Secondary Music Education Research Articles

Developing Musical Expression in Instrumental Ensembles

Musical expression is often not explicitly addressed in secondary instrumental rehearsals due to the perception of expression as an obscure concept and the instructional time constraints on music educators. Secondary music educators, however, are encouraged to discuss expressive performance goals with instrumental students from the beginning of formal instruction. The three most common methods of teaching expression in music include metaphor, aural modeling, and explicit instruction regarding instrumental techniques. With the use of plainly stated performance goals, music educators can help clarify the concept of and expectations for expressivity for instrumental students.

Harmonizing Technology and Tradition: The Impact of Blended Teaching in Chinese Primary and Secondary Music Education

Purpose：The purpose is to examine the effectiveness of blended teaching methods in music education, aiming to enhance student engagement, comprehension, and academic performance while addressing the challenges and opportunities of incorporating technology into traditional music pedagogy. Theoretical References：This paper employs a theoretical framework that merges social constructivism and sociocultural theory with blended music education. It focuses on integrating technology to enhance personalized learning, critical thinking community building in music teaching, informed by Guan et al. (2023). Methodology：This study utilized a quantitative research design with a novel 5-point Likert scale questionnaire involving 70 music educators from primary and secondary schools in central China. Data were collected through an online survey platform and analyzed in four dimensions using SPSS24, with methods including descriptive statistics, reliability and validity tests, and correlation analysis. Results and Conclusions：The findings suggest that blended teaching significantly enhances the quality of music education, increases student engagement, and promotes diverse pedagogical approaches. Challenges include maintaining student engagement and navigating technological complexities, but overall, the benefits outweigh these hurdles. Research Implications：This study highlights the significant impact of blended learning approaches on music education in Chinese elementary and middle schools. It calls for a systematic integration of these methods into music curricula to improve student learning experiences. Key recommendations include enhancing teachers' technological skills, ensuring students have equal access to digital resources, and utilizing technology to augment traditional teaching practices. Originality/Value：This research stands out for its detailed exploration of blended teaching methods in Chinese music education, a topic not widely covered in existing studies. It presents evidence of both the advantages and challenges of using technology in music education, offering important insights and practical suggestions for educators, curriculum designers, and policymakers to better incorporate technology into music education strategies.

Exploring Teaching Strategies for Primary and Secondary Music Education in China's Ethnic Minority Regions from a Multicultural Perspective

This study aims to explore the implementation of multicultural music education in primary and secondary schools in ethnic minority regions of China from a multicultural perspective. The paper begins by delving into the theoretical foundations of multicultural education and its relevance in the field of music education. It then analyzes the unique music traditions and cultural backgrounds in different ethnic minority regions of China, as well as their influence on music education. The paper provides teaching strategies and methods that educators can employ to incorporate multicultural elements into music education. Furthermore, it presents case studies of successful music education projects in China's ethnic minority regions and discusses the ongoing challenges and future prospects of multicultural music education in China. In conclusion, this study underscores the importance of adopting a multicultural perspective in music education to foster cross-cultural understanding and enrich the learning experiences of students in ethnic minority regions.

드뷔시(C. A. Debussy) 'Pierrot'를 대상으로 한 음악 교육의 융합적 접근

The purpose of this study is to explore a convergent approach that can be taught in secondary music education targeting Debussy's work ‘Pierrot’. This study attempts a variety of convergent approaches from various perspectives, namely cultural, musical, and educational, based on literature research methods. The content of this study first, examine the meaning of the convergence approach in music education. Second, we explore a convergence approach to Debussy’s ‘Pierrot’, focusing on its cultural relevance. Third, we attempt a convergent approach focusing on the musical phenomenon shown in ‘Pierrot’. Fourth, we seek a convergent teaching method for music education targeting ‘Pierrot’. As a result of the research, Debussy's ‘Pierrot’ music combines literature, French folk songs, and pantomime expressions, and convergent instruction is possible in music education. Accordingly, a convergent instruction direction and a convergent music class design for ‘Pierrot’ were proposed. This convergence approach and teaching method for Debussy's 'Pierrot' will be basic material to achieve the goal of cultivating musical creativity and convergence thinking capabilities required in music education.

Strategie językowe w powszechnym kształceniu muzycznym

The article presents an outline of various foreign language learning strategies, the presence of which can also be seen in well-known methods and concepts of music education at school. The similarities between music and language have been the subject of discussion among philosophers, musicologists, linguists, and psychologists for many years. Moreover, along with the development of neuroimaging techniques, scientific evidence has been provided to approximate the analogies that occur in the process of perceiving linguistic and musical structures. This article outlines the similarities of language and music in terms of didactics and focuses on the ways they are acquired. It presents the existent analogies between the strategies of foreign language learning and strategies used in music learning. The subject of consideration are also the ways of music and language learning integration, which could be provided by introducing CLIL method (Content and Language Integrated Learning). The CLIL method, which is now increasingly used in general education, can bring double benefits in relation to music. This form of integrated music and language teaching can be used both in general music education and in primary and secondary music education. In addition, recent research on the introduction of CLIL to secondary music education is briefly described.

Exploring Integration Mechanism of Music Instructional Design and Education Informatization

INTRODUCTION: In the new era of information society, the knowledge reform of school music education is getting more and more attention. Traditional teaching methods need to make full use of information technology. They cannot meet the current learning needs because the learning of information technology teaching is an essential means to realize modern learning. , therefore, the application of information technology in music education meets the requirements of the times.
 OBJECTIVES: To improve traditional teaching methods by utilizing modern teaching techniques so that students can gain more knowledge. With the help of modern technology and information technology, secondary music education can change the students' audiovisual experience, enrich their musical experience, and deepen their understanding and memorization of knowledge.
 METHODS: In this paper, use a neural network algorithm to explore the integration mechanism of music teaching design and education information technology, optimize the traditional information technology teaching platform, improve the stability of the music teaching platform, and further improve the level of network teaching from the feedback of students and teachers.
 RESULTS: This study's results found that this experiment's educational platform could motivate students to manage teaching and actively participate in music teaching and lessons. However, due to the real-time nature of information technology, it removes doubts between the parties and facilitates communication between teachers and students. The primary goal of music education is to perceive the attraction of music in terms of sight and sound, to relax the mind and body, and to develop a musical personality. From this perspective, it is also necessary to utilize modern information technology to change teachers' traditional teaching methods in classical performance and singing.
 CONCLUSION: With the help of modern technology and information technology, secondary music education can change the audiovisual experience of students, enrich their musical experience, and deepen their understanding and memorization of knowledge. The information system can motivate students to manage teaching and actively participate in music teaching.

디지털 미디어를 활용한 중등음악수업 설계 방안 연구

Objectives The purpose of this study is to examine the types of digital media that can be used in the secondary music education field, discuss music class design strategies, and then present a teaching and learning guidance plan to find out how actual classes that apply them can be implemented.
 Methods Therefore, the types of digital media that can be effectively used in the secondary music education field were divided into 11 categories and considered, and pedagogical strategies for designing music classes to maintain the essence of the music curriculum while actively using digital media were examined. And lastly, I drew a blueprint for secondary music class design using digital media by presenting a lesson plan for ‘The Nutcracker Suite’ and ‘Daechwita’, which are loaded in secondary textbooks.
 Results The results of this study are six in total. Music education using digital arouses learners' interest, provides scaffolding to improve musical literacy, and expands digital literacy. The point is that it is important to integrate the design and the process, to study the textbook faithfully, and to secure the connection to learning. In addition, the points to be considered while expanding the digital element to secondary music classes include preventing learners from losing concentration in online classes, securing the safety of realistic content for learners' health, maintaining the essence of music subjects, and changing the educational field that has been changed by science and technology. It is necessary to think about the role of teachers.
 Conclusions It is necessary to think about the role of teachers. If a music class design plan using digital is actively carried out by reading the current trend, music education for secondary students will more actively permeate into their lives, leading to true understanding and enjoyment.

The use of ICT in Secondary Music Education and its relationship with teachers’ beliefs

One of the most notable effects that COVID 19 has engendered in education is the ICT use in teaching at all educational levels. This study provides data on the ICT usage by teachers in the teaching of Music in Secondary Education in Andalusia (Spain). It also explores the relationship between ICT practices and teachers' perceptions of the educational value of ICT for teaching and learning. The empirical results obtained indicate that Secondary Education Music teachers use ICT in their teaching in a highly heterogeneous manner, with limited use prevailing. A statistically significant relationship is also observed between ICT practices in music teaching and teachers' beliefs regarding the educational value of ICT as a tool for teaching and student learning.

STATUS AND CONCEPT OF THE SCHOOL SUBJECT HARMONY IN SECONDARY MUSIC EDUCATION

The paper analyses the curricula of the school subject Harmony (The Science of Harmony) throughout the period of twelve decades (1899‒2020), i.e. since the foundation of the first music school in Serbia up to the present day. The necessary and frequently unavoidable changes of these curricula have passed through five stages, or five steps in the development of the educational system and the concept of the school subject Harmony taught in secondary music schools. The examination of the dynamics and range of changes applied in order to define the goals, content, structure and character of the school subject Harmony is based on the analysis and classification of the available resources and data. The aim of this research is twofold: to examine the level and type of changes occurring in the Harmony curricula and to analyze and interpret the impact of the study of Harmony on personality and character of musicians of multiple career profiles. Music school students are thus allowed to devise their own career path and apply the acquired knowledge in practice when either playing an instrument, or singing, playing in an orchestra, analyzing music literature or simply exhibiting their creativity and potentials in various ways.

Music education in the digital age: Challenges associated with sound homogenization in music aimed at adolescents

Adolescent music preferences revolve around so-called popular music, specifically that which is highly manipulated by audio and music production technologies and aimed at the mass market. These processes can result in music genres that lean toward sound homogenization, a phenomenon that could gradually restrict adolescents’ access to the acoustic richness of other music styles that have emerged throughout history. The objective of this work was to analyze the music genres favored by a sample of Spanish adolescents ( n = 464), based on their acoustic qualities (timbre, rhythm, and dynamics). The results of the automatic analysis indicated a great deal of overlap in terms of sound, which corroborated the homogeneous character of the genres. This calls for an approach to secondary music education that helps preserve musical richness and stylistic variety in the classroom.

Music education and distance learning during COVID-19: a survey

In the spring of 2020, the COVID-19 pandemic moved American schools to a distance learning modality for the duration of the school year. In an effort to document, examine, and learn from the various “stages” of this pandemic, the purpose of this paper was to describe the spring 2020 move to distance learning and how the policies put in place affected music educators. We focus on describing district/school policies, teacher response, and stakeholder perceptions of success and associated challenges. The study employed a survey of a broad sample of music educators (N = 1,368), which featured questions on music education-related policies during the spring 2020 distance learning period. Findings suggested a variety of policies were in place governing instructional modality, frequency of instruction, and teacher-student contact. Disparities especially existed between elementary and secondary music educators, with elementary teachers discussing greater frustration at their relative prioritization within the distance learning setup. The findings have important implications for policymakers and music educators.

Co-researching OR researching with teachers in the space between: pitfalls and benefits

ABSTRACT The purpose of this article is to explore the pitfalls and benefits experienced whilst implementing elements of a co-research approach with teachers during a three-year research project which sought to explore perceptions of informal learning in secondary music education. The co-research methodological approach was adopted due to (a) the perceived benefits that were believed to enhance the project and (b) to build upon the often fragmented research-practice relationship within the field. Within four case study schools, music teachers were invited to become co-researchers for two elements of the project: to propose a research priority to be investigated within their own setting relating to the overall focus of the project; and to propose methods that were deemed to be most appropriate and relevant for use within their setting. The pitfalls and benefits identified whilst implementing the co-research elements have been presented, along with two key recommendations: that co-researching was considered valuable enough for researchers within the field to develop and further implement the approach; and that additional support, time and encouragement should be provided for teachers in order to facilitate co-researching to a greater extent.

Research on the Importance of Theoretical Knowledge in Secondary Vocational Music Education

Research on the Importance of Theoretical Knowledge in Secondary Vocational Music Education

The History of Secondary Music Education in Two Significant Institutions in Hungary up to the Middle of the 20th Century

"When it comes to the exploration of history of theoretical classes in Hungarian secondary education, it's indispensable to learn about the structure, operation and formation process of conservatoire, the type of institution, which was formed in the 19th century. This study is intended to briefly present the Hungarian institutionalized music education and, after that, to describe the first hundred years of the two significant school of the conservatory institution-system in detail: the National Music School and the Debrecen Music School. In the study we demonstrate the background of formation, the operation, the structure and the eminent leaders of the institutions mentioned above and highlight their transformation in the different education policy systems. Keywords: Music Education in Hungary, National Music School, Debrecen Music School"

SOME ASPECTS OF REFORM AND CHANGE IN THE SYSTEM OF SECONDARY MUSIC SCHOOLS - ANALYSIS OF RELEVANT LITERATURE

The paper debates some aspects of reform and change in secondary music education. The reforms in secondary music education are in line with the general tendencies in the school system in Serbia. Accordingly, the paper discusses the leading aspects of the changes in the secondary music schools and their alignment with similar schools in the European educational system.The main objective of this theoretical research is to identify significant aspects of changes related to curriculum change and innovation in content - textbooks, and the assessment process. The paper uses a qualitative approach, based on an analysis of selected research studies published after 2001. They cover key topics related to changes in secondary music schools. In spite of the fact that there are few research papers in our region that deal with the implications of the reform in the secondary music education system, based on the analysis of the available papers we can conclude, that there are steps to meet the planned changes.

Producción musical y mercado discográfico: homogeneización entre adolescentes y reto para la educación

Las músicas populares urbanas están entre los géneros musicales preferidos por los adolescentes. A pesar del carácter motivacional que tienen, están aún poco presentes en los currículos de Educación Secundaria y, además, suelen ser tratadas de la misma manera que otros estilos musicales. Los modos de producción y de acceso a los géneros musicales populares-urbanos están muy condicionados por los procesos de producción musical y sus manipulaciones sonoras de carácter tecnológico promovidas desde la industria discográfica. Este trabajo tiene como objetivo conocer el grado de manipulación sonora presente en la música de masas para adolescentes y cómo esta influye en cierta homogeneización cultural a través de la construcción social de su identidad. Para ello, se han efectuado entrevistas a cinco productores musicales que han permitido conocer los métodos que tiene la industria discográfica para establecer perfiles homogéneos en los adolescentes a partir de sus prácticas musicales compartidas. A la luz de estos resultados, se plantean posibles buenas prácticas en el contexto de la educación musical en Secundaria que garanticen la consecución de sus objetivos educativos y mejoren nuestro modelo educativo.

Pregled udžbenika iz harmonije za srednje muzičke škole autorke Mirjane Živković

Perennial active engagement of Mirjana Živković in teaching process of subject Harmony, for secondary music school and higher education (University), participating in reforming processes, and teaching plan and program shaping, were being built into the making and shaping of the Harmony textbooks. By publishing the united Harmony textbook Harmony for II, III and IV class of secondary music school (1990), and updated, two-parted textbook Harmony for II class of musical high school and Harmony for III and IV class of musical high school (2001), teaching of subject Harmony got quality with teaching plan and program in tuned basic medium during the process of mastering the theoretical knowledges and so in the practical skills. The path from conceptualizing to shaping of the textbook in Harmony by Mirjana Živković has included the perception of realistic needs in practical work, so as inovating in teaching of theoretical subjects, respecting the professional and practical advices of colleagues, consulting with French and Russian literature. Guided with an enthusiasm, author Mirjana Živković has collected in the process of shaping her textbook and its updated edition all the knowledge, acquired experience, needs of the new time and vision of the teaching subject that could wake up the desire for creativity and creative impulse among the users and readers. Structure perception to details and also the perception of the content of united and updated textbook Harmony for secondary music schools by Mirjana Živković included the analysis of basic text, updated text, and specific shapes of didactic aparature, customised to the character of the subject. By analytical access to the Harmony textbooks by Mirjana Živković, was confirmed already expressed advice of an experienced educator in subject Harmony: clear exposure of theoretical construction followed by didactic note examples and assignments, insisting on the sound performances and permanent sounding (singing and playing) of own written harmonization. Special attention of author Mirjana Živković was directed to carefully designed and chosen note examples and assignments customised to the transfer of theoretical knowledge to the process of acquisition and developing some practical skills - written harmonization of assigned melodies, practical harmonization on instrument, analysis of fragments or the whole compositions, and finally, developing the harmonical hearing. Author Mirjana Živković doesn't give up emphasising the importance of understanding of Harmony, as a live component of music, not as a dry theoretical discipline.

Integrating popular music and informal music learning practices: A multiple case study of secondary school music teachers enacting change in music education

The purpose of this multiple case study was to examine the practices and perspectives of four music teachers who integrated popular music and informal music learning practices into their secondary school music programs in the United States. A primary goal was to understand music teachers’ process of enacting change. Data included 16 semi-structured interviews, eight school site visits and observations, documents, and a researcher journal. Findings revealed that teachers enacted change within micro-contexts—their classrooms. Teachers had an internal locus for change; they developed rationales for change and initiated curricular changes in response to a lack of student engagement, which seemed to stem from students feeling insecure in their musical abilities and disconnected from the content and pedagogy used in music classes. For the teachers in this study, the solution was integrating popular music and informal music learning practices. Thematic analysis revealed eight characteristics of effective teacher-initiated change in secondary music education: (1) holistic and gradual change processes, (2) teacher reflection and inquiry, (3) teacher autonomy, (4) enabling institutional factors, (5) use of a variety of supportive networks, (6) student-centered pedagogy, (7) teacher-selected professional development, and (8) a balance of structure and chaos and formal and informal learning.

MUSIC EDUCATION OF SCHOOLCHILDREN IN GENERAL SECONDARY EDUCATION INSTITUTIONS IN THE PEOPLE’S REPUBLIC OF CHINA: TENDENCIES AND PROSPECTS

The relevance of the study is predetermined by insufficient development of the problem of schoolchildren’s music education in general secondary education institutions in the People’s Republic of China and the significance of the use of educationally valuable Chinese experience in music education in Ukrainian educational practice. The aim of the study is to reveal the tendencies and prospects for schoolchildren’s music education in general secondary education institutions in the People’s Republic of China. Various methods have been used to carry out this research, namely: general scientific (analysis, synthesis, systematization, generalization, comparison, classification), historical, empirical and prognostic methods. The general tendencies of development of music education in general secondary education institutions in the People’s Republic of China in historical, content and organizational-methodical aspects have been revealed. The general trends of development of music education in general secondary education institutions in Ukraine and the People’s Republic of China have been determined. They are the progressiveness of the general strategy of music education, its focus on the development of spirituality of the nation, democratization of educational process, openness to the world and European experience, constant modernization of the content of education, forms and methods of mastering it, improvement of the conditions of educational process, increased attention to Music teachers’ professional training. The prospects for development of schoolchildren’s music education in general secondary education institutions in the People’s Republic of China have been specified. They are the intensification of scientific research and intensifying the implementation of innovations into the practice of music education, the creation of a national concept of general music education taking into consideration the progressive world experience and national cultural traditions, development of curricula of general secondary music education taking into account the specificity and opportunities in the region, the combination of tradition and innovation in music pedagogy. The directions of the use of Chinese experience in modern schools in Ukraine have been determined. They are the development of a concept of schoolchildren’s music education taking into account the realities and prospects for the development of national education, universal and national cultural traditions, children’s assimilation of the most important values by means of musical art, providing pedagogically appropriate organization and improving the conditions of children’s music education, increasing the requirements for Music teachers’ professionalism

Group improvisation as dialogue: Opening creative spaces in secondary music education

Dialogue is inherently a form of improvisation, focussed on its relational nature and on the syntactic properties of its relationships. In the field of music education, group improvisation is considered as an emerging, reflexive and creative practice. However, research into secondary education has been limited. In this article, we present the results of a Collaborative Action Research study in Spanish Secondary education. The aim of this study was to gain a better understanding of group improvisation as a dialogic practice in secondary education, and the factors that determine the music creative space for learning. Data collection included observation, interviews, classroom diary, classroom assessments, questionnaires, video and audio recordings. We drew on the perspective of artography, in which artist, researcher and teacher co-exist, to codify, analyse and triangulate data. Findings show how the music creative space in group improvisation is determined by the following connected aspects: (a) active student involvement and wellbeing; (b) the students’ identification with the music; (c) the emergence of group flow and positive emotions manifested from both a multi-dimensional and a dual perspective; (d) a high level of motivation emerging in different forms; and (e) significant musical experiences from students’ role as musicians.