Pedagogy In Music Education Research Articles

METHODOLOGICAL GUIDELINES IN THE STUDYOF MUSIC EDUCATION PEDAGOGY

This article discusses the methodological foundations that play a key role in research in the field of music education. One of the most important methodological guidelines is methodological analysis, considered as a meta-method in the context of music pedagogy. This analysis is an integrated approach to the research process, which allows us to comprehend various aspects and processes of musical and pedagogical theory and practice. Within the framework of methodological guidelines, professionally significant functions and approaches are also highlighted, which contribute to the awareness of the value of concepts of a musical and pedagogical nature, innovative processes in science and education, as well as the formation of a research strategy. The approaches under consideration include various intellectual operations, among which reflection stands out as a method of creative thinking and personal rethinking of values and motives in the activities of a teacher-musician. The basis for the development of methodological guidelines in this context is knowledge from various fields of human activity, including science and art. Reliance on knowledge serves as the basis and methodological basis for the pedagogy of music education, to determine the principles and methods of organizing the research process.

Using Technology to Expand Communities of Practice and Support Culturally Sustaining Pedagogy in Music Education

Technology can help expand communities of practice in music education and promote a democratic schooling process vital to culturally sustaining pedagogy. Through careful and effective implementation, technology helps connect students to relevant musical communities and supports educators in achieving student-centered thinking and practices. The increased use of technology during the pandemic created a unique opportunity for music educators to reflect on both the educational benefits and challenges of implementing technological resources in the music classroom. From smaller activities to large-scale projects, there are strong implications for how technology can play a role in transformative music education.

Fostering future music teachers' professional skills: developing a signature pedagogy using e-learning

IntroductionThe emergency crisis due to the COVID-19 pandemic caused noticeable changes that stimulated the transition to the new normal based on the digitalization of our systems. In this regard, the revision of learning tools in higher education exposes new challenges and requires the development and implementation of digital technologies. Fostering future music teachers' professional skills needs designing of online resources that provide close student–teacher interaction, as well as the engagement of students and regulation of their professional music practice. Based on the theory of Shulman, the signature pedagogy in music education was developed and implemented in an e-learning environment by a small private online course. The aim of the research was stated: How and which students' music teacher professional skills are affected in the process of e-learning based on the signature approach? The research was conducted at Kazan Federal University. During the educational process students studied the professional practicum.MethodsTotally, 124 students from 1st to 4th academic level had taken part in the experimental work in the academic year 2021–2022. All of them studied bachelor programs for future music teacher as full- or part-time regime and studied the online course in MOODLE during the experiment. A combination of online tasks which cover all the types of the music teacher‘ professional activities was suggested. Considering the aim of the research, the multi-case study research methodology was chosen, using a mixed method approach, resourcing mainly to questionnaire, interview, documental analysis, and observation as data gathering methods, and descriptive statistical analysis, as data analysis techniques.ResultsThe main results demonstrate the effectiveness of the developed online course that allowed to significantly foster students' music teacher professional skills.DiscussionThe investigation of the efficiency of using e-learning for training future music teachers' professional skills was carried out in this study. To improve future music teachers' skills according to the features of the professional field, a signature pedagogy approach was suggested. The contribution of the paper brings the detail characteristic of the signature pedagogy in music education, and the way of its implementation by the means of online tools.

A place for TPACK in popular music education: A review of existing literature

This article is a synthesis of literature pertaining to the connections of music technology and popular music education. Music technology has become a vehicle through which music educators address the inclusion of popular music practices into existing models of music education. Making these connections has proven useful and engaging but has also helped to illuminate issues regarding technology and popular music training at the pre-service and in-service levels. Through a discussion of the role of technology in popular music education pedagogy, current collegiate curricular offerings and current professional development offerings, I argue that the inclusion of the technological pedagogical and content knowledge framework is necessary to prepare pre-service and in-service music educators to embrace popular music pedagogies. Drawing from the research conducted in various contexts, the following literature review is geared towards the music education paradigm in the United States. In the concluding section, I suggest avenues for future research and implications for pre-service and in-service music education practices.

Рецензия на сборник материалов конференции: Традиции и инновации в современном культурно-образовательном пространстве. М.: МПГУ, 2022. 259 с.

The review analyses the collection of materials of the XII International Research and Practice Conference “Traditions and Innovations in the Modern Cultural and Educational Space”, held on November 23, 2021 at the Moscow Pedagogical State University (MPSU). The publication was prepared by the Department of Methodology and Technologies of Pedagogy of Music Education named after E. B. Abdullin of the Institute of Fine Arts of the MPSU and is addressed to teachers and students of pedagogical, humanities and art universities, as well as a wide range of specialists in the field of culture, art, education.

Research-to-Resource: A Tripartite Model of Cultural Humility-Music (TMCH-Music) in Music Education

A Tripartite Model of Cultural Humility-Music (TMCH-Music) includes three tenets, which are essential to forming a humble character: (a) commitment to lifelong, critical self-reflection; (b) recognition and mitigation of power imbalances; and (c) mutually beneficial partnerships with communities. In this model, I situate cultural humility as a mindset that necessitates careful consideration relating to educational context, content, and pedagogy in music education. Adopting a humble mindset, music teachers may acknowledge their own biases, stereotyping, and prejudices relating to educational context, content, and pedagogy. A commitment to lifelong introspection through self-reflection and critique may help teachers continue to investigate new ways to redress power imbalances inherent in music education, as well as build their relationships with communities bidirectionally. I describe each dimension of the model and provide suggestions for how music educators may use this humble mindset of TMCH-Music in practice.

ФОРМИРАНЕ КОМПЕТЕНТНОСТТА НА БЪДЕЩИТЕ УЧИТЕЛИ ПО МУЗИКА ЗА МОДЕЛИРАНЕ И УПРАВЛЕНИЕ НА МУЗИКАЛНО-ИЗПЪЛНИТЕЛСКИ ПРОЦЕС

The problem related to the competence of students – future music teachers to manage the music-performing process, led to the conduct of theoretical and diagnostic research on this issue. The research was carried out at the Faculty of Pedagogy of the University of Shumen „Bishop Konstantin Preslavski“ with students majoring in Pedagogy of Music Education, studying the discipline of Technology in choral singing and conducting. The research is related to the level of mastering knowledge and skills and the formation of competence for modeling and managing the musical-performing process of students. The result of the research is also revealed the essence and content of technology for modeling and managing a music performance process. This report presents the theoretical and methodological foundations of the formation of the derived and specifically developed characteristics of the competence and the respective competencies of the students for modeling and management of the musical-performing process.

Just Making It Up: Structure and Spontaneity in Music and Teaching

William Allaudin Mathieu (born in 1937) is a consummate musician, a pianist, composer, author, and teacher — and, in my view, one of the most influential musicians of his generation. In his early twenties he composed music for the Kenton and Ellington Big Bands, was the founding musical director of the famed Second City of Chicago (Improv Theater) and was a pioneer in the 1960s of the application of theater improvisation games into the musical sphere. He is the author of four influential books, including the best selling "The Listening Book" (1991). In a teaching career spanning more than fifty years, Mathieu has been an important influence and guide to many musicians worldwide. 
 
 As I demonstrate throughout this essay, W.A. Mathieu reminds us that in highlighting the world of improvisation we must be careful not to romanticize spontaneity, for doing so might well involve our falling into the trap of dualistic thinking that separates if not excludes such activity from composition. Overall, Mathieu implores us to reflect deeply about false dichotomies as improvisation/composition, and by extension think more broadly about the perils of dualistic thinking in general. In exploring themes in discussion of improvisation, I highlight some of the ways in which we can begin to draw connections between Mathieu’s ideas and the usefulness of improvisation to pedagogy in music education and beyond.

Representation in music: College students’ perceptions of ensemble repertoire

Culturally responsive pedagogy in music education is becoming increasingly crucial for all students, in all types of music programs, and at all levels of education as demographic shifts occur in schools. In music ensembles, the selection of repertoire is a critical component of culturally responsive pedagogy. The purpose of this study was to investigate student perceptions of repertoire in college music ensembles. This study was guided by the following research questions: (a) Do students perceive current ensemble repertoire as representative and supportive of their self-identities? (b) What are these perceptions according to students’ race or ethnicity, gender, and ensemble type? (c) What factors do students consider important in directors’ selection of repertoire? (d) How are directors’ current repertoire selection practices, as experienced by the respondents, informed by or responsive to gender and racial diversity in the ensembles? Respondents ( N = 278) were graduate and undergraduate college students enrolled in band, choir, or orchestra. Data were collected through an online questionnaire. Overall, respondents felt that current repertoire practices were representative and supportive, although male respondents rated composer gender as lower in importance in repertoire selection than both females and those not identifying as male or female. White students indicated that they felt repertoire selection was more representative of their gender than Black, Indigenous, and other students of color. Respondents also indicated a desire for more underrepresented composers in ensemble repertoire. Numerous implications are provided, including the need for an increased focus on culturally responsive repertoire selection processes in teacher preparation programs.

Spiritual Analysis of Music in the Context of Pedagogy of Music Education: Theory and Practice

Spiritual Analysis of Music in the Context of Pedagogy of Music Education: Theory and Practice

When Narrative is Impossible: Difficult Knowledge, Storytelling, and Ethical Practice in Narrative Research and Pedagogy in Music Education

Stories impel us to grapple with the humanity of another. Using story to recount experience, however, raises both challenges and questions. This paper explores the complexities that arise when narrative researchers attempt to render stories of trauma. I draw upon what Deborah Britzman (1998) calls “difficult knowledge” to explore what encounters with stories of trauma may produce, and I consider both the potential of narrative research and the pedagogical potential of both stories and music to facilitate wrestling with difficult knowledge. I grapple with two related questions: 1) What considerations should be taken into account to engage ethically in narrative research, particularly narratives that emanate from trauma or that include stories of trauma? and 2) What considerations should be taken into account when sharing stories of trauma as an educator? I then consider both the impossibility of representation within narrative in light of difficult knowledge, and further examine how Delbo’s (1995/2014) “useless knowledge” unsettles straightforward understandings of difficult knowledge in pedagogy and in research. Finally, I explore implications for researchers and educators, followed by an examination of a politics of refusal in telling, representing, or engaging with story.

К вопросу о специфике исполнения-интонирования фортепианной музыки венских классиков

The purpose of the study is to identify the intonation and stylistic specifics of the performance-intonation of piano music of the Viennese classicism period. The relevance of the research is based on the existing need for the preservation, study and continuity of traditions, as well as the search for innovative technologies for mastering the musical and pedagogical repertoire of classical music. The research methodology is based on the results of experimental work on the research topic; systematization of scientific-pedagogical and scientific-theoretical knowledge in the field of education of piano performance culture-intonation of classical piano music. The scientific novelty lies in the systematization of ideas about the musical art and pedagogy of music education of the classical era, the specifics of piano performance-the intonation of classical music. As a result of the undertaken research, a method of educating the culture of piano performance-intonation of piano works by composers of the Vienna classical school-has been developed. It is concluded that the education of the culture of piano performance-intonation of classical piano works is impossible without a thorough knowledge of the specifics of the expressive means used by classical composers, intonation and stylistic features of classical music performance, technologies of performance culture-intonation of classical music. The results obtained can be used in the professional activity of a teacher-musician.

Fostering Trauma-Informed and Eudaimonic Pedagogy in Music Education

The arts and entertainment sectors remain fragile because of the global pandemic. Unemployment, physical and emotional stress, social isolation, a loss of purpose, and a problematic future are just a sample of the ongoing traumas that music educators and practitioners experience under duress. As an inherently social activity, music-making becomes especially difficult when the threat of infection persists, further exacerbating somatic trauma and decreased health and wellness. The sudden loss of daily contact with others, coupled with multiple kinds of crises, complicates matters for educators. How does one flourish when their livelihood, personal connections, and sense of meaning-making disappear? Likewise, how ought the music educator navigate such uncertainty when teaching others? To address these issues, psychologists have often turned to Trauma-Informed Care (TIC), a collaborative model between the practitioner and client that recognizes and validates the impact of painful memories and experiences. This article advocates for a compassionate eudaimonic pedagogy model that prioritizes healing and self-care for teachers and students and cultivating an ethos of critical digital pedagogy—itself a form of eudaimonia. Drawing on Noddings’ (1992, 1995, 2002) Philosophy of Care, the article concludes with suggestions on future connections between eudaimonia and music education.

The branded product and the funded project: the impact of economic rationality on the practices and pedagogy of music education in the early childhood sector

AbstractIn this article, I explore how neoliberal economic discourses and techniques have profoundly influenced the way that music education in early childhood has developed in recent years in the UK. I focus on two dominant models of practice that have been shaped by market thinking; the private music session (the ‘branded product’) and short term, stand-alone projects funded by charitable organisations (the ‘funded project’). The prevalence of these two models has resulted in highly fragmented and unequal provision accompanied by narrow conceptions of music in early childhood that give rise to impoverished practice. While I base my discussion on the early childhood sector in the UK, this discussion can nevertheless warn music educators beyond this one sector and one location of the negative consequences of abandoning music education to market forces.

The Civilizational Approach in the Pedagogy of Music Education: Methodological Foundations and Development Prospects

The Civilizational Approach in the Pedagogy of Music Education: Methodological Foundations and Development Prospects

Формирование профессиональной культуры педагога-музыканта у иностранных студентов в процессе музыкально-инструментальной подготовки в российском педагогическом вузе

We examine some of the problems of the process of developing the professional culture of a music teacher among foreign students from the Chinese People’s Republic in accordance with modern trends in Russian pedagogy of music education; the concept of “culture of piano performance-intonation” is revealed as a necessary component of the professional culture of a music teacher. The goal is to substantiate the need to study the features of the development of professional culture among Chinese students, future music teachers, in the process of musical and instrumental training at a Russian pedagogical university. In the course of the research, the concept of “professional culture of a music teacher” is clarified; the features of the development of the professional culture of a music teacher, and, in particular, the culture of piano performance-intonation among Chinese students, as its separate component, are investigated; the conditions for the upbringing of the culture of piano performance and intonation among foreign students in the process of musical and instrumental training in a Russian pedagogical university are determined. The research methodology is based on the systematization of scientific and pedagogical knowledge in the field of musicology, pedagogy and psychology of music education, as well as the results of experimental work carried out over the past three years on the basis of the “Special Piano” Department of the Tambov State Musical Pedagogical Institute named after S.V. Rachmaninov and the Music and Methods of Teaching Music Department of Penza State University.

The Game Paradigm in Pedagogy of Music Education

The Game Paradigm in Pedagogy of Music Education

ROLE OF ART PEDAGOGY IN MUSIC EDUCATION

The article is devoted to the study of the role of art pedagogy in music education. The author notes that art with exceptional strength gives impetus to the realization of human’s internal resources, contributes to the harmonious development of his personality and psyche. The article determines that art-therapeutic techniques in working with children and adolescents give them the opportunity to express their inner world through artistic techniques and creativity, discover new abilities, the use of these techniques in the lessons of musical art develops creative thinking, the possibility of innovative expression, self-realization through the discovery of new in oneself. It is highlighted that the use of art pedagogy methods in the lessons of musical art is due to the search and implementation of innovative approaches to learning; improving the methods and forms of the educational process; the promotion of self-realization and self-expression of each student, the development of creative thinking and creative imagination; relieving emotional stress during the educational process.

От музыкознания к культурологическому направлению педагогики музыкального образования: исследовательский самоанализ

The article describes the role of the scientific school by E. B. Abdullin in the formation and gradual development of the author’s research positions in the field of pedagogy of higher school music education. The first stage is characterized by considering problem of forming the artistic culture of future music teachers in a pedagogical University.The research embodied in his doctoral thesis, developed under the influence of the vectors of musicological and pedagogical thought. In includes analyses of the interaction of music with other art forms as manifestations of the General laws of artistic activity of man, revealed in the phenomenon of artistic culture. Pedagogical interpretation of artistic culture allowed us to consider this category: a) as an integral component of the content of music and pedagogical education; b) as a professionally significant quality of the music teacher’s personality. The concept changed the status of historical and theoretical training of future teachers-musicians, which received the working title “pedagogical musicology”. The content of pedagogical musicology was determined by a culturological approach to the learning process, designed to solve practical problems of mastering music in synchronic and diachronic interaction with other types of arts.The second stage is to expand the cultural component of professional training of music teacher, becoming a cultural orientation that integrates musicology, cultural studies and the pedagogy of music education on the basis of higher spiritual principles of music as an art form. The cultural direction allows developing new scientific approaches in the content of master’s educational programs in line with the methodological concept by E. B. Abdullin.

Предпосылки становления и основные этапы развития научной школы Эдуарда Борисовича Абдуллина

The article gives a very concise description of Eduard Borisovich Abdullin’s activity as a recognized leader of the Russian musical and pedagogical community, who considered the main task of his life to improve the system of musical and pedagogical as well as general education in Russia at all levels, without exception. It is shown, that Eduard Borisovich’s path to the pedagogy of music education was like Fate itself. As confirmation, the main historical milestones in his life that contributed to his formation as a musician, teacher, scientist, and founder of the scientific school “Methodology of pedagogy of music education” are revealed. The process of its origin, becoming, formation and further development is traced. It is emphasized that it meets all the criteria that can be attributed to genuine scientific school. Special attention is paid to identifying the specifics of Eduard Borisovich’s scientific school, which consists of: a) a unified research program for improving the methodological training of musicians-teachers in higher educational institutions of the country, b) the implementation of methodological analysis as a scientific tool for research activities of musicians-teachers; c) its three-tier orientation: to perform scientific and educational functions of educating scientists; on creative and constructive activity conducive to the development of the national system of general and music-pedagogical education; on the development of a fundamentally new scientific direction in the pedagogy of music education, which has not only a national but an international character. The data testifying to its international recognition are given.