Music Program Research Articles

More Evidence That Ensemble Music Training Influences Children's Neurobehavioral Correlates of Auditory Executive Attention.

We assessed the neurocognitive correlates of auditory executive attention in low socioeconomic status 9-12-year-old children-with and without training in a social music program (OrKidstra). Event-related potentials (ERPs) were recorded during an auditory Go/NoGo task utilizing 1100 Hz and 2000 Hz pure tones. We examined Go trials, which required attention, tone discrimination and executive response control. We measured Reaction Times (RTs), accuracy and amplitude of relevant ERP signatures: N100-N200 complex, P300, and Late Potentials (LP). Children also completed a screening test for auditory sensory sensitivity and the Peabody Picture Vocabulary Test (PPVT-IV) to assess verbal comprehension. OrKidstra children had faster RTs and larger ERP amplitudes to the Go tone. Specifically, compared to their comparison counterparts, they showed more negative-going polarities bilaterally for N1-N2 and LP signatures across the scalp and larger P300s in parietal and right temporal electrodes; some enhancements were lateralized (i.e., left frontal, and right central and parietal electrodes). Because auditory screening yielded no between-group differences, results suggest that music training did not enhance sensory processing but perceptual and attentional skills, possibly shifting from top-down to more bottom-up processes. Findings have implications for socially based music training interventions in school, specifically for socioeconomically disadvantaged children.

Clarinet Pedagogy in Times of Change and Advancement: The Evolution of Amand Vanderhagen’s Méthode Nouvelle et Raisonnée pour La Clarinette

Name: Noa Meshulam Main Subject: Historical Clarinet Research Supervisor: Wouter Verschuren Research Title: Clarinet Pedagogy in Times of Change and Advancement: The Evolution of Amand Vanderhagen’s Méthode Nouvelle et Raisonnée pour La Clarinette Research Questions: • How are the changes in the clarinet’s design and playing techniques, musical aesthetics, and taste being manifested in Amand Vanderhagen’s method from the first to last edition (1785-1819)? • Has Vanderhagen changed his pedagogical model in the 34 years that passed between his first book and his last? If any changes occurred, what were the factors that contributed to that? Summary: During the last decades of the eighteenth century, the field of clarinet pedagogy started to blossom and rapidly developed alongside the publishing of the first comprehensive methods for the instrument. The earliest amongst these important treatises, Méthode Nouvelle et Raisonnée pour La Clarinette, by Belgian-French clarinetist Amand Vanderhagen, was published in 1785. Throughout his lifetime, Vanderhagen edited and republished his method twice after the initial edition; In 1799, the Nouvelle Méthode de Clarinette, and in 1819, the Nouvelle Méthode de Clarinette Moderne à Douze Clés. In this research, I demonstrate the ways in which the development of the clarinet and the changes in the musical culture in Paris affected, contributed to, and inspired Vanderhagen to modify his pedagogical model. In addition, I examine the ways changing musical aesthetics and styles are manifested throughout the three methods. During the process, I got the impression that Vanderhagen was extremely sensitive and attentive to the changes in the musical scene, as well as the advancements in the clarinet culture in Paris. Hence, between his three methods, I could spot several interesting changes in his approach, particularly in topics like embouchure, exercises, embellishments, etc. With this comparison, I aimed to draw attention to a different thread that focuses on Vanderhagen’s approach to clarinet pedagogy in the late-eighteenth and early-nineteenth centuries, and appreciate the ways in which the instrument’s evolution contributed to the development of the method and practice of teaching. Biography: Noa Meshulam is an Israeli-Portuguese clarinetist specializing in historically informed performance. She earned her bachelor’s degree from the Jerusalem Academy of Music and Dance. During her bachelor studies, she participated in the Nazarian Excellence in Chamber Music Program and played with The Jerusalem Symphony Orchestra on several occasions. After graduating she moved to the USA to pursue her master’s degree at Indiana University and was awarded scholarship and fellowship grants. There, she also started studying historical clarinet with Eric Hoeprich, with whom she continued her second master’s studies at the Royal Conservatory in The Hague.

Performing arts as a non-pharmacological intervention for people with dementia and care-partners: a community case study.

Participation in psychosocial enrichment activities, such as music and arts programming, have shown potential to delay or reduce functional decline - without adverse effects that can be associated with pharmaceuticals. The performing-arts programming described in this community case study was inspired by a community music program called B-Sharp Music Wellness, located in Phoenix, Arizona, which involved small groups of musicians who provided symphony performances for people with dementia. Our community programming sought to engage people with dementia and their informal care partner (typically a spouse) in existing performing-arts programs in their local community, providing social hours and season tickets for either symphony, dance (ballet), or non-musical theater performances. This case study describes the program history and design, including outcomes and lessons learned from the program evaluation of the last full season (2018-19) and partial season (2019-20), when the program was halted due to the COVID-19 pandemic. Program outcomes suggest strategies for, and benefits of, design for performing-arts programs as psychosocial interventions in other communities.

Revitalizing cultural heritage: Strategies for teaching Indonesian traditional music in elementary schools

This study focuses on the integration of Indonesian traditional music education at the elementary school level as a strategy for promoting culture in Indonesia. It recognizes the significance of social capital, cultural capital, and knowledge capital as the foundation for fostering a comprehensive and systematic approach to cultural development. The research employs interview, observation, and literature review methods to gather data, guided by three key questions: (1) the current state of traditional music teaching in Indonesian elementary schools, (2) the strategies employed in integrating traditional music education, and (3) the outcomes of the Archipelago Traditional Music pre-congress in 2021 within the paradigm of elementary school music education. The analysis is primarily based on the implementation of previous policies and programs, particularly those managed by the Ministry of Education and Culture. The study's findings reveal several important aspects, including: (1) the need for statutory regulations supporting the conservation of traditional music programs, (2) fostering active collaboration between teachers and traditional artists or musicians through open participation, (3) providing necessary facilities and infrastructure to create an ecosystem conducive to traditional music education at the elementary school level, (4) implementing training programs to enhance the traditional music competence of elementary school teachers, and (5) involving the traditional music community in the design of the curriculum for traditional music education in elementary schools. These results underscore the importance of integrating traditional music education at the elementary school level to promote Indonesian culture. By implementing the suggested strategies, policymakers and educators can contribute to the preservation and development of traditional music, creating a stronger cultural foundation within Indonesian society.

PENERAPAN VIRTUAL LIGHTING EFFECT PADA PROGRAM MUSIK “HYPERTUNE”

Virtual lighting effect is an imitation or digital replica of the lighting effect fixture that can be manipulated. In implementing the virtual lighting effect, there are several things that need to be considered, including the basic lighting arrangement, the virtual lighting effect arrangement, the lighting effect movement game and the color selection according to the song being sung. If this is not applied optimally it will result in an untidy compositing process so that it can interfere with the visuals displayed such as a spill effect or there is a white line on the object. The purpose of this creation is to apply a virtual lighting effect to a 10-minute "hypertune" music program containing 2 songs. This study uses a qualitative descriptive method, the research process goes through three stages, namely pre-production, production and post-production. The method used in the application of the lighting effect is the compositing method by applying the three point of light technique, the position virtual lighting effect technique, and the color selection of the lighting effect. The result of the creation of this work is the three point of light technique is applied with basic lighting arrangements to simplify the cromakey process which results in objects looking dimensional. the position virtual lighting effect technique produces precise lighting effect positions and can create a combination of dynamic lighting effect movements. The lighting effect color selection technique succeeded in building the mood of the song being sung and adding a visual interest to the image Keywords : three point of light, Virtual lighting effect, Compositing

Effects of a Senior Musical Program on the Physical Function and Cognitive Abilities of Older Women in the Community.

We aimed to investigate the effects of a community-based senior musical program on the cognitive and physical functions in older women. Older women aged ≥65 years participating in a program at a community welfare center were randomized to experimental (n = 17) or control (n = 17) groups. The control group participated in singing and yoga classes offered at the welfare center, while the experimental group participated in a senior musical program consisting of vocal training, dancing, and breathing training. The effects of the 12-week program (120 min/session, two sessions/week) and the intergroup differences in outcomes were compared using the cognitive impairment screening test (CIST), pulmonary function test (PFT), respiratory muscle pressure test (RPT), and static and dynamic balance tests. The experimental group showed significant post-intervention changes in CIST scores, cardiorespiratory parameters, and static and dynamic balance (p < 0.05), but the control group only showed significant changes in some respiratory and balance parameters (p < 0.05). In comparison with the control group, the experimental group showed significantly greater post-intervention changes in the CIST score, PFT and RPT parameters, static balance, and Y-balance anterior (p < 0.05). The senior musical program enhanced older women's cognitive, respiratory, and physical functions and promoted a sense of accomplishment and self-satisfaction.

메타버스를 활용한 자율적 협동학습 모형 기반 음악과 프로그램 개발

The purpose of this study is to apply digital technology to the education according to 2022 revised educational curriculum, it is to develop music program for cooperative learning by use of metaverse platform and build a virtual space. The method of this study developed a music program and built a virtual education space according to Walker’s model of platfrom, deliberation and design stages. This study reviewed previous studies and theoretical backgrounds, and developed music programs and evaluation tools based on Co-op Co-op model. A virtual space was built using the metaverse. ZEP platform to explore the possibility of utilization. The music programs in virtual space were built as a classroom, a cooperative classroom for group activity and music museum. Active participation in these virtual learning spaces suggested the possibility of increasing digital literacy, cooperative communication competency. In future, it is expected that research will be conducted to verify effectiveness through applying for educational field and to explore efficient utilization methods.

The Power of Indigenous Music: Ethnography, Resistance, and Protests

“The Power of Indigenous music: Ethnography, Resistance, and Protests” is a comprehensive study of the history of musical ethnography within the Indigenous topic, how it later affected Indigenous peoples, and how it is shown in popular music today. Throughout the era of musical ethnography, musical salvaging, and corrupted motives took place, and as a result, ethnography was an ever-changing field of anthropology. This history later encouraged Indigenous artists to express themselves in music and other art forms. The Hallcui Nation is used as a ‘case study’ to showcase how Indigenous artists have used various forms of art to express, resist, and protest issues within Indigenous communities caused by colonialism, while an in-depth understanding of ethnography in the musical topic is analyzed. The Halluci Nation is a Hip-Hop based group and their music is focused primarily on protest and resisting while educating their listeners on topics such as police brutality, colonialism, and topics on their communities and ways of understanding. Understanding this history is necessary, and is especially important in school systems of all grades. Within the institution of Queen’s University, and more specifically in the Bachelor of Music program, students are given an opportunity to learn about the music of all cultures and traditions, but usually, only specific cultures and traditions are centered in these discussions. Indigenous artists and musicians create powerful, artistic, soulful, and vulnerable pieces, and to truly understand how powerful they are one must understand the history of colonialism and musical ethnography in Canada.

Using Students’ Interests in General Music (Part 2): Exploratory Study of Upper Elementary Students’ Music Activity Interests

The elementary music program is often most likely to include all students in the United States. As such, teachers have an opportunity to encourage lifelong musicianship and musical engagement. Researchers have reported, however, that children’s interest in school music activities declines over the elementary years, and general music teachers struggle to invigorate older students. This raises questions about the nature of school music and why some students lose interest or cease participating. Recently, teachers have sought to address student preferences through diverse offerings, such as popular music instruction and ensemble-focused music classes. Still, teachers cannot be sure they are addressing students’ interests without seeking students’ input. In this second article in our research-to-practice series, we demonstrate this process, sharing how we surveyed students in Grades 3 to 5 regarding their music class activity preferences. Understanding the activities children enjoy and tailoring experiences accordingly may help increase school music engagement and support children’s lifelong musicianship.

Using Students’ Interests in General Music (Part 1): Getting to Know Learners and Conducting Research

In U.S. music education, the elementary music program is the level most likely to include all students, before music becomes an elective choice in secondary schools. As students approach adolescence, however, their interest in general music may decline, particularly if they are not engaged in activities they find meaningful. Although past research suggests activities that upper elementary students may prefer, much U.S. research was completed over two decades ago. In this research-to-practice series, we demonstrate how teachers can structure activities for upper elementary (grades 3–5) students based on students’ preferences. In this first article, we briefly review previous scholarship related to elementary students’ music class interests as well as work that supports the idea of building relationships with students. Then, we present ideas to help teachers get to know learners’ preferences using different types of survey materials. Suggestions for understanding and conducting research are also provided for teachers interested in engaging in action research in their settings.

The effects of the pandemic on music teaching in schools in Quebec (Canada) in the spring and fall of 2020

COVID-19 containment measures brought many changes in our lives and forced teachers all around the world to adopt various new practices. Given its specific education requirements and numerous school boards, the province of Quebec, Canada, was chosen to study the effects of the pandemic on music teaching in schools in the spring and fall of 2020. An electronic survey was distributed, to which 517 elementary and high school music teachers responded. Teachers reported on the transformation of teaching modes from an exclusively in-person practice to an online or bimodal approach. Continuation and interruption of music programs varied greatly from school to school and, for those who were allowed musical activities, different protective health measures were implemented. Teachers working with large ensembles (e.g. band and orchestra) experienced more interruptions in their music programs. Teachers also reported how their planning was affected by the new modes of instruction, but no matter which modes were used, most of them experienced less motivation for teaching during the spring of 2020. In addition, they perceived that it was more motivating for students to receive an education in person. Finally, positive outcomes of the pandemic on education included the development of new skills in the use of digital resources and online teaching, as well as a renewed sense of solidarity between teachers.

What would a Webchuck Chuck?

Webchuck is a new platform for real-time web-based music synthesis. Combining expressive music programming power with the ubiquity of web browsers is a game changer, one which we've experienced in recent teaching at Stanford's CCRMA. The paper will describe how this has fulfilled a long-sought promise for accessible music making and simplicity of experimentation. The Chuck music programming language now runs anywhere a browser can and a link is all it takes. Sample-synchronous live coding alongside full-on studio functionality is what a Webchuck can Chuck, thanks to advances in the web audio API.

Evaluating the efficacy of music programs in hearing aids

Hearing aid processing of music is much less thoroughly researched than hearing aid processing of speech. This study evaluates the efficacy of programs specifically designed for music listening in state-of-the-art hearing aids. Normal-hearing participants rated the sound quality of music samples recorded from seven hearing aid brands in programs designed for speech or music. Preliminary results confirm the significant degradation of music quality caused by hearing aids. However, the music programs for three of the seven manufacturers significantly improved music quality compared to their speech programs. An analysis of signal processing and acoustic features relating to efficacy will be presented.

Appalachian after-school music programmes as cultural intervention

In the Southern Appalachians, five after-school programmes of varying sizes – Junior Appalachian Musicians, Young Appalachian Musicians, Georgia Pick and Bow, Hindman Pick and Bow and Appalshop’s Passing the Pick and Bow – offer education in regional music traditions to school-aged children. These programmes fulfil a valuable mission, for they often serve students who have no other opportunities to pursue a music education. As many of the names suggest, these programmes provide training in the instruments, practices and repertoire associated with old-time and bluegrass music, and they typically advertise a preservationist mission. This article considers the cultural intervention work of Appalachian after-school music programmes, positioning them as the latest in a series of interventionist projects that have shaped Appalachian music in an effort to preserve it. Through careful consideration of the styles, instruments and repertoire being taught, we address the ways in which after-school programmes ‘edit’ Appalachian musical heritage for a new generation of participants, and we consider the implications of the programmes’ pedagogical practices.

A conceptual framework for understanding and articulating the social impact of community music

This article outlines a conceptual framework for sharpening how we understand and articulate the social impact of community music. Frequently community music programmes speak about bold social impact intentions, especially in areas relating to social justice, with little explanation about the processes that could lead to such changes and patchy details about the extent to which those changes have actually occurred. This is not to say these programmes are not having a positive social impact in communities. Rather, there is an opportunity for our field to sharpen how we conceptualize, identify, evaluate and communicate these outcomes. This article builds on a mounting evidence base of research in our field that documents the multifarious benefits that come from participating in community music. However, it takes this research a step further by providing a conceptual framework for critically thinking through how these positive outcomes can lead to the kinds of macro, systemic changes needed for social impact to occur. As the field continues to grow and diversify internationally, against a backdrop of social, cultural and climate challenges, having ways to understand and articulate community music’s impact could enhance our practice and research, but also lead to greater influence in advocacy, policy and cross-sector domains.

Including the Epistemic in Democratic Music Pedagogy

Abstract: Philosophical descriptions of democratic music education frequently rely on “inclusion” and “participation” as the defining features of democratically oriented music programs. Democratic epistemic considerations, such as regulatory ideals of musical quality and excellence, however, are less commonly cited, if not actively avoided. This paper addresses several primary reasons for the paucity of epistemic considerations in democratic music education and problematizes current concerns about epistemic judgements from a democratic perspective. Drawing on Miranda Fricker’s influential concept of epistemic injustice, this paper argues that democratic dialogue that respects values of diversity and inclusion cannot legitimately ignore epistemic dimensions because doing so occludes the epistemic dimensions of cultural, racial, and gender diversity in music education classrooms.

The politics is in the drums: Producing and composing in the music classroom

Music technology courses are increasingly common offerings in university and secondary music programmes. Curriculum standards, subject matter and classroom practices of these courses are still very much in flux. The music education field therefore has a unique opportunity to shape and define music technology as a subject before it becomes fully standardized. Teaching this subject in the context of European-descended ‘art’ music traditions will perpetuate the white racial frame of school music. The author argues that educators should critically examine the racialized split between ‘art’ and ‘popular’ forms of electronic music, and should consciously centre ‘the Black Electronic’ in their curricula. This includes the techniques of beatmaking and sampling, as well as their cultural and political contexts and meanings. An example project drawing on hip hop methods and values is presented.

A history of popular music education in the United States

Despite many current popular music styles originating in the United States, there has typically been a lack of inclusion of popular music in school-based music education contexts in the United States. In recent years, however, the incorporation of popular musics has become more commonplace with the propagation of modern band programmes and initiatives designed to diversify the genres of music included in school music. With the increased presence of popular music education (PME) in US schools, it is timely to further examine the history of popular music in school music programmes as well as the social conditions and educational rationales that led to the emergence of PME in US school music programmes. This article combines existing research on the history of PME into one document while adding further research and descriptions of important events in the history of PME in the United States not yet in print.

Motivations and expectations of higher popular music education in Scotland: Student perspectives

This research investigates the motivations of students and their expectations of the aims and content of undergraduate popular music programmes in Scotland. With a particular interest in the pedagogical issues surrounding the familiar ideological debate in PME of ‘training versus education’, this work also further explores the connection between student perceptions of higher popular music education with their formative musical and social experiences. A variety of sociopolitical factors seem to be at play in the development of these expectations and motivations, which are often linked to students’ formative music education and social experiences. Findings further highlight a perception among students of a fundamental dichotomy between the music industries and music education, raising further questions of if, and how student attitudes should influence curricula design at both HE and secondary school-level going forward.

Music teacher perceptions of modern band and Little Kids Rock: a qualitative study of programme outcomes

ABSTRACT Music education in the United States is typified by students in large ensembles, like band and orchestra, learning to perform pieces of Western art music. One organisation working to expand curricular offerings within the field is Little Kids Rock (LKR), which has invested millions of dollars training music teachers and providing instrument resources for popular music pedagogy. Though this organisation has demonstrated success in its ability to propagate 'modern band' programmes, the effects of its investment are not known. LKR administers an end-of-year survey to its participating teachers to assess teachers' perceptions of their music programmes. However, LKR do not publish meaningful information regarding the outcomes and impact of its activities. The present study examined free-response data from the 2018 end-of-year survey. Using the passive and active identity and learning realisation (PAILR) model as our analytical framework (Froehlich, Hildegard C., and Gareth Dylan Smith. 2017. Sociology for Music Teachers: Practical Applications. 2nd ed. New York: Routledge. doi:10.4324/9781315402345), the authors analysed themes using grounded theory to produce a logic model to describe the effects of LKR's investment. Results indicate participating teachers perceive a positive impact on students, including being more engaged in their learning, and more musically independent. Additionally, teachers believed they were more engaged and committed to their profession, and more able to teach previously disengaged students.