School Music Classes Research Articles

Lessons from Lithuania: Teacher beliefs and behaviors in teaching young children to sing

The purpose of this naturalistic case study was to uncover beliefs and behaviors of successful teachers who produced excellent children’s singing in Lithuania. The research questions guiding the study were: What particular beliefs did music teachers hold about their ability to teach children to sing and the necessary components to teach children good singing? What specific behaviors did music teachers exhibit and embrace in public and singing school music classes to achieve good singing that is accurate, tuneful, resonant, expressive, and in head voice? In this naturalistic case study, data from informants ( N =18) consisted of interviews ( n = 12) and observations in their classrooms ( n = 22) and concerts ( n =7) in an urban area in a city in Lithuania. The conceptual framework underpinning the study was supported by the data, relating to their beliefs and behaviors about their knowledge and skill in teaching, their use of a variety of teaching strategies, and their use of highly sequenced literature. Of most importance was that they emphatically lived their beliefs in order to achieve success with children’s singing. Implications are offered that relate to music teacher preparation.

The classroom culture of a middle school music technology class

The purpose of this study was to examine the culture of an American middle school music technology classroom based in musical composition. Research questions explored students’ perceptions of how they co-create the classroom culture with the teacher and how the classroom culture influences participation in musical composition activities, if at all. Data sources for this ethnographic case study included field notes from multiple class observations, audio- and video-recordings, and semi-structured interviews. Findings determined that teacher and students’ mutual use of constructive feedback in their discourse, the teacher’s role as co-learner, his facilitation of “messiness” as part of the learning process, and his pedagogical style helped to create an affirming classroom culture that motivated students to compose. Implications for teaching practice include critical examination of classroom cultures and thoughtful inclusion of technology in music education courses.

Mixing It Up: Sound Recording and Music Production in School Music Programs

Recent advances in music technology include practical tools for sound recording and production in school music classrooms. Secondary school music production classes allow students to make meaningful connections between school music and the music in their own lives. We offer several projects for teaching music production and sound recording; provide examples of authentic, performance-based assessments; and identify opportunities for collaboration through digital means. These projects are particularly well aligned with the United States’ Core Arts Standards related to creating music and may widen the door for students who are less interested—or less able to participate—in traditional bands, orchestras, and choirs or music appreciation electives.

Some thoughts on curriculum in music education

Curriculum is currently a big issue in England. What a school-based music curriculum should entail, what sorts of things should be taught and learned, and what makes for good learning experiences are all under consideration. One of the issues that crops up in England, and possibly in other jurisdictions too, when these sorts of discussions take place, involves considerations of what sorts of music children and young people should be involved with, what should they learn, and what is important for schools to be teaching. This immediately places discussions beyond what might be termed the strictly musical, and into the area of values. What music is valued by education systems, and what music should be foregrounded in educational settings become a significant arena of contention. This is especially the case when politicians become involved, as they will often have fixed or politically-motivated views about what they think should be taught and learned in school music classes. As ever, the pages of the BJME provide some interesting views on this matter, and so it is worth a brief trawl through the archives. The BJME home page search engine on the website produces 168 results for the term “curriculum”, so clearly this will be a highly selective sampling from these rich pickings in this editorial.

¿Componer y educar interculturalmente es posible? Experiencias desde el sistema educativo español

Resumen La educación de la sociedad española actual pasa por una necesaria revisión de la metodología didáctica para que el sistema educativo pueda responder a las necesidades del alumnado del siglo XXI. La pluriculturalidad de éste ha llevado a que el profesorado realice un replanteamiento de sus actos educativos, puesto que pertenece a una generación que no ha vivido en primera persona con las causas y efectos de una situación pluricultural, más allá del hecho obvio de que nuestro territorio nacional se formó sobre las bases de las migraciones de distintos pueblos llegados de distintas partes del mundo. Es decir, que precisan una formación en las distintas opciones educativas comprendidas en los contextos pluriculturales, tales como la Educación Multicultural y la Educación Intercultural, que les capacite para enfrentarse al proceso de enseñanza/aprendizaje recurriendo a las líneas educativas características de la multiculturalidad o de la interculturalidad, según preferencias. Ahora bien, la legislación vigente establece que es la interculturalidad la situación que debe perseguirse en el aula; y, para ello, la clase de Música de Educación Primaria se puede convertir en ese punto educativo intercultural por excelencia, debido a que el proceso interpretativo, improvisado o controlado mediante actividades de composición, posibilita la práctica de la comunicación entre culturas. En estas páginas, se ofrecen unas indicaciones para trabajar la composición en este nivel educativo y una revisión de los diferentes motivos que justifican el uso de la composición musical como herramienta educativa intercultural musical por excelencia.

Pedagogic populism vs. opportunities to learn: university music students’ appraisal of their school music classes

ABSTRACTThis paper considers the problem of music student's preparedness for university study. Since 2002 New Zealand senior secondary school students have experienced a national outcomes-based curriculum and assessment system which provides the flexibility for schools and teachers to create curricula suited to varied student interests and learning trajectories. Music teachers are faced with the challenge of fostering engaging musical experiences for students as well as providing the sorts of knowledge for those students who may wish to progress towards specialisation. This paper reports on a small survey of university music students (n = 44) who were asked how well school music prepared them for their university studies. The findings suggest that while democratising the music curriculum in response to the hegemony of past curricula, teachers may have run into another problem where access to the theoretical knowledge required for a successful transition to further study is not always made available to students. It appears that in generally widening access through curricular reforms epistemic access may be unintentionally restricted. I conclude by suggesting that both schools and universities have a responsibility for an approach to education where procedural and principled knowledge are linked as the means towards developing expertise.

An Investigation of Pre-service Elementary Teachers’ Perceptions of Using Applied Music: Focusing on School Music Class and Achievement Standards of the Music Curriculum

경제, 문화, 교육 등 사회 전반에 걸쳐 실용음악의 영향력이 점자 증대되고 있는 추세 속에서 학교 음악 수업에서 실용음악을 활용하는 것에 대해 에비초등교사는 어떠한 인식을 갖고 있는지 알아보고자 본 연구를 실시하였다. 연구를 위해서 174명의 예비초등교사가 참여하였고, 설문지를 통해 조사가 이루어졌다. 설문지는 선호하는 음악에 관한 질문, 실용음악 활용과 음악과 교육과정의 성취기준에 대한 질문, 실용음악 활용에 대한 개인적 의견을 묻는 질문으로 구성되었다. 결과는 예비초등교사가 가장 선호하는 음악은 실용음악이고, 실용음악을 활용하여 수업을 하면 ‘음악을 활용하여 가정, 학교, 사회 등의 행사에 참여하고 느낌을 발표한다.’, ‘상황이나 이야기 등을 표현한 음악을 듣고 느낌을 발표한다.’, ‘이야기의 장면이나 상황을 음악으로 표현한다,’는 성취기준에 가장 잘 도달할 수 있을 것으로 인식하고 있었고, 실용음악은 흥미를 끌기에는 유용할 수 있지만 음악 수업 시간에 교육적으로 활용하는 것에 대해서는 우려의 인식을 갖고 있는 것으로 나타났다.This study is aimed to investigate pre-service elementary teachers’ perceptions of using applied music(popular music). These days, applied music has strongly influenced over all of the society including economy, popular culture, education. For this study, 174 pre-service elementary teachers were participated and the questionnaire was used. The questionnaire was composed in three parts: music preference of participants, using applied music and achievement standards of the music curriculum, personal opinions regarding the study topic. The first result showed, most of the pre-service elementary teachers preferred applied music. About 89% of participants liked applied music to listen, sing, and play. Second, the participants answered that applied music would be useful to reach following three achievement standards of music curriculum: ‘participate events of home, school, and community’, ‘present feeling after listening to music expressed situation or story’, ‘express scene of story or situation using music.’ Lastly, pre-service elementary teachers thought that applied music was useful to get interest of students, but they thought that applied music was not appropriate to use in school music class for several reasons.

Development of Realistic Media and Effective Evaluation for Integrated Appreciation of Traditional Korean Music in High School Music Class

Development of Realistic Media and Effective Evaluation for Integrated Appreciation of Traditional Korean Music in High School Music Class

Analysis of North Korean Music Preference for Middle School Music Class

Analysis of North Korean Music Preference for Middle School Music Class

Trial of Melody Creation using Scratch Programming Software in Elementary School Music Class

Trial of Melody Creation using Scratch Programming Software in Elementary School Music Class

The Types of Singing Words in Gutgeori Rhythms and their Educational Applications

말붙임새는 노랫말의 리듬을 뜻한다. 말붙임새의 이해를 통해서 민요 장단에 내재된 리듬과 나아가서는 악곡을 이루고 있는 선율이나 형식의 측면까지도 확장하여 이해를 도울 수 있다. 실제 학교 교육 활동에서는 말붙임새의 가사를 살펴보거나 바꾸어보기, 말놀이하기, 말장단 만들기 등의 다양한 방법이 시도되고 있다. 본고에서는 먼저 기악곡과 민요곡의 굿거리장단 리듬꼴을 유형별로 분류하고 여기에서 추출된 유형들이 어떤 방식으로 통속 민요곡에 적용되고 있는지 분석하여 학교 음악 수업 현장에서 말붙임새 학습의 올바른 방향성을 살펴 어떻게 지도되어야 할 것인지 교육적 활용 방안을 제시하는데 목적을 두었다. 굿거리장단으로 된 통속민요 12곡을 분석한 결과 굿거리장단으로 된 민요곡의 리듬꼴은 3+3+3+3, 3+3+2+2+2, 2+2+2+3+3, 2+2+2+2+2+2로 총 4가지 형태의 주요 리듬꼴로 유형화 할 수 있었다. 또한 반 장단 단위인 ‘2+2+2’ 리듬꼴 안에서의 가사 수를 살펴보는 정간보 분석 과정을 통해서 말붙임새에서 파생되는 장단의 리듬꼴을 결정짓는 기초 근거를 찾고 나아가 단위 악곡의 정체성을 밝히고자 하였다. 반 장단 단위의 결합으로 가사의 의미가 체계적으로 형성되고 이에 따라 가사의 강세 변화로 연결되며 그 결과 장단의 리듬꼴이 변하고 굿거리장단 전체의 음악적 강세가 변화되는 것을 확인할 수 있었다. 이에 본 연구자는 분석 결과를 바탕으로 굿거리장단 민요곡 말붙임새의 교육적 활용 방안을 제안하였다.Word-attachment means rhythm in lyrics. Through understanding word-attachment, it is possible to help understand rhythms which are inherent in folksongs jangdan and furthermore, and better understand melodies for music and the aspects of format. In actual school educational activities, various methods are tried such as examining and changing the lyrics of word-attachment, and playing with words and making word rhythms. This article categorizes various types of gutgurijangdan rhythms of instrumental music and folksongs; analyzes how extracted types are applied in conventional folksongs; and examines the right direction for teaching word-attachment in school music class in order to present educational application measures. The analysis of 12 conventional folksongs made of gutgurijangdan provided a result that the rhythm types of folksongs made of gutgurijangdan are 4 types in total, namely, 3+3+3+3, 3+3+2+2+2, 2+2+2+3+3, 2+2+2+2+2+2. In addition, the analysis of Jeongganbo which measures the number of lyrics in ‘2+2+2’(DulDulDul rhythmggol ), a half unit of jangdan provided with basic foundation that determines the rhythm type of jangdan derived from word-attachment that will help identify unit songs. It is confirmed that through the combination of half rhythm units(DulDulDul rhythmggol ), the meaning of lyrics is formed systematically, and this is connected to the stress change in the lyric. As a result, rhythm types of jangdan changes and the overall musical stress of gutgurijangdan alters. For this, the researcher proposes educational application measures of folksongs word-attachment of gutgurijangdan based on the result of analysis.

Composing colaboratively at schools: Between theories and practices in the field of creative music learning

This research focuses on collaborative compositional practices, dealing with how theories and practices in the field of teaching and creative learning can be articulated in the planning and accompaniment of creative-musical projects. Its objective is to understand how participation in this type of projects can contribute to the construction of collaborative processes in creative learning, in a setting of a school music class. This research, qualitative in nature, consists of a case study, carried out by this Brazilian researcher in a German school. Methodological design includes planning and pedagogical actions in a group of fifth graders, including observation and registration of classes. Four projects were implemented, with varied approaches and composition themes, entitled: popcorn sounds; watching music, listening to images; musical journey; and musicking poems. The results show that children have been critically and enthusiastically involved in projects, negotiating ideas and taking group decisions. These collaborative processes have contributed to the construction of a shared system of musical ideas within the group that supports creative learning. The continuity of studies of this nature can favour the construction of a new approach, theoretical foundations and methodological perspectives for music education in a global context.

An examination of LGBTQ-inclusive strategies used by practicing music educators

The purpose of this research was to examine LGBTQ-inclusive strategies used by practicing music educators in the United States. Participants ( N = 300) in a nonprobabilistic sample completed a survey inquiring as to their comfort using LGBTQ-inclusive strategies in a school music class, their perceptions of barriers to LGBTQ inclusion, and whether they had received training related to LGBTQ issues. Self-identified heterosexual respondents were requested to complete an additional set of questions to determine their attitudes toward lesbians and gay men. Additional questions were used to capture demographic data including (1) years of teaching experience, (2) school and community types, and (3) racial, ethnic, gender, and sexual identity. Results revealed that respondents self-identifying as heterosexual generally held positive attitudes toward lesbians and gay men. Results suggest that music teacher participants in this study were aware of heterosexist language in their learning environments and likely to discourage this type of classroom behavior. Overall, respondents appeared not to be worried about the various stakeholders (administrators, parents, and colleagues) in their educational environment. The majority of music teachers surveyed indicated that they received no pre-service training (91.3%, n = 274) and no in-service training (87.3%, n = 262) relevant to LGBTQ inclusion. Respondents who had received in-service training, however, were more comfortable discussing LGTBQ issues in their classrooms and promoting LGBTQ awareness in their schools. Findings from this study suggest that in-service professional development related to LGBTQ issues may increase the use of LGBTQ-inclusive strategies used in music classrooms.

Music-based rehabilitation in cochlear implant users: Insights from brain-plasticity research

Music-based rehabilitation in cochlear implant users: Insights from brain-plasticity research

Analysis of the Elementary School Music Class Consulting Case

Analysis of the Elementary School Music Class Consulting Case

Temperance Songs in American School Songbooks, 1840–1860

Early school songbooks in the United States served an important role. During the period from the introduction of public school music to the appearance of graded music series, they provided essential song literature and instructional material for early public school music classes. These songbooks often included patriotic songs, songs of the season, and songs about music, and moral and social themes were common. Some sources specifically note the inclusion of temperance songs, but little research has been done on how frequently this occurred. This study explores the inclusion of temperance songs in twenty-three school songbooks during the period from 1840 to 1860, noting dominant themes and tactics utilized by temperance reformers. Findings suggest that many school songbook compilers considered temperance reform an important concern and sought to influence both children and their parents by focusing on the dangers of alcohol. Several dominant themes were identified, including “Cold Water,” “Beware the Cup,” “Temperance Army,” “Home and Family,” and “Take the Pledge.” Although lyricists utilized both persuasion (moral suasion) and coercion, findings do not support the shift toward coercive tactics reported by temperance historians during the 1850s.

The world of musicals: an encyclopedia of stage, screen, and song

This wide-ranging, two-volume encyclopedia of musicals old and new will captivate young fans-and prove invaluable to those contemplating staging a musical production. * Offers 700 alphabetically arranged entries related to musicals in theatre, film, and television * Spans the history of musical theatre from Gilbert and Sullivan operettas in the late 1800s to the present * Concentrates on musicals that are historically important and/or of mainstream interest, as well as those that might be examined in a high school music, music history, or theatre class * Features a teacher-friendly guide to the most popular musicals performed by high schools, discussing casting/characters, costume needs, notes on the difficulty of the music, and more * Includes a selected bibliography, discography, and videography as well as a chronology capturing key events in the history of the musical

Vodcasting and instrumental practice in secondary school music classes

Abstract In the field of education the use of some of the ever-multiplying videos on the Web 2.0, such as those found on YouTube or video podcasts, is a relatively recent phenomenon, which is nevertheless starting to spread rapidly. Vodcasting – Web 2.0 video technology used in this research – is becoming a flexible and powerful tool for the delivery of educational content. Although it is certain that educational experiences using video podcasts are beginning to proliferate in higher education, very few are carried out in secondary schools, and examples in the area of musical education are scarce. The objective of the article is to show – through an action-research methodology – the effectiveness of podcasting/vodcasting in the instrumental performance of secondary school music students, who have used video podcasts for their instrumental training. The data obtained over the course of three academic years, based on video recordings carried out before and after having used video podcasts, highlight the progress in performance results amongst the students who used this tool.

Propuestas didácticas musicales para trabajar interculturalmente en eso: la música pop de mestizaje

Este artículo tiene como objetivo principal mostrar cómo la clase de Música de Secundaria puede contribuir al desarrollo social y personal del educando en contextos pluriculturales, al tiempo que permite interiorizar conceptos puramente musicales. En este sentido, se muestran algunas de las actividades que se desarrollaron en diferentes cursos académicos en aulas de Secundaria de la Región de Murcia y de las Islas Baleares, con las que se pretendía garantizar la convivencia del alumnado y el establecimiento de lazos socio-afectivos que les llevasen a una positiva relación intercultural, siempre asegurando también el aprendizaje específico musical. Se consideró que debían revisarse las propuestas basadas en la música tradicional para acercar las diferentes culturas al alumnado y ofrecerles actividades desde una música realmente cercana para ellos, pero sin olvidar el elemento tradicional; de manera que, se seleccionó la música de Macaco que ofrecía un enriquecedor mestizaje. Mediante una metodología muy activa y participativa caracterizada por el espíritu cooperativo en cada una de las actividades tradicionales del aula musical (audición, improvisación, composición, análisis), se pudo comprobar cómo este tipo de música “pop-mestiza” permitía trabajar los contenidos más específicamente musicales, además de que posibilitaba el paso de la coexistencia multicultural a la convivencia intercultural.

High school music classes enhance the neural processing of speech

Should music be a priority in public education? One argument for teaching music in school is that private music instruction relates to enhanced language abilities and neural function. However, the directionality of this relationship is unclear and it is unknown whether school-based music training can produce these enhancements. Here we show that 2 years of group music classes in high school enhance the neural encoding of speech. To tease apart the relationships between music and neural function, we tested high school students participating in either music or fitness-based training. These groups were matched at the onset of training on neural timing, reading ability, and IQ. Auditory brainstem responses were collected to a synthesized speech sound presented in background noise. After 2 years of training, the neural responses of the music training group were earlier than at pre-training, while the neural timing of students in the fitness training group was unchanged. These results represent the strongest evidence to date that in-school music education can cause enhanced speech encoding. The neural benefits of musical training are, therefore, not limited to expensive private instruction early in childhood but can be elicited by cost-effective group instruction during adolescence.