Musical Proficiency Research Articles

Research on the Construction of Ethnic Piano Music Culture in the Teaching of Local Colleges and Universities

Ethnic piano music, as a distinctive cultural form, embodies a rich tapestry of national sentiment and cultural significance. Local higher education institutions, serving as crucial bastions of cultural preservation, integrate ethnic music culture into their piano instruction. This integration not only enhances students' musical proficiency but also fosters the continuation and evolution of ethnic culture. However, local higher education institutions currently face challenges such as uniform curriculum design and outdated teaching methods, which hinder the effective dissemination of ethnic piano music culture. This study, through literature review, empirical investigation, and case analysis, explores strategies for constructing ethnic piano music culture within local higher education settings. The research identifies that optimizing teaching content and curriculum design, innovating teaching methods and approaches, enhancing teacher training and professional development, and improving student engagement and evaluation mechanisms can significantly advance the spread and application of ethnic piano music culture in local higher education institutions. It is hoped that this study will provide valuable insights and guidance for piano teaching in local higher education institutions, thereby promoting the further development and preservation of ethnic music culture.

Development of Tailored Teaching Model for Beginning Piano Level Among Visually Impaired Students

Music education for visually impaired individuals faces significant challenges due to traditional methods relying heavily on visual cues. This study addresses this gap by developing a tailored teaching model for beginning piano instruction among visually impaired students. Through a multi-phase methodology, including pilot teaching, expert interviews, and formal teaching sessions, the study integrates innovative pedagogical strategies and adaptive technologies to create an inclusive learning environment. The pilot teaching phase was conducted at a specialized school for the blind and deaf in Jiangsu, China, involving six visually impaired students with varying levels of piano learning experience. Expert interviews were conducted with three individuals with expertise in music education for visually impaired individuals. The formal teaching phase comprised six new visually impaired students and spanned three months, with assessments conducted after the 5th and 10th lessons to evaluate learning progress. Results demonstrate the effectiveness of the tailored teaching model in fostering meaningful musical experiences and promoting musical proficiency among visually impaired students. Suggestions for further research and implementation of tailored teaching models are provided to enhance access to music education for visually impaired individuals.

Research on the Application of Computer Music Technology in Solfeggio Teaching in Universities

This paper investigates the potential impact and benefits of integrating computer music technology into solfeggio teaching within university music programs. Solfeggio, as a foundational skill in music education, encompasses sight-singing and ear training, yet traditional teaching methods often encounter challenges in engaging students and providing personalized instruction. The paper explores the theoretical foundations of solfeggio teaching and the role of technology in music education, highlighting the potential advantages of incorporating computer music technology. Specific examples of technology applications, such as interactive software for ear training, digital music notation tools, and virtual reality applications, are examined for their potential to enhance student engagement and provide personalized feedback. Furthermore, the paper reviews case studies of successful technology integration in solfeggio instruction and presents empirical research findings on the impact of technology on learning outcomes. Pedagogical considerations for technology integration, including instructional design, assessment methods, and student engagement strategies, are discussed, along with recommendations for educators and institutions interested in adopting technology-enhanced solfeggio instruction. The paper emphasizes the broader significance of technology-enhanced music education and its potential to enhance students' aural skills and overall musical proficiency.

Exploring the integration of Chinese nationalized piano education in modern music pedagogy

This study investigates the integration of Chinese Nationalized Piano Education into modern music pedagogy, aiming to enhance student's musical understanding and appreciation while fostering cultural connections. The introduction outlines the significance of cultural integration in music education and introduces the concept of Chinese Nationalized Piano Education, highlighting its unique pedagogical approach rooted in Chinese cultural heritage. The objective is to investigate and analyze the methods and outcomes of integrating Chinese Nationalized Piano Education into modern music pedagogy. The content and research site focus on educational institutions incorporating Chinese Nationalized Piano Education, with key informants including music educators and students. Data analysis involves qualitative techniques such as thematic coding and content analysis, complemented by quantitative methods for data visualization and statistical analysis. The research results reveal innovative teaching methods, holistic curriculum designs, improved student engagement, cultural awareness, and musical proficiency. Suggestions include adopting diverse teaching strategies, integrating cultural elements, providing immersive learning experiences, and promoting a global perspective in music education.

Emerging Trends in South African Higher Education: A Critical Analysis of Distance Learning Modalities in Music

This study addresses the dynamic shifts in South African higher education, focusing on integrating distance learning into music education. The proliferation of digital platforms has redefined educational paradigms, necessitating a critical examination of its impact on music pedagogy within the South African context. Employing a qualitative critical analysis methodology, this research leverages existing scientific literature to discern patterns, challenges, and opportunities presented by distance learning modalities. Anchored in Jack Mezirow's Transformative Learning Theory, this study investigates emerging trends in distance learning modalities within South African higher education music programmes. Two significant findings emerge: firstly, distance learning fosters student autonomy, enabling self-directed exploration of musical concepts. Secondly, collaborative online environments facilitate cross-cultural musical exchanges, enriching students' cultural understanding and musical proficiency. This study underscores the imperative of harnessing technology for music education in South Africa, emphasising its capacity to democratise access and broaden cultural understanding. The findings contribute to a growing body of literature on transformative learning experiences in music education, offering practical insights for educators and policymakers. As South Africa's educational landscape continues to evolve, this research lays a foundation for the innovative integration of digital platforms, ushering in a new era of inclusive and culturally enriched music education.

Striving for musical excellence: a study on the development of music players' skills for church worship accompaniment through ensemble training

The connection between music and the church is integral, especially during worship, where hymns require musical accompaniment. The musical experience influences congregational engagement and emotions. Given the significance of musical accompaniment, diversity is essential. Coaching can enhance musicians' skills and contribute to varied worship experiences. This action research aims to guide music players at GKE Palangka I Palangka Raya to improve their music-playing skills, which are carried out in two cycles. Each cycle consists of four stages: planning, implementation, observation, and reflection. The subjects of this study were ten teenage music players. Data were collected through observation, documentation, and skill tests. The data were analyzed by processing scores of assessment aspects, including the ability to imitate sounds, read notation, tempo suitability, intonation accuracy, and fingering techniques. The results increase musicians' skills in playing music through ensemble music, with an increase in the average score of each participant from pre-cycle 52 to the first cycle 62 by 19% and from the first cycle 62 to the second cycle 77 by 24%. This research contributes to the significance of musical diversity in worship, the impact of musical instruments on congregational engagement, and the potential benefits of coaching in enhancing musicians' skills for diverse music presentations, particularly within small musical ensembles. Additionally, this research highlights the significance of a theological-oriented approach to training in music ministry and practice and the potential for collaborative music training to improve musical proficiency in the context of worship.

Online assessment of musical ability in 10 minutes: Development and validation of the Micro-PROMS

We describe the development and validation of a test battery to assess musical ability that taps into a broad range of music perception skills and can be administered in 10 minutes or less. In Study 1, we derived four very brief versions from the Profile of Music Perception Skills (PROMS) and examined their properties in a sample of 280 participants. In Study 2 (N = 109), we administered the version retained from Study 1—termed Micro-PROMS—with the full-length PROMS, finding a short-to-long-form correlation of r = .72. In Study 3 (N = 198), we removed redundant trials and examined test–retest reliability as well as convergent, discriminant, and criterion validity. Results showed adequate internal consistency (ω¯\\documentclass[12pt]{minimal} \\usepackage{amsmath} \\usepackage{wasysym} \\usepackage{amsfonts} \\usepackage{amssymb} \\usepackage{amsbsy} \\usepackage{mathrsfs} \\usepackage{upgreek} \\setlength{\\oddsidemargin}{-69pt} \\begin{document}$$\\overline{\\omega}$$\\end{document} = .73) and test–retest reliability (ICC = .83). Findings supported convergent validity of the Micro-PROMS (r = .59 with the MET, p < .01) as well as discriminant validity with short-term and working memory (r ≲ .20). Criterion-related validity was evidenced by significant correlations of the Micro-PROMS with external indicators of musical proficiency (r¯\\documentclass[12pt]{minimal} \\usepackage{amsmath} \\usepackage{wasysym} \\usepackage{amsfonts} \\usepackage{amssymb} \\usepackage{amsbsy} \\usepackage{mathrsfs} \\usepackage{upgreek} \\setlength{\\oddsidemargin}{-69pt} \\begin{document}$$\\overline{r}$$\\end{document} = .37, ps < .01), and with Gold-MSI General Musical Sophistication (r = .51, p<.01). In virtue of its brevity, psychometric qualities, and suitability for online administration, the battery fills a gap in the tools available to objectively assess musical ability.

A Systematic Survey of Approaches Used in Computer Music Generation

Music generation using Artificial Intelligence/ Machine learning (AI/ML) is a rapidly growing research area that aims to create algorithms capable of producing musical compositions autonomously. This paper provides an overview of the latest developments in the area of AI/ML-based music generation. The deep learning models have demonstrated promise in music generation, including Recurrent Neural Networks (RNN), long short-term memory (LSTM), WaveNet, Generative Pre-trained Transformer (GPT), and Genetic Algorithms (GA). A review of the existing research work on the creation of different music genres such as classical, jazz, and pop music using these models is covered. The challenges in music generation are covered, including the difficulty in evaluating the quality and creativity of the generated music along with the social issues surrounding the ownership and copyright of the created music. The development of AI/ML-based music generation systems has made significant advances in recent years. The ability to create an infinite number of original musical compositions is one of the main benefits of employing AI/ML algorithms for music production. Content producers can utilize these technologies to rapidly and easily create original soundtracks for their projects, which can be of special utility to them. Moreover, the advancement in the music generating systems could make it possible for more people to contribute to the creation of music, regardless of their level of technical or musical proficiency. As technology develops, it might also create previously unimagined opportunities for new forms of musical expression. The applications include helping musicians with their work and creating music for video games and movies

The Tapping-PROMS: A test for the assessment of sensorimotor rhythmic abilities.

Sensorimotor synchronization is a longstanding paradigm in the analysis of isochronous beat tapping. Assessing the finger tapping of complex rhythmic patterns is far less explored and considerably more complex to analyze. Hence, whereas several instruments to assess tempo or beat tapping ability exist, there is at present a shortage of paradigms and tools for the assessment of the ability to tap to complex rhythmic patterns. To redress this limitation, we developed a standardized rhythm tapping test comprising test items of different complexity. The items were taken from the rhythm and tempo subtests of the Profile of Music Perception Skills (PROMS), and administered as tapping items to 40 participants (20 women). Overall, results showed satisfactory psychometric properties for internal consistency and test-retest reliability. Convergent, discriminant, and criterion validity correlations fell in line with expectations. Specifically, performance in rhythm tapping was correlated more strongly with performance in rhythm perception than in tempo perception, whereas performance in tempo tapping was more strongly correlated with performance in tempo than rhythm perception. Both tapping tasks were only marginally correlated with non-temporal perception tasks. In combination, the tapping tasks explained variance in external indicators of musical proficiency above and beyond the perceptual PROMS tasks. This tool allows for the assessment of complex rhythmic tapping skills in about 15 min, thus providing a useful addition to existing music aptitude batteries.

Music Curriculum Enhancement Program for Higher Education Institutions in Inner Mongolia

The current music curriculum teaching needs to be improved comprehensively in terms of curriculum objectives, classroom activities, and classroom evaluation, and to focus on improving teachers' teaching ability to effectively cultivate students' music proficiency. The music curriculum in Inner Mongolia higher education institutions not only needs students to master professional music knowledge and theory, but also needs to help students learn to identify diverse compositions and rich music styles, and develop music teaching modes with appropriate skills and difficulties, to cultivate good artistic qualities, solid professional knowledge and better creative abilities. This paper analyzes the existing problems through the study of the current situation of music curriculum teaching development in Inner Mongolia higher education institutions, and proposes corresponding solutions to these problems in order to effectively improve the quality of music curriculum teaching in colleges and universities and enhance the effectiveness of music talent training.

Innovation of Digital Piano Collective Class Teaching Mode under the Theory of Constructivism

Constructivist learning theory and instructional design theory serve as the foundation for the design of the teaching process. According to constructivists, learning occurs when students are in a particular situation, such as a social or cultural setting, with the assistance of others, using the appropriate learning resources, and creating their own meaning. A scientific theoretical foundation and a philosophical methodology are provided for the classroom instruction of fundamental music by modern constructivism theory, which adapts to the advancement of the times and the demands of the new educational environment. This paper, guided by constructivism theory, conducts extensive research on constructivism theory from two perspectives, theory and practice, proposes a general teaching mode for music under the auspices of constructivism theory, and attempts to apply it to music education. Through the comparison experiment, it was determined that the experimental class’s final grade was 69.87 and its piano level index was 0.0824, while the control class’s grade was 64.69 and its piano level index was 0.0741. In terms of piano proficiency and test results, the experimental class outperforms the control class. Contrary to the traditional teaching approach, constructivist music education has been shown to be more effective at raising the musical proficiency of regular students, as well as improving students’ motivation for learning music, their methods of instruction, their initiative, and the environment in which they learn.

Children’s identity work in daily singing-based music classes: A case study of an Australian boys’ school

Music can be a powerful activity and resource in a child’s ongoing identity construction. Rather than something that people have, musical identities are understood to be something people enact and continually work on. The correlation between musical identities and developing music skills raises serious questions regarding the possibilities and responsibilities for school music education and music teachers to positively contribute to children’s emerging identities. This study investigates how daily singing-based music classes at an Australian boys’ school shape and support children’s identity work. Research was conducted using one-on-one semistructured interviews incorporating a “draw and tell” artifact elicitation technique with seven students in Year 3. All students were engaged in their fourth year of Kodály-inspired music education as part of the school curriculum. Findings indicate that singing, singing games, playing the recorder, writing activities, musician models, and thinking musically positively contributed to boys’ identity work. These daily school music practices provided a resource for their identity work; fostered a high value for learning in, about, and through music; developed musical proficiency; ignited interest in learning musical instruments; and facilitated the entanglement of children’s musical worlds. Boys’ future identity work was supported by assisting the construction of musical possible selves and encouraging the continuation of music learning. This case study exemplifies music as a process and resource for children’s ongoing identity construction, the contributions of school music education to identity development, and the potential of singing-based music education to positively shape and support children’s musical identity work.

High Achievement and the Musically Gifted: How Music Educators across New South Wales, Australia Develop and Extend Their Most Capable Students

Musical giftedness can manifest in many ways, and music teachers should be able to identify high musical potential beyond the demonstration of instrumental skill or musical knowledge. It is important to have a multi-faceted approach to the education of musically gifted students, particularly in the senior secondary years when students are beginning to reach higher levels of musical proficiency. As part of a study examining high achievement in senior secondary music, 50 teachers in 23 schools across New South Wales were asked about how they supported and extended the musically gifted students at their school. Results showed that participants were intuitively utilising gifted education strategies and approaches in their teaching. However, it was mainly students with demonstrable talent who were benefiting from their expertise. This study advocates for all music educators working with high achieving and gifted musicians to broaden their skills and knowledge of gifted education practices to better serve all students with high musical potential.

Musical Aptitude and foreign language receptive pronunciation

There is a growing body of literature that recognises the relationship between musical aptitude and language proficiency. Language is usually segmented into its subcategories when addressed in studies, while music is not. Due to this, it is unclear whether language proficiency is related to all music components (pitch, rhythm, etc.) in the same way. The purpose of this paper is to analyse the relationship between musical aptitude and receptive pronunciation in a foreign language, in this case, English. To achieve it, a field research study has been designed, in which participated 71 second grade 7-8-year-old students (34 boys and 37 girls) from a bilingual public school. Two tests were administered to measure their musical aptitude and their ability of discriminating phonemes. The musical test consisted of six exercises that assessed the different sub-skills of musical aptitude (pitch, loudness, duration, rhythm, timbre and tempo perception). On the other hand, the pronunciation test measured their auditory ability to differentiate phonemes in a foreign language. Our results show a positive correlation between musical aptitude and the identification of foreign language sounds.

The Status Quo and Promotion Strategy of Music Score Literacy of Junior School Students

Understanding the music score is a fundamental skill in Music learning. It used to be the training of basic skills in the music class before the curriculum reform. However, this skill was gradually marginalized in the initial stage of curriculum reform in that it is too difficult for students to have a delightful learning experience. Since the publication of Criterion for music Curriculum 2011, music score literacy has gained a foothold again. Its theory stage is higher than before. Owing to various causes, teaching this skill is still in a dilemma in practice. With the improvement of compulsory education quality, reading music score as a necessary music skill becomes a vital position again. However, current teaching conditions cannot meet this task. Therefore, this paper chose the music proficiency test of junior school students in an area to analyze the current condition of reading music score and develop the proper improving strategies.

Slovenski glasbeniki v graškem Ferdinandeju

Slovenski glasbeniki v graškem Ferdinandeju

Intimacy, mutuality & negotiations: Dialogic moments in joint improvisation

ABSTRACT Introduction: Joint improvisation between therapist and client is fundamental to most approaches in music therapy practice but is far from being fully understood. The present study aims to shed light on the potential meanings of joint improvisation between therapist and client in music therapy Method: Deploying phenomenological methods, semi-structured interviews were conducted with five musicians and five music therapists, each of whom provided a recorded musical example of their joint improvisations with a client or another musician Results: Two types of dialogic moments emerged across both groups: “primal” and “mature” moments. Primal moments included “Moments of listening and attuning” and “Musical proficiency” (musicians); and “Moments of listening and attuning to the client’s being” and “Transforming the moment” (music therapists). Mature moments incorporated “Moments of forming musical relationships” (musicians); and “Moments of creating a significant bond between therapist and client” (music therapists) Discussion: Mature moments were illustrated as moments where both therapist and client expressed themselves authentically, and often incorporated synchronization discrepancies between them. Amongst the musicians, mature moments involved challenging each other’s boundaries as well as becoming closely and intimately acquainted. Primal moments incorporated the conditions that facilitated dialogues: active listening, active musical gestures and facilitation of augmented musical time frames between therapist and client; and deep listening and musical virtuosity among the musicians. The comparison between the two groups highlighted the music therapists’ technique of creating versatile time frames while inviting their clients to improvise and emphasized the musicians’ capacity to engage in a wide range of musical relationships.

Changes in auditory cortical thickness following music training in children: converging longitudinal and cross-sectional results.

Evidence is accumulating to suggest that music training is associated with structural brain differences in children and in adults. We used magnetic resonance imagining in two studies to investigate neuroanatomical correlates of music training in children. In study 1, we cross-sectionally compared a group of child musician (ages 9-11) matched to non-musicians and found that cortical thickness was greater in child musician in the posterior segment of the right-superior temporal gyrus (STG), an auditory association area that is involved in processing complex auditory stimuli, including pitch. We also found that thickness in the right posterior STG is related to music proficiency, however this relationship did not reach significance. In study 2, a longitudinal study, we investigated change in cortical thickness over a four-year period comparing a group of children involved in a systematic music training program with another group of children who did not have any music training. In this 2nd study we assessed both groups at the beginning of the study, prior to music training for the music group, and four years later. We found that children in the music group showed a strong trend of lower rate of cortical thinning in the right posterior superior temporal gyrus. Together, our results provide evidence that music training induces structural brain changes in school-age children and that these changes are predominantly pronounced in the right auditory association areas.

Diminished large-scale functional brain networks in absolute pitch during the perception of naturalistic music and audiobooks

Previous studies have reported the effects of absolute pitch (AP) and musical proficiency on the functioning of specific brain regions or distinct subnetworks, but they provided an incomplete account of the effects of AP and musical proficiency on whole-brain networks. In this study, we used EEG to estimate source-space whole-brain functional connectivity in a large sample comprising AP musicians (n ​= ​46), relative pitch (RP) musicians (n ​= ​45), and Non-musicians (n ​= ​34) during resting state, naturalistic music listening, and audiobook listening. First, we assessed the global network density of the participants’ functional networks in these conditions. As revealed by cluster-based permutation testing, AP musicians showed a decreased mean degree compared to Non-musicians whereas RP musicians showed an intermediate mean degree not statistically different from Non-musicians or AP-musicians. This effect was present during naturalistic music and audiobook listening, but, crucially, not during resting state. Second, we identified the subnetworks that drove group differences in global network density using the network-based statistic approach. We found that AP musicians showed decreased functional connectivity between major hubs of the default mode network during both music and audiobook listening compared to Non-musicians. Third, we assessed group differences in global network topology while controlling for network density. We did not find evidence for group differences in the clustering coefficient and characteristic path length. Taken together, we found first evidence of diminished whole-brain functional networks in AP musicians during the perception of naturalistic auditory stimuli. These differences might reflect a complex interplay between AP ability, musical proficiency, music processing, and auditory processing per se.

Engendering the female voice in Sikh devotional music: Locating equality in pedagogy and praxis

ABSTRACTThe Sikh Gurus promoted gender equality, but still women’s voices are being silenced from playing Gurbānī Kīrtan inside the Golden Temple. The reasons for their exclusion center around the sexualization of the female body, purity and pollution, appeals to tradition, and questions of musical proficiency. Today, Sikhs in India and the diaspora ask that the Sikh philosophy of equality be fully enacted in pedagogy and praxis. Through ethnographic investigation, historical analysis and critical inquiry, this paper addresses the importance of liberating the Sikh self and psyche from institutional systems of oppression to reclaim Sikh sovereignty, equality and the female voice.