teaching materials provided by the teachers. The research participants' experiences related to Korean traditional music classes were explored by asking open-ended questions about what Korean traditional music classes were and what kind of teachers they wanted to become, and as a result, the experiences and perceptions related to teachers' professional formation were analyzed into five categories, 11 thematic groups, and 55 topics. In order to understand the nature of the difficulties in teaching Korean music, a music teacher who majored in Western music was selected as a case study and analyzed using a qualitative research method, and the results are as follows. First, during their university years before becoming teachers, the study participants who majored in Western music felt a sense of unfamiliarity when they first took a traditional Korean music (gugak) class. Second, the nature of the difficulties in teaching Korean music experienced by the participants in the study was not about knowledge, but about what to teach. Third, the study participants became teachers and worked tirelessly to overcome difficulties and implement good Korean music lessons. Fourth, the study participants' identity as music teachers who teach national music was naturally formed through their Korean music lessons.

Towards modelling instructional quality for music class-rooms: Exploring subject-specific application of the TA-LIS/GTI generic framework

Arts subjects have so far been absent from large-scale studies on instructional quality as well as from related methodological development. The purpose of this article is to explore whether an observation scheme that builds on generic theoretical models and aims to capture instructional quality across school subjects might be meaningfully employed in general music education so that it could serve as a basis for empirical research and reflective practice. We evaluated instructional quality criteria proposed in the video observation system from the study Global Teaching InSights, the third cycle of OECD’s large-scale Teaching and Learning International Survey (TALIS/GTI) by exploring the system’s observation codes for analysis of music lessons on video and comparing the criteria with quality criteria from general music education. We found that the generic models are helpful and may have more to offer both research and practice in music education than we initially expected. The risk when attempting to apply quality criteria that are intended to be generic is that those aspects may be overemphasised while criteria that are essential for music education are pushed out of sight. However, we argue that modelling instructional quality in music classrooms is worthwhile in itself and that the friction points where generic criteria do not fit our subject are particularly interesting. A systematic discussion of quality criteria can sharpen our views and understandings of general music education and connect music education research with interdisciplinary discourse and with a much-needed, broad dialogue within the educational sciences.

Guided listening as meaningful learning: A study of Israeli secular Jewish High School music programs

Guided listening is vital in music education, fostering self-expression, skill development, and academic achievement. Yet, its limited use in Israeli high schools creates a gap between its recognized value and practice. This mixed-method study examines guided listening integration in secular Jewish-Israeli high school music programs based on four philosophical and pedagogical approaches—esthetic, Praxial, active, and peer instruction—to understand teachers’ objectives, methodologies, implementation, and optimal learning environments. Data was collected from an online questionnaire, structured interviews, direct observations of Western Art Music History lessons, and the researcher’s reflective journal. Key findings: (1) teachers tend to use a repeated five-step teaching pattern (reviewing, lecturing, analyzing, listening while following a score, summarizing); (2) teachers usually do not write lesson plans with detailed, step-by-step guidelines; and (3) teachers use recommended guided listening approaches in a limited capacity, likely due to pressure from preparing students for exams, and the perception that such methods are not fully suitable for Israeli high school music students. The paper explores teachers’ challenges in adopting guided listening pedagogical methods while balancing curriculum demands and promoting inclusivity. It offers recommendations for policymakers and educators on professional development and curriculum revisions, emphasizing detailed lesson planning for effective learning outcomes.

Motivational profiles in instrumental music learning: Perspectives on self-determination theory

This study examined the motivation of child and adolescent music students to learn instruments in five Austrian music schools using a person-centered approach. Drawing on self-determination theory, two autonomous and controlled forms of motivational regulation were surveyed. The results of a cluster analysis ( N = 616) were used to construct four motivational profiles: one autonomously motivated type (high quality), one overall highly motivated type (high quantity), one moderately autonomously motivated type (low quality), and one type with poor quantity motivation. The clusters showed differences in the support required to meet music students’ basic psychological needs in music lessons, which are essential determinants in the development of autonomous motivation, in the individual activity preferences associated with playing an instrument, and in the tendency to stop playing an instrument. No differences were found between the instrument groups and gender. This study provides theoretical and practical implications of a person-centered approach to music-related motivation research.

The Role of Experiential Learning in Transforming Music Appreciation Education and Pedagogical Practices

This study examines the role of experiential learning in transforming high school music appreciation education. Grounded in the experiential learning theories of John Dewey, Kurt Lewin, and Jean Piaget, the research explores how active and immersive approaches can enhance students' emotional and intellectual engagement with music. Utilizing a mixed-methods approach, the study incorporates teacher interviews, student surveys, and a case study centered on a specific music lesson (Homesickness Melody). Results indicate that experiential learning fosters creativity, deeper emotional connections, and critical thinking skills, while addressing some of the limitations of traditional music teaching methods. However, challenges such as teacher readiness, resource availability, and student participation were identified as key barriers to implementation. The case study demonstrated the effectiveness of kinesthetic and sensory activities in enhancing students' appreciation of music. Overall, the findings suggest that experiential learning offers a promising pedagogical strategy for music education, promoting both aesthetic literacy and emotional engagement.

Analysis of music teacher education programs in Puerto Rico

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

THE DEVELOPMENT OF A MUSIC TEACHER’S COMMUNICATIVE COMPETENCE THROUGH DISSEMINATION OF PRACTICAL EXPERIENCE

The article deals with the development of the communicative competence of a music teacher from the perspective of dissemination of his/her own pedagogical experience. The emphasis is on the need for constant professional self-improvement. The author analyses a music lesson from the perspective of integrativity based on subject-subject relations.

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 EDUCATIONAL SIGNIFICANCE OF COOPERATION BETWEEN SCHOOL AND FAMILY IN SHAPING MUSICAL CULTURE AMONG YOUTH

This article discusses the educational significance of cooperation between school and family in shaping musical culture among youth. It highlights the content and methods of organizing spiritual and educational work carried out during music lessons at schools.

Defining music demonstration lessons: a unique performance-based lesson type improving teachers’ instructional skills in Chinese mainland education

Abstract Teaching is a highly complex act, and learning to teach in an educational era that combines both teacher-centred and student-centred approaches presents additional challenges. Conducting demonstration lessons (DL) is one of the methods aimed at enhancing teachers’ instructional skills. This study examines the features and functions of this unique type of lesson from the perspective of music demonstration teachers in Guangdong, China. Through observation and interviews, the findings not only reveal the prevalence of DLs as performance-based lessons in Chinese teachers’ professional lives but also explore their distinctions from regular school teaching and their potential for improving teachers’ pedagogical abilities. Concerns and issues related to this type of lesson, along with possible solutions, are also discussed to provide recommendations for incorporating DLs into teacher training programmes in higher education institutions.

Virtual Classroom Tools in Music Education

Education is also continued with distance education, which is an alternative model with the support of technology. The formation of student and teacher environment in distance education depends on the virtual classroom. Virtual classroom is an educational environment where individuals in different places come together simultaneously through internet infrastructure and computer. Virtual classroom is applied in many disciplines of the education system. The high motivation of the students during the lesson in the virtual classroom and the permanence of learning depend on the virtual classroom tools used during the lesson. However, it is not known under which titles virtual classroom tools are applied in music education, which is a part of the education system. Based on this problem, it was aimed to reveal the dimensions in which virtual classroom tools are applied in music education. Based on the data obtained, it was determined that there are tools specific to music education as well as tools used in general education. In the literature review, it was determined that the tools used in music education are grouped under five headings: recording technology, note writing, sound organisers, in-class activities and artificial intelligence. According to the results of the research, the importance of music teachers' use of educational technologies and the positive effect of virtual classroom tools on students in music lessons have emerged. The necessity of providing in-service training for teachers on the utilisation of virtual classroom tools in the curriculum of music education was emphasised, as was the role of technology in music education in the contemporary context.

РЫСПАЙ АБДЫКАДЫРОВДУН БАЛДАР ҮЧҮН ЖАЗЫЛГАН ЧЫГАРМАЛАРЫН ОКУТУУНУН ӨЗГӨЧӨЛҮКТӨРҮ

This article analyzes the work of the great composer Ryspai Abdikadyrov and the peculiarities of his creative style in comparison with other musicians. It examined the methods of teaching the composer in elementary school, the musical style of works intended for children. We focused on the public's approach to music, the music lessons that take place at school, and its condition. The author's attitude to music, including his works for children, was openly analyzed. The author says that there is no purer universe than the world of a child. It seems that the composer lacks independence, creative inspiration in teaching his immortal works to the next young people. Because of this, it can be noticed that later young people are tempted by dexterity and cannot immerse themselves in the real museum world. The exceptional mastery of the author's musical flair is especially emphasized.

Teacher Feedback in Collegiate Instrumental Music Lessons

Teacher feedback is an integral component of helping students understand their current level of achievement and what they can do to improve their performance. This study built on literature in educational psychology by adopting a framework developed by Hattie and Timperley to explore how different types of feedback are used in studio instrumental lessons. For this study, we investigated the use of feedback of highly experienced collegiate instrumental studio music teachers ( N = 6) and their students ( N = 18). Results indicated that around 83% of all teacher comments were classified as “feed-back” (i.e., reflections on what the student just played), with far fewer focused on “feed-forward” (16%) strategies for improving performance and “feed-up” (<1%) goal setting. Task-level comments on what the student had just done comprised 85% of the feedback, in contrast to process-level (9%) feedback that provides strategies for improving the next performance attempt and self-regulation comments (<1%) that cue the learner to monitor and control their own performance. Discussion of these results include comparisons between classroom and studio teaching practices and ways of refining instrumental teachers’ abilities to provide more targeted and effective feedback to their students.