Musical Skills Research Articles

EXPLORING MUSICAL IDENTITY DEVELOPMENT: PERSPECTIVES OF STAGE THEORY, SELF-DETERMINATION THEORY, AND LIFESPAN APPROACH

Music has a profound impact on a person's identity and has a complicated and deep relationship with the self. The psychological concept called "musical identity" includes a variety of elements derived from "personal, social, emotional, and musical competencies." It represents how people behave in a cultural and social context and is influenced by their involvement in music and practice. This study examines how people acquire musical knowledge and skills and also the cognitive, emotional and social aspects of this process. Trevarthen and Malloch’s Stage Theory, which hypothesises that there are discrete transitions in musical development across the lifespan, is a well-known framework in this area. Another approach is Evans and McPherson’s application of Self-Determination Theory (SDT), which empasises the significance of autonomy, competence, and relatedness in forming musical identity. Using a lifelong perspective, Lamont emphasizes the impact of social settings and cultural environments on the negotiation of musical identity. Her work emphasises the significance of early musical encounters, the influence of formal and informal musical interactions during infancy, and the development of musical identity during adolescence and maturity. Understanding these frameworks enhances our knowledge of how musical identities are formed and also has implications for music education, therapy, and the promotion of lifelong musical participation.

Graveyard Symphony; A Study Investigating the Effectiveness of a Prototype Music Game

Learning to play a musical instrument, particularly the keyboard, can be challenging for adults who are beginners or have previously given up due to a lack of foundational skills and engaging practice methods. To address this issue, we have developed prototype games aimed at honing specific musical skills. Through several pilot studies, it became evident that assessing the effectiveness of video game experiences in skill acquisition compared to traditional practice methods was essential. Therefore, we hypothesised that video games could encourage sustained practice and reduce dropout rates among beginners. Consequently, our focus shifted to creating games centred on sheet music reading, specifically matching musical staff positions to keyboard keys. This paper presents a study aimed at evaluating the effectiveness of a specific prototype game in enhancing musical notation reading skills. Additionally, we assessed the game’s engagement, educational value and usability in comparison to a conventional practice tool. The results indicated that the game was equally or potentially more effective than the practice tool in improving the targeted skill. Furthermore, participants perceived the practice game as having greater educational value, although it did not surpass the practice tool in terms of engagement. Further discussion is provided to elucidate the reasons behind this finding.

Research-to-Resource: Exploring Sound-to-Symbol Instruction in Beginning Band: Practical Applications of the 5E Model

This research-to-resource article proposes and supports the application of sound-to-symbol approaches within the 5E instructional model to teach musical concepts experientially in beginning band settings. Drawing upon insights from music education scholars and pedagogues advocating for a shift toward sound-first approaches, the article explores how the 5E model can foster active learning and engagement in beginning band instruction. Historical and contemporary perspectives on sound-to-symbol instruction are examined, highlighting its alignment with natural language learning processes and its potential to enhance music literacy skills. Each stage of the 5E model—engage, explore, explain, elaborate, and evaluate—is described in detail, with examples provided for teaching musical concepts such as dynamics, intonation, and compound meter. The article concludes by outlining implications for improving method book selection and usage, thereby promoting more meaningful learning experiences and tapping into the benefits of constructivism in beginning band.

A Delphi Study of Effective Practices for Determining the Competencies of Elementary Music Teachers

This study aims to determine the competencies essential for elementary music teachers by exploring effective practices and insights of experts in music education. Using a three-round Delphi method with twelve music education experts, the study collected and refined competencies across three stages. In Round 1, qualitative data were thematically analysed to identify competency domains. In Round 2, participants ranked these domains and competencies by importance, with agreement levels assessed using Kendall’s W. Round 3 sought consensus by allowing participants to review collective rankings and explanations. Results revealed seven key domains, with Musical Skills emerging as the most essential, with the ability to play an instrument being the most important competency.

The construction of ‘we’ empowering music practice in kindergarten

ABSTRACT Singing together fosters connections across social contexts. While this activity is expected to flourish in kindergartens and nurseries, studies from multiple countries have highlighted a growing decline in confidence in singing among both kindergarten teachers and students. To address this, Kulset and Halle [(2020). Togetherness!: adult companionship – the key to music-making in kindergarten.’ Music Education Research 22 (3): 304–314] introduced ‘we’, promoting adult companionship and collective music-making. This study deepens the ‘we’ concept and its practical implications. Using Cultural-historical Activity Theory (CHAT), we compared recent studies on self-concept in musicality among kindergarten teachers and students. While existing research emphasises the significance of nurturing musical skills and a theoretical understanding of musicality, our analysis suggests that practical engagement in music-making mainly as a collaborative effort could catalyse a transformative shift towards fostering musical togetherness. We propose adjusting music programmes in kindergarten teacher education to prioritise such collaborative music-making skills. Practical ‘we’ implementation could reverse declining confidence in singing, instead fostering musical companionship.

Effectiveness of a movement and music programme on activity, sedentary, and sleep behaviours and motor and musical skills in young children: protocol for the MoviMusi cluster randomised controlled trial

The early childhood education and care (ECEC) environment is an important setting for providing children with daily opportunities for movement and music, supporting holistic child development in the early years. To date, there are no studies evaluating the implementation of a holistic programme in the ECEC context in the areas of movement behaviour and motor and musical skills. The main aim is to examine the effectiveness of a holistic movement and music programme on physical activity (PA), sedentary behaviour and sleep, motor skills and musical skills in young children (1–3 years). The secondary aims are to examine the impact of the movement and music programme on the perceptions of the educational community, as well as the barriers and facilitators they perceive in the process of baseline assessment, construction, and implementation of the movement and music programme in their own ECEC community. This cluster-randomised controlled trial (intervention and control groups) with public ECEC centres will be performed over a 24-month period. Baseline measurements will be taken in the first year of the project, and assessments to examine the effectiveness of the programme will take place 12 months after the baseline assessment. For young children the main outcome variables will be: (a) PA, sedentary time, and sleep time; (b) gross and fine motor skills; and (c) musical skills. The secondary outcomes will be: (a) PA and sedentary time during outdoor play and structured PA sessions; (b) play patterns during outdoor free play; and (c) movement and music behaviours after ECEC hours. For families, secondary outcomes will be: (a) perceived barriers and facilitators to PA in young children; (b) perceived barriers and facilitators to the inclusion of music at home; and (c) the means of transport to ECEC settings and barriers to active commuting. For ECEC educators, the secondary will be: (a) perceived barriers and facilitators for the inclusion of movement and music as curricular practices in the ECEC institution; (b) perceived impact of the implementation of the movement and music programme. This research project aims to fill a knowledge gap during a period of childhood that has rarely been explored, either nationally or internationally (1–3 years), and to position movement and music teaching practices as key contexts in the curriculum development of infant and toddler education.

“Once We Found Our Groove, . . .”: A Study of Preservice Music Teachers Engaged in a Popular Music Education Experience

The purpose of this intrinsic case study was to examine the perceived benefits and challenges of implementing informal learning practices through popular music education for preservice music teachers. Specifically, we sought to understand why and how preservice music educators would perceive benefits and challenges from their experiences in a modern band. We conducted a study with five preservice music teachers in a modern band outside of the curriculum in a music teacher education program. We collected the data for 9 weeks, gathering multiple interviews, participants’ written responses, artifacts, and researchers’ field notes. Three overarching themes emerged from the data analysis: (a) a self-navigating process of aural-based learning, (b) autonomy with freedom, and (c) reflective educators. Our findings indicated that the ultimate goal of informal learning practices in music teacher education may not be limited to mastering musical skills but should include improving problem solving and classroom decision making.

Validation of the Goldsmiths Musical Sophistication Index in the Arab context: Results and implications of a Moroccan study

The Goldsmiths Musical Sophistication Index (Gold-MSI) is an extensively used self-report measure of musical skills and behaviours; however, to-date, no validated Arabic translation of the Gold MCI exists. This study reports on the Gold-MSI validation in the Moroccan setting. Our sample consisted of Moroccan adults (n = 660). Psychometric properties revealed good internal consistency (coefficient α = 0.93, the McDonald’s ω = 0.93, and Guttman’s Lambda = 0.95); and revealed a good fit: CFI = 0.83, RMSEA = 0.067, and SRMR = 0.068. The Arabic version of Gold-MSI appears a reliable and valid measure of musical skills and behaviours in the Moroccan setting.

THE ISSUES OF CONTINUITY IN PEDAGOGICAL ACTIVITY IN THE FIELD OF MUSIC

It is mentioned about pedagogical recommendations that are effective in working with students for educators teaching in the field of music. As an example, the names of eastern and Western musicologists, composers, master teachers and their musical pedagogical skills were mentioned. In the training of competent educated personnel, it is written that the task and importance of the educator is important in improving their musical abilities, in the rapid growth of their skills.

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.

Kayanapussana Satipatthana and the Buddhist practices of Samadhi and Sati as foundational practices in the development of Thai musical skills

The Buddhist Vipassana technique of Kayanupassana Satipatthana is used to develop samadhi (concentration) and sati (awareness) in the practices of Thai classical music (dontri Thai) teachers working in a Thai primary school and the specialist music school in a Thai university. While previous studies have explored the use of mediation as a means of alleviating stress or spiritual progress, the techniques described here are adapted in this dontri Thai pedagogy to help musicians optimize learning and performing through the cultivation of concentration, awareness, and bodily control. Within this pedagogy, sharpened concentration leads to heightened awareness which allows greater insight into the students’ state of mind, musical sounds, and sensory feelings in their bodies. This enable performers to reproduce what is conceptualized as the “ideal” sound. Students commence musical training by practicing meditation while producing a single note, a short melody, or a technical skill. The task is repeated until the tripartite goal of mental and physical immersion and the production of the ideal sound is achieved. The four key components of the method are integrated within a holistic and iterative learning process in which the student progressively develops the ability to focus on all relevant elements in a single moment.

Embodiment Consciousness in Music Performance Pedagogy

The acquisition of expertise in music performance and its pedagogy, depends on, beyond specific musical skills, employing resources from other fields of knowledge and considering sensory, motor, and affective capacities at each step of the music learning process. We studied the teaching practices of three expert clarinet teachers to investigate their didactic procedures, evaluating how those practices could be related to their students’ high levels of performance. The method gathered data from a “protocol joint analysis” and semi-structured interviews with teachers and their students. Data analysis revealed a particular set of pedagogical skills observed in the didactic procedures of these expert teachers. These teaching strategies were common to all three case studies and revealed themselves as a last didactic resource to overcome complex problems at the highest level of proficiency in musical interpretation. We call that pedagogical expertise field Embodiment Consciousness in Music Performance. This field of competence describes the systematic didactic use of metaphor to access performers’ sensorimotor and affective memories, whose semantic contents can thereby be accessed to support performance actions.

The effects of peer-assisted learning on rhythmic and melodic sight-reading in a middle school chorus

The purpose of this study was to investigate the ways that children engage in collaborative processes with adults and their peers in music sight-reading skill acquisition in a middle school chorus in the Southeastern United States. Intact groups of sixth-, seventh-, and eighth-grade choruses were assessed on melodic and rhythmic sight-reading using a quasi-experimental pretest/posttest non-equivalent control group design. The instruments to evaluate melodic and rhythmic sight-reading included an adapted version of the Vocal Sight-Reading Inventory and a researcher-developed Rhythmic Skills Hierarchy. A comparison of the effectiveness of three learning models on rhythmic and melodic sight-reading achievement occurred: teacher-only and two types of peer-assisted learning. Three Analyses of Covariance (ANCOVAs) compared differences between groups on adjusted posttest scores. There were significant differences between the teacher-only (T-O) and the symmetrical peer-assisted learning (SPAL) groups when compared to the asymmetrical peer-assisted learning group (APAL). The T-O and SPAL treatment types were effective learning models for melodic sight-reading achievement but with nonsignificant results on rhythmic sight-reading. Symmetrical peer-assisted learning strategies are a suggested practice as a complement to teacher-directed instruction.

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.

FOREIGN EXPERIENCE IN USING INNOVATIVE TECHNOLOGIES IN MUSIC EDUCATION

This article analyzes the necessity and benefits of using innovative technologies in music education. On the basis of foreign experiences, issues of modernization of music education, introduction of new pedagogical approaches and use of interactive tools are considered. The article also demonstrates how innovative technologies can be used to develop students' creativity, musical skills and knowledge. Examples will be given to improve the effectiveness of music education through innovative pedagogical methods, distance learning platforms and digital tools. This research provides useful resources for teachers and educational institutions in shaping the modern music education system.

Exploring the Boundaries of Digital Popular Music Education in Kenya

With technology enhancement and digitalisation of teaching and learning, creative arts and performance are evolving daily. Additionally, the empirical review indicates that Kenya has already embraced these developments even though much must be done. Music education, which relies on creative arts and performance is among the benefactors of digitalisation of learning and teaching. Therefore, the digitalisation of popular music enhances the genres as instructional tools; facilitating access would help improve pedagogical contexts, easing learning and teaching. This study investigates the implementation and impact of Popular Music Education (PME) in Kenya, addressing the challenges and opportunities inherent in integrating digital technologies into the PME curriculum. Using a qualitative research approach, with phenomenological design through the pragmatic paradigm, the research assesses the effectiveness of digital tools in enhancing musical skills and knowledge among students while considering infrastructural and socio-economic barriers. Findings reveal that the digitalisation of PME holds significant potential for improving access, delivery, and quality of learning and teaching but is constrained by resource limitations, connectivity issues, teacher development, and digital teaching and instructional tools. This study contributes to understanding how digital advancements can be tailored to fit the unique context of poorly developed counties in Kenya to offer 21st-century PME. The study is limited to the availability of contextualised data in Kenya that can depict the exactness of digital capabilities in the teaching and learning of popular music in Kenya.

Designing and Applying Educational Scenarios using Synth4kids Musical Educational Software in Preschool Education

The rapid technological advancement of recent years has transformed how people interact with music. In a world where digital transformation is accelerating, the role of technology in music education has become increasingly crucial. In particular, digital platforms and tools are reshaping the way music is taught, especially for younger generations. Children in the digital age are exposed to various musical experiences and preferences. This has led to the development of digital learning environments and software for preschool children, creating a fundamentally new educational framework. However, music pedagogy often relies on traditional teaching models that do not incorporate digital technologies. This article discusses findings from an educational intervention using the Synth4kids software in early childhood music education. Synth4kids offers new avenues for educators to incorporate technology into early childhood education, encouraging creativity, collaboration, and engagement. The study highlights how combining technology and music pedagogy can enrich the learning experience for young children. The results highlight a new techno-centric learning environment where children engage actively and enthusiastically in authentic music teaching and learning situations, transforming their experiences and developing new musical and technological skills. Additionally, the study shows the importance of designing child-friendly software that balances educational goals with playful engagement.

Bridging musical gaps: creating educational songs with thematic learning for primary school students

This study investigates how elementary school teachers without musical backgrounds create educational songs to support thematic learning under Indonesia's Kurikulum Merdeka. Thematic learning aims to integrate various subjects into cohesive themes, fostering student-centered learning (SCL) and emphasizing active engagement and critical thinking. Although the government provided the guiding textbooks, teachers face challenges in implementing SCL. Eventually, they often revert to conventional, teacher-centered methods. Previous research indicates that songs can serve as effective educational tools, but there is still a lack of thematic songs that align with the curriculum's specific themes. Using a case study approach, this research involved classroom observations, document analysis, and interviews with two first-grade teachers who developed songs for an environmental theme. The study found that teachers could create educational songs by deriving lyrics from teaching materials and improvising melodies, although they needed formal musical notation skills. Teachers and students then used these songs in classroom instruction, engaging in singing and physical activities. Despite inconsistencies in musical performance, the findings indicated that students were enthusiastic and better understood the material through these songs. The study highlights teachers' adaptive nature in leveraging available resources to meet educational objectives and emphasizes the importance of integrating arts, particularly music, into educational practices. The research contributes to the broader discourse on educational innovation, suggesting that even teachers without musical training can effectively create and use educational songs to enhance learning. Empowering teachers with resources and training in songwriting could further enrich thematic learning, fostering creativity, critical thinking, and collaboration among students. This approach aligns with the goals of the Kurikulum Merdeka, supporting holistic educational reforms and improving learning outcomes in Indonesian elementary education.

Using Overture to enhance students’ aural musical skills and motivation in learning

Aural musical skills are a compulsory course for music students, but studies show that students are weak in this area due to unattractive and ineffective teaching methods. This study investigated the effects of Overture on enhancing the aural musical skills of students in China. In addition the study also investigated whether the utilization of Overture can enhance students' motivation to learn aural musical skills. This quasi-experimental study only used quantitative data. The researchers chose 70 first-year Chinese music students as an intact group sample, from Hunan City University in China, The experimental group was taught using the Overture method, while the control group was taught using the conventional method. The intervention was for eight weeks. The researchers used pre-test, post-test, and questionnaires on learning motivation as instruments to collect the data. The data was analyzed using the SPSS program for Windows, version 25 (ANCOVA test). The results indicated that the experimental group performed significantly better and outperformed the control group in their overall scores in aural musical skills, melodic intervals, rhythmic patterns, monophonic music, and two-voice music, The experimental group also showed significantly higher motivation than the control group. In terms of pedagogical implications, this study suggests that music lecturers need to consider using Overture as an alternative method to improve aural musical skills among students and they have to be trained on how to utilize Overture for teaching music.

Music Perception and Music-Related Quality of Life in Adult Cochlear Implant Users: Exploring the Need for Music Rehabilitation.

Cochlear implant (CI) users face difficulties in accurately perceiving basic musical elements such as pitch, melody, and timbre. Music significantly affects the quality of life (QoL) of CI users. Individually and culturally influenced music perception exceeds psychophysical measures in capturing the subjective music enjoyment of CI users. Understanding the music perception, enjoyment, and habits of CI users is crucial for approaches to improve music-related QoL (MuRQoL). Therefore, this study aims to investigate music perception skills, experiences, and participation in music activities in a large group of adult CI users, and to understand the importance of these factors and their impact on QoL of CI users. This study included 214 CI recipients with diverse auditory experiences who were aged between 18 and 65 years and were unilateral, bimodal, or bilateral users for at least 1 year and 193 normal hearing (NH) controls. All participants completed the information forms and the MuRQoL questionnaire. To assess the impact of music on QoL and identify personalized rehabilitation needs, the scores for each question in both parts of the questionnaire were intersected on a matrix. Data were presented in detail for the CI group and compared between CI and NH groups. A statistically significant difference was found between the matched CI and NH groups in favor of the NH group in terms of music perception and music engagement. Participants who received music education at any point in their lives had significantly higher MuRQoL questionnaire scores. There was no significant relationship found between the duration of auditory rehabilitation, pre-CI hearing aid usage, music listening modality, and MuRQoL questionnaire scores. Unilateral CI users had significantly lower scores in music perception and music engagement subsections compared with bimodal and bilateral CI users. Also, it was found that music had a strong negative impact on QoL in 67/214 of the CI users. Although CI users scored significantly lower than NH individuals on the first part of the questionnaire, which asked about musical skills, enjoyment, and participation in musical activities, findings suggest that CI users value music and music enjoyment just as much. The study reveals the influence of factors such as education level, age, music education, type of hearing loss and auditory rehabilitation on music perception, music enjoyment, and participation in music activities through self-report. The results indicate that for many CI users, music has a strong negative impact on QoL, highlighting the need for personalized music interventions, the inclusion of self-report questionnaires, and music perception tests in clinical evaluations.