Music Students Research Articles

Application of entertainment virtual technology based on network information resources in piano teaching

With the rapid development of digital technology, e-learning and robot technology are gradually applied in various fields. As an innovative form of traditional piano education, digital piano teaching is faced with the challenge of how to improve the learning effect and add interest. The purpose of this study is to explore the application of e-learning and virtual robot technology in digital piano teaching, so as to provide an effective teaching method and improve the learning experience and effectiveness of learners. This paper uses e-learning platform and virtual technology software to create a virtual piano learning environment. Through robotics, interaction with learners is achieved to simulate a real piano teacher. Design appropriate teaching content and assessment methods to ensure that learners can fully understand and master relevant knowledge and skills. The results show that the digital piano teaching method using e-learning and robot virtual technology can effectively improve learners' interest and participation, improve their piano playing skills and music understanding ability. Learners give positive evaluation to this new teaching method, and think that it is highly practical and innovative.

Evolution of Piano Education in China: Analysis of Socio-Cultural Impact and Prospects for Development

Evolution of Piano Education in China: Analysis of Socio-Cultural Impact and Prospects for Development

Interaction of motor practice and memory training in expressive piano performance: expanding the possibilities of improvisation.

This paper aimed to investigate the influence of motor practice and music performance experiences on musicians' auditory memory, the effect of auditory distinctiveness on melody recognition, and the differences in the working memory of classical and jazz pianists. The study was conducted among 26 jazz and 24 classical music students at Shenyang Conservatory of Music. To achieve the goal set, a melody recognition ability was analyzed after listening, performing without sound, and simultaneous listening and performing using computer recordings and pianist-taken notes. The study was conducted following repeated measures mixed design. The within-group variable was the learning condition. As the within-participant variable, the number of melody practicing trials was chosen. The type of influence on auditory memory was chosen as a between-group variable. The dependent variables were auditory recognition score, motor imagery ability, and auditory imagery ability. Students' recognition of the heard melodies was assessed by means of a 3-point Likert scale. Pearson's correlation coefficient was calculated to investigate the relationship between working memory and other student characteristics. The study outcomes unveiled that pianists are much better at recognizing tunes they generate themselves in auditory-motor practice than auditory practice alone. It was pointed out that the ability to recognize melody in auditory-motor learning is influenced by its acoustic characteristics. Hence, melodies that are slow in tempo and regular in time and intensity are easier to recognize than more variable pieces.

Exploring the Reform of Piano Course Teaching based on AGIL Model

University music performance majors are strongly encouraged to take a piano fundamentals course as one of their necessary foundational topics. For college music achievement majors, it is very crucial to develop and raise students' piano playing proficiency and expertise. For the analysis and creation of complex systems, the AGIL model serves as a theoretical framework. This model may be used to create a complete methodology for piano instruction that emphasizes the growth of the student's flexibility, goal achievement, skill integration, and pause in action. Learning to play the piano may test these connections in the brain that control movement in students and people with poor motor abilities, and it can even improve coordination. Thus, we suggested the AGIL model for the reform of piano course teaching to further encourage the creative growth of piano instruction for music majors in colleges and universities in a diverse environment. The dataset used was made up of Chinese piano students. The performance measures used to assess suggested efficacy include ideal teaching, student performance, note-reading skill, teamwork ability, and student support rate. The evaluation's results indicate that the AGIL approach has provided 98.5% which seems to be useful for improving students' piano skills.

Evaluation of Multimedia Teaching Platform for Piano Accompainment Using Logic Pro

The role of education in a country's progress is crucial. It ensures the intellectual and human resources a country needs to grow. There has been a growing consensus in China that gaining a thorough understanding of advanced foreign theories and effective teaching is crucial to keeping up with the country's rapid advancement and growth of its higher education system and the continuous intensifying and improved performance of the reform of education and teaching activities. College and university music programs often include piano teaching (PT) as a required curriculum component. As a result, the job it does in the classroom is crucial to developing modern musical literacy and understanding.. This article shows how to regulate the classroom tempo by utilizing multimedia instructional tools, how to pique students' interest in learning, and how to use multimedia tools to improve the quality of piano instruction. We used a logic programming system to design a piano teaching platform.it is used to analyze the knowledge of piano learners and manipulate their interference. By gathering user behavior from different Internet distribution platforms and evaluating the feature vector by the function space created by the pertinent evaluation metrics, the analysis system is also utilized to assess some instructional techniques' online public thought assessment. The system's accuracy is 96%, indicating a successful teaching assessment. The system's value evaluation paradigm makes it possible to comprehend user behaviors precisely and apply them to other disciplines.

Health consultations at a performing arts health centre among classical music students based on electronic health record data: a cross-sectional study.

Physical and mental health problems in music students are usually identified using self-reported data. The use of an Electronic Health Record database can avoid biases to give an overview of the extent of health problems in this population. Therefore, the aim of this study is to gain insight into both physical and mental health related issues in classical music students using this type of data collection. An Electronic Health Record database including five years of data from a Performing Arts Health Centre (PAHC) of a university or the arts, was used to analyze the number and characteristics of health consultations in music students. The total number of students, health consultations and the average number of visits per health consultation were calculated over five years. Furthermore, numbers and percentages of both physical and mental health consultations were registered. Also, the number and percentage of health consultations per instrument group were compared to the proportion of each instrument group within the specific sample. Over a period of five years, 230 students visited the PAHC and 417 health consultations were reported. 43.5% of the students who visited a health professional indicated at least one physical health consultation, 29.1% at least one mental health consultation and 27.4% at least one in both categories. An injury was the most frequently registered physical health consultation (40.2%), followed by performance improvement (9.8%) and stress (9.6%). Voice students registered relatively most health consultations. As far as we know, this is the first cross-sectional study using Electronic Health Record data from a PAHC to gain insight into both physical and mental health related issues in a population of classical music students. Looking at the variety of health consultations registered in the database, a multidisciplinary team and multidisciplinary approach are necessary to meet the needs of the students in terms of physical and mental health support and performance improvement.

Between Piano and Forte: Hearing with Aids

Abstract The author connects reviving her piano practice after a 20-year hiatus with her deaf right ear “learning” to hear again with a cochlear implant. She touches upon parallels between the physiology of the instrument and her own body, and how they inform the inquiry for her Leonardo CripTech Incubator/Thoughtworks Arts residency project Song Without Words.

Self-Efficacy and Commitment Among Music Student Teachers

Abstract The purpose of this study was to investigate the network of relationships among sources of self-efficacy, teaching efficacy (comprising music teaching efficacy and classroom management efficacy), and commitment to teaching among music student teachers. A secondary purpose was to examine how participants described influences on their teaching efficacy and commitment through open-ended responses. Participants were music student teachers (N=125) from universities across the United States. Results revealed that student teachers at the elementary level felt significantly more efficacious than those teaching at the secondary level. In the context of this study, verbal/social persuasion explained the most amount of variation among music teaching efficacy, while physiological state explained the most amount of variation in classroom management efficacy. These findings vary from previous research that has pointed to mastery experiences as the most impactful source of self-efficacy. Path analyses indicated that those with relatively stronger feelings of music teaching efficacy also tended to have stronger feelings of commitment to the music teaching profession as well as an increased sense of classroom management efficacy. Open-ended responses indicated that participants felt verbal/social persuasions were the most impactful on their sense of confidence as a teacher, while past music teachers were the most common influence on student teachers’ sense of professional commitment.

The Perspectives On Piano Teaching Strategies At Qingdao Art School in Shandong Province

Background and Aim: Qingdao Art School is implementing a holistic piano education approach, combining traditional and modern techniques to prepare students for the evolving musical world and develop diverse skills. Materials and Methods: This study aimed to survey teacher’s perspectives on piano teaching strategies at Qingdao Art School. This study used qualitative research methodology, including semi-structured interviews with piano teachers at Qingdao Art School, to understand their teaching methods. Key areas of focus included pedagogical approaches, experiences with different strategies, challenges faced, and perspectives on effectiveness. The interview guideline was used to gather in-depth insights, with eight questions posed to experts. Data was collected through semi-structured interviews, with essential analysis steps including thematic coding, theme grouping, direct interpretation, and data presentation. Results: The text provides a comprehensive guide to teaching music theory, focusing on various pedagogical approaches. It suggests blended learning, collaborative projects, improvisational techniques, diverse musical genres, and gamification for accessibility. Challenges in teaching include adaptive teaching strategies, personalized music selection, practice routines, classroom community building, and integrating new technologies. Methods are promoted through active learning, digital resources, and flexible scheduling. Technology integration is highlighted, with music software, virtual performances, and AR/VR tools. Professional development opportunities are discussed, and student engagement and motivation are discussed. Evaluation and feedback are also discussed, considering technical skills and musical expression. Conclusion: The text offers a comprehensive guide to teaching music theory, highlighting various pedagogical approaches and challenges, while promoting active learning, digital resources, and technology integration.

Professionally-Oriented Teaching Russian as a Foreign Language to Uzbek Music Students in the Context of the Communicative Method.

Professionally-Oriented Teaching Russian as a Foreign Language to Uzbek Music Students in the Context of the Communicative Method.

Show-and-Tell: An Interface for Delivering Rich Feedback upon Creative Media Artefacts

In this paper, we explore an approach to feedback which could allow those learning creative digital media practices in remote and asynchronous environments to receive rich, multi-modal, and interactive feedback upon their creative artefacts. We propose the show-and-tell feedback interface which couples graphical user interface changes (the show) to a text-based explanations (the tell). We describe the rationale behind the design and offer a tentative set of design criteria. We report the implementation and deployment into a real-world educational setting using a prototype interface developed to allow either traditional text-only feedback or our proposed show-and tell feedback across four sessions. The prototype was used to provide formative feedback upon music students’ coursework resulting in a total of 103 pieces of feedback. Thematic analysis was used to analyse the data obtained through interviews and focus groups with both educators and students (i.e., feedback givers and receivers). Recipients considered show-and-tell feedback to possess greater clarity and detail in comparison with the single modality text-only feedback they are used to receiving. We also report interesting emergent issues around control and artistic vision, and we discuss how these issues could be mitigated in future iterations of the interface.

SERBIAN MUSIC CRITICISM OF THE INTERWAR PERIOD: TEXTS ABOUT MUSIC BY DANICА KRSTIĆ IN THE MAGAZINE MUZIČKI GLASNIK

The paper analyzes the texts of Danica Krstić (1873–1966) in the magazine Muzički glasnik, published in 1922 in Belgrade. Danica Krstić is known to the professional public as one of the first piano teachers at the Serbian Music School (from 1903 to 1940) and as the author of the first piano textbook in the Serbian language, Piano School (1911). However, few people know the fact that she was also a music critic in the magazine Muzički glasnik. Namely, she gave two critical reviews of the concerts of young pianists - Ćiril Ličar and Vera Lotar. In both articles, the author used the same method - it is an analytical presentation of the works that are in the repertoire, while the emphasis is on the performing skills of the mentioned artists. This fact is not surprising, given that the author was professionally oriented towards performing. The paper will also discuss the historical development and importance of music criticism in Serbia in the period between the two World Wars. The historical processes through which music criticism in our region went through, as well as the methods of changes in the critical model in the period between the two World Wars, will be pointed out. It will also be discussed about the magazine Muzički glasnik in the context of selected articles, but also the entire magazine as one of the most important in the domestic area in the mentioned time frame. The goal is to highlight the diverse professional involvement of Danica Krstić and her role in the process of developing musical culture and education in Belgrade and Serbia at the beginning of the 20th century. The paper uses the method of theoretical analysis as well as an analytical-musicological view of the concert life of the Serbian capital.

Hidden diversity in the conservatoire: A qualitative enquiry into the experiences of higher education music students with disability

Students undertaking higher education music degrees represent a rich tapestry of experiences, cultures and needs. However, equity and inclusion issues related to music students with disability in higher education are frequently addressed in generic ways, and without consultation or consideration of their unique requirements. With limited research available, this qualitative study within an Australian Conservatorium of Music analysed the experiential and situated reflections of 18 music students with disability. Based on our reflexive thematic analysis, we propose that issues related to equity and inclusion for music students in higher education are multi-faceted and interrelated. By foregrounding the participants’ voice, the qualitative themes suggest that enhancements related to disclosure processes, quality of communication and reliability of resources, would fortify equity and inclusion. The findings span the need for reforms at the institutional level, as well as specific professional development for educators and awareness raising amongst the student cohort. Informed by the participants’ lived experience, the findings call for music educators, professional staff and institutional leaders to effectively apply features of inclusive, caring, professional practices so that music students with disability can thrive in higher education.

Musical Instrumental Self-Concept, Social Support, and Grounded Optimism in Secondary School Students: Psycho-Pedagogical Implications for Music Education

Research in music education has shown that musical and academic self-concept, the social component, task achievement, and academic performance are highly interrelated constructs in musical learning in general and instrumental learning in particular in secondary school students. However, no studies in Spain have analyzed the relationship between musical self-concept and the variables of social support and optimism in compulsory secondary education. Therefore, our study aimed to explore the relationships between instrumental musical self-concept, social support, and grounded optimism. We hypothesize that there is a significant relationship between the variables of musical self-concept, social support, and grounded optimism The variables were measured using the Instrumental Musical Self-Concept Scale (IMSCS), an adaptation of the Perceived Social Support Scale in Spanish Conservatory Music Students to the Secondary School Level, and the Grounded Optimism Scale (BEEGC-RA/BEECESA-RA24). The study sample consisted of 980 students enrolled in compulsory secondary education in public and semi-private schools in the autonomous communities of Aragon and Navarra. An analysis of correlations and regressions allowed us to explore and quantify the relationship among the variables under study, confirming the existence of a significant relationship among the variables “instrumental musical self-concept”, “social support” and “grounded optimism”. The present study thus provides more in-depth knowledge of the variables involved in the teaching–learning process of music as a school subject and instrumental music in particular, as well as a greater knowledge of the individual’s performance and motivation in the subject, with various future implications to be taken into account.

College music students during COVID-19: Examining the moderating effect of access to resources and stability of living on the relationship between perceived social support and mental health

The purpose of this study was to examine the relationship between perceived social support (PSS) and general mental health in collegiate music students during the COVID-19 pandemic. Furthermore, perception of access to academic resources and stability of living was analyzed as a moderator in the relationship between PSS and general mental health. Participants completed a survey that included the Mental Health Inventory-5 (MHI-5), the Multidimensional Scale of Perceived Social Support (MSPSS), and questions adapted from the “access to necessary resources” and “stability of living” section of the National Collegiate Athletics Association (NCAA) COVID Survey. In the final sample, PSS explained a statistically significant amount of the variance in general mental health. Moderation analysis was conducted using PSS as the predictor variable, mental health as the criterion variable, and access to resources and stability of living as a composite variable as the moderator. The interaction between PSS and the composite variable was statistically significant. Access to resources and stability of living proved a positive moderator between PSS and general mental health. PSS positively predicted general mental health in collegiate music students during the COVID-19 pandemic. In addition, access to resources and stability of living (composite variable) were positive moderators, with a higher perception of both creating a stronger positive relationship between PSS and general mental health.

A Pedagogical Analysis of Darius Mihaud’ s Piano Duet Suite Scaramouche

With the development of piano education, higher music colleges and universities are exploring scientific teaching methods, and the teaching mode of piano duet has entered the public’s view as an effective way to cultivate students’ musical perception. In today’s research, the performance analysis of piano duet has been involved, but the pedagogical analysis of the repertoire has not been explored in depth. Therefore, the study of analyzing repertoire with pedagogical analysis as the main body is very beneficial to the development of piano education. The purpose of this paper is to clarify the current situation of piano duet teaching, analyze it through hardware and software, and elaborate the important value of piano duet teaching. Taking French composer Mihaud’s Piano Duet Suite Scaramouche as an example, we start from the ontological analysis of the music, and study its compositional structure and the three major features of neoclassicism. On this basis, visual full score exercises, aural level and phrase exercises, and exercises of musical imagination are discussed in detail for pedagogical analysis. This paper follows the logic from macroscopic to microscopic to form a systematic teaching method of piano duet, with a view to providing reference and insight for the current research on the teaching of piano duet by applying analysis in piano education.

Comparisons Between RCM and CCOM Piano Examinations

This comparative study delves into the piano examination systems of the Royal Conservatory of Music (RCM) and the Central Conservatory of Music (CCOM), highlighting the prevalent inaccuracies in piano education. By juxtaposing these two institutions, each emblematic of distinct educational philosophies and cultural contexts, this research aims to uncover biases and imbalances that shape students' learning attitudes and musical trajectories. Drawing on qualitative analysis of curriculum content, student experiences, and pedagogical approaches, the study examines the positive and negative aspects of both systems. The findings illuminate the cultural and technical disparities between RCM's globally oriented approach and CCOM's focus on preserving Chinese musical heritage. Finally, this research proposes several potential remedies for the discussed issues. This research contributes to a nuanced understanding of how educational paradigms can inadvertently cultivate certain learning attitudes, offering insights into fostering a more balanced and holistic musical education in the evolving context of Chinese piano instruction.

A Comparative Study of ABRSM and the Chinese Piano Examination

Music education has become an indispensable part of aesthetic education, and social art graded examination are a regular form of evaluating music learning. ABRSM is recognized as one of the most influential music grading bodies in the world. The Chinese graded music examination have greatly boosted the level of music in Chinese society. This paper conducts a comparative study between ABRSM and Chinese piano graded examination from the three aspects of examination categories and subjects, differences in textbook song selection, and differences in evaluation criteria. It has found that the two have a certain complementarity, with each advantages and disadvantages by reflecting the different concepts and standards of social piano education between China and the UK. China's music grading market still has great room and potential for development. ABRSM offers new ideas that can improve China’s current piano exam system and teaching methods, paving the way for a more effective piano examination system.

Video Conferencing in Music Performance Learning from The Perspective of Selected Music Students

Video conferencing has become part of the new norm in music education and music performance since the world was affected by the COVID-19 outbreak. From solo to large-ensemble music, people can watch live musical performances through their smartphones, computers, televisions, or any internet-connected device. Therefore, this study focuses on documenting the perceptions of undergraduate students from the UiTM Faculty of Music towards online music performance learning. To gather necessary information, a survey was distributed, enquiring the selected UiTM music students about their experiences engaging in one-to-one studio lessons and other performance-based lessons in an online environment and the advantages and disadvantages of video conference streaming from their perspectives. The outcomes of this study provided the required information that can serve as a practical guide or point of reference to music lecturers and students who want to incorporate online platforms in their teaching and learning method, whether through synchronous or asynchronous approaches, especially when it involves demonstrating music performance skills. Through observing and analysing the survey results regarding significant issues within the online learning environment, this study outlines and justifies how potential improvements in the online music performance classes can be realised based on the suggestions of those who took the survey, which will benefit the musicians, music educators and music students in Malaysia.

Extended playing techniques as a source of unusual acoustic phenomena to explore with music students

When teaching acoustics, instructors typically consider musical instruments to introduce students to the science of sound. Common examples, such as the flute as an open pipe or the behavior of a string fixed at both ends, are often used to illustrate the acoustics of musical instruments. In addition, when teaching acoustics to advanced musicians, one could take advantage of the precise prior knowledge that students have regarding both conventional and extended playing techniques. When using extended techniques, musicians may incorporate unusual ways of producing sound with their instruments, as is often found in contemporary classical compositions. This unusual sound production might even result in a counterexample to the classical textbook case. For example, the so-called slap-tongue technique on the saxophone or clarinet produces a free (and highly damped) oscillation of the reed, which contrasts with the self-sustained oscillations of the reed if the instrument is blown as usual. Based on insights gathered during an introductory course in musical acoustics at the mdw—University of Music and Performing Arts Vienna, this paper highlights how extended techniques not only challenge our understanding of musical acoustics but also serve as interesting phenomena to explore interactively with students in the lecture room.