"Authors","Author full names","Author(s) ID","Title","Year","Source title","Volume","Issue","Art. No.","Page start","Page end","Page count","Cited by","DOI","Link","Affiliations","Authors with affiliations","Abstract","Author Keywords","Index Keywords","Molecular Sequence Numbers","Chemicals/CAS","Tradenames","Manufacturers","Funding Details","Funding Texts","References","Correspondence Address","Editors","Publisher","Sponsors","Conference name","Conference date","Conference location","Conference code","ISSN","ISBN","CODEN","PubMed ID","Language of Original Document","Abbreviated Source Title","Document Type","Publication Stage","Open Access","Source","EID"
"McQueen H.; Cavett E.","McQueen, Hilary (55388536300); Cavett, Esther (57550254200)","55388536300; 57550254200","‘Lowering the bar’ or widening access? Reflections on key findings from a music literacy project commissioned by the Society for Music Analysis","2024","Music Education Research","26","1","","7","20","13","2","10.1080/14613808.2024.2306649","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85186409826&doi=10.1080%2f14613808.2024.2306649&partnerID=40&md5=5c7aea95bc41381f169042b53a0b0a25","FASS, The Open University, Milton Keynes, United Kingdom; Somerville College, Oxford University, Oxford, United Kingdom","McQueen H., FASS, The Open University, Milton Keynes, United Kingdom; Cavett E., Somerville College, Oxford University, Oxford, United Kingdom","In 2019 the Society for Music Analysis commissioned a report to find out if stakeholders in music education agreed that knowledge and/or skills in music literacy had declined for those applying to study music at university in England. The ensuing mixed methods study collected data from a range of stakeholders through interviews (N = 33), questionnaires (N = 233), a Music Literacy Study Day and informal observation. The findings showed that many participants thought that music literacy, if defined more narrowly, had declined in recent years. In addition, views on priorities in music education differed considerably, aligning with different forms of social justice. Some participants considered the bar to have been lowered in general music education, leading universities to alter their practices to facilitate access. This article reflects on those findings. The authors conclude that there needs to be careful consideration of curricula to prevent taking knowledge and skills away unnecessarily while ensuring that updated curricula are coherent and relevant to contemporary concerns about music education. © 2024 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group.","music curriculum; Music literacy; music pedagogy; social justice","","","","","","Society for Music Analysis","This article is based on the final report of a two-year research project (2019–2020) commissioned and funded by the Society for Music Analysis.","Asmus E.P., Music Teaching and Music Literacy, Journal of Music Teacher Education, 13, 2, pp. 6-8, (2004); Biesta G., Mixing Methods in Education Research, Research Methods and Methodologies in Education, pp. 186-193, (2021); Boylan P.C., Refocusing Priorities in Music Education, Music Perception: An Interdisciplinary Journal., 11, 2, pp. 205-210, (1993); Braun V., Clarke V., Using Thematic Analysis in Psychology, Qualitative Research in Psychology., 3, pp. 77-101, (2006); Broomhead P., What is Music Literacy?, (2018); Comiskey A., From Solfa to the Stage: Developing Basic Music Literacy Skills for Older Beginners at the Tertiary Level, Australian Kodály Journal, pp. 56-60, (2009); Cope B., Kalantzis M., The Things You Do to Know: An Introduction to the Pedagogy of Multiliteracies, A Pedagogy of Multiliteracies: Learning by Design, pp. 1-36, (2015); Cuthbert A.S., Standish A., Introduction to the Second Edition, What Should Schools Teach? Disciplines, Subjects and the Pursuit of Truth, pp. 1-14, (2021); Ewell P., (2020); Freire P., Pedagogy of the Oppressed, (1970); Gee J.P., Literacy and Education, (2014); Giddings S., (2019); Gill C.C., (2017); Hallam S., Creech A., McQueen H., Musical Futures: A Case Study Investigation, (2011); Henschen J., (2018); Ibbotson L., Can we get Generalist Teachers to Teach Music? Yes we Can!, BERA (Blog), (2022); Kania A., The Philosophy of Music, The Stanford Encyclopedia of Philosophy (Spring 2023 Edition), (2017); Letherby G., Theorised Subjectivity, Objectivity and Subjectivity in Social Research, pp. 59-78, (2013); McKeown-Green J., What is Music? Is There a Definitive Answer?, Journal of Aesthetics and Art Criticism, 72, 4, pp. 393-403, (2014); McQueen H., (2020); McQueen H., Hallam S., Creech A., Teachers’ and Students’ Music Preferences for Secondary School Music Lessons: Reasons and Implications, Music Education Research, 20, 1, pp. 22-31, (2018); Moir Z., Stillie B., Haphazard Pathways: Students’ Perceptions of Their Routes to Music Study in Higher Education in the United Kingdom, Journal of Popular Music Education, 2, 3, pp. 199-216, (2018); Moore G., Mind the Gap: Privileging Epistemic Access to Knowledge in the Transition from Leave Certificate Music to Higher Education, Irish Educational Studies, 33, 3, pp. 249-268, (2014); (2023); (2015); Neely A., (2020); Pace I., (2017); Plowden B., (1967); (2023); Savage J., Those Who Can, Play; Those Who Can’t Use Music Tech?, Debates in Music Teaching, pp. 169-184, (2012); Street B.V., Literacy in Theory and Practice, (1984); Wagner L., A Thirty-Year Perspective: From the Sixties to the Nineties, The Changing University, pp. 15-24, (1995); Williams M., Situated Objectivity, Values and Realism, European Journal of Social Theory, 18, 1, pp. 76-92, (2015); Zeserson K., Welch G., Burn S., Saunders J., Himonides E., Inspiring Music for All: Next Steps in Innovation, Improvement and Integration, Paul Hamlyn Foundation Review of Music in Schools, (2014)","E. Cavett; King's College London, London, United Kingdom; email: esther.cavett@kcl.ac.uk","","Routledge","","","","","","14613808","","","","English","Music Educ. Res.","Article","Final","All Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85186409826"
"Lorenzo Quiles O.; Cárdenas Soler R.N.; Soares-Quadros J.F., Jr; Ortiz-Marcos J.M.","Lorenzo Quiles, Oswaldo (16507600400); Cárdenas Soler, Ruth Nayibe (57195246977); Soares-Quadros, João F (57201195060); Ortiz-Marcos, José Manuel (57210642384)","16507600400; 57195246977; 57201195060; 57210642384","Curriculum and training analysis of the music degrees in Colombia","2024","International Journal of Music Education","42","2","","300","318","18","3","10.1177/02557614231152310","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85148112838&doi=10.1177%2f02557614231152310&partnerID=40&md5=cfecd608a06de8739ca9ec63aafa9d43","University of Granada, Spain; Universidad Pedagógica y Tecnológica de Colombia, Colombia; Federal University of Ouro Preto, Brazil","Lorenzo Quiles O., University of Granada, Spain; Cárdenas Soler R.N., Universidad Pedagógica y Tecnológica de Colombia, Colombia; Soares-Quadros J.F., Jr, Federal University of Ouro Preto, Brazil; Ortiz-Marcos J.M., University of Granada, Spain","This study aims to carry out a global evaluation of 13 Music Education Bachelor Degrees from Colombia, academic programs focused on the higher training of music teachers in this country, and to establish the training guidelines received by the music education professors who study them. The methodology used is empirical-analytical and descriptive-type and makes use of content analysis techniques that NVivo software provide. In addition, mixed and contextual analyses have been combined regarding specific keywords, such as music, pedagogy, and teachers. The instrument applied was a matrix with content validity completed by an international group of nine evaluators. This matrix showed a structure made up of five categories: General description of the program; Curricular characterization; Curriculum structure; Guiding principles of the curriculum; Curriculum management. The results indicate that there are divergences in the approach of the programs at the training of music educators. It is concluded that the differences between these programmes lie mainly in their formative emphasis, music or pedagogy, in a context in which the instructive approaches of higher education in music education have not yet resolved the divergences and the necessary balance between the pedagogy or artistic training. © The Author(s) 2023.","Colombia; higher education; music education; qualitative research; quality; training","","","","","","Coordination of Superior Level Staff Improvement; National Natural Science Foundation of China, NSFC, (31570483, 31870464, 32201406); Basic and Applied Basic Research Foundation of Guangdong Province, (2021A1515110837)","Funding text 1: The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This work was funded by Coordination of Superior Level Staff Improvement (CAPES, Brazil) and Federal University of Ouro Preto (UFOP, Brazil).; Funding text 2: This research was funded by the National Natural Science Foundation of China (31570483, 31870464, 32201406), and Guangdong Basic and Applied Basic Research Foundation (2021A1515110837). ","Abril J.E., The state of music education in the basic general public schools of Ecuador: The administrators’ perspective, International Journal of Music Education, 37, 3, pp. 370-389, (2019); Albatineh A.N., Khan H.M.R., Zogheib B., Kibria G.B.M., Effects of some design factors on the distribution of similarity indices in cluster analysis, Communications in Statistics - Simulation and Computation, 46, 5, pp. 1-17, (2015); Anderson A., Curriculum power positioning in classroom music education: music curriculum design in the secondary music classroom in England, Arts Education Policy Review, pp. 1-14, (2022); Arias B.A.S., Introduction of Colombian’s musical styles in higher education at the Tolima Conservatory, Revista electrónica de LEEME, 41, pp. 1-15, (2018); Arostegui J.L., Music teacher education: Programmes in Europea and Latin America, Profesorado, Revista de Currículum y Formación del Profesorado, 14, 2, pp. 3-7, (2010); Arostegui J.L., Cisneros-Cohernour E., Music teacher education: Discussion and based on the documentar analysis of European and Latin American programmes, Profesorado, Revista de Currículum y Formación del Profesorado, 14, 2, pp. 180-189, (2010); 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Lorenzo Quiles; University of Granada, Spain; email: oswaldo@ugr.es","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-85148112838"
"Evans A.; Rennie-Salonen B.; Wijsman S.; Ackermann B.","Evans, Alison (56031829300); Rennie-Salonen, Bridget (57195510374); Wijsman, Suzanne (35387236600); Ackermann, Bronwen (7005007632)","56031829300; 57195510374; 35387236600; 7005007632","A scoping review of occupational health education programs for music students and teachers","2024","Research Studies in Music Education","46","3","","493","515","22","4","10.1177/1321103X241235794","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85190773620&doi=10.1177%2f1321103X241235794&partnerID=40&md5=de4d4c4dc6eaeac27d4208201e73e26a","The University of Sydney, Australia; Stellenbosch University, South Africa; The University of Western Australia, Australia","Evans A., The University of Sydney, Australia; Rennie-Salonen B., Stellenbosch University, South Africa; Wijsman S., The University of Western Australia, Australia; Ackermann B., The University of Sydney, Australia","Embedding musicians’ occupational health training in music education curricula is widely recommended due to the well-documented high prevalence of performance-related health problems (PRHPs) among musicians across their lifespan. A scoping review was conducted to examine the range of evidence from implementations of musicians’ health education programs, regarding the maintenance of hearing, musculoskeletal, psychological, and vocal health, as well as injury prevention strategies to minimize the risk of PRHP. Eligible sources of evidence included published and unpublished studies reporting occupational health education programs (which may have incorporated information on physical or psychological health, exercise, or somatic movement training) implemented with pre-tertiary and tertiary music students and teachers. Studies reporting stand-alone psychological health education were excluded. Key characteristics from included studies were extracted and charted. Data charts outline commonalities across the reported results, including physical, psychological, educational, and behavioral change outcome measures. Out of 46 records included for data extraction, 35 reported programs with tertiary-aged music students, seven reported programs with pre-tertiary-aged music students, two reported programs with music teachers, and two reported systematic reviews. Reported benefits from this research with both pre-tertiary and tertiary music students suggest that musicians’ health education and injury prevention strategies reduce self-reported playing-related pain and music performance anxiety. However, future implementation studies need to address identified challenges such as effective behavior change and the enablers and barriers to the long-term adoption of strategies for optimal music performance and health outcomes. This review highlights the need for further research into designing and embedding musicians’ health education into all music training settings, including more implementations with pre-tertiary music students, as well as training to support the professional development needs of instrumental and vocal teachers. © The Author(s) 2024.","behavior change; health education; health promotion; injury prevention; music education; music pedagogy; musicians; performance-related health problems","","","","","","","","Ackermann B., Adams R., Marshall E., Strength or endurance training for undergraduate music majors at a university?, Medical Problems of Performing Artists, 17, 1, pp. 33-41, (2002); Adams A.D., Yoga and saxophone performance: The integration of two disciplines, (2012); Ajidahun A.T., Myezwa H., Mudzi W., Wood W.-A., A scoping review of exercise intervention for playing-related musculoskeletal disorders (PRMDs) among musicians, Muziki, 16, 1, pp. 7-30, (2019); Araujo L.S., Wasley D., Perkins R., Atkins L., Redding E., Ginsborg J., Williamon A., Fit to perform: An investigation of higher education music students’ perceptions, attitudes, and behaviors toward health, Frontiers in Psychology, 8, (2017); Araujo L.S., Wasley D., Redding E., Atkins L., Perkins R., Ginsborg J., Williamon A., Fit to perform: A profile of higher education music students’ physical fitness, Frontiers in Psychology, 11, (2020); Arksey H., O'Malley L., Scoping studies: Towards a methodological framework, International Journal of Social Research Methodology, 8, 1, pp. 19-32, (2005); Arnason K., Briem K., Arnason A., Effects of an education and prevention course for university music students on their body awareness and attitude toward health and prevention, Medical Problems of Performing Artists, 33, 2, pp. 131-136, (2018); Ascenso S., Williamon A., Perkins R., Understanding the wellbeing of professional musicians through the lens of Positive Psychology, Psychology of Music, 45, 1, pp. 65-81, (2017); Atkins L., A common approach? 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Health promotion and injury prevention education for student singers, Journal of Singing, 68, 5, pp. 531-541, (2012)","A. Evans; The University of Sydney, Australia; email: alison.evans@sydney.edu.au","","SAGE Publications Ltd","","","","","","1321103X","","","","English","Res. Stud. Music Educ.","Article","Final","All Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85190773620"
"Pereverzeva M.V.","Pereverzeva, Marina V. (57201882586)","57201882586","MODERN TRAINING PROGRAMS FOR THE DEVELOPMENT OF HEARING: PROSPECTS OF APPLICATION IN MUSIC THEORY EDUCATION; [СОВРЕМЕННЫЕ ПРОГРАММЫ-ТРЕНАЖЁРЫ ПО РАЗВИТИЮ СЛУХА: ПЕРСПЕКТИВЫ ПРИМЕНЕНИЯ В МУЗЫКАЛЬНО-ТЕОРЕТИЧЕСКОМ ОБРАЗОВАНИИ]","2023","Musical Art and Education","11","4","","85","101","16","0","10.31862/2309-1428-2023-11-4-85-101","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85189900082&doi=10.31862%2f2309-1428-2023-11-4-85-101&partnerID=40&md5=c2521cecd4af0acebf7e2aaf54865ffb","Moscow Pedagogical State University (MPGU), Moscow, 119435, Russian Federation","Pereverzeva M.V., Moscow Pedagogical State University (MPGU), Moscow, 119435, Russian Federation","The article is devoted to applications installed on a smartphone designed to master musical and theoretical disciplines, the principles and prospects for the use of them as they are not covered in the scientific literature. The work systematizes the most common programs, describes the algorithms of the applications EarToner, Tete, InPitch, EarPower, Earope, Auralia, Complete Ear Trainer, Absolute Pitch. The author formulates the principles of using electronic resources online in classes on the theory of music and solfeggio and reveals the potential of hearing development applications used by both teachers for classes with students and students at music universities and faculties themselves. The comparative analysis reveals the advantages and disadvantages of applications, evaluates the possibilities of their use by students as an electronic educational resource for solfeggio. © (2023), (Moscow Pedagogical State University). All Rights Reserved.","computer programs; electronic educational resources; hearing development; music theory; smartphone applications; solfeggio; trainer","","","","","","","","Gorbunova I. B., Yu K., Heiner H., Muzykal'no-komp'yuternye tekhnologii i interaktivnye setevye tekhnologii obucheniya muzyke [Music and Computer Technologies and Interactive Network Technologies of Music Teaching, Novye obrazovatel'nye strategii v sovremennom informatsionnom prostranstve [New Educational Strategies in the Modern Information Space]. Collection of Scientific Articles Based on the Materials of the International Scientific and Practical Conference, pp. 31-36, (2020); Jamalkhanova M. A., Sovremennye muzykal'no-komp'yuternye tekhnologii v muzykal'nom obrazovanii [Modern Music and Computer Technologies in Music Education, Al'manakh mirovoj nauki [Almanac of World Science], 3–2, pp. 65-67, (2015); Plotnikov K. Yu., Informatsionnye tekhnologii i muzykal'no-komp'yuternye tekhnologii: raskryvaya perspektivy, reshaya problemy muzykal'nogo obrazovaniya [Information Technologies and Music and Computer Technologies: Revealing Prospects, Solving Problems of Music Education, Sovremennoe muzykal'noe obrazovanie-2019 [Modern Music Education-2019]. Materials of the XVIII International Scientific and Practical Conference, pp. 381-384, (2020); Kameris A., Podgotovka kompozitorov i muzykal'no-komp'yuternye tekhnologii [Training of Composers and Music and Computer Technologies, Sovremennoe muzykal'noe obrazovanie-2019 [Modern Music Education-2019]. Materials of the XVIII International Scientific and Practical Conference, pp. 442-444, (2020); Pereverzeva M. V., Perspektivy primeneniya iskusstvennogo intellekta v muzykal'noj kompozitsii [Prospects for the Use of Artificial Intelligence in Musical Composition, Problemy muzykal'noj nauki [Problems of Musical Science], 1, pp. 8-16, (2021); Tulyaev E. E., Organizatsiya obucheniya muzykal'no-komp'yuternym tekhnologiyam v obshheobrazovatel'noj shkole na primere tekhnologii sozdaniya sovremennoj elektronnoj tantseval'noj muzyki [Organization of Teaching Music and Computer Technologies in a Secondary School on the Example of the Technology of Creating Modern Electronic Dance Music, Ispol'zovanie informatsionno-kommunikatsionnykh tekhnologij v sovremennoj sisteme obrazovaniya [The Use of Information and Communication Technologies in the Modern Education System], pp. 132-138, (2017); Antonova M. A., Belokon I. A., Ispol'zovanie vozmozhnostej muzykal'no-komp'yuternykh tekhnologij v pedagogicheskom obrazovanii [Using the Possibilities of Music and Computer Technologies in Pedagogical Education, Obrazovatel'nyj forsajt [Educational Foresight], 1, 5, pp. 18-24, (2020); Karacharov I. N., Karacharova T. I., Muzykal'no-komp'yuternye tekhnologii v protsesse podgotovki pedagoga-muzykanta [Music and Computer Technologies in the Process of Training a Teacher-Musician, Mezhkul'turnoe vzaimodejstvie v sovremennom muzykal'no-obrazovatel'nom prostranstve [Intercultural Interaction in the Modern Musical and Educational Space], 15, pp. 89-95, (2018); Yu O., Prakticheskie vozmozhnosti ispol'zovaniya muzykal'no-komp'yuternykh tekhnologij v professional'nom obrazovanii budushhego pedagoga-muzykanta [Practical Possibilities of Using Music and Computer Technologies in the Professional Education of a Future Teacher-Musician]. Teoreticheskie i metodologicheskie problemy sovremennogo obrazovaniya [Theoretical and Methodological Problems of Modern Education], Materials of the XXIV International Scientific and Practical Conference, pp. 61-63, (2015); Mezentseva S. V., Klassifikatsiya muzykal'no-komp'yuternykh tekhnologij (o roli pedagogicheskikh tekhnologij) [Classification of Music and Computer Technologies (On the Role of Pedagogical Technologies), Regional'naya informatika (RI-2022). Yubilejnaya XVIII Sankt-Peterburgskaya mezhdunarodnaya konferentsiya [Regional Informatics (RI-2022). Jubilee XVIII St. Petersburg International Conference]. Materials of the Conference, pp. 326-327, (2022); Pankova A. A., Muzykal'no-komp'yuternye tekhnologii: distantsionnye obrazovatel'nye tekhnologii v obuchenii studentov-muzykantov [Music and Computer Technologies: Distance Educational Technologies in Teaching Music Students, Kommunikativnye strategii informatsionnogo obshhestva [Communicative Strategies of the Information Society]. Proceedings of the IX International Scientific and Theoretical Conference, pp. 344-347, (2017); Fetter P. Z., Razvitie issledovatel'skoj kompetentnosti pedagoga-muzykanta v kontekste osvoeniya magisterskoj programmy “muzykal'no-komp'yuternye tekhnologii” [Development of Research Competence of a Teacher-Musician in the Context of Mastering the Master's Program “Music and Computer Technologies, Vestnik kafedry UNESСO Muzykal'noe iskusstvo i obrazovanie =Bulletin of the UNESCO Chair of Musical Art and Education, 4, 24, pp. 28-43, (2018); Mikhalev M. P., Formirovanie tvorcheskikh sposobnostej shkol'nikov sredstvami muzykal'no-komp'yuternykh tekhnologij [Formation of Creative Abilities of Schoolchildren by Means of Music and Computer Technologies, Obrazovatel'nyj forsajt [Educational Foresight], 1, 13, pp. 137-143, (2022); Gavrilova D. I., Razvitie muzykal'nogo vospriyatiya u obuchayushhikhsya mladshego shkol'nogo vozrasta posredstvom muzykal'no-komp'yuternykh tekhnologij [Development of Musical Perception in Primary School Age Students through Music and Computer Technologies, Ratio et Natura, 1, 3, (2021); Karacharov I. N., Karacharova T. I., Muzykal'no-komp'yuternye tekhnologii v praktike pedagoga-muzykanta [Music and Computer Technologies in the Practice of a Teacher-Musician, Praktiko-orientirovannaya napravlennost’ narodno-pevcheskogo obrazovaniya [Practice-Oriented Orientation of Folk Singing Education]. Collection of Materials of the All-Russian Scientific and Methodological Seminar, pp. 118-121, (2017); EarMaster Pro; Big Ears; The Musical Intervals Tutor; Ear Training; EarToner; Take Note; Teoria; EarMaster School; MacGAMUT, (2000); InPitch; Earpower; Earope; Auralia; PerfectRitchTraining; Uhogryz; Mrs. G's Music Room; Music Lessons; Practica Musica; Teoria; GNU Solfege; Complete Ear Trainer; Perfect Ear Trainer","","","Moscow Pedagogical State University","","","","","","23091428","","","","English","Musical Art Educ.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85189900082"
"Zhao J.; Kassim N.F.; Jaafar F.M.","Zhao, Jie (59649152500); Kassim, Nor Fauzian (59649663000); Jaafar, Fauziah Md (55603114900)","59649152500; 59649663000; 55603114900","A Constructivist Approach to Design Effective Music-Specific Professional Development Strategies for Kindergarten Educators in China: A Qualitative Study","2025","Journal of Ecohumanism","4","1","","4160","4177","17","0","10.62754/joe.v4i1.6304","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85218741372&doi=10.62754%2fjoe.v4i1.6304&partnerID=40&md5=11457db17c8517c6e345170b6c314ee1","School of Education (SOE), College of Arts & Sciences, Universiti Utara Malaysia, Malaysia","Zhao J., School of Education (SOE), College of Arts & Sciences, Universiti Utara Malaysia, Malaysia; Kassim N.F., School of Education (SOE), College of Arts & Sciences, Universiti Utara Malaysia, Malaysia; Jaafar F.M., School of Education (SOE), College of Arts & Sciences, Universiti Utara Malaysia, Malaysia","Music-Specific Professional Development (MSPD) is essential to study the impact of active learning techniques and collaborative approach in Chinese kindergarten music educators. Music education is a critical component of early childhood development, which calls for increased participation in MSPD to foster constructivist approach in redefining the strategies to achieve maximum student related outcomes. A qualitative approach using thematic analysis of data from peer reviewed scholarly articles have been undertaken. Major findings emphasize on implementation of blended learning programs, professional learning communities and integration of ICT and artificial intelligence to enhance increased participation in MSPD programs. Teacher perceive MSPD as an effective tool to improve overall wellbeing and cognitive abilities in children, but are limited by lack of resources and enough training. Future research is required to discover broader implications on music pedagogy. © 2025, Creative Publishing House. All rights reserved.","Constructivist Approach; Effective Tool; Kindergarten Educators; Music-Specific Professional Development (MSPD)","","","","","","","","Anderson K., Willingham L., Environment, intention and intergenerational music making: Facilitating participatory music making in diverse contexts of community music, International journal of Community music, 13, 2, pp. 173-185, (2020); Alam A., Mohanty A., Music and Its Effect on Mathematical and Reading Abilities of Students: Pedagogy for Twenty-First Century Schools, Interdisciplinary Perspectives on Sustainable Development, pp. 342-346, (2023); Bautista A., Ho Y. 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L., Ilari B., Music in early childhood teacher education: Raising awareness of a worrisome reality and proposing strategies to move forward, Arts Education Policy Review, 125, 3, pp. 139-149, (2024); Biasutti M., Frate S., Concina E., Music teachers’ professional development: Assessing a three-year collaborative online course, Music Education Research, 21, 1, pp. 116-133, (2019); Bodrova E., Leong D., Tools of the mind: The Vygotskian approach to early childhood education, (2024); Braun V., Clarke V., Reflecting on reflexive thematic analysis, Qualitative research in sport, exercise and health, 11, 4, pp. 589-597, (2019); Costa W. P. D., Fernandes M. D. S. V., Memon A. R., Noll P. R. E. S., Sousa M. D. M., Noll M., Factors influencing the work of researchers in Scientific Initiation: A systematic review protocol, Plos one, 19, 1, (2024); Cerovac M., Keane T., Early insights into Piaget’s cognitive development model through the lens of the Technologies curriculum, International Journal of Technology and Design Education, pp. 1-21, (2024); Chiang T. H., Thurston A., Designing enhanced pedagogy based on Basil Bernstein's code theory, International Journal of Educational Research, 111, (2022); Chung F. M., The impact of music pedagogy education on early childhood teachers’ self-efficacy in teaching music: The study of a music teacher education program in Hong Kong, Asia-Pacific Journal of Research in Early Childhood Education, 15, 2, pp. 63-86, (2021); Concina E., Effective music teachers and effective music teaching today: A systematic review, Education Sciences, 13, 2, (2023); Cruywagen S., Potgieter H., The world we live in: A perspective on blended learning and music education in higher education, TD: The Journal for Transdisciplinary Research in Southern Africa, 16, 1, pp. 1-9, (2020); Danniels E., Pyle A., Inclusive play-based learning: Approaches from enacting kindergarten teachers, Early Childhood Education Journal, 51, 7, pp. 1169-1179, (2023); DeRobertis E. M., Piaget and Husserl: Comparisons, contrasts, and challenges for future research, The Humanistic Psychologist, 49, 4, (2021); Frischen U., Schwarzer G., Dege F., Music lessons enhance executive functions in 6-to 7-year-old children, Learning and Instruction, 74, (2021); Ho Weatherly K. I. C., Weatherly C. A., The Lighthouse Framework: Proposing a Movement-Based Constructivist Framework for Early Childhood Music Education and Pre-Service Education Programs, Journal of General Music Education, 37, 3, pp. 17-24, (2024); Hiniz G., Yavuz A., Real needs, tailored solutions: Developing customized online professional development programs for teachers—A case study, Journal of Digital Learning in Teacher Education, 40, 2, pp. 97-114, (2024); Hussain M. S., Khan S. A., Bidar M. C., Self-efficacy of teachers: A review of the literature, Multi-Disciplinary Research Journal, 10, 1, pp. 110-116, (2022); Ibbotson L., See B. H., Delivering music education training for non-specialist teachers through effective partnership: A Kodály-inspired intervention to improve young children’s development outcomes, Education Sciences, 11, 8, (2021); Jie Z., Sunze Y., Puteh M., Research on Teacher's Role of Mobile Pedagogy Guided by the Zone of Proximal Development, Proceedings of the 2020 9th International Conference on Educational and Information Technology, pp. 219-222, (2020); Juntunen M. L., Ways to enhance embodied learning in Dalcroze-inspired music education, International Journal of Music in Early Childhood, 15, 1, pp. 39-59, (2020); Juntunen M. L., Sutela K., The effectiveness of music–movement integration for vulnerable groups: A systematic literature review, Frontiers in Psychology, 14, (2023); Keung C. P. C., Yin H., Tam W. W. Y., Chai C. S., Ng C. K. K., Kindergarten teachers’ perceptions of whole-child development: The roles of leadership practices and professional learning communities, Educational Management Administration & Leadership, 48, 5, pp. 875-892, (2020); Kraus S., Breier M., Lim W. M., Dabic M., Kumar S., Kanbach D., Ferreira J. J., Literature reviews as independent studies: guidelines for academic practice, Review of Managerial Science, 16, 8, pp. 2577-2595, (2022); Li L., Fleer M., Yang N., Studying teacher professional development: how a Chinese kindergarten teacher brings play practices into the program, Early years, 42, 1, pp. 104-118, (2022); Mawang L. L., Collaborative learning and persistence in music education: Examining music self-perception as a mediator among adolescent students, International Journal of Music Education, (2024); Sancar R., Atal D., Deryakulu D., A new framework for teachers’ professional development, Teaching and teacher education, 101, (2021); Spruce G., Marie Stanley A., Li M., Music teacher professional agency as challenge to music education policy, Arts Education Policy Review, 122, 1, pp. 65-74, (2021); Sungurtekin S., Classroom and Music Teachers' Perceptions about the Development of Imagination and Creativity in Primary Music Education, Journal of pedagogical research, 5, 3, pp. 164-186, (2021); Sutela K., Juntunen M. L., Ojala J., Applying music-and-movement to promote agency development in music education: A case study in a special school, British Journal of Music Education, 37, 1, pp. 71-85, (2020); Tasos T., Social Constructionism: Critical Analysis from a Vygotskian Perspective, Rethinking Marxism, 36, 2, pp. 195-223, (2024); To K. H., Yin H., Tam W. W. Y., Keung C. P. C., Principal leadership practices, professional learning communities, and teacher commitment in Hong Kong kindergartens: A multilevel SEM analysis, Educational Management Administration & Leadership, 51, 4, pp. 889-911, (2023); Upitis R., Brook J., How much professional development is enough? Meeting the needs of independent music teachers learning to use a digital tool, International Journal of Music Education, 35, 1, pp. 93-106, (2017); Vanoostveen R., Desjardins F., Bullock S., Professional development learning environments (PDLEs) embedded in a collaborative online learning environment (COLE): Moving towards a new conception of online professional learning, Education and information technologies, 24, 2, pp. 1863-1900, (2019); Vasil M., Weiss L., Powell B., Popular music pedagogies: An approach to teaching 21st-century skills, Journal of Music Teacher Education, 28, 3, pp. 85-95, (2019); Wong J., Bautista A., Ho Y. L., Kong S. H., Preschool teachers’ music-specific professional development preferences: Does teaching experience matter?, Research Studies in Music Education, 46, 1, pp. 80-97, (2024); Yan K., Wang L., A comparison of teachers’ musical abilities between public and private kindergartens in Qingdao, Shandong Province, China, British Journal of Music Education, pp. 1-13, (2024); Yang T., Hong X., Early childhood teachers’ professional learning about ICT implementation in kindergarten curriculum: A qualitative exploratory study in China, Frontiers in psychology, 13, (2022); Yang Y., Rao N., Teacher professional development among preschool teachers in rural China, Journal of Early Childhood Teacher Education, 42, 3, pp. 219-244, (2021); Yu X., Ma N., Zheng L., Wang L., Wang K., Developments and applications of artificial intelligence in music education, Technologies, 11, 2, (2023); Yu Z., Leung B. W., Music teachers and their implementation of the new Music Curriculum Standards in China, International Journal of Music Education, 37, 2, pp. 178-197, (2019); Zhang Q., Wu W., Jiang K., Standardising professional standards: A self-assessment scale for Chinese kindergarten teachers, European Journal of Teacher Education, 47, 4, pp. 730-748, (2024); ZiXuan L., Devarajoo K., The Strategies of Teaching Basic Piano Courses For Preschool Education Major in China, International Journal of Infrastructure Research and Management, 9, 2, (2021)","J. Zhao; School of Education (SOE), College of Arts & Sciences, Universiti Utara Malaysia, Malaysia; email: zhaojie_5621@163.com","","Creative Publishing House","","","","","","27526798","","","","English","J. Ecohum.","Article","Final","","Scopus","2-s2.0-85218741372"
"Kavčič Pucihar A.; Habe K.; Rotar Pance B.; Laure M.","Kavčič Pucihar, Ana (57214445676); Habe, Katarina (7801499579); Rotar Pance, Branka (57219318682); Laure, Maruša (58097333900)","57214445676; 7801499579; 57219318682; 58097333900","The key reasons for dropout in Slovenian music schools – a qualitative study","2024","Frontiers in Psychology","15","","1385840","","","","3","10.3389/fpsyg.2024.1385840","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85195669802&doi=10.3389%2ffpsyg.2024.1385840&partnerID=40&md5=c80ca670f4f29ea1a1efdf8cad86bfc6","Academy of Music, University of Ljubljana, Ljubljana, Slovenia; Faculty of Education, University of Maribor, Maribor, Slovenia","Kavčič Pucihar A., Academy of Music, University of Ljubljana, Ljubljana, Slovenia; Habe K., Academy of Music, University of Ljubljana, Ljubljana, Slovenia; Rotar Pance B., Academy of Music, University of Ljubljana, Ljubljana, Slovenia; Laure M., Faculty of Education, University of Maribor, Maribor, Slovenia","Music education often struggles to sustain students’ long-term commitment, with many perceiving lessons as frustrating or unengaging, leading to discontinuation. To address this gap, our study aimed to elucidate the primary reasons for dropout from the perspectives of various stakeholders, including students, parents, teachers, and principals. Drawing upon the self-determination theory, our research comprehensively investigated external and internal factors contributing to dropout. Among external factors, competing extracurricular commitments, music theory and solfége lessons, and teacher’s approach emerge as the most prominent. Among internal factors, our findings highlighted the critical role of autonomy, competency, and relatedness in shaping students’ decisions to continue or discontinue music education. Inadequate teacher-student relationships, limited peer interactions, and uninspiring classroom atmospheres significantly impacted dropout. Moreover, challenges in the music school curriculum, such as difficulties with music theory and solfège, resource limitations, and excessive workloads, emerged as prominent barriers to student engagement. By addressing these multifaceted issues, our study underscores the importance of fostering supportive environments that cater to individual needs and interests, ultimately enhancing the overall music education experience and reducing dropout rates. This research represents the first systematic empirical study in Slovenian music education, laying the groundwork for future quantitative investigations to advance education practices in Slovenia. Copyright © 2024 Kavčič Pucihar, Habe, Rotar Pance and Laure.","dropout; instrumental music and theory teachers; instrumental music education; music school principals; music schools; music students; parents","","","","","","","","(2017); Albert D.J., Socioeconomic status and instrumental music: what does the research say about the relationship and its implications?, Update Appl. Res. Music Educ, 25, pp. 39-45, (2006); Alessandri E., Rose D., Wasley D., Health and well-being in higher education: a comparison of music and sport students through the framework of self-determination theory, Front. 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Subjects Educ, 12, pp. 4558-4564, (2021); Fraser-Thomas J., Falcao W., Wolman L., Understanding take-up, dropout, and drop-off in youth sport, Routledge handbook of youth sport, pp. 227-242, (2016); Freer E., Evans P., Psychological needs satisfaction and value in students' intentions to study music in high school, Psychol. Music, 46, pp. 881-895, (2018); Gamin R.M., Teacher perceptions regarding attrition in beginning instrumental music classes during the first year of study, Contrib. Music. Educ, 32, pp. 43-64, (2005); Gerelus K., Comeau G., Swirp M., Predictors of piano student dropouts, Can. J. Music Intersec, 37, pp. 160-141, (2017); Gerelus K., Comeau G., Swirp M., Huta V., Parting ways with piano lessons: comparing motivation between continuing and dropout piano students, Bull. Coun. Res. Music Educ, 2020, pp. 45-66, (2020); Green L., How popular musicians learn: a way ahead for music education, (2017); Gruden K., Medpredmetne povezave in njihova realizacija v glasbeni šoli: Magistrsko delo(cross-curricular connections and their implementation into music schools), (2019); Habe K., Krzic V., Doživljanje izvajalske anksioznosti učencev glasbene šole v zgodnjem mladostništvu (Experiencing MPA in music school pupils in early adolescence), J. Music Educ. Acad. Music Ljubljana, 26, pp. 33-48, (2017); Hahn M., Bjork C., Westerlund H., Introduction: a collaborative journey, Music schools in changing societies: how collaborative professionalism can transform music education, pp. 1-11, (2024); Hallam S., The development of memorization strategies in musicians: implications for education, Br. J. Music Educ, 14, pp. 87-97, (1997); Hansen D., Imse L.A., Student-centered classrooms: past initiatives, Fut. Pract. Music Educ. J, 103, pp. 20-26, (2016); Hash P.M., Student retention in school bands and orchestras: a literature review, Update Appl. Res. Music Educ, 40, pp. 11-19, (2022); Hoffman A.R., Compelling questions about music, education, and socioeconomic status, Music. Educ. J, 100, pp. 63-68, (2013); Hurley C.G., Student motivations for beginning and continuing/discontinuing string music instruction, Visions of Research in Music Education, 16, (2021); Jeppsson C., Lindgren M., Exploring equal opportunities: children’s experiences of the Swedish Community School of Music and Arts, Res. Stud. Music Educ, 40, pp. 191-210, (2018); King K., Parting ways with piano lessons: predictors, invoked reasons, and motivation related to piano student dropouts, (2016); Kinney D.W., Selected nonmusic predictors of urban students’ decisions to enroll and persist in middle school band programs, J. Res. Music. 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J, 86, pp. 37-43, (1999); Riley J.P., Overwhelmed, overworked, and under-appreciated: a mixed methods study of undergraduate music education student (master thesis), (2016); Rocek M., Zurek G., Travnikova D.H., Early dropout of children and youth from sports – international perspective and societal backgrounds, Studia Sportiva, 15, pp. 72-79, (2021); Rotar Pance B., Motivacija - ključ h glasbi (Motivation –Key to Music), (2006); Rotar Pance B., Slovenian music education between tradition and challenges, New perspectives in music education in Slovenia, pp. 1-16, (2012); Rotar Pance B., The vertical of the Slovene music education system: from music schools to university studies, Music school research II: the future of music schools – European perspectives. Musikschulmanagement Niederösterreich, cop. 2019. p. 99–117, (2019); Ruth N., Mullensiefen D., Survival of musical activities. When do young people stop making music?, PLoS One, 16, (2021); Ryan R.M., Deci E.L., Overview of self-determination theory: an organismic dialectical perspective, Handbook of self-determination research, pp. 3-33, (2002); Shaheen M., Self-determination theory for motivation in distance music education, J. Music. Teach. Educ, 31, pp. 80-91, (2022); Simunovic N., Poučevanje inštrumenta v času epidemije COVID-19 (Teaching musical instruments during COVID-19 epidemic), J. Music Educ. Acad. Music Ljubljana, 16, pp. 11-38, (2020); Simunovic N., Habe K., Ključni dejavniki oblikovanja glasbene samopodobe učencev glasbenih šol (Key factors shaping the musical self-image of music school students), Sodobne raziskave o poučevanju glasbe v Sloveniji(Contemporary Research on Music Education in Slovenia), pp. 310-339, (2024); Sosniak L.A., Phases of learning, Developing talent in young people, pp. 409-438, (1985); StGeorge J., Proceedings of the XXVIIIth Annual Conference: 24 - 26 September 2006. Music Education, Standards and Practices, (2006); (2015); Tucker O., Mastery goals and intrinsic motivation in instrumental ensembles, Music. Educ. J, 106, pp. 30-35, (2020); West C., Motivating music students: a review of the literature, Natl. Assoc. Music Educ, 31, pp. 11-19, (2013); Williams K., Attrition in applied music study: three retrospective case studies, Update Appl. Res. Music Educ, 21, pp. 1-9, (2002); Woods R.A., Butler B.N., Social issues in sport, (2021); Woody R.H., Learning from the experts: applying research in expert performance to music education, Update Appl. Res. Music Educ, 19, pp. 9-14, (2001)","A. Kavčič Pucihar; Academy of Music, University of Ljubljana, Ljubljana, Slovenia; email: ana.kavcicpucihar@ag.uni-lj.si","","Frontiers Media SA","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85195669802"
"Paschalidou S.","Paschalidou, Stella (14027447300)","14027447300","Technology-Mediated Hindustani Dhrupad Music Education: An Ethnographic Contribution to the 4E Cognition Perspective","2024","Education Sciences","14","2","203","","","","2","10.3390/educsci14020203","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85185930491&doi=10.3390%2feducsci14020203&partnerID=40&md5=863175017aa6ee9aab1e8cd5847008b7","Department of Music Technology and Acoustics, Hellenic Mediterranean University, Rethymno, 74 133, Greece","Paschalidou S., Department of Music Technology and Acoustics, Hellenic Mediterranean University, Rethymno, 74 133, Greece","Embodiment lies at the core of music cognition, prompting recent pedagogical shifts towards a multi-sensory, whole-body approach. However, the education of oral music genres that rely exclusively on direct teacher–disciple transmission through live demonstration and imitation is now undergoing a transformation by rapidly adapting to technology-mediated platforms. This paper examines challenges in embodied facets of video-mediated synchronous distance Hindustani music pedagogy. For this, it takes an ethnomusicological stance and showcases a thematic analysis of interviews featuring Dhrupad music practitioners. The analysis is driven and organized by the 4E Cognition principles, which stress the intimate relationship between body, mind, and environment. Findings indicate that while this adaptation aims to make music content more widely accessible, it comes at the cost of reducing opportunities for multi-modal engagement and interaction among participants. Results reveal limitations in transmitting non-verbal, embodied, multi-sensory cues, along with visual and acoustic disruptions of a sense of shared spatial and physical context, that hinder effective interaction and a sense of immersion, elements that are deemed vital in music education. They prompt concerns about the suitability of conventional videoconferencing platforms and offer key insights for the development of alternative technologies that can better assist embodied demands of the pedagogical practices involved. © 2024 by the author.","4E cognition; distance music education; embodied music cognition; ethnomusicology; Hindustani Dhrupad music; motion capture technologies; multimodality; music technology; oral music traditions; thematic analysis","","","","","","Hellenic Mediterranean University; Ministry of National Education and Religious Affairs","This publication (APC) is financed by the Project “Strengthening and optimizing the operation of MODY services and academic and research units of the Hellenic Mediterranean University”, funded by the Public Investment Program of the Greek Ministry of Education and Religious Affairs.","Small C., Musicking: The Meanings of Performing and Listening, (1998); Leman M., Embodied Music Cognition and Mediation Technology, (2007); Smirnov A., Price M., Sound in Z: Experiments in Sound and Electronic Music in Early 20th Century Russia, (2013); Bremmer M., Nijs L., The Role of the Body in Instrumental and Vocal Music Pedagogy: A Dynamical Systems Theory Perspective on the Music Teacher’s Bodily Engagement in Teaching and Learning, Front. 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"Sakin A.Ş.; Gül G.; Uzunkavak M.Ç.","Sakin, Ajda Şenol (59182364200); Gül, Gülnihal (57205617865); Uzunkavak, Melike Çakan (59474479100)","59182364200; 57205617865; 59474479100","Proposal of a Model for the Teaching of Aksak Meter Folk Songs in Flute Education: The Flipped Learning Model","2024","Egitim ve Bilim","49","220","","213","238","25","0","10.15390/EB.2024.12931","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85212181241&doi=10.15390%2fEB.2024.12931&partnerID=40&md5=451ce344fd90143890593d6b0102fc0c","Bursa Uludağ University, Faculty of Education, Department of Fine Arts Education, Turkey; Harran University, State Conservatory, Department of Music, Turkey","Sakin A.Ş., Bursa Uludağ University, Faculty of Education, Department of Fine Arts Education, Turkey; Gül G., Bursa Uludağ University, Faculty of Education, Department of Fine Arts Education, Turkey; Uzunkavak M.Ç., Harran University, State Conservatory, Department of Music, Turkey","This study was implemented to identify the contribution of the flipped learning model to the vocalization level in the flute performance of aksak meter Turkish folk songs with different meter numbers and rhythm patterns. Moreover, the study aimed to obtain the participants’ opinions about the flipped learning model and evaluate this learning model in terms of its suitability for the students’ practice habits. In the study, the explanatory design, one of the mixed research methods, including the experimental and descriptive, was utilized, and in an attempt to identify the contribution of the flipped learning model to the performance level of folk songs, first quantitative data and then qualitative data were collected by conducting interviews with the participants. Regarding the experimental process, the study group consisted of 10 flute students. Within the scope of the study, teaching two aksak meter folk songs was conducted with the flipped learning model, and the teaching of two different folk songs was implemented with the traditional teaching method. While the quantitative data obtained from the study were analyzed using the Wilcoxon signed-rank test, the qualitative data were analyzed using the content analysis method. As far as the results of this study are concerned, when the performance levels of folk songs taught with the traditional and flipped learning model were compared, it was revealed that there was a significant difference in favor of the folk songs taught with the flipped learning model. Consequently, it was established that the proposed flipped learning model facilitated the sight-reading process in the flute education process and also contributed to rhythmic mastery, musical piece awareness, and musical mastery. Furthermore, it was also revealed that it made a significant contribution to the performance of the aksak meter folk songs and that the performances carried out with the flipped learning model contributed to the reduction of the anxiety levels of the majority of the students. © 2024 Turkish Education Association. 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W., Engaging students in creative music making with musical instrument application in an online flipped classroom, Education and Information Technologies, 27, 1, pp. 45-64, (2022); Oktay C., Türkiye özengen müzik eğitiminde uluslararası sertifikalı müzik eğitimi programlarının işlevinin incelenmesi, (2017); Oner A., Geleneksel Türk müziği öğelerinin flüt eğitiminde kullanılmasına yönelik bir model önerisi, (2011); Ozmentes G., Bilen S., Dalcroze Eurhythmics öğretiminin müziksel beceriler, müzik dersine ilişkin tutumlar ve müzik yeteneğine ilişkin özgüven üzerindeki etkileri, İnönü Üniversitesi Eğitim Fakültesi Dergisi, 6, 10, pp. 87-102, (2005); Palazon-Herrera J., Soria-Vilchez A., Students’ perception and academic performance in a flipped classroom model within early childhood education degree, Heliyon, 7, 4, pp. 1-9, (2021); Parra-Gonzalez M. 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M., Eğitim fakülteleri müzik eğitimi bölümlerindeki piyano eğitiminde çağdaş Türk piyano müziği eserlerinin yeri, Gazi Üniversitesi Gazi Eğitim Fakültesi Dergisi, 22, 3, pp. 59-68, (2002); Senol Sakin A., Geleneksel Türk halk müziğinde kullanılan aksak ölçülü türkülerin flüt eğitimindeki zorluklarının incelenmesi, (2016); Talbert R., Flipped learning: A guide for higher education faculty, (2017); Tepe C., Yokus T., Müzik öğretmeni adaylarının güzel sanatlar lisesi bireysel ses eğitimi dersi kazanımlarına ulaşma düzeyleri, Eurasian Journal of Music and Dance, 21, pp. 31-49, (2023); Topalak S., Çevrilmiş öğrenme modelinin başlangıç seviyesi piyano öğretimine etkisi, (2016); Topalak S., Çevrilmiş öğrenme modelinin başlangıç düzeyi piyano eğitimine etkisine yönelik öğrenci görüşleri, Kalem Eğitim ve İnsan Bilimleri Dergisi, 12, 2, pp. 571-594, (2022); Tuisku V., Ruokonen I., Toward a blended learning model of teaching guitar as part of primary teacher training curriculum, The European Journal of Social & Behavioral Sciences, 10, pp. 2520-2537, (2017); Tung K. 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O., Simsek N., Examining the effectiveness of discussion-oriented flipped learning environments [Special issue], International Journal of Assessment Tools in Education, 9, pp. 146-161, (2022); Yilmaz H., Ters yüz öğrenme modeline dayalı gitar eğitimi ve eşlikleme dersinin motivasyona, tutuma ve eşliklemeye etkisi, (2021); Yoshida H., Flipped learning for pre-service teacher education: With focus on instructional design for elementary and secondary education, 13th International Technology, Education and Development Conference, pp. 5718-5727, (2019); Yucetoker I., Güzel sanatlar eğitimi öğrencilerinin sanat okuryazarlığı düzeylerinin değerlendirilmesi, Ekev Akademi Dergisi, 62, pp. 669-676, (2015)","","","Turkish Education Association","","","","","","13001337","","","","English","Egitim Bilim","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85212181241"
"Matsunobu K.; Davidson R.; Lo K.Y.","Matsunobu, Koji (54795738100); Davidson, Robert (56328752100); Lo, Khin Yee (57200284914)","54795738100; 56328752100; 57200284914","The role of negative emotions in learning music: qualitative understanding of Australian undergraduate students' listening experience of unfamiliar music","2023","British Journal of Music Education","40","2","","204","219","15","0","10.1017/S0265051722000250","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85166428752&doi=10.1017%2fS0265051722000250&partnerID=40&md5=9c1ab71db5e53a1f3428a333cba09764","The Education University of Hong Kong, 10 Lo Ping Road, New Territories, Tai Po, Hong Kong; School of Music, University of Queensland, 4072, QLD, Australia","Matsunobu K., The Education University of Hong Kong, 10 Lo Ping Road, New Territories, Tai Po, Hong Kong; Davidson R., School of Music, University of Queensland, 4072, QLD, Australia; Lo K.Y., The Education University of Hong Kong, 10 Lo Ping Road, New Territories, Tai Po, Hong Kong","This paper examines the experience and role of negative emotions in facilitating university students' learning in world music courses. Based on a review of literature in music psychology and music education, we posit that negative emotions can engender a meaningful learning context. In this project conducted in an Australian university, we created a condition in which students were engaged in repeated listening to recordings of music from cultures different from their own, which they reported as sounding unpleasant. We then analysed how they overcame emotional responses through a listening exercise. The findings suggest that the students developed enhanced motivation and cognitive reflection by facing their own negative emotions through repeated listening. The article finishes with a discussion about the positive side of negative emotions and the negative side of positive emotions as they relate to music education. © The Author(s), 2022. Published by Cambridge University Press.","motivation of learning; negative emotion; repeated listening; unfamiliar music; World music pedagogy","","","","","","","","Averill J.R., On the paucity of positive emotions, Advances in the Study of Communications and Affect, 6, (1980); Bakagiannis S., Tarrant M., Can music bring people together? 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Cognition, Emotion, Ability, Function, (2005); Solis T., Teaching what cannot be taught: An optimistic overview, Performing ethnomusicology: Teaching and representation in world music ensembles, pp. 1-19, (2004); Stgeorge J., Holbrook A., Cantwell R., Affinity for music: A study of the role of emotion in musical instrument learning, International Journal of Music Education, 32, 3, pp. 264-277, (2014); Sundararajan L., The function of negative emotions in the Confucian tradition, The Positive Side of Negative Emotions, pp. 179-200, (2014); Taylor T.D., Global Pop: World Music, World Markets, (1997); Taylor T.D., World music today, Music and Globalization Critical Encounters, pp. 172-188, (2012); Teo T., Hargreaves D., Lee J., Musical preference, identification, and familiarity: A multicultural comparison of secondary students from Singapore and the United Kingdom, Journal of Research in Music Education, 56, 1, pp. 18-31, (2008); Thompson K., A critical discourse analysis of world music as the “other” in education, Research Studies in Music Education, 19, 1, pp. 14-20, (2002); Trimillos R.D., Subject, object, and the ethnomusicology ensemble: The ethnomusicological “we” and “them, Performing ethnomusicology: Teaching and representation in world music ensembles, pp. 23-52, (2004); van Goozen S., Frijda N.H., Emotion Words Used in Six European Countries, European Journal of Social Psychology, 23, pp. 89-95, (1993); Veblen K., Messenger S.J., Silverman M., Elliott D., Community Music Today, (2013); Vuoskoski J.K., Eerola T., The pleasure evoked by sad music is mediated by feeling of being moved, Frontiers in Psychology, 8, (2017); Woody R.H., Burns K.J., Predicting music appreciation with past emotional responses to music, Journal of Research in Music Education, 49, 1, pp. 57-70, (2001); Zillmann D., Gan S.-L., Musical taste in adolescence, The Social Psychology of Music, pp. 161-186, (1997)","K. Matsunobu; The Education University of Hong Kong, Tai Po, 10 Lo Ping Road, New Territories, Hong Kong; email: kmatsunobu@eduhk.hk","","Cambridge University Press","","","","","","02650517","","","","English","Br. J. Music Educ.","Article","Final","","Scopus","2-s2.0-85166428752"
"Aung N.M.; Campbell P.S.","Aung, Ne Myo (58524581900); Campbell, Patricia Shehan (26034231100)","58524581900; 26034231100","Learning Burmese (Saung Gauk) Music: Pathway Through World Music Pedagogy","2024","Journal of General Music Education","37","3","","4","10","6","0","10.1177/27527646231185567","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85166946659&doi=10.1177%2f27527646231185567&partnerID=40&md5=360d47354bad92a54e82571587b5ed8a","Gitameit Music Institute, Yangon, Myanmar; University of Washington, Seattle, United States","Aung N.M., Gitameit Music Institute, Yangon, Myanmar; Campbell P.S., University of Washington, Seattle, United States","The Burmese arched harp, known as Saung Gauk, is the national icon of the Southeast Asian country of Myanmar (once called Burma). It is both ancient and contemporary, and its music frequently carries stories that are threaded with long-standing philosophical principles of the Burmese. The music of the Saung Gauk consists of five primary pitches (and two ornamental extras) that provide intriguing melodies, and a bronze bell and wood clapper provide the accompanying rhythm in traditional practice, even while Burmese-style piano and tuned drums may fill out an ensemble in which Saung Gauk is featured. A learning pathway will detail ways to approach this extraordinary music and the special place of this harp in Burmese identity. © National Association for Music Education 2023.","Burmese music; cultural knowledge; Jataka tale; Saung Gauk; World Music Pedagogy","","","","","","","","Anderson W.M., Campbell P.S., Multicultural perspectives in music education, (1989); Becker J., The migration of the arched harp from India to Burma, The Galpin Society Journal, 20, pp. 17-23, (1967); Campbell P., Music, education and diversity: Bridging cultures and communities, (2018); Campbell P., Lum S.C.H., World music pedagogy: School-community intersections, (2019); Douglas G., State patronage of Burmese traditional music, (2001); Douglas G., Music in Mainland Southeast Asia, (2009); Garfias R., Preliminary thoughts on Burmese modes.:, Asian Music, 71, pp. 39-49, (1975); Ho W.-C., Popular music, cultural politics and music education in China, (2016); Inoue S., Written and oral transmission of Burmese classical songs, The Journal of Sophia Asian Studies, 32, pp. 41-55, (2014); McCarthy M., The role of ISME in the promotion of multicultural music education 1953-1996, International Journal of Music Education, 29, (1997); Volk Terese M., Music, education, and multiculturalism: Foundations and principles, (1998); Williamson M.C., The Burmese Harp: Its classical music, tunings, and modes, (2000)","P.S. Campbell; University of Washington, Seattle, United States; email: pcamp@uw.edu","","SAGE Publications Inc.","","","","","","27527646","","","","English","J. Gen. Music. Educ.","Article","Final","","Scopus","2-s2.0-85166946659"
"Marshall C.","Marshall, Caitlin (58552241600)","58552241600","Ear Training for History: Listening to Elizabeth Taylor Greenfield's Double-Voiced Aesthetics","2023","Theatre Survey","64","2","","150","176","26","0","10.1017/S0040557423000133","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85168941706&doi=10.1017%2fS0040557423000133&partnerID=40&md5=32258044cbe85ca6ca6b3d9aaff100aa","School of Theatre, Dance and Performance Studies, University of Maryland, Maryland, College Park, MD, United States","Marshall C., School of Theatre, Dance and Performance Studies, University of Maryland, Maryland, College Park, MD, United States","Bend your ear to Saturday, 23 July 1853. On that morning, America's first Black concert vocalist and operatic singer, Elizabeth Taylor Greenfield, performed at Stafford House, home of prominent English Abolitionist the Duchess of Sutherland, during her UK tour. Born into captivity on a plantation in Mississippi and raised free in Philadelphia, Taylor Greenfield's voice sounded out the fever pitch of America's conflict over slavery. A multioctave singer, she smashed boundaries for race and gender as a Black woman who sang white vocal repertoire across registers heard as both female and male. Writing on an early public performance in 1851, one newspaper reviewer summed up the revolutionary threat of Taylor Greenfield's voice by stating we can assure the public that the Union is in no degree periled by it, meaning of course, that the Union was. Whether received by pro- or antislavery audiences, Taylor Greenfield's voice was understood to peal out Black emancipation. In his 1855 review of Taylor Greenfield's New York Tabernacle performance, James McCune Smith went as far to compare Taylor Greenfield's voice to the firearms employed by escaped slaves defending their freedom against the Fugitive Slave Act. Copyright © The Authors, 2023. Published by Cambridge University Press on behalf of American Society for Theatre Research, Inc.","","","","","","","","","Chybowski, Becoming the 'Black Swan' in Mid-Nineteenth Century America: Elizabeth Taylor Greenfield's Early Life and Debut Concert Tour, Journal of the American Musicological Society, 67.1, pp. 125-165, (2014); Milwaukee Daily Sentinel, (1851); Communipaw [NJ], ""from our New York Correspondent,, Frederick Douglass, (1855); Black A.W., Abolitionism's Resonant Bodies: The Realization of African American Performance, Sound Clash: Listening to American Studies, Special Issue, American Quarterly, 63.3, pp. 619-639, (2011); Moriah K., A Greater Compass of Voice': Elizabeth Taylor Greenfield and Mary Ann Shadd Cary Navigate Black Performance, Theatre Research in Canada, 41.1, pp. 20-38, (2020); Brooks D., Bodies in Dissent, pp. 313-314, (2006); Story R.M., And so i Sing: African American Divas of Opera and Concert, (1990); Brooks, Bodies in Dissent; Trotter J.M., Music and Some Highly Musical People, pp. 66-87, (1880); La Brew A.R., The Black Swan: Elizabeth T. Greenfield, Songstress, (1969); Southern E., The Music of Black Americans: A History, 3d Ed., pp. 103-104, (1997); The 'Black Swan' in England: Abolition and the Reception of Elizabeth Taylor Greenfield, American Music Research Center Journal, 14, pp. 7-25, (2004); The Black Swan, New York Herald, (1853); A Biographical Sketch of Miss Elizabeth Taylor Greenfield, the American Vocalist, (1855); Broadside, Keystone Hall-Reading, (1856); Peterson C.L., Doers of the Word: African American Women Speakers and Writers in the North (1830-1880), (1995); Roach J., Cities of the Dead: Circum-Atlantic Performance, pp. 211-224, (1996); Miss E. T. Greenfield's Concert at Stafford House, Musical World, 31.31, (1853); The Archive Is at Sixes and Sevens over the Composer of ""i'M Free,"" Sometimes Recorded As ""i Am Free."" Musical World Cites Charles W. Glover As the Composer of ""yes! Now i'M Free; Or, the Slave's Escape"", 31.30, (1853); Reviews of Music, Musical World, (1853); Aiken G.L., Uncle Tom's Cabin; Or, Life among the Lowly: A Domestic Drama in Six Acts, pp. 14-16, (1858); Glover S., Uncle Tom's Cabin Songs, (1852); Jefferys C., The Songs Sung at the Adelphi Theatre in ""slave Life"" or ""uncle Tom's Cabin"", (1853); The Acoustics of Passing: Harriet Beecher Stowe's Uncle Tom's Cabin as Supremacist Remix, Sounding Out, (2013); Spillers H.J., Mama's Baby, Papa's Maybe: An American Grammar Book, Diacritics, 17.2, pp. 65-81, (1987); Eidsheim N.S., Marian Anderson and 'Sonic Blackness' in American Opera, American Quarterly, 63.3, pp. 641-671, (2011); Obadike M., Low Fidelity: Stereotyped Blackness in the Field of Sound, (2005); Stoever J.L., The Sonic Color Line: Race and the Cultural Politics of Listening, Repr. Ed., pp. 78-87, (2016); Morrison M.D., Race, Blacksound, and the (Re)Making of Musicological Discourse, Journal of the American Musicological Society, 72.3, pp. 781-823, (2019); Kheshti R., Modernity's Ear: Listening to Race and Gender in World Music, (2015); Marshall C., Herrera P., McMahon M.R., Sound Acts, Part 1: Calling Back Performance Studies Sound Acts, Part 1, Special Issue, Performance Matters, 6.2, pp. 1-7, (2020); Munoz E., Ephemera as Evidence: Introductory Notes to Queer Acts, Women & Performance: A Journal of Feminist Theory, 8.2, pp. 5-16, (1996); Eidsheim N., Sensing Sound: Singing and Listening As Vibrational Practice, (2015); Munoz, Ephemera As Evidence; Friedner M., Helmreich S., Sound Studies Meets Deaf Studies, Senses and Society, 7.1, pp. 72-86, (2015); Crawley A.T., Blackpentecostal Breath: The Aesthetics of Possibility, (2017); New Hampshire Gazette, (1852); Cleveland (Ohio) Plain Dealer, (1852); Stoever, Sonic Color Line; Peterson, Doers of the Word, pp. 21-22; Cruz J., Culture on the Margins: The Black Spiritual and the Rise of American Cultural Interpretation, (1999); Brooks, Bodies in Dissent; Morrison, Race, Blacksound, pp. 784-789; Barnum's American Museum, Monday, (1860); Vey S., The Master and the Mademoiselle: Gender Secrets in Plain Sight in Antebellum Performance, Theatre History Studies, 27, pp. 39-59, (2007); Senelick L., Boys and Girls Together: Subcultural Origins of Glamour Drag and Male Impersonation on the Nineteenth-Century Stage, Crossing the Stage: Controversies on Cross-Dressing, pp. 82-96, (1993); Vey, Master and the Mademoiselle, pp. 41-42; Guy-Shetfall B., The Body Politic: Black Female Sexuality and the Nineteenth-Century Euro-American Imagination, Skin Deep, Spirit Strong: The Black Female Body in American Culture, pp. 13-36, (2002); Cusick S.G., On Musical Performances of Gender and Sex, Audible Traces: Gender, Identity, and Music, pp. 25-49, (1999); Thomson R.G., Extraordinary Bodies: Figuring Physical Disability in American Culture and Literature, 20th Anniv. Ed., pp. 70-78, (2017); Hevey D., The Creatures Time Forgot: Photography and Disability Imagery, (1992); Tommy J., Dilworth notably performed a blackface female impersonation of Taylor Greenfield. ""mechanics Hall,, Programme: A Journal of the Drama, Music, Literature, Art &c, Monday, (1861); Brooks, Puzzling the Intervals': Blind Tom and the Poetics of the Sonic Slave Narrative, The Oxford Handbook of the African American Slave Narrative, pp. 391-414, (2014); Bean A., Transgressing the Gender Divide: The Female Impersonator in Nineteenth-Century Blackface Minstrelsy, Inside the Minstrel Mask: Readings in Nineteenth-Century Blackface Minstrelsy, pp. 245-256, (1996); Leavitt, Egan, Academy of Stars; Cruz, Culture on the Margins, pp. 43-66; Morrison, Race, Blacksound, pp. 782-784; Crawley, Blackpentecostal Breath; The Black Swan Again, Frederick Douglass, (1851); Williams L., Playing the Race Card: Melodramas of Black and White from Uncle Tom to O. J. Simpson, (2001); Stafford House, Musical World, 31.30, (1853); Jones D.A., The Captive Stage: Performance and the Proslavery Imagination of the Antebellum North, (2014); Morrison T., Playing in the Dark: Whiteness and the Literary Imagination, (1993); Brooks, Bodies in Dissent; Young H., Embodying Black Experience: Stillness, Critical Memory, and the Black Body, (2010); White S., White G., The Sounds of Slavery: Discovering African American History Through Songs, Sermons, and Speech, (2005); Smith M.M., Listening to Nineteenth-Century America, (2001); Eidsheim N.S., The Race of Sound: Listening, Timbre, and Vocality in African American Music, (2019); Asare M., Vocal Colour in Blue: Early Twentieth-Century Black Women Singers as Broadway's Voice Teachers,"" in ""sound Acts, Part 1, Performance Matters, 6.2, pp. 52-66, (2020); Reviews of Music, Musical World, 31.33, pp. 517-518, (1853); Crawley, Blackpentecostal Breath","C. Marshall; School of Theatre, Dance and Performance Studies, University of Maryland, Maryland, College Park, United States; email: csmars@umd.edu","","Cambridge University Press","","","","","","00405574","","","","English","Theatre Surv.","Article","Final","All Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85168941706"
"Jakobsen M.L.; Hebert D.G.","Jakobsen, Marianne Løkke (56781084000); Hebert, David G. (56727768000)","56781084000; 56727768000","Exploring Nordic approaches to advanced instrumental music pedagogy: insights from ethnographic fieldwork","2025","Music Education Research","27","1","","73","89","16","0","10.1080/14613808.2024.2447245","https://www.scopus.com/inward/record.uri?eid=2-s2.0-86000379136&doi=10.1080%2f14613808.2024.2447245&partnerID=40&md5=fce71a9004c9ab9a4cd46dda0d1b42b8","Department of Culture and Learning, Aalborg University, Copenhagen, Denmark; Department of Arts Education, Western Norway University of Applied Science, Bergen, Norway","Jakobsen M.L., Department of Culture and Learning, Aalborg University, Copenhagen, Denmark; Hebert D.G., Department of Arts Education, Western Norway University of Applied Science, Bergen, Norway","This ethnographic research was conducted at two intensive Scandinavian music academies with the aim of examining the extent to which there is a Nordic approach to advanced instrumental music teaching. Data collected through observations, interviews, and discussions revealed academy structures, instrumental techniques, and the use of metaphors in teaching. The study found a blend of Nordic pedagogical traditions, instrument-specific approaches, and personal teaching methods. The Scandinavian instructors tended to employ personalized coaching styles, emphasizing independent thought and interpretation. A characteristic form of politeness and directness was identified among the Nordic pedagogues that shares some features with renowned masterclass teachers in other contexts. Further research is needed to fully grasp this Nordic approach, potentially leading to typologies or explanatory models. The study underscores the need for continued exploration and analysis of diverse instructional strategies and cultural influences in music education. © 2025 Informa UK Limited, trading as Taylor & Francis Group.","conservatoires; Instrumental pedagogy; metaphors; Nordic","","","","","","","","Almqvist C.F., Werner A., Maintaining and Challenging Conservative Teaching and Learning Culture in Conservatories: The Need for Holistic Pedagogy in Educational Fields of Tension, Research Studies in Music Education, 46, 2, pp. 257-270, (2023); Angelo E., Varkoy O., Georgii-Hemming E., Notions of Mandate, Knowledge and Research in Norwegian Classical Music Performance Studies, Journal for Research in Arts and Sports Education, 3, 1, pp. 78-100, (2019); Armstrong S.L., Davis H.S., Paulson E.J., The Subjectivity Problem: Improving Triangulation Approaches in Metaphor Analysis Studies, International Journal of Qualitative Methods, 10, 2, pp. 151-163, (2011); (2024); Beyer B., Completing the Circle: Considerations for Change in the Performance of Music, (2014); Bjontegaard B.J., A Combination of One-to-One Teaching and Small Group Teaching in Higher Music Education in Norway–a Good Model for Teaching?, British Journal of Music Education, 32, 1, pp. 23-36, (2015); Brandstrom S., Soderman J., Thorgersen K., The Double Feature of Musical Folkbildning: Three Swedish Examples, British Journal of Music Education, 29, 1, pp. 65-74, (2012); Buhl M., Orngreen R., Levinsen K., Teaching Performance in Performing Arts: Video Conferencing at the Highest Level of Music Education, Performativity, Materiality and Time: Tacit Dimensions of Pedagogy. 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Multiple Meanings in the Analysis of Implicit Metaphors, Metaphor and Symbol, 18, 2, pp. 125-146, (2003); Schippers H., ‘As if a Little Bird is Sitting on Your Finger … ’: Metaphor as a Key Instrument in Training Professional Musicians, International Journal of Music Education, 24, 3, pp. 209-217, (2006); Schoonderwaldt E., (2009); Schulte B., The Nordic Model from Afar: Chinese Scholarly Projections of Nordic Education and Teachers, School teachers and the Nordic Model, pp. 80-97, (2022); Soderman J., ‘Folkbildning’ Through Hip-Hop: How the Ideals of Three Rappers Parallel a Scandinavian Educational Tradition, Music Education Research, 13, 2, pp. 211-225, (2011); Stabell E.M., Being Talented–Becoming a Musician: A Qualitative Study of Learning Cultures in Three Junior Conservatoires, Norges Musikkhøgskole, 5, 2018, pp. 1-282, (2018); Stemple B., The Concept of” Flow” in Brass Pedagogy: Its History and Interrelationship with the Theories of Mihaly Csikszentmihalyi.” Doctoral Dissertation, (2018); Vaag J., Sund E.R., Bjerkeset O., Five-factor Personality Profiles among Norwegian Musicians Compared to the General Workforce, Musicae Scientiae, 22, 3, pp. 434-445, (2018); Westney W., The Perfect Wrong Note: Learning to Trust Your Musical Self, (2006); Woldendorp K.H., Boschma H., Boonstra A.M., Arendzen H.J., Reneman M.F., Fundamentals of Embouchure in Brass Players: Towards a Definition and Clinical Assessment, Medical Problems of Performing Artists, 31, 4, pp. 232-243, (2016); Wolfe J., An Investigation Into the Nature and Function of Metaphor in Advanced Music Instruction, Research Studies in Music Education, 41, 3, pp. 280-292, (2019); Wright L., Teaching Talent: Beginning and/as Method in Two American Violin Studios, Ethnomusicology, 67, 3, pp. 315-340, (2023); Xiong H., Li L., Qu Y., Exploring EFL Teachers’ Cognitive Models Through Metaphor Analysis, SAGE Open, 5, 4, pp. 1-11, (2015); Zorzal R.C., Soares-Quadros J.F., ‘Taste the Value of Each Note’: Verbal Teaching Strategies in Guitar Masterclasses, Music Education Research, 23, 4, pp. 498-511, (2021)","M.L. Jakobsen; Department of Culture and Learning, Aalborg University, Copenhagen, Denmark; email: marianne.jakobsen@dkdm.dk","","Routledge","","","","","","14613808","","","","English","Music Educ. Res.","Article","Final","","Scopus","2-s2.0-86000379136"
"Terrien P.","Terrien, Pascal (55795446100)","55795446100","Prescriptions and the practical epistemology of music teachers: the case of “orchestra à l’école” (orchestra in schools); [Las prescripciones y la epistemología práctica de los profesores de música: el caso de la orquesta escolar]","2023","Revista Interuniversitaria de Formacion del Profesorado","98","37.3","","11","30","19","0","10.47553/rifop.v98i37.3.100697","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85180905264&doi=10.47553%2frifop.v98i37.3.100697&partnerID=40&md5=5a7a00ad8932a79a6cb935ae95da5cc7","Aix-Marseille Université, France","Terrien P., Aix-Marseille Université, France","This study focuses on research into the work of music teachers and visiting music teachers in a primary school in France between 2018-2021. Their teaching activities are part of the ""Orchestre à l'école"" (Orchestra in schools) scheme. This scheme enables children from working-class and sometimes disadvantaged backgrounds to access and develop skills in instrumental and orchestral playing at different times of the week. The observations were made at the request of the music teachers, who wanted to take stock of their work after several years. The pedagogical quality of these music and music teaching professionals, the institutional framework and the friendly atmosphere of the project enabled this participatory research to take place under the best possible conditions. The study focuses on the effects of the prescriptions given by the instrumental teachers on their practical epistemology. The hypothesis is that the polymorphous nature of the prescription, of the instruction, has as much effect on the pupils as on the teacher's practical epistemology. To verify this hypothesis, the analysis of the data collected during this participatory research concerns the transcripts of simple self-confrontation interviews conducted with the teachers. After a review of the literature on the concepts of prescription and practical epistemology, the article describes the main methodological aspects and undertakes an analysis of interview snippets, before proposing a discussion. While the top-down prescription reveals the teacher's practical epistemology, the pupils' bottom-up prescriptions seem to reveal what makes it evolve. © 2023, AUFOP. All rights reserved.","music didactics; music pedagogy; practical epistemology; prescription; school orchestra","","","","","","","","Allsup R. 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I., Whitcomb D., Social Epistemology: Essential Readings, (2011); Gusewell A., Joliat F., Terrien P., Professionalized music teacher education: Swiss and French students’ expectations, International Journal of Music Education, 35, 4, pp. 526-540, (2017); Gusewell A., Vivien R., Terrien P., L’héritage pédagogique de Veda Reynolds: sur les traces d’un style, (2019); Johsua S., Le concept de transposition didactique n’est-il propre qu’aux mathématiques, Au-delà des didactiques, le didactique. Débats autour de concepts fédérateurs, pp. 37-59, (1996); Kuhn T. S., La Structure des révolutions scientifiques, (1970); Lebahar J.-C., La conception en design industriel et en architecture, Désir, pertinence, coopération et cognition, (2007); Leroy J. L., Vers une épistémologie des savoirs musicaux, (2003); Marchand C., Pour une didactique de l'art musical, Pour une didactique de l'art musical, (2009); Nielsen S. G., Epistemic beliefs and self-regulated learning in music students, Psychology of Music, 40, 3, pp. 324-338, (2012); Ostman L., Wickman P.-O., A Pragmatic Approach on Epistemology, Teaching and Learning, Science Education, 98, 3, pp. 375-382, (2014); Prieto L. J., Pertinence et pratique. Essai de sémiologie, (1975); Rayou P., Pédagogie explicite, Recherche & formation, 87, pp. 97-107, (2018); Rossi S., Lubin A., Lanoe C., Pineau A., Une pédagogie du contrôle cognitif pour l’amélioration de l’attention à la consigne chez l’enfant de 4-5 ans, Neuroéducation, 1, 1, pp. 29-54, (2012); Riviere V., L'activité de prescription en contexte didactique. Analyse psycho-sociale, sémio-discursive et pragmatique des interactions en classe de langue étrangère et seconde, (2006); Riviere V., Dire de faire, consignes, prescriptions… Usages en classe de langue étrangère et seconde. Le Français dans le monde, Recherches et applications, 44, pp. 51-59, (2008); Riviere V., Guichon N., Construction de bilans rétroactifs par des apprentis tuteurs de langue en ligne: régimes d'action et dynamiques sociocognitives. Le Français dans le monde, Recherches et applications, 56, pp. 118-135, (2014); Schon D. A., La recherche d’une nouvelle épistémologie de la pratique et de ce qu’elle implique pour l’éducation des adultes, Savoirs théoriques et savoirs d’action, pp. 201-222, (2011); Sensevy G., Des catégories pour décrire et comprendre l’action didactique, Agir ensemble. L’action didactique conjointe du professeur et des élèves, pp. 13-49, (2007); Six F., De la prescription à la préparation du travail: apports de lʼergonomie à la prévention et à l’organisation du travail sur les chantiers de bâtiment, (1999); Terrien P., Pour une didactique de l’enseignement musical, Les didactiques en question (s). Etat des lieux et perspectives pour la recherche et la formation, pp. 170-179, (2012); Terrien P., Réflexions didactiques sur l'enseignement musical: approches théoriques, études de cas, épistémologie et histoire des pédagogies, (2015); Terrien P., De la musicologie à la didactique de l'enseignement musical: vers une musicologie didactique, Mémoire de synthèse, I, (2017); Terrien P., Éducation musicale: épistémologie pratique et décrochage scolaire, Créer pour éduquer en faveur de la persévérance scolaire, pp. 65-83, (2021); Terrien P., Une histoire de l’enseignement du violon en France à travers ses méthodes, Le violon en France du XIXe siècle à nos jours, pp. 105-131, (2022); Terrien P., Épistémologie des pratiques d'un enseignement: le cas de la musique, Pratiquer/enseigner la musique: voies polyphoniques, pp. 19-53, (2022); Terrien P., Huart E., György Kurtág's Játékok: a tool to learn the piano, ÍMPAR: Online Journal for Artistic Research, 2, 1, pp. 34-48, (2018); Terrien P., Joliat F., Chatelain S., Didactique et enseignement musical: l'épistémologie pratique, Journal de recherche en éducations artistiques, 1, pp. 39-53, (2023); Tripier-Mondancin O., Maizieres F., Tricot A., L’articulation théorie-pratique en éducation musicale Apports de la psychologie cognitive, Spirale-Revue de Recherches en Éducation, 56, pp. 33-48, (2015); Vergnaud G., À quoi sert la didactique? Sciences humaines, Hors-série, 24, pp. 48-51, (1999); Zakhartchouk J. M., Quelques pistes pour «enseigner» la lecture de consignes, Formation et pratiques d’enseignement en questions, 1, pp. 71-80, (2004)","P. Terrien; Aix-Marseille Université, France; email: pascal.terrien@univ-amu.fr","","AUFOP","","","","","","02138646","","","","English","Rev. Interuniv. Form. Profr.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85180905264"
"Pizà A.","Pizà, Antoni (59185208100)","59185208100","Frontera de Valldemosa’s Equinotación and the NineteenthCentury Textbook Controversies It Sparked; [La Equinotación de Frontera de Valldemosa y las polémicas sobre los libros de texto que desató en el siglo XIX]","2024","Itamar","2024","10","","119","159","40","1","10.7203/Itamar.10.29138","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85203791452&doi=10.7203%2fItamar.10.29138&partnerID=40&md5=b61de9c9a26f1918813ea9a8693241c3","The City University of New York, United States","Pizà A., The City University of New York, United States","Francisco Frontera de Valldemosa (1807-1891) published the first edition of his treatise, generally known as Equinotación, in 1837. The book purported to simplify musical notation by reducing the complex system of clefs to only three. From the moment it became public his clef method became controversial. First, it sparked a long controversy in the Revue et gazette musicale de Paris regarding the system’s originality, usefulness, and possible plagiarism. Subsequent editions decades later also sparked debates and even a couple of lawsuits, as reflected in several articles in the Gaceta musical barcelonesa. At the bottom of these polemics and under the guise of music-theoretical arguments there were the commercial interests of the textbooks’ authors. © 2024, Itamar. All rights reserved.","Equinotación; Francisco Frontera de Valldemosa; Gaceta musical barcelonesa; Jose Gil y Navarro; music theory and solfège methods; musical notation; Revue et gazette musicale de Paris; textbooks","","","","","","","","Bitard A., Dictionnaire de biographie contemporaine française et étrangère, (1878); Banos G. M., Gramática musical razonada dispuesta en cuatro lecciones ó sea Nuevo tratado teórico-práctico de solfeo, (1886); Bover J. M., Biblioteca de escritores baleares, I, (1868); Catel Ch.-S., Traité d’harmonie, (1802); Cherubini L., Halevy F., Cours de contrepoint et de fugue, (1835); Choron A.-E., De la Fage A., Manuel complet de musique vocale et instrumentale, ou Encyclopédie musicale, (1836); Colet H.-R., La Panharmonie musicale, (1837); Colet H.-R., Revue et gazette musicale de Paris, 5, 6, pp. 67-69, (1838); De la Fage A., De la querelle des clés et de celle de MM. Collet [sic] et Vildemosa [sic], Revue et gazette musicale de Paris, 5, 8, pp. 81-84, (1838); De la Fage A., Revue et gazette musicale de Paris, 5, 28, pp. 285-287, (1838); El Áncora, (1884); El Áncora, pp. 2-3, (1887); El Correo nacional, (1839); El isleño, (1891); El magisterio balear, (1915); El nuevo ateneo, (1888); Elwart A., Petit manuel d’harmonie, d’accompagnement de la basse chiffrée, de réduction de la partition au piano et de transposition musicale, contenant en outre des règles pour parvenir à écrire la basse ou un accompagnement de piano sous toute espèce de mélodie, (1839); Elwart A., Manual de armonía, de accompañamiento de bajo numerado, de reducción de la partitura al piano y de la transposición musical, (1845); Frontera de Valldemosa F., Nouveau moyen trouvé par F.F. de Valldemosa pour lire avec promptitude et facilité la musique écrite pour le piano, (1837); Frontera de Valldemosa F., Revue et gazette musicale de Paris, 5, 5, (1838); Frontera de Valldemosa F., Equinotación ó Nuevo sistema musical de llaves, (1858); Gil y Navarro J., Nuevo sistema de notación musical bajo la supresión de los sostenidos, bemoles y becuadros y llaves y la reducción de tonos, (1863); Kastner G., Compositions vocales et instrumentals de F. F. Valldemosa, Revue et gazette de Paris, 25, 14, (1858); La opinión, (1884); La Revue et gazette musicale de Paris, 6, 61, (1839); Larouse P., Grand dictionnaire universel du XIXe siècle: français, historique, géographique, mythologique, bibliographique, littéraire, artistique, scientifique, etc, (1866); Llabres Bernal J., Noticias y relaciones históricas de Mallorca. Siglo XIX, Vol. II (1821-1840), (1959); Lozano F., La España artística, Gaceta musical de teatros, literatura y nobles artes, pp. 208-216, (1858); Equinotación o sea Nuevo método de llaves, (1888); Miscelánea de comercio, artes y literature, 39, (1820); Moretti F., Sistema uniclave o ensayo sobre uniformar las claves de la música sujetándolas a una sola escala, (1824); Pedrell F., Diccionario biográfico y bibliográfico de músicos y escritores de música españoles, portugueses é hispano-americanos antiguos y modernos: acopio de datos y documentos para servir á la historia del arte musical en nuestra nación, II, (1897); Perez Gonzalez J. M., Gramática musical, (1859); Piza A., Martinez M. L., L’amic mallorquí de Rossini, L’avenç, 455, pp. 54-58, (2019); Piza A., Martinez M. L., Gioachino Rossini. La Veuve andalouse, (2022); Piza A., The Querelle des clés: An Episode in Francisco Frontera de Valldemosa’s Exuberant Life, Respondámosle a concierto: estudios en homenaje a Maricarmen Gómez Muntané, pp. 199-213, (2020); Reicha A., Cours de composition musicale ou Traité complet et raisonné d’harmonie pratique, (1818); Regli F., Dizionario Biografico: dei più celebri poeti ed artisti, (1860); Romero A., Gramática musical ó sea Teoría general de la música: aprobada y adoptada por el Real Conservatorio de Música y Declamación de Madrid, (1861); Saldoni B., Diccionario biográfico bibliográfico de efemérides de músicos españoles, III, (1880); Sanchez J., Escenas contemporáneas, (1859); Sarmiento P. A., El sistema Fallon: método de notación alternativo para la enseñanza musical en Colombia (1867-87), Ensayos. Historia y teoría del arte, Bogotá, 20, 30, pp. 55-81, (2016); (1915); (1915); Soriano Fuertes M., Historia de la música Española desde la venida de los fenicios hasta nuestros 1850, (1859); Subira J., Pretéritos músicos hispánicos (Páginas históricas), Academia: Boletín de la Real Academia de Bellas Artes de San Fernando, 20, pp. 9-43, (1965); Trousset J., Nouveau dictionnaire encyclopédique universel illustré, (1884)","A. Pizà; The City University of New York, United States; email: apiza@gc.cuny.edu","","Universitat de Valencia","","","","","","23868260","","","","English","Itamar.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85203791452"
"Kong S.-H.","Kong, Siu-Hang (57201403423)","57201403423","Music education training for kindergarten teachers: a workshop integrating Shulman’s pedagogical content knowledge and pedagogical reasoning and action model","2025","Journal of Early Childhood Teacher Education","46","1","","85","102","17","0","10.1080/10901027.2024.2410399","https://www.scopus.com/inward/record.uri?eid=2-s2.0-105001971958&doi=10.1080%2f10901027.2024.2410399&partnerID=40&md5=29c83d719235a11c672d945908d58d6c","The Department of Early Childhood Education, The Education University of Hong Kong, Hong Kong","Kong S.-H., The Department of Early Childhood Education, The Education University of Hong Kong, Hong Kong","Kindergarten teachers often express concerns about the insufficient preparation they receive in their training programs to effectively teach music. This lack of confidence in their music teaching and musical ability can impact their effectiveness of teaching, which in turn can affect children’s music learning. To address this deficiency in music training for preservice teachers, this study consists of a workshop that integrates Shulman’s Pedagogical Content Knowledge (PCK) through the Pedagogical Reasoning and Action Model (PRA). The workshop takes an experiential approach, moving away from the traditional separation of content knowledge and pedagogy. Nine participants took part in the workshop and were interviewed to address two research questions: 1. How do preservice teachers perceive the significance of their musical competence and music pedagogy skills when conducting a music lesson? 2. In what ways does the workshop contribute to the professional growth and effectiveness of preservice teachers in music teaching? The integrated approach employed in the workshop proved effective in enhancing the preservice teachers’ comprehension of PCK through PRA model. The study emphasizes the significance of designing training programs that encompass the breadth and depth of Shulman’s theory of teaching, equipping teachers to deliver music education. © 2024 NAECTE.","","","","","","","Education University of Hong Kong, EdUHK, (ITG2022-23/005); Education University of Hong Kong, EdUHK","The author disclosed receipt of the following financial support for the research of this article: This work was supported by the Education University of Hong Kong[Grant number: ITG2022-23/005].","Aydin S., Boz Y., The nature of integration among PCK components: A case study of two experienced chemistry teachers, Chemistry Education Research and Practice, 14, 4, pp. 615-624, (2013); Ballantyne J., Canham N., Understanding music teachers’ perceptions of themselves and their work: An importance–confidence analysis, International Journal of Music Education, 41, 3, pp. 455-471, (2023); Bautista A., Ho Y.L., Music and movement teacher professional development: An interview study with Hong Kong kindergarten teachers, Australasian Journal of Early Childhood, 46, 3, pp. 276-290, (2021); Bautista A., Ho Y.L., Fan T., Yeung J., Bryant D.A., Teacher professional development in Hong Kong: Describing the current infrastructure, International Journal for Research in Education, 46, 2, pp. 202-260, (2022); Bautista A., Toh G.Z., Wong J., Primary school music teachers’ professional development motivations, needs, and preferences: Does specialization make a difference?, Musicae Scientiae, 22, 2, pp. 196-223, (2018); Bautista A., Yeung J., McLaren M.L., Ilari B., Music in early childhood teacher education: Raising awareness of a worrisome reality and proposing strategies to move forward, Arts Education Policy Review, 125, 3, pp. 139-149, (2022); Beauchamp G., From Hadow to Gittins: A music education framed by the people or for the people-cultural aspirations and official validation of primary school music in wales, Journal of Educational Administration and History, 35, 2, pp. 127-135, (2003); Bernard R., Uncovering pre-service music teachers’ assumptions of teaching, learning, and music, Music Education Research, 11, 1, pp. 111-124, (2009); Biasutti M., Frate S., Concina E., Music teachers’ professional development: Assessing a three-year collaborative online course, Music Education Research, 21, 1, pp. 116-133, (2019); Black P., Wiliam D., Inside the Black Box: Raising standards through classroom assessment, Phi Delta Kappan, 80, 2, pp. 139-148, (1998); Campbell P.S., Scott-Kassner C., Music in childhood: From preschool through the elementary grades, (2019); Chan C.W.W., Leong S., Music education and the review of early childhood education in Hong Kong: Professional development needs of early childhood teachers, Asia-Pacific Journal for Arts Education, 5, 2, pp. 3-26, (2007); Cheng M.M., Cheng A.Y., Tang S.Y., Closing the gap between the theory and practice of teaching: Implications for teacher education programmes in Hong Kong, Journal of Education for Teaching, 36, 1, pp. 91-104, (2010); Cheung R.H.P., Teacher-directed versus child-centred: The challenge of promoting creativity in Chinese preschool classrooms, Pedagogy Culture & Society, 25, 1, pp. 73-86, (2017); Chung F.M.Y., Music and play in early childhood education: Teaching music in Hong Kong, China and the world, (2022); Kindergarten education curriculum guide, (2017); Davis E.A., Knowledge integration in science teaching: Analysing teachers’ knowledge development, Journal of Research in Science Teaching, 34, 1, pp. 21-53, (2004); Education bureau circular No. 7/2016, (2016); Farrell T.S.C., Professional development through reflective practice for English-medium instruction (EMI) teachers, International Journal of Bilingual Education and Bilingualism, 23, 3, pp. 277-286, (2020); Gamo J.A., Anatomy education‐paradigm shift from passive to active learning‐effects on student engagement, comprehension and retention: A review of literature from 2012 to 2022, FASEB Journal, 36, S1, (2022); Garvis S., What is going on in early years music planning? A study of early years teachers’ weekly plans, Australasian Journal of Early Childhood, 37, 2, pp. 122-126, (2012); Gifford E., The musical training of primary teachers: Old problems, new insights and possible solutions, British Journal of Music Education, 10, 1, pp. 33-46, (1993); Hallam S., Burnard P., Robertson A., Saleh C., Davies V., Rogers L., Kokatsaki D., Trainee primary-school teachers’ perceptions of their effectiveness in teaching music, Music Education Research, 11, 2, pp. 221-240, (2009); Haston W., Russell J.A., Turning into teachers: Influences of authentic context learning experiences on occupational identity development of preservice music teachers, Journal of Research in Music Education, 59, 4, pp. 369-392, (2012); Ho W.C., Globalization and localization in music education in Hong Kong and Taiwan, Comparative Education, 49, 2, pp. 163-180, (2013); Kim H.K., Kemple K.M., Is music an active developmental tool or simply a supplement? Early childhood preservice teachers’ beliefs about music, Journal of Early Childhood Teacher Education, 32, 2, pp. 135-147, (2011); Kong S.H., Xiong X., Bridging the music education gap: Investigating perspectives of pre-service early childhood educators, (2023); Lau C., Rao N., Early childhood education in Hong Kong, Handbook of international perspectives on early childhood education, pp. 149-161, (2018); Lau W.C.M., Grieshaber S., School-based integrated curriculum: An integrated music approach in one Hong Kong kindergarten, British Journal of Music Education, 35, 2, pp. 133-152, (2018); Lee J.C.K., Teacher education in Hong Kong: Status, contemporary issues and prospects, Preparing teachers for the 21st century, pp. 171-187, (2013); Marks R., Pedagogical content knowledge: From a mathematical case to a modified conception, Journal of Teacher Education, 41, 3, pp. 3-11, (1990); Min W.Y., Mansor R., Samsudin S., Facilitating reflective practice in teacher education: An analysis of student teachers’ level of reflection during teacher clinical experience, The International Journal of Academic Research in Business & Social Sciences, 7, pp. 599-612, (2017); Miranda M.L., The implications of developmentally appropriate practice for the kindergarten general music classroom, Journal of Research in Music Education, 52, 1, pp. 43-63, (2004); Ng S.S.N., Sun J., Lau C., Rao N., Early childhood education in Hong Kong: Progress, challenges, and opportunities, Early childhood education in Chinese societies, 19, pp. 147-169, (2017); Nilsson P., Vikstrom A., Making PCK explicit: Capturing science teachers´changing pedagogical content knowledge (PCK) in the science classroom, International Journal of Science Education, 37, 17, (2015); Rajan R.S., Preschool teachers’ use of music in the classroom: A survey of park district preschool programs, Journal of Music Teacher Education, 27, 1, pp. 89-102, (2017); Ritchie L., Williamon A., Measuring distinct types of musical self-efficacy, Psychology of Music, 39, 3, pp. 328-344, (2011); Russell T., One teacher educator’s strategies for encouraging reflective practice, Frontiers in Education (Lausanne), 7, (2022); Russell-Bowie D., What me? Teach music to my primary class? Challenges to teaching music in primary schools in five countries, Music Education Research, 11, 1, pp. 23-36, (2009); Shannon K.D.L.E., An in-service training program in music for child-care personnel working with infants and toddlers, Journal of Research in Music Education, 49, 1, pp. 6-20, (2001); Shulman L.S., Those who understand: Knowledge growth in teaching, Educational Researcher, 15, 2, pp. 4-14, (1986); Shulman L.S., Knowledge and teaching: Foundations of the new reform, Teaching as community property: Essays on higher education, 57, pp. 1-22, (1987); Shulman L.S., Learning to teach, Teaching as community property: Essays on higher education, pp. 116-125, (1987); Sinding C., Aronson J., Exposing failures, unsettling accommodations: Tensions in interview practice, Qualitative Research, 3, 1, pp. 95-117, (2003); Tomlinson C.A., Classroom-based professional learning, Educational Leadership, 71, 8, pp. 90-91, (2014); Report of the review group on Hong Kong Institute of Education’s development blueprint, (2009); Welch G.F., The challenge of ensuring effective early years music education by non-specialists, Early Child Development & Care, 191, 12, pp. 1972-1984, (2021); Xu Z., Zhou X., Watts J., Kogut A., The effect of student engagement strategies in online instruction for data management skills, Education and Information Technologies, 28, 8, pp. 10267-10284, (2023); Young V., Teacher development in music, Issues in music teaching, pp. 209-223, (2001); Zimmerman E., Zimmerman L., Art education and early childhood education: The young child as creator and meaning maker within a community context, Young Children, 55, 6, pp. 87-92, (2000)","S.-H. Kong; The Department of Early Childhood Education, The Education University of Hong Kong, 10 Lo Ping Road, Tai Po, New Territories, Hong Kong; email: shkong@eduhk.hk","","Routledge","","","","","","10901027","","","","English","J. Early Child. Teach. Edu.","Article","Final","","Scopus","2-s2.0-105001971958"
"Spears A.","Spears, Amy (57202957727)","57202957727","Inside Eight Musical Futures Classrooms: What I Learned","2024","Music Educators Journal","111","2","","35","41","6","0","10.1177/00274321241301351","https://www.scopus.com/inward/record.uri?eid=2-s2.0-105003971727&doi=10.1177%2f00274321241301351&partnerID=40&md5=d8bae23bfa39d9e9c53bc4c47e91221e","","","This article describes how I, an American music teacher educator, visited the classrooms of eight Musical Futures Champion Teachers in the United Kingdom and observed their teaching with a focus on informal music learning and nonformal teaching. Musical Futures, a professional development organization in the UK, is the original organization that implemented Lucy Green’s research on informal music learning and moved it into the music classroom. Through observation of these Musical Futures teachers’ classes, I understood what informal learning and nonformal teaching currently look like in practice and how they are implemented. I witnessed how Green’s work directly impacts their teaching philosophies, the processes and pedagogies they implement, and the resources they employ in the classroom. © 2024 National Association for Music Education.","composition; culturally responsive teaching; informal music learning; listening; nonformal music teaching; performance; popular music pedagogy","","","","","","","","Music L.G., Informal Learning and the School: A New Classroom Pedagogy, (2008); Allsup R., Creating an Educational Framework for Popular Music in Public Schools: Anticipating the Second Wave,” in “Beyond Lucy Green: Operationalizing Theories of Informal Music Learning,” special issue, Visions of Research in Music, Education, 12, (2008); Davis S., Fostering A Musical Say: Enabling Meaning Making and Investment in a Band Class by Connecting to Students’ Informal Music Learning Processes”, (2008); Feichas H., Bridging the Gap: Informal Learning Practices as a Pedagogy of Integration, British Journal of Music Education, 27, 1, pp. 47-58, (2010); Finney J., Philpott C., Informal Learning and Meta-pedagogy in Initial Teacher Education in England, British Journal of Music Education, 27, 1, pp. 7-19, (2010); The Music Curriculum as Lived Experience: Children’s ‘Natural’ Music-Learning Processes, Music Educators Journal, 91, 4, pp. 27-32, (2005); Hess J., Finding the “‘Both/And’: Balancing Informal and Formal Music Learning, International Journal of Music Education, 38, 3, pp. 441-455, (2020); What Is Musical Futures?; Amore A.D.'., Musical Futures: An Approach to Teaching and Learning, (2006); D'Amore, Musical Futures; Ng A.S.H.H., Towards a Synthesis of Formal, Non-formal and Informal Pedagogies in Popular Music Learning, Research Studies in Music Education, 42, 1, pp. 56-76, (2020); Our Approach, Musical Futures; GCSE Music: Specifications at a Glance, Questions Matter; Musical Futures, “Our Approach.”","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-105003971727"
"Zhu J.","Zhu, Jierong (57270561900)","57270561900","The significance of musical educational interactive technologies for the development of performance and memory in preschool children: The role of pedagogical-parental relationships","2024","Education and Information Technologies","29","11","","13993","14014","21","0","10.1007/s10639-023-12404-1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85180847614&doi=10.1007%2fs10639-023-12404-1&partnerID=40&md5=cc4bad6238a12e7e1c335db631996464","Pre-school Education Institute, Fuzhou Preschool Education College, 99 Wang Anshi Avenue, Jiangxi Province, Fuzhou, China","Zhu J., Pre-school Education Institute, Fuzhou Preschool Education College, 99 Wang Anshi Avenue, Jiangxi Province, Fuzhou, China","Music contributes to the expansion of the outlook, memory training, and the development of children’s creative abilities. The main objective of the work is to determine the effectiveness of music education for preschool children through the use of modern technologies aimed at the development of the memory of students, taking into account the relationship between parents and teachers. The study relied on the methods of analysis and comparison, which contributed to the development of approaches to teaching preschoolers. The learning mechanisms were based on the development of musical hearing, sense of rhythm, technical aspects, and speech clarity. To implement the training, GNU Solfege, MUSIQUEST, LOOPIMAL, and Penxy were used. The study determined the preschoolers’ performance in Experimental Group 1 (EG1) (with parental involvement) and Experimental Group 2 (EG2) (without parental involvement). The findings suggested that 46% of members in EG1 and 12% of members in EG2 obtained strong knowledge after three months of study. After six months, the number of students with proficient knowledge increased to 83% and 21%, respectively. The increase in performance is associated with the development of practical skills, memorization of information, and the narrow focus of the used online learning applications. It was found that the training influenced the development of long-term memory in preschoolers of EG1 (0.98) and the development of short-term memory in students of EG2 (0.97). The paper’s practical implications are attributed to identifying the need for the implementation of preschool music education and the use of modern online music technology. © The Author(s), under exclusive licence to Springer Science+Business Media, LLC, part of Springer Nature 2023.","A good ear for music; A sense of rhythm; Creativity; Donald Kirkpatrick model; Long-term memory; Online technologies; Preschoolers","","","","","","","","Akgul A., An analysis on piano education in institutions training music teachers in the context of application, teaching experience and preschool period, Cypriot Journal of Educational Sciences, 17, 2, pp. 323-342, (2022); Akinci M.S., Pre-school teaching students’ opinions on distance education: Preferences and emotional states, Cypriot Journal of Educational Sciences, 16, 6, pp. 2901-2915, (2021); Alkaabi A.M., Abdallah A.K., Badwy H.R., Badawy H.R., Almammari S.A., Rethinking school principals leadership practices for an effective and inclusive education, Rethinking Inclusion and Transformation in Special Education, pp. 53-70, (2022); Andreopoulou A., Kotsani N., Dedousis G., Georgaki A., Evaluating the vocal characteristics of elementary school students: Basic assessment tools and methodology, Proceedings of Interaction Design and Children, pp. 216-223, (2021); Barrett J.S., Schachter R.E., Gilbert D., Fuerst M., Best practices for preschool music education: Supporting music-making throughout the day, Early Childhood Education Journal, 50, 3, pp. 385-397, (2022); Bautista A., Moreno-Nunez A., Bull R., Amsah F., Koh S., Arts-related pedagogies in preschool education: An Asian perspective, Early Childhood Research Quarterly, 45, pp. 277-288, (2018); Beck S.L., Rieser J., Non-random acts of kindness: Joint music making increases preschoolers’ helping and sharing with an adult, Psychology of Music, 50, 1, pp. 17-33, (2022); Boyakova E.V., Quality management of music education in modern kindergarten: Educational expectations of families, Quality – Access to Success, 19, 163, pp. 60-64, (2018); Bremmer M., Where’s the body? 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Study based on a questionnaire, Revista Electronica De LEEME, 44, pp. 1-23, (2019); Niland A., Singing and playing with friends: Musical identities and peer cultures in early years settings, International Perspectives on Early Childhood Education and Development, 27, pp. 21-37, (2019); Pance B.R., Pucihar A.K., The features of individual instruction in Slovenian music schools, Sodobna Pedagogika/Journal of Contemporary Educational Studies, 70, 4, pp. 70-90, (2019); Rucsanda M.D., Cazan A.M., Truta C., Musical performance and emotions in children: The case of musical competitions, Psychology of Music, 48, 4, pp. 480-494, (2020); Ruokonen I., Tervaniemi M., Reunamo J., The significance of music in early childhood education and care of toddlers in Finland: An extensive observational study, Music Education Research, 23, 5, pp. 634-646, (2021); Seckuviene H., Education of children gifted in music: Experience of teachers of Vilnius choir singing school liepaitės, Pedagogika, 115, 3, pp. 247-257, (2014); Steed E.A., Leech N., Shifting to remote learning during COVID-19: Differences for early childhood and early childhood special education teachers, Early Childhood Education Journal, 49, 5, pp. 789-798, (2021); Svec C.L., The effects of instruction on the singing ability of children ages 5 to 11: A meta-analysis, Psychology of Music, 46, 3, pp. 326-339, (2018); Xie Q., Mahomed A.S.B., Mohamed R., Subramaniam A., Investigating the relationship between usefulness and ease of use of living streaming with purchase intentions, Current Psychology, 42, pp. 26464-26476, (2023); Yang H., Ma W., Gong D., Hu J., Yao D., A longitudinal study on children’s music training experience and academic development, Scientific Reports, 4, (2014); Zapata G.P., Hargreaves D.J., The effects of musical activities on the self-esteem of displaced children in Colombia, Psychology of Music, 46, 4, pp. 540-550, (2018); Zhang J., The application of Orff’s music education method in college music teaching, ACM International Conference Proceeding Series, pp. 972-975, (2021); Zhang C., Li H., Adoption of artificial intelligence along with gesture interactive robot in musical perception education based on deep learning method, International Journal of Humanoid Robotics, 19, 3, (2022); Zurc J., Creating achievements of excellence in childhood: A play of ethics between maximum and balance, Annales-Anali Za Istrske in Mediteranske Studije – Series Historia Et Sociologia, 31, 4, pp. 683-698, (2021)","J. Zhu; Pre-school Education Institute, Fuzhou Preschool Education College, Fuzhou, 99 Wang Anshi Avenue, Jiangxi Province, China; email: jierongzhu@gmx.com","","Springer","","","","","","13602357","","","","English","Educ. Inf. Technol.","Article","Final","","Scopus","2-s2.0-85180847614"
"Perra J.; Poulin-Charronnat B.; Baccino T.; Bard P.; Pfister P.; Lalitte P.; Zerbib M.; Drai-Zerbib V.","Perra, Joris (57320461800); Poulin-Charronnat, Bénédicte (6508198391); Baccino, Thierry (6506451570); Bard, Patrick (56159840800); Pfister, Philippe (57206769930); Lalitte, Philippe (14017958700); Zerbib, Mélissa (59307496500); Drai-Zerbib, Véronique (8983377900)","57320461800; 6508198391; 6506451570; 56159840800; 57206769930; 14017958700; 59307496500; 8983377900","Markers of Musical Expertise in a Sight-Reading Task: An Eye-Tracking Study","2024","Journal of Experimental Psychology: Learning Memory and Cognition","51","3","","496","513","17","1","10.1037/xlm0001358","https://www.scopus.com/inward/record.uri?eid=2-s2.0-105002171391&doi=10.1037%2fxlm0001358&partnerID=40&md5=7a260e2cf72fd4b1ee3994157a590605","Laboratoire d’Étude de l’Apprentissage et du Développement, LEAD CNRS, UMR5022, Université de Bourgogne, France; Institut de Recherche en Musicologie, IReMus CNRS, UMR8223, Sorbonne Université, France; Département de Musicologie, Faculté de Musique, Université de Montréal, Canada","Perra J., Laboratoire d’Étude de l’Apprentissage et du Développement, LEAD CNRS, UMR5022, Université de Bourgogne, France; Poulin-Charronnat B., Laboratoire d’Étude de l’Apprentissage et du Développement, LEAD CNRS, UMR5022, Université de Bourgogne, France; Baccino T., Laboratoire d’Étude de l’Apprentissage et du Développement, LEAD CNRS, UMR5022, Université de Bourgogne, France; Bard P., Laboratoire d’Étude de l’Apprentissage et du Développement, LEAD CNRS, UMR5022, Université de Bourgogne, France; Pfister P., Laboratoire d’Étude de l’Apprentissage et du Développement, LEAD CNRS, UMR5022, Université de Bourgogne, France; Lalitte P., Institut de Recherche en Musicologie, IReMus CNRS, UMR8223, Sorbonne Université, France; Zerbib M., Département de Musicologie, Faculté de Musique, Université de Montréal, Canada; Drai-Zerbib V., Laboratoire d’Étude de l’Apprentissage et du Développement, LEAD CNRS, UMR5022, Université de Bourgogne, France","Classical music pianists of five different conservatory levels, from undergraduate to professional, were tested on a sight-reading task with eye-movement recording. They had to sight read both tonal classical scores that followed the rules specific to Western tonal music, and atonal contemporary scores, which do not follow these rules. This study aimed at determining the extent to which eye movements and musical performance metrics can account for the level of sight-reading expertise. First, the results indicated that with the acquisition of expertise, musicians process visual information more rapidly (increasing their played tempo while decreasing average fixation duration and their number of fixations), more structurally (tending to increase their eye–hand span), and more accurately (increasing their sight-reading accuracy). Second, when they sight read contemporary scores compared to classical scores, musicians decreased their played tempo, tended to be less accurate, increased their number of fixations, and tended to decrease their eye–hand span. Finally, expertise effects were moderated by the type of score. These results suggest (a) that visual perception is progressively shaped through music reading expertise and through domain-specific knowledge acquisition, (b) that tonal-specific cues play a significant role to use an efficient eye-movement behavior and (c) that the benefit conferred by expert prior music-specific knowledge seems to be even greater for sight-reading tonal rather than atonal scores. Our findings are discussed in the light of expert memory theories (long-term working memory theory; Ericsson & Kintsch, 1995; template theory, Gobet & Simon, 1996). © 2024 American Psychological Association","domain-specific knowledge; expertise; eye movements; perceptual span","Adolescent; Adult; Eye Movements; Eye-Tracking Technology; Female; Humans; Male; Music; Professional Competence; Reading; Visual Perception; Young Adult; adolescent; adult; eye movement; eye-tracking technology; female; human; male; music; physiology; professional competence; reading; vision; young adult","","","","","Agence Nationale de la Recherche, ANR, (ANR-18-CE38-0006-0); Agence Nationale de la Recherche, ANR; Direction Régionale des Affaires Culturelles of Paris, (75013, 75011); Conservatoire du Grand-Chalon, (71100)","This work was supported by the French Agence Nationale de la Recherche (ANR JCJC MUREA project, Grant ANR-18-CE38-0006-0). 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Drai-Zerbib; Laboratoire d’Étude de l’Apprentissage et du Développement, LEAD CNRS, UMR5022, Université de Bourgogne, Dijon, 21000, France; email: Veronique.Drai-Zerbib@u-bourgogne.fr","","American Psychological Association","","","","","","02787393","","JPHMD","39052391","English","J. Exp. Psychol. Learn. Mem. Cogn.","Article","Final","","Scopus","2-s2.0-105002171391"
"Mathias T.; Goldman A.","Mathias, Thomas (58976481000); Goldman, Andrew (57202893803)","58976481000; 57202893803","How Does Increasing Contextual Interference in a Musical Practice Session Affect Acquisition and Retention?","2025","Journal of Research in Music Education","72","4","","357","375","18","0","10.1177/00224294231222801","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85189799328&doi=10.1177%2f00224294231222801&partnerID=40&md5=b18cab1b4596111f173c49b56f53275d","Indiana University, Bloomington, IN, United States","Mathias T., Indiana University, Bloomington, IN, United States; Goldman A., Indiana University, Bloomington, IN, United States","The purpose of this study was to investigate the effect of three schedules of practice on high-level violinists’ learning. The contextual interference (CI) effect occurs when two or more tasks are practiced in an interleaved manner, which has been shown to impair initial learning but improve retention. How a musician alternates between tasks during practice can have a great impact on learning. This study was designed to explore how an increasing schedule of CI within a practice session would compare to the traditional blocked and random schedules. Sport research has shown a dynamically adaptive schedule to be advantageous, yet this area is relatively unexplored in music. Twenty advanced violinists at a music school practiced three sets of musical excerpts under three practice schedule conditions: blocked (pieces practiced one at a time), increasing contextual interference (blocked and then random), and interleaved (pieces randomly alternating). Recordings were taken at the stages of sight-reading, acquisition (immediately after practice sessions), and retention (24 hours later). Expert ratings of each musician’s recordings revealed no effect at the acquisition stage. However, at the delayed retention test, the blocked condition proved to be most effective. Fifty percent of participants perceived blocked practice to be the most effective. © National Association for Music Education 2024.","contextual interference; interleaved; learning; practice; retention","","","","","","","","Albaret J.M., Thon B., Differential effects of task complexity on contextual interference in a drawing task, Acta Psychologica, 100, pp. 9-24, (1998); Bjork R.A., Memory and metamemory considerations in the training of human beings, Metacognition: Knowing about knowing, pp. 185-205, (1994); Bjork R.A., Assessing our own competence: Heuristics and illusions, Attention and performance XVII. 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Mathias; Indiana University Jacobs School of Music, Bloomington, 1201 E 3rd St., 47405, United States; email: tsmathias96@gmail.com","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-85189799328"
"Liao Y.-C.; Yang C.-J.; Yu H.-Y.; Huang C.-J.; Hong T.-Y.; Li W.-C.; Chen L.-F.; Hsieh J.-C.","Liao, Yin-Chun (58631027600); Yang, Ching-Ju (57192890640); Yu, Hsin-Yen (57209174671); Huang, Chiu-Jung (58909357100); Hong, Tzu-Yi (57213604204); Li, Wei-Chi (56471058900); Chen, Li-Fen (57154875900); Hsieh, Jen-Chuen (7401435679)","58631027600; 57192890640; 57209174671; 58909357100; 57213604204; 56471058900; 57154875900; 7401435679","The rhythmic mind: brain functions of percussionists in improvisation","2024","Frontiers in Human Neuroscience","18","","1418727","","","","0","10.3389/fnhum.2024.1418727","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85200679176&doi=10.3389%2ffnhum.2024.1418727&partnerID=40&md5=342a9b693b4403b312103b99461052b6","Institute of Brain Science, National Yang Ming Chiao Tung University, Taipei, Taiwan; Integrated Brain Research Unit, Department of Medical Research, Taipei Veterans General Hospital, Taipei, Taiwan; Department of Biological Science and Technology, College of Biological Science and Technology, National Yang Ming Chiao Tung University, Hsinchu, Taiwan; Graduate Institute of Arts and Humanities Education, Taipei National University of the Arts, Taipei, Taiwan; Center for Intelligent Drug Systems and Smart Bio-devices, National Yang Ming Chiao Tung University, Hsinchu, Taiwan; Brain Research Center, National Yang Ming Chiao Tung University, Taipei, Taiwan","Liao Y.-C., Institute of Brain Science, National Yang Ming Chiao Tung University, Taipei, Taiwan, Integrated Brain Research Unit, Department of Medical Research, Taipei Veterans General Hospital, Taipei, Taiwan; Yang C.-J., Institute of Brain Science, National Yang Ming Chiao Tung University, Taipei, Taiwan, Integrated Brain Research Unit, Department of Medical Research, Taipei Veterans General Hospital, Taipei, Taiwan, Department of Biological Science and Technology, College of Biological Science and Technology, National Yang Ming Chiao Tung University, Hsinchu, Taiwan; Yu H.-Y., Graduate Institute of Arts and Humanities Education, Taipei National University of the Arts, Taipei, Taiwan; Huang C.-J., Institute of Brain Science, National Yang Ming Chiao Tung University, Taipei, Taiwan; Hong T.-Y., Institute of Brain Science, National Yang Ming Chiao Tung University, Taipei, Taiwan, Integrated Brain Research Unit, Department of Medical Research, Taipei Veterans General Hospital, Taipei, Taiwan, Center for Intelligent Drug Systems and Smart Bio-devices, National Yang Ming Chiao Tung University, Hsinchu, Taiwan; Li W.-C., Institute of Brain Science, National Yang Ming Chiao Tung University, Taipei, Taiwan, Integrated Brain Research Unit, Department of Medical Research, Taipei Veterans General Hospital, Taipei, Taiwan, Department of Biological Science and Technology, College of Biological Science and Technology, National Yang Ming Chiao Tung University, Hsinchu, Taiwan; Chen L.-F., Institute of Brain Science, National Yang Ming Chiao Tung University, Taipei, Taiwan, Integrated Brain Research Unit, Department of Medical Research, Taipei Veterans General Hospital, Taipei, Taiwan, Brain Research Center, National Yang Ming Chiao Tung University, Taipei, Taiwan; Hsieh J.-C., Integrated Brain Research Unit, Department of Medical Research, Taipei Veterans General Hospital, Taipei, Taiwan, Department of Biological Science and Technology, College of Biological Science and Technology, National Yang Ming Chiao Tung University, Hsinchu, Taiwan, Center for Intelligent Drug Systems and Smart Bio-devices, National Yang Ming Chiao Tung University, Hsinchu, Taiwan, Brain Research Center, National Yang Ming Chiao Tung University, Taipei, Taiwan","Introduction: Percussionists stand out for their expertise in rhythm, with the network for musical rhythm (NMR) serving a vital neurological function in their improvisation, which is deeply rooted in comprehensive musical knowledge. Our research examines the central representations of various improvisation tactics used by percussionists and investigates the interactions between the NMR and other relevant neural networks. Methods: Twenty-five percussionists participated in functional magnetic resonance imaging (fMRI) sessions, which included two cognitive strategies of improvisation. Structural improvisation (SIMP) emphasized rhythmic patterns, while free improvisation (FIMP) focused on musical spontaneity. Sight-reading scenario served as the reference condition. Paired t-tests were utilized for comparative analyses. Results: The findings revealed a dynamic interplay characterized by increased activity in the executive control network and NMR, along with decreased activity in the default mode network during SIMP. During FIMP, heightened activity was observed in the executive control network, NMR, limbic, and memory systems. In both SIMP vs. sight-reading and FIMP vs. sight-reading comparisons, the visual network’s activity decreased, a trend also observed in the comparative analysis of FIMP vs. SIMP. Discussion: In SIMP, percussionists leverage external rhythmic signals, resulting in heightened NMR and ECN activity and reduced DMN activity. In contrast, FIMP is characterized by a rise in activity within the NMR, ECN, limbic system, memory system, and reward system, underscoring the vital roles of motivation and memory in the rapid production of spontaneous musical ideas within set frameworks. The diminished activity in the visual network during FIMP compared to SIMP suggests less reliance on visual stimuli in FIMP. These findings suggest that various improvisational tactics may engage different neural pathways. Copyright © 2024 Liao, Yang, Yu, Huang, Hong, Li, Chen and Hsieh.","free improvisation; functional magnetic resonance imaging; network for musical rhythm; percussionists; structural improvisation","adult; article; brain function; cognition; default mode network; executive network; female; functional magnetic resonance imaging; human; limbic system; major clinical study; male; memory; nerve cell network; nerve tract; reward; visual network","","","","","Brain Research Center of National Yang Ming Chiao Tung University; ; National Science and Technology Council, NSTC; Ministry of Education, MOE; National Yang Ming Chiao Tung University; Ministry of Science and Technology, Taiwan, MOST, (106-2218-E-010-004-MY3, 106-2420-H-010-005-, 105-2420-H-010-004-, 106-2410-H-010-003-, 106-2420-H-010-006-MY2)","The author(s) declare that financial support was received for the research, authorship, and/or publication of this article. This work was financially supported by the National Science and Technology Council (MOST 105-2420-H-010-004-, MOST 106-2420-H-010-006-MY2, MOST 106-2410-H-010-003-, MOST 106-2420-H-010-005-, and MOST 106-2218-E-010-004-MY3), Center for Intelligent Drug Systems and Smart Bio-devices (IDSB) and Brain Research Center of National Yang Ming Chiao Tung University from The Featured Areas Research Center Program within the framework of the Higher Education Sprout Project by the Ministry of Education (MOE) in Taiwan, and the Aim for the Top University Plan of the MOE for National Yang Ming Chiao Tung University. The funders had no role in the study design, data collection and analysis, decision to publish, or preparation of the manuscript. ","Akkal D., Dum R.P., Strick P.L., Supplementary motor area and presupplementary motor area: targets of basal ganglia and cerebellar output, J. 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Neurosci, 27, pp. 3799-3806, (2007); Sokolov A.A., Miall R.C., Ivry R.B., The cerebellum: adaptive prediction for movement and cognition, Trends Cogn. Sci, 21, pp. 313-332, (2017); Sridharan D., Levitin D.J., Menon V., A critical role for the right fronto-insular cortex in switching between central executive and DMN, PNAS, 105, pp. 12569-12574, (2008); Sulpizio V., Fattori P., Pitzalis S., Galletti C., Functional organization of the caudal part of the human superior parietal lobule, Neurosci. Biobehav. Rev, 153, (2023); Udden J., Bahlmann J., A rostro-caudal gradient of structured sequence processing in the left inferior frontal gyrus, Philos. Trans. R. Soc. B Biol. 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Sci, 1337, pp. 202-211, (2015); Zhan W., Konoike N., Kotozaki Y., Jeong H., Miyazaki A., Sakaki K., Et al., Temporal and motor representation of rhythm in Fronto-parietal cortical areas: an fMRI study, PLoS One, 10, (2015); Zhang Z., Liu L., Li Y., Tan T., Niki K., Luo J., The function of medial temporal lobe and posterior middle temporal gyrus in forming creative associations, Hippocampus 30, 1257–1267. doi: 10.1002/hipo.23253, (2020)","J.-C. Hsieh; Integrated Brain Research Unit, Department of Medical Research, Taipei Veterans General Hospital, Taipei, Taiwan; email: jchsiehibru@nycu.edu.tw","","Frontiers Media SA","","","","","","16625161","","","","English","Front. Human Neurosci.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85200679176"
"Verneert F.; DE BISSCHOP A.; Nijs L.; DE BAETS T.","Verneert, Filip (57222717875); DE BISSCHOP, An (57215519849); Nijs, Luc (36462725900); DE BAETS, Thomas (57204802962)","57222717875; 57215519849; 36462725900; 57204802962","The pedagogical–artistic strategies of community music facilitators as an inspiration for formal music education: A single case study","2024","International Journal of Community Music","17","2","","161","180","19","1","10.1386/ijcm_00102_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85200656232&doi=10.1386%2fijcm_00102_1&partnerID=40&md5=adc517d32d18525a7fc26905e7afdab9","LUCA School of Arts, KU Leuven, Belgium; Ghent University, Belgium; University of Luxembourg, Luxembourg","Verneert F., LUCA School of Arts, KU Leuven, Belgium; DE BISSCHOP A., Ghent University, Belgium; Nijs L., University of Luxembourg, Luxembourg; DE BAETS T., LUCA School of Arts, KU Leuven, Belgium","In this article, we elaborate on the pedagogical–artistic strategies of a community music project and how they may inspire formal music educational practices. To do so, we draw on findings from a study on the pedagogical–artistic strategies of the musicians–coaches of The Ostend Street Orchestra (TOSO), a community music project that started as an artistic response towards the commotion around a group of homeless people in the coastal town of Ostend, Belgium. The pedagogical–artistic strategies adopted by the TOSO coaches foster the emergence of an educational approach that may have the potential to enrich music educational practices by creating a learning environment that is more democratic and inclusive. Data collection included in-depth semi-structured interviews with the TOSO coaches in 2017 and 2021, as well as video-stimulated recall. The interview data were analysed using thematic analysis. Seven themes emerged from our analysis: embodied interaction, co-coaching, re-thinking musical parameters, personal musical skills, collaboration, collective experiential learning and inclusion. We present the framework and rationale of the study, describe the pedagogical–artistic strategies of the coaches, and discuss the results. In conclusion, we briefly consider possibilities for further research and music teacher education. © 2024 Intellect Ltd.","collective free improvisation; community music facilitators; community music pedagogy; music education; musical improvisation; participatory music activities; teaching strategies","","","","","","LUCA; KU Leuven","This work was supported by LUCA School of Arts, KU Leuven.","Abramo J. M., Reynolds A., Pedagogical creativity as a framework for music teacher education, Journal of Music Teacher Education, 25, 1, pp. 37-51, (2015); Adams J., Room 13 and the contemporary practice of artist-learners, Studies in Art Education, 47, 1, pp. 23-33, (2015); Ballantyne J., Mills C., Promoting socially just and inclusive teacher education: Exploring perceptions of early career teachers, Research Studies in Music Education, 30, 1, pp. 77-91, (2008); Bartleet B.-L., Higgins L., The Oxford Handbook of Community Music, (2018); Ben-Tal O., Salazar D., Rethinking the musical ensemble: A model for collaborative learning in higher education music technology, Journal of Music, Technology & Education, 7, 3, pp. 279-294, (2014); Borgo D., Sync or Swarm, Revised Edition: Improvising Music in a Complex Age, (2022); Bremmer M., Nijs L., The role of the body in instrumental and vocal music pedagogy: A dynamical systems theory perspective on the music teacher’s bodily engagement in teaching and learning, Frontiers in Education, 5, (2020); Bumbuc S., About subjectivity in qualitative data interpretation, International Conference Knowledge-Based Organization, 22, 2, pp. 419-424, (2016); Camlin D., Zeserson K., Becoming a community musician: A situated approach to curriculum, content, and assessment, The Oxford Handbook of Community Music, pp. 711-733, (2018); Clarke V., Braun V., Thematic analysis, The Journal of Positive Psychology, 12, 3, pp. 297-298, (2017); Cote M., Day R., Peuter G., Utopian pedagogy: Creating radical alternatives in the neoliberal age, Review of Education, Pedagogy, and Cultural Studies, 29, 4, pp. 317-336, (2007); Croom A., Music practice and participation for psychological well-being: A review of how music influences positive emotion, engagement, relationships, meaning, and accomplishment, Musica Scientae, 19, 1, pp. 44-64, (2014); D'Amore A., Musical Futures: An Approach to Teaching and Learning, (2006); De Baets T., The music teacher in “on-the-spot” musical interactions: A practitioner research study, International Journal of Music Education, 40, 3, pp. 364-377, (2022); De bisschop A., Rutten K., Soetaert R., A case study in discourse analysis of community arts in cultural policy and the press, Comparative Literature and Culture, 13, (2011); De Jaegher H., Di Paolo E., Participatory sense-making: An enactive approach to social cognition, Phenomenology and the Cognitive Sciences, 6, 4, pp. 485-507, (2007); Despres J.-P., First-person, video-stimulated recall method for studying musical improvisation strategies, Research Studies in Music Education, 44, 1, pp. 34-51, (2022); Dylan Smith G., Silverman M., Eudaimonia: Perspectives for Music Learning, (2020); Englander M., Morley J., Phenomenological psychology and qualitative research, Phenomenology and the Cognitive Sciences, 22, 1, pp. 25-53, (2023); Folkestad G., Formal and informal learning situations or practices vs formal and informal ways of learning, British Journal of Music Education, 23, 2, pp. 135-145, (2006); Gande A., Kruse-Weber S., Addressing new challenges for a community music project in the context of higher music education: A conceptual framework, London Review of Education, 15, 3, pp. 372-387, (2017); Georgii-Hemming E., Westvall M., Music education – a personal matter? 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H., Towards a synthesis of formal, non-formal and informal pedagogies in popular music learning, Research Studies in Music Education, 42, 1, pp. 56-76, (2020); Parkes K. A., Daniel R., Using stimulated recall and reflection on action with music studio teachers in higher education, International Journal of Teaching and Learning in Higher Education, 35, 1, pp. 67-78, (2023); Sawyer K., Learning music from collaboration, International Journal of Educational Research, 47, 1, pp. 50-59, (2008); Schiavio A., van der Schyff D., Gande A., Kruse-Weber S., Negotiating individuality and collectivity in community music: A qualitative case study, Psychology of Music, 47, 5, pp. 706-721, (2019); Silverman M., Virtue ethics, care ethics, and the good life of teaching, Action, Criticism and Theory for Music Education, 11, 2, pp. 96-122, (2012); Sloboda J., Baker G., De bisschop A., Karttunen S., Mazzola A., Rojas J. S., Van Zijl A., Westerlund H., Zapata Restrepo G., Music for Social Impact, Finnish Journal of Music Education, 23, pp. 116-143, (2020); Sloboda J., Van Zijl A., De bisschop A., Music for social impact: Practitioners’ contexts, work and beliefs: Research introduction and survey results, Play Ground: The Social Impact of Music Making, (2022); Small C., Musicking: The Meanings of Performing and Listening, (1998); Smart T., Green L., Informal learning and musical performance, Musicians in the Making: Pathways to Creative Performance, pp. 108-125, (2017); Stijnen J., Nijs L., Van Petegem P., Instrument teachers’ practices, beliefs, and barriers regarding musical creativity: Exploring the creative process of interpretation, International Journal of Music Education, (2023); Stronge J., Qualities of Effective Teachers, (2018); Van Zijl A., De bisschop A., Layers and dynamics of social impact: Musicians’ perspectives on participatory music activities, Musicae Scientiae, 28, 2, pp. 348-364, (2023); Verneert F., Nijs L., De Baets T., A space for collaborative creativity: How collective improvising shapes a sense of belonging, Frontiers in Psychology, 12, (2021); Vougioukalou S., Dow R., Bradshaw L., Pallant T., Wellbeing and integration through community music: The role of improvisation in a music group of refugees, asylum seekers and local community members, Contemporary Music Review, 38, 5, pp. 533-548, (2019); Willingham L., Carruthers G., Community music in higher education, The Oxford Handbook of Community Music, pp. 595-616, (2018); Wright R., Envisioning real utopias in music education: Prospects, possibilities and impediments, Music Education Research, 21, 3, pp. 217-227, (2019); Zahorik J., Halbach A., Ehrle K., Molnar A., Teaching practices for smaller classes, Educational Leadership, 61, 1, pp. 75-77, (2003)","","","Intellect Ltd.","","","","","","17526299","","","","English","Int. J. Community Music","Article","Final","","Scopus","2-s2.0-85200656232"
"Ee T.S.","Ee, Tan Shzr (57195540385)","57195540385","UNEVEN WORLDS, NEW MINORITISATIONS, INTERSECTIONAL PRIVILEGE: QUESTIONING DIFFERENT KINDS OF ‘GLOBAL’ IN MUSICAL TRANSMISSION PROCESSES","2024","Asian-European Music Research Journal","13","","","13","24","11","1","10.30819/aemr.13-2","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85196352558&doi=10.30819%2faemr.13-2&partnerID=40&md5=50250960ec8bb823e230359fd767ba71","Music Department, EDI School of Performing and Digital Arts at Royal Holloway, University of London, United Kingdom","Ee T.S., Music Department, EDI School of Performing and Digital Arts at Royal Holloway, University of London, United Kingdom","This essay considers diverse applications of the term ‘global’ in higher education music pedagogies across unevenly calibrated playing fields in different classrooms beyond geo-cultural territories, and different geo-cultural voices within the same classroom. Particularly, I question motivations for selfcultivation and assumptions about cultural canons, as well as musical and educational doxa, from the perspectives of transnational East and Southeast Asian participants. Often, their encounters of an idealised ‘Global North’, ‘Global West’ or even ‘New Global Self’ can lead to surprising articulations and expectations superficially parsed as ‘politically conservative’ – due to both insufficient/uneven decolonisation and the presence of post-critical, post-decolonial pragmatics. In trying to find a common ground for meaningful conversations between parties whose education journeys have been wildly different and unequally made, I push for grounded and co-curated learnings via intersubjective interrogations of how diverse lived experiences, structural privileges and conscious investment in one’s own personal development can lead to the same shared musical moment in the classroom. I look for collective and caresensitive extrapolations from these shared moments into broader insights on deconstructing systemic difference, commonality and intersectionality in empathetic and community-centred ways. © 2024, Logos Verlag Berlin GmbH. All rights reserved.","global inequalities; Global music history; inclusion; music education; uneven decolonisation","","","","","","","","Araujo Samuel, From Neutrality to Praxis: The Shifting Politics of Ethnomusicology in the Contemporary World, Ethnomusicology: A Contemporary Reader, II, pp. 67-79, (2017); Blaschke Lisa Marie, Heutagogy and Lifelong Learning: A Review of Heutagogical Practice and Self-determined Learning, The International Review of Research in Open and Distributed Learning, 13, 1, pp. 56-71, (2012); Campbell Patricia, Lum Chee Hoo, World Music Pedagogy, Volume VI: School Community Intersections, (2019); Shelby Chan, Identity and Theatre Translation in Hong Kong, (2015); Kuan-Hsing Chen, Asia as Method: Toward Deimperialization, (2010); Huat Chua Beng, Consumption in Asia, (2000); Diamond Beverley, Branco Salwa El-Shawan Castelo, Transforming Ethnomusicology. Volume I: Methodologies, Institutional Structures, and Policies, (2021); Gilroy Paul, The Black Atlantic: Modernity and Double Consciousness, (1993); Hilder Thomas, Pedagogical Experiments in the Musical Classroom, (2020); Hong Cathy Park, Minor Feelings: An Asian American Reckoning, (2020); Koichi Iwabuchi, Recentering Globalization, (2002); McClary Susan, Reading Music: Selected Essays, (2007); Nettl Bruno, The Study of Ethnomusicology: Thirty-one Issues and Concepts, (2010); Thiong'o Ngugi Wa, Decolonising the Mind: The Politics of Language in African Literature, (1992); Rheingold Howard, The Peeragogy Handbook, (2014); Stobart Henry, The New (Ethno) Musicologies, (2008); Ee Tan Shzr, Whose Decolonisation? Checking for Intersectionality, Lane Policing and Academic Privilege from a Transnational (Chinese) Vantagepoint, Ethnomusicology Forum, 30, 1, pp. 140-162, (2021); Ee Tan Shzr, Cultural Anxieties, Aspirational Cosmopolitanism and Capacity Building: Music Criticism in Singapore, The Cambridge History of Music Criticism, pp. 542-576, (2019); Beng Tan Sooi, Engaged Activist Research. Transforming Ethnomusicology Volume I: Methodologies, Institutional Structures, and Policies, pp. 131-150, (2021); Yang Mina, Planet Beethoven: Classical Music at the Turn of the Millennium, (2014); Yunkaporta Tyson, Aboriginal Pedagogies at the Cultural Interface, (2009); Kawabata Mai, Ee Tan Shzr, Cultural Imperialism and The New Yellow Peril in Western Classical Music: a Study Day Report, Asian-European Music Research Journal, 4, pp. 87-98, (2019); Kruger Simone, Experiencing Ethnomusicology: Teaching and Learning in European Universities, (2017)","T.S. Ee; Music Department, EDI School of Performing and Digital Arts at Royal Holloway, University of London, United Kingdom; email: shzree.tan@rhul.ac.uk","","Logos Verlag Berlin GmbH","","","","","","27012689","","","","English","Asian-European Music Res. J.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85196352558"
"Rexhepi F.G.; Breznica R.K.; Luzha B.; Mehmedi L.","Rexhepi, Flutura Gagica (58995768700); Breznica, Rreze Kryeziu (59454910500); Luzha, Besa (26034133200); Mehmedi, Lulzim (59208419000)","58995768700; 59454910500; 26034133200; 59208419000","Key historical periods in the development of music pedagogy: Analysis and overview; [Основні історичні періоди розвитку музичної педагогіки: Аналіз та огляд]","2024","Scientific Herald of Uzhhorod University. Series Physics","","55","","2865","2876","11","0","10.54919/physics/55.2024.286mk5","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85197742369&doi=10.54919%2fphysics%2f55.2024.286mk5&partnerID=40&md5=2382835c78a65ce62b9ef93a7354e16b","UBT College, 56 Rexhep Krasniqi Str., Pristina, 10000, Serbia; University of Prishtina, 31 George Bush Str., Pristina, 10000, Serbia; University of Tetova, Ilinden Str., Tetova, 1200, North Macedonia","Rexhepi F.G., UBT College, 56 Rexhep Krasniqi Str., Pristina, 10000, Serbia; Breznica R.K., University of Prishtina, 31 George Bush Str., Pristina, 10000, Serbia; Luzha B., University of Prishtina, 31 George Bush Str., Pristina, 10000, Serbia; Mehmedi L., University of Tetova, Ilinden Str., Tetova, 1200, North Macedonia","Relevance. The research relevance of a comprehensive modern music pedagogy history analysis is determined by the need to comprehend and creatively use the accumulated experience to improve the theory and practice of music education in the context of new challenges and priorities of the 21st century. Purpose. The study aims to identify the main trends and regularities in the development of music pedagogy in key historical epochs and determine their impact on the current state and prospects of music education in Kosovo. Methodology. The methods of historical-genetic, historical-comparative, historical-typological, historical-systemic analysis, induction, deduction, axiological and structural-functional approaches were employed in the study. Results. The key stages of the development of European music pedagogy - antiquity, Middle Ages, Renaissance, Baroque, Enlightenment, classicism, romanticism - are identified and characterised. The main trends in the development of music education in Kosovo in the XX-XXI centuries are traced. It is shown that each era made a unique contribution to the formation of the theory and practice of music pedagogy, reflecting the philosophical and aesthetic ideas, sociocultural conditions and needs of musical practice of their time. It is established that modern music pedagogy should creatively rethink and adapt historical approaches and methods in the context of new educational realities and tasks. The development of Kosovo music pedagogy requires the development of progressive ideas of world musical and pedagogical thought in combination with reliance on original national traditions. Conclusions. The theoretical significance of the study is in the conceptualisation of the history of music pedagogy as a dynamic and socio-culturally determined field. Practical significance lies in the possibility of using the materials for the modernisation of music education, considering the historical experience and modern trends. The prospects for further development of the history of music pedagogy in connection with the tasks of improving the system of music education in Kosovo are outlined. Copyright © The Author(s).","ancient educational tradition; prominent pedagogical innovators; renaissance culture of learning; sociocultural factors of education development; sociological aspects of art education","","","","","","","","Perkola K., Narrative observation about music institutionalization through music educational institutions in Kosovo (1948-2020), Rast Music J, 11, 4, pp. 529-547, (2023); Kryeziu Breznica R., Art music of Albanians in Kosovo: First steps towards initiation and development phase division, Rast Music J, 11, 1, pp. 1-29, (2023); Perkola K., Music and politics in Kosovo: Three lives of the city symphony orchestra in Prishtina, 1950-2020, Int Rev Aesthet Sociol Music, 54, 2, pp. 323-356, (2023); Bresler L., Qualitative paradigms in music education research, Visio Res Music Educ, 16, (2021); Szucs T, Juhasz E., The role of music education in childhood, Acta Educ General, 13, 2, pp. 30-49, (2023); Bizhga D., The influence of folklore on the cultivated Albanian music of the XX Century, Euro J Multidiscip Stud, 5, 3, pp. 47-55, (2020); Harper-Scott JPE., The event of music history, (2021); Spitzer M., A history of emotion in Western music: A thousand years from chant to pop, (2020); Taylor TD., Music and capitalism: A history of the present, (2015); Semi M., A (global) history of what? 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Chepurna O, Shton I, Kholin V, Voytsehovich V, Popov V, Pavlov S, Gamaleia N, Wojcik W, Zhassandykyzy M., Photodynamic therapy with laser scanning mode of tumor irradiation, Proceed SPIE-Int Soc Optic Engin, 9816, (2015); Spytska L., Inheritance of power in the XXI century: legal mechanisms for the transfer of presidential powers to controlled viceroys and family members in authoritarian regimes, Law Justice J, 37, 2, pp. 178-206, (2023); Chulenbayeva L, Ilderbayev O, Suleymeneva D, Kaliyeva A, Kabdykanov S, Nurgaziyev M, Nurgozhina A, Sergazy S, Kozhakhmetov S, Kushugulova A., Prolonged Inhalation Exposure to Coal Dust on Irradiated Rats and Consequences, Sci World J, 2022, (2022); Ainagulova G, Bulgakova O, Ilderbayev O, Manekenova K, Tatayeva R, Bersimbaev R., Molecular and immunological changes in blood of rats exposed to various doses of asbestos dust, Cytok, 159, (2022); Nemoshkalenko VV, Borisenko SV, Uvarov VN, Yaresko AN, Vakhney AG, Senkevich AI, Borisenko TN, Borisenko VD., Electronic structure of the R2Ti2O7 (R =S m-Er, Yb, Lu) oxides, Phys Rev B - Cond Matter Mater Phys, 63, 7, (2001); Rotshtein AP, Rakytyanska HB., Diagnosis problem solving using fuzzy relations, IEEE Transact Fuzzy Syst, 16, 3, pp. 664-675, (2008); Chulenbayeva L, Ilderbayev O, Taldykbayev Z, Ilderbayeva G, Argynbekova A., Phytocorrection of immunological and biochemical changes in the combined impact of coal dust and high dose of radiation, Georg Med News, pp. 141-150, (2018); Tapbergenov SO, Zhetpisbaev BA, Ilderbayev OZ, Zhetpisbaeva HS, Olzhayeva RR, Prozor II, Usenova OA, Ilderbayeva GO., Free radical oxidation in rats in the delayed period after combined exposure to dust and radiation, Bull Exper Biol Med, 154, 6, pp. 747-749, (2013); Svyatova GS, Abil'dinova GZ, Berezina GM., Results of a cytogenetic study of populations with different radiation risks in the Semipalatinsk region, Genet, 38, 3, pp. 376-382, (2002); Spytska L., Assessment of the Political and Security Decisions of the Nuremberg Trials from a Legal Perspective, Pakistan J Criminol, 15, 1, pp. 63-76, (2023); Spytska L., Criminal Prosecution as a Tool of Political Pressure on Opposition Forces by Authoritarian Regimes: From the Origins to the Present, Pakistan J Criminol, 15, 2, pp. 259-274, (2023); Krasilenko VG, Nikolsky AI, Zaitsev AV, Voloshin VV., Optical pattern recognition algorithms on neural-logic equivalental models and demonstration of their prospectiveness and possible implementations, Proceed SPIE-Int Soc Optic Engin, 4387, pp. 247-260, (2001); Suatbayeva R, Toguzbayeva D, Taukeleva S, Mukanova Z, Sadykov M., Speech perception and parameters of speech audiometry after hearing aid: Systematic review and meta-analysis, Electr J Gen Med, 21, 1, (2024)","","","Uzhhorod National University","","","","","","24158038","","","","English","Sci. Her. Uzhhorod. Univ. Ser. Phys.","Article","Final","","Scopus","2-s2.0-85197742369"
"Zhi G.X.; Thoe N.K.","Zhi, Guan Xing (59133003200); Thoe, Ng Khar (59718968300)","59133003200; 59718968300","HARMONIZING TECHNOLOGY AND TRADITION: THE IMPACT OF BLENDED TEACHING IN CHINESE PRIMARY AND SECONDARY MUSIC EDUCATION; [HARMONIZANDO TECNOLOGIA E TRADIÇÃO: O IMPACTO DO ENSINO COMBINADO NA EDUCAÇÃO MUSICAL PRIMÁRIA E SECUNDÁRIA EM CHINÊS]","2024","Revista de Gestao Social e Ambiental","18","4","e05031","","","","4","10.24857/rgsa.v18n4-098","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85193486414&doi=10.24857%2frgsa.v18n4-098&partnerID=40&md5=0ae94e0206f939b05f0a05aa6066a148","UCSI University, Kuala Lumpur, Malaysia; Albukhary International University (AIU), Alor Setar, Malaysia","Zhi G.X., UCSI University, Kuala Lumpur, Malaysia; Thoe N.K., Albukhary International University (AIU), Alor Setar, Malaysia","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. © 2024 ANPAD - Associacao Nacional de Pos-Graduacao e Pesquisa em Administracao. All rights reserved.","Blended Learning; Digital Education; Educational Integration; Elementary and Secondary Music Education","","","","","","","","Adinda D., Mohib N., Teaching and Instructional Design Approaches to Enhance Students’ Self-Directed Learning in Blended Learning Environments, Electronic Journal of E-Learning, 18, 2, (2020); Agustina A. N., Blended Learning Models to Improve Student Learning Outcomes During the Covid-19 Pandemic, KnE Life Sciences, pp. 228-239, (2021); Allsup R. E., Remixing the Classroom: Toward an Open Philosophy of Music Education, JSTOR, (2016); Ashraf M. 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Education Sciences, 8, 2, pp. 24-30, (2016); del, Eugenio E., -Retamozo N., Eduardo W., Emotional Competencies and Teaching Practice in the Reopening of Peruvian Schools After the COVID-19 Pandemic, RGSA: Revista de Gestão Social E Ambiental, 17, 4, pp. e03465-e03465, (2023); Castro R., Blended learning in higher education: Trends and capabilities, Education and Information Technologies, 24, 4, pp. 2523-2546, (2019); Castro R., Blended learning in higher education: Trends and capabilities, Education and Information Technologies, 24, 4, pp. 2523-2546, (2019); Cherry K., Gardner’s Theory of Multiple Intelligences, (2023); Chowdhury M. K., Behak F. B. 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A. H., Blended Learning Pedagogical Practices: The Challenges to Cultivate New Ways of Teaching in Higher Education Institutions and Universities, International Journal of Engineering and Advanced Technology, 9, 1, pp. 4178-4184, (2019); Zhang H., Problems In China’s College Music Teaching in Recent Years, International Journal of Management and Education in Human Development 20212 Issue, pp. 458-460, (2022); Zhang Q., Goodman M., Xie S., Integrating Library Instruction into the Course Management System for a First-Year Engineering Class: An Evidence-Based Study Measuring the Effectiveness of Blended Learning on Students’ Information Literacy Levels, College & Research Libraries, 76, 7, pp. 934-958, (2015); Zubkov A. D., MOOCs in Blended English Teaching and Learning for Students of Technical Curricula, Integrating Engineering Education and Humanities for Global Intercultural Perspectives, pp. 539-546, (2020)","","","ANPAD - Associacao Nacional de Pos-Graduacao e Pesquisa em Administracao","","","","","","1981982X","","","","English","Rev. Gestao Soc. Ambient.","Article","Final","All Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85193486414"
"Shlyakhova S.S.; Yarmukhametov N.V.","Shlyakhova, Svetlana S. (55934110900); Yarmukhametov, Nikita V. (58978022000)","55934110900; 58978022000","EMOTIONAL PERCEPTION OF MUSIC IN A MULTIMODAL MESSAGE: GENERATION Z PILOT STUDY; [ЭМОЦИОНАЛЬНОЕ ВОСПРИЯТИЕ МУЗЫКИ В МУЛЬТИМОДАЛЬНОМ СООБЩЕНИИ: ЭКСПЕРИМЕНТАЛЬНОЕ ИССЛЕДОВАНИЕ ПОКОЛЕНИЯ Z]","2023","Musical Art and Education","11","4","","45","67","22","0","10.31862/2309-1428-2023-11-4-45-67","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85189910709&doi=10.31862%2f2309-1428-2023-11-4-45-67&partnerID=40&md5=21607d701a5c8abb16ff1fc88d8bbd66","Perm National Research Polytechnic University (PNRPU), Perm, 614990, Russian Federation","Shlyakhova S.S., Perm National Research Polytechnic University (PNRPU), Perm, 614990, Russian Federation; Yarmukhametov N.V., Perm National Research Polytechnic University (PNRPU), Perm, 614990, Russian Federation","This article introduces the concepts of “musical personality” and “collective musical personality”. This requires further scientific justification. These concepts can be used in studying problems of music pedagogy and education, musical psychology and musical consciousness. The article explores the connections between auditory and visual representations and emotional interpretations of a multimodal message. Special attention is paid to the reasons for the emergence of total primitive musical content in which a musical personality is formed (the marginalization of culture and the oligopoly of the music industry). The musical rather than visual modus has a decisive influence on the perception of a multimodal message. The analysis of compliance with the author's idea of emotional interpretations of a multimodal message in video clips by representatives of generation Z showed that musical messages with dance music are perceived more accurately. We believe that the objective complexity of classical music reduces the ability to decode the emotional content of a multimodal message. Listeners’ interpretation of pop, rock and folk music is conditioned by the presence of appropriate perception experience. The conclusions drawn require additional verification. Continuing research on musical consciousness and collective musical personality makes it possible to develop strategies and approaches to the formation of educational and pedagogical content in musical socialization, and education. © (2023), (Moscow Pedagogical State University). All Rights Reserved.","auditory modus; collective musical personality; emotional perception; generation Z; multimodality; music; musical consciousness; musical personality; video; visual modus","","","","","","","","Morozova N. V., O razvitii obraznogo myshleniya shkol'nikov v protsesse muzykal'nogo obrazovaniya [On the Development of Imaginative Thinking of School Students in the Process of Musical Education, Muzykal'noe iskusstvo i obrazovanie = Musical Art and Education, 4, 20, pp. 28-44, (2017); Toropova A. 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N., Psikhosemiotika sub’’ektivnykh real'nostej lichnosti [Psychosemiotics of Subjective Realities of Personality]: Extended abstract of the Doctoral Thesis of Psychological Sciences, (2006); Glotova G. A., Psikhosemiotika razvitiya cheloveka [Psychosemiotics of Human Development]: Extended abstract of the Doctoral Thesis of Psychological Sciences, (1994); Veryaev A. A., Semioticheskij podkhod k obrazovaniyu v informatsionnom obshhestve [Semiotic Approach to Education in the Information Society]: Extended abstract of the Doctoral Thesis of Pedagogical Sciences, (2000); Kress G., van Leeuwen T., Multimodal Discourse: The Modes and Media of Contemporary Communication, (2001); Kress G., Multimodality: A Social Semiotic Approach to Contemporary Communication, (2010); Forte D. L., Music and Discourse: A Systemic-Functional Approach for Music Analysis in Multimodal Contexts, Multimodality & Society, 3, 1, pp. 69-81, (2023); Kibrik A. 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L., de Manzano O., Ullen F., Musical Expertise and Personality–Differences Related to Occupational Choice and Instrument Categories, Personality and Individual Differences, 173, 1, pp. 110-573, (2021); Flannery M. B., Woolhouse M. H., Musical Preference: Role of Personality and Music-Related Acoustic Features, Music & Science, 4, (2021); Ruth N., Et al., Personality and Engagement with Music: Results from Network Modeling in Three Adolescent Samples, Psychology of Music, (2023); Andreeva V. A., Esteticheskij analiz temporal'noj sushhnosti muzyki [Aesthetic Analysis of the Temporal Essence of Music]: Author's abstract of the Candidate's dissertation of Philology, (2013); Kostromitin P. A., Muzykal'naya industriya: osobennosti modeli rynochnoj struktury [The Music Industry: Features of the Market Structure Model, Ekonomika: vchera, segodnya, zavtra [Economics: Yesterday, Today, Tomorrow], 8, 7A, pp. 83-89, (2018); Lejbly Rossii v 2023. Kto formiruet muzykal'nyj rynok? [Russian Labels in 2023. Who Shapes the Music Market?]; Grigoriev Evgeny, Official Website; Mordden E., Le Quattro Stagioni (The Four Seasons), op. 8, nos. 1–4. A Guide to Orchestral Music: The Handbook for Non-Musicians, pp. 63-65, (1980); Everett P., Vivaldi: The Four Seasons and Other Concertos, (1996); Antonio Vivaldi Philip R., Le Quattro Stagioni (The Four Seasons). The Classical Music Lover's Companion to Orchestral Music, pp. 875-880, (2018); Muzyka iz Sietla pod nazvaniem granzh [Music from Seattle Called Grunge]; Interv'yu s M. Pushkinoj [Interview with M. Pukina]; Ivashkin A. V., Besedy s Al'fredom Shnittke [Conversations with Alfred Schnittke], (1994); Mendoza Garay J. I., Burger B., Luck G., Exploring Relations between Big Five Personality Traits and Musical Emotions Embodied in Spontaneous Dance, Psychology of Music, 51, 4, pp. 1314-1332, (2022); North A., Hargreaves D., Subjective complexity, familiarity, and liking for popular music, Psychomusicology, 14, 1–2, pp. 77-93, (1995)","","","Moscow Pedagogical State University","","","","","","23091428","","","","English","Musical Art Educ.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85189910709"
"Ng H.H.; Tan M.C.C.","Ng, Hoon Hong (57201292360); Tan, Marcus Cheng Chye (39362363800)","57201292360; 39362363800","Soundscapes as Cultural Heritage: Lesson Ideas for the Classroom","2024","Music Educators Journal","111","1","","24","32","8","0","10.1177/00274321241275453","https://www.scopus.com/inward/record.uri?eid=2-s2.0-105002231314&doi=10.1177%2f00274321241275453&partnerID=40&md5=eb2803604596827649d1f3bee66682d2","","","Soundscapes engender historical, cultural, social, and aesthetic meanings through acoustical qualities that reflect a community’s lived experiences. In this article, we propose music lesson ideas that help students appreciate and embrace their sociocultural heritage—by creating, performing, and listening to soundscapes that are representative of their locality. These lesson ideas are guided by pedagogical imperatives drawn from key soundscape literature, which reveals sounds as being powerful in sculpting culture and identity as well as impacting ways of knowing. Activities in the lessons serve to develop students’ aurality and their understanding of the sociocultural connotations of sound. The learnings gained may supplement more traditional musical skills and knowledge acquisition in the music classroom. © 2024 National Association for Music Education.","acoustemology; cultural heritage; music education; music pedagogy; soundscape","","","","","","","","Sounds of Living Heritage, a Journey through Indigenous Languages, (2023); Bijsterveld K., Soundscapes of the Urban Past: Staged Sound as Mediated Cultural Heritage, (2014); Sterne J., The Sound Studies Reader, (2012); Truax B., Acoustic Communication, (2001); Feld S., Waterfalls of Song: An Acoustemology of Place Resounding in Bosavi, Papua New Guinea, Senses of Place, pp. 91-135, (1996); Waterfalls of Song.; Ng H.H., Structured Surround Soundscapes: A Three-Pronged Strategy for Effective and Meaningful Collective Improvisation, Music Educators Journal, 106, 2, pp. 51-57, (2019); Cultural Heritage, (2009); Murray Schafer R., The Soundscape: Our Sonic Environment and the Tuning of the World, (1994); Bull M., Beck L., The Auditory Culture Reader, (2003); Corbin A., The Auditory Markers of the Village, The Auditory Culture Reader, pp. 117-126, (2003); Smith B.R., The Acoustic World of Early Modern England, (1999); The Acoustic World; Feld S., Sounds and Sentiment: Birds, Weeping, Poetics and Song in Kaluli Expression, (1982); The Soundscape; Beckstead D., Improvisation: Thinking and Playing Music, Music Educators Journal, 99, 3, pp. 69-74, (2013); Bylica K., Critical Border Crossing: Exploring Positionalities through Soundscape Composition and Critical Reflection, (2020); Thibeault M.D., Sound Studies and Music Education, Journal of Aesthetic Education, 51, 1, pp. 69-83, (2017); Regelski T.A., A Sound Approach to Sound Composition, Music Educators Journal, 72, 9, pp. 41-45, (1986); The Auditory Culture Reader; Tan M.C.C., Acoustic Interculturalism: Listening to Performance, (2012); The Soundscape; Primary and Lower Secondary Music Syllabus, (2023); The Auditory Culture Reader; National Education, (2022); The Soundscape; Soundscape 2022, (2024); Higgins L., Mantie R., Improvisation as Ability, Culture, and Experience, Music Educators Journal, 100, 2, pp. 38-44, (2013); Murray Schafer R., Open Ears, Soundscape: The Journal of Acoustic Ecology, 4, 2, (2003); Tan M.C.C., Soundscape Singapore: Sound as Mediated Cultural Heritage, Culture and Computing, Interactive Cultural Heritage and Arts, HCII 2021, 12794, pp. 119-132, (2021)","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-105002231314"
"Arbinaga F.","Arbinaga, Félix (57214767207)","57214767207","Resilient Behaviors in Music Students: Relationship with Perfectionism and Self-Efficacy","2023","Behavioral Sciences","13","9","722","","","","6","10.3390/bs13090722","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85172795855&doi=10.3390%2fbs13090722&partnerID=40&md5=9d1537c628a39002c62a63cae56b1b5c","Department of Clinical and Experimental Psychology, University of Huelva, Huelva, 21007, Spain","Arbinaga F., Department of Clinical and Experimental Psychology, University of Huelva, Huelva, 21007, Spain","Self-efficacy and perfectionism play an important role in high-performance activities. This cross-sectional study analyzes the relationship between these constructs and resilience in a sample of 145 music students (57.9% female) with a mean age of 27.77 years. Perfectionism was assessed using the Multidimensional Inventory of Perfectionism in Sport; resilience, using the Resilience Scale; and self-efficacy, using the General Self-Efficacy Scale. Females, compared to males, are more perfectionist, both on the adaptive (Cohen’s d = 0.41) and maladaptive scales (Cohen’s d = 0.70). However, no gender differences were found in self-efficacy or resilience scores. Music students categorized as highly resilient obtained significantly higher self-efficacy scores (Cohen’s d = 1.30). However, no differences were found between high- and low-resilience students in perfectionism scores, the total scale scores, or its adaptive or functional factor (striving for perfection). Differences were found for the maladaptive factor, negative reactions to imperfection, where low-resilience students scored higher on negative reactions to imperfection (Cohen’s d = 0.49). Self-efficacy shows significant predictive power for resilience (β = 0.525, p < 0.001). Although functional perfectionism did not significantly predict resilience, a marginal negative relationship was found between dysfunctional perfectionism and resilience (β = −0.156, p = 0.063). The results are discussed concerning their implications for music pedagogy and teacher intervention. © 2023 by the author.","effectiveness; music conservatory; musician; perfection; resilience","","","","","","CBUA; Universidad de Huelva, UHU","Funding for open access charge: Universidad de Huelva/CBUA.","Ackermann B., Driscoll T., Kenny D., Musculoskeletal pain and injury in professional orchestral musicians in Australia, Med. Probl. Perform. Artist, 27, pp. 181-187, (2012); van Winden D.R., Van Rij M., Richardson A., Savelsbergh G.J.P., Oudejans R.R.D., Stubbe J.H., Detailed injury epidemiology in contemporary dance: A 1-year prospective study of 134 students, BMJ Open Sport. Exerc. Med, 5, (2019); Wagnild G.M., Young H.M., The Resilience Scale, Master’s Thesis, (1987); Wagnild G.M., Young H.M., Development and psychometric evaluation of the Resilience Scale, J. Nurs. Meas, 1, pp. 165-178, (1993); Barton G., McKay L., Garvis S., Sappa V., Introduction: Defining and theorizing key concepts of resilience and well-being and arts-based research, Arts-Based Research, Resilience and Well-Being across the Lifespan, pp. 1-12, (2020); Malhi G.S., Das P., Bell E., Mattingly G., Mannie Z., Modelling resilience in adolescence and adversity: A novel framework to inform research and practice, Transl. Psychiatry, 9, (2019); Arbinaga F., Self-reported perceptions of sleep quality and resilience among dance students, Percept. Mot. Ski, 125, pp. 351-368, (2018); Arbinaga F., Fernandez-Ozcorta E.F., Herrera-Macias P.P., Vela-Calderon D., Burnout syndrome and resilience in football and basketball referees, J. Sport Psychol, 28, pp. 23-32, (2019); Feltz D.L., Short S.E., Sullivan P., Self-Efficacy in Sport, (2008); Rosenqvist O., Skans O.N., Confidence enhanced performance?—The causal effects of success on future performance in professional golf tournaments, J. Econ. Behav. Organ, 117, pp. 281-295, (2015); Flett G.L., Hewitt P.L., Perfectionism: Theory, Research and Treatment, (2002); Hill A.P., Mallinson-Howard S.H., Madigan D.J., Jowett G.E., Perfectionism in sport, dance, and exercise: An extended review and reanalysis, Handbook of Sport Psychology, pp. 121-157, (2019); Stoeber J., Otto K., Pescheck E., Becker C., Stoll O., Perfectionism and competitive anxiety in athletes: Differentiating striving for perfection and negative reactions to imperfection, Pers. Individ. Differ, 42, pp. 959-969, (2007); Bandura A., Self-efficacy mechanism in human agency, Am. Psychol, 37, pp. 122-147, (1982); Bandura A., Social Foundations of Thought and Action: A Social Cognitive Theory, (1986); Baessler J., Schwarzer R., Evaluation of self-efficacy: Spanish adaptation of the General Self-Efficacy Scale, Anxiety Stress, 2, pp. 1-8, (1996); Pascua L.A.M., Wulf G., Lewthwaite R., Additive benefits of external focus and enhanced performance expectancy for motor learning, J. Sports Sci, 33, pp. 58-66, (2015); Stevens D., Anderson D.I., O'Dwyer H.J., Williams A.M., Does self-efficacy mediate transfer effects in the learning of easy and difficult motor skills?, Conscious. Cogn, 21, pp. 1122-1128, (2012); Wulf G., Chiviacowsky S., Cardozo P., Additive benefits of autonomy support and enhanced expectancies for motor learning, Hum. Mov. Sci, 37, pp. 12-20, (2014); McCormick J., McPherson G.E., The Role of Self-efficacy in a Musical Performance Examination: An Exploratory Structural Equation Analysis, Psychol. Music, 31, pp. 37-51, (2003); Nordin-Bates S.M., Cumming J., Aways D., Sharp L., Imagining yourself dancing to perfection? Correlates of perfectionism among ballet and contemporary dancers, J. Clin. Sport Psychol, 5, pp. 58-76, (2011); McPherson G., McCormick J., Self-efficacy and music performance, Psychol. Music, 34, pp. 322-336, (2006); Lightsey O.R., Resilience, Meaning, and Well-Being, Couns. Psychol, 34, pp. 96-107, (2006); Nowicki A., Self-Efficacy, Sense of Belonging and Social Support as Predictors of Resilience in Adolescents, Ph.D. Thesis; Sagone E., De Caroli M.E., Falanga R., Indiana M.L., Resilience and perceived self-efficacy in life skills from early to late adolescence, Int. J. Adolesc. Youth, 25, pp. 882-890, (2020); Djourova N.P., Rodriguez Molina I., Tordera-Santamatilde N., Abate G., Self-efficacy and resilience: Mediating mechanisms in the relationship between the transformational leadership dimensions and well-Being, J. Leadersh. Organ. Stud, 27, pp. 256-270, (2019); Reivich K., Shatte A., The Resilience Factor: 7 Essential Skills for Overcoming Life’s Inevitable Obstacles, (2002); Pooley J.A., Cohen L., Resilience: A definition in context, Aust. Psychol, 22, pp. 30-37, (2010); Martin A., Marsh H.W., Academic buoyance: Towards an understanding of students’ everyday academic resilience, J. Sch. Psychol, 46, pp. 53-83, (2008); Lazier-Leao T.R., Ferreira L., Leao-Junior C.M., Morais-Freire G.L., Gomez-Costa N.L., Nascimento-Junior J.R., Lopes-Vieira J.L., Does resilience predict self-efficacy and motivation in dancers?, Retos, 48, pp. 229-234, (2023); San-Juan-Ferrer B., Hipola P., Emotional intelligence and dance: A systematic review, Res. Dance Educ, 21, pp. 57-81, (2020); Frost R.O., Marten P., Lahart C., Rosenblate R., The dimensions of perfectionism, Cogn. Ther. Res, 14, pp. 449-468, (1990); Hewitt P.L., Flett G.L., Perfectionism in the self and social contexts: Conceptualization, assessment, and association with psychopathology, J. Pers. Soc. Psychol, 60, pp. 456-470, (1991); Khawaja N.G., Armstrong K.A., Factor structure and psychometric properties of the Frost Multidimensional Perfectionism Scale: Developing shorter versions using an Australian sample, Aust. J. Psychol, 57, pp. 129-138, (2005); Stoeber J., Rennert D., Perfectionism in schoolteachers: Relations with stress appraisals, coping styles, and burnout, Anxiety Stress Coping, 21, pp. 37-53, (2008); O'Riordan N., Griffith M., Reflections on Perfectionism, J. Br. Flute Soc, 33, pp. 31-33, (2014); Aydin-Almac B., An investigation of the levels of perfectionism among middle school and high school conservatory students in vocational music education, Int. J. Curric. Instr, 14, pp. 2636-2665, (2022); Butkovic A., Vukojevic N., Carevic S., Music performance anxiety and perfectionism in Croatian musicians, Psychol. Music, 50, pp. 100-110, (2022); Cupido C., Music Performance Anxiety, Perfectionism and Its Manifestation in the Lived Experiences of Singer-Teachers, Muziki, 15, pp. 14-36, (2018); Dobos B., Piko B.F., Kenny D.T., Music performance anxiety and its relationship with social phobia and dimensions of perfectionism, Res. Stud. Music. Educ, 41, pp. 310-326, (2019); Hill A.P., Burland K., King E.C., Pitts S.E., Perfectionistic self-presentation and emotional experiences in music students: A three-wave longitudinal study, Psychol. Music, 48, pp. 766-776, (2020); Kenny D.T., Davis P., Oates J., Music performance anxiety and occupational stress amongst opera chorus artists and their relationship with state and trait anxiety and perfectionism, J. Anxiety Disord, 18, pp. 757-777, (2004); McNeil D.G., Loi N.M., Bullen R., Investigating the moderating role of coping style on music performance anxiety and perfectionism, Int. J. Music. Educ, 40, pp. 587-597, (2022); Besser A., Flett G.L., Hewitt P.L., Perfectionistic self-presentation and trait perfectionism in social problem-solving ability and depressive symptoms, J. Appl. Soc. Psychol, 40, pp. 2121-2154, (2010); Hewitt P.L., Flett G.L., Perfectionism and stress processes in psychopathology, Perfectionism: Theory, Research, and Treatment, pp. 255-284, (2002); Klibert J., Lamis D.A., Collins W., Smalley K.B., Warren J.C., Yancey C.T., Winterowd C., Resilience mediates the relations between perfectionism and college student distress, J. Couns. Dev, 92, pp. 75-82, (2014); Rudolph S.G., Flett G.L., Hewitt P.L., Perfectionism and deficits in cognitive emotion regulation, J. Ration. Emot. Cogn. Behav. Ther, 25, pp. 343-357, (2007); Sherry S.B., Hewitt P.L., Flett G.L., Harvey M., Perfectionism dimensions, perfectionistic attitudes, dependent attitudes, and depression in psychiatric patients and university students, J. Couns. Psychol, 50, pp. 373-386, (2003); Sheppard L., Hicks R.E., Maladaptive perfectionism and psychological distress: The mediating role of resilience and trait emotional intelligence, Int. J. Psychol. Stud, 9, pp. 65-75, (2017); Guillen F., Hernandez-Mendo A., Reigal-Garrido R.E., General self-efficacy, adaptive perfectionism and resilience in referees, Presented at the XIV Meeting for the Spanish Federation of Sport Psychology; Stoeber J., Otto K., Stoll O., Multidimensional Inventory of Perfectionism in Sport (MIPS): English Version, (2006); Pineda-Espejel A., Alarcon E.I., Lopez-Walle J.M., Tomas-Marco I., Adaptation to Spanish of the Short Version of Multidimensional Inventory of Perfectionism in Sport During Competition, Rev. Iberoam Diagn. Eval. Psicol, 43, pp. 45-57, (2017); Ruiz-Barquin R., De la Vega R., Poveda J., Rosado A., Serpa S., Psychometric analysis of the Resilience Scale in the sport of football, J. Sport Psychol, 21, pp. 143-151, (2012); Sanjuan-Suarez P., Perez-Garcia A.M., Bermudez-Moreno J., The general self-efficacy scale: Psychometric data from the Spanish adaptation, Psicothema, 12, pp. 509-513, (2000); Faul F., Erdfelder E., Lang A.G., Buchner A., G*Power 3: A flexible statistical power analysis program for the social, behavioral, and biomedical sciences, Behav. Res. Methods, 39, pp. 175-191, (2007); Munro B., Statistical Methods for Health Care Research, (2001); Kronvall-Parkinson M., Hanrahan S.J., Stanimirovic R., Sharp L., The effects of perfectionism and physical self-concept on pre-performance anxiety in elite female gymnasts, basketball players, and ballet dancers, Presented at the 17th Annual Meeting of the International Association for Dance Medicine and Science; Zhang Y., Gan Y., Cham H., Perfectionism, academic burnout and engagement among Chinese college students: A structural equation modelling analysis, Pers. Individ. Differ, 43, pp. 1529-1540, (2005); Flett G.L., Hewitt P.L., Oliver J.M., Macdonald S., Perfectionism in children and their parents: A developmental analysis, Perfectionism: Theory, Research, and Treatment, pp. 89-132, (2002); Kenny D.T., The Psychology of Music Performance Anxiety, (2011)","F. Arbinaga; Department of Clinical and Experimental Psychology, University of Huelva, Huelva, 21007, Spain; email: felix.arbinaga@dpsi.uhu.es","","Multidisciplinary Digital Publishing Institute (MDPI)","","","","","","2076328X","","","","English","Behavioral Sciences","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85172795855"
"Lyu L.; Sokolova A.","Lyu, Ling (57924055900); Sokolova, Alla (57924370900)","57924055900; 57924370900","The effect of using digital technology in the music education of elementary school students","2023","Education and Information Technologies","28","4","","4003","4016","13","8","10.1007/s10639-022-11334-8","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85139609213&doi=10.1007%2fs10639-022-11334-8&partnerID=40&md5=182a6e2508d4b9e6f3c416dbdf8f475b","Department of Music, Lishui Vocational and Technical College, Lishui, China; Art Department, H.S. Skovoroda Kharkiv National Pedagogical University, Kharkiv, Ukraine","Lyu L., Department of Music, Lishui Vocational and Technical College, Lishui, China; Sokolova A., Art Department, H.S. Skovoroda Kharkiv National Pedagogical University, Kharkiv, Ukraine","There is little research about using information technologies in music education. The issue of comparing the approach to music education based on modern technologies with the traditional approach is of particular interest. Thus, the purpose of the study is to compare the effectiveness of music education based on modern technologies with the traditional approach to learning music. The study was conducted at Lishui Music School. The level of musical skills and abilities of music school students was assessed for the period of 1.5 years. The study involved children aged 5–6 years who had no prior musical experience. The control and study groups consisted of twenty-four children each. The children learned to play the piano and solfeggio. The study group trained in accordance with the New way of Music program. The control group followed the traditional curriculum. At the end of the study, there was an exam. The students performed program pieces corresponding to the study period. The expert committee evaluated the following performance parameters: the number of errors in the reproduction of the musical text, the performance rhythm, the artistic expressiveness of the performance, continuous and complete performance, the performance dynamics, mastery of strokes, as well as positioning of the body and hands during the performance. Except for the last parameter, the study group performed better than the control group. The results obtained justify further expanded studies of the New way of Music program to be subsequently widely introduced in music schools. © 2022, The Author(s), under exclusive licence to Springer Science+Business Media, LLC, part of Springer Nature.","Computer Music Program; Digital Technologies; Game-based learning; Information Technology; Music Education; Musical skills; Performance of a music piece","","","","","","","","Addessi A.R., Pachet F., Experiments with a musical machine: musical style replication in 3 to 5 year old children, British Journal of Music Education, 22, 1, pp. 21-46, (2005); Arifi V., Automatic synchronization of musical data: A mathematical approach, Computing in Musicology: A Directory of Research, 13, pp. 9-33, (2004); Brown A.R., Software development as music education research, International Journal of Education & the Arts, 8, 6, pp. 1-14, (2007); Brown A., Brown A.R., Computers in Music Education: Amplifying Musicality, (2012); Calderon-Garrido D., Gustems-Carnicer J., Carrera X., Digital technologies in music subjects on primary teacher training degrees in Spain: Teachers’ habits and profiles, International Journal of Music Education, 38, 4, pp. 613-624, (2020); Chen C.W.J., Mobile composing: Professional practices and impact on students’ motivation in popular music, International Journal of Music Education, 38, 1, pp. 147-158, (2020); Dittmar C., Cano E., Abesser J., Grollmisch S., Music information retrieval meets music education, Dagstuhl Follow-Ups (, 3, pp. 1-8, (2012); Frapat M., L’invenzione musicale nella scuola dell’infanzia, (2004); Godau M., Am besten ist, der Musiklehrer geht einen Kaffee trinken oder was weiß ich-“ Zur Lehrer_innenrolle in selbstständigen Lernprozessen im Musikunterricht, Musikpädagogik und Erziehungswissenschaft, pp. 155-169, (2016); Gorgoretti B., The use of technology in music education in North Cyprus according to student music teachers, South African Journal of Education, 39, 1, pp. 1-7, (2019); Gouzouasis P., Bakan D., The future of music making and music education in a transformative digital world, The University of Melbourne Refereed E-Journal, 2, pp. 127-154, (2011); Hu P.C., Chen P.H., Kuo P.C., Educational model based on hands-on brain-computer interface: implementation of music composition using EEG, In 2018 IEEE International Conference on Systems, Man, and Cybernetics (SMC), pp. 982-985, (2018); Jager S., Experimentelle Musik in der Sekundarstufe: Ausgewählte Ansätze für das Klassenmusizieren, (2015); Kirihara K., Rissling A.J., Swerdlow N.R., Braff D.L., Light G.A., Hierarchical organization of gamma and theta oscillatory dynamics in schizophrenia, Biological Psychiatry, 71, 10, pp. 873-880, (2012); Konovalova S.A., Kashina N.I., Tagiltseva N.G., Matveeva L.V., Pavlov D.N., Application of smart education technologies on the disciplines of the music-theoretical cycle in musical college and university, Smart Education and e-Learning 2020, pp. 255-262, (2020); Kryukova V.V., Musical pedagogy, (2002); Kumaran D.S., Using EEG-validated music emotion recognition techniques to classify multi-genre popular music for therapeutic purposes, Nanyang Technological University, (2018); Leong S., Navigating the emerging futures in music education. Journal of Music, Technology & Education, 4, 2-3, pp. 233-243, (2012); Lin H.C., Hwang G.J., Research trends of flipped classroom studies for medical courses: A review of journal publications from 2008 to 2017 based on the technology-enhanced learning model, Interactive Learning Environments, 27, 8, pp. 1011-1027, (2019); Liu C., Hwang G.J., Tu Y.F., Yin Y., Wang Y., Research advancement and foci of mobile technology-supported music education: A systematic review and social network analysis on 2008–2019 academic publications, Interactive Learning Environments, (2021); Muradyan Y., The study of the representative systems of schoolchildren, Pedagogy and Psychology, 1, pp. 11-18, (2003); Nasritdinova M., Pedagogical components and stages of health of develop children through music education, Galaxy International Interdisciplinary Research Journal, 9, 5, pp. 251-258, (2021); Pachet F., Addessi A.R., When children reflect on their own playing style: experiments with continuator and children, Computers in Entertainment (CIE), 2, 1, (2004); Parasiz G., The use of music technologies in field education courses and daily lives of music education department students (Sample of Atatürk University), Universal Journal of Educational Research, 6, 5, pp. 1005-1014, (2018); Rags Y.N., pp. 200-203, (2003); (2018); Shaw G.L., Keeping Mozart in Mind, (2003); Smaragdis P., Casey M., Audio/visual independent components, In Proceedings of the 4Th International Symposium on Independent Components Analysis and Blind Signal Separation, pp. 709-714, (2003); Smaragdis P., Raj B., Shashanka M., A probabilistic latent variable model for acoustic modeling, In Proceedings of the 20Th Annual Conference on Neural Information Processing Systems, pp. 1-7, (2006); Tan P., Information and communication technologies and their role in the organization of music education in China, In VSU Repository, pp. 282-284, (2021); Teplov B.M., Psychology of musical abilities, (1985); Voronov A.M., Gorbunova I.B., Kameris A., Romanenko M.Y., Musical and computer technologies in the school of the digital age, Bulletin of the Irkutsk State Technical University: Scientific Journal, 5, 76, pp. 256-261, (2013); Waddel G., Williamson A., Technology use and attitudes in music learning, Frontiers ICT, 6, (2019); Welch G.F., The challenge of ensuring effective early years music education by non-specialists, Early Child Development and Care, 191, 12, pp. 1972-1984, (2021); Wen Z., Shankar A., Antonidoss A., Modern art education and teaching based on artificial intelligence, Journal of Interconnection Networks, 1, (2021)","L. Lyu; Department of Music, Lishui Vocational and Technical College, Lishui, China; email: 382074973@qq.com","","Springer","","","","","","13602357","","","","English","Educ. Inf. Technol.","Article","Final","","Scopus","2-s2.0-85139609213"
"Porokhovnichenko M.E.","Porokhovnichenko, Marina E. (59227936900)","59227936900","TECHNIQUE OF PERFORMING INTONATION AS A BASIS FOR THE DEVELOPMENT OF MUSICAL AND AUDITORY ABILITIES IN A SOLFEGIO COURSE; [ТЕХНИКА ИСПОЛНИТЕЛЬСКОГО ИНТОНИРОВАНИЯ КАК ОСНОВА РАЗВИТИЯ МУЗЫКАЛЬНО-СЛУХОВЫХ СПОСОБНОСТЕЙ В КУРСЕ СОЛЬФЕДЖИО]","2024","Musical Art and Education","12","1","","99","120","21","1","10.31862/2309-1428-2024-12-1-99-120","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85199203200&doi=10.31862%2f2309-1428-2024-12-1-99-120&partnerID=40&md5=4bfa5ce425a20fb49f1041d70c22735b","Belarusian State Academy of Music, Minsk, 220030, Belarus","Porokhovnichenko M.E., Belarusian State Academy of Music, Minsk, 220030, Belarus","The article is in the field of research issues of modern pedagogy of music education, addressed to the understanding of solfeggio methodology. It is devoted to the study of the current problem of the performing intonation. The main idea of the work is to consider the technique of intonation as the most important direction in the education of musical performing culture. For this purpose, the concept of “performing intonation” is being updated, which is conceptualized as one of the main factors in the development and improvement of performing skills. The technique of musical intonation is considered in the context of two main directions: intonation-auditory mastery of polyphonic examples and comprehension of the intonation features of the harmonic vertical in the context of the homophonic-harmonic structure. The author’s reasoning is based on the study of scientific and methodological achievements in the field of this problem area and on the systematization of his own many years of experience in teaching the academic discipline of solfeggio, the main the task of which is to form and educate the musical and auditory abilities of students at various educational levels. © Пороховниченко М. Е., 2024","intonation technique; intonation-auditory education; music pedagogy; music-performing culture; performing intonation; solfeggio; интонационно-слуховое воспитание; исполнительское интонирование; музыкально-исполнительская культура; педагогика музыкального образования; сольфеджио; техника интонирования","","","","","","","","Rimsky-Korsakov N. A., O muzykal’nom obrazovanii [On Musical Education], Polnoe sobranie sochinenij. Literaturnye proizvedeniya i perepiska [Complete Works. Literary Works and Correspondence], 2, (1963); Maslenkova L. M., Intensivnyj kurs sol’fedzhio [Intensive Course of Solfeggio], (2003); Vygotsky L. S., Pedagogicheskaya psikhologiya [Pedagogical Psychology], (1996); Kak prepodavat’ sol’fedzhio v XXI veke [How to Teach Solfeggio in the XXI Century]. Collection of articles, (2006); Asafyev B. V., Rechevaya intonaciya [Speech Intonation], (1965); Abdullina G. V., Mnogogolosnoe sol’fedzhio [Polyphonic Solfeggio]: Educational Method. Allowance, (2009); Zhuravlenko I. A., Elementarnoe sol’fedzhio na prirodnom pevcheskom materiale [Elementary Solfeggio on Natural Singing Material]: a Textbook. Part 1. One Voice, (2003); Porokhovnichenko M. E., O ponyatii “pozicionnoe intonirovanie” [On the Concept of “Positional Intonation”], Nauchnye trudy Belorusskoj gosudarstvennoj akademii muzyki. Vyp. 53. Seriya 3. Voprosy teorii muzyki [Scientific Works of the Belarusian State Academy of Music. Issue 53. Series 3. Questions of Music Theory], pp. 143-162, (2019); Porokhovnichenko M. E., Khorovoe sol’fedzhio: intonatsionno-slukhovye uprazhneniya, metodicheskie kommentarii [Choral Solfeggio: Intonation-Auditory Exercises, Methodological Comments: Educational Method], (2019); Zemtsovsky I. I., Apologiya slukha [Apologia of Hearing], Muzykal’naya akademiya: Kompozitor [Musical Academy: Composer], 1, pp. 1-12, (2002); Ostrovsky A. L., Metodika teorii muzyki i sol’fedzhio [Methodology of Music Theory and Solfeggio], (1970); Karaseva M. V., Sol’fedzhio – psikhotekhnika razvitiya muzykal’nogo slukha [Solfeggio – Psychotechnics of Musical Hearing Development], (2022); Sladkov P. P., Muzykal’nyj slukh. Definiciya. Genezis. Tipologiya. Usloviya aktivnogo formirovaniya irazvitiya[MusicalEar.Definition.Genesis.Typology.Conditions for Active Formation and Development], (2021); Asafyev B. V., Muzykal’naya forma kak process [Musical Form as a Process], (1971); Garbuzov N. A., Vnutrizonnyj intonacionnyj slukh i metody ego razvitiya [Intra-zone Intonation Hearing and Methods of Its Development], (1951); Pereverzev N. K., Problemy muzykal’nogo intonirovaniya [Problems of Musical Intonation], (1966); Nezvanov B. A., Intonirovanie v kurse sol’fedzhio [Intonation in the Course of Solfeggio], (1985); Teplov B. M., Psikhologiya muzykal’nykh sposobnostej [Psychology of Musical Abilities], (2020); Kirnarskaya D. K., Psikhologiya special’nykh sposobnostej. Muzykal’nye sposobnosti [Psychology of Special Abilities. Musical Abilities], (2004); Loginova L. N., Sovremennoe sol’fedzhio: teoriya i praktika [Modern Solfeggio: Theory and Practice], (2021)","M.E. Porokhovnichenko; Belarusian State Academy of Music, Minsk, 220030, Belarus; email: porohovnichenko@gmail.com","","Moscow Pedagogical State University","","","","","","23091428","","","","English","Musical Art Educ.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85199203200"
"Li P.-P.; Wang B.","Li, Ping-ping (57323207800); Wang, Bin (57201492556)","57323207800; 57201492556","Artificial Intelligence in Music Education","2024","International Journal of Human-Computer Interaction","40","16","","4183","4192","9","31","10.1080/10447318.2023.2209984","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85159726555&doi=10.1080%2f10447318.2023.2209984&partnerID=40&md5=bb7c02af7bd74e1336c02e033585c66f","Department of Music and Dance, Hunan First Normal University, Hunan, Changsha, China","Li P.-P., Department of Music and Dance, Hunan First Normal University, Hunan, Changsha, China; Wang B., Department of Music and Dance, Hunan First Normal University, Hunan, Changsha, China","Artificial Intelligence (AI) technology can reshape music education to enable students to learn musical instruments and compose music in a fun and easy way. This article examines the effectiveness of AI-enabled music teaching. The study seeks to incorporate AI-powered chatbots into piano classes in seven music schools and evaluate their effect on student performance. The results show that students who used the given app achieved better results than those enrolled in conventional classes. Overall, exploiting AI resulted in a 15% increase in academic performance, but the intensity of training led to variation in achievements. With this app, the scores increased as follows: piano playing by 6.51%; solfeggio and music literature by 4%; and vocal signing by 0.56%. The integration of chatbots in music education opens new developmental prospects. Based on the present findings, AI can be successfully integrated into music education. © 2023 Taylor & Francis Group, LLC.","Algorithm; analytic hierarchy process (AHP); artificial intelligence; chatbot; messenger","Analytic hierarchy process; Artificial intelligence; Musical instruments; Students; Academic performance; Analytic hierarchy process; Artificial intelligence technologies; Chatbots; Learn+; Messenger; Music education; Student performance; Music","","","","","Hunan Province Colleges and Universities, (2019-1061, 18YBA101)","The teaching reform project of Hunan Province Colleges and Universities: The curriculum reform and practice research of practice philosophy-oriented \u201Cprimary school music teaching method\u201D (2019-1061). A study on the interlining of folk songs of ethnic minorities in western Hunan [Hunan Province 2018 Social Science Fund project (18YBA101)].","Bamigbola A.A., Web 3.0 tools and knowledge conversion by distance learners, Regional Journal of Information and Knowledge Management, 6, 2, pp. 21-35, (2021); Ben-Tal O., Harris M.T., Sturm B.L., How music AI is useful: Engagements with composers, performers and audiences, Leonardo, 54, 5, pp. 510-516, (2021); Blackwell A.F., Damena A., Tegegne T., Inventing artificial intelligence in Ethiopia, Interdisciplinary Science Reviews, 46, 3, pp. 363-385, (2021); Chamberlain A., Hazzard A., Kelly E., Bodker M., Kallionpaa M., From AI, creativity and music to IoT, HCI, musical instrument design and audio interaction: A journey in sound, Personal and Ubiquitous Computing, 25, 4, pp. 617-620, (2021); Chen H., Li L., Chen Y., Explore success factors that impact artificial intelligence adoption on telecom industry in China, Journal of Management Analytics, 8, 1, pp. 36-68, (2021); Dan L., Naiyao Z., Hancheng Z., A CAD system of music animation based on form and mood recognition, Pattern Recognition and Artificial Intelligence, 16, 3, pp. 283-287, (2003); Ernst E., Merola R., Samaan D., Economics of artificial intelligence: Implications for the future of work, IZA Journal of Labor Policy, 9, 1, pp. 1-35, (2019); Gouzouasis P., Bakan D., The future of music making and music education in a transformative digital world, The University of Melbourne Refereed E-Journal, 2, pp. 127-154, (2011); Guo M., Su H., Yue L., Ecology-focused aesthetic music education as a foundation of the sustainable development culture, Interdisciplinary Science Reviews, 45, 4, pp. 564-580, (2020); Henriksen D., Creely E., Henderson M., Mishra P., Creativity and technology in teaching and learning: A literature review of the uneasy space of implementation, Educational Technology Research and Development, 69, 4, pp. 2091-2108, (2021); Hoey J., Schroder T., Morgan J., Rogers K.B., Rishi D., Nagappan M., Artificial intelligence and social simulation: Studying group dynamics on a massive scale, Small Group Research, 49, 6, pp. 647-683, (2018); Huang C., Yu K., Research on the innovation of college music teaching mode based on artificial intelligence, Journal of Physics: Conference Series, 1915, 2, (2021); Imayo A.N., Altyn art magazine–A means to explore the culture, arts, and music education of Kazakhstan, Pedagogy and Psychology, 46, 1, pp. 212-219, (2021); Ismail M.J., Anuar A.F., Loo F.C., From physical to virtual: A new learning norm in music education for gifted students, The International Review of Research in Open and Distributed Learning, 23, 2, pp. 44-62, (2022); Ismail M.J., Chiat L.F., Anuar A.F., Music in film’ for gifted students: The effect of differentiated learning on students’ motivation, Pertanika Journal of Social Sciences and Humanities, 29, 4, pp. 2709-2728, (2021); Kasabov N., Evolving and spiking connectionist systems for brain-inspired artificial intelligence, Artificial Intelligence in the age of neural networks and brain computing, pp. 111-138, (2019); Kazaka L., Vilde I., Applicability of digital learning strategy ‘Start Playing the Guitar!’ in Solfeg.io music education app, International Journal of Smart Education and Urban Society, 12, 3, pp. 68-78, (2021); Kim H., You Y., Music composition with collaboratory AI composers, Proceedings of the Korean Society of Broadcast Engineers Conference, pp. 23-25, (2021); Kong F., Application of artificial intelligence in modern art teaching, International Journal of Emerging Technologies in Learning, 15, 13, pp. 238-251, (2020); Krainov G.N., Panov A.I., Zubkov S.A., Challenges of digitalization for higher education in Russia, SHS Web of Conferences, 103, (2021); Li N., Ismail M.J.B., Application of artificial intelligence technology in the teaching of complex situations of folk music under the vision of new media art, Wireless Communications and Mobile Computing, 2022, pp. 1-10, (2022); Liang Q., Zeng Y., Stylistic composition of melodies based on a brain-inspired spiking neural network, Frontiers in Systems Neuroscience, 15, (2021); Lupker J.A.T., Turkel W.J., Music theory, the missing link between music-related big data and artificial intelligence, Digital Humanities Quarterly, 15, 1, pp. 1-2, (2021); Miah A., Towards web 3.0: Mashing up work and leisure, The new politics of leisure and pleasure, pp. 136-152, (2011); Moussaoui F., Cherrared M., Kacimi M.A., Belarbi R., A genetic algorithm to optimize consistency ratio in AHP method for energy performance assessment of residential buildings—Application of top-down and bottom-up approaches in Algerian case study, Sustainable Cities and Society, 42, pp. 622-636, (2018); Sabadash V., Gumnitsky J., Lyuta O., Pochapska I., Thermodynamics of (NH<sub>4</sub><sup>+</sup>) cation adsorption under static conditions, Chemistry & Chemical Technology, 12, 2, pp. 143-146, (2018); Schiavio A., Biasutti M., Philippe R.A., Creative pedagogies in the time of pandemic: A case study with conservatory students, Music Education Research, 23, 2, pp. 167-178, (2021); Schwartz B., Communicating science through the performing arts, Interdisciplinary Science Reviews, 39, 3, pp. 275-289, (2014); Shang M., The application of artificial intelligence in music education, International Conference on Intelligent Computing, pp. 662-668, (2019); Somasundaram M., Junaid K.M., Mangadu S., Artificial intelligence (AI) enabled intelligent quality management system (IQMS) for personalized learning path, Procedia Computer Science, 172, pp. 438-442, (2020); Sunray E., Sounds of science: Copyright infringement in AI music generator outputs, Catholic University Journal of Law and Technology, 29, 2, pp. 185-218, (2021); Van den Hoogen A., Teunis C.J., Shellhaas R.A., Pillen S., Benders M., Dudink J., How to improve sleep in a neonatal intensive care unit: A systematic review, Early Human Development, 113, pp. 78-86, (2017); Wiggins G.A., Understanding music with AI—Perspectives on cognitive musicology, Artificial Intelligence, 79, 2, pp. 373-385, (1995); Yam S.C.J., Understanding online information experiences: Simulated, personalized and epistemological, Interdisciplinary Science Reviews, 44, 1, pp. 38-54, (2019); Ye F., A study on music education based on artificial intelligence, IOP Conference Series: Materials Science and Engineering, 750, 1, (2020); Yu L., Ding J., Application of music artificial intelligence in preschool music education, IOP Conference Series: Materials Science and Engineering, 750, 1, (2020); Yusof R., Ismail J., Radzi A.M., Online distance learning: A new learning approach in the Malaysian gifted education system, FWU Journal of Social Sciences, 16, 1, pp. 28-46, (2022); Zhang C., Lu Y., Study on artificial intelligence: The state of the art and future prospects, Journal of Industrial Information Integration, 23, (2021); Zhang W., A study on the user acceptance model of artificial intelligence music based on UTAUT, Journal of the Korea Society of Computer and Information, 25, 6, pp. 25-33, (2020)","B. Wang; Department of Music and Dance, Hunan First Normal University, Changsha, Hunan, China; email: binwang256@outlook.com","","Taylor and Francis Ltd.","","","","","","10447318","","","","English","Int. J. Hum.-Comput. Interact.","Article","Final","","Scopus","2-s2.0-85159726555"
"İlkay G.; Kıvanç Öztuğ E.; Eren H.C.; Sülün E.","İlkay, Gözdem (59751205300); Kıvanç Öztuğ, Emine (59751205400); Eren, Hakkı Cengiz (57219925059); Sülün, Erkan (57196706390)","59751205300; 59751205400; 57219925059; 57196706390","Transformative 21st Century Approaches in Musical Ear Training: Fostering Essential Skills for Enhanced Learning","2025","SAGE Open","15","2","","","","","0","10.1177/21582440251326438","https://www.scopus.com/inward/record.uri?eid=2-s2.0-105003384820&doi=10.1177%2f21582440251326438&partnerID=40&md5=2cedf3207dacc87762a1b5992f7f1fe0","Near East University, Nicosia, Turkey","İlkay G., Near East University, Nicosia, Turkey; Kıvanç Öztuğ E., Near East University, Nicosia, Turkey; Eren H.C., Near East University, Nicosia, Turkey; Sülün E., Near East University, Nicosia, Turkey","This paper investigates the potential benefits of integrating 21st-century skills into specifically designed novel activities in an ear training course. Drawing initial inspiration from the National Council for Social Studies’ 4Cs framework, the study explores the synergies between collaboration, critical chinking, creativity, and systematic thinking, as well as the role of technology in enhancing ear training in music studies. The research design follows an action research model, conducting a thorough examination of four specifically-designed novel activities in an ear training course: (1) strategic group games (2) Sing & See (3) dictation with different instrument sounds; and (4) creating stories for musical passages. Each activity aligns with at least two specific 21st-century skills, encompassing (I) Critical thinking, (II) Collaboration, (III) Problem-solving, (IV) Creativity, and (V) Technological literacy; the researchers aimed to determine if these activities have the potential to enhance (a) musical hearing, (b) solfège (c) listening. Data collection employed a multi-faceted approach, incorporating expert opinions, student self-assessment forms, and researcher diaries. Data analysis involved narrative synthesis, extracting and then compiling recurring themes from expert, student, and researcher evaluations. Findings reveal positive outcomes in terms of improved student engagement, adaptability and potential exposure to critical thinking, problem solving, and collaboration. Additionally, technology emerges as a valuable tool for interactive learning experiences, enriching creativity, critical thinking, and collaboration. This research contributes to the evolving landscape of music education by proposing an integrative approach that prepares students for the challenges of the 21st century. © The Author(s) 2025.","21st century skills; action research; educational strategy; music literacy; musical ear training","","","","","","","","Andrianopoulou M., Aural Education and its pedagogical conceptualization in higher music Education, (2018); Arndt H., Enhancing system thinking in education using system dynamics, Simulation, 82, 11, pp. 795-806, (2006); Beghetto R.A., Creativity in the classroom, The Cambridge handbook of creativity, pp. 447-463, (2010); Cameron B., Ormsby G., Kilgour P., The application of multiple intelligences in two year 7 textile technology classes, Teaching and Teacher Education, 8, 1, (2014); Collins A., Brown J.S., Newman S.E., Cognitive apprenticeship: Teaching the craft of reading, writing, and mathematics, Knowing, learning, and instruction: Essays in honor of Robert Glaser, pp. 453-494, (1989); Demirbatir R.E., Celiktas H., Engur D., The effect of the tuning system and instrument variables on modal dictation performance, Journal of Education and Training Studies, 6, 1, pp. 124-129, (2017); Fine P., Berry A., Rosner B., The effect of pattern recognition and tonal predictability on sight-singing ability, Psychology of Music, 34, 4, pp. 431-447, (2006); Fletcher C., Hulusic V., Amelidis P., Virtual reality ear training system: A study on spatialised audio in interval recognition, pp. 1-4, (2019); Giacomelli M.L., Theorising improvisation as a form of critical pedagogy in Ontario Public School Music Curricula, Critical Studies in Improvisation / Études Critiques En Improvisation, 8, 1, (2012); Gilbert A.D., The framework for 21st century learning: A first-rate foundation for music education assessment and teacher evaluation, Arts Education Policy Review, 117, 1, pp. 13-18, (2016); Guetl C., Parncutt R., An interactive tool for training and testing musical auditory skills, EdMedia+ innovate learning, pp. 5229-5237, (2008); Hager P., Kaye M., Critical thinking in teacher education: A process-oriented research agenda, Australian Journal of Teacher Education, 17, 2, (1992); Herayati D.F., Teaching writing through self-assessment and analytical scoring, International Journal of Scientific and Technology Research, 9, 2, pp. 4269-4272, (2020); Jerald C.D., Defining a 21st-century education, Center for Public Education, 16, pp. 1-10, (2009); Karpinski G.S., Aural skills acquisition: The development of listening, reading, and performing skills in college-level musicians, (2000); Kay K., Greenhill V., Twenty-first century students need 21st-century skills, Bringing schools into the 21st century, pp. 41-65, (2011); Leon-Garrido A., Barroso-Osuna J.M., Llorente-Cejudo C., Conceptual cartography for the systematic study of music education based on ICT or EdTech, Societies, 12, 5, (2022); McAdams S., Douglas C., Vempala N.N., Perception and modeling of affective qualities of musical instrument sounds across pitch registers, sychology, 8, (2017); McCoog I.J., 21st century teaching and learning, (2008); Nganga L., Preservice teachers' perceptions of teaching for global-mindedness and social justice: Using the 4Cs (Collaboration, Critical thinking, creativity and communication) in teacher education, Journal of Social Studies Education Research, 10, 4, pp. 26-57, (2019); Palazhenko O., Vitkalov S., Tsyulyupa S., Characteristics of the development of musical emotionality in the orchestral training process of a specialized musician, Scientific Article Collection of Uman State Pedagogical University, 1, pp. 63-71, (2023); Perez-Gil M., Tejada J., Morant R., De Martos A.P.G., Cantus: Construction and evaluation of a software solution for real-time vocal music training and musical intonation assessment, Journal of Music Technology and Education, 9, 2, pp. 125-144, (2016); Pink D.H., A whole new mind: Moving from the information age to the conceptual age, 50, (2005); Putecheva O., The Phenomenon and the semantics of sound in modern music as the subject of development in music education (Based on Works by Alexander Bakshi), Musical Art and Education, 7, pp. 107-119, (2019); Shi Y., The use of mobile internet platforms and applications in vocal training: Synergy of technological and pedagogical solutions, Interactive Learning Environments, 31, 6, pp. 3780-3791, (2021); Su Y., Instrument classification using different machine learning and deep learning methods, Highlights in Science, Engineering and Technology, 34, pp. 136-142, (2023); Thornhill-Miller B., Camarda A., Mercier M., Burkhardt J.M., Morisseau T., Bourgeois-Bougrine S., Vinchon F., El Hayek S., Augereau-Landais M., Mourey F., Feybesse C., Sundquist D., Lubart T., Creativity, critical thinking, communication, and collaboration: Assessment, certification, and promotion of 21st century skills for the future of work and Education, Journal of Intelligence, 11, 3, (2023); Whittemore R., Chase S.K., Mandle C.L., Validity in qualitative research, esearch, 11, 4, pp. 522-537, (2001); Wu J., Systematic discussion and rational thinking of vocal music education under the current social background of China, pp. 262-265, (2019); Yoo H., Building 21st century skills through technology in general music classes, Journal of General Music Education, 36, 1, pp. 21-31, (2022); Zairi I., Serious game design with medical students as a learning activity for developing the 4Cs Skills: Communication, collaboration, creativity and critical thinking: A qualitative research, La Tunisie Medicale, 99, 7, pp. 714-720, (2021)","E. Sülün; Atatürk Education Faculty Music Teaching Department, Near East University, Near East Boulevard, Nicosia/TRNC Mersin 10, 99138, Turkey; email: erkan.sulun@neu.edu.tr","","SAGE Publications Inc.","","","","","","21582440","","","","English","SAGE Open","Article","Final","","Scopus","2-s2.0-105003384820"
"Gibson S.-J.","Gibson, Sarah-Jane (57195709988)","57195709988","Considering approaches towards sustainability through reflexive ethnographic research into two international music gatherings","2024","International Journal of Community Music","17","3","","265","280","15","0","10.1386/ijcm_00108_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85217513589&doi=10.1386%2fijcm_00108_1&partnerID=40&md5=856f0449cb590219f63f5a0399065c61","York St John University, United Kingdom","Gibson S.-J., York St John University, United Kingdom","In this article, I consider how community music-making can help people become more engaged in climate action and responsible consumption. These are two of the sustainable development goals of the United Nations. Through ethnographic fieldwork, I demonstrate how my lived experiences at two Ethno gatherings impacted my engagement with climate action (SDG13) and consumption and production (SDG12). Ethnos are JM International’s annual multi-sited, youth folk-music gatherings. They are active in over forty countries. Their mission is to revive, invigorate and disseminate global traditional musical heritage and to promote ideals such as peace, tolerance and understanding. Following a critique of the concept of sustainability, I explore how two musical gatherings impacted my responsiveness to environmental sustainability. This postdoctoral ethnographic research was conducted in 2019 and 2020 at Ethno England and Ethno New Zealand as part of Ethno Research. I demonstrate how these gatherings addressed environmental concerns through organizational processes, and how the location of the gatherings solidified the relationship between participatory music-making and nature. Finally, I consider the value of the broader social impact of these gatherings in relation to the climate emergency. © 2024 Intellect Ltd Article. English language. hReceived 31 January 2024; Accepted 21 Septemb.","ecomusicology; environmental awareness; Ethnomusicology; folk music pedagogy; Indigenous practice; intercultural understanding; social change","","","","","","JM International and Margaret A. Cargill Philanthropies","The research was part of funding by JM International and Margaret A. Cargill Philanthropies.","Allen A., One ecology and many ecologies: The problem and oppor-tunity of ecology for music and sound studies, MUSICultures, 45, pp. 1-13, (2018); Allen A., Sounding sustainable; or, the challenge of sustainability, Cultural Sustainabilities: Music, Media, Language, Advocacy, pp. 43-59, (2019); Allen A., From anthropocentrism to ecocentrism, Ethnomusicology, 64, pp. 304-307, (2020); Allen A., Diverse ecomusicologies: Making a difference with the environmental liberal arts, Performing Environmentalism, pp. 89-115, (2021); Allen A., Leapaldt T., Pedelty M., Titon J., The sound commons and applied ecomusicologies, The Routledge Companion to Applied Musicology, pp. 143-159, (2023); Atleo E., Principles of the Tsawalk: An Indigenous Approach to Global Crisis, (2011); Bartleet B.-L., A conceptual framework for understanding and articulating the social impact of community music, International Journal of Community Music, 16, 1, pp. 31-49, (2023); Bartleet B.-L., Higgins L., Introduction: An overview of community music, Oxford Handbook of Community Music, pp. 1-22, (2018); Bithell C., Polyphonic voices: National identity, world music and the recording of traditional music in Corsica, British Journal of Ethnomusicology, 5, 1, pp. 39-66, (1996); Bithell C., Local musicking for a global cause, The Routledge Companion to Study Local Musicking, pp. 373-383, (2018); Burnard P., Cook P. J., Jasilek S., Bauer-Nilsen B., Performing arts activism for addressing climate change: Conceptualizing an inter-cultural choreographic practice and dance performance called Melting Ice, Choreographic Practices, 9, 1, pp. 119-144, (2018); Camlin D., Music Making and Civic Imagination, (2023); Camlin D., Reiss H., Ethno Organisers: Research Report, (2021); Adam Young, Mooks and Jarulah Slabb [project] New Zealand 2019, (2019); About the project, Ethno Research, (2020); About; Garrett I., Arts-driven sustainability and sustainably driven arts, Scene, 6, 1, pp. 63-79, (2018); Gibson S.-J., Sustainability Report, (2021); Gibson S.-J., Building Community Choirs in the Twenty-First-Century: Northern Ireland: Reimagining Identity through Singing in Northern Ireland, (2023); Gibson S.-J., Carbon footprints and intercultural exchange: Ethno as sustainable practice, Ethno Music Gatherings, pp. 181-199, (2024); Gibson S.-J., Higgins L., Humphrey R., Ellstrom L., Reiss H., Roosioja L., 30 Years of Ethno: History Report, (2021); Grant C., Analogies and links between cultural and biological diver-sity, Journal of Cultural Heritage Management and Sustainable Development, 2, 2, pp. 153-163, (2012); Grant C., Academic flying, climate change and ethnomusicology: Personal reflections on a professional problem, Ethnomusicology Forum, 27, 2, pp. 123-135, (2018); Grant C., Climate justice and cultural sustainability: The case of Etëtung (Vanautu women’s water music), The Asia Pacific Journal of Anthropology, 20, 1, pp. 42-66, (2019); Harrison K., Indigenous music sustainability during climate change, Current Opinion in Environmental Sustainability, 43, pp. 28-34, (2020); Hesser B., Bartleet B.-L., Music as a Global Resource: Solutions for Cultural, Social, Health, Educational, Environmental, and Economic Issues, (2020); Higgins L., Community Music: In Theory and in Practice, (2012); Higgins L., Rethinking community in community music: The call, the welcome, and the “yes, Rethinking Community through Transdisciplinary Research, pp. 231-246, (2020); Higgins Lee, Thinking Community Music, (2024); Impey A., Song Walking: Women, Music, and Environmental Justice in an African Borderland, (2018); Jorritsma M., Towards an eco-literate tertiary music education: Notes from a South African context, International Journal of Music Education, 40, 1, pp. 14-25, (2022); Manzanedo R., Manning P., COVID-19: Lessons for the climate change emergency, Science of the Total Environment, 742, pp. 1-4, (2020); Pedelty M., Ecomusicology: Rock, Folk, and the Environment, (2012); Przybylski L., Hybrid Ethnography: On-line, Off-line and in between, (2021); Rakena T., Community music in the South Pacific, Oxford Handbook of Community Music, pp. 71-88, (2018); Schippers H., Sound futures, Sustainable Futures for Music Cultures: An Ecological Perspective, pp. 1-18, (2016); Schippers H., Grant C., Approaching music cultures as ecosystems, Sustainable Futures for Music Cultures: An Ecological Perspective, pp. 333-352, (2016); Simpson B., Coleman S., Ethnography: Glossary of terms, Royal Anthropological Institute, (2009); Titon J., Music and sustainability: An ecological standpoint, The World of Music, 51, 1, pp. 119-137, (2009); The 17 goals; Veblen K., Messenger S., Silverman M., Elliot D., Community Music Today, (2013); Allen A., Sustainable futures for music cultures: An ecological pers-pective, Ethnomusicology Forum, 26, 3, pp. 400-405, (2017); Bithell C., Hill J., The Oxford Handbook of Music Revival, (2014); Grant C., Rethinking safeguarding: Objections and responses to protecting and promoting endangered musical heritage, Ethnomusicology Forum, 21, 1, pp. 31-51, (2012); Paynter J., Sound and Silence, (1970)","S.-J. Gibson; York St John University, York, Lord Mayor’s Walk, YO31 7EX, United Kingdom; email: s.gibson1@yorksj.ac.uk","","Intellect Ltd.","","","","","","17526299","","","","English","Int. J. Community Music","Article","Final","","Scopus","2-s2.0-85217513589"
"Udakarn N.; Namtep R.","Udakarn, Norrasate (57980312000); Namtep, Remi (59391523400)","57980312000; 59391523400","An Exploratory Analysis of how Vocaloid’s Synthesized Vocals can be used as an Innovative Music Education Method in Teaching Sight–Singing","2024","Pakistan Journal of Life and Social Sciences","22","2","","8850","8862","12","0","10.57239/PJLSS-2024-22.2.00668","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85207909623&doi=10.57239%2fPJLSS-2024-22.2.00668&partnerID=40&md5=3ecbf3613bb5f243625cbb73edbe9a63","College of Music, Payap University, Chiang Mai, Thailand","Udakarn N., College of Music, Payap University, Chiang Mai, Thailand; Namtep R., College of Music, Payap University, Chiang Mai, Thailand","The researchers investigated how Vocaloid's synthesized vocals could be used to develop a primary sight–signing learning system. The sample consisted of 80 music program students learning sight–singing. Tools used for data collection consisted of Zolta n Koda ly's '333 Reading Exercises' and Vocaloid. For the development of this research, the researcher created an innovative learning management process based on the principles from Seels and Glasgow, combined with music teaching concepts from Koda ly. Results revealed that the post-course assessment using Vocaloid's innovative technology and the authors' instructional design methods initially had a students' average score was 7.78 with a standard deviation of 0.43, indicating relatively consistent performance among the group. Following the instructional method's implementation, the average score rose to 8.16, with a slightly higher standard deviation of 0.60. This increase in average score suggests an overall improvement in student learning outcomes, supporting the instructional method's effectiveness in enhancing their listening skills and reading musical notes. © (2023), (Elite Scientific Publications). All Rights Reserved.","Hatsune Miku; Music education; Sight–singing; Thailand; Vocaloid; voicebanks","","","","","","","","Asztalos A., The spread of Zoltan Kodaly's music education principles in the world, Studia Universitatis Babes-Bolyai-Musica, 68, 1, pp. 11-27, (2023); Clarke L., Vocal Synthetics: Designing for an Adaptable Singing Synthesizer, (2021); Conner T. H., Rei Toei lives!: Hatsune Miku and the design of the virtual pop star, (2014); Eidsheim N. S., Rewriting algorithms for just recognition, Toward a New Object, Method, and Practice, (2023); Galbraith P. W., Moe Manifesto: An Insider's Look at the Worlds of Manga, Anime, and Gaming, (2014); Gupta C., Li H., Goto M., Deep learning approaches in topics of singing information processing, IEEE/ACM Transactions on Audio, Speech, and Language Processing, 30, pp. 2422-2451, (2022); Hiney A., The Benefits of the Kodály Concept on Rehearsal Techniques, (2012); Ipek I., Ziatdinov R., New approaches and trends in the philosophy of educational technology for learning and teaching environments, European Journal of Contemporary Education, 6, 3, pp. 381-389, (2017); Isfiaty T., Study of Cultural Transformation Based on the Hatsune Miku–Vocaloid Phenomenon, International Conference on Business, Economic, Social Science, and Humanities–Humanities and Social Sciences Track (ICOBEST-HSS 2019), pp. 64-66, (2020); Kenmochi H., Singing synthesis as a new musical instrument, 2012 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP), pp. 5385-5388, (2012); Karki K., Vocaloid liveness? Hatsune Miku and the live production of Japanese virtual idol concerts, Researching Live Music, pp. 127-140, (2021); Karpinski G. S., Aural skills acquisition: The development of listening, reading, and performing skills in college-level musicians, (2000); Lam K. Y., The Hatsune Miku Phenomenon: More Than a Virtual J-Pop Diva, Journal of Popular Culture, 49, 5, (2016); Le L. K., Examining the rise of Hatsune Miku: The first international virtual idol, The UCI Undergraduate Research Journal, 13, 1, pp. 1-12, (2014); Novak J., Posthuman Voice Beyond Opera, Contemporary Opera in Flux, (2024); Pang A. D., Hear Me Out: Remediating Bodies through Digital Voices, (2022); Princen G., The World of Vocaloid - The Global Music Phenomenon Explained, (2024); Roseboro B., The vocaloid phenomenon: a glimpse into the future of songwriting, community-created content, art, and humanity, (2019); Santrock J. W., Educational Psychology, (2018); Shakya S., Tools For Ear Training Pedagogy, (2024); Snodgrass J., Teaching music theory: New voices and approaches, (2020); Spatioti A. G., Kazanidis I., Pange J., A comparative study of the ADDIE instructional design model in distance education, Information, 13, 9, (2022); Steinberg M., Converging contents and platforms: Niconico video and Japan’s media mix ecology, Asian Video Cultures, pp. 91-112, (2017); Thibeault M., Vocaloids and music learning, (2017); Szanto J. E., Singing Technique for Young Children in the Kodály Music Classroom: A Narrative Inquiry, (2021); Tomonori S., Hatsune Miku: Digital Face of a Twenty-First Century Music Revolution, (2021); Ward S. J., Price R. M., Davis K., Crowther G. J., Songwriting to learn: How high school science fair participants use music to communicate personally relevant scientific concepts, International Journal of Science Education, Part B, 8, 4, pp. 307-324, (2018); White A. G., The Effects of Feedback on Sight-singing Achievement, (2020); Yan X., Research on the Ideas and Methods of Multi-Level Sight-Singing and Ear Training Aesthetic Education, Training, 5, 6, pp. 68-72, (2023); Yin Y., Vocaloid in China: Cosmopolitan music, cultural expression, and multilayer identity, Global Media and China, 3, 1, pp. 51-66, (2018); Margaretha Yolla, Suryana Popo, The Effect of Market Orientation, Entrepreneurial Orientation, and Learning Orientation on Marketing Innovations and their Implications on the Marketing Performance of Micro Actors in Bandung Metropolitan Area, Pakistan Journal of Life and Social Sciences, 21, 1, pp. 478-498, (2023)","N. Udakarn; College of Music, Payap University, Chiang Mai, Thailand; email: pop.popiko@gmail.com","","Elite Scientific Publications","","","","","","17274915","","","","English","Pak. J. Life Soc. Sci.","Article","Final","","Scopus","2-s2.0-85207909623"
"Merchán Sánchez-Jara J.F.; González Gutiérrez S.; Cruz Rodríguez J.; Syroyid Syroyid B.","Merchán Sánchez-Jara, Javier Félix (57193549570); González Gutiérrez, Sara (57226273232); Cruz Rodríguez, Javier (57209176483); Syroyid Syroyid, Bohdan (58190450200)","57193549570; 57226273232; 57209176483; 58190450200","Artificial Intelligence-Assisted Music Education: A Critical Synthesis of Challenges and Opportunities","2024","Education Sciences","14","11","1171","","","","1","10.3390/educsci14111171","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85210411638&doi=10.3390%2feducsci14111171&partnerID=40&md5=f307476b47bb72c38cde50b8d7a87986","Institute of Education Sciences (IUCE), University of Salamanca, Salamanca, 37008, Spain; Faculty of Education Sciences, University of Salamanca, Zamora, 49029, Spain; Faculty of Education and Tourism, University of Salamanca, Ávila, 05003, Spain","Merchán Sánchez-Jara J.F., Institute of Education Sciences (IUCE), University of Salamanca, Salamanca, 37008, Spain; González Gutiérrez S., Institute of Education Sciences (IUCE), University of Salamanca, Salamanca, 37008, Spain; Cruz Rodríguez J., Faculty of Education Sciences, University of Salamanca, Zamora, 49029, Spain; Syroyid Syroyid B., Faculty of Education and Tourism, University of Salamanca, Ávila, 05003, Spain","Artificial intelligence (AI) is a hot topic that presents new challenges and opportunities for the improvement of educational processes. The disruptive and transformative force of this new technological development implies the adaptation of educational ecosystems for its use and integration as a didactic and pedagogical resource. From this perspective, a systematic literature review has been conducted to analyze the didactic potential of generative AI tools in the field of promoting artistic creativity in music education. The research results confirm that the incorporation of AI in music education is paving the way for a more personalized, interactive and efficient learning experience. In addition, the analysis suggests nine fundamental fields of IA implementation in music education: virtual and augmented reality (VR; VA); learning personalization, intelligent tutoring systems; composition assistants; improved historical and contextual learning; assessment systems; interactive ear training and music theory systems; tools for music collaboration and performance; and assistive technologies. Furthermore, the challenges presented by the intersection of AI and digital didactics in the field of music education are discussed. © 2024 by the authors.","creativity; digital didactics; music didactics; music learning; pedagogical innovation","","","","","","H2020 Marie Skłodowska-Curie Actions, MSCA; University of Salamanca, (HORIZON-MSCA-2021-SE-01-STAFF EXCHANGES); Ministerio de Universidades, MIU, (FPU20/01761); Ministerio de Universidades, MIU","This research was funded by Marie Sk\u0142odowska-Curie Actions, University of Salamanca: grant number [HORIZON-MSCA-2021-SE-01-STAFF EXCHANGES] and the Ministry of Universities of Spain under Grants for University Teacher Training (FPU20/01761).","Merchan-Sanchez-Jara J., Ramos-Ahijado S., Montoya-Rubio J.C., Educational ecosystems for music practice in the Social Web environment: A systematic literature review, J. Educ. Res, 40, pp. 565-587, (2022); Qian C., Research on Human-centered Design in College Music Education to Improve Student Experience of Artificial Intelligence-based Information Systems, J. Inf. Syst. Eng. Manag, 8, (2023); Agarwal M., Greer R., Spectrogram-Based Deep Learning for Flute Audition Assessment and Intelligent Feedback, Proceedings of the 2023 IEEE International Symposium on Multimedia (ISM), pp. 238-242; Cruz L., Rolla V., Kestenberg J., Velho L., Visual Representations for Music Understanding Improvement, Music Technology with Swing, pp. 468-476, (2018); Choi M., Design, Implementation, and Effects of Elementary Music Creation Class Using an AI-Based Music Program, Doodle Bach, Korean J. Res. Music Educ, 52, pp. 211-237, (2023); Burrows J., Kumar V., Kinshuk, Dewan A., Assessing a music student’s progress, Proceedings of the IEEE 18th International Conference on Advanced Learning Technologies (ICALT), pp. 202-206; Giraldo S., Ortega A., Perez A., Ramirez R., Waddell G., Williamon A., Automatic assessment of violin performance using dynamic time warping classification, Proceedings of the 26th IEEE Signal Processing and Communications Applications Conference (SIU), pp. 1-3; Page M.J., McKenzie J.E., Bossuyt P.M., Boutron I., Hoffmann T.C., Mulrow C.D., Shamseer L., Tetzlaff J.M., Akl E.A., Brennan S.E., Et al., The PRISMA 2020 statement: An updated guideline for reporting systematic reviews, BMJ, 372, (2021); Wang Q., The Creation of Multi Intelligence Music Classroom in Children’s Enlightenment Stage Based on Virtual Reality Technology, Proceedings of the 2021 2nd International Conference on Education, Knowledge and Information Management (ICEKIM), pp. 431-434; Cui K., Artificial intelligence and creativity: Piano teaching with augmented reality applications, Interact. 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Comput, 50, (2024); Chin D., Xia G., A Computer-aided Multimodal Music Learning System with Curriculum: A Pilot Study, Proceedings of the International Conference on New Interfaces for Musical Expression (NIME), pp. 1-25; Ventura M.D., A Self-adaptive Learning Music Composition Algorithm as Virtual Tutor, Artificial Intelligence Applications and Innovations, 646, pp. 16-26, (2022); Huang C.Z.A., Hawthorne C., Roberts A., Dinculescu M., Wexler J., Hong L., Howcroft J., The bach doodle: Approachable music composition with machine learning at scale, Proceedings of the 20th International Society for Music Information Retrieval Conference (ISMIR), pp. 793-800; Knapp D.H., Powell B., Smith G.D., Coggiola J.C., Kelsey M., Soundtrap usage during COVID-19: A machine-learning approach to assess the effects of the pandemic on online music learning, Res. Stud. Music Educ, 45, pp. 571-584, (2023); Wan L., Research on Diversified Teaching Strategies for Music Courses in Colleges and Universities under the Background of Artificial Intelligence, Appl. Math. Nonlinear Sci, 9, pp. 1-17, (2024); Hou H., Analysis and Innovation of Vocal Music Teaching Quality in Colleges and Universities Based on Artificial Intelligence, Appl. Math. Nonlinear Sci, 9, pp. 1-16, (2024); Cao W., Evaluating the Vocal Music Teaching Using Backpropagation Neural Network, Mob. Inf. Syst, 2022, (2022); Solanskyi S., Zhmurkevych Z., Saldan S., Velychko O., Dyka N., Innovative methods in modern piano pedagogy, Sci. Her. Uzhhorod. Univ. Ser. Phys, 55, pp. 2978-2987, (2024); Zhang W., Constructing a Theoretical Methodological System for Vocal Music Education in Colleges and Universities in the Context of Deep Learning Algorithms, Appl. Math. Nonlinear Sci, 9, pp. 1-16, (2023); Konecki M., Adaptive Drum Kit Learning System: Impact on Students’ Learning Outcomes, Int. J. Inf. Educ. Technol, 13, pp. 1534-1540, (2023); Burns A.-M., Traube C., Reports from the field: Learning to play the guitar with the novaxe online learning platform, The Oxford Handbook of Social Media and Music Learning, pp. 245-263, (2020); Della Ventura M., Exploring the Impact of Artificial Intelligence in Music Education to Enhance the Dyslexic Student’s Skills, Learning Technology for Education Challenges, 1011, pp. 14-22, (2019); Niediek I., Sieger M., Gerland J., Music apps as inclusive engines?—A spotlight into practice, Computers Helping People with Special Needs, pp. 159-162, (2018); Ma X., Jiang C., On the Ethical Risks of Artificial Intelligence Applications in Education and Its Avoidance Strategies, J. Educ. Humanit. Soc. Sci, 14, pp. 354-359, (2023); Killian L., Integrating Music Technology in the Classroom: Increasing Customization for Every Student, pp. 1-12, (2019); Lehmann-Wermser A., Weyel B., [PosyMus]—The Music Education perspective, Computer Based Assessment and Feedback in Music Education, pp. 29-50, (2021); Sturm B.L., Ben-Tal O., Folk the algorithms: (Mis)Applying artificial intelligence to folk music, Handbook of Artificial Intelligence for Music: Foundations, Advanced Approaches, and Developments for Creativity, pp. 423-454, (2021); Creely E., Henriksen D., Henderson M., Artificial intelligence, creativity, and education: Critical questions for researchers and educators, Proceedings of the Society for Information Technology & Teacher Education International Conference (SITE), pp. 1309-1317; Sun H., The Research of Music AI in the Context of Information Security, Intelligent Computing Methodologies, Proceedings of the Intelligent Computing Methodologies: 16th International Conference (ICIC 2020), Bari, Italy, 2–5 October 2020, pp. 593-600, (2020); Sturm B.L., Iglesias M., Ben-Tal O., Miron M., Gomez E., Artificial intelligence and music: Open questions of copyright law and engineering praxis, Arts, 8, (2019); Akgun S., Greenhow C., Artificial intelligence in education: Addressing ethical challenges in K-12 settings, AI Ethics, 2, pp. 431-440, (2022); Gonzalez-Gonzalez C.S., The impact of artificial intelligence in education: Transforming the way we teach and learn, Qurriculum, 36, pp. 51-60, (2023); Gonzalez-Gutierrez S., Merchan-Sanchez-Jara J., Digital humanities and educational ecosystem: Towards a new epistemic structure from digital didactics, Anu. ThinkEPI, 16, (2022); Merchan-Sanchez-Jara J., e-Score; impact, perception and uses in music educational institutions, Proceedings of the 3rd International Conference on Technological Ecosystems for Enhancing Multiculturality (TEEM), pp. 449-454","J.F. Merchán Sánchez-Jara; Institute of Education Sciences (IUCE), University of Salamanca, Salamanca, 37008, Spain; email: javiermerchan@usal.es; S. González Gutiérrez; Institute of Education Sciences (IUCE), University of Salamanca, Salamanca, 37008, Spain; email: saragnzlz@usal.es","","Multidisciplinary Digital Publishing Institute (MDPI)","","","","","","22277102","","","","English","Educ. Sci.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85210411638"
"Quiñones-Ramírez F.; Duran D.; Viladot L.","Quiñones-Ramírez, Félix (58672218100); Duran, David (7004924526); Viladot, Laia (35276128600)","58672218100; 7004924526; 35276128600","Co-Teaching with High School Students for Music Teaching","2023","Education Sciences","13","10","972","","","","2","10.3390/educsci13100972","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85175296151&doi=10.3390%2feducsci13100972&partnerID=40&md5=ac335b03eb18b7df6d5f871f77d4878b","Department of Basics, Developmental and Educational Psychology, Universitat Autònoma Barcelona, Bellaterra, 08193, Spain; Department of Teaching Musical, Artistic and Corporal Expression, Universitat Autònoma Barcelona, Bellaterra, 08193, Spain","Quiñones-Ramírez F., Department of Basics, Developmental and Educational Psychology, Universitat Autònoma Barcelona, Bellaterra, 08193, Spain; Duran D., Department of Basics, Developmental and Educational Psychology, Universitat Autònoma Barcelona, Bellaterra, 08193, Spain; Viladot L., Department of Teaching Musical, Artistic and Corporal Expression, Universitat Autònoma Barcelona, Bellaterra, 08193, Spain","This article presents a didactic proposal for teaching musical notation and solfège sight-singing through co-teaching with secondary school students. The goal was to explore the advantages and limitations of using a form of peer learning where students play the role of co-teachers alongside the teacher. We wanted to find out whether this proposal would lead to significant improvements among both co-teachers and tutees, identifying the actions responsible for this progress, and paying particular attention to how students learn in the role of co-teachers. This study was based on a mixed-method explanatory sequential design, where the quantitative data were analyzed first and then the qualitative data. The quantitative results showed statistically significant improvements when comparing the pre-test and post-test results of all the students participating in the didactic proposal. These improvements can be attributed to the personalized support provided by the co-teachers, the opportunities for peer assessment that enabled progress to be monitored and provided feedback, and the possibilities of learning by teaching. In conclusion, the results of this study endorse the viability of student co-teaching in secondary school music education. © 2023 by the authors.","learning by teaching; music education; music literacy; peer learning; student co-teaching","","","","","","","","Paynter J., Sonido y Estructura, (1999); Mayer R., Alexander P., Handbook of Research on Learning and Instruction, (2016); Daniel R., Parkes K., Music instrument teachers in higher education: An investigation of the key influences on how they teach in the studio, Int. J. Teach. Learn. High. Educ, 29, pp. 33-46, (2017); Virkkula E., Informal in formal: The relationship of informal and formal learning in popular and jazz music master workshops in conservatoires, Int. J. 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J, 87, pp. 33-38, (2001); Altimires N., Duran D., La tutoría entre iguales en el aprendizaje de la lectura de las notas musicales, Eufonía, 52, pp. 71-78, (2011); Sanchez-Jara J.M., Ahijado S.R., Rubio J.C., Ecosistemas educativos para la práctica musical em el entorno de la Web Social: Una revisión sistemática de literatura, Rev. Investig. Educ, 40, pp. 565-587, (2022); Shifres F.D., Holguin P.J., Escuchar música al sur del Río Bravo: Desarrollo y formación del oído musical desde una perspectiva latinoamericana, Rev. Investig. Campo Arte, 10, pp. 40-53, (2015); Galera M., Tejada J., Lectura musical y procesos cognitivos implicados, LEEME Lista Electron. Eur. Música Educ, 29, pp. 59-82, (2012); Viladot L., Gomez I., Malagarriga T., Sharing meanings in the music classroom, Eur. J. Psychol. Educ, 25, pp. 49-65, (2010); Creswell J.W., Plano Clark L.V., Gutmann M.L., Hanson W.E., Advanced mixed methods research designs, Handb. Mix. Methods Soc. Behav. Res, 209, pp. 209-240, (2003); Lee P., Joo S.H., Lee S., Examining stability of personality profile solutions between Likert-type and multidimensional forced choice measure, Personal. Individ. Differ, 142, pp. 13-20, (2019); Engestrom Y., Sannino A., Studies of expansive learning: Foundations, findings and future challenges, Educ. Res. Rev, 5, pp. 1-24, (2010); Sanmarti N., Avaluar i Aprendre: Un Únic Procés, (2019); Renkl A., Learning for later teaching: An exploration of meditational links between teaching expectancy and learning results, Learn. Instr, 5, pp. 21-36, (1995); Cortese C., Learning through Teaching, Manag. Learn, 36, pp. 87-115, (2005); Wang Y., Lin L., Chen O., The benefits of teaching on comprehension, motivation, and perceived difficulty: Empirical evidence of teaching expectancy and the interactivity of teaching, Br. J. Educ. Psychol, 91, pp. 1275-1290, (2021)","F. Quiñones-Ramírez; Department of Basics, Developmental and Educational Psychology, Universitat Autònoma Barcelona, Bellaterra, 08193, Spain; email: felix.qramirez@gmail.com","","Multidisciplinary Digital Publishing Institute (MDPI)","","","","","","22277102","","","","English","Educ. Sci.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85175296151"
"Manyame P.; Muranda R.","Manyame, Patson (58990903200); Muranda, Richard (57196444324)","58990903200; 57196444324","Exploring Music Performance Practices in the Zimbabwe Republic Police","2023","Muziki","20","1-2","","27","42","15","0","10.1080/18125980.2024.2317929","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85190661929&doi=10.1080%2f18125980.2024.2317929&partnerID=40&md5=aca64f7016f52202be5186a1c1e3df54","Midlands State University, Zimbabwe","Manyame P., Midlands State University, Zimbabwe; Muranda R., Midlands State University, Zimbabwe","The study explored the music performance practices in the Zimbabwe Republic Police (ZRP). The authors examined musical practices envisioned in the ZRP from colonial times to date. The ZRP music section has dance and brass bands, traditional dance, and vocal ensembles. The study focused on the ZRP dance and brass bands since they were subjected to colonial practices. Decoloniality theory was used to interrogate the data. A qualitative research methodology was used to examine the ZRP musical practices. Thirty participants were purposively sampled from current and ex-members of the ZRP. The study collected data through interviews and observations to understand the ZRP musical practices. The study explored topics including sight-reading, harmony, discipline, performance of copyrighted music, European songs, and transcription to explain how they affected the musical practices of the ZRP. The data showed that certain practices, like the playing of “Roast Beef of Old England” depicts the colonial system. Other practices, like playing European calls at national and police ceremonial events did not reflect African contexts. Although the ZRP incorporated indigenous musical practices into their musical renditions, more musical act ivities are needed to replace the fanfare and songs, including “Scipio,” “Road to the Isles,” and “Waltzing Matilda.”. © 2024 Unisa Press.","African; colonial legacy; musical culture; performance; police; Western culture","","","","","","","","Achola P.P.W., Ndege P.O., Ondieki P.B., An Assessment of Poverty Reduction Strategies in Kenya, International Conference on Assessment of Poverty Reduction Strategies in Sub-Saharan Africa, (2009); Ballena C.T., Qualitative Research Interviewing: Typology of Graduate Students’ Interview Questions, Philippine Social Science Journal, 4, 3, pp. 96-112, (2021); Barry S.J., Kum A Kye: A Short History, The KIWI, 24, pp. 1-68, (2009); Berg K.E., Latin R.W., Essentials of Research Methods in Health, Physical Education, Exercise Science and Recreation, (2008); Brucher K., Reily S.A., Introduction: The World of Brass Bands, Brass Bands of the World: Militarism, Colonial Legacies, and Local Music Making, pp. 23-54, (2016); Bruinders S., From Orality to Literacy: Negotiating Musical Transmission in the Christmas Bands in the Western Cape, South Africa, Journal of the Musical Arts in Africa, 12, pp. 57-72, (2015); Burchard S., Colonial Legacies and Development Performance in Africa., (2005); Chaza G.A., Bhurakuwacha: The Story of a Black Policeman in Colonial Southern Rhodesia, (1998); Gerou T., Lusk L., Essential Dictionary of Music Notation, (1996); Gibbs P., Phillips H., The History of the British South Africa Police 1889–1980, (2002); Hall D., BSAP–Extant in Memoria, The UK Outpost, 89, pp. 1-46, (2015); Hamley R., The BSA Police Band, Natal Outpost, 87, pp. 1-72, (2011); Harding C.M.G., Frontier Patrols: A History of the BSAP and other Rhodesian Forces, (1937); Klapuri A., Introduction to Music Transcription, Signal Processing Methods for Music Transcription, pp. 3-20, (2006); Lune H., Berg L.B., Qualitative Research Methods for Social Sciences, (2017); Makwenda J.J., Zimbabwe Township Music, (2005); Manyame P., The Impact of the Colonial Legacy on Music Performance, Focusing on the Zimbabwe Republic Police Band., (2016); Murray D., Music of the Scottish Regiments, (1994); Ndlovu-Gatsheni S.J., Decoloniality as the Future of Africa, History Compass, 13, pp. 485-496, (2015); Ndlovu-Gatsheni S.J., African Decolonization’s Past and Present Trajectories, Current History, 119, 817, pp. 188-193, (2020); Nyerere J., Freedom and Socialism. A Selection from Writings & Speeches, 1965–1967, (1968); Nzewi O.S., The Use of Performance Composition on African Music Instruments for Effective Classroom Music Education in Africa., (2010); Oelofsen R., Decolonisation of the African Mind and Intellectual Landscape, Phronimon, 16, 2, pp. 130-146, (2015); O'Leary Z., Essential Guide to Doing Research, (2004); Richman H., Super Sight-Reading Secrets, (1986); Rodney W., How Europe Underdeveloped Africa, (1972); Seeger C., Prescriptive and Descriptive Music-Writing, The Musical Quarterly, 44, 2, pp. 184-195, (1958); Shizha E., Kariwo M.T., Education and Development in Zimbabwe: A Social, Political and Economic Analysis, (2011); Strand P.J., Kouchoukas R., Rather W., Legal Issues Involved in the Music Industry, (2005); Taaffe B., Words and Translations, (2011); Thorsen S., Sounds of Change: Social and Political Features of Music in Africa, (2004); Young C., The Heritage of Colonialism, Africa in World Politics: Post-War Challenges, pp. 9-26, (1995)","R. Muranda; Midlands State University, Zimbabwe; email: murandar@staff.msu.ac.zw","","Routledge","","","","","","18125980","","","","English","Muziki","Article","Final","","Scopus","2-s2.0-85190661929"
"Wiener S.; Bradley E.D.","Wiener, Seth (56223929100); Bradley, Evan D. (54892889600)","56223929100; 54892889600","Harnessing the musician advantage: Short-term musical training affects non-native cue weighting of linguistic pitch","2023","Language Teaching Research","27","4","","1016","1031","15","12","10.1177/1362168820971791","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85096902671&doi=10.1177%2f1362168820971791&partnerID=40&md5=e5ff213e183f5e850b90048979a0de0e","Carnegie Mellon University, United States; Penn State Brandywine, United States","Wiener S., Carnegie Mellon University, United States; Bradley E.D., Penn State Brandywine, United States","Lexical tone languages like Mandarin Chinese require listeners to discriminate among different pitch patterns. A syllable spoken with a rising pitch (e.g. bí ‘nose’) carries a different meaning than the same syllable spoken with a falling pitch (e.g. bì ‘arm’). For native speakers (L1) of a non-tonal language, accurate perception of tones in a second language (L2) is notoriously difficult. Musicians, however, have typically shown an aptitude for lexical tone learning due to the unique perceptual demands of music. This study tested whether musical effects can be exploited to improve linguistic abilities in the general population. A pre-test, 8-week training, post-test design was used to measure L1 English participants’ sensitivity to tone. Individual Differences Scaling was used to measure participants’ weighting of pitch height and movement cues. Participants took part in classroom Mandarin learning only (+L2), musical ear training only (+Music), or classroom learning combined with musical training (+L2+Music). An L1 Mandarin group served as a baseline. At pre-test, mean sensitivity to tone and multidimensional scaling results were similar across all three L1 English groups. After training, all three L1 English groups improved in mean sensitivity, though only the +L2+Music group did so at a significant rate. Multidimensional scaling revealed that all groups increased their weighting of the more informative pitch movement cue at roughly equal rates. Short-term musical training thus affected change in cue weighting of linguistic pitch in a manner comparable to that occurring after a semester of L2 classroom learning. When combined with classroom learning, short-term musical training resulted in even greater sensitivity to pitch movement cues. These results contribute to models of music-language interaction and suggest that focused application of non-linguistic acoustic training can improve phonetic perception in ways that are relevant to language learning. © The Author(s) 2020.","cue weighting; Mandarin lexical tone; music; pitch perception; second language learning","","","","","","Penn State Brandywine","This research received financial support from Penn State Brandywine. 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Wiener; Carnegie Mellon University, United States; email: sethw1@cmu.edu","","SAGE Publications Ltd","","","","","","13621688","","","","English","Lang. Teach. Res.","Article","Final","","Scopus","2-s2.0-85096902671"
"Sánchez-Gatt L.L.; Menon S.A.; Hess J.","Sánchez-Gatt, Lorenzo Lazaro (58895700600); Menon, Saleel Adarkar (59002113900); Hess, Juliet (36161776900)","58895700600; 59002113900; 36161776900","Troubling Transcultural Practices: Anti-Colonial Thinking for Music Education","2025","Action, Criticism, and Theory for Music Education","24","1","","48","82","34","1","10.22176/act24.1.48","https://www.scopus.com/inward/record.uri?eid=2-s2.0-86000091977&doi=10.22176%2fact24.1.48&partnerID=40&md5=dc2025c9d53211c996a0a08a01c25c96","Boston University, United States; Michigan State University, United States","Sánchez-Gatt L.L., Boston University, United States; Menon S.A., Michigan State University, United States; Hess J., Michigan State University, United States","Transcultural pedagogy, or what is often described as world music pedagogy, in U.S. and Canadian classrooms often utilizes an extractive logic, serving to essentialize culture, in-visibilize logics that are incongruent to European, Canadian, and U.S.-centric epistemol-ogies, and uphold the goal of white assimilation under the guise of multiculturalism. As former K-12 music educators, now in higher education, we worry about the potential for music teachers to engage in “world music” in the classroom via a touristic model. In this paper, we trouble practices we identify as transcultural in music education, drawing on anti-colonialism as a theoretical framework to trouble the colonial dynamics in these music education practices. We ultimately aim to construct an ethical approach to world music pedagogy through the use of narrative and counterfactual history. © Lorenzo Lazaro Sánchez-Gatt, Saleel Adarkar Menon, and Juliet Hess.","Anti-colonialism; colonialism; counterfactual history; transculturalism; world music pedagogy","","","","","","","","Abril Carlos R., Beyond content integration: Multicultural dimensions in the application of music teaching and learning, (2003); Alamillo Jose M., Cinco de Mayo, Inc.: Reinterpreting Latino culture into a commercial holiday, Emerald Group Publishing Limited EBooks, pp. 217-238, (2009); Alibhai-Brown Yasmin, After multiculturalism, (2000); Angod Leila, From post-colonial to anti-colonial politics: Difference, knowledge, and R. v. 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Crit. Theory Music Educ.","Article","Final","","Scopus","2-s2.0-86000091977"
"Kim J.-Y.","Kim, Ji-Young (58480778600)","58480778600","A Melody and Its Afterlives in Piano Music by the Schumanns and Brahms","2023","Nineteenth Century Music","46","3","","217","243","26","0","10.1525/ncm.2023.46.3.217","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85164443182&doi=10.1525%2fncm.2023.46.3.217&partnerID=40&md5=96ff10a544df7d9aad1fdd186b7484bc","","","In the 1830s, Robert Schumann wrote Impromptus on a Romance by Clara Wieck (op. 5), a set of variations on the theme from Wieck’s Romance variée (op. 3). In the 1850s, Clara Schumann wrote variations (op. 20) on an “Albumblatt” from Robert Schumann’s Bunte Blätter (op. 99), which stimulated Brahms to write his own variations (op. 9) on the same theme. Clara and Brahms linked the two temporal nodes together by quoting the melody shared by Clara and Robert’s youthful ops. 3 and 5 in their later ops. 20 and 9. These borrowings have stimulated interpretations that revolve around representations of people through such means as ciphers, quotations, allusions, and motives. Yet documentary and circumstantial evidence—diary entries and correspondence, private forms of music making (sight-reading and practicing in solo and chamber settings), material culture in the form of giving and receiving flowers, and a little-discussed yet remarkable piano arrangement of Robert’s Piano Quintet, op. 44, by Brahms—suggest that Brahms’s op. 9 quotation of the Schumanns’ melody was meant to recall a shared experience during a poignant moment in the year 1854. Not only to be read and recognized on paper, musical borrowings can gain expressive value as performative acts creating an open-ended field of meaning. © 2023 by The Regents of the University of California. All rights reserved.","Clara Wieck-Schumann; Johannes Brahms; quotation; Robert Schumann; variation","","","","","","","","Becker C.S., A New Look at Schumann’s Impromptus, Musical Quarterly, 67, 4, (1981); Daverio J., Crossing Paths: Schubert, Schumann, and Brahms, (2002); Brahms and the Variation Canon, this journal, 14, 2, (1990); Reynolds C., Motives for Allusion: Context and Content in Nineteenth-Century Music, (2003); Sholes J., Allusion as Narrative Premise in Brahms’s Instrumental Music, (2018); Berry P., Brahms among Friends: Listening, Performance, and the Rhetoric of Allusion, (2014); Taruskin R., Introduction: The History of What?, Oxford History of Western Music, (2005); Tagebucher R.S., George Eismann, 1, (1971); Friedrich Wieck B., A New Look at Schumann’s Impromptus,” 570. Nancy Reich places the time of composition of Clara’s Romance variée between 1831 and 1833, The Artist and the Woman, (2001); Boetticher W., Klavierwerke R.S., Neue biographische und textkritische Untersuchungen, 1, (1976); The Complete Correspondence of Clara and Robert Schumann, pp. 7-8, (1994); Schumann-Briefedition, ser. 1, 4, pp. 66-67, (2012); Schumann-Briefedition, ser. 1, 4, pp. 65-66; Litzmann B., Schumann C., Ein Künstlerleben, 1, (1902); Doppelgänger, Schumann-Briefedition, ser. 1, 4; Henry Pleasants in Schumann on Music, (1988); Das Adagio zuredend, wild, moralisch mahnend, Clarinetten u. Oboen üppig schwellend—die Pause sey der Fall der Unschuld, Robert Schumann Tagebücher, 1; Daverio R., Schumann, 524; Downes; Kierkegaard, a Kiss, and Schumann’s Fantasie, this journal, 22, 3, (1999); Grant R.M., Peculiar Attunements: How Affect Theory Turned Musical, (2020); Schumann R., Endenich (1854–1856): Krankenakten, Briefzeugnisse, und Zeitgenössische Berichte, (2006); Litzmann B., Schumann C., Ein Künstlerleben, 2, (1905); Schumann C., An Artist’s Life, 2, (1913); Brahms J., Life and Letters, (1997); Neighbour O., Brahms and Schumann: Two Opus Nines and Beyond, this journal, 7, 3, pp. 266-270, (1984); Schubring A., Schumanniana No. 8, Neue Zeitschrift für Musik, 56, 14, (1862); Kalbeck M., Johannes Brahms, 1, (1904); Danuser H., Aspekte einer Homage Komposition, Brahms-Analysen, (1984); Parmer D.R., Musical Meaning for the Few: Instances of Private Reception in the Music of Brahms, Current Musicology, 83, (2007); Signale für die musikalische Welt, 30, 13, (1855); Litzmann, Clara Schumann, 2; Hadow, Clara Schumann, 2; Litzmann, Clara Schumann, 2; Hadow, Clara Schumann, 2, pp. 60-61; Daverio, Schumann; Johannes Brahms im Briefwechsel mit Joseph Joachim, 33, (1908); Hadow, Clara Schumann, 2; Brahms J., Life and Letters; Blumenbuch für Robert 1854–1856, (2006); Schumann F., Erinnerungen an Clara Schumann, Neue Zeitschrift für Musik, 84, 9, (1917)","","","University of California Press","","","","","","01482076","","","","English","Nineteenth Century Music","Article","Final","","Scopus","2-s2.0-85164443182"
"Reyes F.L.; Lorenzo-Quiles O.","Reyes, Francisco Luis (57209658838); Lorenzo-Quiles, Oswaldo (16507600400)","57209658838; 16507600400","Analysis of music teacher education programs in Puerto Rico","2025","Research Studies in Music Education","47","1","","33","52","19","0","10.1177/1321103X241283646","https://www.scopus.com/inward/record.uri?eid=2-s2.0-105002265539&doi=10.1177%2f1321103X241283646&partnerID=40&md5=532f4423cad7d1c48ea2f5a6638e9969","University of Washington, United States; Universidad de Granada, Spain","Reyes F.L., University of Washington, United States; Lorenzo-Quiles O., Universidad de Granada, Spain","This article presents a descriptive analysis of eight music teacher education programs in Puerto Rico. Within the international landscape, music education in Puerto Rico faces obstacles similar to other countries in the form of government cutbacks and limited offerings in school settings. This study presents an analysis and evaluation of the curricular characteristics of music education bachelor’s degrees and a depiction of preservice music teacher education in the country. This was achieved through the use of the Project ALFA II-0448-A analysis matrix, an instrument that compiles four forms of data: (a) general information; (b) history of the program, (c) structure and duration; and (d) curricular principles. Information was obtained from the official web pages of each institution and/or department. Comparisons with programs in other countries reveal a propensity to adopt foreign music education models, with our analysis also outlining the implications of adopting external approaches. Musical instruction in Puerto Rican music teaching degrees is exclusively on Western art music; none of the programs offer musical instruction through popular music or the country’s traditional music or music-pedagogical lessons conducive to teaching such art forms. The lack of education in popular and Indigenous music renders it challenging for music educators to offer school-level students culturally responsive music lessons. The case of Puerto Rico thus demonstrates the perpetuation of European cultural hegemony in higher music education spaces, driven by adherence to foreign standards and approaches to music pedagogy that emanate from the global north. © The Author(s) 2024.","higher education teacher development; music-teaching competence; preservice music teacher curriculum evaluation; Puerto Rico","","","","","","","","Abril C., Toward a more culturally responsive general music classroom, General Music Today, 27, 1, pp. 6-11, (2013); Andrew M., Differences between graduates of 4-year and 5-year teacher preparation programs, Journal of Teacher Education, 41, 2, pp. 45-51, (1990); Arostegui J., Formación del profesorado de música en Europa y América Latina [Music teacher training in Europe and Latin America], Profesorado Revista de Currículum y formacióndel Profesorado, 14, 1, pp. 3-7, (2010); Arostegui J., Educating music teachers for the 21st century, (2011); Arostegui J., Kyakuwa J., Generalist or specialist music teachers? 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A report from a research and development project, pp. 141-154, (2012); Nixon May B., Willie K., Worthen C., Pehrson A., An analysis of state music education certification and licensure practices in the United States, Journal of Music Teacher Education, 27, 1, pp. 65-88, (2017); Ortiz-Reyes M.D., Sepulveda-Arroyo L., The impact of recent demographic changes and migration patterns on education in Puerto Rico, Inequality, innovation and reform in higher education: Challenges of migration and ageing populations, pp. 59-70, (2020); Page-Hoongrajok A., Chakraborty S., Pollin R., Austerity versus green growth for Puerto Rico, Challenge, 60, 6, pp. 543-573, (2017); Pellegrino K., Connections between performer and teacher identities in music teachers: Setting and Agenda for research, Journal of Music Teacher Education, 19, 39, pp. 39-55, (2009); Pendergast S., Understanding participation in secondary music classes: A literature review, Update: Applications of Research in Music Education, 39, 1, pp. 38-49, (2020); Prest A., The importance of context, reflection, interaction, and consequence in rural music education practice, Journal of Research in Rural Education, 28, 14, pp. 1-13, (2013); Prior L., Content analysis, The Oxford handbook of qualitative research, pp. 341-568, (2020); Reyes F., The gatekeepers: The culture of higher music institutions and its conditioning of the field of music education and the music teaching profession, (2018); Roberts B., A place to play: The social world of university schools of music, (1991); Roberts B., Musician: A process of labeling, (1991); Roberts B., I, musician: Towards a model of identity construction and maintenance by music education students as musicians, (1993); Savage J., The policy and practice of music education in England, 2010–2020, British Educational Research Journal, 47, 2, pp. 469-483, (2021); Shagir L., Journey to ethnographic research, (2017); Shaw J., The skin that we sing: Culturally responsive choral music education, Music Educators Journal, 98, 4, pp. 75-81, (2012); Shaw J., Knowing their world”: Urban choral music educators’ knowledge of context, Journal of Research in Music Education, 63, 2, pp. 198-223, (2015); Shaw R.D., The vulnerability of urban elementary school arts programs: A case study, Journal of Research in Music Education, 65, 4, pp. 393-415, (2018); Shaw R.D., Auletto A., Is music education in tune with the pursuit of equity? An examination of access to music education in Michigan’s schools, Journal of Research in Music Education, 69, 4, pp. 364-381, (2022); Shifres F., Rosabal-Coto G., Hacia una educación musical decolonial en y desde Latinoamérica [Towards a decolonial music education in and from Latin America], Revista Internacional de Educación Musical, 5, 1, pp. 85-91, (2017); Shulman L., Those who understand: Knowledge growth in teaching, Educational Researcher, 15, 2, pp. 4-14, (1986); Thorgersen C., Johansen G., Juntunen M., Music teacher educator’s vision of music teacher preparation in Finland, Norway and Sweden, International Journal of Music Education, 34, 1, pp. 49-63, (2016); Wang J., Humphreys J., Multicultural and popular music content in an American music teacher program, International Journal of Music Education, 27, 1, pp. 19-36, (2009); Wiggins J., Authentic practice and process in music teacher education, Music Educators Journal, 93, 3, pp. 36-42, (2007); Williams D., Considering both curriculum and pedagogy, Promising practices in 21st century music teacher education, pp. 25-40, (2014); Williams D., Randles C., Navigating the space between space curricular change in music teacher education in the United States, The Routledge research companion to popular music education, pp. 46-59, (2017); Williams L., Trakarnrung S., Thai pre-service music educators and their future in music education and its role in society, International Journal of Music Education, 34, 1, pp. 74-89, (2016); Wilson A., Hunter K., Moscardini L., Widening the gap? The challenges for equitable music education in Scotland, Support for Learning, 35, 4, pp. 473-492, (2020); Woodside A., Case study research: Core skill sets in using 15 genres, (2017)","F.L. Reyes; School of Music, University of Washington, Music Building Box 353450, Seattle, 98195, United States; email: flreyes@uw.edu","","SAGE Publications Ltd","","","","","","1321103X","","","","English","Res. Stud. Music Educ.","Article","Final","","Scopus","2-s2.0-105002265539"
"Ficek-Tani B.; Tun S.; Frolov A.; Sharp E.; Fredericks C.A.","Ficek-Tani, Bronte (57849299100); Tun, Samantha (59253516300); Frolov, Alexander (57204798947); Sharp, Emily (59809847800); Fredericks, Carolyn A. (56934032800)","57849299100; 59253516300; 57204798947; 59809847800; 56934032800","A professional musician with progressive visuospatial concerns: a case study and review of musical alexia","2024","Neurocase","30","6","","214","225","11","0","10.1080/13554794.2024.2438413","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85211465349&doi=10.1080%2f13554794.2024.2438413&partnerID=40&md5=25f78bc08bba50f0fc4fd6cbbd5df1c1","Department of Neurology, Yale School of Medicine, New Haven, CT, United States; Department of Neurology, University of Texas Southwestern Medical Center, Dallas, TX, United States","Ficek-Tani B., Department of Neurology, Yale School of Medicine, New Haven, CT, United States; Tun S., Department of Neurology, Yale School of Medicine, New Haven, CT, United States; Frolov A., Department of Neurology, University of Texas Southwestern Medical Center, Dallas, TX, United States; Sharp E., Department of Neurology, Yale School of Medicine, New Haven, CT, United States; Fredericks C.A., Department of Neurology, Yale School of Medicine, New Haven, CT, United States","This case report presents the story of Mr. S, a professional orchestral musician with declining musical sight-reading ability, followed by progressive visuospatial and language deficits. Our novel musical assessment battery revealed deficits in music-reading (musical alexia) and music-writing (musical agraphia), with spared auditory perception and expression. Taken with neuropsychological testing, clinical history, and imaging, we conclude that his symptoms evolved from musical alexia to a multidomain, neurodegenerative process centered in the dominant inferior parietal lobe and temporoparietal junction. We suspect a primary TDP-opathy with comorbid preclinical Alzheimer’s disease. Mr. S’s case highlights musical symptoms as meaningful, early indicators of neurodegeneration. © 2024 Informa UK Limited, trading as Taylor & Francis Group.","amusia; musical agraphia; musical alexia; neurodegeneration; parietal syndromes","Agnosia; Humans; Male; Middle Aged; Music; Neuropsychological Tests; dopamine transporter; adult; agraphia; alexia; Alzheimer disease; amusia; aphasia; Article; Beck Depression Inventory; bradykinesia; case report; cerebrospinal fluid analysis; clinical article; cognition; human; leukocyte count; lumbar puncture; male; memory; Montreal cognitive assessment; music; musician; nerve degeneration; neuropsychological assessment; nuclear magnetic resonance imaging; parietal lobe; parkinsonism; perception; phonetics; positron emission tomography; spatial attention; temporoparietal junction; visual memory; Wechsler memory scale; agnosia; etiology; middle aged; music; pathophysiology","","","Prisma 3T scanner","","National Institutes of Health, NIH, (5K23AG059919-04); National Institutes of Health, NIH; Alzheimer's Association, AA, (2019-AACSF-644153); Alzheimer's Association, AA","This project was supported by the National Institute of Health [5K23AG059919-04] and the Alzheimer\u2019s Association [2019-AACSF-644153]. We would like to extend our heartfelt gratitude to Mr. S and his family for their participation in research and their willingness to share his story.","Beck A.T., Epstein N., Brown G., Steer R.A., An inventory for measuring clinical anxiety: Psychometric properties, Journal of Consulting & Clinical Psychology, 56, 6, pp. 893-897, (1988); Beck A.T., Steer R.A., Brown G., Beck depression inventory–ii (BDI-II), APA PsycTests, (1996); Benjamin T., Horvit M., Nelson R., Music for sight singing, (2004); Bentley A., Musical ability in children and its measurement, (1966); Benton A.L., Development of a multilingual aphasia battery. Progress and problems, Journal of the Neurological Sciences, 9, 1, pp. 39-48, (1969); Borod J.C., Goodglass H., Kaplan E., Normative data on the Boston diagnostic aphasia examination, parietal lobe battery, and the Boston naming test, Journal of Clinical Neuropsychology, 2, 3, pp. 209-215, (1980); Brust J.C., Music and language: Musical alexia and agraphia, Brain A Journal of Neurology, 103, 2, pp. 367-392, (1980); Cappelletti M., Waley-Cohen H., Butterworth B., Kopelman M., A selective loss of the ability to read and to write music, Neurocase, 6, 4, pp. 321-332, (2000); Caroppo P., Belin C., Grabli D., Maillet D., De Septenville A., Migliaccio R., Clot F., Lamari F., Camuzat A., Brice A., Dubois B., Le Ber I., Posterior cortical atrophy as an extreme phenotype of GRN mutations, JAMA Neurology, 72, 2, pp. 224-228, (2015); Crutch S.J., Schott J.M., Rabinovici G.D., Murray M., Snowden J.S., van der Flier W.M., Dickerson B.C., Vandenberghe R., Ahmed S., Bak T.H., Boeve B.F., Butler C., Cappa S.F., Ceccaldi M., de Souza L.C., Dubois B., Felician O., Galasko D., Graff-Radford J., Consensus classification of posterior cortical atrophy, Alzheimers Dement, 13, 8, pp. 870-884, (2017); Delis D.C., CVLT-II, California verbal learning test: Adult version: Manual, (1987); Golden C., Freshwater S., Golden Z., Stroop color and word test, (2002); Gollan T.H., Weissberger G.H., Runnqvist E., Montoya R.I., Cera C.M., Self-ratings of spoken language dominance: A multi-lingual naming test (MINT) and preliminary norms for young and Aging Spanish-English Bilinguals, Bilingualism (Cambridge, England), 15, 3, pp. 594-615, (2012); Gordon E., A study of the efficacy of general intelligence and musical aptitude tests in predicting achievement in music, Bulletin of the Council for Research in Music Education, 13, pp. 40-45, (1968); Gudmundsdottir H.R., Advances in music-reading research, Music Education Research, 12, 4, pp. 331-338, (2010); Hebert S., Cuddy L.L., Music-reading deficiencies and the brain, Advances in Cognitive Psychology, 2, 2-3, pp. 199-206, (2006); Kawamura M., Midorikawa A., Kezuka M., Cerebral localization of the center for reading and writing music, Neuroreport, 11, 14, pp. 3299-3303, (2000); Koelsch S., Investigating emotion with music: Neuroscientific approaches, Annals of the New York Academy of Sciences, 1060, pp. 412-418, (2005); Koelsch S., Siebel W.A., Towards a neural basis of music perception, Trends in Cognitive Sciences, 9, 12, pp. 578-584, (2005); Law L.N.C., Zentner M., Assessing musical abilities objectively: Construction and validation of the profile of music perception skills, PLOS ONE, 7, 12, (2012); Levitin D.J., Grahn J.A., London J., The psychology of music: Rhythm and movement, Annual Review of Psychology, 69, 1, pp. 51-75, (2018); Levitin D.J., Tirovolas A.K., Current advances in the cognitive neuroscience of music, Annals of the New York Academy of Sciences, 1156, pp. 211-231, (2009); MacGregor C., Mullensiefen D., The musical emotion discrimination task: A new measure for assessing the ability to discriminate emotions in music, Frontiers in Psychology, 10, (2019); McDonald I., Musical alexia with recovery: A personal account, Brain A Journal of Neurology, 129, 10, pp. 2554-2561, (2006); Meyers J.E., Meyers K.R., Rey complex figure test and recognition trial (RCFT), (1996); Midorikawa A., Kawamura M., A case of musical agraphia, NeuroReport, 11, 13, (2000); Midorikawa A., Kawamura M., Kezuka M., Musical Alexia for rhythm notation: A discrepancy between pitch and rhythm, Neurocase, 9, 3, pp. 232-238, (2003); Peretz I., The nature of music from a biological perspective, Cognition, 100, 1, pp. 1-32, (2006); Peretz I., Champod A.S., Hyde K., Varieties of musical disorders, Annals of the New York Academy of Sciences, 999, 1, pp. 58-75, (2003); Peretz I., Zatorre R.J., Brain organization for music processing, Annual Review of Psychology, 56, 1, pp. 89-114, (2005); Polk M., Kertesz A., Music and language in degenerative disease of the brain, Brain & Cognition, 22, 1, pp. 98-117, (1993); Randolph C., Tierney M.C., Mohr E., Chase T.N., The Repeatable Battery for the Assessment of Neuropsychological Status (RBANS): Preliminary clinical validity, Journal of Clinical and Experimental Neuropsychology, 20, 3, pp. 310-319, (1998); Reitan R.M., Trail making test. Manual for administration, scoring, and interpretation, (1956); Ruff R.M., Light R.H., Parker S.B., Levin H.S., Benton controlled oral word association test: Reliability and updated norms, Archives of Clinical Neuropsychology: The Official Journal of the National Academy of Neuropsychologists, 11, 4, pp. 329-338, (1996); Sacks O., Musicophilia: Tales of music and the brain, (2008); Sacks O., The Mind’s Eye, (2011); Sevush S., Heilman K.M., A case of literal alexia: Evidence for a disconnection syndrome, Brain and Language, 22, 1, pp. 92-108, (1984); Sihvonen A.J., Sarkamo T., Rodriguez-Fornells A., Ripolles P., Munte T.F., Soinila S., Neural architectures of music - insights from acquired amusia, Neuroscience & Biobehavioral Reviews, 107, pp. 104-114, (2019); Stewart L., von Kriegstein K., Warren J.D., Griffiths T.D., Music and the brain: Disorders of musical listening, Brain A Journal of Neurology, 129, pp. 2533-2553, (2006); Trost W., Ethofer T., Zentner M., Vuilleumier P., Mapping aesthetic musical emotions in the brain, Cerebral Cortex (New York, NY), 22, 12, pp. 2769-2783, (2012); Vuvan D.T., Paquette S., Goulet G.M., Royal I., Felezeu M., Peretz I., The montreal protocol for identification of amusia, Behavior Research Methods, 50, pp. 662-672, (2018); Weschler D., Wechsler adult intelligence scale, (2008); Weschler D., Advanced clinical solutions for the WAIS-IV and WMS-IV, (2009); Weschler D., Wechsler memory scale, (2009)","C.A. Fredericks; Department of Neurology, Yale School of Medicine, New Haven, 1 Church Street, 06520-8055, United States; email: carolyn.fredericks@yale.edu","","Routledge","","","","","","13554794","","NROCF","39655794","English","Neurocase","Article","Final","","Scopus","2-s2.0-85211465349"
"Olsen P.","Olsen, Patrick (59774515300)","59774515300","Designing a new aural skills curriculum for a higher education popular music programme","2025","Journal of Popular Music Education","9","1","","99","118","19","0","10.1386/jpme_00138_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-105004361529&doi=10.1386%2fjpme_00138_1&partnerID=40&md5=3b3921a69b492d0df26380a506232e09","LASALLE College of the Arts, University of the Arts Singapore, 1 McNally Street, Singapore, 187940, Singapore","Olsen P., LASALLE College of the Arts, University of the Arts Singapore, 1 McNally Street, Singapore, 187940, Singapore","In South East Asia, popular music is a rare but increasingly feasible option to study in higher-level education. The local educational landscape has been dominated by conservatories teaching western and Chinese classical music and pedagogical practices, leaving emerging popular music programmes to develop independently from the ground up. The author has been tasked with designing new curriculum and workbooks for a popular music diploma programme at a newly established arts university. As part of that process, this article presents a literature review of commonly used ear training method books. The findings reveal that the aims, genres and assumed skills and knowledge of western music theory made by the authors do not align with the practice-centred popular music programme. Excerpts from in-progress workbooks are presented with discussions of the different goals, challenges and methods of assessment. © 2025 Intellect Ltd.","Asia; conservatory; ear training; percussion; rhythm studies; sight-singing; Singapore; solfège","","","","","","","","Adolphe B., The Mind’s Ear: Exercises for Improving the Musical Imagination for Performers, Composers, and Listeners, (2013); Arnold B., A Fanatic’s Guide to Ear Training and Sight Singing, (1999); Bannan N., Embodied music theory: New pedagogy for creative and aural development, Journal of Music Theory Pedagogy, 24, 1, (2010); Benedict J.W., Incorporating Jazz into the Study of Saxophone at the Undergraduate Level: A Graded Index of Materials and Recommendations for Their Use, (1992); Benward B., Carr M., Kolosick J., Introduction to Sightsinging and Ear Training, (1992); Brown J., Training needs assessment: A must for developing an effective training program, Public Personnel Management, 31, 4, pp. 569-578, (2002); Chan H.C., Why a university of the arts now?, The Straits Times, (2022); Chenette T., What are the truly aural skills?, Music Theory Online, 27, 2, pp. 1-19, (2021); Chong T., The state and the new society: The role of the arts in Singapore nation-building, Asian Studies Review, 34, 2, pp. 131-149, (2010); Cleland K., Dobrea-Grindahl M., Developing Musicianship through Aural Skills: A Holistic Approach to Sight Singing and Ear Training, (2015); Cleland K.D., Dobrea-Grindahl M., Developing Musicianship through Aural Skills: A Holistic Approach to Sight Singing and Ear Training, (2021); Cleland K., Fleet P., The Routledge Companion to Aural Skills Pedagogy: Before, in, and beyond Higher Education, (2021); Costes-Onishi P., Lum C.H., Multicultural music education in Singapore primary schools: An analysis of the applications of a specialist professional development in practical music teaching, Multicultural Education Review, 7, 4, pp. 213-229, (2015); Cremata R., The schoolification of popular music, College Music Symposium, 59, 1, pp. 1-3, (2019); Friedmann M.L., Ear Training for Twentieth-Century Music, (1990); Ghezzo M.A., Solfège, Ear Training, Rhythm, Dictation, and Music Theory: A Comprehensive Course, (1980); Ghezzo M.A., Solfège, Ear Training, Rhythm, Dictation, and Music Theory: A Comprehensive Course, (2005); Green L., How Popular Musicians Learn: A Way ahead for Music Education, (2017); Ha P.L., The politics of naming: Critiquing “learner-centred” and “teacher as facilitator” in English language and humanities classrooms, Asia-Pacific Journal of Teacher Education, 42, 4, pp. 392-405, (2014); Harrison M., Contemporary Eartraining Level 1, 1, (1994); Harrison M., Contemporary Eartraining Level 2, 2, (1994); Ismail M., Ling T.A., Snapshots from the normal (technical) world: A case study of low-track students in Singapore, Redesigning Pedagogy, pp. 73-86, (2006); Karpinski G.S., Ear training and integrated aural skills: Three recent texts, Journal of Music Theory Pedagogy, 3, 1, pp. 127-149, (1989); Karpinski G.S., Aural Skills Acquisition: The Development of Listening, Reading, and Performing Skills in College-Level Musicians, (2000); Karpinski G.S., Manual for Ear Training and Sight Singing, (2021); Khoo J., Brother Joe, (2019); Kraft L., A New Approach to Ear Training: A Programmed Course in Melodic and Harmonic Dictation, (1999); Lee K.F., Automation, computerization and future employment in Singapore, Southeast Asian Economies, 34, 2, pp. 388-399, (2017); Lu S., Lum C.-H., Engaging in critical dialogue about identity in the Singapore music classroom: Perspectives from general music teachers, International Yearbook for Research in Arts Education 4/2016: At the Crossroads of Arts and Cultural Education: Queries Meet Assumptions, 132, 4, pp. 132-140, (2016); McKim D.J., Joseph Allard: His Contributions to Saxophone Pedagogy and Performance, (2000); Courses and subjects for secondary schools, (2023); Murphy P., Phillips J., Marvin E.W., Clendinning J.P., The Musician’s Guide to Aural Skills: Sight-Singing, (2016); Ng H.H., Enabling popular music teaching in the secondary classroom: Singapore teachers’ perspectives, British Journal of Music Education, 35, 3, pp. 301-319, (2018); deOgburn S., Germain T., Haupers M., Prosser S., Radley R., Vose D., Ear Training 1 Workbook, (2013); deOgburn S., Germain T., Haupers M., Prosser S., Radley R., Vose D., Ear Training 2 Workbook, (2013); deOgburn S., Germain T., Haupers M., Prosser S., Radley R., Vose D., Ear Training 3 Workbook, (2013); deOgburn S., Germain T., Haupers M., Prosser S., Radley R., Vose D., Ear Training 4 Workbook, (2013); Ong Z.M., The history of Nanyang Academy of Fine Arts (1938–1990), master’s thesis, (2007); Ottman R., Basic Ear Training Skills: Teacher’s Guide with Demonstration Courseware Disk, (1991); Phillips J., Murphy P., Clendinning J.P., Marvin E.W., The Musician’s Guide to Aural Skills: Sight-Singing: Rhythm Reading, Improvisation, and Keyboard Skills, (2011); Prosser S., Essential Ear Training for the Contemporary Musician, (2000); Rudduck J., McIntyre D., Improving Learning through Consulting Pupils, (2007); Sauls S.J., Stark C., Audio Production Worktext, (2016); Shumway S., Harmony and Ear Training at the Keyboard, (1984); Stillie B., Moir Z., A good pair of ears: Conceiving of and developing aural skills in popular music education, The Routledge Companion to Aural Skills Pedagogy, pp. 179-189, (2021); Tan J., Choo S., Kang T., Gregory A.D.L., Educating for twenty-first century competencies and future-ready learners: Research perspectives from Singapore, Asia Pacific Journal of Education, 37, 4, pp. 425-436, (2017); Telesco P., Contextual ear training, Journal of Music Theory Pedagogy, 5, 2, pp. 179-190, (1991); Waldron J., Exploring a virtual music community of practice: Informal music learning on the internet, Journal of Music, Technology & Education, 2, 2, pp. 97-112, (2009); Warburton A., Graded Aural Tests for All Purposes, (1995); Wilson A., Aural skills for making music: Incorporating ear training into rehearsal settings, Canadian Winds: The Journal of the Canadian Band Association, 17, 1, (2018)","P. Olsen; LASALLE College of the Arts, University of the Arts Singapore, Singapore, 1 McNally Street, 187940, Singapore; email: patrick.olsen@lasalle.edu.sg","","Intellect Ltd.","","","","","","23976721","","","","English","J. Pop. Music. Educ.","Article","Final","","Scopus","2-s2.0-105004361529"
"MacLean T.","MacLean, Tessa (57189709990)","57189709990","IncludIng the epIstemIc In democratIc musIc pedagogy","2023","Philosophy of Music Education Review","31","1","","25","42","17","0","10.2979/philmusieducrevi.31.1.03","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85166620460&doi=10.2979%2fphilmusieducrevi.31.1.03&partnerID=40&md5=f388b97d8a97c85c348dad7648f6d609","McGill University, Canada","MacLean T., McGill University, Canada","Philosophical descriptions of democratic music education frequently rely on “inclusion” and “participation” as the defining features of democratically oriented music programs. Democratic epistemic considerations, such as regulatory ideals of musical quality and excellence, however, are less commonly cited, if not actively avoided. This paper addresses several primary reasons for the paucity of epistemic considerations in democratic music education and problematizes current concerns about epistemic judgements from a democratic perspective. Drawing on Miranda Fricker’s influential concept of epistemic injustice, this paper argues that democratic dialogue that respects values of diversity and inclusion cannot legitimately ignore epistemic dimensions because doing so occludes the epistemic dimensions of cultural, racial, and gender diversity in music education classrooms. © 2023, The Trustees of Indiana University.","democratic music education; epistemic democracy; epistemic injustice","","","","","","","","I would like to thank Dr. Kevin McDonough and Dr. Gregory Pyrcz who read earlier drafts of this paper, as well as the anonymous reviewers who provided thoughtful feedback that significantly improved the piece; DeLorenzo Lisa C., Giving Voice to Democracy in Music Education: Diversity and Social Justice in the Classroom, (2016); Gould Elizabeth, A Jazz Funeral in Music Education, The Oxford Handbook of Social Justice in Music Education, 10, (2016); Gould Elizabeth, Social Justice in Music Education: The Problematic of Democracy, Music Education Research, 9, 2, (2007); Fricker Miranda, Epistemic Injustice: Power and the Ethics of Knowing, (2007); Bladh Stephan, Heimonen Marja, Music Education and Deliberative Democracy, Action, Criticism, and Theory for Music Education, 6, 1, pp. 1-20, (2007); DeLorenzo, Giving Voice to Democracy in Music Education; David J. Elliott, “Artistic Citizenship, Personhood, and Music Education, Giving Voice to Democracy in Music Education: Diversity and Social Justice in the Classroom, pp. 13-35, (2016); Tan Leonard, Towards a Transcultural Theory of Democracy for Instrumental Music Education, Philosophy of Music Education Review, 22, 1, pp. 61-77, (2014); Vakeva Lauri, Westerlund Heidi, The ‘Method’ of Democracy in Music Education, Action, Criticism, and Theory for Music Education, 6, 4, pp. 96-108, (2007); Woodford Paul, Democracy and Music Education: Liberalism, Ethics, and the Politics of Practice, Counterpoints: Music and Education, (2005); Koskela Minja, Kuoppamaki Anna Mirjami, Karlsen Sidsel, Westerlund Heidi, The Paradox of Democratic Popular Music Education: Intersectionalizing ‘Youth’ through Curriculum Analysis, The Politics of Diversity in Music Education, Landscapes: Arts, Aesthetics, 29, pp. 39-52; Allsup Randall Everett, Mutual Learning and Democratic Action in Instrumental Music Education, Journal of Research in Music Education, 51, 1, (2003); Allsup Randall Everett, Benedict Cathy, The Problems of Band: An Inquiry into the Future of Instrumental Music Education, Philosophy of Music Education Review, 16, 2, pp. 156-173, (2008); DeLorenzo, Giving Voice to Democracy in Music Education; Westerlund Heidi, Universalism against Contextual Thinking in Multicultural Music Education:—Western Colonialism or Pluralism?, International Journal of Music Education, 33, 1, pp. 94-103, (1999); Brighouse Harry, Ladd Helen F., Loeb Susanna, Educational Goods: Values, Evidence, and Decision Making, (2018); Woodford Paul, Two Political Models for Music Education and Their Implications for Practice, Sound Progress: Exploring Musical Development, (2009); Fabienne Peter, Democratic Legitimacy, Routledge Studies in Social and Political Thought, (2009); Gould Elizabeth, Devouring the Other: Democracy in Music Education, Action, Criticism, and Theory for Music Education, 7, 1, (2008); Dewey John, Art as Experience, (1946); Woodford, Music Education in an Age of Virtuality and Post—Truth; Putnam Hilary, Renewing Philosophy, (1992); Putnam, Renewing Philosophy; Anderson Elizabeth, The Epistemology of Democracy, Episteme: A Journal of Social Epistemology, 3, 1–2, (2006); Saito Naoko, Growth and Perfectionism? Dewey after Emerson and Cavell, John Dewey and our Educational Project: A Critical Engagement with Dewey’s Democracy and Education, (2006); Saito, Growth and Perfectionism?; Zrudlo Ilya, Was Dewey (Too) Modern? The Modern Faces of Dewey, Philosophical Inquiry in Education, 28, 3, pp. 222-236, (2021); Rawls John, A Theory of Justice, (1971); Habermas Jurgen, The Structural Transformation of the Public Sphere: An Inquiry Into a Category of Bourgeois Society, (1989); Dieleman Susan, Epistemic Justice and Democratic Legitimacy, Hypatia, 30, 4, (2015); Pettit Philip, Deliberative Democracy and the Discursive Dilemma, Philosophical Issues, 11, 1, pp. 268-299, (2001); Fabienne Peter, Political Legitimacy, The Stanford Encyclopedia of Philosophy, (2017); Cohen Joshua, Deliberation and Democratic Legitimacy, Deliberative Democracy: Essays on Reason and Politics, (1997); Estlund, Democratic Authority; Estlund, Democratic Authority; Benson J., Deliberative Democracy and the Problem of Tacit Knowledge, Politics, Philosophy and Economics, 18, 1, (2019); Väkevä contends that Green’s ‘deep democracy’ holds greater compatiblilty with inclusive, socially just musical practices. However, David Estlund’s work in epistemic democracy is theoretically distinct from Brennan’s epistocracy, as I elucidate later in this paper. Lauri Väkevä, “Music Not for All: The Epistemological Argument Against Democracy and the Prospect of Music Education Just and Fair, Action, Criticism, and Theory for Music Education, 20, 2, pp. 12-29, (1999); Burbles Nicholas C., Rice Suzanne, Dialogue Across Differences: Continuing the Conversation, Harvard Educational Review, 61, 4, pp. 393-416, (1991); Laden Anthony Simon, Reasoning: A Social Picture, (2012); Brennan Jason, Against Democracy, (2016); Estlund, Democratic Authority; Rousseau Jean-Jacques, On the Social Contract; Discourse on the Origin of Inequality; Discourse on Political Economy, (1983); Estlund, Democratic Authority; Estlund, Democratic Authority, pp. 7-8; Allsup, Benedict, The Problems of Band; Allsup Randall Everett, Remixing the Classroom: Toward an Open Philosophy of Music Education, (2016); Allsup, Remixing the Classroom; Dieleman, Epistemic Justice; Benson, Deliberative Democracy; Benson, Deliberative Democracy; Gould, Social Justice in Music Education, (2007); Westerlund, Universalism against Contextual Thinking in Multicultural Music Education, (1999); Fricker Miranda, Epistemic Injustice: Power and the Ethics of Knowing; “Rational Authority and Social Power: Towards a Truly Social Epistemology, Social Epistemology: Essential Readings, (2011); Laden, Reasoning: A Social Picture, 2012; “Two Concepts of Civility, A Crisis of Civility?: Political Discourse and Its Discontents, (2019); Taylor Rebecca M, Open-Mindedness: An Epistemic Virtue Motivated by Love of Truth and Understanding, Philosophy of Education 2013, pp. 197-205, (2013); Warnick Bryan, Yacek Douglas, Robinson Shannon, Learning to Be Moved: The Modes of Democratic Responsiveness, Philosophical Inquiry in Education, 25, 1, pp. 31-46, (2018); Fricker, Feminism in Epistemology; Vakeva, Westerlund, The “Method” of Democracy in Music Education; Fricker, Epistemic Injustice; Taylor, “Open-Mindedness: An Epistemic Virtue; Fricker, Feminism in Epistemology; Fricker, Epistemic Injustice; Fricker, Epistemic Injustice; Fricker, Epistemic Injustice; Fricker, Epistemic Injustice; Fricker, Epistemic Injustice","T. MacLean; McGill University, Canada; email: tessa.maclean@mail.mcgill.ca","","Indiana University Press","","","","","","10635734","","","","English","Phil. Music Edu. Rev.","Article","Final","","Scopus","2-s2.0-85166620460"
"Lim N.; Shehan Campbell P.","Lim, Namhee (57196358342); Shehan Campbell, Patricia (58475528600)","57196358342; 58475528600","Part 1: Learning Korean (Samulnori) Percussion: Pathway Through World Music Pedagogy","2023","Journal of General Music Education","37","1","","14","19","5","0","10.1177/27527646231182095","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85164118944&doi=10.1177%2f27527646231182095&partnerID=40&md5=fa67265c94dcb0368b96b68fd4f456e0","Early Learning Campus, University of Louisville, KY, United States; University of Washington, Seattle, United States","Lim N., Early Learning Campus, University of Louisville, KY, United States; Shehan Campbell P., University of Washington, Seattle, United States","Energetic and electric, samulnori is a contemporary formalization of traditional Korean percussion music known as p’ungmul. A description will be offered of the music, and of key musician, Master Kim Duk Soo who has dedicated himself to the design and dissemination of this highly regarded genre. A learning pathway on Korean traditional samulnori, developed to encompass the five dimensions of World Music Pedagogy, is detailed, and resources and classroom adaptations of instruments are provided. © National Association for Music Education 2023.","culture; Korean percussion; samulnori; world music; World Music Pedagogy","","","","","","","","Anderson W.M., Campbell P.S., Multicultural perspectives in music education, (2010); Armstrong C.K., The Koreas, (2014); Campbell P.S., Music, education, and diversity: Bridging cultures and Communities, (2018); Campbell P.S., Lum C.H., World music pedagogy, (2019); Hahm C., Hanguksaram mandeulgi I, (2020); Han Y.-U., Hahm C., A review of Korean history, (2010); Hesselink N., P’ungmul: South Korean drumming and dance, (2006); Hesselink N., Samulnori: Contemporary Korean drumming and the rebirth of itinerant performance culture, (2012); Ho W.-C., Popular music, cultural politics and music education in China, (2016); Howard K., Samulnori: Korean percussion for a contemporary world, (2015); Kang S., Yoo H., Korean percussion ensemble (samulnori) in the general music classroom, General Music Today, 29, 3, pp. 4-11, (2016); Lee B.W., Lee Y.-S., Korean musicology series I. Music of Korea, (2007); Lee K.I.-Y., Dynamic Korea and rhythmic form, (2018); McCarthy M., The role of ISME in the promotion of multicultural music education, 1953-96, International Journal of Music Education, pp. 81-93, (1997); Volk Tuohey T., Music, education, and multiculturalism: Foundations and principles, (2004)","N. Lim; Early Learning Campus, University of Louisville, United States; email: namhee2412@gmail.com","","SAGE Publications Inc.","","","","","","27527646","","","","English","J. Gen. Music. Educ.","Article","Final","","Scopus","2-s2.0-85164118944"
"Campanini A.","Campanini, Alyssa (58959773400)","58959773400","A place for TPACK in popular music education: A review of existing literature","2023","Journal of Popular Music Education","7","3","","269","284","15","1","10.1386/jpme_00108_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85188959897&doi=10.1386%2fjpme_00108_1&partnerID=40&md5=436d80db0494e8a5923dac0d923c2b73","Boston University, United States","Campanini A., Boston University, United States","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. © 2023 Intellect Ltd. All rights reserved.","critical review; educators; framework; music technology; professional development; technological pedagogical and content knowledge","","","","","","","","Abbitt J. A., Measuring technological pedagogical content knowledge in preservice teacher education: A review of current methods and instru-ments, Journal of Research on Technology in Education, 43, 4, pp. 281-300, (2011); Abeles H., Weiss-Tornatore L., Powell B., Integrating popular music into urban schools: Assessing the effectiveness of a comprehensive music teacher development program, International Journal of Music Education, 39, 2, pp. 218-233, (2021); Abrahams F., Examining the preservice practicum experience of undergraduate music education majors: Exploring connections and dispositions through multiple perspectives a critical grounded theory, Journal of Music Teacher Education, 19, 1, pp. 80-92, (2009); Albert D. J., Social media in music education: Extending learning to where students “live, Music Educators Journal, 102, 2, pp. 31-38, (2015); Angeli C., Valanides N., Epistemological and methodologi-cal issues for the conceptualization, development, and assessment of ICT-TPCK: Advances in technological pedagogical content knowledge (TPCK), Computers and Education, 52, 1, pp. 154-168, (2009); Bannerman J. K., O'Leary E. J., Digital natives unplugged: Challenging assumptions of preservice music educators’ technological skills, Journal of Music Teacher Education, 30, 2, pp. 10-23, (2020); Baran E., Canbazoglu-Bilici S., Uygun E., TPACK-based professional development programs in in-service science teacher education, Handbook of Technological Pedagogical Content Knowledge (TPACK) for Educators, pp. 271-283, (2016); Bauer W. I., Research on professional development for experienced music teachers, Journal of Music Teacher Education, 17, 1, pp. 12-21, (2007); Bauer W. I., The acquisition of musical technological pedagogical and content knowledge, Journal of Music Teacher Education, 22, 2, pp. 51-64, (2013); Bauer W. I., Mito H., ICT in music education, The Routledge Companion to Music, Technology, and Education, pp. 91-102, (2016); Bauer W. I., Reese S., McAllister P. A., Transforming music teaching via technology: The role of professional development, Journal of Research in Music Education, 51, 4, pp. 289-301, (2003); bell A. P., Stelter R., Ahenda K., Bahhadi J., CanRock classroom: Two pre-service teachers’ experiences of a popular music pedagogy course in Canada, Journal of Popular Music Education, 3, 3, pp. 451-468, (2019); Benedict C., O'Leary J., Reconceptualizing “music making”: Music technology and freedom in the age of neoliberalism, Action, Criticism, and Theory for Music Education, 18, 1, pp. 26-43, (2019); Bernard C. F., Weiss L., Abeles H., Space to share: Interactions among music teachers in an online community of practice, Bulletin of the Council for Research in Music Education, 215, pp. 75-94, (2018); Blackwell J., Music program alumni’s perceptions of professional skills, abilities, and job satisfaction: A secondary analysis of the 2011, 2012, and 2013 Strategic National Arts Alumni Project (SNAAP) survey, Journal of Research in Music Education, 66, 2, pp. 190-209, (2018); Bond D. B., The implementation and evaluation of a professional development program to improve the integration of technology into the curri-culum: An action research study, (2015); Bowles C., The self-expressed professional development needs of music educators, Update: Applications of Research in Music Education, 21, 2, pp. 48-63, (2003); Brudvik S., Hebert D. G., What’s stopping you? Impediments to incorporating popular music technologies in schools, Journal of Popular Music Education, 4, 2, pp. 135-152, (2020); Chen J. C. W., Mobile composing: Professional practices and impact on students’ motivation in popular music, International Journal of Music Education, 38, 1, pp. 147-158, (2020); Chen J. C. W., O'Neill S. A., Computer-mediated composition pedagogy: Students’ engagement and learning in popular music and clas-sical music, Music Education Research, 22, 2, pp. 185-200, (2020); Clauhs M., Cremata R., Student voice and choice in modern band curriculum development, Journal of Popular Music Education, 4, 1, pp. 101-116, (2020); Clauhs M., Franco B., Cremata R., Mixing it up: Sound recording and music production in school music programs, Music Educators Journal, 106, 1, pp. 55-63, (2019); Cremata R., Facilitation in popular music education, Journal of Popular Music Education, 1, 1, pp. 63-81, (2017); Cremata R., Popular music: Benefits and challenges to schoolification, The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices, pp. 415-428, (2019); Cremata R., Powell B., Online music collaboration project: Digitally mediated, deterritorialized music, International Journal of Music Education, 35, 2, pp. 302-315, (2017); Criswell C., Using technology in assessment, Teaching Music, 24, 3, pp. 22-33, (2017); Davis N., Preston C., Sahin I., Training teachers to use new technologies impacts multiple ecologies: Evidence from a national initiative, British Journal of Educational Technology, 40, 5, pp. 861-878, (2009); Devaney K., “Waiting for the wow factor”: Perspectives on computer technology in classroom composing, Journal of Music, Technology & Education, 12, 2, pp. 121-139, (2019); Dorfman J., Exploring models of technology integration into music teacher preparation programs, Visions of Research in Music Education, 28, pp. 1-24, (2016); Dorfman J., Music teachers’ experiences in one-to-one computing environments, Journal of Research in Music Education, 64, 2, pp. 159-178, (2016); Dorfman J., Examining effectiveness of modern band professional development for practising teachers, Journal of Popular Music Education, 4, 1, pp. 5-20, (2020); Gall M., Trainee teachers’ perceptions: Factors that constrain the use of music technology in teaching placements, Journal of Music, Technology & Education, 6, 1, pp. 5-27, (2013); Gall M., TPACK and music teacher education, The Routledge Companion to Music, Technology, and Education, pp. 305-318, (2016); Gilbert D., Revitalizing music teacher preparation with selected “essen-tial conditions, Journal of Music, Technology & Education, 9, 2, pp. 161-173, (2016); Gorgoretti B., The use of technology in music education in north Cyprus according to student music teachers, South African Journal of Education, 39, 1, pp. 1-10, (2019); Hall R., An analysis of undergraduate motivations, perceptions of value and concerns in pursuing higher popular music performance education, International Journal of Music Education, 37, 2, pp. 327-341, (2019); Hamilton S., Vannatta-Hall J., Popular music in preservice music education: Preparedness, confidence and implementation, Journal of Popular Music Education, 4, 1, pp. 41-60, (2020); Haning M., Are the ready to teach with technology? An investigation of technology instruction in music teacher education programs, Journal of Music Teacher Education, 25, 3, pp. 78-90, (2016); Hewitt D., The impact of a professional development program in popular music on a music teacher’s beliefs and practice, (2018); Hofer M., Lee J. K., Slykuis D. A., Ptaszynski J., Opportunities and challenges of TPACK-based professional development on a global scale, Handbook of Technological Pedagogical Content Knowledge (TPACK) for Educators, pp. 225-234, (2016); Huffman N. S., Technology and preservice teacher education: A mixed-methods study of technology integration by arts and sciences faculty into secondary education content courses, (2016); Joo Y. J., Park S., Lim E., Factors influencing preservice teachers’ intention to use technology: TPACK, teacher self-efficacy, and technology acceptance model, Educational Technology & Society, 21, 3, pp. 48-59, (2018); Koehler M. J., Mishra P., What happens when teachers design educational technology? The development of technological pedagogical content knowledge, Journal of Educational Computing Research, 32, 2, pp. 131-152, (2005); Koehler M. J., Mishra P., Cain W., What is technological pedagogical content knowledge (TPACK)?, Journal of Education, 193, 3, pp. 13-19, (2013); Koh J. H. L., TPACK design scaffolds for supporting teacher pedagogical change, Educational Technology Research and Development, 67, 3, pp. 577-595, (2019); Kontkanen S., Dillon P., Valtonen T., Renkola S., Vesisenaho M., Vaisanen P., Pre-service teachers’ experiences of ICT in daily life and in educational contexts and their proto-technological pedagogical knowledge, Education and Information Technologies, 21, 4, pp. 919-943, (2016); Latham L., Teachers’ needs and preferences vs. administrators’ percep-tions: Recommendations for educational technology-focused professional development using action research in a suburban high school, (2020); Leong S., Professional development for music teachers, The Routledge Companion to Music, Technology, and Education, pp. 335-370, (2016); Macrides E., Angeli C., Investigating TPCK through music focusing on affect, The International Journal of Information and Learning Technology, 35, 3, pp. 181-198, (2018); McCusker L., Professional development recognizing technology integration modeled after the TPACK framework, (2017); Minott M. A., Teaching tasks and the composition of a “piece” using music technology in the classroom: Implications for the education and training of teachers, Journal of Music, Technology & Education, 8, 3, pp. 261-272, (2015); Mroziak J., Exiles on main street: A pedagogy of popular music through technology and aesthetic education, (2017); Musgrove K. A., Practical approaches to including popular music in the secondary ensemble, Journal of Popular Music Education, 3, 3, pp. 487-496, (2019); Nazari N., Nafissi Z., Estaji M., Marandi S. S., Evaluating novice and experienced EFL teachers’ perceived TPACK for their professional development, Cogent Education, 6, 1, pp. 1-26, (2019); Nielsen L. D., Developing music creativity: Student and teacher perceptions of a high school music technology curriculum, Update: Applications of Research in Music Education, 31, 2, pp. 54-62, (2013); Odajima R., A case study of how and if a professional development model based on the TPACK framework builds teachers’ capacity for technology integration, (2019); Palkki J., Albert D. J., Hill S. C., Shaw R. D., 20 years of the MENC biennial conference: A content analysis, Journal of Research in Music Education, 64, 1, pp. 14-28, (2016); Powell B., The integration of music technology into popular music ensembles: Perspectives of modern band teachers, Journal of Music, Technology & Education, 12, 3, pp. 297-310, (2019); Powell B., Hewitt D., Smith G. D., Olesko B., Davis V., Curricular change in collegiate programs: Toward a more inclusive music education, Visions of Research in Music Education, 35, pp. 1-22, (2020); Prendergast J. S., May B. N., Curriculum reform and policy consi-derations: A multiple case study of the inclusion of modern band into music teacher preparation programmes, Journal of Popular Music Education, 4, 1, pp. 21-40, (2020); Prensky M., Digital natives, digital immigrants part 1, On the Horizon, 9, 5, pp. 1-6, (2001); Price D. F., Experience, technology and curriculum for today’s online instrumental music educator, (2020); Reese J. A., Bicheler R., Robinson C., Field experience using iPads: Impacts of experience on preservice teachers’ beliefs, Journal of Music Teacher Education, 26, 1, pp. 96-111, (2016); Shulman L. S., Those who understand: Knowledge growth in teaching, Educational Researcher, 15, 2, pp. 4-14, (1986); Stanley A. M., Snell A., Edgar S., Collaboration as effective music professional development: Success stories from the field, Journal of Music Teacher Education, 24, 1, pp. 76-88, (2014); Susko D. M., Teaching and learning with technology: How the best teacher education programs are preparing preservice teachers, (2015); Tobias E. S., Crossfading music education: Connections between secondary students’ in-and out-of-school music experience, International Journal of Music Education, 33, 1, pp. 18-35, (2015); Tondeur J., Scherer R., Baran E., Siddiq F., Valtonen T., Sointu E., Teacher educators as gatekeepers: Preparing the next genera-tion of teachers for technology integration in education, British Journal of Educational Technology, 50, 3, pp. 1189-1209, (2019); Vasil M., Integrating popular music and informal music learning prac-tices: A multiple case study of secondary school music teachers enacting change in music education, International Journal of Music Education, 37, 2, pp. 298-310, (2019); Vasil M., Weiss L., Powell B., Popular music pedagogies: An approach to teaching 21st-century skills, Journal of Music Teacher Education, 28, 3, pp. 85-95, (2019); Voogt J., Fisser P., Pareja Roblin N., Tondeur J., van Braak J., Technological pedagogical content knowledge: A review of the literature, Journal of Computer Assisted Learning, 29, 2, pp. 109-121, (2013); Wallace J. N., The nature of university-led technological, pedagogical, and content knowledge (TPACK) professional development: A multi-pers-pective phenomenological study, (2018); Webster P. R., Williams D. B., Technology’s role for achieving crea-tivity, diversity and integration in the American undergraduate music curriculum: Some theoretical, historical and practice perspectives, Journal of Music, Technology and Education, 11, 1, pp. 5-36, (2018); Wish D., Popular music education and American democracy: Why I coined the term “modern band” and the road ahead, Journal of Popular Music Education, 4, 1, pp. 117-125, (2020); Yurdakul I., Modeling the relationship between pre-service teachers’ TPACK and digital nativity, Educational Technology Research and Development, 66, 2, pp. 267-281, (2018)","A. Campanini; Boston University, College of Fine Arts, Boston, 855 Commonwealth Avenue, 02215, United States; email: aversaggi@icloud.com","","Intellect Ltd.","","","","","","23976721","","","","English","J. Pop. Music. Educ.","Article","Final","","Scopus","2-s2.0-85188959897"
"Pu M.; Musib A.F.B.; Li J.; Jiang X.; Wenhong H.","Pu, Miao (59489727400); Musib, Ahmad Faudzi Bin (57192553287); Li, Ji (59488441300); Jiang, Xiaoyu (59340984800); Wenhong, Huang (57832262900)","59489727400; 57192553287; 59488441300; 59340984800; 57832262900","A Thematic Analysis of Folk Music Education: Trends, Technology, and Global Perspectives (2013–2023); [Uma Análise Temática da Educação em Música Folclórica: Tendências, Tecnologia e Perspectivas Globais (2013–2023)]","2024","Musica Hodie","24","","e.79650","","","","0","10.5216/mh.v24.79650","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85213289838&doi=10.5216%2fmh.v24.79650&partnerID=40&md5=1e2a3d0732a020716fb52c164874aa48","Universiti Putra Malaysia, Selangor, Malaysia; Henan Normal University, Xinxiang, China; Faculty of Modern Languages and Communication, Universiti Putra Malaysia, Selangor, Malaysia; Faculty of Architecture and Design, Universiti Putra Malaysia, Selangor, Malaysia","Pu M., Universiti Putra Malaysia, Selangor, Malaysia; Musib A.F.B., Universiti Putra Malaysia, Selangor, Malaysia; Li J., Henan Normal University, Xinxiang, China; Jiang X., Faculty of Modern Languages and Communication, Universiti Putra Malaysia, Selangor, Malaysia; Wenhong H., Faculty of Architecture and Design, Universiti Putra Malaysia, Selangor, Malaysia","The background of this study is rooted in the need to understand how folk music, as an integral part of cultural heritage, has adapted to rapid changes in educational paradigms influenced by technological advancement and globalization. Despite the impact of technological advances and global cultural integration on folk music education, few reviews have examined how technology and global perspectives are transforming folk music education and identified emerging pedagogical trends. This article provides a comprehensive review of the trends, technologies, and global perspectives shaping folk music education through a thematic review and analysis of 43 literature publications from 2013 to 2023. This study used ATLAS.ti 23 to assist in thematic analysis, and the analysis resulted in four themes: Cultural Music Diversity, Folk Music Curriculum, Global Perspective Education, and Technology Impact Education. Findings indicate that while folk music education has made significant advances in technology and global perspectives, challenges remain in balancing tradition and innovation. Implications for future pedagogy demonstrate the need for continued research to develop strategies that preserve the essence of folk music traditions while fostering adaptability to new educational contexts. © 2024 Universidade Federal de Goias. All rights reserved.","ATLAS.ti 23; education review; folk music pedagogy; thematic review; traditional music preservation","","","","","","","","ARMAGAN Elci, Dâr’Ül-Elhân’s Contributions to Turkish Folk Music in the 100th Anniversary of Its Establishment, Millî Folklor, pp. 106-118, (2017); BANNERMAN J. K., Music education and “music for uniting the Americas”, Journal of Historical Research in Music Education, 44, 2, pp. 229-247, (2023); BIRO I. F., The curricular implementation of folk music paradigms: The comparative analysis of the 1981 and 1999 curricula of folk music education in Hungary, Studia Universitatis Babeş-Bolyai Musica, 63, 1, pp. 129-149, (2018); BIRO I. F., RIMAN B., A complex folk music education system for the preparatory years of music schools: The lessons of a pedagogical experiment, Studia Universitatis Babeş-Bolyai Musica, 63, 1, pp. 151-160, (2018); BOONNO S., UDTAISUK D. B., BORRIBOONVIREE N., Music diversity in music education: A multiple case study of music teacher training programs in Thailand, International Journal of Music Education, (2023); CALIC M., DURDANOVIC M., Family and its role in the cultivation and preservation of traditional folk music at junior primary school age, International Journal of Cognitive Research in Science, Engineering and Education, 8, 3, pp. 103-112, (2020); CHO S., `Playing Okinawan’: A search for authenticity and the power asymmetry in Japanese appropriation of Okinawan folk music, Journal of Intercultural Studies, 41, 3, pp. 280-298, (2020); CIMEN M., OZEVIN B., Turkish folk music lessons with phenomenon-based learning: Preliminary lessons and results, IAFOR Journal of Education, 9, 6, pp. 71-88, (2021); CLARKE V., BRAUN V., Teaching thematic analysis: Overcoming challenges and developing strategies for effective learning, The Psychologist, 26, 2, pp. 120-123, (2013); DARIA J., Community music on campus: Collaborative research, activist methods and critical pedagogy in a fandango-based participatory music programme, International Journal of Community Music, 11, 1, pp. 91-108, (2018); DE BRITO H. M. S., VIEIRA M. H. G. L., Seaweed gatherers and a string orchestra: Contributions for a musical ethnopedagogy, Musica Hodie, 14, 2, pp. 99-110, (2014); DEVEZAS J., A state of the art for community-driven music discovery, (2013); FINNEGAN R., Oral traditions and the verbal arts: A guide to research practices, (2003); GAO W., Research on the coordinated development and innovative application between national music and contemporary multicultural music education based on big data, Journal of Physics: Conference Series, 1648, 3, (2020); GARCES-MONTOYA A., ACOSTA-VALENCIA G. L., Social education in urban art youth movements. Rap schools in Medellín, Revista Colombiana de Educacion, 87, pp. 61-80, (2023); GONG Y., Infiltration and utilization of folk music resources in music education in kindergarten under the background of ‘internet plus’, ACM International Conference Proceeding Series, pp. 830-832, (2021); HAN R., LEUNG B. W., A survey on Weifang teachers’ attitudes toward teaching Chinese folk music, International Journal of Music Education, 35, 2, pp. 202-215, (2017); HEBERT D. G., SAETHER E., Please, give me space: Findings and implications from an evaluation of the GLOMUS intercultural music camp, Ghana 2011, Music Education Research, 16, 4, pp. 418-435, (2014); JEZ A., General music education in a multi-ethnic context, on the example of state-run schools in Poland between the World Wars, Musicology Today, 19, 1, pp. 28-38; LI R., Chinese folk music: Study and dissemination through online learning courses, Education and Information Technologies, 27, 7, pp. 8997-9013, (2022); LOMAX A., SCIENCE A. A., Folk song style and culture, 88, (1968); LOO F. Y., LOO F. C., CHAI K. E., Learning traditional Malay folk song and tempo control by using an M-learning model designed for beginner pianists, Turkish Online Journal of Educational Technology, 2016, pp. 41-46, (2016); LORENA Mihelac. O., The role of songbooks in the preservation of children’s folk songs in kindergarten, Journal of Elementary Education, 15, 3, pp. 301-315, (2022); LU D., Inheritance and promotion of Chinese traditional music culture in college piano education, Heritage Science, 10, 1, (2022); MAGWATI P., Economic sustainability through indigenous heritage: A Karanga cultural musical arts community project, (2022); MIHELAC L., The role of songbooks in the preservation of children’s folk songs in kindergarten, Journal of Elementary Education, 15, 3, pp. 301-315, (2022); MOHD ZAIRUL., A thematic review on industrialised building system (IBS) publications from 2015-2019: Analysis of patterns and trends for future studies of IBS in Malaysia, Pertanika Journal of Social Sciences and Humanities, 29, 1, (2021); MONICA Tobo-Mendivelso. I. R.-B., Diálogo de saberes en el Área de Música de la Línea de Profesionalización de Artistas del Proyecto Colombia Creativa, Revista Electronica Complutense de Investigacion En Educacion Musical, pp. 179-200, (2023); MURCIA MORALES M. A., GARCIA DIAZ A., Inclusion of traditional Colombian music it singing majors in higher conservatories of Bogota: Teaching experiences, Revista Internacional de Educacion Musical, 10, 1, pp. 3-13, (2022); NETTL B., Folk and traditional music of the western continents, (1973); NETTL B., The study of ethnomusicology: Thirty-one issues and concepts, (2010); NING H., Analysis of the value of folk music intangible cultural heritage on the regulation of mental health, Frontiers in Psychiatry, 14, (2023); PARTTI H., WESTERLUND H., LEBLER D., Participatory assessment and the construction of professional identity in folk and popular music programs in Finnish and Australian music universities, International Journal of Music Education, 33, 4, pp. 476-490, (2015); SAMARASINGHE K., Keeping the tradition alive: Analyzing the work of C. De S. Kulatillake, Asian-European Music Research Journal, 11, pp. 39-48, (2023); SANCHEZ-JARA J. M., GONZALEZ-GUTIERREZ S., NAVARRO-CACERES M., OLARTE-MARTINEZ M. M., PEDRERO-MUNOZ C., The Co-Poem Project: Didactic resources and pedagogical projection for musical education in primary school, Education in the Knowledge Society (EKS), 24, (2023); SCHIPPERS H., GRANT C., Approaching music cultures as ecosystems: A dynamic model for understanding and supporting sustainability, Sustainable Futures for Music Cultures: An Ecological Perspective, pp. 333-352, (2016); SELS L., Uses and functions of Turkish folk music in present-day Turkey, Milli Folklor, 26, 102, pp. 74-85, (2014); SOYSAL F., YURUMEZ E., Methodological education of unmetered folk songs, Rast Müzikoloji Dergisi, 8, 1, pp. 2366-2372, (2020); SU L., JIANG Q., A knowledge-based system for children’s music teaching strategies based on the inheritance of local music culture in Southern Jiangsu, International Journal of Pattern Recognition and Artificial Intelligence, 35, 14, (2021); TITON J. T., Worlds of music: An introduction to the music of the world’s peoples, Cengage Learning, (2016); TULLBERG M., SAETHER E., Playing with tradition in communities of Swedish folk music: Negotiations of meaning in instrumental music tuition, Frontiers in Education, 7, (2022); TURINO T., Music as social life: The politics of participation, (2008); WABYONA M., Zadok Adolu-Otojoka and music education in Uganda: An oral history, Journal of Historical Research in Music Education, 44, 2, pp. 248-274, (2023); WEN J., Research on the protection and inheritance path of higher education informatization in folk music, Lecture Notes of the Institute for Computer Sciences, Social-Informatics and Telecommunications Engineering, 391, pp. 345-353, (2021); XU N., Analysis of the correlation between folk music education and Chinese traditional culture, Kuram ve Uygulamada Egitim Bilimleri, 18, 5, pp. 2564-2570, (2018); YANG Y., WELCH G., Contemporary challenges in learning and teaching folk music in a higher education context: A case study of Hua’er music, Music Education Research, 16, 2, pp. 193-219, (2014); YANG Y., WELCH G., Pedagogical challenges in folk music teaching in higher education: A case study of Hua’er music in China, British Journal of Music Education, 33, 1, pp. 61-79, (2016); YOO H., Teaching traditional and transformed versions of culturally diverse musics with integrity, Journal of General Music Education, 37, 1, pp. 26-31, (2023); ZAIRUL M., A thematic review on student-centred learning in the studio education, Journal of Critical Reviews, 7, 2, pp. 504-511, (2020); ZALAR K., Experiencing folk music in children, Croatian Journal of Education-Hrvatski Casopis Za Odgoj I Obrazovanje, 22, SI, pp. 133-149, (2020); ZHANG S., Innovative reform strategies of artistic practice of college ethnic music education based on information fusion technology, Applied Mathematics and Nonlinear Sciences, (2023); ZHENG D., Strategies for the transmission of ethnic music culture in college music education based on the background of big data, Applied Mathematics and Nonlinear Sciences, 3, 2, pp. 571-582, (2023)","","","Universidade Federal de Goias","","","","","","16763939","","","","English","Musica Hodie","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85213289838"
"Iglesias P.; Tejada J.","Iglesias, Pedro (57396391500); Tejada, Jesús (57194530988)","57396391500; 57194530988","Practice as Research through Inquiry-Based Learning: A Pedagogical Intervention with Music Students in Higher Education","2024","Education Sciences","14","7","738","","","","1","10.3390/educsci14070738","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85199417458&doi=10.3390%2feducsci14070738&partnerID=40&md5=aa222a9636c8655d6c2fe22257cfce0d","Universidad Mayor, Santiago, 7500628, Chile; Institut de Creativitat, Universitat de València, València, 46022, Spain","Iglesias P., Universidad Mayor, Santiago, 7500628, Chile; Tejada J., Institut de Creativitat, Universitat de València, València, 46022, Spain","This paper presents the results of a Participatory Action Research, whose main objective was to validate a pedagogical intervention characterized by adopting an inquiry-based learning methodology (IBL), and the paradigm of Practice as Research focused on musical performativity. This intervention sought to foster autonomy, the relationship between theory and practice, and the development of critical reflexive skills in professional music students. The co-participants (12 students in the first cycle and 9 in the second) belonged to university training programs in vocal and instrumental interpretation, composition, and music pedagogy at different levels. In the intervention cycles, students were able to organize themselves collaboratively to achieve the learning objectives and research products designed in the intervention. During the process, they redefined research as a tool for professional development in their discipline. This empowered the participants, as they became aware that they themselves could build knowledge in their field. The intervention was validated, and the results highlight the potential of inquiry activities focused on musical performativity and Practice as Research in the context of higher music education, playing an integrating role in the construction of knowledge by and for practitioners. © 2024 by the authors.","arts research; conservatory system; inquiry-based learning; music education; Participatory Action Research","","","","","","","","Tregear P., Johansen G., Jorgensen H., Sloboda J., Tulve H., Wistreich R., Conservatoires in society: Institutional challenges and possibilities for change, Arts Humanit. High. Educ, 15, pp. 276-292, (2016); Ford B., What Are Conservatoires for? Discourses of Purpose in the Contemporary Conservatoire, Ph.D. Thesis, (2010); Gaunt H., One-to-one tuition in a conservatoire: The perceptions of instrumental and vocal students, Psychol. Music, 38, pp. 178-208, (2010); Lopez-Calatayud F., Tejada J., Self-regulation strategies and behaviors in the initial learning of the viola and violin with the support of software for real-time instrumental intonation assessment, Res. Stud. Music. Educ, 46, pp. 48-65, (2024); Lopez-Iniguez G., McPherson G.E., Applying self-regulated learning and self-determination theory to optimize the performance of a concert cellist, Front. Psychol, 11, (2020); Lopez-Iniguez G., Bennett D., A lifespan perspective on multi-professional musicians: Does music education prepare classical musicians for their careers?, Music Educ. Res, 22, pp. 1-14, (2020); Gaunt H., Duffy C., Coric A., Gonzalez Delgado I.R., Messas L., Pryimenko O., Sveidahl H., Musicians as “makers in society”: A conceptual foundation for contemporary professional higher music education, Front. Psychol, 12, (2021); Sarath E., Campbell P.S., Myers D., Chattah J., Higgins L., Levine V.L., Rudge D., Rice T., Transforming Music Study from Its Foundations: A Manifesto for Progressive Change in the Undergraduate Preparation of Music Majors; Task Force on the Undergraduate Music Major; Music Theory Online, (2014); Cox J., Curriculum Design and Development in Higher Music Education, (2007); Schon D., Knowing-in-action: The new scholarship requires a new epistemology, Chang. Mag. High. Learn, 27, pp. 27-34, (1995); Regelski T., Pragmatism, Praxis, and Naturalism: The Importance for Music Education of Intentionality and Consummatory Experience in Musical Praxes, Action Crit. Theory Music Educ, 16, pp. 102-143, (2017); Schechner R., Performance Studies: An Introduction, (2013); Cook N., Between process and product: Music and/as performance, Music Theory Online, 7, pp. 1-31, (2001); Burwell K., Carey G., Bennett D., Isolation in studio music teaching: The secret garden, Arts Humanit. High. Educ, 18, pp. 372-394, (2019); The Vienna Declaration on Artistic Research, (2020); Blessinger P., Carfora J., Innovative approaches in teaching and learning: An introduction to inquiry-based learning for the arts, humanities, and social sciences, Inquiry-Based Learning for the Arts, Humanities, and Social Sciences: A Conceptual and Practical Resource for Educators, pp. 3-26, (2014); Heron J., The Complete Facilitator’s Handbook, (1999); Hmelo-Silver C., Duncan R., Chinn C., Scaffolding and achievement in problem-based and inquiry learning: A response to Kirschner, Sweller, and Clark, Educ. Psychol, 42, pp. 99-107, (2007); Rogers C., Freiberg J., Freedom to Learn, (1994); Jorgensen H., Student learning in higher instrumental education: Who is responsible?, Br. J. Music Educ, 17, pp. 67-77, (2000); Eisner E., On the differences between scientific and artistic approaches to qualitative research, Vis. Arts Res, 29, pp. 5-11, (2003); Webb N., Information processing approaches to collaborative learning, The International Handbook of Collaborative Learning, pp. 30-50, (2013); Murillo A., Monreal I., Tejada J., Carabias D., New Paradigms for Music Research. Art, Society and Technology, pp. 11-14, (2022); Bradbury H., Introduction: How to situate and define action research, The SAGE Handbook of Action Research, pp. 1-9, (2015); Carr W., Kemmis S., Becoming Critical: Education Knowledge and Action Research, (2003); Elliott J., Action Research for Educational Change, (2001); Iglesias P., Tejada J., The Formative Model of Professional Musicians: Academic Culture, Pedagogical Practices, and Cognitive Processes, Opus, (2024); Braun V., Clarke V., Thematic Analysis, (2021); Herr K., Anderson G.L., The Action Research Dissertation: A Guide for Students and Faculty, (2014); Habermas J., Knowledge and Human Interests, (2007); Grundy S., Curriculum: Product or Praxis?, (1987); Morgan D., The Focus Group Guidebook, (1998); Cook N., Leech-Wilkinson D., A Musicologist’s Guide to Sonic Visualiser, (2009); Wood D., Bruner J., Ross G., The role of tutoring in problem solving, J. Child Psychol. Psychiatry, 17, pp. 89-100, (1976); Riemann H., Musikalishe Dynamik und Agogik, (1884); Barros R., Dannemann M., Introducción al estudio de La Tonada, Rev. Music. Chil, 18, pp. 105-116, (1964); Loyola M., La Tonada: Testimonios para el Futuro, (2006); Gonzalez J.P., Pedro Humberto Allende y la forma tonada, Rev. Reson, 4, pp. 52-70, (2000); Merino L.M., Más allá del nacionalismo. Una aproximación al compositor Pedro Humberto Allende Sarón (1885–1959) desde la recepción de dos de sus obras en Chile y el extranjero: La voz de las calles para orquesta (1920) y las doce tonadas de carácter popular chileno para piano (1918–1922), Rev. Neuma, 2, pp. 12-43, (2016); Gonzalez J.P., Ohlsen O., Rolle C., Historia Social de la Música Popular en Chile, 1950–1970, (2009)","P. Iglesias; Universidad Mayor, Santiago, 7500628, Chile; email: pedro.iglesias@umayor.cl","","Multidisciplinary Digital Publishing Institute (MDPI)","","","","","","22277102","","","","English","Educ. Sci.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85199417458"
"Beitāne A.","Beitāne, Anda (59667921100)","59667921100","OVERCOMING SOCIAL DISTANCING: MULTIPART MUSIC FOR EAR TRAINING","2024","Philomusica","23","1","","1","18","17","0","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85219704375&partnerID=40&md5=db5933af6360ff2bf5b81be999ab8c25","Jāzeps Vītols Latvian Academy of Music, Latvia","Beitāne A., Jāzeps Vītols Latvian Academy of Music, Latvia","Multipart music is always a socially contextualized process of interaction that acts on the lives of real people during their collectively organized music-making. The term 'multipart music', in turn, does not relate to specific musical practices, repertoires, etc.; instead, it refers to any kind of collective and coordinated music behaviors. This article continues the discussion concerning widening approaches to multipart music, using an example from my teaching practice at the music academy in Riga. Due to the Covid-19 pandemic, new teaching solutions needed to be found, and ear training online, especially at the beginning of social distancing, was almost the only possibility to make music together. This was a specific performance situation with specific requirements and procedures for interactions and coordination between individuals and groups, which deepened the pivotal role of the process rather than the musical outcome and enriched the ear training by offering different perspectives in music-making. © Copyright 2024 by the Authors.","creative etude; ear training; Multipart music; music-making online; social distancing","","","","","","","","AHMEDAJA Ardian, The Designation of Concepts in Studies of Multipart Music, Res Musica, 8, pp. 28-43, (2016); AHMEDAJA Ardian, Multipart Music, The Sage International Encyclopedia of Music and Culture, pp. 1501-1503, (2019); AHMEDAJA Ardian, ICTM Study Group on Multipart Music, Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades, pp. 291-297, (2022); AHMEDAJA Ardian, Das Forschungszentrum für europäische Mehrstimmigkeit (EMM) und sein bisheriger Beitrag zur Erforschung mehrstimmigen Singens - unter Berücksichtigung des Alpenraums, Alpenstimmen. Beiträge zum Jodeln und mehrstimmigen Singen. Schriften zur musikalischen Ethnologie, 8, pp. 53-85, (2022); AHMEDAJA Ardian, MACCHIARELLA Ignazio, Introduction, Emotion and Aesthetic Experience During the Performance Act: Explorations on the Making of Multipart Music, pp. 7-16, (2023); ALKSNIS Mareks, The Second Etude, (2020); ANDRIANOPOULOU Monika, Aural Education: Reconceptualising Ear Training in Higher Music Learning, (2020); Feedback to Anda Beitāne, (2023); BAHMANIS Dairis, Feedback to Anda Beitāne, (2023); BAHMANIS Dairis, Conversation with Anda Beitāne, (2023); BALDInA Sandra, Feedback to Anda Beitāne, (2023); Regarding Declaration of the Emergency Situation, (2020); DAMBERGA Linda, Feedback to Anda Beitāne, (2023); HILL Peter, From Score to Sound, Musical Performance. A Guide to Understanding, pp. 129-143, (2002); JOCEVICIuTE Simona, Feedback to Anda Beitāne, (2023); Par JVLMA darbības nodrošināšanu ārkārtējā situācijā no 2020, (2020); MACCHIARELLA Ignazio, Multipart Music: A Specific Mode of Musical Thinking, Expressive Behaviour and Sound, (2012); MACCHIARELLA Ignazio, Theorizing on Multipart Music Making, Multipart Music, pp. 7-22; MACCHIARELLA Ignazio, Multipart Music as a Conceptual Tool. A Proposal, Res Musica, 8, pp. 9-27, (2016); MULTIPART MUSIC; MULTIPART MUSIC; PRATT George, HENSON Michael, CARGILL Simon, Aural Awareness: Principles and Practice, (1998); ROGERS Michael R., Teaching Approaches in Music Theory: An Overview of Pedagogical Philosophies, (1984); STRAZDInA Jete Rebeka, The Third Etude, (2020); VIDEO, Creative etude, (2020); VIDEO, Creative etude, (2020); VIDEO, Creative etude, (2020); VIDEO, Creative etude, (2020); VIDEO, Creative etude, (2020); VIDEO, Creative etude, (2020); VIDEO, Creative etude, (2020); VIDEO, Creative etude, (2020); VIDEO, Creative etude, (2020); VIDEO, Creative etude, (2020); VIDEO, Creative etude, (2020); VIDEO, Creative etude, (2020)","","","Pavia University Press","","","","","","18269001","","","","English","Philomusica","Article","Final","","Scopus","2-s2.0-85219704375"
"Tarchinska J.","Tarchinska, Julia (58739598100)","58739598100","GENRE AND STYLISTIC PRINCIPLE IN THE ORGANISATION OF ARTISTIC EDUCATION; [Género y principio estilístico en la organización de la enseñanza artística]","2023","Convergencias: Revista de Investigacao e Ensino das Artes","16","32","","114","124","10","0","10.53681/c1514225187514391s.32.244","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85178460825&doi=10.53681%2fc1514225187514391s.32.244&partnerID=40&md5=8d7e793067464aed7053ee0c3a7fa165","Department of Playing Musical Instruments, Rivne State University of Humanities, Ukraine","Tarchinska J., Department of Playing Musical Instruments, Rivne State University of Humanities, Ukraine","Artistic education is an important factor in the cultural growth of the nation – the development of personal qualities and abilities. The methodology of teaching music pedagogy is related to the category of musical style. The relevance of this study is conditioned by a broad interpretation of the concept of musical style. Numerous musicological interpretations of the concept outline the range of issues and a growing interest among scholars in the search for promising approaches to understanding musical phenomena and the integration of scientific knowledge. The purpose of the study is to investigate musicological solutions to the problem of style, and to identify optimal approaches to building the educational process. The paper analyses various interpretations of the concept of ""style"" by musicologists. Methods and approaches of teaching musical and practical disciplines are highlighted, including the method of stylistic generalisation, experimental methodology, historical and stylistic approach, concentric approach, genre approa-ch, and the principle of generalisation. As a result of the study, it was concluded that the educational process in the classes of musical and practical training should be built accor-ding to genre and stylistic principle – semantic generalisations of the genre in the context of multi-level style features. This paper can be useful for teachers in music education institutions to implement an effective approach to organising the educational process. © 2023 Instituto Politécnico de Castelo Branco.","art; educational process; music pedagogy; musical genre; musical style","","","","","","","","von Adler G., Style in Music, (1929); Mikhailov M. K., Style in Music, (1981); Mikhailov M. K., Etudes on Style in Music, (1990); Sorokina M. P., Some Opportunities for the Development of students' Stylistic Thinking in Conducting Classes, Issues of Professional Training of Students at the Faculty of Music and Education, pp. 15-18, (1985); Tsarik V. M., Stylistic Features and Patterns in Musical Forms and Their Relationship in the Performance Process, Musicological Thought of Dnipropetrovsk Region, 12, pp. 67-77, (2017); Komenda O. I., Musicological Interpretations of the Concept of Style, Ukrainian Art History: Materials, Research, Reviews, 9, pp. 113-117, (2009); Katrich O. T., Performing Style and Musical Styling (on the issue of modeling analytical optics), Scientific collections of the M.V. Lysenko Lviv National Academy of Music, 29, pp. 111-118, (2013); Butsiak V. I., Pedagogical Conditions for Improving the Piano Training of Students in Higher Pedagogical Institutions on the Basis of Historical and Stylistic Approach, (2003); Smorodsky V. I., Formation of Performing Skills of Piano Playing in Students of Children's Music Schools on the Basis of Genre Approach, (2015); Komenda O. I., The Concept of Genre in Modern Musicology, Musical Ukrainian Studies: Modern Dimension, 3, pp. 120-140, (2009); Aranovskiy M., The Concept of Musical Style, Etudes on Style in Music, pp. 13-38, (1990); Tsypin G. M., Learning to Play the Piano, (1984); Jukss V., Peculiarities of employee professional development in the world, European Union and Latvia, Insights into Regional Development, 3, 4, pp. 80-100, (2021); Wang X., Formation of sound-picture imaginations of younger school students in the process of piano learning, (2017); Abudaqa A., Hilmi M. F., Almujaini H., Alzahmi R. A., Ahmed G., Students’ perception of e-Learning during the Covid Pandemic: a fresh evidence from United Arab Emirates (UAE), Journal of E-Learning and Knowledge Society, 17, 3, pp. 110-118, (2021); Yavna N., Architectural and artistic features of the entrance portal of the church in Velykyi Khodachkiv of Ternopil region, Architectural Studies, 8, 1, pp. 63-70, (2022); Ertan H., Bayram I., Chapter 3 – Fundamentals of human movement, its control and energetics, Comparative kinesiology of the human body: Normal and pathological conditions, pp. 29-45, (2020); Shokri-Kojori E., Tomasi D., Emiral S. B., Wang G.-J., Volkow N. D., An autonomic mode of brain activity, Progress in Neurobiology, 229, (2023); Dubois O., Roby-Brami A., Parry R., Khoramshahi M., Jarrasse N., A guide to inter-joint coordination characterization for discrete movements: A comparative study, Journal of NeuroEngineering and Rehabilitation, 20, (2023); Perales A., Alarcon R. D., Wagner-Grau P., Mental health and psychiatry: Distinctions, links, and ethical/bioethical perspectives, Salud Mental, 46, 5, pp. 231-240, (2023); Shulpyakov O. F., Musical-Performing Technique and Artistic Image, (1986); Gordeeva N. D., Zinchenko V. P., Functional Structure of Action, (1982); Leonaviciene E., Burinskiene A., Research on the reflection of cultural dimensions in international business, Insights into Regional Development, 3, 4, pp. 101-114, (2021); Tarchynska Yu, Ways of Forming the Technique of Sound Production in the Interpretation of Multi-Style Piano Music, Integration of Traditional and Innovative Scientific Researches: Global Trends and Regional Aspect: collective monograph, pp. 185-216, (2020)","J. Tarchinska; Rivne, 7 Khvylovyi Str, 33000, Ukraine; email: tarchynska.yu@ukr.net","","Polytechnic Institute of Castelo Branco Higher School of Applied Arts","","","","","","21840180","","","","English","Convergencias.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85178460825"
"Müller C.","Müller, Carolin (57214797107)","57214797107","The Social Cohesion Dilemma: Theoretical Reflections on Critical Music Pedagogy","2024","Critical Arts","38","4-5","","85","104","19","0","10.1080/02560046.2024.2313701","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85185671824&doi=10.1080%2f02560046.2024.2313701&partnerID=40&md5=9f94b09e164202246d438dd9856821da","Martin Buber Society of Fellows in the Humanities and Social Sciences, The Hebrew University of Jerusalem, Jerusalem, Israel","Müller C., Martin Buber Society of Fellows in the Humanities and Social Sciences, The Hebrew University of Jerusalem, Jerusalem, Israel","Critical pedagogy has become a crucial element in managing post-migration societies, especially concerning the social cohesion dilemma that diversity creates. Through an ethnography of critical music pedagogy with refugee youth that emerged from an activist context in the city of Dresden, Germany, this article demonstrates what is at stake for empowerment. Music pedagogy that aspires to be critical remains a discursively shallow diversity campaign when self-representations reproduce hegemonic epistemologies of domination. I show that discursive products silence potential reflexivity when political goals overshadow shared learning experiences. There is a theoretical fallacy in understanding critical cross-cultural pedagogy in music through the social change emphasis. Opportunities for communication on equal terms turn into performative acts that idealise the aesthetic sphere of music through discourse. I conceptualise such acts as lingua universalis and describe how they promote an imagined shared sensorial memory that flattens nuances of musical speech, resulting in the dominance of music as a universal language in diversity discourses. My findings lead me to argue for a reconceptualization of music pedagogy through the concept of lingua mundi to capture the individual transgressive acts that do take place and the spaces where care work is possible and allows for empowering one another. © 2024 The Author(s). Co-published by Unisa Press and Informa UK Limited, trading as Taylor & Francis Group.","Critical music pedagogy; lingua mundi; lingua universalis; refugee youth; universal language","","","","","","Mershon Centre for International Security Studies; Martin Buber Society of Fellows","The author thanks the IMISCOE Superdiversity, Migration and Cultural Change Standing Committee for proofreading support. This work was supported by the Ohio State Presidential Fellowship, the Institute for Democratic Engagement and Accountability, the Mershon Centre for International Security Studies, and the Martin Buber Society of Fellows at the Hebrew University. The author thanks all research participants, as well as the reviewers, editors, and copyeditors for their comments on previous versions of the manuscript.","Agius C., Bergman Rosamond A., Kinnvall C., Populism, Ontological Insecurity and Gendered Nationalism: Masculinity, Climate Denial and Covid-19, Politics, Religion & Ideology, 21, 4, pp. 432-450, (2020); Allsup R.E., On Pluralism, Inclusion, and Musical Citizenship, Nordic Research in Music Education, pp. 9-29, (2011); Anderson B., Imagined Communities: Reflections on the Origin and Spread of Nationalism, (1983); Appadurai A., The Capacity to Aspire: Culture and Terms of Recognition, In Culture and Public Action, pp. 59-84, (2004); Asher N., Engaging Difference: Towards a Pedagogy of Interbeing, Teaching Education, 14, 3, pp. 235-247, (2003); Alvarez Valencia J.A., Foreword, Critical Intercultural Pedagogy for Difficult Times: Conflict, Crisis, and Creativity, pp. xii-xvi, (2022); Baker S., Anderson J., Burke R., De Fazio T., Due C., Hartley L., Molla T., Et al., Equitable Teaching for Cultural and Linguistic Diversity: Exploring the Possibilities for Engaged Pedagogy in Post-COVID-19 Higher Education, Educational Review, 74, 3, pp. 444-459, (2022); Bascunan-Wiley N., Migration and the Senses, Sociology Compass, 15, 3, pp. 1-16, (2021); Basto I.I.P., (2021); Biffio G.R., Music Education without Borders–a Common Language for Residents and Refugees, Min-Ad, 15, 2, (2018); Bilgic A., Dhami M., Onkal D., Toward a Pedagogy for Critical Security Studies: Politics of Migration in the Classroom, International Studies Perspectives, 19, 3, pp. 250-266, (2018); Bock J.-J., State Failure, Polarisation, and Minority Engagement in Germany’s Refugee Crisis, International Journal of Politics, Culture, and Society, 31, 4, pp. 375-396, (2018); (2017); Braun V., Clarke V., Using Thematic Analysis in Psychology, Qualitative Research in Psychology, 3, 2, pp. 77-101, (2006); Campbell P.S., Music, the Universal Language: Fact or Fallacy?, International Journal of Music Education, 29, 1, pp. 32-39, (1997); Carstensen-Egwuom I., Representing an “Authentic Ethnic Identity”: Experiences of Sub-Saharan African Musicians in an Eastern German City, Music and Arts in Action, 3, 3, pp. 116-135, (2011); Chavez A.E., Sounds of Crossing. Music, Migration, and the Aural Poetics of Huapango Arribeño, (2017); Crenshaw K., Mapping the Margins: Intersectionality, Identity Politics, and Violence Against Women of Color, Stanford Law Review, 43, 6, pp. 1241-1299, (1991); Danowitz M.A., Tuitt F., Enacting Inclusivity Through Engaged Pedagogy: A Higher Education Perspective, Equity & Excellence in Education, 44, 1, pp. 40-56, (2011); (2016); Gaudry A., Hancock R.L.A., Decolonizing Metis Pedagogies in Post-Secondary Settings, Canadian Journal of Native Education, 35, 1, (2012); Glick Schiller N., Caglar A., Towards a Comparative Theory of Locality in Migration Studies: Migrant Incorporation and City Scale, Journal of Ethnic and Migration Studies, 2, pp. 177-202, (2009); Gould E., Devouring the Other: Democracy in Music Education, Action, Criticism, and Theory for Music Education, 7, 1, pp. 29-44, (2008); Guajardo M., Engaged Pedagogy and Journaling: A Pathway to Self-Transformation, Feminist Pedagogy, 3, 1, (2023); Ha K.N., Deutsche Integrationspolitik Als Koloniale Praxis, Re/Visionen. Postkoloniale Perspektiven von People of Color Auf Rassismus, Kulturpolitik Und Widerstand in Deutschland, (2016); Hamilton O., Senses of Home, Reimagining Home in the 21st Century, pp. 179-191, (2017); Hess J., Musicking Marginalization: Periphractic Practices in Music Education, The Palgrave Handbook of Race and the Arts in Education, pp. 325-346, (2018); Hinds J., “Rebooting Engaged Pedagogy: Strategies for Making Online Classrooms Dynamic, Inclusive and Holistic During The COVID-19 Era and Beyond, 2nd World Conference on Teaching and Education, (2021); hooks B., Teaching to Transgress: Education as the Practice of Freedom, (1994); Kiwan N., Meinhof U.H., Music and Migration: A Transnational Approach, Music and Arts in Action, 3, 3, pp. 3-20, (2011); Lloyd D., Under Representation: The Racial Regime of Aesthetics, (2019); Madge C., Raghuram P., Noxolo P., Engaged Pedagogy and Responsibility: A Postcolonial Analysis of International Students, Geoforum, Themed Issue: Postcoloniality, Responsibility and Care, 40, 1, pp. 34-45, (2009); Mantie R., Inclusion for All; All for Inclusion, International Journal of Community Music, 15, 3, pp. 317-321, (2022); Marginson S., After Globalization: Emerging Politics of Education, Journal of Education Policy, 14, 1, pp. 19-31, (1999); Massey D., Power-Geometry and a Progressive Sense of Place, In Mapping the Futures, (1993); May S., Sleeter C.E., Critical Multiculturalism: Theory and Praxis, (2010); McLaren P., Critical Pedagogy and Predatory Culture: Oppositional Politics in a Postmodern Era, (1995); Morton C.E., Breaking Through “Crusts of Convention” to Realize Music Education’s Potential Contribution to Critical Multiculturalism, Critical Multiculturalism: Theory and Praxis, pp. 203-214, (2010); (2017); Myers D., Wider Ramifications of the Manifesto, Redefining Music Studies in an Age of Change: Creativity, Diversity, and Integration, pp. 126-141, (2017); Nhat Hanh T., Merton T., Snyder K.G., Hassler A., Vietnam, Lotus in a Sea of Fire: A Buddhist Proposal for Peace, (2022); Ozde Atesok Z., Zisan Furat A., Sezikli U., Hearing the Intercultural Voices: Shared Religio-Cultural Music and Dialogue among Turkish Students and Syrian Refugee Youths, Critical Intercultural Pedagogy for Difficult Times: Conflict, Crisis, and Creativity, (2023); Ravitch S.M., Introduction: Pluralism, Power, and Politics: Discourses of Diverse Pedagogies and Pedagogies of Diversity, Challenges of Multicultural Education, (2005); Ripani G., Music in the Lives of Immigrant Children: A Review of Literature, Update: Applications of Research in Music Education, 42, 1, pp. 51-60, (2022); Schramm A.R., Tradition in the Guise of Innovation: Music among a Refugee Population, Yearbook for Traditional Music, 18, pp. 91-101, (1986); Scuzzarello S., Morosanu L., Integration and Intersectionality: Boundaries and Belonging “From Above” and “From Below”. Introduction to the Special Issue, Ethnic and Racial Studies, pp. 1-23, (2023); Shor I., Freire P., A Pedagogy for Liberation: Dialogues on Transformative Education, (1987); Simonett H., Banda: Mexican Musical Life Across Borders, (2001); Simonett H., Miteinander Musizieren: Über Den Nutzen von Musikprojekten Für Angehende Musikpädagog* Innen Und Junge Asylsuchende, Die Musikforschung, 72, 4, pp. 346-356, (2019); Snyder S., Asylum-Seeking, Migration and Church, (2012); Snyder B., “An Impulse to Transfigure and Render New”—The Anglo-Austrian Music Society in Wartime and Early Post-War Britain, Music & Politics, 17, 1, (2023); Steele B.J., Homolar A., Ontological Insecurities and the Politics of Contemporary Populism, Cambridge Review of International Affairs, 32, 3, pp. 214-221, (2019); Talbot B.C., Finding a Way: Discourse Analysis of Music Transmission in Eka Sruti Illini and Implications for Music Education, (2010); Tsevat R.K., Sinha A.A., Gutierrez K.J., DasGupta S., Bringing Home the Health Humanities: Narrative Humility, Structural Competency, and Engaged Pedagogy, Academic Medicine, 90, 11, pp. 1462-1465, (2015); Valle M.E., Antiracist Pedagogy and Concientización, Twenty-First-Century Feminist Classrooms: Pedagogies of Identity and Difference, pp. 155-173, (2002); Vorlander H., Schaller S., Herold M., Pegida and New Right-Wing Populism in Germany, (2017); Walia H., Undoing Border Imperialism, (2014); Weston A., Lenette C., Performing Freedom: The Role of Music-Making in Creating a Community in Asylum Seeker Detention Centres, International Journal of Community Music, 9, 2, pp. 121-134, (2016); Wise A., Sensuous Multiculturalism: Emotional Landscapes of Inter-Ethnic Living in Australian Suburbia, Journal of Ethnic and Migration Studies, 36, 6, pp. 917-937, (2010); Yuval-Davis N., Intersectionality and Feminist Politics, European Journal of Women’s Studies, 13, 3, pp. 193-209, (2006); Yuval-Davis N., Situated Intersectionality and Social Inequality, Raisons Politiques, 2, pp. 91-100, (2015); Yuval-Davis N., Wemyss G., Cassidy K., Bordering, (2019)","C. Müller; Martin Buber Society of Fellows in the Humanities and Social Sciences, The Hebrew University of Jerusalem, Jerusalem, Israel; email: carolin.mueller@mail.huji.ac.il","","Routledge","","","","","","02560046","","","","English","Crit. Arts","Article","Final","All Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85185671824"
"Lici E.","Lici, Eliona (58667833900)","58667833900","Music education in first half of 20th century in Albania: Its institution and contribution to urban music life","2023","Rast Müzikoloji Dergisi","11","2","","327","340","13","0","10.12975/rastmd.20231129","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85175095313&doi=10.12975%2frastmd.20231129&partnerID=40&md5=e0c640d8df6df43d316824bb22def356","University of Vlora “Ismail Qemali”, Faculty of Humanities, Department of Education, L. Pavarësia, Rr. Kosova, Vlorë, 9400, Albania","Lici E., University of Vlora “Ismail Qemali”, Faculty of Humanities, Department of Education, L. Pavarësia, Rr. Kosova, Vlorë, 9400, Albania","The aim of this research paper is to build the historical journey of the development of music education since its origins until the middle of the 20th century. Based on archival documents and facts, historical and journalistic publications, texts and didactic musical pedagogical methods, as well as in other supplementary materials I present with facts, analysis and generalizing treatments in the historical plane, the path of the formation and development of the music education tradition as part of general education system and also outside it. The research model was historical research which underpins all other research into music education as even the most contemporary facts have already occurred. The technique for analysing archival documents in the context of music education were document identification, document evaluation, content analysis, interpretation of the findings from the archival documents and synthesize the information to form a coherent narrative or analysis of music education practices descriptive analysis of the technical character of music methods that is made to each document stored in the Central State Archive (CSA), the comparative method for the recognition and contributions given by every religious educational institution in Scutari or secular in the four cities. To accomplish this objective, the study is focused on the documents researched mainly in Central State Archive as well as other sources publication interviews). On this basis and according to the historic importance, the study is shed light on the path of development of Albanian music pedagogy and the stages which defined this development, both in the drawing up of programs as well as through the publication of musical books by Albanian or foreign authors. The article gives a unique contribution of the first phase of the establishment of the music education tradition in Albania, as an outcome of which there were some achievements of the artistic activities, which linked the general music education of the first half of 20th century. This study may be the beginning of a wider research for professional music pedagogy in Albania, may serve for the international researchers to know the development of music pedagogy in the early years of education in Albania and to compare it with the developments in the Balkans. © 2023, Genc Bilge Yayincilik. All rights reserved.","music in 20th century in Albania; music pedagogy; music tradition in schools","","","","","","","","History of Albanian people, (2002); Bevapi K., The cultural educational tradition of Elbasan until the declaration of independence: The normal in tradition, (1995); Fund Ministry of Education, 195, (1925); Central State Archive, Fund 387 “Mother Queen Institute; Fund Normal School of Elbasan, (1938); Filaj L., Lesson of music for high school, (1935); Franciscan Scutari (Albania) Archive, Personal Fund composer father Martin Gjoka; composer Frano Ndoja, Fund 830, Central State Archive, 1, pp. 1-8, (1920); Frasheri K., Lidhja shqiptare e Prizrenit (The Albanian league of Prizren), Academy of Science in Albania, Tirana, 1, (1989); Lici E., Albanian music pedagogy (1878-1945), (2021); Normalisti Journal of Education, 5, 2-3, pp. 1-39, (1939); Ratkoceri G., The help of Professor Gashi for the development of music education in Elbasan (Albania), (2005); Shuteriqi Z., Historia e muzikës Shqiptare (History of Albanian music), (2020); Sokoli R., Veglat muzikore të popullit shqiptar (Music instruments of the Albanian people), (1991); Zadeja T., The cultural life of Scodra from the second half of the century. XIX to the first half of the century, MVSICA ALBANICA Series, Studies and Documents, II, (2007)","E. Lici; University of Vlora “Ismail Qemali”, Faculty of Humanities, Department of Education, Vlorë, L. Pavarësia, Rr. Kosova, 9400, Albania; email: eliona.lici@univlora.edu.al","","Genç Bilge Yayıncılık","","","","","","21477361","","","","English","Rast Müzikoloji Dergisi","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85175095313"
"Liu Y.","Liu, Yaojia (58685975200)","58685975200","Revitalizing Music Education for New Generations: Navigating the Path of Popular Music Pedagogy Through Comparative Analysis of Dalcroze, Orff, and Kodály Methodologies and Their Implications","2023","Educational Administration: Theory and Practice","29","4","","345","357","12","1","10.52152/kuey.v29i4.961","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85176141546&doi=10.52152%2fkuey.v29i4.961&partnerID=40&md5=d5509374851ee9ac5877c6472c179dc6","Institute of Music Education, Central Conservatory of Music, Beijing, China","Liu Y., Institute of Music Education, Central Conservatory of Music, Beijing, China","The provision of music education is deeply ingrained in the cultural legacies of many countries across the globe, including China. It is essential to improve the music education system in order to better serve the demands of modern students, since the number of beginning musicians continues to rise. This study's main goal is to investigate reforms in music education through a comparative analysis of three essential music education systems, with a particular emphasis on popular music pedagogy. The study explores the field of music education in China, focusing on the Kodály, Orff, and Dalcroze approaches. There are similarities between these approaches, including the focus on collaborative learning, the development of musical literacy, and the encouragement of active learning. They are especially relevant in the context of Chinese education since they are consistent with cultural norms. However, there are differences in how they have developed historically and how they have been incorporated into the Chinese educational system. This evaluation stands out for highlighting the difficulties that music education institutions encounter, particularly with regard to the availability of resources and teacher preparation. In addition, a key component of the reform goal is the inclusion of contemporary musical genres in popular music education. This study explains the similarities, differences, and implications for China's music education environment by carefully examining these approaches and doing a methodical analysis of the body of available research. © 2023, Auricle Global Society of Education and Research. All rights reserved.","Dalcroze System; Kodály System and Similarities and Differences in Three Education Systems; Music Education in China; Orff System; Reform in Music Education System","","","","","","","","Anderson W. T., The Dalcroze approach to music education: Theory and applications, General Music Today, 26, 1, pp. 27-33, (2012); Aronoff F. W., Dalcroze strategies for music learning in the classroom, International Journal of Music Education, 2, 1, pp. 23-25, (1983); Cary G., Kodály and Orff: A comparison of two approaches in early music education, Uluslararası Yönetim İktisat ve İşletme Dergisi, 8, 15, pp. 179-194, (2012); Chung F. M., Introduction: Globalization of education policy globalization of education policy, sociocultural change, and education reform in early childhood music education education reform in early childhood music education, Music and play in early childhood education: Teaching music in Hong Kong, China and the World, pp. 1-33, (2022); Dewey J., The Early Works, 1882-1898, 5, pp. 1895-1898, (1975); Dorfman J., Theory and practice of technology-based music instruction, (2013); Du J., Leung B. W., The sustainability of multicultural music education in Guizhou Province, China, International Journal of Music Education, 40, 1, pp. 131-148, (2022); Guo W., The practice and research of Orff's music teaching method in contemporary Chinese music teaching, 2018 3rd International conference on humanities science, management and education technology (HSMET 2018), pp. 434-442, (2018); Huang F., Transnational higher education: A perspective from China, Higher Education Research & Development, 22, 2, pp. 193-203, (2003); Law W. W., Ho W. C., Music education in China: In search of social harmony and Chinese nationalism, British Journal of Music Education, 28, 3, pp. 371-388, (2011); Liu M., Research on the application value of Orff music education system in college music education based on computer new media technology, Journal of Physics: Conference Series, 1992, 3, (2021); Liu Q., Pattananon N., Sukhumvat S., Applying Carl Orff method in preschool music education in China, Journal of Modern Learning Development, 8, 4, pp. 283-290, (2023); Lu D., Inheritance and promotion of Chinese traditional music culture in college piano education, Heritage Science, 10, 1, (2022); Quan H., Jia L., Innovative music education in China: Theory and practice, International Journal of Engineering Applied Sciences and Technology, 6, 1, pp. 63-76, (2021); Reimer B., Music education in China: An overview and some issues, Journal of Aesthetic Education, 23, 1, pp. 65-83, (1989); Shaw L., Preparing conservatoire students for the music education workforce: Institutional and industrial perspectives on instrumental teacher education in England, Music Education Research, 25, 3, pp. 280-293, (2023); Sutela K., Juntunen M. L., Ojala J., Inclusive music education: The potential of the Dalcroze approach for students with special educational needs, Approaches: An Interdisciplinary Journal of Music Therapy, Special Issue, 8, 2, pp. 179-188, (2016); Tabuena A. C., Carabo-Cone, Dalcroze, Kodály, and Orff Schulwerk methods: An explanatory synthesis of teaching strategies in music education, International Journal of Asian Education, 2, 1, pp. 9-16, (2021); Wang K., Webb M., Seeking best practice: A systematic review of literature on Chinese music teaching and learning in Western classroom contexts, International Journal of Music Education, (2023); Xiang Y., An overview of the development of music education in China's Normal universities in the second half of the 20th Century, 2018 8th International conference on management, education and information (MEICI 2018), pp. 421-425, (2018); Yang Y., Welch G., A systematic literature review of Chinese music education studies during 2007 to 2019, International Journal of Music Education, 41, 2, pp. 175-198, (2023); Yu Z., Leung B. W., Music teachers and their implementation of the new Music Curriculum Standards in China, International Journal of Music Education, 37, 2, pp. 178-197, (2019)","Y. Liu; Institute of Music Education, Central Conservatory of Music, Beijing, China; email: lirenweigui9711@sina.com","","Auricle Global Society of Education and Research","","","","","","13004832","","","","English","Edu. Admin. Theory Prac.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85176141546"
"Mei L.","Mei, Lijuan (58553029800)","58553029800","The role of teaching solfeggio considering memory mechanisms in developing musical memory and hearing of music school students","2024","Current Psychology","43","11","","10005","10015","10","6","10.1007/s12144-023-05109-8","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85168996953&doi=10.1007%2fs12144-023-05109-8&partnerID=40&md5=98ee03ed13f1c41328ae063b45f18a78","Conservatory of Music, Jiangxi Institute of Applied Science and Technology, Nan Chang, China","Mei L., Conservatory of Music, Jiangxi Institute of Applied Science and Technology, Nan Chang, China","The purpose of this study is to investigate the role of certain mnemonic techniques in memorizing a melodic fragment by music school students. In the study group, in the process of memorizing a given melody, students used, in addition to sound, visual, psychomotor, and logical memory. In this study, 108 third-grade students from Nanchang Postal Road Primary School participated: 54 in the study group and 54 in the control group, respectively. After listening to a piece of music three times, the children played it with their voices with appropriate accompaniment. The evaluation was carried out according to the following criteria: integral continuous performance, the number of errors associated with inaccurate hitting of the tone, and the number of errors in the structure of the melody. During the study, it was observed that incorporating mnemonic techniques, which involve engaging different forms of memory alongside auditory memory, enhances the memorization of melodies. This approach can be used in the preparation of training programs for music school students, as it contributes to the formation of musical memory and hearing. © The Author(s), under exclusive licence to Springer Science+Business Media, LLC, part of Springer Nature 2023.","Ear for music (musical hearing); Mnemonic techniques; Music education; Music school; Musical memory; Solfeggio","","","","","","","","Baddeley A., Working memory: Looking back and looking forward, Nature Reviews Neuroscience, 4, 10, pp. 829-839, (2003); Blough R.I., Petrij F., Dauwerse J.G., Milatovich-Cherry A., Weiss L., Saal H.M., Rubinstein J.H., Variation in microdeletions of the cyclic AMP‐responsive element‐binding protein gene at chromosome band 16p13.3 in the Rubinstein‐Taybi syndrome, American Journal of Medical Genetics, 90, 1, pp. 29-34, (2000); Carter R., How the Brain Works, (2014); Christensen T.S., Gjerdingen R., Sanguinetti G., Lutz R., Partimento and continuo playing in theory and in practice (9 vol.), Leuven University Press, (2010); Cowan N., Alloway T.P., The development of working memory (2nd ed, Development of Memory in Childhood, pp. 303-342, (2008); Cvetkovic-Crvenica J., Jovanovic M., Mogući aspekti vokalne interpretacije u nastavi solfeđa [Possible aspects of vocal interpretation in solfeggio teaching], Music Pedagogy Challenge, Inspiration and Creation, pp. 188-201, (2018); Debevc M., Weiss J., Sorgo A., Kozuh I., Solfeggio learning and the influence of a mobile application based on visual, auditory and tactile modalities, British Journal of Educational Technology, 51, 1, pp. 177-193, (2020); Dymnikowa M., Psychometrical research of biological properties of the working aural musical memory in optimal cognitive mature age, Asian Journal of Humanities and Social Sciences, 3, 2, pp. 19-35, (2015); Felis L., Music of the Baroque Period: How Its Styles and Techniques Changed Music, (2019); Fiori M., Il corpo è musica, la musica è corpo [The body is music, music is the body, Anton Rubinstein Symposium (ARS, (2007); Freud Z., Forgetting impressions and intentions, Psychology of Memory, (2000); Gjerdingen R., Partimenti written to impart a knowledge of counterpoint and composition, Partimento and Continuo Playing in Theory and Practice: Collected Writings of the Orpheus Institute, 9, pp. 43-70, (2010); Gordon E.E., A Music Learning Theory for Newborn and Young Children, (2013); Gu Y., On national music thinking in solfeggio teaching, Music Times, 6, pp. 1-12, (2015); Ilari B.S., Music perception and cognition in the first year of life, Music in the lives of young children, pp. 193-209, (2021); Jaques Dalcroze E., Di Segni-Jaffe L., Loiacono Husain A., Il ritmo, la musica e l’educazione [Rhythm, music and education], EDT, (2008); Jaschke A.C., Honing H., Scherder E.J.A., Longitudinal analysis of music education on executive functions in primary school children, Frontiers in neuroscience, 12, (2018); Jovanovic M., Inkluzivni Pristup Nastavi solfeđa U Prvom Ciklusu šestogodišnjeg Osnovnog muzičkog Obrazovanja I Vaspitanja [An Inclusive Approach to the Teaching of Solfeggio in the First Cycle of Six Years of Basic Music Education and Upbringing, (2018); Jung C.G., The Collected Works. the Psychology of the Unconscious. Canon, (1994); Klann E., Antion M.D., Banko J.L., Hou L., Synaptic plasticity and translation initiation, Learning & Memory, 11, 4, pp. 365-372, (2004); Kodela S., Todorovic D., Sinergija opažanja, reprodukcije i muzičkog mišljenja u nastavi solfeđa. Tradicija kao inspiracija, tematski zbornik sa naučnog skupa “Vlado Milošević” [Synergy of perception, reproduction and musical thinking in solfeggio teaching. Tradition as inspiration, Thematic Collection from the Scientific Conference “Vlado Milosevic”], (2014); Larrouy-Maestri P., Morsomme D., The effects of stress on singing voice accuracy, Journal of Voice, 28, 1, pp. 52-58, (2014); Li Y., The role of innovative approaches in teaching the flute: A path to creative realization of students, Thinking Skills and Creativity, 42, (2021); Manning L., Denkova E., Unterberger L., Autobiographical significance in past and future public semantic memory: A case-study, Cortex; A Journal Devoted To The Study Of The Nervous System And Behavior, 49, 8, pp. 2007-2020, (2013); Ministero Della Pubblica Istruzione, (2007); Moore B.C.J., An Introduction to the Psychology of Hearing, (2012); Nadel L., Hupbach A., Gomez R., Newman-Smith K., Memory formation, consolidation and transformation, Neuroscience & Biobehavioral Reviews, 36, 7, pp. 1640-1645, (2012); Nikolic I., Solfeđo: Jednoglasni diktati, (2014); Eğitimde Bilimsel araştırma yöntemleri, (2019); Paisiello G., Regole per ben accompagnare il partimento, o sia il basso fondamentale sopra il Cembalo [Rules for well accompanying the part, or both the fundamental bass above the harpsichord], Library of Congress, (1983); Pavic B., Kompetencijski profil nastavnika solfeggia, [Competence Profile of Solfeggio Teacher] [Published Master’s Thesis], (2017); Petrushin V.I., Musical Psychology: Textbook, (2009); Pickles C.F., James O., An introduction to the physiology of hearing (4th ed.), Emerald, (2012); Pireva L., The influence of solfeggio on the development of the musical ear, In UBT International Conference., (2020); Ramo B., Philosophy of Music Education, (2003); Safronova Y.A., The third wave of memory studies: Twenty-three years rubbing the wrong way, Political Science, 3, pp. 12-27, (2018); Sanguinetti G., Partimento-fugue: The Neapolitan angle, Partimento and Continuo Playing in Theory and Practice, pp. 71-111, (2010); Schacter D., Psychology (2nd ed.), Worth Publishers, (2011); Strazhnikova T.I., Scientific and methodological bases of musical memory formation in students in solfeggio class of culture universities [Published doctoral dissertation]., (2003); Swaminathan S., Schellenberg E.G., Musical competence is predicted by music training, cognitive abilities, and personality, Scientific Reports, 8, 1, (2018); Velazco Reyes B., Ponce C., Terrazas W.C.V., Ruelas Vargas D., Methods of musical education for the development of the musical memory of music students, Comuni@Ccion-Revista De Investigación En Comunicación Y Desarrollo, 11, 1, pp. 28-39, (2020); Vyspinska N., Musicians outperform non-musicians in English language vocabulary uptake and listening comprehension tasks, Revista Românească pentru Educaţie Multidimensională, 11, 2, pp. 296-309, (2019); Wagner A.D., Shannon B.J., Kahn I., Buckner R.L., Parietal lobe contributions to episodic memory retrieval, Trends in Cognitive Sciences, 9, 9, pp. 445-453, (2005); Wang Y., Yunnan ethnic music works in the solfeggio teaching, Art Education, 6, pp. 15-21, (2015); Wang X., Analysis of solfeggio teaching of national music thinking, Contemporary Educational Practice and Teaching Research, 5, pp. 1-8, (2015); Wang L., The skill training of reading music in the teaching of solfeggio and ear training in the new media environment, Applied Bionics and Biomechanics, (2022); Williamson V.J., Baddeley A.D., Hitch G.J., Musicians’ and nonmusicians’ short-term memory for verbal and musical sequences: Comparing phonological similarity and pitch proximity, Memory & Cognition, 38, 2, pp. 163-175, (2010); Yan X., Hu Y., On the impact of national music thinking on professional solfeggio teaching, Liaoning Radio and Television University, 4, pp. 11-17, (2016); Zadnik K., Nauk o glasbi v slovenski glasbeni šoli Med preteklostjo, sedanjostjo in prihodnostjo [The doctrine of music in the slovenian music school: Between the past, the present and the future], (2019)","L. Mei; Conservatory of Music, Jiangxi Institute of Applied Science and Technology, Nan Chang, China; email: lijuanm370@gmail.com","","Springer","","","","","","10461310","","","","English","Curr. Psychol.","Article","Final","","Scopus","2-s2.0-85168996953"
"Ijzerman J.","Ijzerman, Job (59416071000)","59416071000","Hexachord Solmization in the Classroom: A Revival of Old Practices","2024","Music Theory And Analysis","11","1","","5","35","30","0","10.11116/Mta.11.1.1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85209569711&doi=10.11116%2fMta.11.1.1&partnerID=40&md5=38f398cf60dea9c40ad6d18720a11597","Early Music departments of the Conservatory, Amsterdam, Netherlands","Ijzerman J., Early Music departments of the Conservatory, Amsterdam, Netherlands","This article proposes the practice of hexachord solmization as a component of a “historically informed” theory curriculum for early-music students. Many theory treatises and singing manuals from the sixteenth century and before start with a discussion of the gamut, hexachords, the Guidonian hand, and solmization syllables. This strongly suggests that hexachord solmization was one of the principles of contemporary music education. Analyses of musical excerpts demonstrate that a hexachord is a meaningful melodic unit rather than a random set of six tones. Its solmization syllables illuminate the inherent tonal relations around the semitone mi–fa; furthermore, they represent expressive tone qualities in themselves—for instance, the bright mi versus the soft fa. The hexachord system was still in use in eighteenth-century Italy, apart from some adjustments with regard to the emerging major-minor tonality. Most likely, young apprentices at Italian conservatories learned the syllables before they could read the pitches. Sets of solfeggi produced by the conservatory masters for their pupils show how plain solmization patterns form the basis of the melodic art of the period. In the classroom today, hexachord solmization offers both a useful tool for a non-verbal mode of musical understanding and a starting point for melodic improvisation. © Job IJzerman and Leuven University Press.","Hexachords; Improvisation; Italian Solfeggio; Pedagogy; Schemata","","","","","","","","Smith anne, The Performance of 16th Century Music: Learning from the Theorists, pp. 19-25, (2011); Janin Barnabe, Chanter sur le livre: Manuel pratique d’improvisation polyphonique de la Renaissance (XVe and XVI2 siècles), (2014); Ornithoparcus andreas, Musicae activae micrologus, pp. 2-9; aaron Pietro, Thoscanello della musica, pp. 44-48; Baragwanath, The Solfeggio Tradition; Cruger Johann, Geistliche Kirchen-Melodien, (2014); Zarlino Gioseffo, The Art of Counterpoint: Part 3 of Le Istitioni harmoniche, 1558, pp. 126-134, (1968); G-re in m. 4 would be an alternative mutation point; in my opinion, however, mutation in m. 5 is preferable because of the phrasing in this measure; Burmeister Joachim, Musica Autoschediastike; Petrucci Ottaviano, Frottole libro primo, (1504); Verdelot Philippe, Il primo libro de madrigali, (1537); Bourgeois Loys, Pseaulmes cinquante de David, (1547); Gardano antonio, Il primo libro a due voci de diversi autori, (1553); Phalese Pierre, Cantionum sacrum, liber primus, (1554); Second Didier Lupi, Chansons spirituelles, (1559); Goudimel Claude, 150 Pseaumes de David, (1565); Stefani Giovanni, Affetti amorosi, (1621); Bononcini Giovanni Maria, Musico Prattico, pp. 146-152, (1673); Banchieri, La Banchierina, (1623); Gjerdingen Galant Style, 45–60. 37 Baragwanath, Solfeggio Tradition, 121–22. 38 Gjerdingen, Galant Style, 25–40 Leonardo Leo, Libro secondo Solfeggi a voce sola di soprano; Gjerdingen, Galant Style; Caplin William E., Harmony and Cadence in Gjerdingen’s ‘Prinner, What is a Cadence?, pp. 22-38, (2015); Gjerdingen Galant Style, 92–95, and Job IJzerman, Harmony, Counterpoint, Partimento: A New Method Inspired by Old Masters, pp. 33-39, (2018)","","","Leuven University Press","","","","","","22955917","","","","English","Music Theory Anal.","Article","Final","","Scopus","2-s2.0-85209569711"
"Kruse-Weber S.; Schiavio A.; Kirchgäßner E.M.; Bucura E.","Kruse-Weber, Silke (56042627000); Schiavio, Andrea (55582317300); Kirchgäßner, Erik M (57783547600); Bucura, Elizabeth (57200581988)","56042627000; 55582317300; 57783547600; 57200581988","Reflective writing in a community music project with students in higher music education","2023","Research Studies in Music Education","45","3","","634","652","18","2","10.1177/1321103X221107513","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85133535443&doi=10.1177%2f1321103X221107513&partnerID=40&md5=481f92987030ce43d6b11a308dea77b8","University of Music and Performing Arts, Austria; University of Graz, Austria; University of Bremen, Germany","Kruse-Weber S., University of Music and Performing Arts, Austria; Schiavio A., University of Graz, Austria; Kirchgäßner E.M., University of Bremen, Germany; Bucura E., University of Music and Performing Arts, Austria","Meet4Music (M4M) is a low-threshold community music program based at the University of Music and Performing Arts Graz, Austria, offering free participatory sessions to people from all social and cultural backgrounds, including students. The program allows attendees to experience an emerging field of music pedagogy and approach current challenges of migration and cultural diversity from an artistic perspective. The purpose of this study was to explore how students considered and reflected on their M4M experiences. Research questions included the following: (1) How did students consider the experience of making music in a heterogeneous ensemble, and what meanings might they have made from it? And, (2) What aspects of M4M may have contributed to artistic and interpersonal enrichment, and in what ways? We examined meanings developed across the various practices involved in this artistic initiative, with a specific focus on the students’ experiences. To do so, qualitative data based on their written reflections are presented, analyzed, and discussed. Findings include attributions for M4M and personal impact. Themes center on a holistic understanding of the musical community of the program and students’ reflexive and responsive attitudes. Implications include refining notions of artistic citizenship and recommendations for higher music education. © The Author(s) 2022.","Community music; cultural diversity; higher music education; improvisation; reflective writing","","","","","","","","Alheit P., Dausien B., Bildungsprozesse über die Lebensspanne und lebenslanges Lernen [Educational processes across the lifespan and lifelong learning], Handbuch Bildungsforschung, pp. 877-903, (2018); Deutscher Qualifikationsrahmen für lebenslanges Lernen (German qualification framework for lifelong learning), (2011); Ballantyne J., Baker F.A., Leading together, learning together: Music education and music therapy students’ perceptions of a shared practicum, Research Studies in Music Education, 35, 1, pp. 67-82, (2013); Benedict C., Schmidt P., Spruce G., The Oxford handbook of social justice in music education, (2015); Benjamin W., Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit und weitere Dokumente, pp. 7-50, (2007); Borgo D., Free jazz in the classroom: An ecological approach to music education, Jazz Perspectives, 1, 1, pp. 61-88, (2007); Bourdieu P., The forms of capital, Handbook of theory and research for the sociology of education, pp. 241-258, (1986); Bowman W., Cognition and the body: Perspectives from music education, Knowing bodies, moving minds: Toward embodied teaching and learning, pp. 29-50, (2004); Brandenburg R., Glasswell K., Jones M., Ryan J., Reflective theory and practice in teacher education, (2017); Brauer G., Das Portfolio als Reflexionsmedium für Lehrende und Studierende (The portfolio as a medium for reflection for teachers and students), (2016); Brown J.E., Reflective practice: A tool for measuring the development of generic skills in the training of professional musicians, International Journal of Music Education, 27, 4, pp. 372-382, (2009); Bucura E., Rethinking excellence in music education, Visions of Research in Music Education, 36, (2020); Bucura E., Bonding and Bridging: Perceptions of Social Capital in Community Music, Athens Journal of Humanities & Arts, 9, pp. 1-27, (2022); Carey G., Coutts C., Grant S., Harrison S., Dwyer R., Enhancing learning and teaching in the tertiary music studio through reflection and collaboration, Music Education Research, 20, 4, pp. 399-411, (2018); Chen J.C.W., A pilot study mapping students’ composing strategies: Implications for teaching computer-assisted composition, Research Studies in Music Education, 34, 2, pp. 157-171, (2012); Conway C., Eros J., Descriptions of the second stage of music teachers’ careers, Research Studies in Music Education, 38, 2, pp. 221-233, (2016); Corbin J., Strauss A., Basics of qualitative research: Techniques and procedures for developing grounded theory, (2014); Coulson D., Harvey M., Scaffolding student reflection for experience-based learning: A framework, Teaching in Higher Education, 18, 4, pp. 401-413, (2013); The learning age: A renaissance for a New Britain, (1998); Dewey J., How we think, (1910); Elliott D.J., Music as culture: Toward a multicultural concept of arts education, Journal of Aesthetic Education, 24, 1, pp. 147-166, (1990); Elliott D.J., Music matters: A new philosophy of music education, (1995); Elliott D.J., Introduction, Praxial music education: Reflections and dialogues, pp. 3-18, (2005); Elliott D.J., Puerto Rico: A site of critical performative pedagogy, Action, Criticism, and Theory for Music Education, 6, 1, pp. 1-24, (2007); Elliott D.J., Silverman M., Music matters: A philosophy of music education, (2015); Elliott D.J., Silverman M., Bowman W., Artistic citizenship: Artistry, social responsibility, and ethical praxis, (2016); Elliott D.J., Silverman M., McPherson G.E., Philosophical and qualitative perspectives on assessment in music education: Introduction, aims and overview, The Oxford handbook of philosophical and qualitative assessment in music education, pp. 3-26, (2019); Fischer-Lichte E., Theaterwissenschaft (Theater studies), (2010); Gande A., Kruse-Weber S., Addressing new challenges for a community music project in the context of higher music education: A conceptual framework, London Review of Education, 15, 3, pp. 372-387, (2017); Gaunt H., Duffy C., Coric A., Delgado I.R.G., Messas L., Pryimenko O., Sveidahl H., Musicians as “makers in society”: A conceptual foundation for contemporary professional higher music education, Frontiers in Psychology, 12, (2021); Ghaye T., Teaching and learning through reflective practice: A practical guide for positive action, (2011); Hallam S., The power of music: A research synthesis of the impact of actively making music on the intellectual, social and personal development of children and young people, (2015); Hammerness K., Darling-Hammond L., Bransford J., Berliner D., Cochran-Smith M., McDonald M., Zeichner K., How teachers learn and develop, Preparing teachers for a changing world: What teachers should learn and be able to do, pp. 358-389, (2005); Hattie J., Timperley H., The power of feedback, Review of Educational Research, 77, 1, pp. 81-112, (2007); Higgins L., The community in community music: Hospitality—friendship, Creating partnerships, making links, and promoting change, pp. 1-20, (2006); Higgins L., Acts of hospitality: The community in community music, Music Education Research, 9, 2, pp. 281-292, (2007); Higgins L., Community music in theory and practice, (2012); Higgins L., One-to-one encounters: Facilitators, participants, and friendship, Theory into Practice, 51, pp. 159-166, (2012); Higgins L., Willingham L., Engaging in community music: An introduction, (2017); Hirsch M., Steiner J., Musizieren und Unterrichten im Dazwischen [Intersections of making music and teaching], Performing translation: Schnittstellen zwischen Kunst, Pädagogik und Wissenschaft, pp. 319-343, (2014); 5 music rights [Graphic]; Kallio A.A., Factional stories: Creating a methodological space for collaborative reflection and inquiry in music education research, Research Studies in Music Education, 37, 1, pp. 3-20, (2015); Kenny A., Communities of musical practice, (2016); Kolb D.A., Fry R.E., Toward an applied theory of experiential learning, Theories of group processes, pp. 33-57, (1975); Korthagen F.A.J., Vasalos A., From reflection to presence and mindfulness: 30 years of developments concerning the concept of reflection in teacher education, (2009); 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Kruse-Weber S., Gorzela M., (2019); Kruse-Weber S., Hadji N., Reflective Practice in der Hochschullehre [Reflective Practice in higher education], Grundlagen der Hochschullehre, pp. 109-137, (2020); Kruse-Weber S., Sari T., Learning to reflect: Enhancing instrumental music education majors’ practice through reflective journals, Becoming Musicians: Student involvement and teacher collaboration in higher music education, pp. 127-150, (2019); Ladson-Billings G., You gotta fight the power: The place of music in social justice education, The Oxford handbook of social justice in music education, pp. 406-419, (2015); Lave J., Wenger E., Situated learning: Legitimate peripheral participation, (1991); Lerman L., Borstel J., Liz Lerman’s critical response process: A method for getting useful feedback on anything you make, from dance to dessert, (2003); Mersch D., Ereignis und Aura: Zur Dialektik von ästhetischem Augenblick und kulturellem Gedächtnis, Musik & Ästhetik (Event and aura: On the dialectics of the aesthetic moment and cultural memory), 1, 3, pp. 20-36, (1997); Miles M.B., Huberman A.M., Saldana J., Qualitative data analysis. A methods sourcebook, (2019); Phelan H., Sonic hospitality: Migration, community, and music, The Oxford handbook of music education, 2, pp. 168-184, (2012); Putnam R.D., Making democracy work: Civic traditions in modern Italy, (1993); Radiker S., Kuckartz U., Analyse qualitativer Daten mit MAXQDA (Analysis of qualitative data with MAXQDA), (2019); Sawyer R.K., What makes good teachers great?: The artful balance of structure and improvisation, Structure and improvisation in creative teaching, pp. 1-24, (2011); Schiavio A., van der Schyff D., Gande A., Kruse-Weber S., Negotiating individuality and collectivity in community music. A qualitative case study, Psychology of Music, 47, 5, pp. 706-721, (2019); Schiavio A., Biasutti M., van der Schyff D., Parncutt R., A matter of presence: A qualitative study on teaching individual and collective music classes, Musicae Scientiae, 24, 3, pp. 356-376, (2020); Schiavio A., Stupacher J., Parncutt R., Timmers R., Learning music from each other. 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Enactive cognitive science and the meaning of human musicality, (2022); Veblen K.K., The many ways of community music, International Journal of Community Music, 1, 1, pp. 5-21, (2008); Veblen K.K., Messenger S.J., Silverman M., Elliott D.J., Community music today, (2013); MAXQDA, (2018); Vogt J., David J. Elliotts “praxiale” Theorie der Musikerziehung: Versuch einer kritischen Annäherung, Musik & Bildung (David J. Elliott’s “praxial” theory of music education: Attempt at a critical approach), 31, 3, pp. 38-43, (1999); Vogt J., Musikalische Bildung—Ein lexikalischer Versuch [Musical education: A lexical attempt], Zeitschrift für kritische Musikpädagogik, 2012, pp. 1-26, (2012); Wenger E., McDermott R., Synder W., Cultivating communities of practice, (2002); Westerlund H., Partti H., Karlsen S., Teaching as improvisational experience: Student music teachers’ reflections on learning during a bi-cultural exchange project, Research Studies in Music Education, 37, 1, pp. 55-75, (2015); Wulf C., Zirfas J., Pädagogik des Performativen: Theorien, Methoden, Perspektiven (Pedagogy of the performative: Theories, methods, perspectives), (2007)","S. Kruse-Weber; University of Music and Performing Arts, Austria; email: silke@kruse-weber.com","","SAGE Publications Ltd","","","","","","1321103X","","","","English","Res. Stud. Music Educ.","Article","Final","","Scopus","2-s2.0-85133535443"
"Choong H.","Choong, Hueyuen (57778989500)","57778989500","The learning experiences and musical proficiencies of formal and informal popular musicians in Malaysia","2023","International Journal of Music Education","41","3","","358","370","12","1","10.1177/02557614221107917","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85133316071&doi=10.1177%2f02557614221107917&partnerID=40&md5=86ebaab8bc11551d6310ecf08ee5b8c8","University of Westminster, United Kingdom","Choong H., University of Westminster, United Kingdom","This article explored the relationships between the learning experiences and musical proficiencies of a formal and an informal popular musician in Malaysia. The presence and impact of formal popular music education within popular music culture is become increasingly harder to ignore, and while this phenomenon had been examined by numerous popular music scholars, there is a lack of attention towards the implications of learning experience on acquired musical proficiencies. In this study, participants took part in semi-structured interviews that enquired about their music learning histories and musical skills tests that examined their sight-reading, play by ear, and improvisation proficiencies. The aim was to compare and ascertain the disparities between both musicians’ learning histories and musical proficiencies, as well as to identify any potential relationships between learning methods and musical proficiencies. The findings showed that the musicians developed contrasting habitual music-making practices, attitudes and dispositions and musical proficiencies. Furthermore, the informal musician outdid the formal musician in almost all aspects examined in the musical skills tests. Implications from this article include the need for providers of formal popular music education to approach the study of popular music on its own terms, and develop methods of structured learning that enhances the development of virtuosity within the culture of popular music. © The Author(s) 2022.","Formal and informal learning; improvisation; Malaysia; play by ear; popular music; sight reading","","","","","","","","Alper G., Towards the acceptance of a bachelor of music degree in popular music studies, College Music Symposium, 47, pp. 156-166, (2007); Bennett H.S., On becoming a rock musician, (1980); Bennett J., Towards a framework for creativity in popular music degrees, The Routledge research companion to popular music education, pp. 285-297, (2017); Bernhard H.C., The effects of tonal training on the melodic ear playing and sight reading achievement of beginning wind instrumentalists, Contributions to Music Education, 31, 1, pp. 91-107, (2004); Bruford B., Learning experiences of expert western drummers: A cultural psychology perspective, The Bloomsbury handbook of popular music education: Perspectives and practices, pp. 83-99, (2019); Choong H., An exploration into the impacts of music learning experiences on the musical proficiencies of popular musicians, (2021); Cloonan M., Hulstedt L., Looking for something new: The provision of popular music studies degrees in the UK, International Association for the Study of Popular Music Journal, 3, 2, pp. 63-77, (2013); Cohen S., Rock culture in liverpool: Popular music in the making, (1991); Dyndahl P., Karlsen S., Nielsen S., Skarberg O., The academisation of popular music in higher music education: The case of Norway, Music Education Research, 19, 4, pp. 438-454, (2016); Feichas H., Bridging the gap: Informal learning practices as a pedagogy of integration, British Journal of Music Education, 27, 1, pp. 47-58, (2010); Finnegan R., The hidden musician: Music-making in an English town, (1989); Fleet P., ‘I’ve heard there was a secret chord’: Do we need to teach music notation in UK popular music studies?, The Routledge research companion to popular music education, pp. 166-176, (2017); Folkestad G., Formal and informal learning situations or practices vs formal and informal ways of learning, British Journal of Music Education, 23, 2, pp. 135-145, (2006); Green L., How popular musicians learn: A way ahead for music education, (2002); Lebler D., Hodges N., Popular music pedagogy: Dual perspective on DIY musicianship, The Routledge research companion to popular music education, pp. 272-284, (2017); McPherson G.E., Bailey M., Sinclair K.E., Path analysis of a theoretical model to describe the relationship among five types of musical performance, Journal of Research in Music Education, 45, 1, pp. 103-129, (1997); McPherson G.E., Gabrielsson A., From sound to sight, The science and psychology of music performance: Creative strategies for teaching and learning, pp. 91-115, (2002); Parkinson T., Smith G.D., Towards an epistemology of authenticity in higher popular music education, Action, Criticism & Theory for Music Education, 14, 1, pp. 93-127, (2015); Smith G.D., I drum, therefore I am: Being and becoming a drummer, (2013); Smith N., The effect of learning and playing songs by ear on the performance of middle school band students, (2006); Woody R.H., Playing by ear: Foundation or frill?, Music Educators Journal, 99, 2, pp. 82-88, (2012); Woody R.H., Lehmann A.C., Student musicians’ ear-playing ability as a function of vernacular music experiences, Journal of Research in Music Education, 58, 2, pp. 101-115, (2010)","H. Choong; University of Westminster, United Kingdom; email: choonghueyuen@gmail.com","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-85133316071"
"Mateos-Moreno D.; Erlanson E.","Mateos-Moreno, Daniel (55037337500); Erlanson, Ernst (57971060800)","55037337500; 57971060800","Should Improvisation Be Regularly Included in Music Lessons? A Single-Case Quasi-Experimental Study Exploring the Differences in the Electrical Activity of the Brain between Musical Improvisation and Sight-Reading","2023","Education Sciences","13","2","191","","","","2","10.3390/educsci13020191","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85148767478&doi=10.3390%2feducsci13020191&partnerID=40&md5=bc3fa1ca2a5dd3533276c62147f796cb","Faculty of Education, University of Malaga, Málaga, 29007, Spain; Uppsala School of the Arts, Uppsala, 75332, Sweden","Mateos-Moreno D., Faculty of Education, University of Malaga, Málaga, 29007, Spain; Erlanson E., Uppsala School of the Arts, Uppsala, 75332, Sweden","Thanks to advances in portable electroencephalography technology (PEEGT), investigating the states of the mind is a relatively new area of research with a promising future in music education. Our aim, drawing upon PEEGT, was to contribute to the study of the differences in brain activity between piano music improvisation and sight-reading. We used the EMOTIV Insight helmet to register brain activity in repeated instances of one purposefully selected case while pursuing these two activities in experimental, controlled conditions. Thereafter, we pursued descriptive and robust statistical analysis of the variables offered by the Emotiv software. The quantitative data resulting from our study were triangulated with the qualitative analysis of a logbook filled by the participant on his subjective experiences. While the quantitative results were not statistically significant in measuring differences between the experimental conditions, trends were indeed found in the data and triangulated by our qualitative results. Our study provides preliminary evidence that supports the value of regularly incorporating musical improvisation moments in music education. This, to increase the students’ excitement towards music lessons in cases that are similar to the case under scrutiny. Finally, implications and limitations are discussed in relation to the research design, the use of PEEGT technology, and the Emotiv software and hardware for investigating brain activity in pursuing musical activities. © 2023 by the authors.","brain; education; EEG; Emotiv; music","","","","","","Spanish Research Agency; Agencia Estatal de Investigación, AEI, (MCIN/AEI/10.13039/501100011033, PID2020-118002RB-I00)","The authors disclose receipt of the following financial support for the research, authorship, and/or publication of this article: This work was supported by the Spanish Research Agency (Agencia Estatal de Investigación, MCIN/AEI/10.13039/501100011033), under grant to Project Musihabitus (ref. PID2020-118002RB-I00).","Ferriere K.M., The interstellar environment of our galaxy, Rev. Mod. Phys, 73, pp. 1031-1066, (2001); Murphy E., On the Mind and Freedom, (2011); Flohr J., Hodges D.A., Music and neuroscience, The New Handbook of Research on Music Teaching and Learning: A Project of the Music Educators National Conference, pp. 991-1008, (2002); Hodges D.A., Can neuroscience help us do a better job of teaching music?, Gen. Music Today, 23, pp. 3-12, (2009); Teplan M., Fundamentals of EEG measurement, Meas. Sci. Rev, 2, pp. 1-11, (2002); Zanzotto F.M., Croce D., Comparing EEG/ERP-like and fMRI-like techniques for reading machine thoughts, Proceedings of the International Conference on Brain Informatics, pp. 133-144, (2010); Alperson P., On musical improvisation, J. Aesthet. Art Crit, 43, pp. 17-29, (1984); Ferand E.T., Improvisation in music history and education, Pap. Am. Musicol. Soc, 1, pp. 115-125, (1940); Larsson C., Georgii-Hemming E., Improvisation in general music education—A literature review, Br. J. Music Educ, 36, pp. 49-67, (2019); Landau A.T., Limb C.J., The neuroscience of improvisation, Music Educ. J, 103, pp. 27-33, (2017); Villarreal M.F., Cerquetti D., Caruso S., Schawrcz V., Roldan E.L., Frega A.L., Leiguarda R.C., Neural Correlates of Musical Creativity: Differences between High and Low Creative Subjects, PLoS ONE, 8, (2013); Limb C.J., Braun A.R., Neural substrates of spontaneous musical performance: An fMRI study of jazz improvisation, PLoS ONE, 3, (2008); Muller V., Saenger J., Lindenberger U., Intra-and inter-brain synchronization during musical improvisation on the guitar, PLoS ONE, 8, (2013); Lopata J.A., Nowicki E.A., Joanisse M.F., Creativity as a distinct trainable mental state: An EEG study of musical improvisation, Neuropsychologia, 99, pp. 246-258, (2017); Sasaki M., Iversen J., Callan D.E., Music improvisation is characterized by increase EEG spectral power in prefrontal and perceptual motor cortical sources and can be reliably classified from non-improvisatory performance, Front. Hum. Neurosci, 13, (2019); Bailey A.W., Johann J., Kang H., Cognitive and physiological impacts of adventure activities: Beyond self-report data, J. Exp. Educ, 40, pp. 153-169, (2017); Lievesley R., Wozencroft M., Ewins D., The Emotiv EPOC neuroheadset: An inexpensive method of controlling assistive technologies using facial expressions and thoughts?, J. Assist. Technol, 5, pp. 67-82, (2011); Stake R.E., The Art of Case Study Research, (1995); Melrose S., Naturalistic generalization, Encyclopedia of Case Study Research, (2009); Garbacz S.A., Kratochwill T.R., Single-Case Experimental Design, (2020); Wan Z., Participant selection and access in case study research, Challenges and Opportunities in Qualitative Research, pp. 47-61, (2019); Ariel B., Bland M., Sutherland A., Experimental Designs, (2022); Wilson V., Research methods: Triangulation, Evid. Based Libr. Inf. Pract, 9, pp. 74-75, (2014); Kim M., Kim M., Oh E., Kim S., A review on the computational methods for emotional state estimation from the human EEG, Comput. Math. Methods Med, 2013, (2013); Russell J.A., Core affect and the psychological construction of emotion, Psychol. Rev, 110, pp. 145-172, (2003); Braun V., Clarke V., Using thematic analysis in psychology, Qual. Res. Psychol, 3, pp. 77-101, (2006); Divine G., Norton H.J., Hunt R., Dienemann J., A review of analysis and sample size calculation considerations for Wilcoxon tests, Anesth. Analg, 117, pp. 699-710, (2013); Reeve J., Cole S.G., Olson B.C., Adding excitement to intrinsic motivation research, J. Soc. Behav. Personal, 1, pp. 349-363, (1986); Mateos-Moreno D., Erlanson E., Investigating one-to-one instrumental music lessons in relation to a training programme on Paul Harris’ simultaneous learning, Int. J. Music Educ, (2022); Gorst B., The threat of abandonment, Can. Music Educ, 49, pp. 7-8, (2007)","D. Mateos-Moreno; Faculty of Education, University of Malaga, Málaga, 29007, Spain; email: danielmm@uma.es","","MDPI","","","","","","22277102","","","","English","Educ. Sci.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85148767478"
"Rumyantseva M.A.","Rumyantseva, Margaritа A. (59508341100)","59508341100","“NEW LIFE” OF THE ORGANUM GENRE IN THE COURSE OF SOLFEGGIO; [«НОВАЯ ЖИЗНЬ» ЖАНРА ОРГАНУМА В КУРСЕ СОЛЬФЕДЖИО]","2024","Musical Art and Education","12","2","","75","87","12","0","10.31862/2309-1428-2024-12-2-75-87","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85214567652&doi=10.31862%2f2309-1428-2024-12-2-75-87&partnerID=40&md5=04eff5bc04d45a3877891808680427f7","Moscow Pedagogical State University (MPGU), Moscow, 119435, Russian Federation","Rumyantseva M.A., Moscow Pedagogical State University (MPGU), Moscow, 119435, Russian Federation","This article is devoted to the issue of developing musical hearing of students of higher educational institutions in solfeggio lessons based on the genre of medieval organum. Its early types, such as parallel, non-parallel, free and melismatic, are considered from the point of view of the possibility of their use as additional original didactic material. The work briefly reveals the features of writing the first polyphonic works and presents some aspects of its use in practical classes, which best contribute to the development of interval hearing and the improvement of intonation skills. Organum acts as a highly artistic example of Western European early polyphony. It is worthy of study not only in the field of musicology, in the practice of performing arts, but also in pedagogical activity, in the solfeggio course. The purpose of this article is to draw attention to the genre in its new interpretation. This leads to the main task – to reveal the possibilities and show the feasibility of using examples of early polyphony in the solfeggio course. © Румянцева М.А.","early polyphony; higher musical education; Middle Ages; musical ear; organum; solfeggio","","","","","","","","Aristotle. Metafizika [Metaphysic], (2023); Plato. Gosudarstvo [State], (2024); Iofis B. R., Konceptual’nye osnovy muzykal’no-teoreticheskoj podgotovki muzykanta-pedagoga [Conceptual Foundations of Musical and Theoretical Training of a Musician-Teacher], Muzykal’noe iskusstvo i obrazovanie = Musical Art and Education, 11, 1, pp. 62-79, (2023); Karaseva M. V., Sol’fedzhio. Psihotekhnika razvitiya muzykal’nogo sluha [Solfeggio. Psychotechnics of Musical Hearing Development], (2022); Karaseva M. V., Sovremennoe sol’fedzhio. Garmonicheskoe sol’fedzhio na materiale sovremennoj akkordiki [Modern Solfeggio. Harmonic Solfeggio on the Material of Modern Chords]: Textbook, (2024); Porokhovnichenko M. E., Tekhnika ispolnitel’skogo intonirovaniya kak osnova razvitiya muzykal’no-sluhovyh sposobnostej v kurse sol’fedzhio [Technique of Performing Intonation as a Basis for the Development of Musical and Auditory Abilities in the Course of Solfeggio, Muzykal’noe iskusstvo i obrazovanie = Musical Arts and Education, 12, 1, pp. 99-120, (2024); Lokotyanova D. E., Super-diktant” na zanyatiyah po sol’fedzhio v vuze [“Super-dictation” in Solfeggio Classes at the University, Muzykovedenie [Musicology], 5, pp. 38-40, (2023); Rumyantseva M. A., Dvukhgolosnyj organum kak sredstvo razvitiya garmonicheskogo slukha [Two-voice Organum as a Means of Developing Harmonic Hearing]: Textbook, (2022); Evdokimova Yu. K., Mnogogolosie srednevekov’ya X–XIV veka [Polyphony of the Middle Ages of the X–XIV Century], (1983); Organum Yu. N., Muzykal’naya enciklopediya [Musical Encyclopedia], 4, pp. 78-81, (1978); Chekhovich D. O., Ritm [Rhythm]. Bol’shaya rossijskaya enciklopediya [Big Russian Encyclopedia]; Grigorianskoe penie [Gregorian Singing]. Muzykal’naya enciklopediya [Musical Encyclopedia], 2, pp. 65-68, (1974); Livanova T. N., Istoriya zapadnoevropejskoj muzyki do 1789 goda: uchebnik dlya ispolnitel’skih fakul’tetov muzykal’nyh vuzov: v 2 kn. Kn. 1. Ot antichnosti k XVIII veku [History of Western European Music before 1789: A Textbook for Performing Faculties of Musical Universities: in 2 books. Book 1. From Antiquity to the XVIII Century], (1986)","M.A. Rumyantseva; Moscow Pedagogical State University (MPGU), Moscow, 119435, Russian Federation; email: rumianseva.mar@mail.ru","","Moscow Pedagogical State University","","","","","","23091428","","","","English","Musical Art Educ.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85214567652"
"Shen S.; Wu K.","Shen, Shuo (58644258300); Wu, Kehui (58644042500)","58644258300; 58644042500","Solfeggio Teaching Method Based on MIDI Technology in the Background of Digital Music Teaching","2023","International Journal of Web-Based Learning and Teaching Technologies","18","1","","","","","4","10.4018/IJWLTT.331085","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85174055155&doi=10.4018%2fIJWLTT.331085&partnerID=40&md5=4ace9bbf0d22520637735fa966198f29","School of Contemporary Music, Shandong University of Arts, China; School of Physical Education and Music, Qilu University of Technology, China","Shen S., School of Contemporary Music, Shandong University of Arts, China; Wu K., School of Physical Education and Music, Qilu University of Technology, China","This research aims at teaching solfeggio and ear training in college music and proposes a teaching method for college music note recognition that combines the musical instrument digital interface (MIDI) and hidden Markov models (HMM). The experiment showcases that after preprocessing the music frequency sample signal using HMM model, it achieves the target accuracy after 20 times of training. From the HMM transition probability matrix diagram estimated from all training data sets, it can be seen that the transition matrix is close to the diagonal matrix. This indicates its high transfer efficiency. This study compares the HMM model with the other two algorithms, and the results show that its accuracy rate is about 99.56%. The probability of insertion errors and elimination errors is 0.52% and 2.58%. This is superior to the other two algorithms. In summary, the HMM model proposed in the study has extremely strong performance in the teaching of music note feature recognition in universities and can provide better teaching methods. © 2023 IGI Global. All rights reserved.","Feature Recognition; Fundamental Frequency Identification Method; HMM Model; MIDI Technology; Music Teaching","E-learning; Hidden Markov models; Music; Features recognition; Frequency identification; Fundamental frequencies; Fundamental frequency identification method; Hidden markov model model; Hidden-Markov models; Identification method; Interface technology; Music teaching; Musical instrument digital interface technology; Musical instrument digital interfaces; Teaching","","","","","","","Abeysinghe A., Fard M., Jazar R., Zambetta F., Davy J., Mel frequency cepstral coefficient temporal feature integration for classifying squeak and rattle noise, The Journal of the Acoustical Society of America, 150, 1, pp. 193-201, (2021); Bt A., Nr A., Emt A., Cal B., Zt C., Bw A., Bk D., Spb E., Characteristics of Ophthalmology Trials Registered in ClinicalTrials.gov, 2007-2018, American Journal of Ophthalmology, 211, 1, pp. 132-141, (2020); Dinesh K., Rao P. V., Implementing and analysing FAR and FRR for face and voice recognition (multimodal) using KNN classifier, International Journal of Intelligent Unmanned Systems, 8, 1, pp. 55-67, (2020); Ding H., Tian Y., Peng C., Zhang Y., Xiang S., Inference attacks on genomic privacy with an improved HMM and an RCNN model for unrelated individuals, Information Sciences, 512, 1, pp. 207-218, (2020); Fonseca E., Hershey S., Plakal M., Ellis D., Jansen A., Moore R. C., Serra X., Addressing Missing Labels in Large-scale Sound Event Recognition using a Teacher-student Framework with Loss Masking, IEEE Signal Processing Letters, 27, 99, pp. 1235-1239, (2020); Ham Y., Lee J. H., Lee S. G., A Study on Evaluation in College Mathematics Education in the New Normal Era, Communications of Mathematical Education, 34, 4, pp. 421-437, (2020); Lee C. H., Jwo J. S., Hsieh H. Y., Lin C. S., An Intelligent System for Grinding Wheel Condition Monitoring Based on Machining Sound and Deep Learning, IEEE Access: Practical Innovations, Open Solutions, 8, 99, pp. 58279-58289, (2020); Lg A., MD B., Fk C., Aa D., Fn E., Exploring the relationship between voice similarity estimates by listeners and by an automatic speaker recognition system incorporating phonetic features - ScienceDirect, Speech Communication, 124, 1, pp. 85-95, (2020); Mittapalle K. R., Pohjalainen H., Helkkula P., Kaitue K., Minkkinen M., Tolppanen H., Nieminen T., Alku P., Glottal flow characteristics in vowels produced by speakers with heart failure, Speech Communication, 137, 1, pp. 35-43, (2022); Nasrabadi A. M., Moghimi M., Energy analysis and optimization of a biosensor-based microfluidic microbial fuel cell using both genetic algorithm and neural network PSO, International Journal of Hydrogen Energy, 47, 7, pp. 4854-4867, (2022); Pandeya Y. R., Bhattarai B., Lee J., Visual Object Detector for Cow Sound Event Detection, IEEE Access: Practical Innovations, Open Solutions, 8, 1, pp. 162625-162633, (2020); Richard C., Neel M. L., Jeanvoine A., Connell S. M., Maitre N. L., Characteristics of the Frequency-Following Response to Speech in Neonates and Potential Applicability in Clinical Practice: A Systematic Review, Journal of Speech, Language, and Hearing Research: JSLHR, 63, 1, pp. 1-18, (2020); Sevilgen G., Bulut E., Albak E. S., Zturk F., Prediction and optimization of the design decisions of liquid cooling systems of battery modules using artificial neural networks, International Journal of Energy Research, 46, 6, pp. 7293-7308, (2022); Sosiawan A. Y., Nooraeni R., Sari L. K., Implementation of Using HMM-GA In Time Series Data, Procedia Computer Science, 179, pp. 713-720, (2021); Viloria A., Lezama O., Cabrera D., Segmentation process and spectral characteristics in the determination of musical genres, Procedia Computer Science, 175, 1, pp. 96-101, (2020); Wang J. H., Wang L., Xu Q., Hou Y., Shi X. M., Characteristics of consonant among children with speech sound disorder. Zhonghua er ke za zhi, Chinese Journal of Pediatrics, 59, 6, pp. 478-483, (2021); Wu J., Xu Z., Li K., Lv G., Wang C., Analysis of Acoustic Near Field Characteristics in Acousto-Optic Modulator, IEEE Photonics Technology Letters, 33, 4, pp. 201-204, (2021); Yl A., Rp B., Td B., Am A., Lf A., Md B., Ac A., Bt A., Music processing deficits in Landau-Kleffner syndrome: Four case studies in adulthood, Cortex, 129, 1, pp. 99-111, (2020); Zeng S., Du X. M., Theoretical analysis and experimental research of non-cavitation noise on underwater counter-rotation propellers, Progress in Computational Fluid Dynamics, 20, 1, pp. 51-58, (2020); Zhao L., Wang T., Guo R., Zhai X., Zhou L., Cui J., Wang J., Differential effect of aircraft noise on the spectral-temporal acoustic characteristics of frog species, Animal Behaviour, 182, pp. 9-18, (2021)","","","IGI Global","","","","","","15481093","","","","English","Int. J. Web-Based Learn. Teach. Technol.","Article","Final","All Open Access; Bronze Open Access","Scopus","2-s2.0-85174055155"
"Karaseva M.V.","Karaseva, Marina V. (57658965100)","57658965100","Learning the Modal and Rhythmic Patterns of Non-European Music: The New Opportunities from Mobile Applications","2024","Nauchnyy Vestnik Moskovskoy Konservatorii","15","2","","332","345","13","0","10.26176/mosconsv.2024.57.2.08","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85204720394&doi=10.26176%2fmosconsv.2024.57.2.08&partnerID=40&md5=dfe441d276eb2c2ab082f952c18de9c9","Tchaikovsky Moscow State Conservatory, 13/6 Bolshaya Nikitskaya St., Moscow, 125009, Russian Federation","Karaseva M.V., Tchaikovsky Moscow State Conservatory, 13/6 Bolshaya Nikitskaya St., Moscow, 125009, Russian Federation","The aim of this paper is to disclose new methodological possibilities for improving music ear for ethnic modal scales and rhythmical patterns by means of modern electronic devices in the field of music education. Musicological and methodological analysis of mobile applications for smartphones and tablets is the main core of such a demonstration. The traditional ethnic music from India, Iran, China and other non-European countries is used as rhythmical and melodic basis of these applications. Most part of the selected and analyzed applications may be successfully used in academic courses of ear training at the secondary and high levels of music education. The concrete methodological possibilities of ethnic music instrument-simulators as well as applications-thesauruses (modal and rhythmical) have been demonstrated for the purposes of ear training in pentatonic, mixed diatonic and symmetrical modal scales, micro-chromatic intonations and also for training in syncopation and irregularly accented rhythmic. © 2024, Moscow State Tchaikovsky Conservatory. All rights reserved.","ear training; mobile applications; music education","","","","","","","","Auer Michael E., Tsiatsos Thrasyvoulos,  IMCL Conference, (2018); Bense Arne, Gieseking Martin, Mussgens Bernhard, Musik im Spektrum technologischer Entwicklungen und Neuer Medien: Festschrift für Bernd Enders, (2015); Brainin Valeri, Employment of Multicultural and Interdisciplinary Ideas in Ear Training (‘Microchromatic’ Pitch. ‘Coloured’ Pitch),  World Conference: 20–25 July, 2008: Bologna, Italy, peer-reviewed selection of full papers presented at an international music education conference, pp. 53-58, (2008); Brown Andrew R., Computers in Music Education: Amplifying Musicality, (2007); Brown Andrew R., Music Technology and Education: Amplifying Musicality, (2015); Brown Thomas A., Afro-Latin Rhythm Dictionary: A Complete Dictionary for All Musicians, (1984); Dorfman Jay, Theory and Practice of Technology-Based Music Instruction, (2021); Elleithy Khaled, Sobh Tarek, New Trends in Networking, Computing, E-learning, Systems Sciences, and Engineering, (2015); Gopinath Sumanth, Stanyek Jason, The Oxford Handbook of Mobile Music Studies, 2, (2014); Karaseva Marina V., ‘Augmented Reality’ in the Work of a Teacher-Musician, Nauchnyy vestnik Moskovskoy konservatorii / Journal of Moscow Conservatory, 7, 2, pp. 140-183, (2016); Karaseva Marina V., Apple Store i sol’fedzhio: novye programmnye vozmozhnosti razvitiia muzykal’nogo slukha [Apple Store and Solfeggio: New Software Opportunities for the Development of Musical Ear], Sovremennye audiovizual’nye tekhnologii v khudozhestvennom tvorchestve i vysshem obrazovanii [Modern Audiovisual Technologies in Art and Higher Education], materials of the II All-Russian scientific and practical conference, pp. 43-44, (2010); Karaseva Marina V., Vospityvaya muzykal’nyу slukh i etnicheskuyu tolerantnost’: novye vozmozhnosti primeneniya mul’timediynykh mobil’nykh prilozheniy na urokakh sol’fedzhio [Developing an Ear for Music and Ethnic Tolerance: New Opportunities for Using Multimedia Mobile Applications in Solfeggio Lessons], Iskusstvo kak fenomen kul’tury: traditsii i perspektivy [Traditions and Perspectives of Art as a Cultural Phenomenon], collected articles, pp. 120-133, (2017); Karaseva Marina V., Ethnic Ear-Training of the Digital Century, Zhurnal Obshchestva teorii muzyki [Journal of the Music Theory Society], 3, (2017); Karaseva Marina V., iSOLF: Sovremennoe sol’fedzhio v tsifrovom veke [iSOLF: Modern Solfeggio in the Digital Age], Innovatsionnye teorii i tekhnologii obrazovaniya v sovremennom polikul’turnom prostranstve Kazakhstana [Innovative theories and technologies of education in the modern multicultural space of Kazakhstan], materials of the international scientific and practical conference, pp. 7-10, (2010); Matyakubova Svetlana, Makomnoe sol’ fedzhio [Macom Solfeggio], teaching aid, (2013)","","","Moscow State Tchaikovsky Conservatory","","","","","","20799438","","","","English","NVMK","Article","Final","","Scopus","2-s2.0-85204720394"
"Caregnato C.; da Silva R.; Vital Otutumi C.H.; Santos da Rocha L.J.","Caregnato, Caroline (56440254100); da Silva, Ronaldo (58139496300); Vital Otutumi, Cristiane Hatsue (58140139000); Santos da Rocha, Luciano Jeyson (58139496400)","56440254100; 58139496300; 58140139000; 58139496400","The effect of collective sight-singing before melodic dictation: A pilot study","2024","International Journal of Music Education","42","2","","319","330","11","0","10.1177/02557614231152306","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85149944535&doi=10.1177%2f02557614231152306&partnerID=40&md5=6fd0ec7e796da1afd0dd7b9a03ecfaaf","Universidade do Estado do Amazonas, Brazil; Universidade Estadual de Ponta Grossa, Brazil; Universidade Estadual do Paraná, Brazil","Caregnato C., Universidade do Estado do Amazonas, Brazil; da Silva R., Universidade Estadual de Ponta Grossa, Brazil; Vital Otutumi C.H., Universidade Estadual do Paraná, Brazil; Santos da Rocha L.J., Universidade do Estado do Amazonas, Brazil","Sight-singing and musical dictation are considered as complementary activities by different Ear Training pedagogues but, surprisingly, studies conducted with participants working individually were not able to find benefits of singing associated with dictation taking. This pilot study aims at observing the effect of a sight-singing, performed collectively before melodic dictation, on dictation results. We carried out an experimental study involving 54 students from three universities, who were tested in situations emulating Ear Training classes. The experimental group performed a collective sight-singing before the dictation, and the control group remained silent during the activity. Statistical analyses demonstrated that the experimental group had a significantly better performance on dictation than the control group, showing new data in relation to previous researches, that did not observe contributions of sight-singing related to dictation taking. We believe that collective sight-singing promotes cooperation between students, leading to better performance on reading than individual activities, thus improving dictation results. Although our pilot study counted on a small number of participants, remaining the necessity of future research expanding this one, it points to the potential benefits that collective activities could bring to the often-individualized instruction in Ear Training classes. © The Author(s) 2023.","Aural skills; Ear Training; musical dictation; sight-singing; university students","","","","","","Conselho Nacional de Desenvolvimento Científico e Tecnológico, CNPq; Amazon State Research Support Foundation; Fundação de Amparo à Pesquisa do Estado do Amazonas, FAPEAM","The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This work was supported by CNPq - Conselho Nacional de Pesquisa [The National Council for Scientific and Technological Development] (Brazil) and FAPEAM - Funda\u00E7\u00E3o de Amparo \u00E0 Pesquisa do Estado do Amazonas [Amazon State Research Support Foundation] (Brazil). ","Benward B., Kolosick T., Ear training: A technique for listening, (2005); Blix H.S., Learning strategies in ear training, Aural perspectives on musical learning and practice in higher music education, pp. 97-115, (2013); Brodsky W., Kessler Y., Rubinstein B.S., Ginsborg J., Henik A., The mental representation of music notation: Notational audiation, Journal of Experimental Psychology, 34, 2, pp. 427-445, (2008); Buonviri N.O., An exploration of undergraduate music majors’ melodic dictation strategies, Update Applications of Research in Music Education, 33, 1, pp. 21-30, (2014); Buonviri N.O., Effects of a preparatory singing pattern on melodic dictation success, Journal of Research in Music Education, 63, 1, pp. 102-113, (2015); Buonviri N.O., Effects of silence, sound, and singing on melodic dictation accuracy, Journal of Research in Music Education, 66, 4, pp. 365-374, (2019); Caregnato C., O desenvolvimento da competência de notar músicas ouvidas: Um estudo fundamentado na teoria de Piaget visando à construção de contribuições à atividade docente [The development of the competence to notate heard music: A study grounded in Piaget’s theory aiming contributions to pedagogical activity] [Doctoral dissertation, Universidade Estadual de Campinas], (2016); Cornelius N., Brown J.L., The interaction of repetition and difficulty for working memory in melodic dictation tasks, Research Studies in Music Education, 42, 3, pp. 293-309, (2020); Demirbatir R.E., Celiktas H., Engur D., The effect of the tuning system and instrument variables on modal dictation performance, Journal of Education and Training Studies, 6, 1, pp. 124-129, (2018); Dutica L., 5. Didactic strategies for the development of professional musical hearing, Review of Artistic Education, 11, 1, pp. 42-52, (2016); Gillespie J.L., Melodic dictation scoring methods: An exploratory study, Journal of Music Theory Pedagogy, 15, pp. 51-68, (2001); Gonzales C.I., Brinckmeyer L., Beckman A.A., A pilot study: The effect of singing and non-singing strategies on harmonic listening skills, (2012); Gonzalez M.B., Castro P.L., Barranco L.P.L., La diversidad tímbrica en el dictado musical a dos voces como estrategia para superar las dificultades de transcripción, Revista Electrónica de LEEME, 36, 1, pp. 1-14, (2015); Gordon E.E., All about audiation and music aptitudes, Music Educators Journal, 86, 2, pp. 41-44, (1999); Johnson E., Practical tools to foster harmonic understanding, Music Educators Journal, 99, 3, pp. 63-68, (2013); Karpinski G.S., Aural skills acquisition: The development of listening, reading, and performing skills in college-level musicians, (2000); Klonoski E., Improving dictation as an aural-skills instructional tool, Music Educators Journal, 93, 1, pp. 54-59, (2006); Kraft L., A new approach to ear training: A programmed course in melodic dictation, (1967); Lima F.G.B., Caregnato C., Silva R.D., The singing effect during melodic dictation, International Journal of Music Education, 39, 4, pp. 438-449, (2021); Noris C.E., The relationship between sight-singing achievement and melodic dictation achievement, Contributions to Music Education, 30, 1, pp. 39-53, (2003); Paney A., Dictation strategies of first-year university of music students, Missouri Journal of Research in Music Education, 47, 1, pp. 23-30, (2010); Paney A.S., The effect of directing attention on melodic dictation testing, Psychology of Music, 44, 1, pp. 15-24, (2016); Pembrook R.G., Interference of the transcription process and other selected variables on perception and memory during melodic dictation, Journal of Research in Music Education, 34, 4, pp. 238-261, (1986); Pembrook R.G., The effect of vocalization on melodic memory conservation, Journal of Research in Music Education, 35, 3, pp. 155-169, (1987); Radvansky G.A., Potter J.K., Source cuing: Memory for melodies, Memory & Cognition, 28, 5, pp. 693-699, (2000); Rogers M., Aural dictation affects high achievement in sight-singing, performance and composition skills, Australian Journal of Music Education, 1, pp. 34-52, (2013); Rogers M.R., Teaching approaches in music theory: An overview of pedagogical philosophies, (2004); Silva R., Leitura cantada: Um caminho para a construção da audiação no músico profissional [Sight-singing: A way to construct audiation in the professional musician] [Masters thesis, Universidade Estadual de Campinas]. Repositório da Produção Científica e Intelectual da Unicamp, (2010); Taube G.G., El timbre musical y su incidencia en la decodificación de secuencias melódicas: Una herramienta útil para el docente de música [The musical timbre and its incidence in melodic sequences decodification: A useful tool to the music instructor], Revista Iberoamericana de Educación, 38, 1, pp. 1-7, (2006); Vanzella P., Weiss M.W., Schellenberg E.G., Trehub S., O ouvido absoluto não facilita a memorização de melodias [Absolute pitch does not guarantee better memory for melodies], (2014); Vargas G., Lopez I., Las acciones explícitas que acompañan el proceso de transcripción de melodías [The explicit actions that accompany the process of melodies transcription], (2008); Vargas G., Lopez I., Shifres F., Modalidades en las estrategias de la transcripción melódica [Modalities in melodic transcription strategies], (2007); White J.D., Guidelines for college teaching of music theory, (2002)","C. Caregnato; Universidade do Estado do Amazonas, Brazil; email: ccaregnato@uea.edu.br","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-85149944535"
"Ocádiz G.","Ocádiz, Gabriela (59005321800)","59005321800","Mobile Adaptation: Continuously Transforming Pedagogical Practice","2023","Bulletin of the Council for Research in Music Education","","238","","58","76","18","1","10.5406/21627223.238.04","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85191589927&doi=10.5406%2f21627223.238.04&partnerID=40&md5=68120cef1fa16298de860f65c18f65ef","University of Arizona, Music 4/109, 3740 E 34th St, Tucson, 85713, AZ, United States","Ocádiz G., University of Arizona, Music 4/109, 3740 E 34th St, Tucson, 85713, AZ, United States","In this autoethnography, I explore personal and professional processes of adaptation that have an impact on music pedagogies while teaching music with students of immigrant and refugee backgrounds in Canada. Informed by theories of introspection, cultural fusion, and mestizaje, this article also provides representations of reflexivity. Throughout the article, reflections transform into imagined futures of music education in societies experiencing sociocultural fusion and social change due to human mobility. Autoethnography, as a research methodology, serves to analyze a selection of past and present events as temporal reflections that inform music education pedagogy, and the frameworks for analysis serve to bring light into complex understandings of pedagogical adaptation in fluctuating social contexts. © 2024 Board of Trustees University of Illinois.","","","","","","","","","I purposefully write for here; my pedagogical aim during that time was to teach music for children instead of with children; I choose to capitalize White to acknowledge the way Whiteness functions in institutions and communities, (2020); Abril C. R., Learning outcomes of two approaches to multicultural music education, International Journal of Music Education, 24, 1, pp. 30-42, (2006); Adams T. E., Holman Jones S., Ellis C., Handbook of autoethnography, (2022); Alfaro C., Global student teaching experiences, Multicultural Education, 15, 4, pp. 20-26, (2008); Allsup R. E., Philosophical perspectives in music education, Critical issues in music education: Contemporary theory and practice, pp. 39-60, (2010); Arfuso C. E., Whispers of the soul: Autohistoria-teoría as decolonial knowledge production, Qualitative Inquiry, 28, 6, pp. 602-608, (2022); Barrett M. S., Stauffer S. L., Narrative inquiry in music education, (2009); Bauman Z., Liquid modernity, (2012); Benedict C., On the narrative of challenged assumptions, Research Studies in Music Education, 29, 1, pp. 29-38, (2007); Berger R., Now I see it, now I don't: Researcher's position and reflexivity in qualitative research, Qualitative Research, 15, 2, pp. 219-234, (2015); Bhattacharya K., Rejecting labels and colonization: In exile from post-qualitative approaches, Qualitative Inquiry, 27, 2, pp. 179-184, (2021); Bhattacharya K., Nepantleric traveling: Writing and reading autoethnographies as a mode of inquiry, Handbook of autoethnography, pp. 117-120, (2022); Bhattacharya K., Atay A., Introduction: The im/possibility of finding home in academia: Personal narratives of transnationally minoritized scholars in higher education, Qualitative Inquiry, 28, 1, pp. 3-6, (2022); Bradley D., The sounds of silence: Talking race in music education, Action, Criticism, and Theory for Music Education, 6, 4, pp. 132-162, (2007); Bradley D., Oh, that magic feeling! Multicultural human subjectivity, community and fascism's footprints, Philosophy of Music Education Review, 17, 1, pp. 56-74, (2009); Burton S. L., Westvall M., Karlsson S., Stepping aside from myself: Intercultural perspectives on music teacher education, Journal of Music Teacher Education, 23, 1, pp. 92-105, (2013); Buscher M., Urry J., Mobile methods and the empirical, European Journal of Social Theory, 12, 1, pp. 99-116, (2009); Carson C., Westvall M., Intercultural approaches and “diversified normality” in music teacher education: Reflections from two angles, Action, Criticism, and Theory for Music Education, 15, 3, pp. 37-52, (2016); Carter P. L., Black” cultural capital, status positioning, and schooling conflicts for low-income African American youth, Social Problems, 50, 1, pp. 136-155, (2003); Cooks L., Pedagogy, performance, and positionality: Teaching about whiteness in interracial communication, Communication Education, 52, 3, pp. 245-257, (2003); Crawford R., Creating unity through celebrating diversity: A case study that explores the impact of music education on refugee background students, International Journal of Music Education, 35, 3, pp. 343-356, (2017); Creswell J., Qualitative inquiry and design: Choosing among five approaches, (2007); Croucher S. 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P., Teaching refugee students in Arizona: Examining the implementation of structured English immersion, Global Education Review, 5, 4, pp. 55-73, (2018); Hess J., Cultural competence or the mapping of racialized space: Cartographies of music education, Bulletin of the Council for Research in Music Education, 227, pp. 7-28, (2021); Howard K., Equity in music education: Cultural appropriation versus cultural appreciation-understanding the difference, Music Educators Journal, 106, 3, pp. 68-70, (2020); Howell G., Do they know they're composing? Music making and understanding among newly arrived immigrant and refugee children, International Journal of Community Music, 4, 1, pp. 47-58, (2011); Jackson C. W., Crystallizing my multicultural education core, Becoming multicultural educators: Personal journey toward professional agency, pp. 42-66, (2003); Jones P. W., Globalisation and internationalism: Democratic prospects for world education, Comparative Education, 34, 2, pp. 143-155, (1998); Kallio A. A., Westerlund H., The discomfort of intercultural learning in music teacher education, Visions for intercultural music teacher education, pp. 47-61, (2020); Karlsen S., Immigrant students and the “homeland music”: Meanings, negotiations and implications, Research Studies in Music Education, 35, 2, pp. 161-177, (2013); Karlsen S., Exploring democracy: Nordic music teachers' approaches to the development of immigrant students' musical agency, International Journal of Music Education, 32, 4, pp. 422-436, (2014); Karlsen S., Westerlund H., Immigrant students' development of musical agency-exploring democracy in music education, British Journal of Music Education, 27, 3, pp. 225-239, (2010); Kenny A., Voice of Ireland? Children and music within asylum seeker accommodation, Research Studies in Music Education, 40, 2, pp. 211-225, (2018); Kim Y. Y., Becoming intercultural: An integrative theory of communication and cross-cultural adaptation, (2001); Kraidy M. M., Hybridity or the cultural logic of globalization, (2005); Ladson-Billings G., Toward a theory of culturally relevant pedagogy, American Educational Research Journal, 32, 3, pp. 465-491, (1995); Lather P., Getting lost: Feminist efforts toward a double(d) science, (2007); Lenski S., Crumpler T. P., Stallworth C., Crawford K. M., Beyond awareness: Preparing culturally responsive preservice teachers, Teacher Education Quarterly, 32, 2, pp. 85-100, (2005); Mack K., Palfrey J., Capitalizing Black and White: Grammatical justice and equity, (2020); Marsh K., The beat will make you be courage”: The role of a secondary school music program in supporting young refugees and newly arrived immigrants in Australia, Research Studies in Music Education, 34, 2, pp. 93-111, (2012); Martin-Barbero J.-M., Latin America: Cultures in the communication media, Journal of Communication, 43, 2, pp. 18-30, (1993); Nguyen A. T., Pendleton M., Recognizing race in language: Why we capitalize “Black” and “White.” Center for the Study of Social Policy, (2020); Palfreyman D., Introduction: Learning and teaching across cultures in higher education, Learning and teaching across cultures in higher education, pp. 1-7, (2016); Pelias R., A methodology of the heart, (2004); Pillow W. S., Confession, catharsis, or cure? Rethinking the uses of reflexivity as methodological power in qualitative research, International Journal of Qualitative Studies in Education, 16, 2, pp. 175-196, (2003); Quezada R. L., Beyond educational tourism: Lessons learned while student teaching abroad, International Education Journal, 5, 4, pp. 458-465, (2004); Reed-Danahay D. E., Auto/ethnography: Rewriting the self and the social, (1997); Schippers H., Campbell P. S., Cultural diversity: Beyond “songs from every land.”, The Oxford handbook of music education, 1, pp. 87-104, (2012); Soto A. C., Lum C.-H., Campbell P. S., Partnership for music education majors in a culturally distinctive community, Journal of Research in Music Education, 56, 4, pp. 338-356, (2009); Sparkes A. C., Autoethnography and narratives of self: Reflections on criteria in action, Sociology of Sport Journal, 17, 1, pp. 21-43, (2000); Immigration and ethnocultural diversity in Canada, (2023); Suarez-Orozco M. M., Globalization, immigration, and education: The research agenda, Harvard Business Review, 71, 3, pp. 345-366, (2001); Wallendorf M., Brucks M., Introspection in consumer research: Implementation and implications, Journal of Consumer Research, 20, 3, pp. 339-359, (2002); Walling C. B., Intercultural exchanges in South Africa: Exploring music teacher experiences, understandings, and practices, International Journal of Music Education, 38, 2, pp. 252-266, (2020); Westerlund H., Kallio A. A., Karlsen S., Interrogating intercultural competence through a “pedagogy of interruption”: A metasynthesis of intercultural outreach projects in music teacher education, Research Studies in Music Education, 44, 2, pp. 380-398, (2022); Westerlund H., Karlsen S., Partti H., Visions for intercultural music teacher education, (2020); Westerlund H., Karlsen S., Kallio A. A., Treacy D. S., Miettinen L., Timonen V., Shah I. B., Visions for intercultural music teacher education in complex societies, Research Studies in Music Education, 44, 2, pp. 293-312, (2022); Westerlund H., Partti H., Karlsen S., Teaching as improvisational experience: Student music teachers' reflections on learning during an intercultural project, Research Studies in Music Education, 37, 1, pp. 55-75, (2015); White S., Hepple E., Tangen D., Comelli M., Alwi A., Abu Hassan Shaari Z., An introduction to education research methods: Exploring the learning journey of pre-service teachers in a transnational programme, Asia-Pacific Journal of Teacher Education, 44, 1, pp. 35-48, (2016); Winkler I., Doing autoethnography: Facing challenges, taking choices, accepting responsibilities, Qualitative Inquiry, 24, 4, pp. 236-247, (2017)","G. Ocádiz; University of Arizona, Tucson, Music 4/109, 3740 E 34th St, 85713, United States; email: gocadiz@arizona.edu","","University of Illinois at Urbana-Champaign","","","","","","00109894","","","","English","Bul. Counc. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-85191589927"
"Kladder J.; Cummings I.","Kladder, Jonathan (57193572020); Cummings, Ian (58632515600)","57193572020; 58632515600","Developing fieldwork experiences in popular music: Reflections and opportunities","2023","Journal of Popular Music Education","7","1","","105","121","16","0","10.1386/jpme_00106_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85173219549&doi=10.1386%2fjpme_00106_1&partnerID=40&md5=7a3604a42b9a8937811d2ffdff0dab17","University of North Carolina Wilmington, 601, South College Road, Wilmington, 28403, NC, United States; Amplify Education, 55, Washington Street, 8th Floor, Brooklyn, 11201, NY, United States","Kladder J., University of North Carolina Wilmington, 601, South College Road, Wilmington, 28403, NC, United States; Cummings I., Amplify Education, 55, Washington Street, 8th Floor, Brooklyn, 11201, NY, United States","In music teacher education in the United States, fieldwork experiences are often required for teacher certification and historically served as a platform for preservice music teachers to develop content and pedagogical knowledge as they transition to being professional music teachers. Instrumental music education fieldwork experiences remain largely siloed in band and orchestra contexts, while limited researchers have sought to investigate popular music education (PME) fieldwork experiences. As a duoethnography, this article highlights the lived experiences of two popular music educators in the creation of a new popular music fieldwork experience in a small town in the northeastern region of the United States. The authors suggest expanding undergraduate music education to include learner-led and democratic teaching practices in PME classrooms and increase popular music pedagogies in music teacher preparation curricula. © 2023 Intellect Ltd Article. English language.","curricular change; learner-centred teaching; music teacher education; popular music education; preservice music teacher; teacher preparation","","","","","","","","Bartolome S., Growing through service: Exploring the impact of a service-learning experience on preservice educators, Journal of Music Teacher Education, 23, 1, pp. 79-91, (2013); Beirnes S., Randles C., A music teacher’s blended teaching and learning experience during COVID-19: Autoethnography of resi-lience, International Journal of Music Education, (2022); Bell A. P., Stelter R., Ahenda K., Bahhadi J., CanRock classroom: Two preservice teachers’ experiences of a popular music pedagogy course in Canada, Journal of Popular Music Education, 3, 3, pp. 451-468, (2019); Bergee M. J., Certain attitudes toward occupational status held by music education majors, Journal of Research in Music Education, 40, 2, pp. 104-113, (1992); Blackwell J., Matherne N., Momohara-Ho C., Preservice music teachers perceptions of teaching and learning popular music, Journal of Music Teacher Education, 31, 3, pp. 49-65, (2022); Breault R. A., Emerging issues in duoethnography, International Journal of Qualitative Studies in Education, 29, 6, pp. 777-794, (2016); Burstein S., Powell B., Approximation and scaffolding in modern band, Music Educators Journal, 106, 1, pp. 39-47, (2019); Byo J. L., “Modern band” as school music: A case study, International Journal of Music Education, 36, 2, pp. 259-269, (2018); Cain T., “Passing it on”: Beyond formal or informal pedagogies, Music Education Research, 15, 1, pp. 74-91, (2013); Conway C., Perceptions of beginning teachers, their mentors, and administrators regarding preservice music teacher preparation, Journal of Research in Music Education, 50, 1, pp. 20-36, (2002); Conway C., Pellegrino K., Stanley A. M., West C., The Oxford Handbook of Preservice Music Teacher Education in the United States, (2019); Cowan J., Teaching science for tertiary students II: Learning how to think like an engineer, Stockholm Pre-Conference Workshop, (1997); Cremata R., Facilitation in popular music education, Journal of Popular Music Education, 1, 1, pp. 63-82, (2017); Cremata R., The schoolification of popular music, College Music Symposium, 59, 1, pp. 1-3, (2019); Cremata R., Evangelism in modern band, Journal of Popular Music Education, 5, 3, pp. 359-374, (2021); Davis S., Informal learning processes in an elementary music clas-sroom, Bulletin of the Council for Research in Music Education, 198, pp. 23-50, (2013); Davis S. G., Blair D. V., Popular music in American teacher education: A glimpse into a secondary methods course, International Journal of Music Education, 29, 2, pp. 124-140, (2011); Draves T. J., Transition from student to teacher–student teaching: The capstone experience, Journal of Music Teacher Education, 23, 1, pp. 50-62, (2013); Eisner E. W., What artistically crafted research can help us understand about schools, Educational Theory, 45, 1, pp. 1-6, (1995); Ellis C., Adams T. E., Bochner A. P., Autoethnography: An overview, Historical Social Research/Historische sozialforschung, 36, 4, pp. 273-290, (2011); Ellis C., Bochner A. P., Ethnographically Speaking: Autoethnography, Literature, and Aesthetics, 9, (2001); Gottlieb F. B., Popular music in the classroom: Perspectives of preser-vice music educa-tors, The Bloomsbury Handbook of Popular Music Education, pp. 275-288, (2019); Gouzouasis P., Bakan D., Ryu J. Y., Ballam H., Murphy D., Ihnatovych D., Virag Z., Yanko M., Where do teachers and learners stand in music education research? A multi-voiced call for a new ethos of music education research, International Journal of Education & the Arts, 15, 15, pp. 1-24, (2014); Green L., Popular music education in and for itself, and for “other” music: Current research in the classroom, International Journal of Music Education, 24, 2, pp. 101-118, (2006); Green L., Music, Informal Learning and the School: A New Classroom Pedagogy, (2008); Green L., How Popular Musicians Learn: A Way Ahead for Music Education, (2017); Greher G. R., Music technology partnerships: A context for music teacher preparation, Arts Education Policy Review, 112, 3, pp. 130-136, (2011); Isbell D. S., Apprehensive and excited: Music education students experience vernacular musicianship, Journal of Music Teacher Education, 25, 3, pp. 27-38, (2016); Isbell D. S., Intermediate and high school band, The Oxford Handbook of Preservice Music Teacher Education in the United States, pp. 827-844, (2019); Kladder J., Re-envisioning music teacher education: An investigation into curricular change at two undergraduate music education programs in the US, Arts Education Policy Review, 121, 4, pp. 141-159, (2020); Kladder J., An autoethnography of a punk rocker turned music teacher, Research and Issues in Music Education, 16, (2021); Kruse A. J., “They wasn’t makin’my kinda music”: A hip-hop musician’s perspective on school, schooling, and school music, Music Education Research, 18, 3, pp. 240-253, (2016); Larson R., Popular music in higher education, College Music Symposium, 59, 2, pp. 1-14, (2019); Lebler D., Student-as-master? Reflections on a learning innovation in popular music pedagogy, International Journal of Music Education, 25, 3, pp. 205-221, (2007); Lewis J., Christophersen C., Frontiers of difference: A duo-ethnographic study of social justice in music education, Music Education Research, 23, 1, pp. 90-104, (2021); Mallet D., Walking a mile in their shoes: Non-native English speakers’ difficulties in English language mathematics classrooms, Journal of Learning Design, 4, 3, pp. 28-34, (2011); Miksza P., The future of music education: Continuing the dialogue about curricular reform, Music Educators Journal, 99, 4, pp. 45-50, (2013); Morin F., Developing collaborative partnerships for student teaching in music, Journal of Music Teacher Education, 10, 1, pp. 6-15, (2000); Nethsinghe R., The influence of informal music education in teacher formation: An autoethnography, Qualitative Report, 17, 49, pp. 1-16, (2012); Why New Roots?, (2023); Norris J., Sawyer R. D., Lund D., Duoethnography: Dialogic Methods for Social, Health, and Educational Research, (2013); Powell B., Krikun A., Pignato J. M., ‘“Something’s happening here!”: Popular music education in the United States, IASPM Journal, 5, 1, pp. 4-22, (2015); Pratt M. L., Art of the contact zone, Professions, 91, pp. 33-40, (1991); Randles C., Modern band, songwriting, and curricular innovation, The Oxford Handbook of Preservice Music Teacher Education in the United States, pp. 881-892, (2019); Reed-Danahay D., Auto/ethnography, (1997); Roulston K., Legette R., Trotman Womack S., Beginning music teachers’ perceptions of the transition from university to teaching in schools, Music Education Research, 7, 1, pp. 59-82, (2005); Schon D. A., The Reflective Practitioner: How Professionals Think in Action, (1983); Smith G. D., Seeking “success” in popular music, Music Education Research International, 6, pp. 26-37, (2013); Smith G. D., Popular music in higher education, Advanced Musical Performance: Investigations in Higher Education Learning, pp. 33-48, (2014); Smith G. D., Embodied experience of rock drumming, Visions of Research in Music Education, 35, 1, (2020); Springer D. G., Gooding L. F., Preservice music teachers’ attitudes toward popular music in the music classroom, Update: Applications of Research in Music Education, 32, 1, pp. 25-33, (2013); Williams D., Randles C., Navigating the space between spaces: Curricular change in music teacher education in the United States, Popular Music Education: Paradigms, Practices, Pedagogies, Problems, pp. 46-59, (2017); Williams D. A., What are music educators doing and how well are we doing it?, Music Educators Journal, 94, 1, pp. 18-23, (2007); Williams D. A., A Different Paradigm in Music Education: Re-examining the Profession, (2019); Williams D. A., Kladder J. R., The Learner-Centered Music Classroom: Models and Possibilities, (2019); Zemek M. D., The selection and preparation of cooperating teachers in music education, Journal of Music Teacher Education, 17, 2, pp. 7-18, (2008)","","","Intellect Ltd.","","","","","","23976721","","","","English","J. Pop. Music. Educ.","Article","Final","","Scopus","2-s2.0-85173219549"
"Ebbini N.","Ebbini, Noor (58685611400)","58685611400","Music Education and the COVID-19 Pandemic: Reflections of Teaching Music Theory Online","2023","Dirasat: Human and Social Sciences","50","4","","485","495","10","2","10.35516/hum.v50i4.5754","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85176147836&doi=10.35516%2fhum.v50i4.5754&partnerID=40&md5=deed09bbd6cc8c194ada5952248586ad","Music Department, Faculty of Arts and Design, The University of Jordan, Amman, Jordan","Ebbini N., Music Department, Faculty of Arts and Design, The University of Jordan, Amman, Jordan","Objectives: This paper aims to identify the challenges that music theory teachers and students have faced upon the sudden educational shift from traditional face-to-face learning environments to virtual instruction due to the COVID-19 pandemic. The research also investigates the social, cognitive, and learning obstacles that students may have experienced throughout the pandemic. Methods: Using the author’s own experience in teaching music theory during the pandemic as a primary resource for the study, in addition to existing literature on pedagogy, music theory education, and E-learning as secondary data, the researcher uses a descriptive approach to achieve the main objectives of the study. Results: The study reveals several interactive, educational, and cognitive-based difficulties that students and teachers have encountered during distance learning. The research highlights the challenges of teaching music theory via online platforms and existing software programs that lack the technical features needed for the effective instruction of this quasi-mathematical, musically-centered subject. Conclusion: The researcher suggests a number of pedagogical strategies that can assist online music theory instructors during and after the pandemic. The author concludes by recognizing the urgent need for institutional and technological interference to ensure that future online learning endeavors are effective and successful. © 2023 DSR Publishers/ The University of Jordan.","COVID-19 pandemic; music pedagogy; music theory; online learning","","","","","","","","Albert D., Social Media in Music Education: Extending Learning to Where Students “Live”, Music Educators Journal, 102, 2, pp. 31-38, (2015); Allen I., Seaman J., Online Nation: Five years of Growth in Online Learning, (2007); Arbaugh J., Benbunan-Fich R., An Investigation of Epistemological and Social Dimensions of Teaching in Online Learning of Management, Learning & Education, 5, 4, pp. 435-447, (2006); Barth T., Teaching PA online: Reflections of a skeptic, International Journal of Public Administration, 27, 6, pp. 439-455, (2004); Bauer W., Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music, (2014); Bland L., The College Music Theory Curriculum: The Synthesis of Traditional and Comprehensive Musicianship Approaches, Music Symposium, 17, 2, pp. 167-174, (1977); Bozarth J., Classroom Trainer Resistance to E-Learning: Literature Review, (2006); Bribitzer-Stull M., Contention in the Classroom - Encouraging Debate and Alternate Readings in the Undergraduate Theory Class, Journal of Music Theory Pedagogy, 17, pp. 21-39, (2003); Chenette T., Creativity in the College Music Classroom: Guidelines for Effective Integration, College Music Symposium, 56, (2016); Clague M., Evans J., Fournier K., Hickey M., Younker B., Building Bridges: Same and Different Issues Across Music Theory, Music History, and Music Education, College Music Symposium, 49, 50, pp. 140-153, (2009); Ginn M., Hammond A., Online Education in Public Affairs: Current State and Emerging Issues, Journal of Public Affairs Education, 18, 2, pp. 247-270, (2012); Girardi T., LOST IN CYBERSPACE: Addressing Issues of Student Engagement in the Online Classroom Community, Applied Pedagogies: Strategies for Online Writing Instruction, pp. 59-74, (2016); Hardy K., Bower B., Instructional and Work Life Issues for Distance Learning Faculty, New Directions for Community Colleges, 128, pp. 47-54, (2004); Howard B., Teaching Music Theory: The University Bertrand Howard Source, Journal of Music Theory, 18, 1, pp. 51-58, (1974); Kang Y., Defending Music Theory in a Multicultural Curriculum, College Music Symposium, 46, pp. 45-63, (2006); Karayan S., Crowe J., Student perspectives of electronic discussion groups, THE Journal: Technological Horizons in Education, 24, 9, pp. 69-71, (1997); Kowch E., Schwier R., Considerations in the construction of technology-based virtual learning communities, Canadian Journal of Educational Communication, 26, 1, pp. 1-12, (1997); Lave J., Wenger E., Situated learning, (1991); Brand M., Toward a Better Understanding of Undergraduate Music Education Majors: Perry's Perspective, Bulletin of the Council for Research in Music Education, 98, pp. 22-31, (1988); Lively M., The Development, Implementation, and Supervision of Online Music Theory Courses, College Music Symposium, 56, (2016); Marshall L., Shifting into Digital without Stripping your Gears: Driver’s Ed for Teaching Writing Online, Applied Pedagogies: Strategies for Online Writing Instruction, pp. 37-56, (2016); McConville B., Murphy B., What is Online? A National Survey of Course Offerings in Music and a Case Study in Music Theory, College Music Symposium, (2017); Ni A., Comparing the Effectiveness of Classroom and Online Learning: Teaching Research Methods, Journal of Public Affairs Education, 19, 2, pp. 199-215, (2013); Palloff R., Pratt K., Building Online Learning Communities: Effective Strategies for the Virtual Classroom, (2007); Perreault H., Waldman L., Alexander M., Zhao J., Overcoming Barriers to Successful Delivery of Distance-Learning Courses, Journal of Education for Business, 77, 6, pp. 313-318, (2002); Scheg A., Reforming Teacher Education for Online Pedagogy Development, (2014); Sherbon J., Kish D., Distance Learning and the Music Teacher, Music Educators Journal, 92, 2, pp. 36-41, (2005); Sherry L., Issues in Distance Learning, International Journal of Educational Telecommunications, 1, 4, pp. 337-365, (1996); Snodgrass J., Current Status of Music Theory Teaching, College Music Symposium, (2016); Swan K., Shea P., Fredericksen E., Pickett A., Pelz W., Maher G., Building Knowledge Building Communities: Consistency, Contact and Communication in the Virtual Classroom, Journal of Educational Computing Research, 23, 4, pp. 359-383, (2000); Toyne S., Music, What Should Schools Teach? Disciplines, Subjects, and the Pursuit of Truth, (2021); Policy Brief: Education during COVID-19 and Beyond, (2020); Vempala N., Theories of Musical Creativity, Music in the Social and Behavioral Sciences: An Encyclopedia, (2014); Williams P., Roles and competencies for distance education programs in higher education institutions, American Journal of Distance Education, 17, 1, pp. 45-57, (2003); Yu C., Brandenburg T., I Would Have Had More Success If . . . The Reflections and Tribulations of a First-Time Online Instructor, Journal of Technology Studies, 32, 1, pp. 43-52, (2006); Young S., Student Views of Effective Online Teaching in Higher Education, American Journal of Distance Education, 20, 2, pp. 65-77, (2006)","N. Ebbini; Music Department, Faculty of Arts and Design, The University of Jordan, Amman, Jordan; email: noorebbini@hotmail.com","","University of Jordan,Deanship of Scientific Research","","","","","","10263721","","","","English","Dirasat Hum. Soc. Sci.","Article","Final","All Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85176147836"
"Ward F.; Campbell P.S.","Ward, Francis (57208586279); Campbell, Patricia Shehan (26034231100)","57208586279; 26034231100","World Music Pedagogy in Practice: Part 1 – Learning Irish Traditional Music","2025","Journal of General Music Education","38","3","","15","25","10","0","10.1177/27527646241313232","https://www.scopus.com/inward/record.uri?eid=2-s2.0-105002571819&doi=10.1177%2f27527646241313232&partnerID=40&md5=95583977633281f1b6fcb9ad1e62a62c","Dublin City University, Ireland; University of Washington, Seattle, United States","Ward F., Dublin City University, Ireland; Campbell P.S., University of Washington, Seattle, United States","Ireland’s music is at times energetic and spirited, and other times pensive and even plaintive, depending upon the occasion. It is linked to the heritage of many North Americans, both in the United States and Canada, who trace their family histories to Ireland, and it is both centuries old and newly composed, as is the composition by Francis Ward, “Planxty Sarsfield.” The music is captivating for cultural insiders as well as for first-timers to the sound of its melodies, rhythms, and timbres. It is a fitting choice for students of various age and experience levels, due to its accessibility, singability, limited rhythmic palette, and the meaningful sociocultural messages of displacement and musical resilience that it communicates. Through the application of the five dimensions of World Music Pedagogy, this planxty is made even more suitable for teaching music and culture to students from middle childhood through secondary school. © National Association for Music Education 2025.","cultural diversity; displacement; Irish trad music; musical resilience; Patrick Sarsfield; uilleann pipes; World Music Pedagogy; “Flight of the Wild Geese”","","","","","","","","Campbell P.S., Teaching music globally, (2004); Campbell P.S., Music, education, and diversity: Bridging cultures and communities, (2018); Campbell P.S., Lum C.H., World Music Pedagogy. Volume VI, School-community intersections, (2019); Carolan N., Learning Irish traditional music, (1991); Carolan N., What is Irish traditional music?, (1991); Dowling M., Traditional music and Irish society: Historical Perspectives, (2016); Mellizo J.M., Re-Imagining curricula in global times: A music education perspective, 4, (2023); Merriam A.P., The anthropology of music, (1964); Moloney M., Far from the Shamrock Shore: The story of Irish-American emigration through song, (2002); Moylan T., A short history of the uilleann pipes—History Ireland, (2019); Learn the uilleann pipes; NAfME 2022 strategic plan, (2022); Nettl B., The study of ethnomusicology: Thirty-three discussions, (2015); O hAllmhurain G., Pocket history of Irish traditional music, (1998); O'Sullivan D., Carolan: The life, times, and music of an Irish harper, (2001); Quinn T., What Ireland can teach the world about music and other essays, (2024); Vallely F., The companion to Irish traditional music, (2011); Ward F., Technology and the transmission of tradition: An exploration of the virtual pedagogies in the Online Academy of Irish Music, Journal of Music, Technology and Education, 12, 1, pp. 5-23, (2019); Ward F., Enabling musical, pedagogical, and social continuities through “Participation” in Mary O’s Virtual Irish Traditional Music Session, Action, Criticism, and Theory for Music Education, 22, 4, pp. 87-130, (2023); Westerlund H., Karlsen S., Partti H., Visions for intercultural music teacher education, (2020)","F. Ward; School of Arts Education and Movement, DCU Institute of Education, DCU St. Patrick’s Campus, Drumcondra, Dublin 9, Ireland; email: francis.ward@dcu.ie","","SAGE Publications Inc.","","","","","","27527646","","","","English","J. Gen. Music. Educ.","Article","Final","","Scopus","2-s2.0-105002571819"
"Miller Z.A.; Hinkley L.B.N.; Borghesani V.; Mauer E.; Shwe W.; Mizuiri D.; Bogley R.; Mandelli M.L.; de Leon J.; Pereira C.W.; Allen I.; Houde J.; Kramer J.; Miller B.L.; Nagarajan S.S.; Gorno-Tempini M.L.","Miller, Zachary A. (55634277000); Hinkley, Leighton B.N. (6602924821); Borghesani, Valentina (57200426822); Mauer, Ezra (57221873954); Shwe, Wendy (57205883602); Mizuiri, Danielle (50161896500); Bogley, Rian (57224521996); Mandelli, Maria Luisa (14828177400); de Leon, Jessica (16401343000); Pereira, Christa Watson (16417667500); Allen, Isabel (7004777815); Houde, John (7003652207); Kramer, Joel (57219148089); Miller, Bruce L. (59271872500); Nagarajan, Srikantan S. (7102013103); Gorno-Tempini, Maria Luisa (6603719711)","55634277000; 6602924821; 57200426822; 57221873954; 57205883602; 50161896500; 57224521996; 14828177400; 16401343000; 16417667500; 7004777815; 7003652207; 57219148089; 59271872500; 7102013103; 6603719711","Non-right-handedness, male sex, and regional, network-specific, ventral occipito-temporal anomalous lateralization in adults with a history of reading disability","2025","Cortex","183","","","116","130","14","1","10.1016/j.cortex.2024.09.018","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85210720622&doi=10.1016%2fj.cortex.2024.09.018&partnerID=40&md5=4dde393c987e83b2ed85aaf38bedb64c","Memory and Aging Center, Department of Neurology, Weill Institute for Neurosciences, University of California, San Francisco, San Francisco, CA, United States; Dyslexia Center, Department of Neurology and Psychiatry, UCSF Weill Institute for Neurosciences, University of California, San Francisco, CA, United States; Department of Radiology, University of California, San Francisco, San Francisco, CA, United States; University of Geneva, Swiss National Centre of Competence in Research, Geneva, Switzerland; Department of Psychology, University of California, Berkeley, Berkeley, CA, United States; George Washington University, School of Medicine, Washington, DC, United States; Department of Biostatistics, University of California, San Francisco, San Francisco, CA, United States","Miller Z.A., Memory and Aging Center, Department of Neurology, Weill Institute for Neurosciences, University of California, San Francisco, San Francisco, CA, United States, Dyslexia Center, Department of Neurology and Psychiatry, UCSF Weill Institute for Neurosciences, University of California, San Francisco, CA, United States; Hinkley L.B.N., Department of Radiology, University of California, San Francisco, San Francisco, CA, United States; Borghesani V., University of Geneva, Swiss National Centre of Competence in Research, Geneva, Switzerland; Mauer E., Memory and Aging Center, Department of Neurology, Weill Institute for Neurosciences, University of California, San Francisco, San Francisco, CA, United States, Dyslexia Center, Department of Neurology and Psychiatry, UCSF Weill Institute for Neurosciences, University of California, San Francisco, CA, United States, Department of Psychology, University of California, Berkeley, Berkeley, CA, United States; Shwe W., George Washington University, School of Medicine, Washington, DC, United States; Mizuiri D., Department of Radiology, University of California, San Francisco, San Francisco, CA, United States; Bogley R., Memory and Aging Center, Department of Neurology, Weill Institute for Neurosciences, University of California, San Francisco, San Francisco, CA, United States, Dyslexia Center, Department of Neurology and Psychiatry, UCSF Weill Institute for Neurosciences, University of California, San Francisco, CA, United States; Mandelli M.L., Memory and Aging Center, Department of Neurology, Weill Institute for Neurosciences, University of California, San Francisco, San Francisco, CA, United States, Dyslexia Center, Department of Neurology and Psychiatry, UCSF Weill Institute for Neurosciences, University of California, San Francisco, CA, United States; de Leon J., Memory and Aging Center, Department of Neurology, Weill Institute for Neurosciences, University of California, San Francisco, San Francisco, CA, United States, Dyslexia Center, Department of Neurology and Psychiatry, UCSF Weill Institute for Neurosciences, University of California, San Francisco, CA, United States; Pereira C.W., Memory and Aging Center, Department of Neurology, Weill Institute for Neurosciences, University of California, San Francisco, San Francisco, CA, United States, Dyslexia Center, Department of Neurology and Psychiatry, UCSF Weill Institute for Neurosciences, University of California, San Francisco, CA, United States; Allen I., Department of Biostatistics, University of California, San Francisco, San Francisco, CA, United States; Houde J., Department of Radiology, University of California, San Francisco, San Francisco, CA, United States; Kramer J., Memory and Aging Center, Department of Neurology, Weill Institute for Neurosciences, University of California, San Francisco, San Francisco, CA, United States; Miller B.L., Memory and Aging Center, Department of Neurology, Weill Institute for Neurosciences, University of California, San Francisco, San Francisco, CA, United States, Dyslexia Center, Department of Neurology and Psychiatry, UCSF Weill Institute for Neurosciences, University of California, San Francisco, CA, United States; Nagarajan S.S., Department of Radiology, University of California, San Francisco, San Francisco, CA, United States; Gorno-Tempini M.L., Memory and Aging Center, Department of Neurology, Weill Institute for Neurosciences, University of California, San Francisco, San Francisco, CA, United States, Dyslexia Center, Department of Neurology and Psychiatry, UCSF Weill Institute for Neurosciences, University of California, San Francisco, CA, United States","Based on historic observations that children with reading disabilities were disproportionately both male and non-right-handed, and that early life insults of the left hemisphere were more frequent in boys and non-right-handed children, it was proposed that early focal neuronal injury disrupts typical patterns of motor hand and language dominance and in the process produces developmental dyslexia. To date, these theories remain controversial. We revisited these earliest theories in a contemporary manner, investigating demographics associated with reading disability, and in a subgroup with and without reading disability, compared structural imaging as well as patterns of activity during tasks of verb generation and non-word repetition using magnetoencephalography source imaging. In a large group of healthy aging adults (n = 282; average age 72.3), we assessed reading ability via the Adult Reading History Questionnaire and found that non-right-handedness and male sex significantly predicted endorsed reading disability. In a subset of participants from the larger cohort who endorsed reading disability (n = 14) and a group who denied reading disability (n = 22), we compared structural and functional imaging data. We failed to detect structural differences in volumetric brain morphometry analyses, however we observed decreased neural activity on magnetoencephalography within the reading disability group. The detected differences were largely restricted to left hemisphere ventral occipito-temporal and posterior-lateral temporal cortices, the visual word form area and middle temporal gyrus, regions implicated in developmental dyslexia. Moreover, these observed disruptions occurred in a focal, network-specific manner, preferentially disturbing the ventral/sight reading recognition pathway, resulting in a pattern of regional anomalous lateralization of function that distinguished the reading disability cohort from normal readers. Collectively, the results presented here align with old theories regarding the etiology of developmental dyslexia and highlight how results from investigating neurodevelopmental differences in healthy aging individuals can powerfully contribute towards our overall understanding of neurodevelopment and neurodiversity. © 2024 Elsevier Ltd","Anomalous language lateralization; Dyslexia; Magnetoencephalography; Neurodiversity; Non-right-handedness","Adult; Aged; Brain Mapping; Dyslexia; Female; Functional Laterality; Humans; Magnetic Resonance Imaging; Magnetoencephalography; Male; Middle Aged; Occipital Lobe; Reading; Temporal Lobe; aged; Article; Boston naming test; cohort analysis; comparative study; controlled study; demographics; dyslexia; female; handedness; hemispheric dominance; human; inferior frontal gyrus; left hemisphere; magnetoencephalography; major clinical study; male; medical history; middle temporal gyrus; Mini Mental State Examination; morphometry; nerve cell differentiation; neurodiversity; nuclear magnetic resonance imaging; speech and language; adult; brain mapping; diagnostic imaging; hemispheric dominance; magnetoencephalography; middle aged; occipital lobe; pathophysiology; physiology; reading; temporal lobe","","","","","UCB Schwab Dyslexia & Cognitive Diversity Center; Jon and Gale Love Dyslexia Fund; University of California, San Francisco, UCSF; National Institutes of Health, NIH, (R01DC017091, K24DC015544, R01DC013979, R01NS100440, K23AG048291, R01NS050915, R01DC017696); National Institutes of Health, NIH","We thank the participants and their families for their generous support of this study. This work was supported by National Institutes of Health grants (K23AG048291, K24DC015544, R01NS050915, R01NS100440, R01DC013979, R01DC017696, R01DC017091). Additional funds for this work come from the Hillblom Aging Network Longitudinal Brain Aging Program, the UCSF | UCB Schwab Dyslexia & Cognitive Diversity Center, Hellman Research Scientist Award, and the Jon and Gale Love Dyslexia Fund. 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Miller; UCSF Memory and Aging Center, San Francisco, 675 Nelson Rising Lane, Suite 191D Box 1207, 94143-1207, United States; email: Zachary.Miller2@ucsf.edu","","Masson SpA","","","","","","00109452","","CRTXA","39631179","English","Cortex","Article","Final","","Scopus","2-s2.0-85210720622"
"Bae S.-Y.","Bae, Su-Young (57751063300)","57751063300","Strategies for Reducing Cognitive Load in Complex Polyphonic Music Learning: A Focus on Bach’s C Major Fugue from The Well-Tempered Clavier, Book I","2024","Korean Journal of Research in Music Education","53","4","","67","92","25","0","10.30775/KMES.53.4.67","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85213324598&doi=10.30775%2fKMES.53.4.67&partnerID=40&md5=89ecd06f966874ddcf21ad7c5188bea8","Sungshin Women's University, 2, 34 da-gil, Bomun-ro, Seongbuk-gu, Seoul, South Korea","Bae S.-Y., Sungshin Women's University, 2, 34 da-gil, Bomun-ro, Seongbuk-gu, Seoul, South Korea","This study analyzed how piano instructors manage the cognitive load experienced by students when learning Bach’s Fugue in C Major from The Well-Tempered Clavier, Book I, based on Cognitive Load Theory (CLT). In-depth interviews were conducted through Focus Group Interviews (FGI) with six instructors with over ten years of teaching experience, exploring various strategies to reduce cognitive load in complex polyphonic music learning. The results showed that students experienced a high cognitive load in maintaining independent voices, identifying the subject and counter-subject, analyzing the structure, managing rhythm and tempo, balancing voices, and memorizing. To address this, the instructors guided students to practice voices separately, visually mark the subject and counter-subject, and use recordings to enhance understanding. Additionally, students were assisted in mastering dynamics and articulation through diverse performance examples and encouraged to maintain tempo by tapping a steady beat. To reduce learning burdens, students were also allowed to explore freely without being constrained by fixed tempo, and sectional practice was used to effectively understand the structure and reduce cognitive load. This study suggests the applicability of CLT in complex polyphonic music learning and provides foundational material for developing effective instructional strategies in music education. © 2024 Korean Music Education Society.","CLT; cognitive load theory; educational psychology; instructional design; music learning strategies; music pedagogy; piano education","","","","","","","","Ayres P., Sweller J., The split-attention principle in multimedia learning, The Cambridge handbook of multimedia learning, pp. 206-226, (2014); Braun V., Clarke V, Using thematic analysis in psychology, Qualitative Research in Psychology, 3, 2, pp. 77-101, (2006); Chen O., Castro-Alonso J. C., Paas F., Sweller J., Extending cognitive load theory to incorporate working memory resource depletion: Evidence from the spacing effect, Educational Psychology Review, 30, pp. 483-501, (2018); Corlu M., Muller C., Desmet F., Leman M., The consequences of additional cognitive load on performing musicians, Psychology of Music, 43, 4, pp. 495-510, (2015); Ginns P., Meta-analysis of the modality effect, Learning and Instruction, 15, 4, pp. 313-331, (2005); Han S. I., A study on the music teaching method for note reading and fingering for string instruments using storytelling approach, Korean Journal of Research in Music Education, 42, 4, pp. 263-290, (2013); Han Y.-J., Mediating effect of cognitive load in song learning with visually presented lyrics, Psychology of Music, 49, 6, pp. 1462-1477, (2021); Kalyuga S., Managing cognitive load in adaptive multimedia learning, (2008); Kalyuga S., Cognitive load in adaptive multimedia learning, New perspectives on affect and learning technologies. Explorations in the learning sciences, instructional systems and performance technologies, 3, pp. 203-215, (2011); Kitzinger J., Qualitative research: Introducing focus groups, BMJ, 311, 7000, pp. 299-302, (1995); Krueger R. A., Casey M. A., Focus groups: A practical guide for applied research, (2014); Leahy W., Sweller J., Cognitive load theory, modality of presentation and the transient information effect, Applied Cognitive Psychology, 25, 6, pp. 943-951, (2011); Morgan D. L., Focus groups as qualitative research, (1997); Mousavi S. Y., Low R., Sweller J., Reducing cognitive load by mixing auditory and visual presentation modes, Journal of Educational Psychology, 87, 2, pp. 319-334, (1995); Owens P., Sweller J., Cognitive load theory and music instruction, Educational Psychology, 28, 1, pp. 29-45, (2007); Paas F., Sweller J., An evolutionary upgrade of cognitive load theory: Using the human motor system and collaboration to support the learning of complex cognitive tasks, Educational Psychology Review, 24, pp. 27-45, (2012); Paas F., van Merrienboer J. J. G., Variability of worked examples and transfer of geometrical problem-solving skills: A cognitive-load approach, Journal of Educational Psychology, 86, 1, pp. 122-133, (1994); Paas F., van Merrienboer J. J. G., Cognitive-load theory: Methods to manage working memory load in the learning of complex tasks, Current Directions in Psychological Science, 29, 4, pp. 394-398, (2020); Paas F., Renkl A., Sweller J., Cognitive load theory and instructional design: Recent developments, Educational Psychologist, 38, 1, pp. 1-4, (2003); Plass J. L., Moreno R., Brunken R., Cognitive load theory, (2010); Pollock E., Chandler P., Sweller J., Assimilating complex information, Learning and Instruction, 12, 1, pp. 61-86, (2002); Price S. T., The application of cognitive load theory to teaching music reading, (2010); Renkl A., Guidance-fading effect, Encyclopedia of the sciences of learning, pp. 1400-1402, (2012); Renkl A., Atkinson R. K., Structuring the transition from example study to problem solving in cognitive skill acquisition: A cognitive load perspective, Educational Psychologist, 38, 1, pp. 15-22, (2003); Shin H. E., A study on world music teaching approach through music listening grounded in body movement: Focusing on Mongolian long song and lullaby, Korean Journal of Research in Music Education, 51, 3, pp. 95-125, (2022); Song J., Shaping of the ideas of Jaques-Dalcroze, Kodály and Orff on rhythmic education through corporeal movement, Korean Journal of Research in Music Education, 48, 3, pp. 103-127, (2019); Sweller J., The use of worked examples as a substitute for problem solving in learning algebra, Cognition and Instruction, 2, 1, pp. 59-89, (1985); Sweller J., Cognitive load during problem solving: Effects on learning, Cognitive Science, 12, 2, pp. 257-285, (1988); Sweller J., Cognitive load theory, learning difficulty, and instructional design, Learning and Instruction, 4, 4, pp. 295-312, (1994); Sweller J., Cognitive load theory and educational technology, Educational Technology Research and Development, 68, pp. 1-16, (2020); Sweller J., Ayres P., Kalyuga S., Cognitive load theory, (2011); Sweller J., Chandler P., Why some material is difficult to learn, Cognition and Instruction, 12, 3, pp. 185-233, (1994); Sweller J., Cooper G. A., The use of worked examples as a substitute for problem solving in learning algebra, Cognition and Instruction, 2, 1, pp. 59-89, (1985); Sweller J., Mawer R. F., Ward M. R., Development of expertise in mathematical problem solving, Journal of Experimental Psychology: General, 112, 4, pp. 639-661, (1983); Sweller J., van Merrienboer J. J. G., Paas F. G. W. C., Cognitive architecture and instructional design, Educational Psychology Review, 10, pp. 251-296, (1998); Sweller J., van Merrienboer J. J. G., Paas F. G. W. C., Cognitive architecture and instructional design: 20 years later, Educational Psychology Review, 31, pp. 261-292, (2019); van Merrienboer J. J. G., Kirschner P. A., Ten steps to complex learning: A systematic approach to four-component instructional design, (2017); van Merrienboer J. J. G., Sweller J., Cognitive load theory in health professional education: Design principles and strategies, Medical Education, 44, 1, pp. 85-93, (2010); van Mierlo C. M., Jarodzka H., Kirschner F., Kirschner P. A., Cognitive load theory in e-learning, Encyclopedia of cyberbehavior, pp. 1178-1211, (2012)","S.-Y. Bae; Sungshin Women's University, Seoul, 2, 34 da-gil, Bomun-ro, Seongbuk-gu, South Korea; email: sb2388@sungshin.ac.kr","","Korean Music Education Society","","","","","","12294179","","","","English","Korea. J. Res. Music. Educ.","Article","Final","","Scopus","2-s2.0-85213324598"
"Curkpatrick S.; Burke R.; Gaby A.; Knight P.; Wilfred D.","Curkpatrick, Samuel (55682426900); Burke, Robert (57541934800); Gaby, Alice (12790149400); Knight, Peter (59216857200); Wilfred, Daniel (57224181181)","55682426900; 57541934800; 12790149400; 59216857200; 57224181181","Resounding Relations: Habits of improvisation in Yolŋu song and contemporary Australian jazz","2023","Performance Research","28","6","","47","56","9","0","10.1080/13528165.2023.2334632","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85198373403&doi=10.1080%2f13528165.2023.2334632&partnerID=40&md5=bf0b001119454a1b64b6f482bedfb752","","","Habit has primarily been considered along seemingly divergent trajectories, either as a mechanism that limits creativity or as a transition of imagination into embodied activity (Elizabeth Grosz (2013) ‘Habit today: Ravaisson, Bergson, Deleuze and us’, Body & Society 19(2&3): 217–39). An interplay of these two aspects is clearly seen in music improvisation, in which performances unfold through well-honed patterns of technique and processes of listening and learning. Yet while the development of good habits is considered essential to performance within distinct cultural traditions or stylistic genres, little attention has been devoted to identifying the types of habits needed for engagement in cross-cultural performance settings. This paper broadens the scope of habits typically explored within jazz studies and music pedagogy, conceptualizing habit in a way that resonates across contemporary Australian jazz and Yolŋu manikay (public ceremonial song) from Australia’s Northern Territory. We emphasize the relational dimensions of habit as they form a foundation for community formation through performance, involving processes of imitation and evocation, and learning through participation. Through this heuristic braiding of habits in jazz and manikay, we argue that habits of musical performance both locate performers within distinct traditions while allowing freedom to innovate. This dynamic allows for the elevation of these traditions within new contexts and relationships. © 2024 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group.","","","","","","","","","(2019); (2019); (2024); Benson B.E., The Improvisation of Musical Dialogue: A phenomenology of music, (2003); Blakeman B., (2015); Blakeman B., (2023); Blakeman B., Dhambieng B., Yolkala Gumurrlili? With whom towards the chest? A relational portrait of Yolŋu social organisation, Journal of Intercultural Studies, pp. 1-19, (2023); Burke R.L., Analysis and observations of pre-learnt and idiosyncratic elements in improvisation: A methodology for artistic research in jazz, Artistic Research in Jazz: Positions, theories, methods, pp. 135-154, (2022); Caruana W., Lendon N., The Painters of the Wagilag Sisters Story 1937–1997, (1997); Christie M., Campbell M., More Than a Roof Overhead: Consultations for better housing outcomes, sub-project 1 of the ARC Linkage Project more than a roof overhead, (2013); Corn A., Reflections & Voices: Exploring the music of Yothu Yindi with Mandawuy Yunupiŋu, (2009); Corn A., Nations of song, Humanities Research, 19, 3, pp. 145-160, (2013); Curkpatrick S., Voices on the wind: Eddies of possibility for Australia’s musical future, Global Perspectives on Orchestras: Essays on collective creativity and social agency, pp. 119-136, (2017); Curkpatrick S., Singing Bones, (2020); Curkpatrick S., (2023); Curkpatrick S., Wilfred D., The groove of Raypirri: Following the clapping sticks into a new generation, Varieties of Imagination, Creativity and Wellbeing in Australia, (2023); Curkpatrick S., Wilfred D., Shimmering brilliance: A Yolŋu aesthetic of creativity and collaboration, Australasian Music at Home and Abroad, pp. 125-146, (2023); Curkpatrick S., Wilfred D., Woven together in song: Collaborative knowledge and the creativity of raypirri, Journal of Intercultural Studies, 44, 5, pp. 1-18, (2023); Eagleton T., The Event of Literature, (2013); Gadamer H.-G., Truth and Method, (2006); Song Spirals: Sharing women’s wisdom of country through songlines, (2019); Grabowsky P., (2010); Grabowsky P., (2011); Grice H.P., Meaning, The Philosophical Review, 66, 3, pp. 377-388, (1957); Grosz E., Habit today: Ravaisson, Bergson, Deleuze and us, Body & Society, 19, 2-3, pp. 217-239, (2013); Johansson K., Organ improvisation: Edition, extemporization, expansion and instant composition, Musical Imaginations: Multidisciplinary perspectives on creativity, performance and perception, pp. 220-231, (2012); Kellett J.M., Wilson D., Burke R.L., Settler colonization and austrological improvisative musicality since the late nineteenth century, The Routledge Companion to Diasporic Jazz Studies, (2024); Langton M., Corn A., Law: The way of the ancestors, (2023); Levinson S.C., Presumptive Meanings: The theory of generalized conversational implicature, (2000); Lewis G.E., Improvised music after 1950: Afrological and eurological perspectives, Black Music Research Journal, 22, pp. 215-246, (2002); Magowan F., Melodies of Mourning: Music and emotion in northern Australia, (2007); Onsman A., Burke R., Experimentation in Improvised Jazz: Chasing ideas, (2018); Pawu W.J., Corn A., Curkpatrick S., Gumbula-Garawirrtja B.D., Being and knowing, Australian Perspectives on Indigenous Knowledge, (2023); Ravaisson F., Of Habit, (1838); Ravn S., Hoffding S., McGuirk J., Philosophy of Improvisation: Interdisciplinary perspectives on theory and practice, (2021); Sutton P., Language in Aboriginal Australia: Social dialects in a geographical idiom, Language in Australia, pp. 49-66, (1991); Taylor C., The Malaise of Modernity, (2003); Tee M.Y., Lee S.S., From socialisation to internalisation: Cultivating technological pedagogical content knowledge through problem-based learning, Australasian Journal of Educational Technology, 27, 1, (2011); Wilfred D., (2023)","","","Routledge","","","","","","13528165","","","","English","Perform. Res.","Article","Final","All Open Access; Green Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85198373403"
"Groon J.","Groon, Jason (59773947800)","59773947800","Popular music pedagogy in music teacher education: A literature review","2025","Journal of Popular Music Education","9","1","","23","37","14","0","10.1386/jpme_00154_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-105004361104&doi=10.1386%2fjpme_00154_1&partnerID=40&md5=efa6bb54f0e50e56bded8f9b805de53e","Harrisburg School District, 200 E Willow Street, PO Box 187, Harrisburg, SD, United States; Boston University, Commonwealth Avenue, Boston, 02215, MA, United States","Groon J., Harrisburg School District, 200 E Willow Street, PO Box 187, Harrisburg, SD, United States, Boston University, Commonwealth Avenue, Boston, 02215, MA, United States","Higher education music education programmes that prioritize Eurocentric perspectives related to the western classical canon may limit future music educators’ ability to connect students’ in-school and out-of-school music experiences. Growing interest in diverse and inclusive approaches to music education has led to increased attention on the inclusion of popular music pedagogy in music teacher education. Drawing on culturally responsive pedagogies as a theoretical framework, in this review of literature, I examined research related to popular music pedagogy in music teacher education. Researchers suggest that incorporating popular music in music classrooms may connect students’ in-school and out-of-school music experiences, resulting in greater student engagement and promoting lifelong musical involvement. Based on significant findings in this research, music educators might consider reimagining music teacher education programmes to reflect the changing landscape of music education and prepare future music educators with the skills necessary to acknowledge and value the diverse musical experiences and cultural contexts of students. © 2025 Intellect Ltd.","culturally responsive pedagogies; inclusive curriculum development; lifelong musical learning; pedagogical innovation in music; social justice in music education; student engagement and identity; teacher preparation practices; vernacular music approaches","","","","","","","","Abrahams F., Starbucks doesn’t sell hot cross buns: Embracing new priorities for pre-service music teacher preparation programs, Promising Practices in 21st Century Music Teacher Education, pp. 41-60, (2014); Abril C.R., Toward a more culturally responsive general music classroom, General Music Today, 27, 1, pp. 6-11, (2013); Abril C.R., Invoking an innovative spirit in music teacher education, Promising Practices in 21st Century Music Teacher Education, pp. 175-188, (2014); Allsup R.E., Counterpoints: Music and Education, Remixing the Classroom: Toward an Open Philosophy of Music Education, (2016); Barton G., Riddle S., Culturally responsive and meaningful music education: Multimodality, meaning-making, and communication in diverse learning contexts, Research Studies in Music Education, 44, 2, pp. 345-362, (2022); Blackwell J., Matherne N., Momohara-Ho C., Preservice music teachers perceptions of teaching and learning popular music, Journal of Music Teacher Education, 31, 3, pp. 49-65, (2022); Bowman W.D., Pop” goes…? Taking popular music seriously, Bridging the Gap: Popular Music and Music Education, pp. 29-50, (2004); Campbell P.S., Myers D., Sarath E., Transforming Music Study from Its Foundations: A Manifesto for Progressive Change in the Undergraduate Preparation of Music Majors, pp. 1-28, (2016); Clements A.C., Escaping the classical canon: Changing methods through a change of paradigm, Visions of Research in Music Education, 12, pp. 1-12, (2008); Davis V.W., Hewitt D., College music administrators’ opinions of curricular initiatives in popular music, Journal of Popular Music Education, 6, 3, pp. 293-310, (2022); Elpus K., Abril C.R., High school music ensemble students in the United States: A demographic profile, Journal of Research in Music Education, 59, 2, pp. 128-145, (2011); Elpus K., Abril C.R., Who enrolls in high school music? A national profile of U.S. students, 2009–2013, Journal of Research in Music Education, 67, 3, pp. 323-338, (2019); Emmons S.E., Preparing teachers for popular music processes and practices, Bridging the Gap: Popular Music and Music Education, pp. 158-173, (2004); Gay G., Preparing for culturally responsive teaching, Journal of Teacher Education, 53, 2, pp. 106-116, (2002); Gay G., Multicultural Education Series, Culturally Responsive Teaching: Theory, Research, and Practice, (2018); Gracyk T., Popular music: The very idea of listening to it, Bridging the Gap: Popular Music and Music Education, pp. 51-70, (2004); Green L., Popular music education in and for itself, and for “other” music: Current research in the classroom, International Journal of Music Education, 24, 2, pp. 101-118, (2006); Hall R., An analysis of undergraduate motivations, perceptions of value and concerns in pursuing higher popular music performance education, International Journal of Music Education, 37, 2, pp. 327-341, (2019); Hamilton S., Vannatta-Hall J., Popular music in preservice music education: Preparedness, confidence and implementation, Journal of Popular Music Education, 4, 1, pp. 41-60, (2020); Hess J., Music Education for Social Change: Constructing an Activist Music Education, (2019); Hess J., Popular music education: A way forward or a new hegemony?, The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices, pp. 11-28, (2019); Hill S.C., Haning M., Giotta D.P., Nannen B., Prendergast J.S., Spears A., Tracy E., Wilson J., Examining ensemble requirements for music education majors, Journal of Research in Music Education, 71, 2, pp. 174-187, (2023); Humphreys J.T., Popular music in the American schools: What history tells us about the present and the future, Bridging the Gap: Popular Music and Music Education, pp. 91-106, (2004); Jones P.M., Preparing music teachers for change: Broadening instrument class offerings to foster lifewide and lifelong musicing, Visions of Research in Music Education, 12, pp. 1-16, (2008); Jones P.M., Lifewide as well as lifelong: Broadening primary and secondary school music education’s service to students’ musical needs, International Journal of Community Music, 2, 2, pp. 201-214, (2009); Kaschub M., Smith J., Music teacher education in transition, Promising Practices in 21st Century Music Teacher Education, pp. 1-24, (2014); Kladder J., Re-envisioning music teacher education, doctoral thesis, (2017); Kruse A.J., Preservice music teachers’ experiences with and attitudes toward music genres, Journal of Music Teacher Education, 24, 3, pp. 11-23, (2015); Kruse A.J., They wasn’t makin’ my kinda music”: A hip-hop musician’s perspective on school, schooling, and school music, Music Education Research, 18, 3, pp. 240-253, (2016); Ladson-Billings G., Toward a theory of culturally relevant pedagogy, American Educational Research Journal, 32, 3, pp. 465-491, (1995); Ladson-Billings G., Culturally relevant pedagogy 2.0: A.k.a. the remix, Harvard Educational Review, 84, 1, pp. 74-84, (2014); Ladson-Billings G., Three decades of culturally relevant, responsive, & sustaining pedagogy: What lies ahead?, The Educational Forum, 85, 4, pp. 351-354, (2021); Ladson-Billings G., But that’s just good teaching! The case for culturally relevant pedagogy, Theory into Practice, 34, 3, pp. 159-165, (1995); Lee A.F., Toward Cultural Competence in Music Education: Critical Reflection and Culturally Responsive Care, (2023); Lind V.R., McKoy C.L., Culturally Responsive Teaching in Music Education: From Understanding to Application, (2016); Mantie R., Gulish S., McCandless G., Solis T., Williams D., Creating music curricula of the future, College Music Symposium, 57, pp. 1-10, (2017); Mantie R., Tucker L., Closing the gap: Does music-making have to stop upon graduation?, International Journal of Community Music, 1, 2, pp. 217-227, (2008); Maybin C.B., Disrupting the status quo: Educating pre-service music teachers through culturally relevant pedagogy, Journal of Popular Music Education, 3, 3, pp. 469-485, (2019); Ng H.H., Towards a synthesis of formal, non-formal and informal pedagogies in popular music learning, Research Studies in Music Education, 42, 1, pp. 56-76, (2020); Palmer E.S., Vodicka J., Huynh T., D'Alexander C., Crawford L., Grounded framework for culturally relevant and responsive music teaching, Update: Applications of Research in Music Education, 41, 1, pp. 24-33, (2022); Paris D., Alim S.H., What are we seeking to sustain through culturally sustaining pedagogy? A loving critique forward, Harvard Educational Review, 84, 1, pp. 85-100, (2014); Pitts S.E., What is music education for? Understanding and fostering routes into lifelong musical engagement, Music Education Research, 19, 2, pp. 160-168, (2017); Powell S.R., The musical experience: Rethinking music teaching and learning, Music Education Research, 19, 2, pp. 228-230, (2017); Powell B., Modern bands impact on student enrollment in traditional music ensembles, John J. Cali School of Music Scholarship and Creative Works, 42, pp. 20-23, (2019); Powell B., A history of popular music education in the United States, Journal of Popular Music Education, 7, 1, pp. 87-103, (2022); Powell B., Hewitt D., Smith G.D., Olesko B., Davis V., Curricular change in collegiate programs: Toward a more inclusive music education, Visions of Research in Music Education, 35, pp. 1-22, (2020); Powell B., Krikun A., Pignato J.M., Something’s happening here!”: Popular music education in the United States, IASPM@Journal, 5, 1, pp. 4-22, (2015); Seifried S., Exploring the outcomes of rock and popular music instruction in high school guitar class: A case study, International Journal of Music Education, 24, 2, pp. 168-177, (2006); Smith G.D., Powell B., Welcome to the journal, Journal of Popular Music Education, 1, 1, pp. 3-8, (2017); Sorenson R., Perceptions and preparedness: Preservice music educators and popular music teaching skills, Update: Applications of Research in Music Education, 39, 2, pp. 34-43, (2021); Springer D.G., Teaching popular music: Investigating music educators’ perceptions and preparation, International Journal of Music Education, 34, 4, pp. 403-415, (2016); Springer D.G., Gooding L.F., Preservice music teachers’ attitudes toward popular music in the music classroom, Update: Applications of Research in Music Education, 32, 1, pp. 25-33, (2013); Tobias E.S., Crossfading music education: Connections between secondary students’ in- and out-of-school music experience, International Journal of Music Education, 33, 1, pp. 18-35, (2015); Vasil M., Integrating popular music and informal music learning practices: A multiple case study of secondary school music teachers enacting change in music education, International Journal of Music Education, 37, 2, pp. 298-310, (2019); Williams D.A., Considering both curriculum and pedagogy, Promising Practices in 21st Century Music Teacher Education, pp. 25-40, (2014)","J. Groon; Harrisburg School District, Harrisburg, 200 E Willow Street, PO Box 187, United States; email: Jason.groon@outlook.com","","Intellect Ltd.","","","","","","23976721","","","","English","J. Pop. Music. Educ.","Article","Final","","Scopus","2-s2.0-105004361104"
"John V.; Beauchamp G.; Davies D.; Breeze T.","John, Vivienne (56404147400); Beauchamp, Gary (24174046000); Davies, Dan (55489098200); Breeze, Thomas (57214894834)","56404147400; 24174046000; 55489098200; 57214894834","Musical identity, pedagogy, and creative dispositions: Exploring the experiences of popular musicians during their postgraduate teacher education in a changing Welsh education landscape","2024","Research Studies in Music Education","46","3","","516","528","12","0","10.1177/1321103X241241980","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85190849686&doi=10.1177%2f1321103X241241980&partnerID=40&md5=6f08bd7e5e4a8861db04b1f917210bd3","Cardiff Metropolitan University, United Kingdom; University of Bath, United Kingdom","John V., Cardiff Metropolitan University, United Kingdom; Beauchamp G., Cardiff Metropolitan University, United Kingdom; Davies D., University of Bath, United Kingdom; Breeze T., Cardiff Metropolitan University, United Kingdom","Much has been written on the different learning paths of classical and popular musicians and the view that popular musicians can be marginalized within the musical hegemony. Adopting Lucas, Claxton, and Spencer’s creative dispositions model, this article explores the extent to which this might occur when popular musicians learn to become secondary classroom music teachers. Data were collected through a series of semi-structured interviews from three popular musicians on a Post-Graduate Certificate of Education (PGCE) Secondary Music program. Utilizing a qualitative approach, the findings suggest that popular musicians innately demonstrate imaginative, inquisitive, and collaborative creative musical capacities. However, learning to teach seems to significantly impact their pedagogic identity as they experience underlying performativity cultures and hierarchical relationships in schools. This article considers the risks associated with undervaluing the creative dispositions of popular musician teachers, including minimizing their potential to reconceptualize pedagogic expertise at a time of significant education reform in Wales. © The Author(s) 2024.","classroom music; creative dispositions; identity; music; music pedagogy; student teachers","","","","","","","","Abramo J.M., Austin S.C., The trumpet metaphor: A narrative of a teacher’s mid-career pedagogical change from formal to informal learning practices, Research Studies in Music Education, 36, 1, pp. 57-73, (2014); Abramo J.M., Reynolds A., Pedagogic creativity” as a framework of music teacher education, Journal of Music Teacher Education, 25, 1, pp. 37-51, (2015); Acott G., We need effective teacher mentoring, (2022); Ball S.J., The teacher’s soul and the terrors of performativity, Journal of Educational Policy, 18, 2, pp. 215-228, (2003); Beauchamp G., Breeze T., Pedagogy versus performance in primary classroom music teaching: Lessons from a “usable past” in Wales, (2022); Benedek M., Borovnjak B., Neubauer A.C., Kruse-Weber S., Creativity and personality in classical, jazz and folk musicians, Personality and Individual Differences, 62, pp. 117-121, (2014); Ethical guidelines for educational research, (2018); Burnard P., Musical creativities in practice, (2012); Burnard P., Hofander-Trulsson Y.H., Sodermann J., Bourdieu and the sociology of music education, (2015); Burnard P., White J., Creativity and performativity: Counterparts in British and Australian education, British Education Research Journal, 34, 5, pp. 667-682, (2008); Butler A., Wright R., Hegemony, symbolic violence and popular music education: A matter of class, The Bloomsbury handbook of popular music and social class, pp. 97-116, (2020); Choong H., The learning experiences and musical proficiencies of formal and informal popular musicians in Malaysia, International Journal of Music Education, 41, 3, pp. 358-370, (2023); Chua J., Saving the teacher’s soul: Exorcising the terrors of performativity, London Review of Education, 7, 2, pp. 159-167, (2009); Clandinin D.J., Connelly F.M., Narrative inquiry: Experience and story in qualitative research, (2000); Creech A., Papageorgi I., Duffy C., Morton F., Haddon E., Potter J., De Bezenac C., Whyton T., Himonides E., Welch G., Investigating musical performance: Commonality and diversity among classical and popular musicians, Music Education Research, 10, 2, pp. 215-234, (2008); Crow B., Changing conceptions of educational creativity: A study of student teachers’ experience of musical creativity, Music Education Research, 10, 3, pp. 373-388, (2008); Daly C., Milton M., External mentoring for new teachers: Mentor learning for a change agenda, International Journal of Mentoring and Coaching in Education, 6, 3, pp. 178-195, (2017); Dwyer R., Unpacking the habitus: Exploring a music teacher’s values, beliefs and practices, Research Studies in Music Education, 37, 1, pp. 93-106, (2015); Green L., How popular musicians learn, (2002); Hobson A.J., Student teachers’ perceptions of school-based mentoring in initial teacher training, Mentoring and Tutoring: Partnership in Learning, 10, 1, pp. 5-20, (2002); Izadinia M., Student teachers’ and mentor teachers’ perceptions and expectations of a mentoring relationship: Do they match or clash?, Professional Development in Education, 42, 3, pp. 387-402, (2014); Josselson R., The hermeneutics of faith and the hermeneutics of suspicion, Narrative Inquiry, 14, 1, pp. 1-18, (2004); Kim J.H., Understanding narrative inquiry: the crafting and analysis of stories of research, (2016); Lucas B., Claxton G., Spencer E., Progression in student creativity in school: First steps towards new forms of formative assessment, (2013); Margolis H., McCabe P., Improving self-efficacy and motivation: What to do, what to say, Intervention in School and Clinic, 41, 4, pp. 218-227, (2006); Merriam S.B., Qualitative research to design and implementation, (2009); Mok A., East meets West: Learning-practices and attitudes towards music-making of popular musicians, British Journal of Music Education, Volume, 31, 2, pp. 179-194, (2014); Odena O., Musical creativity: Insights from music education research, (2012); Odena O., Welch G., The influence of teachers’ backgrounds on their perceptions of musical creativity: A qualitative study with secondary school music teachers, Research Studies in Music Education, 28, pp. 72-84, (2009); Randles C., Ballantyne J., Measuring self-perceptions of creative identity: A cross-cultural comparison of pre-service music teachers in the US and Australia, Music Education Research, 20, 2, pp. 231-241, (2016); Riessman C.K., Narrative methods for the human sciences, (2008); Rice R., The theory and practice of mentoring in initial teacher training: Is there a dichotomy in the role of learning theories?, (2006); Seale C., Researching society and culture, (2012); Simons H., Case study research in practice, (2009); Small C., Musicking: The meanings of performing and listening, (2011); Soderman J., Burnard P., Hofvander-Trulsson Y.H., Contextualising Bourdieu in the field of music and music education, Bourdieu and the sociology of music education, pp. 1-12, (2015); Sparkes A.C., Smith B., Qualitative research methods in sport, exercise and health, (2014); Swanwick K., A basis for music education, (1979); Taylor C., A “quiet revolution” in Welsh education, Times Higher Education, (2017); Van der Hiejden H.R.M.A., Geldens J.J.M., Beijaard D., Popeijus H.L., Characteristics of teachers as change agents, Teachers and Teaching, 21, 6, pp. 681-699, (2015); Welch G., Musical creativity, biography, genre and learning, Musical imaginations: Multidisciplinary perspectives on creativity, performance and perception, pp. 385-398, (2012); Welch G., Papageorgi I., Haddon L., Creech A., Morton F., de Bezenac C., Duffy C., Potter J., Whyton T., Himonides E., Musical genre and gender as factors in higher education learning in music, Research Papers in Education, 23, 2, pp. 203-217, (2008); Curriculum for Wales, (2023); Wright R., Kicking the habitus: Power, culture and pedagogy in the secondary school music curriculum, Music Education Research, 10, 3, pp. 389-402, (2008); Wright R., ‘Now we’re the musicians’: Using Bourdieu’s concepts of habitus, capital and field to analyse informal learning in Canadian music education, Bourdieu and the sociology of music education, pp. 79-98, (2015)","V. John; Cardiff Metropolitan University, United Kingdom; email: vjohn@cardiffmet.ac.uk","","SAGE Publications Ltd","","","","","","1321103X","","","","English","Res. Stud. Music Educ.","Article","Final","All Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85190849686"
"Ruan W.","Ruan, Wensheng (59401318000)","59401318000","Increasing student motivation to learn the piano using modern digital technologies: independent piano learning with the soft Mozart app","2024","Current Psychology","43","44","","33998","34008","10","1","10.1007/s12144-024-06924-3","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85208503163&doi=10.1007%2fs12144-024-06924-3&partnerID=40&md5=b857ed0521068138819af68c0c2c185f","School of Art, Hubei Polytechnic University, Hubei Province, Huangshi, China","Ruan W., School of Art, Hubei Polytechnic University, Hubei Province, Huangshi, China","Modern computer apps are known to effectively develop professional musical competencies. This paper discusses how student motivation and independent learning can be enhanced using the Soft Mozart app. Initially, the study found that Soft Mozart is a comprehensive training app that is consistent in terms of educational task and skill test construction. Moreover, it provides a thorough approach to the development of technical and sight-reading skills. The student training conducted in this study showed that students in the two study groups had different motivation levels. Students of Group 1, who learned the piano independently using Soft Mozart, had the highest motivation in the first (84%) and fourth (87%) training months. The increased motivation in this group is explained by the effectiveness and interactivity of digital technology-based learning. On the other hand, students of Group 2 who studied with a teacher using traditional methods, showed lower motivation. Task sequencing (3.0) was of greater importance for students of Group 1 because it develops logic and organization in learning. The comprehensiveness of the app was the least important for students (2.2) since they were more concerned with the way the information was presented. Teachers, on the contrary, believe that comprehensiveness (2.9) is of the greatest importance in this type of learning. According to them, a comprehensive approach ensures the compliance of the interactive curriculum with the traditional one. A comparison of the quality of training between the two student groups showed that the training was more effective for students of Group 1 (79% of students achieved high results). Only 41% of Group 2 students achieved high results, which is explained by the use of a different learning approach. This paper is of practical significance, as it sheds light on the possibility of creating an independent learning environment based on the use of the Soft Mozart app. Future research can support the current findings by comparing the effectiveness of Soft Mozart and Piano Marvel for independent piano learning. © The Author(s), under exclusive licence to Springer Science+Business Media, LLC, part of Springer Nature 2024.","Correction system; Depth of performance; Playing technique; Task sequencing; Visual perception","","","","","","","","The meanings of professional development: Perspectives of Malaysian piano teachers, Research Studies in Music Education, in Press., (2024); Arthur P., McPhee E., Blom D., Determining what expert piano sight-readers have in common, Music Education Research, 22, 4, pp. 447-456, (2020); Bishop L., Goebl W., Negotiating a shared interpretation during piano duo performance, Music & Science, 3, pp. 1-18, (2020); Chen Y., Interactive piano training using augmented reality and the internet of things, Education and Information Technologies, 28, 6, pp. 6373-6389, (2023); Chen M., Expressive movements in piano performance: The inducing factors, Journal of Human Movement Science, 5, 1, pp. 74-79, (2024); Our Organisation., (2021); dos Santos R.A.T., Ways of using musical knowledge to think about one’s piano repertoire learning: Three case studies, Music Education Research, 20, 4, pp. 427-445, (2018); Hao Y., Interactive music teaching method based on big data and cloud computing, Mobile Information Systems, 2022, (2022); Assessing differences in flow state induced by an adaptive music learning software, In 2020 Twelfth International Conference on Quality of Multimedia Experience (Qomex) (, pp. 1-4, (2020); Hua J., Interaction of motor practice and memory training in expressive piano performance: Expanding the possibilities of improvisation, Psychological Research Psychologische Forschung, 88, pp. 1426-1436, (2024); Kan M.M., Dibben N., Wong A.Y., A cognitive intervention to correct a maladaptive technique in organists due to prior music learning: A randomized controlled trial, Psychology of Music, 52, 1, pp. 22-37, (2024); Score-Informed MIDI Velocity Estimation for Piano Performance by FiLM Conditioning, Easychair, (2023); Lei K., The effectiveness of special apps for online piano lessons, Interactive Learning Environments, 31, 10, pp. 7455-7466, (2023); Li Y., Interactive methods for improving musical literacy among students with preschool education Majors at teacher training universities: The effectiveness of the Kodály method, Education and Information Technologies, 28, 10, pp. 12807-12821, (2023); Li D., Reflection, reflexivity, learning and the influence of formalised and experiential piano training, The Qualitative Report, 29, 1, pp. 319-336, (2024); Li M., The influence of piano playing on the performer’s mental state: The opportunity to express own emotions and experiences or perform a musical composition within the requirements of piano education, Current Psychology, 43, pp. 27351-27364, (2024); Li Y., Sun R., Innovations of music and aesthetic education courses using intelligent technologies, Education and Information Technologies, 28, 10, pp. 13665-13688, (2023); Liu F., Interactive music learning model based on RBF algorithm, Computational Intelligence and Neuroscience, 2022, (2022); Liu X., Shao X., Modern mobile learning technologies in online piano education: Online educational course design and impact on learning, Interactive Learning Environments, 32, 4, pp. 1279-1290, (2024); Loo F.Y., Chai K.E., Loo F.C., Chua Y.P., Exploring synergy in a mobile learning model for piano playing ornaments exercise with local musical heritage, International Journal of Music Education, 40, 3, pp. 407-418, (2022); Lu D., Intelligent interactive piano teaching, International Journal of Music Education, 41, 4, pp. 529-543, (2023); Nasrifan M.N.H., Saidon Z.L.H., Designing online interactive application of learning music theory in blended learning mode, International Journal of Recent Technology and Engineering, 7, 6, pp. 226-233, (2019); Shu Y., Influence of piano playing on logical thinking formation of future musicians, Thinking Skills and Creativity, 42, (2021); Song L., Design and implementation of remote piano teaching based on attention-induced multi-head convolutional neural network optimized with Hunter–Prey optimization, International Journal of Computational Intelligence Systems, 17, (2024); Steliou C., Jakubowski K., A survey into piano teachers’ perceptions of music memorization in one-to-one piano lessons: A preliminary study, Music & Science, 7, pp. 1-12, (2024); Van Hedger S.C., Hogstrom A., Palmer C., Nusbaum H.C., Sleep consolidation of musical competence, Music Perception: An Interdisciplinary Journal, 33, 2, pp. 163-178, (2015); Wang Y., Music education: Which is more effective– traditional learning or the introduction of modern technologies to increase student motivation?, Learning and Motivation, 77, (2022); Yang Z.Y., Modern piano teaching technologies: Accessibility, effectiveness, the need for pedagogues, Elementary Education Online, 19, 3, pp. 1812-1819, (2020); Yang J., Research on the artificial intelligence teaching system model for online teaching of classical music under the support of wireless networks, Wireless Communications and Mobile Computing, 2021, (2021); Yao B., Li W., The role of a teacher in modern music education: Can a student learn music with the help of modernized online educational technologies without teachers?, Education and Information Technologies, 28, pp. 14595-14610, (2023); Yin X., Educational innovation of piano teaching course in universities, Education and Information Technologies, 28, 9, pp. 11335-11350, (2023); Yu J., Automatic evaluation system for piano performance based on the internet of things technology under the background of artificial intelligence, Mathematical Problems in Engineering, (2021); Zhang C., Leung B.W., Music majors’ self-regulated learning (SRL) of music practice in China: Two case studies based on the SRL microanalysis, International Journal of Music Education, 42, 3, pp. 367-380, (2024); Zhang C., Li H., Adoption of artificial intelligence along with gesture interactive robot in musical perception education based on deep learning method, International Journal of Humanoid Robotics, 19, 3, (2022); Zhao Y., Teaching traditional Yao dance in the digital environment: Forms of managing subcultural forms of cultural capital in the practice of local creative industries, Technology in Society, 69, (2022); Zheng H., Dai D., Construction and optimization of artificial intelligence-assisted interactive college music performance teaching system, Scientific Programming, (2022)","W. Ruan; School of Art, Hubei Polytechnic University, Huangshi, Hubei Province, China; email: wenshengruan63@gmx.com","","Springer","","","","","","10461310","","","","English","Curr. Psychol.","Article","Final","","Scopus","2-s2.0-85208503163"
"Vandemoortele P.","Vandemoortele, Peter (59796678800)","59796678800","A Practice Routine for Adding Harmonic Interest to Single Note Melodies for Improvisation","2025","Rangsit Music Journal","20","1","A0202","","","","0","10.59796/rmj.V20N1.2025.A0202","https://www.scopus.com/inward/record.uri?eid=2-s2.0-105004697045&doi=10.59796%2frmj.V20N1.2025.A0202&partnerID=40&md5=f967258e5828b39ab58103015207e6e1","College of Music, Payap University, Chiang Mai, Thailand","Vandemoortele P., College of Music, Payap University, Chiang Mai, Thailand","This article presents and examines a set of short exercises designed to improve improvisation skills and develop harmonic interest in single-line melodies. For aspiring improvisers, the preparation, practice and spontaneous performance required to effectively improvise on a jazz standard can appear daunting. The basic elements include mastering the appropriate scales, guide tones, arpeggios (with or without extensions such as 9ths, 11ths, 13ths), ear training and developing rhythmic proficiency. Jazz improvisation, despite its inherent spontaneity, often involves significant advance preparation. This contrasts with the literal meaning of the 16th century Italian word ""improvisare"" which means to perform on the spot without preparation. Playing over chord changes demands a solid understanding of harmony, along with the ability to apply this knowledge in real time. In the initial stages of learning, students focus on mastering the correct scales. As they progress, they explore how to navigate chord progressions effectively, enabling them to create melodies that resonate harmonically with the underlying chord. Common techniques such as targeting chord notes, guide tones, tensions, and chromatic approaches, create emotional impact and harmonic expectation. Developing these competencies is a gradual process that requires significant time and harmonic knowledge and is often deferred to later stages in the learning journey, with initial focus on playing scale patterns. In essence, when a student is unable to outline the chord(s) they typically resort to playing scale patterns as an alternative. How can we integrate harmonic interest into our improvisational practice without requiring extensive knowledge of music theory? Is it possible to cultivate harmonic interest in improvisation at an early stage without playing over predefined chord progressions such as IVV-I or II-V-I? The objective of this approach is to design a practice routine with simple exercises that plant the seeds for harmonic interest in melodic ideas for improvisation through the use of leaps. The proposed exercises take a slightly different approach by emphasizing the use of jumps or leaps at an earlier learning stage. They are based on my own teaching experience and the teachings that were passed down to me over the years. These exercises are applicable to both beginners and more experienced improvisers and focus on a single key center. Over time, these drills become second nature, enabling us to apply them seamlessly in our improvisation. Furthermore, these routines will enhance our harmonic ear. When we jump or leap from one note to another, thus creating an interval of a third or greater, our brain engages in a fascinating process. A virtual note or virtual resonance is created. It is a note that appears to be present although it is not explicitly played. Our brain retains the memory of the first note at the time the second note is played, creating the auditory impression of an interval, thereby generating harmonic interest. It can even imply a chord. In the exercises presented each note that jumps is resolved to the underlying chord triad through correct voice leading. A rhythm track and drone of the underlying triad is used to help us hear the resolutions and make the exercises more enjoyable to practice. The first exercise introduces this principle by utilizing only diatonic notes with immediate resolution to the triad. It involves single leaps from a chord tone to a non-chord tone that is then resolved back using proper voice leading. This drill is meant to make voice leading a natural skill, so it becomes second nature. We memorize the resolution paths to the target notes, and this might take some time for an aspiring improviser, but it will become easier when scale fragments are added later. The second exercise consists of two consecutive leaps. Both leaps are resolved to the chord note but the resolution of the first note is delayed, resulting in immediate and delayed resolution of non-chord tones. Again, only diatonic notes are used here. This is more complex as we need to memorize the two notes that need to resolve. In the third exercise scale passages are added to exercises one and two. When playing scales in steps no resolution is needed, which will make it a bit easier to apply in improvisations. The fourth exercise adds rhythm displacement to the above. Lastly the fifth exercise uses all chromatic notes and applies them to the previous exercises. The result is an improvisational device that uses leaps, scale fragments, or both that are resolved using voice leading principles of Western tonal music. Over time and with good practice these techniques will blend into your improvisational language, promoting your harmonic interest and developing your ear. After all, an improviser sounds how he practices at home. Once one gets used to using leaps and delayed resolution, adding non-diatonic notes will result in interesting melodic ideas All chromatic notes are used here, and none of the examples use complex scales such as altered scales or diminished scales. These 10-minute exercises provide a melodic framework for improvisation that remains harmonically suggestive and harmonically balanced. Because of their strong gravitational pull toward the underlying key, they can serve as possible alternative ideas for improvisation on a dominant-tonic or subdominant-dominant-tonic progression. Incorporating these skills at an early stage of musical development helps to cultivate the harmonic ear and prehearing skills which are key components of musical improvisation. © 2025, Rangsit University. All rights reserved.","Improvisation; Jazz; Leaps","","","","","","","","Crook Hal, How to Improvise: An Approach to Practicing Improvisation, (1990); Levine Mark, The Jazz Piano Book, (1989); Ligon Bert, Comprehensive Technique for Jazz Musicians, (1990); Ligon Bert, Jazz Theory Resources, 1, (2001); Schoenberg Arnold, Structural Functions of Harmony Edited by Leonard Stein, (1954); Van Dormael Pierre, Four Principles to Understand Music, (2008)","P. Vandemoortele; College of Music, Payap University, Chiang Mai, Thailand; email: pepasdaar@gmail.com","","Rangsit University","","","","","","30277094","","","","English","Rangsit Music J.","Article","Final","","Scopus","2-s2.0-105004697045"
"Rabinovitch G.","Rabinovitch, Gilad (57195478980)","57195478980","Navigating schemata and hexachords: Case studies from solfeggi by giuseppe aprile","2024","Music Theory And Analysis","11","1","","106","117","11","1","10.11116/MTa.11.1.5","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85190877465&doi=10.11116%2fMTa.11.1.5&partnerID=40&md5=7c8409c8d758efbc10ade5173ea4e44b","Queens College, United States","Rabinovitch G., Queens College, United States","This article is an analytical exploration of two solfeggio exercises by Giuseppe Aprile, which serve as case studies for the interaction between galant schemata (Gjerdingen, 2007) and eighteenth-century hexachordal solmization (Baragwanath, 2020). I draw on my prior work on the subschema level and the pitch-reductive aspect of schemata (esp. Rabinovitch, 2018, 2019, 2020). Taking hexachordal solmization syllables as an entry point highlights local soprano skeletal notes (schema core tones or hexachordal syllable notes) and their surface diminutions. This shifts our focus somewhat from the perspective of schema analysis, where complete schemata and their nesting potentials are often the focus of attention. © Gilad Rabinovitch and Leuven University Press.","Giuseppe Aprile; Hexachords; Joseph Haydn; Schemata; Solfeggio","","","","","","","","Baragwanath Nicholas, The Solfeggio Tradition: A Forgotten Art of Melody in the Long Eighteenth Century, (2020); Pastille William, The Development of the Ursatz in Schenker’s Published Works, Trends in Schenkerian Research, pp. 71-85, (1990); Baragwanath, Solfeggio Tradition, pp. 121-123; Gjerdingen Robert O., A Classic Turn of Phrase: Music and the Psychology of Convention, pp. 4-4, (1988); Gjerdingen Galant Style, Meyer Leonard B., Grammatical Simplicity and Relational Richness: The Trio of Mozart’s G Minor Symphony, Critical Inquiry, 2, 4, pp. 693-761, (1976)","","","Leuven University Press","","","","","","22955917","","","","English","Music Theory Anal.","Article","Final","","Scopus","2-s2.0-85190877465"
"Posen T.W.","Posen, Thomas William (58832418200)","58832418200","Windows into Beethoven’s Lessons in Bonn: Kirnberger’s Die wahren Grundsätze zum Gebrauch der Harmonie (1773) and Vogler’s Gründe der Kuhrpfälzischen Tonschule in Beyspielen (1776/1778)","2023","Music Theory Online","29","4","","","","","1","10.30535/mto.29.4.5","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85182871321&doi=10.30535%2fmto.29.4.5&partnerID=40&md5=5aa7c8ccb49944add716e2a191c3f438","The College of Idaho, 2112 Cleveland Blvd, Caldwell, 83605, ID, United States","Posen T.W., The College of Idaho, 2112 Cleveland Blvd, Caldwell, 83605, ID, United States","Beethoven’s lessons in Vienna with Haydn, Albrechtsberger, and Salieri are well known, but considerably less has been written about his earlier studies in Bonn. This article examines what Beethoven may have learned from two treatises that Gustav Nottebohm (1873) connected to Beethoven’s Bonn manuscripts: Johann Philipp Kirnberger’s Die wahren Grundsätze zum Gebrauch der Harmonie (1773) and Georg Joseph Vogler’s Gründe der Kuhrpfälzischen Tonschule in Beyspielen (1776, revised in 1778). I corroborate the evidence that links these treatises to Beethoven, analyze and categorize their contents, and suggest some parallels between materials in these treatises and Beethoven’s Bonn works including his “Elector” piano sonatas (WoO 47; 1783) and his two unusual preludes for piano or organ (op. 39; 1789, published in 1803). From what we know of Beethoven’s studies in Vienna, several pillars of standard eighteenth-century musical education are missing: the study of solfeggio, thoroughbass, and harmony. This article makes the case that Beethoven encountered this training in Bonn. From Kirnberger’s Grundsätze, he would have learned about the fundamental bass, harmonic function and progression, and the principles of prolongation. In Vogler’s book, he would have encountered solfeggio exercises, common thoroughbass patterns including the Rule of the Octave, invertible sequences, diminution patterns, modulations schemes to every key, the fundamental bass, and more. Although these two treatises were not the only books Beethoven likely studied in Bonn, they offer probable windows into his formative lessons in music theory, improvisation, and composition. There is hardly any treatise which could be too learned for me. I have not the slightest pretension to what is properly called erudition. Yet from my childhood I have striven to understand what the better and wiser people of every age were driving at in their works. Shame on an artist who does not consider it his duty to achieve at least as much.(1) Copyright © 2023 Society for Music Theory.","Elector Sonatas WoO 47; Georg Joseph Vogler; harmony; historically informed pedagogy; Johann Philipp Kirnberger; Ludwig van Beethoven; op. 39; solfeggio; thoroughbass; Two Preludes for Piano or Organ","","","","","","","","Adlung Jacob, Anleitung Zu Der Musikalischen Gelahrtheit, (1783); Agmon Eytan, ‘Aus Mozart gestohlen’: Beethoven und Die Entführung aus dem Serail, Music Theory Online, 29, 2, (2023); Albrechtsberger Johann Georg, Gründliche Anweisung Zur Composition, (1790); Anderson Emily, The Letters of Beethoven, (1961); Anderson Emily., The Letters of Mozart and His Family, (1989); Arnold Franck Thomas, The Art of Accompaniment From a Thorough-Bass as Practised in the XVIIth & XVIIIth Centuries, (1931); Austin Cecil, Beethoven and the Organ, The Musical Times, 80, 1157, pp. 525-527, (1939); Bach Carl Philipp Emanuel, Essay on the True Art of Playing Keyboard Instruments, (1948); Bach C. P. E., Versuch über die wahre Art das Clavier zu spielen, (1762); Baragwanath Nicholas, The Solfeggio Tradition: A Forgotten Art of Melody in the Long Eighteenth Century, (2020); Beethoven Ludwig, Studien im Generalbass, Contrapunkt und in der Compositionslehre, (1832); Beethoven Ludwig van, Louis van Beethoven’s Studies, (1853); Biamonti Giovanni, Catalogo Cronologico e Tematico Delle Opere Di Beethoven: Comprese Quelle Inedite e Gli Abbozzi Non Utilizzati, (1968); Byros Vasili, Foundations of Tonality as Situated Cognition: An Enquiry into the Culture and Cognition of Tonality, with Beethoven’s Eroica Symphony as Case Study, (2009); Caplin William E., Schoenberg’s ‘Second Melody,’ or, ‘Meyer-Ed’ in the Bass, Communication in Eighteenth-Century Music, pp. 160-186, (2008); Caplin William E., Analyzing Classical Form: An Approach for the Classroom, (2013); Christensen Thomas, Thoroughbass as Music Theory, Partimento and Continuo Playing in Theory and in Practice, (2010); Cone Edward T., Musical Form and Musical Performance, (1968); Cooper Susan, ‘The Bonn Master-Baker Gottfried Fischer’s Reminiscences of Beethoven’s Youth’ [Des Bonner Bäckermeisters Gottfried Fischer Aufzeichnungen Über Beethovens Jugend].” Translated into English, with Editorial Commentary and Notes, The Beethoven Journal, 35, 3, (2022); Corneilson Paul, Vogler’s Method of Singing, The Journal of Musicology, 16, 1, pp. 91-109, (1998); Damschroder David, Thinking about Harmony: Historical Perspectives on Analysis, (2008); David Hans T., Mendel Arthur, Wolff Christoph, The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents, (1998); DeNora Tia, Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792–1803, (2023); Diergarten Felix, ‘The True Fundamentals of Composition’: Haydn’s Partimento Counterpoint, Eighteenth-Century Music, 8, 1, pp. 53-75, (2011); Diergarten Felix, Editorial, Eighteenth Century Music, 14, 1, pp. 5-11, (2017); Diergarten Felix, Holtmeier Ludwig, Nicht Zu Disputieren: Beethoven, Der Generalbass Und Die Sonate op. 109, Musiktheorie, 26, 2, pp. 123-146, (2011); Emmerig Thomas, Joseph Riepel (1709-1782) und seine musiktheoretischen Schriften, Die Musikforschung, 38, 1, pp. 16-21, (1985); Everett Walter, Becoming Beethoven: Theorizing Bonner Zeit Transitions, Music Theory and Analysis (MTA), 7, 1, pp. 113-180, (2020); Fischer Gottfried, Schmidt-Gorg Joseph, Des Bonner Bäckermeisters Gottfried Fischer Aufzeichnungen Über Beethovens Jugend, (1971); Frimmel Theodor, Bausteine Zu Einer Lebensgeschichte Des Meisters, (1906); Gjerdingen Robert O., Music in the Galant Style, (2007); Gjerdingen Robert O., Gebrauchs-Formulas, Music Theory Spectrum, 33, 2, pp. 191-199, (2011); Gjerdingen Robert O., Child Composers in the Old Conservatories: How Orphans Became Elite Musicians, (2020); Gooley Dana, Fantasies of Improvisation: Free Playing in Nineteenth-Century Music, The School of Abbé Vogler: Weber and Meyerbeer, 1, (2018); Gosman Alan, From Melodic Patterns to Themes: The Sketches for the Original Version of Beethoven’s ‘Waldstein’ Sonata, op. 53, Genetic Criticism and the Creative Process: Essays from Music, Literature, and Theater, (2009); Grant Cecil Powell, The Real Relationship between Kirnberger’s and Rameau’s ‘Concept of the Fundamental Bass, Journal of Music Theory, 21, 2, (1977); Grave Floyd K., Praise of Harmony: The Teachings of Abbe Georg Joseph Vogler, (1988); Hass Ole, Wöchentliche Nachrichten Und Anmerkungen Die Musik Betreffend, Retrospective Index to Music Periodicals (1760–1966), (2012); Heinichen Johann David, Der General-Bass in Der Composition, (1728); Jacobi Erwin R., Rameau and Padre Martini: New Letters and Documents, The Musical Quarterly, L, 4, pp. 452-475, (1964); Johnson Douglas, 1794–1795: Decisive Years in Beethoven’s Early Development, Beethoven Studies, 3, pp. 1-28, (1982); Jonas Oswald, A Lesson with Beethoven by Correspondence, The Musical Quarterly, XXXVIII, 2, pp. 215-221, (1952); Kirkendale Warren, Fugue and Fugato in Rococo and Classical Chamber Music, (1979); Kirnberger Johann Philipp, Die Wahren Grundsätze Zum Gebrauch Der Harmonie, (1773); Kirnberger Johann Philipp, The True Principles for the Practice of Harmony.” Translated by David W Beach and Jürgen Thym, Journal of Music Theory, 23, 2, pp. 163-225, (1979); Kirnberger Johann Philipp, Die Kunst Des Reinen Satzes in Der Musik, 1, (1774); Kirnberger Johann Philipp, Die Kunst des reinen Satzes in der Musik, 2, (1776); Koch Heinrich Christoph, Handbuch bey dem Studium der Harmonie, (1811); Kopitz Klaus Martin, Cadenbach Rainer, Beethoven Aus Der Sicht Seiner Zeitgenossen, 2, (2009); Kramer Richard, Notes to Beethoven’s Education, Journal of the American Musicological Society, 28, 1, pp. 72-101, (1975); Kramer Richard, Cherubino’s Leap: In Search of the Enlightenment Moment, (2016); Ladenburger Michael, Ein Originaledition Entsteht. I: Die Variationen Für Klavier F-Dur op. 34 Und Es-Dur op. 35, Beethoven Und Der Leipziger Musikverlag Breitkopf & Härtel, (2007); Lester Joel, Compositional Theory in the Eighteenth Century, (1994); Lester Joel, Thoroughbass as a Path to Composition in the Early Eighteenth Century, Towards Tonality: Aspects of Baroque Music Theory, pp. 145-170, (2007); Lockwood Lewis, Beethoven: The Music and The Life, (2005); Beethoven before 1800: The Mozart Legacy, Beethoven, pp. 81-94, (2017); Mann Alfred, The Great Composer as Teacher and Student: Theory and Practice of Composition: Bach, Handel, Haydn, Mozart, Beethoven, Schubert, (1994); Marcaletti Livio, Improvisation and Essential Ornamentation in Vocal Music (1600–1900), The Routledge Handbook of Philosophy and Improvisation in the Arts, pp. 328-342, (2022); Marek George R., Beethoven Biography of a Genius, (1969); Marpurg Friedrich Wilhelm, Abhandlung von der Fuge, (1753); Marpurg Friedrich Wilhelm, Anleitung zum Clavierspielen, (1755); Mattheson Johann, Der vollkommene Capellmeister, (1739); Nottebohm Gustav, Beethoven’s theoretische Studien, Allgemeine musikalische Zeitung, 1, (1863); Nottebohm Gustav, Beethoven’s Studien (Erster Band): Beethoven’s Unterricht Bei J. Haydn, Albrechtsberger und Salieri Nach Den Original-Manuscripten, (1873); Petri Johann Samuel, Anleitung Zur Praktischen Musik, (1782); Petty Bynum, Charlatan or Visionary? Abbé Vogler and His Theory of Organ Design, The Tracker, 57, 2, pp. 20-22, (2013); Posen Thomas, From ‘Radical Blunders’ to Compositional Solutions: A Form-Functional Perspective on Beethoven’s Early Eroica Continuity-Sketches, The Beethoven Journal, 35, 1, (2022); Rameau Jean-Philippe, Traité de l’harmonie à ses principes naturels, (1722); Reisinger Elisabeth, Riepe Juliane, Wilson John David, Lodes Birgit, The Operatic Library of Elector Maximilian Franz: Reconstruction, Catalogue, Contexts, Schriften Zur Beethoven-Forschung, 30, (2018); Remes Derek, J. S. Bach’s Chorales: Reconstructing Eighteenth-Century German Figured-Bass Pedagogy in Light of a New Source, Theory and Practice, 31, pp. 19-53, (2017); Remes Derek, New Sources and Old Methods. Reconstructing and Applying the Music-Theoretical Paratext of Johann Sebastian Bach’s Compositional Pedagogy, Zeitschrift Der Gesellschaft Für Musiktheorie [Journal of the German-Speaking Society of Music Theory], 16, 2, pp. 51-94, (2019); Remes Derek, Four Steps towards Parnassus: Johann David Heinichen’s Method of Keyboard Improvisation as a Model of Baroque Compositional Pedagogy, Eighteenth Century Music, 16, 2, pp. 133-154, (2019); Remes Derek, Thoroughbass, Chorale, and Fugue: Teaching the Craft of Composition in J. S. Bach’s Circle, (2020); Ronge Julia, Beethovens Lehrzeit: Kompositionsstudien bei Joseph Haydn, Johann Georg Albrechtsberger und Antonio Salieri, Veröffentlichung des Beethoven-Hauses Bonn, 20, (2011); Ronge Julia, Beethoven’s Apprenticeship: Studies with Haydn, Albrechtsberger, and Salieri, Journal of Musicological Research, 32, 2–3, pp. 73-82, (2013); Ronge Julia, Beethovens Kirchenmusikalische Ambitionen: Pläne, Ideen Und Fragmente, Kirchenmusikalisches Jahrbuch - 99, pp. 59-79, (2017); Sanguinetti Giorgio, Diminution and Harmonic Counterpoint in Late-Eighteenth-Century Naples: Vincenzo Lavigna’s Studies with Fedele Fenaroli, Schenkerian Analysis—Analyse Nach Heinrich Schenker. Bericht Über Den Internationalen Schenker-Kongreß in Berlin, Sauen Und Mannheim, 4.–12. Juni 2004 1, (2004); Sanguinetti Giorgio, The Art of Partimento: History, Theory, and Practice, (2012); Saslaw Janna, Gottfried Weber and Multiple Meaning, Theoria, 5, pp. 74-103, (1990); Schiedermair Ludwig, Der junge Beethoven, (1978); Schlossmacher Norbert, Beethoven: Die Bonner Jahre, (2020); Solomon Maynard, Beethoven’s Productivity at Bonn, Music and Letters, LIII, 2, pp. 165-172, (1972); Mozart and the Young Beethoven, The Musical Quarterly, 6, 2, pp. 276-295, (1920); Thayer Alexander Wheelock, Thayer’s Life of Beethoven, (1989); Vogler Georg Joseph, Gründe Der Kuhrpfälzischen Tonschule in Beyspielen Als Vorbereitung Zur Mannheimer Monatschrift, (1776); Vogler Georg Joseph, Gründe Der Kuhrpfälzischen Tonschule in Beyspielen Als Vorbereitung Zur Mannheimer Monatschrift, Und Zu Den Herausgaben Des Öffentlichen Tonlehrers, (1778); Vogler Georg Joseph., Choral-System, (1800); Vogler Georg Joseph, Handbuch zur Harmonielehre, (1802); Wason Robert W., Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg, (1982); Weber Gottfried, Theory of Musical Composition, Treated with a View to a Naturally Consecutive Arrangement of Topics, (1853); Wegeler Franz Gerhard, Ries Ferdinand, Biographische Notizen Über Ludwig van Beethoven, (1838); Wetzstein Margot, Familie Beethoven Im Kurfürstlichen Bonn: Neuauflage Nach Den Aufzeichnungen Des Bonner Bäckermeisters Gottfried Fischer, (2006); Wilson John D., Fashioning the New out of the Old, Two Competing Visions: Beethoven and Anton Reicha in 1802–1803, Beethoven 7 Studien Und Interpretationen, (2018); Wilson John D., From the Chapel to the Theatre to the Akademiensaal: Beethoven’s Musical Apprenticeship at the Bonn Electoral Court, 1784–1792, Beethoven Studies, 4, pp. 1-23, (2020); Worsley Kris D., Investigating the Influence of Christian Gottlob Neefe on the Music of Ludwig van Beethoven, (2005); Wyzewa Theodore, La Jeunesse de Beethoven, Revue Des Deux Mondes, 95, pp. 418-448, (1889); Zanden Jos van der, Beethoven and Neefe—A Reappraisal, Music & Letters, 102, 1, pp. 30-53, (2021)","T.W. Posen; The College of Idaho, Caldwell, 2112 Cleveland Blvd, 83605, United States; email: tposen@gmail.com","","Society for Music Theory","","","","","","10673040","","","","English","Music Theory Online","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85182871321"
"Wan L.; Crawford R.; Jenkins L.","Wan, Lydia (57203414980); Crawford, Renée (35788062100); Jenkins, Louise (36554442100)","57203414980; 35788062100; 36554442100","Digital Listening Tools to Facilitate Children’s Self-Regulation of Instrumental Music Practice","2023","Journal of Research in Music Education","71","1","","67","90","23","4","10.1177/00224294221093521","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85129410439&doi=10.1177%2f00224294221093521&partnerID=40&md5=22769d5047762340cb7c0cbf6b78abe8","Monash University, Clayton, VIC, Australia","Wan L., Monash University, Clayton, VIC, Australia; Crawford R., Monash University, Clayton, VIC, Australia; Jenkins L., Monash University, Clayton, VIC, Australia","In this study, we explored the ways in which listening tools within technology-mediated environments can facilitate children’s self-regulation of instrumental music learning between lessons. This interpretive multiple case study utilized a software application assigned for 22 weeks to a piano teacher and four students (ages 8–10). Data sources include student and teacher semistructured interviews and practice session observations. Self-regulated learning theory informed the recommended learning approach with technology and provided a lens for within- and cross-case thematic analysis. Study findings suggest that digital tools that provide accessible and customizable listening experiences can be used strategically to promote independent listening opportunities between lessons, in turn facilitating processes of aural familiarity and problem-solving. However, students’ self-regulatory development was also dependent on learning preferences and sustained teacher facilitation. The recommendations in this study can inform instrumental teachers about pedagogical approaches with technology, and the implications can contribute to the design of digital environments to support children’s instrumental learning. © National Association for Music Education 2022.","digital technology listening tools; instrumental music pedagogy; instrumental music practice; interpretive multiple case study; self-regulated learning","","","","","","","","Araujo M.V., Measuring self-regulated practice behaviours in highly skilled musicians, Psychology of Music, 44, 2, pp. 278-292, (2016); Azevedo R., Moos D., Greene C., Winters J., Cromley A., Why is externally-facilitated regulated learning more effective than self-regulated learning with hypermedia?, Educational Technology Research and Development, 56, 1, pp. 45-72, (2008); Bandura A., Self-efficacy, The Corsini encyclopedia of psychology, (2010); Barry N.H., Hallam S., Practice, The science and psychology of music performance: Creative strategies for teaching and learning, pp. 151-166, (2002); Bartolome S.J., Naturally emerging self-regulated practice behaviors among highly successful beginning recorder students, Research Studies in Music Education, 31, 1, pp. 37-51, (2009); Beyer B., Improving student thinking, The Clearing House, 71, 5, (1998); Brook J., Upitis R., Can an online tool support contemporary independent music teaching and learning?, Music Education Research, 17, 1, pp. 34-47, (2014); Buck M., The efficacy of SmartMusic® assessment as a teaching and learning tool, (2008); Burnard P., Reframing creativity and technology: Promoting pedagogic change in music education, Journal of Music, Technology and Education, 1, 1, pp. 37-56, (2007); Crawford R., A multidimensional/non-linear teaching and learning model: Teaching and learning music in an authentic and holistic context, Music Education Research, 16, 1, pp. 50-69, (2014); Crawford R., Rethinking teaching and learning pedagogy for education in the twenty-first century: Blended learning in music education, Music Education Research, 19, 2, pp. 195-213, (2017); Creech A., Interpersonal behaviour in one-to-one instrumental lessons: An observational analysis, British Journal of Music Education, 29, 3, pp. 387-407, (2012); Creswell J., Educational research: Planning, conducting, and evaluating quantitative and qualitative research, (2012); Dias P., Brito R., Ribbens W., Daniela L., Rubene Z., Dreier M., Gemo M., Di Gioia R., Chaudron S., The role of parents in the engagement of young children with digital technologies: Exploring tensions between rights of access and protection, from “Gatekeepers” to “Scaffolders., Global Studies of Childhood, 6, 4, pp. 414-427, (2016); Dinsmore D.L., Alexander P.A., Loughlin S.M., Focusing the conceptual lens on metacognition, self-regulation, and self-regulated learning, Educational Psychology Review, 20, 4, pp. 391-409, (2008); Duke A.D., Byo J.L., Building musicianship in the instrumental classroom, The Oxford handbook of music education, 1, (2012); Dunn R., The effect of auditory, visual or kinesthetic perceptual strengths on music listening, Contributions to Music Education, 35, pp. 47-78, (2008); Evans P., Self-determination theory: An approach to motivation in music education, Musicae Scientiae, 19, 1, pp. 65-83, (2015); Fleming N., Teaching and learning styles: VARK strategies, (2006); Fletcher J., Price B., Branen L., Videotaping children and staff in natural environments: Gathering footage for research and teaching, Contemporary Issues in Early Childhood, 11, 2, pp. 219-226, (2010); Frewen K.G., Effects of familiarity with a melody prior to instruction on children’s piano performance accuracy, Journal of Research in Music Education, 57, 4, pp. 320-333, (2010); Hallam S., Approaches to instrumental music practice of experts and novices: Implications for education, Does practice make perfect? 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Crawford; Monash University, Clayton, Australia; email: lydia.wan.research@gmail.com","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-85129410439"
"Iorio C.; Šaban I.; Poulin-Charronnat B.; Schmidt J.R.","Iorio, Claudia (57222597500); Šaban, Iva (57225022986); Poulin-Charronnat, Bénédicte (6508198391); Schmidt, James R (56857826600)","57222597500; 57225022986; 6508198391; 56857826600","Incidental learning in music reading: The music contingency learning task","2023","Quarterly Journal of Experimental Psychology","76","2","","429","449","20","3","10.1177/17470218221092779","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85130502678&doi=10.1177%2f17470218221092779&partnerID=40&md5=770ce2a5f14633da1f69a984c9ecf59e","LEAD—CNRS UMR5022, Université Bourgogne Franche-Comté, Dijon, France","Iorio C., LEAD—CNRS UMR5022, Université Bourgogne Franche-Comté, Dijon, France; Šaban I., LEAD—CNRS UMR5022, Université Bourgogne Franche-Comté, Dijon, France; Poulin-Charronnat B., LEAD—CNRS UMR5022, Université Bourgogne Franche-Comté, Dijon, France; Schmidt J.R., LEAD—CNRS UMR5022, Université Bourgogne Franche-Comté, Dijon, France","The present report investigated whether nonmusicians can incidentally learn musical skills needed for sight-reading. On each trial, participants identified a note name written inside of a note on the musical staff. In Experiment 1, each note was presented frequently with the congruent note name (e.g., “do” with the note for “do”) and rarely with the incongruent names (e.g., “do” with the note for “fa”). With or without deliberate learning instructions, a robust contingency learning effect was observed: faster responses for congruent trials compared with incongruent trials. Participants also explicitly identified the meaning of the note positions more accurately than chance. Experiment 2 ruled out the potential influence of preexisting knowledge on the contingency learning effect by presenting notes most often with an incongruent note name. Robust learning was again observed, suggesting that participants acquired sufficient knowledge of musical notation to produce automatic influences on behaviour (e.g., akin to the interference effect previously found in skilled musicians). A congruency effect was additionally observed in Experiment 2, however. Experiment 3 further explored to what extent this congruency effect might be due to prior music knowledge and/or spatial stimulus–response compatibility between note and response locations (analogous to the SMARC effect). Overall, our results open up new avenues for investigating the incidental learning of complex material, musical or otherwise, and for reinforcing learning even further. © Experimental Psychology Society 2022.","contingency learning; incidental learning; Music cognition; musical Stroop; sight reading; stimulus-response compatibility","Conditioning, Classical; Humans; Learning; Music; conditioned reflex; human; learning; music","","","","","ISITE-BFC, (ANR15-IDEX-0003)","The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This work was supported by the French “Investissements d’Avenir” programme, project ISITE-BFC (contract ANR15-IDEX-0003) to J.R.S. 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Testing the susceptibility of sequence learning to auditory distraction, Journal of Cognition, 2, 1, pp. 1-16, (2018); Waters A.J., Underwood G., Findlay J.M., Studying expertise in music reading: Use of a pattern-matching paradigm, Perception & Psychophysics, 59, 4, pp. 477-488, (1997); Wolf T., A cognitive model of musical sight-reading, Journal of Psycholinguistic Research, 5, 2, pp. 143-171, (1976); Zacks R.T., Hasher L., Frequency processing: A twenty-five year perspective, Etc. Frequency processing and cognition, pp. 21-36, (2002); Zakay D., Glicksohn J., Stimulus congruity and S-R compatibility as determinants of interference in a Stroop-like task, Canadian Journal of Psychology / Revue Canadienne de Psychologie, 39, 3, pp. 414-423, (1985)","C. Iorio; LEAD—CNRS UMR5022, Université Bourgogne Franche-Comté, Dijon, France; email: claudia_iorio@etu.u-bourgogne.fr","","SAGE Publications Ltd","","","","","","17470218","","","35331069","English","Q. J. Exp. Psychol.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-85130502678"
"Žauhar V.; Vidulin S.; Plavšić M.; Bajšanski I.","Žauhar, Valnea (55485266700); Vidulin, Sabina (56047692400); Plavšić, Marlena (37124894300); Bajšanski, Igor (15833796200)","55485266700; 56047692400; 37124894300; 15833796200","The Effect of Ear-Training Approach on Music-Evoked Emotions and Music Liking","2023","Psihologijske Teme","32","1","","81","104","23","1","10.31820/pt.32.1.5","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85159338868&doi=10.31820%2fpt.32.1.5&partnerID=40&md5=5f3562c656405a49aab7947e56bcf476","University of Rijeka, Faculty of Humanities and Social Sciences, Rijeka, Croatia; Juraj Dobrila University of Pula, Academy of Music, Pula, Croatia; Juraj Dobrila University of Pula, Faculty of Humanities, Pula, Croatia","Žauhar V., University of Rijeka, Faculty of Humanities and Social Sciences, Rijeka, Croatia; Vidulin S., Juraj Dobrila University of Pula, Academy of Music, Pula, Croatia; Plavšić M., Juraj Dobrila University of Pula, Faculty of Humanities, Pula, Croatia; Bajšanski I., University of Rijeka, Faculty of Humanities and Social Sciences, Rijeka, Croatia","In this study, we examined differences in music-evoked emotions and music liking between two approaches to teaching ear-training in music school. Participants were 423 pupils (60% female; Mage = 10.55 years, SDage = 0.92) in the third grade. In two ear-training lessons prepared either by the standard (STA) or the multimodal and interdisciplinary cognitive-emotional approach (CEA), pupils listened to a 2-minute excerpt from the 4th movement (Allegro con fuoco) of the Symphony no. 9 in E minor, Op. 95 (“From the New World”) by Antonín Dvořák. The Geneva Emotional Music Scale (GEMS-9, Zentner et al., 2008) was translated and adapted to measure music-evoked emotions. Pupils also reported their music liking. In this study, the original three-factor structure of the GEMS-9 was not replicated, and instead a two-factor solution with factors labelled Activation and Calmness emerged. The results showed that in both groups the music evoked moderate to moderately high Activation and low Calmness. Pupils reported high music liking, however, those who participated in the CEA liked the music more than those who participated in the STA. The listening activities that enrich children’s experiences of classical music in the classroom are discussed. © 2023, University of Rijeka. All rights reserved.","children; ear-training; liking; music school; music-evoked emotions","","","","","","","","Aljanaki A., Wiering F., Veltkamp R. C., Studying emotion induced by music through a crowdsourcing game, Information Processing and Management, 52, pp. 115-128, (2016); Anderson W. T., Mindful music listening instruction increases listening sensitivity and enjoyment, Update: Applications of Research in Music Education, 34, 3, pp. 48-55, (2016); Andrade P. E., Vanzella P., Andrade O. V., Schellenberg E. G., Associating emotions with Wagner’s music: A developmental perspective, Psychology of Music, 45, 5, pp. 752-760, (2017); Andreis J., Povijest glazbe [History of music], (1989); Baltes F. R., Avram J., Miclea M., Miu A. 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"Isakova Y.D.; Suslova N.V.","Isakova, Yulia D. (59508006200); Suslova, Nelly V. (57221751437)","59508006200; 57221751437","QUEST-TECHNOLOGIES IN THE SYSTEM OF RUSSIAN MUSICAL EDUCATION; [КВЕСТ-ТЕХНОЛОГИИ В СИСТЕМЕ ОТЕЧЕСТВЕННОГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ]","2024","Musical Art and Education","12","2","","167","184","17","0","10.31862/2309-1428-2024-12-2-167-184","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85214559212&doi=10.31862%2f2309-1428-2024-12-2-167-184&partnerID=40&md5=a650ab081c5f381400b391197fda836b","Moscow Music and Pedagogical College, Moscow, 111250, Russian Federation; Corporate University for Education Development, Moscow region, 141006, Russian Federation","Isakova Y.D., Moscow Music and Pedagogical College, Moscow, 111250, Russian Federation; Suslova N.V., Corporate University for Education Development, Moscow region, 141006, Russian Federation","The article considers the issues of application of quest-technologies in the conditions of the Russian system of music education. Since the beginning of the 21st century, pedagogical quest-technologies have gone from isolated attempts to test advanced foreign experience to widespread practice of application. A significant amount of accumulated practical experience makes it necessary to provide appropriate theoretical understanding, clarify the classification of types and kinds of quests, analyze their internal structure and patterns. In the system of additional music education for children, the most widespread type of short-term team quests “in reality” dedicated to the work of famous composers, which are held in the form of competitive or credit events within the framework of the courses “Listening to Music” and “Musical Literature”. The article compares the specifics of organizing quests in music and general education schools, considers the main problems associated with their implementation. Relevant experience is revealed in the context of training students of the Music and Pedagogical College. The practice of creating amateur quest-films by a student-teacher creative team, intended for holding solfeggio Olympiads is summarized. Conclusions are formulated about the most effective forms of such work. © Исакова Ю.Д., Суслова Н. В.","college; education; future music teachers; game; music; music school; quest; solfeggio","","","","","","","","Anglo-russkii slovar’ [English-Russian Dictionary], (1972); Ya Propp V., Morfologiya volshebnoi skazki [Morphology of a Fairy Tale], (2003); Nauchnaya elektronnaya biblioteka elibrary.ru [Scientific Electronic Library elibrary.ru]; Faritov A. T., Nekotorye aspekty klassifikatsii i primeneniya kvest-igr v shkole [Some Aspects of Classification and Application of Quest-Games in School, Shkol’nye tekhnologii [School Technologies], 4, pp. 90-95, (2018); Sokol I. 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A., Igry uchashchikhsya – fenomen kul’tury [Student Games – A Cultural Phenomenon], (1994); Donkovtseva A. A., Vliyanie kvestov v real’nosti kak sovmestnoi igrovoi deyatel’nosti na uroven’ trevozhnosti i agressivnosti i ikh proyavlenie v mezhlichnostnom vzaimodeistvii [The Influence of Quests in Reality as a Joint Gaming Activity on the Level of Anxiety and Aggressiveness and Their Manifestation in Interpersonal Interaction, (2019); Reprintseva E. A., Khomutova O. M., Resursy igrovogo kvesta v korrektsii mezhlichnostnykh otnoshenii slabovidyashchikh mladshikh shkol’nikov [Resources of the Game-Quest in the Correction of Interpersonal Relationships of Visually Impaired Younger Schoolchildren, Uchenye zapiski. Elektronnyi nauchnyi zhurnal Kurskogo gosudarstvennogo universiteta [Scientific Notes. Electronic Scientific Journal of Kursk State University], 3, 63, pp. 151-165, (2022); Naumova T. A., Baranov A. A., Tarakanov Ya. L., Razvitie liderskikh kachestv u studentov vuza [Development of Leadership Qualities Among University Students], Internet-zhurnal Naukovedenie [Online Journal of Science Studies], 7, 4, (2015); Lozinskaya O. A., Kazakova L. P., Shalimova A. M., Obrazovatel’nyi psikhologicheskii kvest kak sposob strukturirovaniya uchebno-professional’nykh zadach v kontekste razvitiya stressoustoichivosti kursantov [Educational Psychological Quest as a Way of Structuring Educational and Professional Tasks in the Context of the Development of Stress Resistance of Cadets, Voennyi akademicheskii zhurnal [Military Academic Journal], 3, 31, pp. 71-79, (2021)","","","Moscow Pedagogical State University","","","","","","23091428","","","","English","Musical Art Educ.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85214559212"
"Ouyang M.","Ouyang, Ming (57948717700)","57948717700","Employing Mobile Learning in Music Education","2023","Education and Information Technologies","28","5","","5241","5257","16","17","10.1007/s10639-022-11353-5","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85140977771&doi=10.1007%2fs10639-022-11353-5&partnerID=40&md5=44a14f35bd6fc4ee8ccef2d47b8eb8a3","Faculty of Medicine, YongZhou Vocational Technical College, Yongzhou, China","Ouyang M., Faculty of Medicine, YongZhou Vocational Technical College, Yongzhou, China","This study sought to evaluate the effectiveness of introducing digital software in music education to improve academic performance and solfeggio class attendance. To assess academic performance, a test consisting of 25 theoretical questions and 25 practical tasks was developed. The Bologna model was used as an assessment system. The groups were compared by calculating the Student’s t-test in terms of the “Test Score” and “Missed Classes” parameters. The collected data revealed that the mean score for the experimental group was 87.50 out of 100, while in the control group, it was much lower, namely 65.37. Likewise, the control group was characterized by satisfactory (D) performance in mastering solfeggio, with the mean score ranging between 64 and 73, whereas experimental group participants had an average of 82–89. The statistical data processing results showed that the six-month use of the ChordIQ app contributed to more effective mastering of solfeggio by amateur musicians. At the same time, the difference between the groups turned out to be significant in both cases, so the research hypothesis was confirmed for both of them (p < 0.05). Overall, the results showed that ChordIQ is a useful mobile app teaching the user music in an exciting and interactive way. The findings collected can be used to update traditional solfeggio curricula, conduct scientific studies in the field of interactive music education, as well as create new dedicated software. © 2022, The Author(s), under exclusive licence to Springer Science+Business Media, LLC, part of Springer Nature.","Aesthetic education; Educational motivation; Mobile application; Mobile learning; Music education; Solfeggio","","","","","","Baltimore Polycystic Kidney Disease Research and Clinical Core Center; National Institute of Diabetes and Digestive and Kidney Diseases, NIDDK, (P30DK090868); Japan Society for the Promotion of Science, KAKEN; Chinook Therapeutics","These experiments were funded by a sponsored research agreement from Chinook Therapeutics and The Baltimore Polycystic Kidney Disease Research and Clinical Core Center (NIDDK, P30DK090868). Additional support was from the Japan Society for the Promotion of Science (JSPS) Postdoctoral Fellowships for Research Abroad and The Osamu Hayaishi Memorial Scholarship for Study Abroad (Y.M.). ","Affifi R., Beauty in the darkness: Aesthetic education in the ecological crisis, Journal of Philosophy of Education, 54, 4, pp. 1126-1138, (2020); Amadio M., Truong N., Tschurenev J., Instructional time and the place of aesthetic education in school curricula at the beginning of the twenty-first century, UNESCO International Bureau of Education, (2006); Aufderheide P., Media literacy: From a report of the national leadership conference on media literacy, In Media Literacy in the Information Age, pp. 79-86, (2018); Ayhan A., Ertekin B., Uluslararası Eğitim Teknolojileri Sempozyumu, An Evaluation on Solfeggio Training Studies through Notation Videos: An Example of Musicolage, pp. 25-38, (2017); Baskerville D., Integrating on-line technology into teaching activities to enhance student and teacher learning in a New Zealand primary school, Technology Pedagogy and Education, 21, 1, pp. 119-135, (2012); Birch H.J.S., Music learning in an online affinity space: Using a mobile application to create interactions during independent musical instrument practice, (2018); Bond A., Learning music online an accessible learning program for isolated students., (2002); Chen C.W.J., Mobile learning: Using application Auralbook to learn aural skills, International Journal of Music Education, 33, 2, pp. 244-259, (2015); Cho S., Baek Y., Choe E.J., A strategic approach to music listening with a mobile app for high school students, International Journal of Music Education, 37, 1, pp. 132-141, (2019); Costa H., Stoltz T., da Silva T.F.B.X., Relationship between aesthetics, education and design: The aesthetic education, Atos de Pesquisa em Educação, 15, 1, pp. 1185-1204, (2021); D'olimpio L., Defending aesthetic education, British Journal of Educational Studies, 70, 3, pp. 263-279, (2022); da Silva R.S.R., On music production in mathematics teacher education as an aesthetic experience, Zdm Mathematics Education, 52, 5, pp. 973-987, (2020); Debevc M., Weiss J., Sorgo A., Kozuh I., Solfeggio learning and the influence of a mobile application based on visual, auditory and tactile modalities, British Journal of Educational Technology, 51, 1, pp. 177-193, (2020); Demirtas E., Ozcelik S., Music students’ use of mobile applications for learning purposes, International Journal of Modern Education Studies, 5, 2, pp. 299-325, (2021); Denac O., The significance and role of aesthetic education in schooling, Creative Education, 5, 19, (2014); Drigas A.S., Angelidakis P., Mobile applications within education: An overview of application paradigms in specific categories, International Journal of Interactive Mobile Technologies, 11, 4, pp. 17-29, (2017); Fingerhut J., Gomez-Lavin J., Winklmayr C., Prinz J.J., The aesthetic self. the importance of aesthetic taste in music and art for our perceived identity, Frontiers in Psychology, 11, (2021); Han Y., Using Mobile Applications in the Study of Vocal Skills. 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Działania edukacyjne muzeów i centrów nauki, Rocznik Naukowy Kujawsko-Pomorskiej Szkoły Wyższej w Bydgoszczy Transdyscyplinarne Studia o Kulturze (i) Edukacji, 11, pp. 290-307, (2016); Paule-Ruiz M., Alvarez-Garcia V., Perez-Perez J.R., Alvarez-Sierra M., Trespalacios-Menendez F., Music learning in preschool with mobile devices, Behaviour & Information Technology, 36, 1, pp. 95-111, (2017); Rohde J., Jakel H., Pfeifer V., Zuchner I., Thole W., Kulturell-ästhetische kinder-und jugendbildung und digitalisierung, Soziale Passagen, 11, 2, pp. 369-374, (2019); Sala G., Gobet F., When the music’s over. Does music skill transfer to children’s and young adolescents’ cognitive and academic skills? A meta-analysis, Educational Research Review, 20, pp. 55-67, (2017); Serykh L.V., Methodological bases of interaction of general educational and out of school educational institutions in aesthetic education of schoolchildren, World Science, 5, pp. 30-34, (2016); Steinberg C., Zuhlke M., Bindel T., Jenett F., Aesthetic education revised: A contribution to mobile learning in physical education, German Journal of Exercise and Sport Research, 50, 1, pp. 92-101, (2020); Uhrmacher P.B., Toward a theory of aesthetic learning experiences, Curriculum Inquiry, 39, 5, pp. 613-636, (2009); Vorontsov С.О., Mobile devices in teaching information technologies at institutions of higher art education, Information Technologies and Learning Tools, 83, 3, pp. 100-112, (2021); Yan Y., Laozi’s aesthetic education philosophy on self-education, Journal of Contemporary Educational Research, 5, 8, pp. 225-228, (2021); Yang J.S., Cheng C.W., A pitch perception training game in VR environment for enhancing music learning motivation, 2020 IEEE International Conference on Consumer Electronics-Taiwan (Icce-Taiwan, pp. 1-2, (2020); Yildiz E.P., Isman A., Quality content in distance education, Universal Journal of Educational Research, 4, 12, pp. 2857-2862, (2016); Yun Y.T., Thiruvarul S., Understanding the potential of music learning application as a tool for learning and practicing musical skills, International Journal of Creative Multimedia, 2, 1, pp. 42-56, (2021); Zhang B., The college aesthetic education teaching and students’ psychological mechanism development in network age, International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14, pp. 232-235, (2014); Zhang J., Chen B., Study of mobile aesthetic education: A perspective of internet plus, Journal of East China Normal University, 35, 5, pp. 109-116, (2017)","M. Ouyang; Faculty of Medicine, YongZhou Vocational Technical College, Yongzhou, China; email: mingquyang7@yahoo.com","","Springer","","","","","","13602357","","","","English","Educ. Inf. Technol.","Article","Final","All Open Access; Bronze Open Access; Green Open Access","Scopus","2-s2.0-85140977771"
"Shrestha S.; Laudari S.; Gnawali L.","Shrestha, Sagun (57193376262); Laudari, Suman (57205718179); Gnawali, Laxman (57189028251)","57193376262; 57205718179; 57189028251","Exploratory action research: Experiences of Nepalese EFL teachers","2023","ELT Journal","77","4","","407","415","8","5","10.1093/elt/ccac029","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85168260433&doi=10.1093%2felt%2fccac029&partnerID=40&md5=8b67e3eec83f2866c3f276f1460002df","School of Applied Language and Intercultural Studies in Dublin City University, Ireland; University of Technology Sydney (UTS), Australia; Department of English Education, Kathmandu University, Nepal","Shrestha S., School of Applied Language and Intercultural Studies in Dublin City University, Ireland; Laudari S., University of Technology Sydney (UTS), Australia; Gnawali L., Department of English Education, Kathmandu University, Nepal","The number of reports and publications about exploratory action research (EAR) has been increasing in recent years; however, there is still a dearth of studies that examine its effectiveness for improving teaching and learning. This study explores Nepalese EFL teachers' perceptions of EAR, the ways they explored their classroom issues, and how they acted to improve their classroom practices through involvement in an online EAR training course for a year. The data collected from interviews and the teachers' written reports show that these teachers found EAR to be an effective approach to explore their classroom puzzles or problems and develop informed, context-sensitive strategies to solve these. The findings of this study are relevant for teachers, teacher educators, and education policymakers in providing insights into the value of EAR for bringing about changes in teaching and learning situations.  © 2022 The Author(s). Published by Oxford University Press.","exploration; exploratory action research; intervention; Nepalese teachers; teacher-researcher","","","","","","","","Admirral W., Smit B., Zwart R., Models and Design Principles for Teacher Research, IB Journal of Teaching Practice, 2, 1, pp. 1-7, (2014); Allwright D., Exploratory Practice: Rethinking Practitioner Research in Language Teaching, Language Teaching Research, 7, 2, pp. 113-141, (2003); Bekes E., A Handbook for Exploratory Action Research (Review), ELT Journal, 73, 2, pp. 232-234, (2019); Braun V., Clarke V., Using Thematic Analysis in Psychology, Qualitative Research in Psychology, 3, 2, pp. 77-101, (2006); Chapagain B., Exploratory Action Research for Teachers, (2018); Dikilitas K., Comoglu I., Pre-Service English teachers Reflective Engagement with Stories of Exploratory Action Research, European Journal of Teacher Education, pp. 1-17, (2020); Gnawali L., Laudari S., Shrestha S., Exploratory Action Research: Stories of Nepalese EFL Teachers, (2021); Hanks J., Exploratory Practice in Language Teaching: Puzzling About Principles and Practices, (2017); Johnson K. E., Trends in Second Language Teacher Education, The Cambridge Guide to Second Language Teacher Education, (2009); Moran K., Student-To-Student Legacies in Exploratory Action Research, ELT Journal, 71, 3, pp. 305-316, (2017); Negi J. S., Exploring for Action, Acting for Change: Stories of Exploratory Action Research in Nepal, (2019); Rebolledo P., Smith R., Bullock D., Champion Teachers: Stories of Exploratory Action Research, (2016); Shrestha S., Gnawali L., Laudari S., Issues of Participant Retention in an Online Course for English as a Foreign Language Teachers, International Journal of Research in English Education, 7, 1, pp. 86-98, (2022); Smith R., Exploratory Action Research as Workplan: Why, What and Where From, Teacher-Researchers in Action, (2015); Smith R., Rebolledo P., A Handbook for Exploratory Action Research, (2018)","S. Shrestha; School of Applied Language and Intercultural Studies in Dublin City University, Ireland; email: sagunshrestha4@gmail.com","","Oxford University Press","","","","","","09510893","","","","English","ELT J.","Article","Final","All Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85168260433"
"Garland K.; Ronan M.; Bassett M.","Garland, Kevin (57219173623); Ronan, Malachy (56406955100); Bassett, Mark (55354951800)","57219173623; 56406955100; 55354951800","A Multitrack Technical Ear Trainer","2024","AES: Journal of the Audio Engineering Society","72","11","","825","834","9","0","10.17743/jaes.2022.0177","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85212338378&doi=10.17743%2fjaes.2022.0177&partnerID=40&md5=75e748303653ac9a35fd46cd932a6ea7","Centre for Creative Informatics, Technological University of the Shannon, Limerick, Ireland; Charles Sturt University, Bathurst, NSW, Australia","Garland K., Centre for Creative Informatics, Technological University of the Shannon, Limerick, Ireland; Ronan M., Centre for Creative Informatics, Technological University of the Shannon, Limerick, Ireland; Bassett M., Charles Sturt University, Bathurst, NSW, Australia","Technical ear training programs generally focus on engaging learners in tasks to increase their sensitivity to various auditory attributes. However, very little work has been done on integrating ear training into a multitrack environment where contextual factors dictate the employment and configuration of audio processing tools for mixing engineers. For novice audio engineers, transference of critical listening skills to multitrack scenarios within a conventional digital audio workstation may prove challenging without guidance from an experienced engineer. This report describes the design and development of ReFlow, a novel reverberation training prototype that embeds technical ear training within a dedicated multitrack environment to facilitate bespoke matching tasks based on expert performance. Expert performance is communicated to the end user via traditional and cognitive apprenticeship methods in which learners recall parameter configurations in the context of a multitrack mix while engaging with underlying conceptual knowledge provided by the modeled engineer. © 2024 Audio Engineering Society. All rights reserved.","","Audition; Personnel training; Audio processing; Contextual factors; Design and Development; Digital audio; End-users; Expert performance; Matchings; Processing tools; Task-based; Training program; Reverberation","","","","","","","Savage S., Mixing and Mastering in the Box: The Guide to Making Great Mixes and Final Masters on Your Computer, (2014); Lefford M. N., Bromham G., Fazekas G., Moffat D., Context-Aware Intelligent Mixing Systems, J. Audio Eng. Soc, 69, 3, pp. 128-141, (2021); Verfaille V., Holters M., Zolzer U., Introduction, DAFX: Digital Audio Effects, pp. 1-43, (2011); Wilmering T., Fazekas G., Sandler M. B., Audio Effect Classifıcation Based on Auditory Perceptual Attributes, the 135th Convention of the Audio Engineering Society, (2013); Corey J., Audio Production and Critical Listening: Technical Ear Training, (2010); Elmosnino S., A Review of Literature in Critical Listening Education, J. Audio Eng. Soc, 70, 5, pp. 328-339, (2022); Quesnel R., Woszczyk W. R., A Computer-Aided System for Timbral Ear Training, the 96th Convention of the Audio Engineering Society, (1994); Bassett M., Martens W. L., SAE Parametric Equaliser Training: Development of a Technical Ear Training Program using Max, the 141st Convention of the Audio Engineering Society, (2016); Noise Zipper, FREQUIA; Audio Ear Training and Learning Center for Producers and Engineers; Martin D., Massenburg G., King R., Dynamic Range Controller Ear Training: Description of a Methodology, Software Application, and Required Stimuli, the 143rd Convention of the Audio Engineering Society, (2017); Brezina P., Perspectives of Advanced Ear Training Using Audio Plug-Ins, J. Audio Eng. Soc, 69, 5, pp. 351-358, (2021); Corey J., Beyond Splicing: Technical Ear Training Methods Derived from Digital Audio Editing Techniques, the 123rd Convention of the Audio Engineering Society, (2007); Corey J., Benson D. H., Technical Ear Trainer; Indelicato M. J., Hochgraf C., Kim S., How Critical Listening Exercises Complement Technical Courses to Effectively Provide Audio Education for Engineering Technology Students, 137th Convention of the Audio Engineering Society, (2014); Bassett M., Precursor Criteria for Assessing the Effectiveness of Technical Ear Training Programs, Proceedings of the AES International Audio Education Conference, (2021); Andrianopoulou M., Aural Education: Reconceptualising Ear Training in Higher Music Learning, (2019); Martin D., Massenburg G., Advanced Technical Ear Training: Development of an Innovative Set of Exercises for Audio Engineers, the 139th Convention of the Audio Engineering Society, (2015); McNally K., Seay T., Thompson P., What the Masters Teach Us: Multitrack Audio Archives and Popular Music Education, The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices, pp. 113-126, (2019); Garland K., Ronan M., Defining Reverberation Plugin Structure: A Comparative Exploration of System Design and Expert Knowledge in an Audio Education Context, the 151st Convention of the Audio Engineering Society, (2021); Garland K., Ronan M., Bassett M., Embedding Observation in Audio Education Software: A Preliminary Perspective, Proceedings of the AES International Conference on Audio Education, (2023); Bourbon A., Studying Mixing: Creating a Contemporary Apprenticeship, The Bloomsbury Handbook of Music Production, pp. 337-346, (2020); Davis R., Parkers S., Collaboration, Creativity, and Communities of Practice: Music Technology Courses as a Gateway to the Industry, Proceedings of the AES 50th International Conference on Audio Education, (2013); Dennen V. P., Burner K. J., The Cognitive Apprenticeship Model in Educational Practice, Handbook of Research on Educational Communications and Technology, pp. 425-439, (2007); Collins A., Brown J. S., Holum A., Cognitive Apprenticeship: Making Thinking Visible, Am. Educ, 15, 3, pp. 1-18, (1991); Murray S., Ryan J., Pahl C., A Tool-mediated Cognitive Apprenticeship Approach for a Computer Engineering Course, Proceedings of the 3rd IEEE International Conference on Advanced Technologies, pp. 2-6, (2003); Moradi M., Liu L., Luchies C., Patterson M. M., Darban B., Enhancing Teaching-Learning Effectiveness by Creating Online Interactive Instructional Modules for Fundamental Concepts of Physics and Mathematics, Educ. Sci, 8, 3, (2018); Jarodzka H., Van Gog T., Dorr M., Scheiter K., Gerjets P., Learning to See: Guiding Students’ Attention via a Model’s Eye Movements Fosters Learning, Learn. Instr, 25, pp. 62-70, (2013); Sun X., Byrns S., Cheng I., Zheng B., Basu A., Smart Sensor-Based Motion Detection System for Hand Movement Training in Open Surgery, J. Med. Syst, 41, 24, (2017); Kritopoulou P., Manitsaris S., Moutarde F., Towards the Design of Augmented Feed for wardand Feedback for Sensorimotor Learning of Motor Skills, Proceedings of the 3rd International Symposium on Movement and Computing (MOCO), pp. 1-4, (2016); Casey C., Incorporating Cognitive Apprenticeship in Multi-Media, Educ. Technol. Res. Dev, 44, 1, pp. 71-84, (1996); Dickey M. D., Integrating Cognitive Apprenticeship Methods in a Web-Based Educational Technology Course for P-12 Teacher Education, Comput. Educ, 51, 2, pp. 506-518, (2008); Wang F.-K., Bonk C. J., A Design Framework for Electronic Cognitive Apprenticeship, JALN, 5, 2, pp. 131-151, (2001); Ko J., Ko E., Integrating Gamification Into Future Educational Leadership Education: A Case of Cognitive Apprenticeship for Inexperienced Learners, Proceedings of the 25th Global Chinese Conference on Computers in Education (GCCCE), pp. 80-84, (2021); Ni She C., Farrell O., Brunton J., Costello E., Integrating Design Thinking Into Instructional Design: The #OpenTeach Case Study, Australas. J. Educ. Tech, 38, 1, pp. 33-52, (2021); The’Mixing Secrets’ Free Multitrack Download Library; Alshammari T., Alhadreti O., Mayhew P., When to Ask Participants to Think Aloud: A Comparative Study of Concurrent and Retrospective Think-Aloud Methods, Int. J. Hum. Comput. Interact, 6, 3, pp. 48-64, (2015); Hahn J., Ludwig B., Wolff C., Augmented Reality-Based Training of the PCB Assembly Process, Proceedings of the 14th International Conference on Mobile and Ubiquitous Multimedia (MUM), pp. 395-399, (2015); Izhaki R., Mixing Audio: Concepts, Practices, and Tools, (2017); Kuo F.-R., Hwang G.-J., Chen S.-C., Chen S. Y., A Cognitive Apprenticeship Approach to Facilitating Web-Based Collaborative Problem Solving, J. Educ. Technol. Soc, 15, 4, pp. 319-331, (2012); Alger C., Kopcha T. J., Technology Supported Cognitive Apprenticeship Transforms the Student Teaching Field Experience: Improving the Student Teaching Field Experience for All Triad Members, Teach. Educat, 46, 1, pp. 71-88, (2010); Moffat D., Sandler M. B., Approaches in Intelligent Music Production, Arts, 8, 4, (2019); Mitcheltree C., Koike H., SerumRNN: Step by Step Audio VST Effect Programming, Artificial Intelligence in Music, Sound, Art and Design, EvoMUSART, Lecture Notes in Computer Science, pp. 218-234, (2021); Moorer J. A., Audio in the New Millennium, J. Audio Eng. Soc, 48, 5, pp. 490-498, (2000); Gordon W., Considering Best Practices in Technical Ear Training, (JATMI), 2, 1, (2021); Porcello T., Speaking of Sound: Language and the Professionalization of Sound-Recording Engineers, Soc. Stud. Sci, 34, 5, pp. 733-758, (2004)","K. Garland; Centre for Creative Informatics, Technological University of the Shannon, Limerick, Ireland; email: kevin.garland@tus.ie","","Audio Engineering Society","","","","","","15494950","","JAEAF","","English","AES J Audio Eng Soc","Article","Final","","Scopus","2-s2.0-85212338378"
"van Tour P.","van Tour, Peter (57194580092)","57194580092","Solfeggi as Models for Instruction in Counterpoint and Fugue","2024","Music Theory And Analysis","11","1","","118","145","27","0","10.11116/MTa.11.1.6","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85209587941&doi=10.11116%2fMTa.11.1.6&partnerID=40&md5=024dad58c873b82af75110061cd839ab","University of Örebro, Sweden","van Tour P., University of Örebro, Sweden","This essay makes a contribution to our current understanding of how solfeggi were used in the Neapolitan conservatories in the late eighteenth century. To this end, I investigate how this repertoire was used and applied, both in practice and in written counterpoint. Through documentary evidence derived from student counterpoint notebooks, the article reveals how themes in solfeggi by well-known masters were reused and adapted in lessons of written counterpoint. These findings suggest that vocal repertoires that were sung in these pedagogical milieus were borrowed by teachers and students through techniques of transformation and adaptation in order to be reused in new compositions. © Peter van Tour and Leuven University Press.","Compositional Theory; Counterpoint; Partimento; School of Durante; School of Leo; Solfeggio","","","","","","","","Baragwanath Nicholas, The Solfeggio Tradition: A Forgotten Art of Melody in the Long Eighteenth Century, (2020); Peeters Paul, The Organ Yearbook: A Journal for the Players and Historians of Keyboard Instruments, 49, pp. 93-123, (2020); van Tour Peter, The 189 Partimenti of Nicola Sala: Complete Edition with Critical Commentary, (2017); Tour Van, The 189 Partimenti, 3, pp. 380-381; Choron Alexandre-Etienne, Principes de composition des Écoles d’Italie pour servir à l’instruction des des Elèves des Maîtrises de Cathédrales, 1, (1808); The section of the solfeggio by Leonardo Leo that I refer to appears in I-Mc Noseda P, 17-2, 18; Van Tour Peter, The 189 Partimenti of Nicola Sala. Complete Edition with Critical Commentary, 1, pp. 148-149, (2017); Peter Burkholder J., Musical Borrowing and Reworking; Meconi Honey, Early Musical Borrowing, (2004); Tour Van, Concatenating, pp. 106-123; van Tour Peter, Improvised and Written Canons in Eighteenth-Century Neapolitan Conservatories, Journal of the Alamire Foundation, pp. 133-146, (2018); Tour Van, Counterpoint, pp. 239-240; D-B Mus. Ms. Theor, 1, pp. 31r-48v; The Solfeggio Tradition, pp. 352-354; van Tour Peter, The Teaching of Counterpoint and Partimento in the School of Francesco Feo, Basso Continuo in Italy: Sources, Pedagogy, and Performance, pp. 211-228, (2023); Salini Giovanni Antonio, Principj di contropunto della schuola del Sig.r D. Francesco Durante, (1759); van Tour Peter, Learning Counterpoint through Partimenti and Disposizioni, The Organ Yearbook: A Journal for the Players and Historians of Keyboard Instruments, 47, pp. 79-98, (2019); Neuwirth Markus, Is there an Implicit Formenlehre in Fedele Fenaroli’s Solfeggi? Punctuation Schemes, Formal Functions, and Voice-Leading Schemata, Studi Pergolesiani/Pergolesi Studies, 11, pp. 29-57, (2020); Gortan-Carlin Ivana Paula, Zbirka Glazbenih Rukopisa iz Settecenta u Zavičajnom Muzeju poreštine” [Music Manuscript Collection from the Eighteenth Century in the Museum of the Porec Territory, Arti Musices, 50, 1–2, pp. 75-116, (2019); I have identified Francesco Durante’s Solfeggio in G major in the collections D-MÜs SANT Hs; van Tour Peter, UUSolf, The Uppsala Solfeggio Database","","","Leuven University Press","","","","","","22955917","","","","English","Music Theory Anal.","Article","Final","","Scopus","2-s2.0-85209587941"
"Schmidt J.R.; Iorio C.; Poulin-Charronnat B.","Schmidt, James R. (56857826600); Iorio, Claudia (57222597500); Poulin-Charronnat, Bénédicte (6508198391)","56857826600; 57222597500; 6508198391","Automatizing Sight Reading: Contingency Proportion and Task Relevance in the Music Contingency Learning Procedure","2023","Collabra: Psychology","9","1","89743","","","","2","10.1525/collabra.89743","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85180343322&doi=10.1525%2fcollabra.89743&partnerID=40&md5=11f272ea9d6357a8c53312cae2a93ef2","LEAD, CNRS UMR5022, Université Bourgogne Franche-Comté, Dijon, France","Schmidt J.R., LEAD, CNRS UMR5022, Université Bourgogne Franche-Comté, Dijon, France; Iorio C., LEAD, CNRS UMR5022, Université Bourgogne Franche-Comté, Dijon, France; Poulin-Charronnat B., LEAD, CNRS UMR5022, Université Bourgogne Franche-Comté, Dijon, France","Learning to read and play music written in standard notation, termed sight reading, is an important yet difficult aspect of early music education. However, the music contingency learning procedure produces rapid and robust early learning of the motor execution associated with note positions. In this task, nonmusicians identify a note name (e.g., “do”) written inside a note in one of the vertical positions of the musical staff with a keyboard response. Each note position is presented frequently with the matching (congruent) note name and rarely with the incongruent note names. The present work further explores this novel learning paradigm. In Experiment 1, we manipulated the proportion of congruent trials from 50 to 100%. The contingency effect, along with contingency awareness (i.e., verbalizable knowledge of note meanings), increased with a stronger contingency manipulation. In Experiment 2, half of the participants responded to the note positions (instead of the note names) with a keyboard response. A learning effect was also observed for this task, though contingency awareness was reduced in this group. These results shed more light on the properties of incidental music learning and further suggest more ideal parameters for future practical applications to supplement traditional instruction in real-world music education. © 2023 University of California Press. All rights reserved.","contingency learning; incidental learning; music cognition; proportions; sight reading; task relevance","","","","","","ISITE-BFC, (ANR15-IDEX-0003)","This work was supported by the French “Investissements d’Avenir” program, project ISITE-BFC (contract ANR15-IDEX-0003) to James R. Schmidt. ","Anderson J.N., Effects of tape-recorded aural models on sight-reading and performance skills, Journal of Research in Music Education, 29, 1, pp. 23-30, (1981); Ariga A., Saito S., Spatial–musical association of response codes without sound, Quarterly Journal of Experimental Psychology, 72, 9, pp. 2288-2301, (2019); Bachem A., Absolute pitch, Journal of the Acoustical Society of America, 27, 6, pp. 1180-1185, (1955); Barry N.H., The effects of practice strategies, individual differences in cognitive style, and gender upon technical accuracy and musicality of student instrumental performance, Psychology of Music, 20, 2, pp. 112-123, (1992); Barry N.H., A qualitative study of applied music lessons and subsequent student practice sessions, Contributions to Music Education, 34, pp. 51-65, (2007); Berry D.C., Dienes Z., Implicit learning: Theoretical and empirical issues, (1993); Bigand E., Perruchet P., Boyer M., Implicit learning of an artificial grammar of musical timbres, Current Psychology of Cognition, 17, pp. 577-600, (1998); Bly B.M., Carrion R.E., Rasch B., Domain-specific learning of grammatical structure in musical and phonological sequences, Memory & Cognition, 37, 1, pp. 10-20, (2009); Boyle J.D., The effect of prescribed rhythmical movements on the ability to read music at sight, Journal of Research in Music Education, 18, 4, pp. 307-318, (1970); Brandon M., Terry J., Stevens C.J., Tillmann B., Incidental learning of temporal structures conforming to a metrical framework, Frontiers in Psychology, 3, (2012); Brodsky W., Kessler Y., The effect of beam slope on the perception of melodic contour, Acta Psychologica, 180, pp. 190-199, (2017); Carter C.E., Grahn J.A., Optimizing music learning: Exploring how blocked and interleaved practice schedules affect advanced performance, Frontiers in Psychology, 7, (2016); Cheesman J., Merikle P.M., Distinguishing conscious from unconscious perceptual processes, Canadian Journal of Psychology, 40, 4, pp. 343-367, (1986); Cleeremans A., Destrebecqz A., Boyer M., Implicit learning: News from the front, Trends in Cognitive Sciences, 2, 10, pp. 406-416, (1998); Crump M.J.C., Logan G.D., Kimbrough J., Keeping an eye on guitar skill: Visual representations of guitar chords, Music Perception, 30, 1, pp. 37-47, (2012); Deutsch D., Absolute pitch, The Psychology of Music, pp. 141-182, (2013); Drost U.C., Rieger M., Brass M., Gunter T.C., Prinz W., Action-effect coupling in pianists, Psychological Research, 69, 4, pp. 233-241, (2005); Drost U.C., Rieger M., Brass M., Gunter T.C., Prinz W., When hearing turns into playing: Movement induction by auditory stimuli in pianists, Quarterly Journal of Experimental Psychology, 58 A, 8, pp. 1376-1389, (2005); Emond B., Comeau G., Cognitive modelling of early music reading skill acquisition for piano: A comparison of the Middle-C and Intervallic methods, Cognitive Systems Research, 24, pp. 26-34, (2013); Ferster C.B., Skinner B.F., Schedules of reinforcement, Appleton-Century-Crofts, (1957); Forrin N.D., MacLeod C.M., Contingency proportion systematically influences contingency learning, Attention, Perception, & Psychophysics, 80, 1, pp. 155-165, (2018); Geukes S., Vorberg D., Zwitserlood P., Disentangling semantic and response learning effects in color-word contingency learning, Plos One, 14, 5, (2019); Grant S.C., Logan G.D., The loss of repetition priming and automaticity over time as a function of degree of initial learning, Memory & Cognition, 21, 5, pp. 611-618, (1993); Gregoire L., Perruchet P., Poulin-Charronnat B., The musical Stroop effect: Opening a new avenue to research on automatisms, Experimental Psychology, 60, 4, pp. 269-278, (2013); Gregoire L., Perruchet P., Poulin-Charronnat B., Is the musical Stroop effect able to keep its promises? 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Schmidt; Université de Bourgogne, LEAD, CNRS UMR5022, Pôle AAFE, Dijon, 11 Esplanade Erasme, 21000, France; email: james.schmidt@u-bourgogne.fr","","University of California Press","","","","","","24747394","","","","English","Collabra Phychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85180343322"
"Gill A.; Osborne M.; McPherson G.","Gill, Anneliese (59806222000); Osborne, Margaret (8550383800); McPherson, Gary (23668231200)","59806222000; 8550383800; 23668231200","Sources of self-efficacy in class and studio music lessons","2024","Research Studies in Music Education","46","1","","4","27","23","5","10.1177/1321103X221123234","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85139386554&doi=10.1177%2f1321103X221123234&partnerID=40&md5=298506a8776cc3630d4b07d100521e57","The University of Melbourne, Australia","Gill A., The University of Melbourne, Australia; Osborne M., The University of Melbourne, Australia; McPherson G., The University of Melbourne, Australia","Self-efficacy is a key factor in performance success, yet little is known about how music educators nurture students’ self-belief within studio and class music lessons. This study explored teachers’ perceptions of pedagogical priorities in the development of self-efficacy. The goal was to understand how teachers intuitively nurture students’ performance self-efficacy and determine the optimal means by which positive self-perceptions and subsequent musical achievement could be most effectively fostered within music environments. Australian music educators (n = 304) responded to a questionnaire asking them to share their strategies for helping students cope with common performance scenarios (exam, first concert, negative experience, and sub-par performance) and key performance issues such as music performance anxiety and confidence. Qualitative analyses coded to the four self-efficacy sources revealed that teachers preferred to focus on mastery experiences and employ verbal persuasion. The development of vicarious experience or the psychological performance skills that would benefit physiological and affective states were given substantially lower priority. There were also some significant between-group findings in the way that studio and school classroom teachers employed verbal persuasion which may be a reflection of the different teaching environments. Efforts to enhance performance self-efficacy could focus on the less-utilized sources. Further recommendations and implications for music pedagogy are outlined. © The Author(s) 2022.","anxiety; music education; performance; psychological skills; self-efficacy; studio teaching","","","","","","","","Aitchison R.A., The effects of self-evaluation techniques on the musical performance, self-evaluation accuracy, motivation, and self-esteem of middle school instrumental music students, (1995); Atkins L., Occupational health and wellbeing in the UK conservatoire sector: Staff perspectives, pp. 243-248, (2013); Aufegger L., Perkins R., Wasley D., Williamon A., Musicians’ perceptions and experiences of using simulation training to develop performance skills, Psychology of Music, 45, 3, pp. 417-431, (2016); Table 01. “Persons employed in cultural occupations,” time series spreadsheet, cat. no. 6273.0, Employment in culture, (2011); Baker-Jordan M., What are the pedagogical and practical advantages of “three or more” teaching?, Pedagogy Saturday III, pp. 22-23, (1999); Bandura A., Self-efficacy: Toward a unifying theory of behavioral change, Psychological Review, (1977); 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Gill; The University of Melbourne, Australia; email: gill.a@unimelb.edu.au","","SAGE Publications Ltd","","","","","","1321103X","","","","English","Res. Stud. Music Educ.","Article","Final","","Scopus","2-s2.0-85139386554"
"Bacon B.; Jackson S.; Marci I.; Marandola F.; Wanderley M.M.","Bacon, Benjamin (56257868400); Jackson, Stuart (58629578600); Marci, Ian (58628549300); Marandola, Fabrice (22433676100); Wanderley, Marcelo M. (6701504010)","56257868400; 58629578600; 58628549300; 22433676100; 6701504010","Sticking choices in timpani sight-reading performance","2023","Frontiers in Psychology","14","","1188773","","","","0","10.3389/fpsyg.2023.1188773","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85172999992&doi=10.3389%2ffpsyg.2023.1188773&partnerID=40&md5=75ad8c6e097217484c8e455c58c2a49a","Audio Communication Group (EN), Technische Universität Berlin (TU Berlin), Berlin, Germany; McGill University, Montreal, QC, Canada; San Rafael, CA, United States","Bacon B., Audio Communication Group (EN), Technische Universität Berlin (TU Berlin), Berlin, Germany; Jackson S., McGill University, Montreal, QC, Canada; Marci I., San Rafael, CA, United States; Marandola F., McGill University, Montreal, QC, Canada; Wanderley M.M., McGill University, Montreal, QC, Canada","When sight-reading a score, a timpanist needs to decide in real-time which stick to use to play a specific note while interpreting the musical material. Our main point of inquiry seeks to understand which sticking patterns performers employ and how they are affected by rhythmic stability. This paper analyzes the bi-manual sequencing (i.e., sticking) patterns of 31 timpanists in a sight-reading task. We analyze their results compared to model sticking patterns common in percussion pedagogical literature. Results show that while hand dominance plays an essential role in an individual's sticking pattern, the stability of a rhythmic pattern may also dramatically influence the observed particular sticking strategies. In areas of rhythmic stability, performers largely adhered to one of two conventional sticking patterns in the literature (dominant hand lead & alternating). Where rhythmic patterns became more unstable, the performers separated into diverse sticking groups. Moreover, several performers demonstrated sticking patterns which were hybrids or an inverse of the model sticking patterns, without any impact on the success of their sight-reading abilities. Overall, no two individual performers demonstrated the same sticking pattern. In terms of percussion pedagogy, our findings suggest that performers may benefit from an awareness of the adaptability of model sticking strategies. Lastly, we make the case for further study of rhythmic stability and bi-manual sequencing by locating the difference between notational and aural complexity. Copyright © 2023 Bacon, Jackson, Marci, Marandola and Wanderley.","bimanual action; hand dominance; music notation; music performance; percussion; percussion performance; sight reading music","","","","","","Natural Sciences and Engineering Research Council of Canada, NSERC","This research was partially supported by a series of Discovery Grants from the Natural Sciences and Engineering Research Council of Canada (NSERC) to MW. ","Annett M., In defence of the right shift theory, Percep. Motor Skills, 82, pp. 115-137, (1996); Bacon B., The effects of handedness in percussion performance, (2014); Bacon B., Wanderley M.M., Marandola F., Handedness in percussion sight-reading, Proceedings of the International Workshop on Movement and Computing, pp. 112-117, (2014); Batigne J., Les Nouvelles Timbales Françaises, (1997); Bigand E., Perceiving musical stability: the effect of tonal structure, rhythm, and musical expertise, J. Exper. Psychol, 23, (1997); Chang T.-Y., Gauthier I., Distractor familiarity reveals the importance of configural information in musical notation, Attent. Perc. Psychophys, 82, pp. 1304-1317, (2020); Chen L., Gibet S., Marteau P.-F., Marandola F., Wanderley M.M., “Quantitative evaluation of percussive gestures by ranking trainees versus teacher,”, Proceedings of the 3rd International Symposium on Movement and Computing (MOCO'16), pp. 1-8, (2016); Programme d'tude Lecture/Dchiffrage Percussion, (2016); Cook G., Teaching Percussion, (1997); Corballis M.C., Human Laterality, (1983); Dahl S., Striking movements: movement strategies and expression in percussive playing, (2003); Delecluse J., Methode de Caisse-Claire, (1969); Dimpker C., Extended Notation: The Depiction of the Unconventional, (2013); Duncan S.P., Re-complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the “New Complexity.”, Perspec. New Music, 48, pp. 136-172, (2010); Falle B., Proposed methods for efficiently attaining the skills required for accurate time keeping in music, (2011); Farley A.L.P., The relationship between musicians' internal pulse and rhythmic sight-reading, (2014); Fujii S., Kudo K., Ohtsuki T., Oda S., Tapping performance and underlying wrist muscle activity of non-drummers, drummers, and the world's fastest drummer, Neurosci. Lett, 459, pp. 69-73, (2009); Fujii S., Kudo K., Ohtsuki T., Oda S., Intrinsic constraint of asymmetry acting as a control parameter on rapid, rhythmic bimanual coordination: a study of professional drummers and nondrummers, J. Neurophysiol, 104, pp. 2178-2186, (2010); Fujii S., Oda S., Effects of stick use on bimanual coordination performance during rapid alternate tapping in drummers, Percept. Motor Skills, 13, pp. 962-970, (2009); Fujisawa T., Miura M., Investigating a playing strategy for drumming using surface electromyograms, Acoust. Sci. Technol, 31, pp. 300-303, (2010); Goodman S., Modern Method for Tympani, (2000); Gutwinski S., Loscher A., Mahler L., Kalbitzer J., Heinz A., Bermpohl F., Understanding left-handedness, Deutsches Ärzteblatt Int, 108, (2011); Gworek N., A study of percussion pedagogical texts and a percussion primer, (2017); Jancke L., Schlaug G., Steinmetz H., Hand skill asymmetry in professional musicians, Brain Cogn, 34, pp. 424-432, (1997); Kanno M., Prescriptive notation: limits and challenges, Contemp. Music Rev, 26, pp. 231-254, (2007); Kopiez R., Galley N., Lehmann A.C., The Relation Between Lateralisation, Early Start of Training, and Amount of Practice in Musicians: A Contribution to the Problem of Handedness Classification. vol. 15, (2010); Kopiez R., Jabusch H.-C., Galley N., Homann J.-C., Lehmann A.C., Altenmuller E., No disadvantage for left-handed musicians: the relationship between handedness, perceived constraints and performance-related skills in string players and pianists, Psychol. Music, 40, pp. 357-384, (2012); Kopiez R., Lee J.I., Towards a general model of skills involved in sight reading music, Music Educ. Res, 10, pp. 41-62, (2008); Large E.W., On synchronizing movements to music, Hum. Movem. Sci, 19, pp. 527-566, (2000); Lerdahl F., Jackendoff R.S., A Generative Theory of Tonal Music, (1996); Lombana N.F., Naeger P.A., Padilla P.L., Falola R.A., Cole E.L., Ambidexterity in left-handed and right-handed individuals and implications for surgical training, Baylor University Medical Center Proceedings, pp. 176-179, (2022); Manning F.C., Schutz M., Trained to keep a beat: movement-related enhancements to timing perception in percussionists and non-percussionists, Psychol. Res, 80, pp. 532-542, (2016); Marci I., Handedness in percussion performance, (2018); McClaren C., Book of Percussion Pedagogy, (1994); McCormick R.M., Percussion for Musicians: A Complete, Fundamental Literature and Technique Method for Percussion, (1983); Montagu J., Timpani and Percussion, (2002); Parncutt R., McPherson G., The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning, (2002); Perra J., Poulin-Charronnat B., Baccino T., Drai-Zerbib V., Review on eye-hand span in sight-reading of music, J. Eye Movem. Res, 14, (2021); Peters M., Hand roles and handedness in music: comments on sidnell, Psychomusicol. J. Res. Music Cogn, 6, pp. 29-34, (1986); Rosenholtz R., Li Y., Nakano L., Measuring visual clutter, J. Vision, 7, (2007); Stenberg A., Cross I., White spaces, music notation and the facilitation of sight-reading, Scient. Rep, 9, (2019); Stone G.L., Stick Control for the Snare Drummer, (1935); Talgam I., Performing rhythmic dissonance in ligetis études, book 1: a perception-driven approach and renotation, (2019); Timbert A., Rivalland F., Autour de la percussion: gestes et configuration mentale, Chimères, 64, pp. 130-142, (2007); Toussaint G.T., A comparison of rhythmic similarity measures, 5th International Conference on Music Information Retrieval (ISMIR 2004), (2004); Watson C., The effects of music notation software on compositional practices and outcomes, (2006); Zhukov K., Student learning styles in advanced instrumental music lessons, Music Educ. Res, 9, pp. 111-127, (2007)","B. Bacon; Audio Communication Group (EN), Technische Universität Berlin (TU Berlin), Berlin, Germany; email: benjamin.bacon@mail.mcgill.ca; M.M. Wanderley; McGill University, Montreal, Canada; email: marcelo.wanderley@mcgill.ca","","Frontiers Media SA","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85172999992"
"Bruder A.L.; Rothwell C.D.; Baillargeon S.A.; Shotwell M.S.; Edworthy J.R.; Schlesinger J.J.","Bruder, Alexandra L (57350768100); Rothwell, Clayton D (55848469900); Baillargeon, Suzanne A (58091316200); Shotwell, Matthew S (35171558100); Edworthy, Judy R (55893050500); Schlesinger, Joseph J (55531083800)","57350768100; 55848469900; 58091316200; 35171558100; 55893050500; 55531083800","The impact of formal musical training on speech intelligibility performance: Implications for music pedagogy in high-consequence industries","2023","Psychology of Music","51","5","","1427","1439","12","1","10.1177/03057356221144645","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85147433324&doi=10.1177%2f03057356221144645&partnerID=40&md5=6503152587219558e8352f6bf2ca2d16","Department of Anesthesiology, Vanderbilt University Medical Center, Nashville, TN, United States; Department of Human Autonomy Systems, Infoscitex Corporation, a DCS Company, Dayton, OH, United States; Department of Biostatistics, Vanderbilt University, Nashville, TN, United States; School of Psychology, University of Plymouth, Plymouth, United Kingdom","Bruder A.L., Department of Anesthesiology, Vanderbilt University Medical Center, Nashville, TN, United States; Rothwell C.D., Department of Human Autonomy Systems, Infoscitex Corporation, a DCS Company, Dayton, OH, United States; Baillargeon S.A., Department of Anesthesiology, Vanderbilt University Medical Center, Nashville, TN, United States; Shotwell M.S., Department of Biostatistics, Vanderbilt University, Nashville, TN, United States; Edworthy J.R., School of Psychology, University of Plymouth, Plymouth, United Kingdom; Schlesinger J.J., Department of Anesthesiology, Vanderbilt University Medical Center, Nashville, TN, United States","In high-risk industries, responding accurately and promptly to spoken commands is crucial to ensure safety and productivity. When simultaneous sounds occur, it increases the difficulty of responding efficiently and accurately. This study examined responses to spoken commands in an audio-visual multitasking paradigm that simulated a high-consequence working environment. Participants had varying levels of formal music training (FMT): no FMT, 1–3, 3–5, and 5+ years of FMT. We found that FMT groups were similar in accuracy overall and background music decreased accuracy for all groups. The degree of FMT significantly impacted non-response. Additionally, there was an interaction where the no FMT group responded 1.5-fold less frequently in the presence of background music; however, participants with 5+ years of FMT had no decrease. Considering the similar accuracy with less frequent responding, the 5+ years FMT group appears well calibrated to when they were unsure of the answer, suggestive of improved meta-cognition which could be valuable in high-risk industry settings. Future research can examine performance within different types or quality of musical training, and pedagogical approaches can be compared. © The Author(s) 2023.","auditory perception; music education; recognition; stimulation; working memory","","","","","","Office of Naval Research, ONR, (N00014-22-1-2184)","The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This work was supported by Office of Naval Research Grant N00014-22-1-2184. ","Althouse A.D., Adjust for multiple comparisons? 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Evidence and limitations of task switching and multitasking in emergency medicine, Annals of Emergency Medicine, 68, 2, pp. 189-195, (2016); Smith E.E., Jonides J., Storage and executive processes in the frontal lobes, Science, 283, 5408, pp. 1657-1661, (1999); Snyder J.S., Alain C., Picton T.W., Effects of attention on neuroelectric correlates of auditory stream segregation, Journal of Cognitive Neuroscience, 18, 1, pp. 1-13, (2006); Spencer N., Thompson E.R., Wisniewski M.G., Simpson B.D., Iyer N., Auditory training and subsequent generalization with speech and non-speech stimuli, The Journal of the Acoustical Society of America, 140, 4, pp. 3269-3270, (2016); Turek R.M.D., Theory essentials for today’s musician (textbook), (2018); Vuoskoski J., Musical preference: Personality, style, and music use, (2017); Walter S.R., Li L., Dunsmuir W.T., Westbrook J.I., Managing competing demands through task-switching and multitasking: A multi-setting observational study of 200 clinicians over 1000 hours, BMJ Quality & Safety, 23, 3, pp. 231-241, (2014); Wang X., Ossher L., Reuter-Lorenz P.A., Examining the relationship between skilled music training and attention, Consciousness and Cognition, 36, pp. 169-179, (2015); Way T.J., Long A., Weihing J., Ritchie R., Jones R., Bush M., Shinn J.B., Effect of noise on auditory processing in the operating room, Journal of the American College of Surgeons, 216, 5, pp. 933-938, (2013); Wickens C.D., Processing resources and attention, PLOS ONE, 7, (1991); Wickens C.D., Multiple resources and mental workload, Human Factors, 50, 3, pp. 449-455, (2008); Wickens C.D., Mountford S.J., Schreiner W., Multiple resources, task-hemispheric integrity, and individual differences in time-sharing, Human Factors, 23, 2, pp. 211-229, (1981); Zhang J.D., Susino M., McPherson G.E., Schubert E., The definition of a musician in music psychology: A literature review and the six-year rule, Psychology of Music, 48, 3, pp. 389-409, (2020)","A.L. Bruder; Department of Anesthesiology, Vanderbilt University Medical Center, Nashville, United States; email: alexandra.l.bruder@vanderbilt.edu","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-85147433324"
"Cha D.-J.","Cha, Dong-Ju (58180393500)","58180393500","Elucidating Feierabend’s Conversational Solfège: Its Practical Application of 12 Steps to Teaching Folk Songs","2024","Korean Journal of Research in Music Education","53","1","","235","260","25","0","10.30775/KMES.53.1.235","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85187908804&doi=10.30775%2fKMES.53.1.235&partnerID=40&md5=30fde832b4a1c2db096885640ab2a875","Arizona State University, 50 E Gammage, Pkwy, Tempe, 85281, AZ, United States","Cha D.-J., Arizona State University, 50 E Gammage, Pkwy, Tempe, 85281, AZ, United States","The purpose of this paper was to capture both practical and applicable lesson ideas to teach American folk music using the Feierabend’s Conversational Solfège. Direct instruction on the folk songs exclusively employed the 12 Steps of Conversational Solfège (CS) designed by John M. Feierabend. Ultimately, this article unpacked the 12 steps of the CS curriculum, with an emphasis to what types of activities can be included in these 12 steps of the Feierabend approach to music learning and teaching. Theoretical and practical implications from this study were also discussed as follows: (a) enhancement of tonal/rhythm accuracy through inner-hearing and inferential skills, (b) effectiveness of sequential and repetitive learning in reinforcing musical concepts, (c) integration of unconscious comprehension from singing games into cognitive processes, and (d) recommendation of F major as a suitable starting key in the general music classroom. The application of the CS to teaching children’s songs would be a cornerstone for Korean music practitioners to make educated decisions when exploring other traditional piece of music within the systematic pedagogical framework. © 2024 Korean Music Education Society.","children’s folk song; conversational solfege; Feierabend; general music; musical literacy","","","","","","","","Abril C. R., Gault B. M., Teaching general music: Approaches, issues, and viewpoints, (2016); Bartolome S. J., Singing in the elementary general music classroom, General music: Dimensions of practice, pp. 17-37, (2022); Bowyer J., More than solfège and hand signs, Music Educators Journal, 102, 2, pp. 69-76, (2015); Bruner J. S., The process of education, (1960); Cha D., Exploring the relationship between prek-6 music teachers’ engagement in professional development and their self-efficacy, (2023); Cha D., Enriching musical understanding through Kodály-inspired drawing activities: An action research study, Korean Journal of Research in Music Education, 52, 4, pp. 189-209, (2023); Chappell E., Research-to-resource: The importance of aural learning in the strings classroom, Update: Applications of Research in Music Education, 38, 3, pp. 5-8, (2020); Dunbar L., Cooper S., Speaking the same language: How the Kodály method promotes disciplinary literacy, General Music Today, 34, 1, pp. 14-20, (2020); Feierabend J. M., Conversational solfege level 1: Teacher’s manual, (2001); Feierabend J. M., Conversational solfege. Developing music literacy with conversational solfege: An aural approach for an aural art, (2019); Feierabend J. M., Greene B., Jackson L., Strong M., Conversational solfege explained, Comparing major methodologies, pp. 189-214, (2018); Feierabend J. M., Strong M., Feierabend fundamentals: History, philosophy, and practice, (2018); Gault B.M., Kodaĺy-inspired teaching: A bridge to musical fluency, Teaching general music: Approaches, issues, and viewpoints, pp. 73-88, (2016); Gordon E. E., Learning sequences in music: Skill, content, and patterns, (1997); Gordon E. E., Learning sequences in music: A contemporary music learning theory, (2007); Greene B., Strong M., Conversational solfege explained, Feierabend fundamentals: History, philosophy, and practice, pp. 145-159, (2018); Grey A. N., Rote instruction in secondary instrumental music classrooms: A review of the literature, Update: Applications of Research in Music Education, 39, 1, pp. 59-69, (2020); Houlahan M., Tacka P., Kodály today: A cognitive approach to elementary music education, (2015); Mason E., Idea bank: Using Kodaĺy to promote music literacy skills, Music Educators Journal, 99, 1, pp. 28-31, (2012); Musco A. M., Playing by ear: Is expert opinion supported by research?, Bulletin of the Council for Research in Music Education, 184, pp. 49-64, (2010); Rutkowski J., Development and pedagogy of children’s singing, Engaging musical practices: A sourcebook for elementary general music, pp. 33-50, (2018); Scott S., The challenges of imitation for children with autism spectrum disorders with implications for general music education, Update: Applications of Research in Music Education, 34, 2, pp. 13-20, (2016); Shehan P., Effects of rote versus note presentations on rhythm learning and retention, Journal of Research in Music Education, 35, pp. 117-126, (1987); Sheridan M. M., The Kodály concept in the United States: Early American adaptations to recent evolutions, Journal of Historical Research in Music Education, 41, 1, pp. 55-72, (2019); Taggart C. C., Music learning theory: A theoretical framework in action, Teaching general music: Approaches, issues, and viewpoints, pp. 183-208, (2016); Volk T. M., Factors influencing music educators in the “rote-note” controversy, 1865-1900, The Bulletin of Historical Research in Music Education, 15, 1, pp. 31-43, (1993)","D.-J. Cha; Arizona State University, Tempe, 50 E Gammage, Pkwy, 85281, United States; email: dcha3@asu.edu","","Korean Music Education Society","","","","","","12294179","","","","English","Korea. J. Res. Music. Educ.","Article","Final","All Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85187908804"
"Barić Z.","Barić, Zrinka (58638644800)","58638644800","Exploring the Teaching of Solfeggio, Harmony and Counterpoint in Croatian Music Schools; [Istraživanje nastave Solfeggia, Harmonije i Kontrapunkta u hrvatskim glazbenim školama]","2024","Croatian Journal of Education","26","1","","233","280","47","1","10.15516/cje.v26i1.4975","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85197740159&doi=10.15516%2fcje.v26i1.4975&partnerID=40&md5=c0ff462a5fb4c9abcf64e9d32b1378d0","Art School Beli Manastir, Kralja Tomislava 2, Beli Manastir, 31300, Croatia","Barić Z., Art School Beli Manastir, Kralja Tomislava 2, Beli Manastir, 31300, Croatia","Along with learning to play an instrument and singing by notes, theoretical music subjects are integral to formal music education at all levels. They aim to facilitate learning the musical language and elements necessary for understanding music, such as harmony, melody and rhythm. Their teaching is particular, considering that understanding musical phenomena requires systematic work on acquiring skills and knowledge. With the aim of a closer insight into the learning of theoretical music subjects, we investigated the methods1 and ways of organizing the teaching of the critical theoretical disciplines: Solfeggio, Harmony and Counterpoint. The research took place during the second semester of 2018/2019 school year and included 101 teachers from 24 primary and secondary music schools in 17 counties in Croatia. The results indicate that in Solfeggio, equal attention is paid to musical dictation and singing when practising intonation. At Harmony, teachers mainly implement a thoroughbass, but the most prominent method is the analysis of the examples from the literature. Species counterpoint dominate Counterpoint, but studying examples is the preferred method. Teachers’ dissatisfaction with outdated learning concepts indicates the need to modernize theoretical disciplines through content that will be transferred to musical activities and enable the acquisition of skills to learn music. © 2024, FACTEACHEREDUCATION. All rights reserved.","acquisition of skills and music knowledge; methods; music schools; theoretical music subjects","","","","","","","","Chan P. Y., Dong M., Li H., The Science of Harmony: A Psychophysical Basis for Perceptual Tensions and Resolutions in Music, Research, (2019); Cervenca B., Il contrappunto nella polifonia vocale classica. [The Counterpoint In Classical Vocal Polyphony.], (1965); De la Motte D., Kontrapunkt. Ein Lese-und Arbeitsbuch. [Counterpoint. A Reading and Working Book], (2014); Dineen M., Species Counterpoint with a Moveable Tenor (SCAMET): Comparing Species Counterpoint and Polyphonic Music Without a Cantus Firmus, Society for Music Theory, 19, 3, (2013); Dugan F., Vježbe za zborno pjevanje: Solfeggi. [Choral singing exercises: Solfeggi], (1923); Gangsas Hole J., Automatic Species Counterpoint. Music Generation at Five Levels Using a Guided Local Search Algorithm, (2021); Grgosevic Z., Vježbe za solfeggio u prvoj godini. [Exercises for solfeggio in the first year], (1938); Herremans D., Sorensen K., Composing First Species Counterpoint With a Variable Neighbourhood Search Algorithm, Journal of Mathematics and the Arts, 6, 4, pp. 169-189, (2011); Hinek I., Razvoj harmonijskoga sluha u nastavi tzv. teorijskih glazbenih disciplina (solfeggia i harmonije). [The Development Of Harmonic Hearing In Teaching The So-Called Theoretical Musical Disciplines (Solfeggio And Harmony), Tonovi, 48, 2, pp. 23-56, (2006); Jeppesen K., Kontrapunkt. Lehrbuch der klassischen Vokalpolyphonie. (3. Auflage). [Counterpoint. Textbook Of Classical Vocal Polyphony, (1964); Johnson V. V., The Relevance of Music Theory Concepts and Skills as Perceived by In-service Music Educators, Visions of Research in Music Education, 25, 4, pp. 1-22, (2014); Karpinski G. S., Aural Skills Acquisition: The Development of Listening, Reading, and Performing Skills in College-Level Musicians, (2000); Ke L., Othman J., Design of Experiential Teaching System for Solfeggio in Normal Universities Based on Machine Learning Algorithm, Mobile Information Systems, (2022); Kis Zuvela S., O položaju harmonijske analize i mogućnostima analitičkoga slušanja glazbe na nastavi harmonije. [About The Position Of Harmonic Analysis And The Possibilities Of Analytical Listening To Music In Harmony Lessons, Theoria, 16, pp. 21-26, (2014); Kitson C. H., The Evolution of Harmony, (1914); Klonoski E., Improving Dictation as an Aural-Skills Instructional Tool, Music Educators Journal, 93, pp. 54-59, (2006); Lucic F., Elementarna teorija glazbe i pjevanja I. [Elementary Theory of Music and Singing I], (1940); Samory M., Mandanici M., Canazza S., Peserico E., The Counterpoint Game: Rules, Constraints and Computational Spaces, pp. 1126-1133, (2014); Mann A., The Study of Fugue, (1987); Matos N., Kurikulumski pristup oblikovanju profesionalnoga osnovnoga glazbenog obrazovanja. [Curricular Approach To Professional Elementary Music Education Design], (2018); Mihelac L., Povh J., The Impact of the Complexity of Harmony on the Acceptability of Music, ACM Transactions on Applied Perception, (2020); Milas G., Istraživačke metode u psihologiji i drugim društvenim znanostima. [Research Methods In Psychology And Other Social Sciences.], (2009); Muzic V., Uvod u metodologiju istraživanja odgoja i obrazovanja. [Introduction To The Methodology Of Educational Research.], (2004); Nastavni planovi i programi za srednje glazbene i plesne škole. [Curricula For Secondary Music And Dance Schools.], (2008); Nainggolan O. T. P., Jatmik O. B., Learning Counterpoint Through Species Counterpoint Approach, Proceedings of the 2nd International Conference on Interdisciplinary Arts & Humanities (ICONARTIES) 2020, (2020); Paney A. S., The Effect of Directing Attention on Melodic Dictation Testing, Psychology of Music, 44, 1, pp. 15-24, (2016); Paney A. S., Buonviri N. O., Teaching Melodic Dictation in Advanced Placement Music Theory, Journal of Research in Music Education, 61, 4, pp. 396-414, (2014); Piston W., Counterpoint, (1970); Radica D., Solfeggio kao učenje glazbenog jezika – ulazne i izlazne kompetencije na vertikali glazbenog obrazovanja [Solfeggio As Learning The Musical Language – Input And Output Competencies In The Vertical Of Music Education] [Paper presentation], Sinteza tradicionalnog i suvremenog u glazbenom odgoju i obrazovanju 21. stoljeća. 5. međunarodni simpozij glazbenih pedagoga (Croatia), Split, pp. 227-240, (2015); Radica D., Udžbenici za solfeggio u Hrvatskoj kao koncepcijski modeli obrade intonacije i ritma u nastavi osnovnog glazbenog obrazovanja. [Textbooks for Solfeggio in Croatia as Conceptual Models of Processing Intonation and Rhythm in the Teaching of Elementary Music Education, Bašćinski glasi: Južnohrvatski etnomuzikološki godišnjak, 8, 1, pp. 141-174, (2004); Radica D., Didaktički primjeri i primjeri iz umjetničke literature u nastavi solfeggia osnovnih glazbenih škola. [Didactic and classical music examples in basic music schools eartrainig teaching, Tonovi, 18, 1, pp. 10-26, (2003); Rogers M., Aural Dictation Affects High Achievement In Sight Singing, Performance And Composition Skills, Australian Journal of Music Education, 1, pp. 34-52, (2013); Rojko P., Glazbenopedagoške teme. [Music Pedagogical Topics.], (2012); Rojko P., Psihološke osnove intonacije i ritma. [Psychological Foundations Of Intonation And Rhythm.], (2012); Sisley B. A., A Comparative Study Of Approaches To Teaching Melodic Dictation, (2008); Sterling Snodgrass J., Current Status of Music Theory Teaching, College Music Symposium, 56, (2016); Ullrich M., Kontrapunkt bei Schumann. Zu Satztechnik und Terminologie in Robert Schumanns kompositorischem und literarischem Schaffen. [Counterpoint in Schumann. On compositional technique and terminology in Robert Schumann’s compositional and literary work], (2012); Wall L., Lieck R., Neuwirth M., Rohrmeier M., The Impact of Voice Leading and Harmony on Musical Expectancy, Scientific Reports, 10, pp. 1-8, (2020); Wang L., The Skill Training of Reading Music in the Teaching of Solfeggio and Ear Training in the New Media Environment, Applied Bionics and Biomechanics, (2022); Weagel D., Musical Counterpoint in Albert Camus’ „L’étranger, Journal of Modern Literature, 25, 2, pp. 141-145, (2001); West Marvin E., The Core Curricula in Music Theory – Developments and Pedagogical Trends, Journal of Music Theory Pedagogy, 26, pp. 255-264, (2012); Zhang W., Practice and Exploration of Music Solfeggio Teaching Based on Data Mining Technology, Journal of Environmental and Public Health, (2022)","Z. Barić; Art School Beli Manastir, Beli Manastir, Kralja Tomislava 2, 31300, Croatia; email: zrinkabari7@gmail.com","","FACTEACHEREDUCATION","","","","","","18485189","","","","English","Croat. J. Educ.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-85197740159"
"Drobni I.; Miletić A.","Drobni, Ivana (59002250300); Miletić, Aleksandra (59001089500)","59002250300; 59001089500","FOLK SONGS OF MONTENEGRO – FROM THE FIRST FIELD RECORDINGS OF MIODRAG A. VASILJEVIĆ TO PUBLISHED COLLECTIONS","2024","Revista de Etnografie si Folclor","2024","1-2","","79","89","10","0","10.59277/JEF.2024.1-2.06","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85191311530&doi=10.59277%2fJEF.2024.1-2.06&partnerID=40&md5=1648398685501f183b2dc7d0f9ba3b00","","","The goal of this work is to introduce the general public to the enthusiasm, dedication and engagement of Miodrag A. Vasiljević (1903-1963), Serbia’s most renowned ethnomusicologist and music pedagogue, to melographical work. His melographic journey through the lands of Montenegro has been reconstructed from, among relevant sources, documents from the Miodrag A. Vasiljević Archive. A survey of the numerous collections of recorded folk songs has led to an in-depth look at the ethnomusicological collection Folk Songs of Montenegro in the Published Melographic Records of Miodrag A. Vasiljević, published by the Montenegro Academy of Science and Art and the Montenegro Music Centre in 2019. Vasiljević had, through melographic records, notes on folk singers, and studies, worked creatively by offering not only a written record, but also active communication across a great distance, thanks to the layered nature and levels of meaning in his approach to ethnomusicological material. His familiarisation with the formula of folk songs and with the creative functioning of folk singers is transmitted through written material and studies, and he searched for and found ways to rework a layered musical whole and operationalise it for a practical music-pedagogical application. The work also contains a look at this intriguing link between ethnomusicology and pedagogy which, through the creative work of one man, blazed a trail for both sciences in Serbia. At the same time, this connection is what makes Vasiljević unique as an ethnomusicologist and a music pedagogue, and that dialectic makes his legacy priceless. © 2024, Publishing House of the Romanian Academy. All rights reserved.","Ethnomusicology; Folk Song; M.A. Vasiljević; Montenegro; Music Pedagogy","","","","","","","","Arhiv Miodraga A. Vasiljevića; Vasiljevic M. Zorislava, In memoriam Miodragu Vasiljeviću – Život i rad Miodraga A. Vasiljevića” [In Memoriam Miodrag Vasiljević – Miodrag A. Vasiljevi’s Life and Work, XII, pp. 47-19, (1973); Vasiljevic M. A., Narodne pjesme Crne Gore – u objavljenim melografskim zapisima [Folk Songs of Montenegro – in the Published Melographic Records], (2019); Vasiljevic M. A., Narodne melodije Crne Gore [Folk Melodies of Montenegro], (1965); Vasiljevic M. A., Narodne melodije iz leskovačkog kraja [Folk Melodies from the Leskovac Region], (1960); Vasiljevic A. Miodrag, Narodne melodije iz Sandžaka [Folk Melodies from Sandžak], (1953); Vasiljevic A. Miodrag, Jugoslovenski muzički folklor II, narodne melodije koje se pevaju u Makedoniji [Yugoslav Music Folklore II – Folk Melodies Sung in Macedonia], (1953); Vasiljevic M. A., Jednoglasni solfeđo – zasnovan na narodnom pevanju [One-Voice Sofeggio – Folk Singing], (1950); Duric-Klajn Stana, Miodrag Vasiljević i njegov rad na prikupljanju crnogorskog muzičkog folklora, Narodne melodije Crne Gore, VII-X [Miodrag Vasiljević and His Work on Collecting Montenegrian Music Folklore, in: Vasiljević, A. Miodrag (1965). Folk Melodies of Montenegro, VII-X], (1965); Jerkov Slobodan, Vasiljevićeva teritorijalna podela Crne Gore, pp. 66-75, (2006); Radinovic Sanja, Narodne pjesme Crne Gore u objavljenim melografskim zapisima Miodraga A. Vasiljevića, Narodne pjesme Crne Gore – u objavljenim melografskim zapisima (Ed. Žarko Mirković, Ivana Drobni, Sanja Radinović) [Folk Songs of Montenegro in the Published Records of Miodrag A. Vasiljević, in: Vasiljević, M. A. Folk Songs of Montenegro – in the Published Melographic Records], pp. 7-18, (2019); Simonovic Mirka, Istorijska beleška o nastajanju Arhiva Miodraga A. Vasiljevića, pp. 157-162, (2006)","","","Publishing House of the Romanian Academy","","","","","","00348198","","","","English","Rev. Etnografie Folclor","Article","Final","All Open Access; Bronze Open Access","Scopus","2-s2.0-85191311530"
"He H.; Hwa P.C.; Wing C.K.","He, Hanwei (58767699900); Hwa, Poon Chiew (57222574042); Wing, Cheong Ku (57222574971)","58767699900; 57222574042; 57222574971","Effect of music engagement and movement on attentiveness and memory in children with down syndrome: A quasi-experimental research","2024","International Journal of Education and Practice","12","1","","132","145","13","0","10.18488/61.v12i1.3626","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85186196782&doi=10.18488%2f61.v12i1.3626&partnerID=40&md5=56b1bf44ecda5134d82e18b6658ce287","Department of Music, Faculty of Creative Arts, Universiti Malaya, Kuala Lumpur, 50603, Malaysia; Institute of Music, UCSI University, Kuala Lumpur, 56000, Malaysia","He H., Department of Music, Faculty of Creative Arts, Universiti Malaya, Kuala Lumpur, 50603, Malaysia; Hwa P.C., Department of Music, Faculty of Creative Arts, Universiti Malaya, Kuala Lumpur, 50603, Malaysia; Wing C.K., Institute of Music, UCSI University, Kuala Lumpur, 56000, Malaysia","Children with Down syndrome (DS) could have problems with attentiveness and memory due to innate developmental deficits. Studies have found that music can help improve the attentiveness and memory of children with DS. Orff-Schulwerk, a creative and improvisational music pedagogy, is often used to support the development of children with special needs. However, no study has used Orff-Schulwerk-based music interventions to explore their influence on the attentiveness and memory of children with DS. Therefore, this research aimed to examine the effect of music engagement and movement (MEM) on attentiveness and memory in children with Down syndrome. This quasi-experimental study involved 8-week MEM activities based on Orff-Schulwerk as the music intervention. This study recruited 18 children with DS, aged 7– 10 years. MEM was used to teach vocabulary to children with DS and measured their memory and attention in classes. The results demonstrated that the attentiveness and memory of the participants were significantly improved in the MEM classes compared with the control group. The results of the paired t-test also showed statistically significant differences in attentiveness (t = 9.88, p < 0.001) and memory (t =-10.92, p < 0.001) before and after the intervention. The results of this study supported that MEM could help improve attentiveness and memory in children with DS. Implications and future directions are also discussed. © 2024 Conscientia Beam. All Rights Reserved.","Attentiveness; Children with down syndrome; Memory; Music engagement and movement; Orff-Schulwerk; Quasi-experimental research","","","","","","","","Akyol B., Pektas S., The effects of gymnastics training combined with music in children with autism spectrum disorder and down syndrome, International Education Studies, 11, 11, pp. 46-52, (2018); Al Otaiba S., Lewis S., Whalon K., Dyrlund A., McKenzie A. R., Home literacy environments of young children with Down syndrome: Findings from a web-based survey, Remedial and Special Education, 30, 2, pp. 96-107, (2009); Albin C. M., The benefit of movement: Dance/movement therapy and down syndrome, Journal of Dance Education, 16, 2, pp. 58-61, (2016); Amin M., Wulandari I. A. I., Alfiah L. N., Suryadi D., Latifa R., Rachman I., The effect of monoaural beats music treatment as alternative therapy to increase the learning concentration in down-syndrome students, Annals of Biology, 36, 2, pp. 281-287, (2020); Atterbury B. W., Music teacher preparation in special education and the effect on mainstreaming, Update: Applications of Research in Music Education, 16, 2, pp. 29-32, (1998); Aureli A., Del Beato T., Sebastiani P., Marimpietri A., Melillo C., Sechi E., Di Loreto S., Attention-deficit hyperactivity disorder and intellectual disability: A study of association with brain-derived neurotrophic factor gene polymorphisms, International Journal of Immunopathology and Pharmacology, 23, 3, pp. 873-880, (2010); Averell L., Heathcote A., The form of the forgetting curve and the fate of memories, Journal of Mathematical Psychology, 55, 1, pp. 25-35, (2011); Balch W. R., Lewis B. S., Music-dependent memory: The roles of tempo change and mood mediation, Journal of Experimental Psychology: Learning, Memory, and Cognition, 22, 6, (1996); Barker J., Singing and music as aids to language development and its relevance for children with down syndrome, Down Syndrome News and Update, 1, 3, pp. 133-135, (1999); Broadley I., MacDonald J., Teaching short term memory skills to children with down syndrome, Down Syndrome Research and Practice, 1, 2, pp. 56-62, (1993); Browder D. M., Wakeman S. Y., Spooner F., Ahlgrim-Delzell L., Algozzinexya B., Research on reading instruction for individuals with significant cognitive disabilities, Exceptional Children, 72, 4, pp. 392-408, (2006); Brown R. I., Clarke A. D. B., The effects of auditory distraction on institutionalised subnormal and severely subnormal persons, Journal of Intellectual Disability Research, 7, 1, pp. 1-9, (1963); Calvin-Campbell K., Supporting the development of the whole child through orff schulwerk, montessori and multiple intelligences, Educational Information Resources Center, pp. 1-33, (1998); Carnahan C. R., Hume K., Clarke L., Borders C., Using structured work systems to promote independence and engagement for students with autism spectrum disorders, Teaching Exceptional Children, 41, 4, pp. 6-14, (2009); Carson S., Shih M., Langer E., Sit still and pay attention?, Journal of Adult Development, 8, 3, pp. 183-188, (2001); Cary D. G., Kodály and Orff: A comparison of two approaches in early music education, Uluslararası Yönetim İktisat ve İşletme Dergisi, 8, 15, pp. 179-194, (2012); Clark L. M., Movement patterns and quality of life for individuals with down syndrome: An overview of dance as physical therapy, A Journal of Undergraduate Research, 4, pp. 37-48, (2011); Conners F. A., Rosenquist C. J., Arnett L., Moore M., Hume L. E., Improving memory span in children with down syndrome, Journal of Intellectual Disability Research, 52, 3, pp. 244-255, (2008); Deutsch C. K., Dube W. V., McIlvane W. J., Attention deficits, attention‐deficit hyperactivity disorder, and intellectual disabilities, Developmental Disabilities Research Reviews, 14, 4, pp. 285-292, (2008); Eren B., Use of music in special education and application examples from Turkey, Procedia-Social and Behavioral Sciences, 116, pp. 2593-2597, (2014); Fillips A. M., Fusing Kodály, Orff, and Dalcroze techniques for general elementary music classrooms, (2005); Grieco J., Pulsifer M., Seligsohn K., Skotko B., Schwartz A., Down syndrome: Cognitive and behavioral functioning across the lifespan, American Journal of Medical Genetics Part C:Seminars in Medical Genetics, 169, 2, pp. 135-149, (2015); Hao L., Introducing music therapy techniques into early years special needs education for young children with autism in China, (2018); Huang Y., A comparison and lesson of Chinese character writing errors between Pakistani students and Chinese primary school students, (2022); Iwasaki B., Rasinski T., Yildirim K., Zimmerman B. S., Let's bring back the magic of song for teaching reading, The Reading Teacher, 67, 2, pp. 137-141, (2013); Jacob U. S., Pillay J., Oyefeso E. O., Attention span of children with mild intellectual disability: Does music therapy and pictorial illustration play any significant role?, Frontiers in Psychology, 12, (2021); Jarrold C., Thorn A. S., Stephens E., The relationships among verbal short-term memory, phonological awareness, and new word learning: Evidence from typical development and Down syndrome, Journal of Experimental Child Psychology, 102, 2, pp. 196-218, (2009); Kaikkonen M., Kivijarvi S., Interaction creates learning: Engaging learners with special educational needs through Orff-Schulwerk, Approaches: Music Therapy & Special Music Education, 5, 2, pp. 132-137, (2013); Kirk H. E., Gray K., Riby D. M., Taffe J., Cornish K. M., Visual attention and academic performance in children with developmental disabilities and behavioural attention deficits, Developmental Science, 20, 6, (2017); Lanfranchi S., Cornoldi C., Vianello R., Verbal and visuospatial working memory deficits in children with Down syndrome, American Journal on Mental Retardation, 109, 6, pp. 456-466, (2004); Langer E., The power of mindful learning, (1997); Lemons C. J., Fuchs D., Modeling response to reading intervention in children with down syndrome: An examination of predictors of differential growth, Reading Research Quarterly, 45, 2, pp. 134-168, (2010); Lunzer E., Stratford B., Deficits in attention in young children with specific reference to down's syndrome and other mentally handicapped children, Early Child Development and Care, 17, 2-3, pp. 131-154, (1984); Matthews T. J., Allain D. C., Matthews A. L., Mitchell A., Santoro S. L., Cohen L., An assessment of health, social, communication, and daily living skills of adults with Down syndrome, American Journal of Medical Genetics Part A, 176, 6, pp. 1389-1397, (2018); McClelland M. M., Acock A. C., Piccinin A., Rhea S. A., Stallings M. C., Relations between preschool attention span-persistence and age 25 educational outcomes, Early Childhood Research Quarterly, 28, 2, pp. 314-324, (2013); McCord K., Universal design for learning: Special educators integrating the Orff approach into their teaching, Approaches: Music Therapy & Special Music Education, 5, 2, pp. 188-193, (2013); Medaille A., Usinger J., Engaging quiet students in the college classroom, College Teaching, 67, 2, pp. 130-137, (2019); Megarbane A., Ravel A., Mircher C., Sturtz F., Grattau Y., Rethore M.-O., Mobley W. C., The 50th anniversary of the discovery of trisomy 21: The past, present, and future of research and treatment of Down syndrome, Genetics in Medicine, 11, 9, pp. 611-616, (2009); Miezejeski C. M., Effect of white noise on the reaction time of mentally retarded subjects, American Journal of Mental Deficiency, 79, 1, pp. 39-43, (1974); Mizuno E., Osugi N., Sakuma H., Shibata T., Effect of long-term music training on verbal short term memory of individuals with down syndrome, Journal of Special Education Research, 2, 1, pp. 35-41, (2013); Mohammad K., Mansoor S., Majid K., Down syndrome: Current status, challenges and future perspectives, International Journal of Molecular and Cellular Medicine, 5, 3, pp. 125-133, (2016); Murre J. M., Dros J., Replication and analysis of Ebbinghaus’ forgetting curve, PloS One, 10, 7, (2015); Neece C., Baker B., Blacher J., Crnic K., Attention‐deficit/hyperactivity disorder among children with and without intellectual disability: An examination across time, Journal of Intellectual Disability Research, 55, 7, pp. 623-635, (2011); Ning X., Effect of Orff music therapy on attention and working memory in children with Down syndrome, (2010); Norris D., Short-term memory and long-term memory are still different, Psychological Bulletin, 143, 9, pp. 992-1009, (2017); Pessoa L., On the relationship between emotion and cognition, Nature Reviews Neuroscience, 9, 2, pp. 148-158, (2008); Ptomey L. T., Szabo A. N., Willis E. A., Gorczyca A. M., Greene J. L., Danon J. C., Donnelly J. E., Changes in cognitive function after a 12-week exercise intervention in adults with down syndrome, Disability and Health Journal, 11, 3, pp. 486-490, (2018); Rainey D. W., Larsen J. D., The effect of familiar melodies on initial learning and long-term memory for unconnected text, Music Perception, 20, 2, pp. 173-186, (2002); Rawana J. S., Flett G. L., McPhie M. L., Nguyen H. T., Norwood S. J., Developmental trends in emotion regulation: A systematic review with implications for community mental health, Canadian Journal of Community Mental Health, 33, 1, pp. 31-44, (2014); Sherman S. L., Allen E. G., Bean L. H., Freeman S. B., Epidemiology of down syndrome, Mental Retardation and Developmental Disabilities, 13, 3, pp. 221-227, (2007); Squire L. R., Declarative and nondeclarative memory: Multiple brain systems supporting learning and memory, Journal of Cognitive Neuroscience, 4, 3, pp. 232-243, (1992); Swanson J. M., Schuck S., Porter M. M., Carlson C., Hartman C. A., Sergeant J. 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T., Memory for music: Effect of melody on recall of text, Journal of Experimental Psychology: Learning, Memory, and Cognition, 20, 6, pp. 1471-1485, (1994); Wang J., How to train pupils to obey classroom discipline, Journal of Xin Ke Cheng, 3, (2019); Wylie J., The holistic learning outcomes of musical play for children with Down syndrome, Down Syndrome News and Update, 5, 2, pp. 54-58, (2006); Xia F., The ifluence of Orff’s music teaching method on Chinese musical education, Journal of Heihe University, 7, pp. 14-15, (2017); Zekulin X., Gibson D., Mosley J., Brown R., Auditory-motor channeling in down's syndrome subjects, American Journal of Mental Deficiency, 78, 5, pp. 571-577, (1974); Zhou F., The cultivation of pupils’ self-conscious discipline in classroom, Journal of Jiaoyu Guancha, 9, 48, pp. 132-140, (2020)","P.C. Hwa; Department of Music, Faculty of Creative Arts, Universiti Malaya, Kuala Lumpur, 50603, Malaysia; email: chiewhwa.poon@um.edu.my","","Conscientia Beam","","","","","","23116897","","","","English","Int.  J. Educ.  Prac.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85186196782"
"Mapana K.; Campbell P.S.","Mapana, Kedmon (54890741900); Campbell, Patricia Shehan (26034231100)","54890741900; 26034231100","Learning Wagogo (Nindo) Music: Pathway Through World Music Pedagogy","2024","Journal of General Music Education","37","2","","16","23","7","0","10.1177/27527646231185562","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85165917047&doi=10.1177%2f27527646231185562&partnerID=40&md5=73e3ba87c7a6abb031173990e7b93b1a","University of Dar es Salaam, Tanzania; University of Washington, Seattle, United States","Mapana K., University of Dar es Salaam, Tanzania; Campbell P.S., University of Washington, Seattle, United States","In East Africa, Tanzania’s musical expressions are rich and varied, and typically a combination of music and dance. A description of Nindo, a multipart vocal music form of the central Tanzanian Wagogo community, is provided, and a tribute is offered to the legacy of an important village artist, Mchoya, of the musical form that is begin continued by his progeny. A learning pathway, following the dimensions of World Music Pedagogy, is outlined for experiencing Nindo, and resources and references are recommended for teachers to facilitate listening, viewing, singing and dancing, and developing intercultural understanding. © National Association for Music Education 2023.","American music education; culture; Nindo; pedagogy; Tanzania; Wagogo; World Music","","","","","","","","Anderson W.M., Campbell P.S., Multicultural perspectives in music education, (2010); Askew K.M., Performing the nation: Swahili music and cultural politics in Tanzania, (2002); Campbell P.S., Music, education and diversity: Bridging cultures and communities, (2018); Campbell P.S., Lum C.H., World Music Pedagogy: School-community intersections, (2019); Ho W.-C., Popular music, cultural politics and music education in China, (2016); Kang S., The history of multicultural music education and its prospects: The controversy of music universalism and its application, Applications of Research in Music Education, 34, 2, pp. 21-28, (2016); Mapana K., Changes in performance styles: A case study of “muheme,” a musical tradition of the Wagogo of Dodoma, Tanzania, Journal of African Cultural Studies, 19, 1, pp. 81-93, (2007); Mapana K., Campbell P.S., Roberts C., Mena C., An earful of Africa: Insights from Tanzania on music and music learning, College Music Symposium, 56, 2, pp. 15-16, (2016); McCarthy M., The role of ISME in the promotion of multicultural music education, 1953-1996, International Journal of Music Education, 29, 1, pp. 145-162, (1997); Mnyampala M.E., The Gogo: History, customs, and traditions, (1995); Mpepo D.K., Traditional music in Africa, Music in Africa, (2015); Temu P.E., Tanzania: My country as I see it, (2011); Volk Tuohey T.M., Music, education, and multiculturalism: Foundations and principles, (2004)","K. Mapana; University of Dar es Salaam, Tanzania; email: kmapana@udsm.ac.tz","","SAGE Publications Inc.","","","","","","27527646","","","","English","J. Gen. Music. Educ.","Article","Final","","Scopus","2-s2.0-85165917047"
"Garmaz J.; Baučić S.D.","Garmaz, Jadranka (55614343600); Baučić, Sara Dodig (58625774000)","55614343600; 58625774000","The Benefits of Music in Teaching Catholic Religious Education in Croatia","2023","Religions","14","9","1175","","","","0","10.3390/rel14091175","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85172764664&doi=10.3390%2frel14091175&partnerID=40&md5=fc074fff30c8cec166ffdb4fa18c3d1e","Catholic Faculty of Theology, University of Split, Split, 21000, Croatia; Arts Academy, University of Split, Split, 21000, Croatia","Garmaz J., Catholic Faculty of Theology, University of Split, Split, 21000, Croatia; Baučić S.D., Arts Academy, University of Split, Split, 21000, Croatia","Music viewed from the real praxis could trigger positive religious emotions as the path of beauty in those searching for the meaning of life or the higher one in God. The article aims to encourage interdisciplinarity in teaching Catholic RE in Croatia, presenting many benefits of music and examples of positive practices that music can encourage in students. The main purpose of this paper, after recognizing the needs and difficulties of interdisciplinary teaching primarily for teachers in Croatia, is to create a model of implementing music content efficiently in Catholic religious education (RE) in Croatia. The research finds the necessity to unite experts from three fields to make interdisciplinary teaching efficient and progressively constructive: religious education pedagogy and music pedagogy combined with music practice itself through professional conductors. Nevertheless, the text seeks to expose an easily applicable model that leads to efficient and progressive interdisciplinary teaching, which is also the main aim of the work. The research is significant as this model could be examined in different subject areas, highlighting that singing in class could encourage religious sensibility and help improve spiritual and religious competencies. The research findings showed that the advantages and specifics of choral singing could be integrated into the religious education curriculum, making RE more dynamic and challenging for students. The research is based on a literature review, a data analysis, as well as participant observation (teacher and conductor) as methods to prove advantages and possibilities of how to implement music into the RE curriculum. © 2023 by the authors.","amateur choir singing; integrative and educational role of music; music; religious education; religious sensibility; religious upbringing","","","","","","","","Avery S., Hayes C., Bell C., Community choirs: Expressions of identity through vocal performance, Community Music Today, 2013, pp. 249-260, (2013); Bianco L., Dillon I., Gatt M., Music in teaching religion in primary schools, Melita Theologica, 50, pp. 19-40, (1999); Bonshor M.J., Confidence and the Choral Singer: The Effects of Choir Configuration, Collaboration and Communication, Ph.D. thesis, (2014); Kurikulum Nastavnog Predmeta Katoličkog Vjeronauka, The Ministry of Science and Education, pp. 12-110, (2019); Claros P., Porebska I., Claros-Pujol A., Pujol C., Claros A., Lopez-Munoz F., Kaczmarek K., Association between the Development of Pediatric Voice Disorders and Singing in Children’s Choir, JAMA Otolaryngology–Head & Neck Surgery, 145, (2019); Denac O., Interdisciplinary Connections: Musical and Language Activities, Creative Education, 13, pp. 3174-3181, (2022); Dodig Baucic S., Uloga zborskog pjevanja u identifikaciji mladih, Bašćinski Glasi: Južnohrvatski Etnomuzikološki Godišnjak, 12, pp. 209-223, (2016); Downie R.S., The Healing Arts: And Oxford Illustrated Anthology, (1994); Economidou Stavrou C., Smaragda N., Socratous H., Music Learning in the Early Years: Interdisciplinary Approaches based on Multiple Intelligences, Journal for Learning through the Arts, 7, pp. 1-14, (2011); Francis P., Evangelii Gaudium: Apostolic Exhortation, (2013); Garmaz J., NOK i vjeronauk: Religiozna kompetencija u školskom vjeronauku, Crkva u Svijetu: CUS, 47, pp. 427-451, (2012); Hemel U., Ziele Religiöser Erziehung. Beiträge zu Einer Integrativen Theorie, (1988); Hullam S., The Power of Music: A Research Synthesis of the Impact of Actively Making Music on the Intellectual, Social and Personal Development of Children and Young People, (2015); Johnson D.C., Carl Orff: Musical Humanist, The International Journal of the Humanities, 3, pp. 1-6, (2006); Jordania J., Interrogo ergo cogito”—“I am asking questions, therefore I think”: Responsorial singing and the origins of human intelligence, Paper presented at the International Symposium on Traditional Polyphony, pp. 39-44, (2005); Koprek K., Canite et psallite: Zbornik u čast prof. mr. art. Miroslava Martinjaka povodom 70. godine života, (2021); Kreutz G., Bongard S., Rohrmann S., Hodapp V., Grebe D., Effects of Choir Singing or Listening on Secretory Immunoglobulin A, Cortisol, and Emotional State, Journal of Behavioral Medicine, 27, pp. 623-635, (2004); Laes T., Westerlund H., Saether E., Kamensky H., Practising Civic Professionalism through Inter-Professional Collaboration Reconnecting Quality with Equality in the Nordic Music School System, Expanding Professionalism in Music and Higher Music Education, (2021); Levman B.G., The Genesis of Music and Language, Ethnomusicology, 36, pp. 147-170, (1992); Levman B.G., Western theories of music origin, historical and modern, Musicae Scientiae, 4, pp. 185-211, (2000); Lhotka-Kalinski I., Umjetnost Pjevanja, (1975); Muller V., Lindenberger U., Cardiac and Respiratory Patterns Synchronize between Persons during Choir Singing, PLoS ONE, 6, (2011); Nemoy L., Experiencing Resonance: Choral Singing in Medical Education, Master’s thesis, (2016); Pacheco L.M.S., Milhano S.D.F., Learning to Be… Singing: A Choral Music Education Music, Paper presented at the International Symposium on Performance Science, pp. 97-102, (2007); Rojko P., Metodika Nastave Glazbe. Teorijsko-Tematski Aspekti. (Glazbena Nastava u Općeobrazovnoj Školi), (2012); Stanton R., The Dynamic Choral Conductor, (1971); Stewart R.D., Reflections on the Choral Rehearsal Cycle: An Approach to Professional Practice, Doctoral thesis, (2022); Directory for Catechesis, pp. 106-109, (2020); Vickhoff B., Malmgren H., Astrom R., Nyberg G., Engvall M., Snygg J., Nilsson M., Jornsten R., Music structure determines heart rate variability of singers, Frontiers in Psychology, 4, (2013); Weinert F.E., Concepts of Competence, Contribution within the OECD Project Definition and Selection of Competences: Theoretical and Conceptual Foundations, (1999)","S.D. Baučić; Arts Academy, University of Split, Split, 21000, Croatia; email: saradodig@gmail.com","","Multidisciplinary Digital Publishing Institute (MDPI)","","","","","","20771444","","","","English","Religions","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85172764664"
"Gioffredo M.","Gioffredo, Mylène (56872858500)","56872858500","Seizing the Life of Sounds in Contemporary Instrumental Music: Claude Vivier’s Zipangu (1980), a Spectromorphological Perspective","2024","Music and Science","7","","","","","","0","10.1177/20592043241303260","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85212086862&doi=10.1177%2f20592043241303260&partnerID=40&md5=241d818516a7483a1fcfc71ee09472ae","CNRS-PRISM (Perception, Representations, Image, Sound, Music), CGGG, InCIAM, Aix-Marseille Université, Marseille, France","Gioffredo M., CNRS-PRISM (Perception, Representations, Image, Sound, Music), CGGG, InCIAM, Aix-Marseille Université, Marseille, France","This essay has been conceived as an invitation into the workshop of the contemporary music analyst. It aims to familiarize scholars who are interested in but unfamiliar with the practices of music analysis by discussing one of our most important challenges: how can we integrate features such as texture, timbre, and space into our analytical discussions? After a brief presentation of an analytical problem concerning Claude Vivier's Zipangu (1980)—the limitations of “traditional” analytical tools that focus on pitch distribution when studying a work emphasizing timbre and texture—and an introduction to some aspects of the music analyst's practice, the first part of this essay (“How to Seize the Life of Sounds?”) presents essential theoretical foundations. On the one hand, it deals with the rationale behind my choices, my rejection of a signal-analysis-based approach (sometimes considered more “objective”), and my adoption of Pierre Schaeffer's ideas and analytical propositions as discussed in his Traité des objets musicaux (1966), as well as the graphical adaptation proposed by Lasse Thoresen in Emergent Musical Forms: Aural Explorations (2015). On the other hand, it summarizes key concepts necessary to fully appreciate the analysis that follows—from Schaeffer's notion of a new solfège and its associated typomorphology to Thoresen's principles of symbolic annotation. In the second part, “Towards a New Conception of Form in Claude Vivier's Zipangu (1980): A Spectromorphological Perspective,” I demonstrate the existence of a (latent) multidimensional space within which the piece operates by applying this analytical framework to several excerpts from Zipangu. © The Author(s) 2024.","Aural analysis; Claude Vivier; instrumental contemporary music; music analysis and theory; Pierre Schaeffer; spectromorphology; timbre; visual representation","","","","","","Aix-Marseille Université, AMU, (AMX-19-IET-005); Aix-Marseille Université, AMU","Funding text 1: I would like to thank the two anonymous reviewers of this article manuscript for their comments, questions and suggestions which have contributed to bring my work to its final shape. I would also like to express my gratitude to Robert Hasegawa for his diligent proofreading. This research draws on research supported by the Excellence Initiative of Aix-Marseille University, A*Midex, a French Programme d\u2019Investissements d\u2019Avenir, AMX-19-IET-005. ; Funding text 2: The author disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This work was supported by the Programme Investissements d\u2019Avenir, Initiative d\u2019Excellence d\u2019Aix-Marseille Universit\u00E9 \u2013 A*Midex, (grant number AMX-19-IET-005). ","Beauchamp J., Perceptually correlated parameters of musical instrument tones, Archives of Acoustics, 36, 2, pp. 225-238, (2011); Beavers J.P., Ravel’s sound timbre and orchestration in his late works, Music Theory Online, 27, 1, (2021); Boyer P.H., MIRages: An account of music audio extractors, semantic description and context-awareness, in the three ages of MIR, Doctoral dissertation, (2019); Braes R., A response to Janette Tilley’s eternal recurrence: Aspects of melody in the orchestral music of Claude Vivier, Discourses in Music, 2, 2, (2000); Braes R., An investigation of the Jeux de Timbres in Claude Vivier’s Orion and his other instrumental works of 1979-1980, Doctoral dissertation, (2003); Bullock J., Implementing audio feature extraction in live electronic music, Doctoral dissertation, (2008); Caclin A., McAdams S., Smith B.K., Winsberg S., Acoustic correlates of timbre space dimensions: A confirmatory study using synthetic tones), The Journal of the Acoustical Society of America, 118, 1, pp. 471-482, (2005); Chion M., Guide des objets sonores: Pierre Schaeffer et la recherche musicale, (1983); Chion M., Guide to sound objects: Pierre Schaeffer and musical research, (2009); Christian B., Automatic writing and grammelot in Claude Vivier’s langue inventée, Tempo: A Quarterly Review of Modern Music, 68, 270, pp. 15-30, (2014); Clarke E.F., Ways of listening: An ecological approach to the perception of musical meaning, (2005); Cogan R., New images of musical sound, (1984); Couprie P., Three analysis models for L’oiseau moqueur, one of the Trois rêves d’oiseau by François Bayle, Organised Sound: An International Journal of Music Technology, 4, 1, pp. 3-14, (1999); Couprie P., Graphical representation: An analytical and publication tool for electroacoustic music, Organised Sound: An International Journal of Music Technology, 9, 1, pp. 109-113, (2004); Couprie P., Prolégomènes à la représentation analytique des musiques électroacoustiques, Circuit: Musiques contemporaines, 25, 1, pp. 39-54, (2015); Couprie P., Quelques propos sur les outils et les méthodes audionumériques en musicologie. 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Cone, Perspectives of New Music, 7, 2, pp. 59-69, (1969); Malt M., Une proposition pour l’analyse des musiques électroacoustiques de Xenakis à partir de l’utilisation de descripteurs audio, Iannis Xenakis La musique électroacoustique, pp. 159-198, (2015); Malt M., Jourdan E., Le “BSTD” – Une représentation graphique de la brillance et de l’écart type spectral, comme possible représentation de l’évolution du timbre sonore, L’analyse musicale aujourd’hui, pp. 111-128, (2015); Marandola F., Pulau Dewata: Des arrangements raisonnables ?, Circuit: Musiques contemporaines, 18, 3, pp. 53-72, (2008); McAdams S., The perceptual representation of timbre, Timbre: Acoustics, perception, and cognition, 69, pp. 23-57, (2019); Mijnheer J., Shiraz pour piano de Claude Vivier, Les cahiers de l’ARMuQ, 13, pp. 90-105, (1991); Les unités sémiotiques temporelles: Éléments nouveaux d’analyse musicale, (1996); Monteiro A.C., (2012); Noble J.D.K., What can the temporal structure of auditory perception tell us about musical “timelessness”?, Music Theory Online, 24, 3, (2018); Palacio-Quintin C., Analyse spectromorphologique de La plénitude du vide de Jean-François Laporte, Circuit: Musiques contemporaines, 23, 1, pp. 45-66, (2013); Peeters G., Giordano B.L., Susini P., Misdariis N., McAdams S., The Timbre Toolbox: Extracting audio descriptors from musical signals, The Journal of the Acoustical Society of America, 130, 5, pp. 2902-2916, (2011); Porres A.T., Modelos psicoacústicos de dissonância para eletrônica ao vivo, Doctoral dissertation, Biblioteca Digitais de Teses e Dissertações da USP, (2012); Rheaume M., Évolution d’un style musical : Comment Vivier passe-t-il d’une œuvre à l’autre ?, Circuit: Musiques contemporaines, 18, 3, pp. 73-88, (2008); Rheaume M., Je ne m’apitoie plus sur le fait”: Homosexualité et engagement identitaire dans les écrits et prises de parole de Claude Vivier, Circuit: Musiques contemporaines. XXXI/1 (2021): Quelle normeParole Queer et création musicale, 31, 1, pp. 27-41, (2021); Roy S., L’analyse des musiques électroacoustiques: Modèles et propositions, (2003); Satie E., Mémoires d’un amnésique. Ce que je suis, Revue Musicale, 8, (1912); Schaeffer P., Traité des objets musicaux: Essai interdisciplines, (1966); Schaeffer P., Treatise on musical objects: An essay across disciplines, (2017); Sheinbaum J.J., The artifice of the “natural”: Mahler’s orchestration at cadences, Journal of Musicological Research, 24, 2, pp. 91-121, (2005); Simurra I.E., Manzolli J., Sound Shizuku composition: A computer-aided composition system for extended music techniques, MusMat: Brazilian Journal of Music and Mathematics, 1, 1, pp. 86-101, (2016); Skold M., The visual representation of timbre, Organised Sound: An International Journal of Music Technology, 27, 3, pp. 387-400, (2022); Smalley D., Spectro-morphology and structuring processes, The language of electroacoustic music, pp. 61-93, (1986); Smalley D., Defining transformations, Interface, 22, 4, pp. 279-300, (1993); Smalley D., Defining timbre—refining timbre, Contemporary Music Review, 10, 2, pp. 35-48, (1994); Smalley D., The listening imagination: Listening in the electroacoustic era, Contemporary Music Review, 13, 2, pp. 77-107, (1996); Smalley D., Spectromorphology: Explaining sound-shapes, Organised Sound: An International Journal of Music Technology, 2, 2, pp. 107-126, (1997); Stockhausen K., Von Webern zu Debussy [1954], Texte zur Musik, 1, pp. 75-85; Stockhausen K., Erfindung und Entdeckung [1961], Texte zur Musik, 1, pp. 222-258; Stockhausen K., Four criteria of electronic music, Stockhausen on music. Lectures and interviews, pp. 88-111, (1989); Thoresen L., Hedman A., Spectromorphological analysis of sound objects: An adaptation of Pierre Schaeffer’s typomorphology, Organised Sound: An International Journal of Music Technology, 12, 2, pp. 129-141, (2007); Thoresen L., Hedman A., Emergent musical forms: Aural explorations, (2015); Tiffon V., Jean-Claude Risset’s paradoxical practice of interdisciplinarity: Making inseparable both activities of scientist and musician, while resolutely distinguishing the two, Perception, Représentations, Image, Sound, Music, pp. 657-664, (2021); Tilley J., Eternal recurrence: Aspects of melody in the orchestral music of Claude Vivier, Discourses in Music, 2, 1, (2000); Tremblay J., L’écriture à haute voix: Lonely child de Claude Vivier, Circuit: Musiques contemporaines, 11, 1, pp. 45-67, (2000); Vande Moortele S., Two-dimensional sonata form: Form and cycle in single-movement instrumental works by Liszt, Strauss, Schoenberg, and Zemlinsky, (2009); Vivier C., Zipangu: Orchestre à cordes = string orchestra = Streichorchester, (1985); Vivier C., De Leeuw R., Schonberg/Asko E., Et al., Zipangu [Work]. On Lonely Child, Prologue pour un Marco Polo, Zipangu, Bouchara [Album], (1996); Vivier C., Turovsky Y., I Musici de M., Et al., Zipangu [Work]. On Zipangu [Album], (1988)","M. Gioffredo; Perception, Representations, Image, Sound, Music, CGGG, InCIAM, Aix-Marseille Université, Marseille, 92 chemin colline Saint-Joseph, 13009, France; email: mimi.gioffredo@gmail.com","","SAGE Publications Ltd","","","","","","20592043","","","","English","Music. Sci.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85212086862"
"Lohmeyer A.","Lohmeyer, Aaron (57222052204)","57222052204","Reading strategy differences between college choral, band, and jazz musicians: Evidence for musical multiliteracies","2023","Psychology of Music","51","5","","1518","1533","15","1","10.1177/03057356231155654","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85151074720&doi=10.1177%2f03057356231155654&partnerID=40&md5=d019cacaded3445c9ba7044f792bc793","Winona State University, Winona, MN, United States","Lohmeyer A., Winona State University, Winona, MN, United States","The primary purpose of this study was to determine reading strategy differences in completing a notation memorization task between three ensemble music traditions: jazz, choral, and band. The secondary purpose of this study was to assess possible relationships between ensemble affiliation, memorization strategies, and participants’ memorization accuracy. Participants (N = 81) had 75 s to memorize short melody while studying silently, singing, or playing on a keyboard. Participants then notated the each melody using staff notation. After completion of the task, participants ranked reading strategies employed. A Kruskal–Wallis test revealed participants in the three ensemble groups approached the memorization task using significantly different cognitive strategies: the choral group used solfege labeling more than the jazz group, the choral group used whole repetition more than the band group, and the jazz group used harmonic analysis more than the choral group. A Spearman rank correlation revealed significant relationships between stated strategies and memorization accuracy. A significant positive relationship was found between identification of patterns and accuracy on the memorization task. Group differences reveal how the forms of music literacy constructed through different ensemble affiliations may create different approaches to understanding staff notation. © The Author(s) 2023.","music cognition; music literacy; music memory","","","","","","","","Berliner P.F., Thinking in jazz: The infinite art of improvisation, (2009); Bernardi N.F., Schories A., Jabusch H.C., Colombo B., Altenmuller E., Mental practice in music memorization: An ecological, empirical study, Music Perception, 30, 3, pp. 275-290, (2012); Berz W.L., Working memory in music: A theoretical model, Music Perception, 12, 3, pp. 353-364, (1995); Broomhead P., A new definition of music literacy: What, why, and how?, Music Educators Journal, 107, 3, pp. 15-21, (2021); Brown C., We’re playing classical music all wrong—Composers wanted us to improvise, The Conversation, January, 14, (2015); Brown R.M., Palmer C., Auditory–motor learning influences auditory memory for music, Memory & Cognition, 40, 4, pp. 567-578, (2012); Burakoff G., Hettrick W.E., The sweet pipes recorder book: Adult method book 2, (1980); Byo J.L., Cassidy J.W., An exploratory study of time use in the practice of music majors: Self-report and observation analysis, Update: Applications of Research in Music Education, 27, 1, pp. 33-40, (2008); Chaffin R., Imreh G., Practicing perfection: Piano performance as expert memory, Psychological Science, 13, 4, pp. 342-349, (2002); Chaffin R., Logan T.R., Begosh K.T., Performing from memory, (2009); Cope B., Kalantzis M., Multiliteracies”: New literacies, new learning, Pedagogies: An International Journal, 4, 3, pp. 164-195, (2009); Demorest S.M., Building choral excellence: Teaching sight-singing in the choral rehearsal, (2001); Fujioka T., Trainor L.J., Ross B., Kakigi R., Pantev C., Musical training enhances automatic encoding of melodic contour and interval structure, Journal of Cognitive Neuroscience, 16, 6, pp. 1010-1021, (2004); Gee J.P., Social linguistics and literacies: Ideology in discourses, (2007); Goolsby T.W., Profiles of processing: Eye movements during sightreading, Music Perception: An Interdisciplinary Journal, 12, 1, pp. 97-123, (1994); Green L., How popular musicians learn: A way ahead for music education, (2002); Hargreaves D.J., North A.C., The functions of music in everyday life: Redefining the social in music psychology, Psychology of Music, 27, 1, pp. 71-83, (1999); Haslinger B., Erhard P., Altenmuller E., Schroeder U., Boecker H., Ceballos-Baumann A.O., Transmodal sensorimotor networks during action observation in professional pianists, Journal of Cognitive Neuroscience, 17, 2, pp. 282-293, (2005); Indrisano R., Chall J.S., Literacy development, Journal of Education, 177, 1, pp. 63-83, (1995); Iorio C., Brattico E., Munk Larsen F., Vuust P., Bonetti L., The effect of mental practice on music memorization, Psychology of Music, 50, 1, pp. 230-244, (2022); Johnson-Laird P.N., The perception and memory of sentences, New Horizons in Linguistics, 1, pp. 261-270, (1970); Kinsler V., Carpenter R.H.S., Saccadic eye movements while reading music, Vision Research, 35, 10, pp. 1447-1458, (1995); 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Mishra J., A qualitative analysis of strategies employed in efficient and inefficient memorization, Bulletin of the Council for Research in Music Education, 152, pp. 74-86, (2002); Mishra J., A century of memorization pedagogy, Journal of Historical Research in Music Education, 32, 1, pp. 3-18, (2010); A pedagogy of multiliteracies: Designing social futures, Harvard Educational Review, 66, 1, pp. 60-93, (1996); Palladino P., Cornoldi C., De Beni R., Pazzaglia F., Working memory and updating processes in reading comprehension, Memory & Cognition, 29, 2, pp. 344-354, (2001); Sagrillo D., Solfège and musical sight reading skills in a European context, Leo Kestenberg und Musikalische Bildung in Europa, 8, pp. 115-127, (2016); Schaal N.K., Banissy M.J., Lange K., The rhythm span task: Comparing memory capacity for musical rhythms in musicians and non-musicians, Journal of New Music Research, 44, 1, pp. 3-10, (2015); Sloboda J., The eye-hand span-An approach to the study of sight-reading, Psychology of Music, 2, 2, pp. 4-10, (1974); Sloboda J.A., Visual perception of musical notation: Registering pitch symbols in memory, The Quarterly Journal of Experimental Psychology, 28, 1, pp. 1-16, (1976); Sloboda J.A., Parker D.H.H., Immediate recall of melodies, Musical structure and cognition, pp. 143-167, (1985); Smith B., Sataloff R.T., Choral pedagogy, (2013); Snyder B., Music and memory: An introduction, (2000); West C., What research reveals about school jazz education, Update: Applications of Research in Music Education, 33, 2, pp. 34-40, (2015)","A. Lohmeyer; Winona State University, Winona, United States; email: aalohmeyer@hotmail.com","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-85151074720"
"Bennison B.","Bennison, Becky (59773358800)","59773358800","Techno-musicality in Australian secondary music classrooms","2025","Journal of Popular Music Education","9","1","","81","98","17","0","10.1386/jpme_00146_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-105004362300&doi=10.1386%2fjpme_00146_1&partnerID=40&md5=42e8a3bbf75ced352b8f440526670207","","","Techno-musicality – the mechanics of audio production on the meaningful effect of a recording – is an integral part of composition, production and performance of popular music. Yet this discussion is largely absent from Australian music classrooms. The pedagogy of aural perception is taught as part of the Australian music curriculum and framed via six concepts/elements of music – pitch, duration, structure, texture, timbre and dynamics/expressive techniques. Student engagement with these six concepts largely neglects to address matters of techno-musicality. A study, conducted across Australian secondary students and their educators, revealed that students demonstrate rudimentary skills and/or knowledge to adequately engage with techno-musicality in their listening analyses, and yet educators are willing and mostly confident working in this area. This article addresses the importance of techno-musicality to meaningful analyses of recorded sound and discusses how educators can equip students to engage with techno-musicality utilizing the musical concepts and, in particular, timbre and expressive techniques. © 2025 Intellect Ltd.","aural perception; education; popular music pedagogy; space; technology; timbre","","","","","","Harvard University","This article came about as a result of research undertaken for the Beavis Fellowship \u2013 awarded by Harvard University to secondary school teachers.","Aurora A., Leonard M., Rebscher N., Running with the Wolves, (2015); Back M., Des D., Micro-narratives in sound design: Context, character, and caricature in waveform manipulation, Proceedings of the International Conference on Auditory Display, pp. 1-6, (1996); 2002 HSC Notes from the Marking Centre Music, (2002); Fornas J., Text and music revisited, Theory, Culture & Society, 14, 3, pp. 109-123, (1997); Frith S., A journal on the art of record production, Journal of the Art of Record Production, (2007); Galettis H., Musical Concepts Music 1 Aural Skills Preliminary and HSC Course, (2009); Lympany M., Clair de Lune, Piano Favourites, (1998); Maisky M., Cello Suite No. 1 in G Major, (2011); Mayer J., Slow Dancing in a burning Room, Continuum, (2006); Moylan W., Understanding and Crafting the Mix: The Art of Recording, (2007); 2018 HSC Music 1 Aural Skills Marking Guidelines: Written Examination, (2018); Bohemian Rhapsody, Night at the Opera, (1975); Savage J., Working towards a theory for music technologies in the classroom: How pupils engage with and organise sounds with new technologies, British Journal of Music Education, 22, 2, pp. 167-180, (2005); Sheeran E., Supermarket Flowers, (2017); Have Love Will Travel, Thickfreakness, (2003); Theberge P., Any Sound you can Imagine: Making Music/Consuming Technology, (1997); Theberge P., Music/technology/practice: Musical knowledge in action, The Popular Music Studies Reader, pp. 187-286, (2006); Tobias E., Composing, song writing, and producing: Informing popular music pedagogy, Research Studies in Music Education, 35, 2, pp. 1-25, (2013); War on War, Yankee Hotel Foxtrot, (2001); Walzer D., Critical listening assessment in undergraduate music technology programmes, Journal of Music, Technology & Education, 8, 1, pp. 41-53, (2015); Zak A., The Poetics of Rock, (2001); Dunsby J., Roland Barthes and the grain of Panzéra’s voice, Journal of the Royal Musical Association, 134, 1, pp. 113-132, (2009); Motje W., Younie S., Overcoming barriers: Towards a framework for continuing professional development to foster teaching sound-based music, Journal of Music, Technology & Education, 11, 1, pp. 83-102, (2018); Reece S., Tools for thinking in sound, Music Educators Journal, 88, 1, pp. 42-45, (2001); Shepherd R., Retro vertigo: Representation of space and timbre in contemporary rock music, Ph.D. thesis, (2010); Webster P., Key research in music technology and music teaching and learning, Journal of Music, Technology & Education, 4, 2–3, pp. 115-130, (2011)","B. Bennison; email: beckybennison@gmail.com","","Intellect Ltd.","","","","","","23976721","","","","English","J. Pop. Music. Educ.","Article","Final","","Scopus","2-s2.0-105004362300"
"Baragwanath N.","Baragwanath, Nicholas (26033178800)","26033178800","Note-Naming, Galant Schemata, and the “Thread” of Vivaldi’s Concerto for Four Violins, Op. 3 No. 10 (RV 580)","2024","Music Theory And Analysis","11","1","","48","77","29","0","10.11116/Mta.11.1.3","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85209571426&doi=10.11116%2fMta.11.1.3&partnerID=40&md5=a5383be1cd8281d17587da44b074bac7","University of Nottingham, United Kingdom","Baragwanath N., University of Nottingham, United Kingdom","Part I of this article surveys the language code applied to the theory of galant schemata, building upon Gjerdingen’s 2007 study of “stock musical patterns” in the eighteenth century. These schemata are determined primarily by “contrapuntal skeletons” between descant and bass and are defined by scale degree numbers drawn from seven-note scales. However, to describe galant melodies in these terms is anachronistic, and it may give rise to connections and hierarchies that would not have occurred to an eighteenth-century mind. In Italian-style music, melody was governed by the hexachordal solfeggio learned in the first years of musical apprenticeship; it was never described with scale degrees. The article asks what happens if we apply the old hexachords to the stock patterns of galant music, including commonplace voice-leading patterns normally excluded from the inventory of schemata. Might they offer alternative, more historically grounded readings? The article’s second part addresses these questions through a case study on the first movement of Vivaldi’s Concerto for Four Violins (RV 580), exploring the claim that hexachordal syllables, as known and understood by the original performers of the work, can grant further insights into the musical discourse. Part III concludes by presenting an analysis of the overall “thread” of the movement, taken to mean the syllabic patterns that underlie its melody. © Nicholas Baragwanath and Leuven University Press.","Galant Schemata; Historical Solfeggio; Language Codes; Scale Degrees; Voice-leading Patterns","","","","","","","","I made a similar argument in relation to supremacist aspects of basic music theory in a keynote speech delivered at the Institute for Music Research conference, (2013); Gjerdingen Robert O., Music in the Galant Style, (2007); Baragwanath Nicholas, The Solfeggio Tradition: A Forgotten Art of Melody in the Long Eighteenth Century, pp. 95-107, (2020); Remes Derek, A Compendium of Voice-Leading Patterns from the Seventeenth and Eighteenth Centuries to Play, Sing, and Transpose at the Keyboard, Journal of Music Theory Pedagogy, 33, (2019); Gjerdingen, Music in the Galant Style, 369, on Leopold Mozart’s concept of “the cognitive thread (il filo) that […] guides the listener through a musical work; Eagleton Terry, Literary Theory: An Introduction, (1983); Meyer Leonard B., Emotion and Meaning in Music, pp. 6-43, (1956); Gjerdingen, Music in the Galant Style, pp. 10-19; Byros Vasili, Meyer’s Anvil: Revisiting the Schema Concept, Music Analysis, 31, 3, pp. 273-346, (2012); Rabinovitch Gilad, Slominski Johnandrew, Towards a Galant Pedagogy: Partimenti and Schemata as Tools in the Pedagogy of Eighteenth-Century Style Improvisation, Music Theory Online, 21, 3, (2015); Byros Vasili, Thinking in Bach’s Language, Teaching in His Shoes: How the Thomaskantor Structured My Syllabus as a Modern-Day Notenbüchlein or Zibaldone, Bach, 49, 2, pp. 175-204, (2018); Meyer Leonard B., Exploiting Limits: Creation, Archetypes, and Style, Daedalus, 109, 2, pp. 177-205, (1980); Temperley David, Review Article: Gjerdingen’s Music in the Galant Style, Journal of Music Theory, 50, 2, pp. 277-290, (2006); Gjerdingen, Music in the Galant Style; Rice John A., The Heartz: A Galant Schema from Corelli to Mozart, Music Theory Spectrum, 36, 2, pp. 315-332, (2014); Sherrill Paul, Boyle Matthew, Galant Recitative Schemas, Journal of Music Theory, 59, 1, pp. 1-61, (2015); Rabinovitch Gilad, Gjerdingen’s Schemata Reexamined, Journal of Music Theory, 62, 1, pp. 41-84, (2018); Sanchez-Kisielewska Olga, Interactions between Topics and Schemata: The Case of the Sacred Romanesca, Theory and Practice, 41, pp. 47-80, (2016); Baragwanath, The Solfeggio Tradition, The Art of Partimento: History, Theory, and Practice, pp. 289-294, (2012); Gjerdingen, Child Composers, pp. 48-54; Baragwanath, The Solfeggio Tradition, pp. 303-305; Brover-Lubovsky Bella, Tonal Space in the Music of Antonio Vivaldi, (2008); Gates Sarah Lindsay, On Music Theory Expertise: A Cognitive Framework and Galant Schema Theory Case Study, (2023); Gates, On Music Theory Expertise, Gates contextualizes galant schema theory with reference to James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata, pp. 142-143, (2011); Rabinovitch Gilad, Haydn’s Schemata and Hexachords: Two Analytical Case Studies, Haydn: Online Journal of the Haydn Society of North America, 12, 1, (2022); Rabinovitch, Haydn’s Schemata; McVeigh Simon, Hirshberg Jehoash, The Italian Solo Concerto, 1700–1760: Rhetorical Strategies and Style History, pp. 35-36, (2004); McVeigh, Hirshberg, The Italian Solo Concerto, pp. 77-79; McVeigh, Hirshberg, The Italian Solo Concerto, pp. 13-18; Fischer Wilhelm, Zur Entwicklungsgeschichte des Wiener klassischen Stils, Studien zur Musikwissenschaft, 3, pp. 24-84, (1915); Forte Allen, Tonal Harmony in Concept and Practice, pp. 340-352, (1974); Gjerdingen's, Converging Half Cadence, Music in the Galant Style, pp. 159-162; Baragwanath, The Solfeggio Tradition, xvii: “The general rule was to mutate on re when ascending and on la when descending; Brover-Lubovsky, Tonal Space, 28; Werckmeister Andreas, Musicae mathematicae hodegus curiosus, (1686); Baragwanath, The Solfeggio Tradition, pp. 253-255; Brover-Lubovsky Tonal Space, Sequences: Between Affirmation and Destruction of Tonality, Music Theory Online, 24, 4, pp. 169-189, (2018); Neuwirth Markus, Is there an Implicit Formenlehre in Fedele Fenaroli’s Solfeggi? Punctuation Schemes, Formal Functions, and Voice-Leading Schemata, Studi Pergolesiani/Pergolesi Studies, 11, pp. 29-57, (2020)","","","Leuven University Press","","","","","","22955917","","","","English","Music Theory Anal.","Article","Final","","Scopus","2-s2.0-85209571426"
"Timoshenko-Nilsson M.; Nyström M.; Huovinen E.","Timoshenko-Nilsson, Maria (59220556900); Nyström, Marcus (8357720600); Huovinen, Erkki (26033181800)","59220556900; 8357720600; 26033181800","Sight-singing in a group context: An eye-tracking study with experienced choral singers","2023","Journal of New Music Research","52","4","","301","315","14","1","10.1080/09298215.2024.2375557","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85198645469&doi=10.1080%2f09298215.2024.2375557&partnerID=40&md5=5a4fed6c58dc2dd64078ead25930cdbd","Royal College of Music in Stockholm, Department of Music Education, Stockholm, Sweden; Lund University Humanities Lab, Lund, Sweden","Timoshenko-Nilsson M., Royal College of Music in Stockholm, Department of Music Education, Stockholm, Sweden; Nyström M., Lund University Humanities Lab, Lund, Sweden; Huovinen E., Royal College of Music in Stockholm, Department of Music Education, Stockholm, Sweden","Studies on music reading have provided insights into the cognitive processes in sight singing. However, there has been limited research on sight singing in a group setting. This study aims to assess how choral singers approach music reading as they perform previously unfamiliar choral scores together. We addressed (1) how singers’ gaze direction is distributed over staff systems, and (2) how their gaze behaviour is influenced by note density and repeated practice. Four quartets, a total of sixteen experienced singers, performed eight Baroque music excerpts three times, while the singers’ eye movements were recorded. Eye-movement measures were analysed in conjunction with the singers’ views regarding their music reading, obtained through questionnaires and group discussions. Results reveal that besides reading their own voice lines, singers typically inspected the neighbouring lines, seeking visual cues to coordinate the performance. The results of a generalised linear mixed model analysis underscore the substantial influence of note density on fixation durations on one’s own lines, but not on other voices’ lines. Practice, on the other hand, exhibited effects only on average fixation duration for one’s own lines, with no significant impact observed on other lines. The study provides evidence of coordination between an actual sight-reading process and a parallel information-gathering process that helps singers relate their parts to the overall musical structure. © 2024 Informa UK Limited, trading as Taylor & Francis Group.","Choir; Eye movements; Music Reading; Repeated practice; Singing","","","","","","Knut och Alice Wallenbergs Stiftelse; Lunds Universitet, LU; Royal Swedish Academy of Music","Funding text 1: The digital classroom is a unique facility was funded by the Knut and Alice Wallenberg Foundation, the Lund University Committee for Research Infrastructure, https://www.humlab.lu.se/facilities/eye-tracking/the-digital-classroom/ Acknowledgment ; Funding text 2: We would like to express our gratitude to all the participants who generously contributed their time and effort to this project. We would also like to thank the Lund University Humanities Lab for allowing us to record data in their Digital Classroom (https://www.humlab.lu.se/facilities/eye-tracking/the-digital-classroom/) and the Royal Swedish Academy of Music for its support towards the data collection.","Abrahams F., Critical pedagogy as choral pedagogy, The Oxford handbook of choral pedagogy, pp. 13-30, (2017); Ahken S., Comeau G., Hebert S., Balasubramaniam R., Eye movement patterns during the processing of musical and linguistic syntactic incongruities, Psychomusicology: Music, Mind, and Brain, 221, pp. 18-25, (2012); Arthur P., Khuu S., Blom D., Music sight-reading expertise, visually disrupted score and eye movements, Journal of Eye Movement Research, 9, 7, pp. 1-11, (2016); Bishop L., Cancino-Chacon C., Goebl W., Eye gaze as a means of giving and seeking information during musical interaction, Consciousness and Cognition, 68, pp. 73-96, (2019); Bogunovic B., Vujovic I., Metacognitive strategies in learning sight-singing, Psihološka Istraživanja, 15, 2, pp. 115-133, (2012); Braun V., Clarke V., Thematic analysis, APA handbook of research methods in psychology, Vol. 2. Research designs: Quantitative, qualitative, neuropsychological, and biological, pp. 57-71, (2012); Brodsky W., Henik A., Rubinstein B., Zorman M., Auditory imagery from the musical notation in expert musicians, Perception & Psychophysics, 65, 4, pp. 602-612, (2003); Denison C., Teaching and conducting diverse populations, The Oxford handbook of choral pedagogy, pp. 417-432, (2017); Drai-Zerbib V., Baccino T., Cross-modal music integration in expert memory: Evidence from eye movements, Journal of Eye Movement Research, 11, 2, pp. 1-21, (2018); Drai-Zerbib V., Baccino T., Bigand E., Sight-reading expertise: Cross-modality integration investigated using eye tracking, Psychology of Music, 40, 2, pp. 216-235, (2012); Fine P., Berry A., Rosner B., The effect of pattern recognition and tonal predictability on sight-singing ability, Psychology of Music, 34, 4, pp. 431-447, (2006); Fournier G., Moreno Sala M.T., Dube F., O'Neill S., Cognitive strategies in sight-singing: The development of an inventory for aural skills pedagogy, Psychology of Music, 47, 2, pp. 270-283, (2019); Furneaux S., Land M.F., The effects of skill on the eye hand span during musical sight–reading, Proceedings of the Royal Society of London. Series B: Biological Sciences, 266, 1436, pp. 2435-2440, (1999); Gilman E., Underwood G., Restricting the field of view to investigate the perceptual span of pianists, Visual Cognition, 10, 2, pp. 201-232, (2003); Goolsby T.W., Eye movement in music reading: Effects of reading ability, notational complexity, and encounters, Music Perception, 12, 1, pp. 77-96, (1994); Goolsby T.W., Profiles of processing: Eye movements during sightreading, Music Perception, 12, 1, pp. 97-123, (1994); Henry M.L., The use of targeted pitch skills for sight-singing instruction in the choral rehearsal, Journal of Research in Music Education, 52, 3, pp. 206-217, (2004); Hessels R.S., Niehorster D., Chantal K., Ignace H., Noise-robust fixation detection in eye movement data: Identification by two-means clustering (I2MC), Behavior Research Methods, 49, 5, pp. 1802-1823, (2017); Hessels R., Niehorster D.C., Nystrom M., Andersson R., Hooge I.T.C., Is the eye-movement field confused about fixations and saccades? A survey among 124 researchers, Royal Society Open Science, 5, 8, pp. 1-23, (2018); Holmqvist K., Nystrom M., Andersson R., Dewhurst R., Jarodzka H., Van de Weijer J., Eye tracking: A comprehensive guide to methods and measures, (2011); Huovinen E., Rinne J., Brief exposure to notated scores: Pianists’ quick impressions of musical style, Empirical Musicology Review, 18, 1, pp. 42-59, (2024); Huovinen E., Timoshenko M., Nystrom M., Eye movements in sight singing: A study with experts, Psychomusicology: Music, Mind, and Brain, 31, 3-4, pp. 134-148, (2021); Huovinen E., Ylitalo A.-K., Puurtinen M., Early attraction in temporally controlled sight reading of music, Journal of Eye Movement Research, 11, 2, (2018); Karpinski G.S., Aural skills acquisition: The development of listening, reading, and performing skills in college-level musicians, (2000); Killian J.N., Henry M.L., A comparison of successful and unsuccessful strategies in individual sight-singing preparation and performance, Journal of Research in Music Education, 53, 1, pp. 51-65, (2005); Kinsler V., Carpenter R.H.S., Saccadic eye movements while reading music, Vision Research, 35, 10, pp. 1447-1458, (1995); Lehmann A.C., Kopiez R., Sight-reading, The Oxford handbook of music psychology, pp. 547-557, (2016); Madell J., Hebert S., Eye movements and music reading: Where do we look next?, Music Perception, 26, 2, pp. 157-170, (2008); Maturi K.S., Sheridan H., Expertise effects on attention and eye-movement control during visual search: Evidence from the domain of music reading, Attention, Perception, & Psychophysics, 82, 5, pp. 2201-2208, (2020); McMullin C., Transcription and Qualitative Methods: Implications for Third Sector Research, Voluntas, 34, 1, pp. 140-153, (2023); Niehorster D.C., Andersson R., Nystrom M., Titta: A toolbox for creating PsychToolbox and Psychopy experiments with Tobii eye trackers, Behavior Research Methods, 52, 5, pp. 1970-1979, (2020); Nikolic I., Kodela S., Integral aspects of harmonic hearing in the process of sight-singing, Facta Universitatis. Series: Visual Arts and Music, 6, 1, pp. 49-60, (2020); Peirce J., PsychoPy—Psychophysics software in Python, Journal of Neuroscience Methods, 162, 1-2, pp. 8-13, (2007); Penttinen M., Huovinen E., Ylitalo A.-K., Silent music reading: Amateur musicians’ visual processing and descriptive skill, Musicae Scientiae, 17, 2, pp. 198-216, (2013); Penttinen M., Huovinen E., Ylitalo A.K., Reading ahead: Adult music students’ eye movements in temporally controlled performances of a children’s song, International Journal of Music Education, 33, 1, pp. 36-50, (2015); Perra J., Latimier A., Poulin-Charronnat B., Baccino T., Drai-Zerbib V., A meta-analysis on the effect of expertise on eye movements during music reading, Journal of Eye Movement Research, 15, 4, pp. 1-33, (2022); Petty C., Henry M.L., The effects of technology on the sight-reading achievement of beginning choir students, Texas Music Education Research, 23, (2014); Puurtinen M., Eye on music reading: A methodological review of studies from 1994 to 2017, Journal of Eye Movement Research, 11, 2, pp. 1-16, (2018); R: A language and environment for statistical computing, (2022); Reingold E.M., Charness N., Pomplun M., Stampe D.M., Visual span in expert chess players: Evidence from eye movements, Psychological Science, 12, 1, pp. 48-55, (2001); Rosemann S., Altenmuller E., Fahle M., The art of sight-reading: Influence of practice, playing tempo, complexity and cognitive skills on the eye-hand span in pianists, Psychology of Music, 44, 4, pp. 658-673, (2016); Sheridan H., Maturi K.S., Kleinsmith A.L., Eye movements during music reading: Toward a unified understanding of visual expertise, The psychology of learning and motivation, Vol. 73. Gazing toward the future: Advances in eye movement theory and applications, pp. 119-156, (2020); Sheridan H., Reingold E.M., Expert vs. novice differences in the detection of relevant information during a chess game: evidence from eye movements, Frontiers in Psychology, 5, 941, pp. 1-6, (2014); Sloboda J., The eye-hand span-An approach to the study of sight reading, Psychology of Music, 2, 2, pp. 4-10, (1974); Sloboda J., Exploring the musical mind: Cognition, emotion, ability, function, (2005); Snyder B., Memory for music, The Oxford handbook of music psychology, pp. 167-180, (2016); Truitt F.E., Clifton C., Pollatsek A., Rayner K., The perceptual span and the eye-hand span in sight reading music, Visual Cognition, 4, 2, pp. 143-161, (1997); van Gog T., Paas F., van Merrienboer J.J.G., Witte P., Uncovering the problem-solving process: Cued retrospective reporting versus concurrent and retrospective reporting, Journal of Experimental Psychology: Applied, 11, 4, pp. 237-244, (2005); Wickham H., ggplot2: Elegant graphics for data analysis, (2016); World Medical Association Declaration of Helsinki ethical principles for medical research involving human subjects, JAMA: Journal of the American Medical Association, 310, 20, pp. 2191-2194, (2013); Wurtz P., Mueri R.M., Wiesendanger M., Sight-reading of violinists: Eye movements anticipate the musical flow, Experimental Brain Research, 194, 3, pp. 445-450, (2009); Zadig S., Folkestad G., Lyberg-Ahlander V., Choral singing under the microscope: Identifying vocal leaders through comparison of individual recordings of the singers, Musiikkikasvatus/Finnish Journal of Music Education, 20, 1, pp. 77-98, (2017)","M. Timoshenko-Nilsson; Royal College of Music in Stockholm, Department of Music Education, Stockholm, Sweden; email: maria.timoshenko@kmh.se","","Routledge","","","","","","09298215","","","","English","J. New Music Res.","Article","Final","","Scopus","2-s2.0-85198645469"
"Bhattacharyya A.","Bhattacharyya, Anirban (58895037500)","58895037500","From Musical Writings To Writing Music: Book-Writing Leading to Music School in Nineteenth-Century Calcutta","2024","Nineteenth-Century Music Review","21","3","","492","517","25","0","10.1017/S1479409823000411","https://www.scopus.com/inward/record.uri?eid=2-s2.0-105003210788&doi=10.1017%2fS1479409823000411&partnerID=40&md5=e04f00dd4773b2510f1c5a5e3d3000fe","Shiv Nadar Institution of Eminence, India","Bhattacharyya A., Shiv Nadar Institution of Eminence, India","Print created the urge to innovate new modalities of musical knowledge production and dissemination in nineteenth-century Bengal. Publication of music books made the bifurcation between music theory and practice clearer, but only as a textual category. As the literature suggests, these were two categories for organizing musical knowledge, intimately entwined, where one produces the other and also doesn't exist without each other. The technology of 'swaralipi' (musical notation) used in the modern printed books materialized the project of disseminating music to the reader who could now 'read' the music from the book. For some book writers, music books were meant to be a replacement for the oral tutelage, published as 'self-instructors'. But, on the contrary, the most prolific book-writers of the time used their books as the basis of oral tutelage in the music school. In the modern setting of the music school, the person of the 'guru' or 'ustad' was replaced by the formalized, systematic teaching of the 'professors' of music. Music books, as the medium of modern music pedagogy, thus changed not only the way students learned - making it possible to learn from the book with no instructor - but also the role of teachers, whose teaching was validated by the book. The music books came to function as the 'modern shastras' - to exercise regulatory authority over music practice, and how music is learned and taught. The 'orality' of music emerges as a liminal space in the gap between the writings on music and the writing of music. What emerges is an unlikely milieu where a new form of musical education is devised, the possibility of an education without a guru is conceived, and the schema of musical notation brings the entire process to life.  © 2024 The Author(s).","","","","","","","","","Williams R.D., Music, Lyrics, and the Bengali Book: Hindustani Musicology in Calcutta, 1818–1905, Music and Letters, 97, pp. 465-495, (2016); Williams, Music, Lyrics, and the Bengali Book; Atarthi, Whither Musicology?; Orsini F., Print and Pleasure: Popular Literature and Entertaining Fictions in Colonial North India, (2009); Roy T., Disciplining the Printed Text: Colonial and Nationalist Surveillance of Bengali Literature, Texts of Power: Emerging Disciplines in Colonial Bengal, pp. 30-62, (1995); Bakhle S.J., Two Men and Music, (2005); Amrita Bazar Patrika (Weekly), 4, 31, (1871); Amrita Bazar Patrika (Weekly), 4, 24, (1871); Banerjea K.D., Shikkhak Byatireke Sangita Siksha, (1868); Powers H., Sangita Sastra and Sastriya Sangita, Indian Music Journal, 5, 9, pp. 52-56, (1968); Rahaim S.M., Reddy S., Christensen L., Authority, Critique, and Revision in the Sanskrit Music-Theoretic Tradition: Rereading the Svara-mela-kalānidhi, Asian Music, 46, 1, pp. 39-77, (2015); Das R.S., Sangita Taranga, (1903); Williams R.D., Hindustani Music between Awadh and Bengal, c. 1758–1905, (2014); Das S., Sangita Taranga, 11; Ghosh, An Uncertain “Coming of the Book, pp. 23-55; Ghosh, An Uncertain “Coming of the Book, pp. 32-44; Williams, Hindustani Music between Awadh and Bengal, pp. 262-263; Mishra S.M., College W., Davis T.W., Letters of endorsement also came from the Muslim hereditary musicians in Calcutta, Two Parts, (1869); Goswami, Sangeeta Sara, pp. 1-13; Goswami, Sangeeta Sara, pp. 14-34; Goswami, Sangeeta Sara, pp. 35-62; Goswami, Sangeeta Sara, pp. 63-65; Vyasadeva S.K., Sangita Raga Kalpadruma, (1914); Chaudhuri S., Bishwa Sangita O Bibekananda, ArekRokom, 18-19, (2017); Ragaragini-Dhyanodaharan; Purana N., Damodara S., Sanhita N., These Sanskrit musicological works were Sangita Ratnakara; Vyasadeva, Sangita Raga Kalpadruma, pp. 2-16; Basak B., Datta N., Sangitakalpataru, (2010); Basak, Datta, Sangitakalpataru; Tagore S.M., A Few Specimen of Indian Songs, (1879); Bhajan, Kaoyal-Kalbana, Gul-Naks, Tappa, Kheyal, Tap-Kheyal, Thumri G., Hori, Kajri, Ragamala, Swaragrama; Song of the Sanotals, Kirtana, Jattra, Kabi, Panchali, and Songs of Dasarathi Ray (dedicated to Goddess Kali); Chattopadhyay T., Saral-Swaralipi Shiksha (First Part), (1931); Capwell C., Musical Life in Nineteenth-Century Calcutta as a Component in the History of a Secondary Urban Center, Asian Music, 18, 1, (1986); Capwell, Musical Life in Nineteenth-Century Calcutta; Goswami K.M., Tagore S.M., Ghose L., Kaliprasanna Bandopadhyay also published ‘English System of Notation’ (1868) to express his opinion about the unsuitability of Western Staff notation for notating Indian music, Musical Life in Nineteenth-Century Calcutta; Jones W., On the Musical Modes of the Hindoos, Hindu Music from Various Authors, pp. 123-160, (1875); Goswami K., Jaydeber Jiban Charita Sambalita Geetagobinda Geetabalir Swaralipi, (1871); Ghose L.N., The Music and Musical Notation of Various Countries, (1874); Banerjea K.D., Bangaikatan, (1867); Krishnadhan Bandopadhyay developed a Bengali vocabulary of Western music theory and staff notation – including its timing, the signs and symbols used and their meanings, musical intervals, scales, and musical embellishments – and provided Bengali terms for each concept, category and item; Gosswamee K.M., Goswami K., Sangeeta Sara Or A Treatise on Hindoo Music, Two Parts, (1869); Goswamin K.M., Goswami K., Kantha Kaumudi or A Guide to Vocal Music, (1875); Goswamin, Kantha Kaumudi, pp. 8-27; Goswamin, Kantha Kaumudi, pp. 111-399; Thakoora S.M., JantraKhettraDeepica, (1872); Tagore S.M., Mridanga Manjari, (1902); Chautala S.-T., Surfakta R., Dhamar, Jhaptal, Teora, Patatala, Birapancha, Khamsa, Sattitlala, Mohantala, Dobahar, Bastala B., Rudratala, Brahmajoga, Lachhmitala; Bhabaniprasad B., Bhabaniprasad L.C., Khan K.H., Krishan L.K., HiralalJi L., Ghosh B.S., Jyotsinha L., Maniksinha L., Khodabaksh D.; Tagore S.M., Harmonium-Sutra or A Treatise on Harmonium, (1874); Gangopadhyay K., Vadya Siksha (First Part), (1878); Bidyapati K.C., Vadya Siksha (Second Part), (1880); Tagore, JantraKhetraDeepica, Mridanga Manjari (1873) and Harmonium Sutra, (1872); (1875); Willard A., Marx A.B., Princep J., Burney C., Pococke E., Encyclopedia Brittanica and Encyclopedia Americana, pp. 71-83; Gosswamee, Sangeeta Sara, pp. 98-106; Schuiling F., Notation Cultures: Towards an Ethnomusicology of Notation, Journal of the Royal Musical Association, 144, 2, pp. 429-458, (2019); Schuiling, Notation Cultures; Deb C., Thakurbrir Bahirmahal, (2016); Amrita Bazar Patrika, (1871); Amrita Bazar Patrika, (1871); Third Annual Report of The Bengal Music School in the Premises of the Calcutta Normal School, (1875); Normal School’ in Banglapedia: National Encyclopedia of Bangladesh; Third Annual Report, 3; Rosse M.D., The Movement for the Revitalization of “Hindu” Music in Northern India, 1860–1930: The Role of Associations and Institutions, pp. 30-63, (1995); Rosse, The Movement for the Revitalization of “Hindu, Music, pp. 3-4; The Bengal Music School Fifth and Sixth Sessions 1875–77, (1877); Hatcher B.A., Indigent Brahmans, Industrious Pandits: Bourgeois Ideology and Sanskrit Pandits in Colonial Calcutta, Comparative Studies of South Asia, Africa and the Middle East, 16, 1, (1996); Third Annual Report, pp. 3-5; Rosse, The Movement for the Revitalization of “Hindu, Music; Rosse, The Movement for the Revitalization of “Hindu, Music, pp. 33-34; Tagore S.M., Public Opinion and Official Communications, About The Bengal music School and Its President, pp. 3-5, (1876); Tagore, Public Opinion and Official Communications, pp. 3-4; Mukhopadhyay K., Bahoolina Tatwa or A Treatise on ‘Violin, (1874); Rosse, The Movement for the Revitalization of “Hindu, Music in Northern India; Tagore S.M., Goswami B.K.M., Public Opinion and Official Communications; Bhattacharyya A., Kshetramohan Goswami and his Swaralipi: “Sargam Culture” and the Music Pedagogy in Nineteenth-Century Calcutta, Music & Letters; Tagore, Public Opinion and Official Communications, pp. 11-13; McNeil A., Hereditary Musicians, Hindustani Music and the “Public Sphere” in Late Nineteenth-Century Calcutta, South Asia: Journal of South Asian Studies, 41, 2, pp. 306-307, (2018); Bakhle S., Two Men and Music; Katz M., Institutional Communalism in North Indian Classical Music, Ethnomusicology, 56, 2, (2012); McNeil, Hereditary Musicians, pp. 299-304; Williams, Hindustani music between Awadh and Bengal, pp. 232-235; Magriel N., Visualising North Indian Music: Looking at K̲h̲yāl Songs, The World of Music, 47, 2, (2005)","A. Bhattacharyya; Shiv Nadar Institution of Eminence, India; email: anirban.vocalist@gmail.com","","Cambridge University Press","","","","","","14794098","","","","English","Nineteenth-Century Music Rev.","Article","Final","All Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-105003210788"
"Melnikova A.A.","Melnikova, A.A. (58919696300)","58919696300","Can Orchestration Teaching Be Improved?","2024","Vestnik Sankt-Peterburgskogo Universiteta, Iskusstvovedenie","13","4","","600","620","20","0","10.21638/spbu15.2023.401","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85186707921&doi=10.21638%2fspbu15.2023.401&partnerID=40&md5=2b0ed18f2e0050268d448e8ff4289a5f","Real Conservatorio Superior de Música “Victoria Eugenia” de Granada, 46, calle San Jerónimo, Granada, 18001, Spain","Melnikova A.A., Real Conservatorio Superior de Música “Victoria Eugenia” de Granada, 46, calle San Jerónimo, Granada, 18001, Spain","The fundamentals of mastering orchestration are a well-grounded knowledge of the instruments, their mechanics, techniques, and their phenomenology. To succeed in instrumentation and orchestration praxis, students must commonly 1) massively memorize examples of successful orchestration available in treatises on orchestration; 2) analyze as many as possible orchestral scores, and 3) orchestrate excerpts proposed by their instrumentation teachers. We aimed to conduct an exploratory study to detect possible voids in orchestration teaching. For this purpose we recruited 16 participants for this aim. Eight were Music Pedagogy students in their senior academic year, and the other eight were Composition undergraduates. The participants of the Pedagogy group completed one course in instrumentology, while the composers-students had a background of at least one course in instrumentation. Due to the differences in training, Pedagogy students instrumented an excerpt from a song by Ibert, and Composition students orchestrated an excerpt transcribed for piano from “Romeo and Juliet” (overture-fantasia) composed by Tchaikovsky. Also, we asked the participants to write down all their decisions and choice-making during the task to obtain more information for a deeper insight. As a result, we observed that the participants of both groups showed poor performance and low-quality products, except for those who conducted large ensembles. Both groups presented relevant similarities concerning orchestration-related concepts and procedures. Therefore, we can conclude that the general trend of the handbooks on instrumentation and orchestration is to work from a prescriptive model. We attribute the low-quality results of the composers' group (comparable to non-composers) to the quantity of information to be integrated into the frame of such a model. Rimsky-Korsakov inaugurated the transition to a nomothetic model concerning the tembrotechnonic musical structure. But still, major understanding must be achieved regarding the timbre. © St. Petersburg State University, 2023.","general rules; Gestalt; instrumentation; instrumentology; musical analysis; nomothetic model; orchestration; pedagogy; polytimbral texture; prescriptive model","","","","","","","","Rimsky-Korsakov Nikolay, Chronicle of My Musical Life, (1909); Reymore Lindsey, Characterizing Prototypical Musical Instrument Timbres with Timbre Trait Profiles, Musicae Scientiae, 3, 3, pp. 648-674, (2022); Reymore Lindsey, Huron David, Using Auditory Imagery Tasks to Map the Cognitive Linguistic Dimensions of Musical Instrument Timbre Qualia, Psychomusicology: Music, Mind, and Brain, 30, 3, pp. 124-144, (2020); Carpentier Gregoire, Assayag Gerard, Saint-James Emmanuel, Solving the Musical Orchestration Problem Using Multiobjective Constrained Optimization with a Genetic Local Search Approach, Journal of Heuristics, 16, 5, pp. 681-714, (2010); Chon Song Hui, Huron David, DeVlieger Dana, An Exploratory Study of Western Orchestration: Patterns through History, Empirical Musicology Review, 12, 3, pp. 116-159, (2017); Reuter Christoph, Commentary on 'An Exploratory Study of Western Orchestration: Patterns through History' by S. H. Chon, D. Huron, & D. DeVlieger, Empirical Musicology Review, 12, pp. 160-172, (2018); Fischer M., Soden K., Thoret E., Montrey M., McAdams S., Instrument Timbre Enhances Perceptual Segregation In Orchestral Music, Music Perception, 38, 5, pp. 473-498, (2021); McAdams Stephen, Timbre as a Structuring Force in Music, Timbre: Acoustics, Perception, and Cognition, pp. 211-243, (2019); Goodchild Meghan, Wild Jonathan, McAdams Stephen, Exploring Emotional Responses to Orchestral Gestures, Musicae Scientiae, 23, 1, pp. 25-49, (2019); Lembke Sven-Amin, Levine Scott, McAdams Stephen, Blending Between Bassoon and Horn Players: An Analysis of Timbral Adjustments During Musical Performance, Music Perception, 35, 2, pp. 144-164, (2017); Berlioz Hector, Gran Traité d'Instrumentation et d'Orchestration Modernes, (1855); Vygotsky Lev, Psychology of the Art, (1925); Agricola Martin, Musica Instrumentalis Deudsch; Praetorius Michael, Syntagma Musicum, (1620); Mersenne Martin, Harmonie Universelle, 1, (1636); Mersenne Martin, Harmonie Universelle, 2, (1637); Carse Adam, The History of Orchestration, (1964); Francoeur Louis-Joseph, Diapason Général de Tous Les Instrumens à Vent, (1772); Vandenbroek Othon-Joseph, Traité Général de Tous Les Instrumens à Vent, (1793); LeDhuy Adolphe, Petite Encyclopédie Instrumentale, (1833); Casella Alfredo, Mortari Virgilio, La Técnica de La Orquesta Contemporánea [The Technique of Contemporary Orchestra], (1970); Popov Sergey, Instrumentology, (2019); Bonds Mark Evan, A History of Music in Western Culture, (2013); Kastner Jean-Georges, Cours d'Instrumentation, (1837); Prout Ebenezer, The Orchestra, 2, (1899); Kling Henri, Modern Orchestration and Instrumentation, (1905); Hofmann Richard, Praktische Instrumentationslehre, 5, (1893); Borch Gaston, Practical Manual of Instrumentation, (1918); Rimsky-Korsakov Nikolay, Principles of Orchestration, (1913); Fidler Florence, A Handbook of Orchestration, (1921); Piston Walter, Orchestration, (1969); Eisner Elliot W., From Episteme to Phronesis to Artistry in the Study and Improvement of Teaching, Teaching and Teacher Education, 18, 4, pp. 375-385, (2002); Banshchikov Gennady, Principles of Functional Instrumentation, (1999); Alexandra Liana, Techniques of Orchestration, (2000); Brant Henry, Textures and Timbres: An Orchestrator's Handbook, (2009); Berg Richard, Stork David, The Physics of Sound, (2005); Koechlin Charles, Traité de l'Orchestration, (1956); Adler Samuel, The Study of Orchestration, (2002); Dodson Chad S., Johnson Marcia K., Schooler Jonathan W., The Verbal Overshadowing Effect: Why Descriptions Impair Face Recognition, Memory & Cognition, 25, 2, pp. 129-139, (1997); Blatter Alfred, Instrumentation/Orchestration, (1997); Bregman Albert S., Auditory Scene Analysis: The Perceptual Organization of Sound, (2006); Sandell Gregory J., Analysis of Concurrent Timbres with an Auditory Model, The Journal of the Acoustical Society of America, 95, (1994); Sandell Gregory J., Darwin Christopher J., Recognition of Concurrently sounding Musical Instruments with Different Fundamental Frequencies, The Journal of the Acoustical Society of America, 100, 4, (1996); Devutzkiy Vladislav, Peculiarities of Timbral Dramaturgy in the Third Symphony, Problemy Muzykalnoi Nauki, 1, pp. 108-119, (2015); Slonimskaia Raisa, Orchestral Dramaturgy in Prokofiev's 3<sup>rd</sup> Symphony Scherzo, Trudy Sankt-Peterburgskogo gosudarstvennogo iInstituta kultury, 191, pp. 138-146, (2011); Lenzon Viktor, On Personification of Musical Instruments in Fine Arts, Vestnik Moskovskogo gosudarstvennogo universiteta kultury i iskusstv, 3, 65, pp. 75-80, (2015); Sarzhant Aleksandr, Specificity of Timbral Dramaturgy in Dmitriev's 'Sybilla' for Flute and Chamber Orchestra, Manuscript, 12, 5, pp. 158-163, (2019); Kotikova Tatiana, Kovalenko Viktor, Sushkova Liudmila, On the Function of Bass Timbre in the Work of D. Schostakovich, Nauka. Kultura. Iskusstvo: Aktualnyie problemy teorii i praktiki (12 fevralia 2020 g.), pp. 157-160, (2020); Tashlykova Natalia, Shabashevich Elena, Family Leitmotif' in the Musical Dramaturgy of Christian Shpuk's Ballet 'Anna Karenina, Sintez v Russkoi i Mirovoi Kulture (23-25 noiabria 2016), pp. 230-235, (2017); Ostromogilskii Ilia, Stylistic Domain' in Sonoric Music of the Second Half of the XX Century, Izvestia Rossiyskogo gosudarstvennogo pedagogicheskogo universiteta im. A. I. Gertsena, 153, 1, pp. 69-73, (2012)","A.A. Melnikova; Real Conservatorio Superior de Música “Victoria Eugenia” de Granada, Granada, 46, calle San Jerónimo, 18001, Spain; email: am000068@red.ujaen.es","","Saint Petersburg State University","","","","","","22213007","","","","English","Vestn. St.-Peterbg. Univ. Iskusstv.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85186707921"
"Byrne R.; Murphy R.; Ward F.; McCabe U.","Byrne, Rachael (58972908100); Murphy, R. (55607059300); Ward, F. (57208586279); McCabe, U. (57215937479)","58972908100; 55607059300; 57208586279; 57215937479","Playful (music) teaching and learning in Irish primary school classrooms","2024","Irish Educational Studies","43","4","","1479","1499","20","2","10.1080/03323315.2024.2330886","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85189525195&doi=10.1080%2f03323315.2024.2330886&partnerID=40&md5=963fc122dce3a5643fb3ea713c2ed7e2","School of Arts Education and Movement, Dublin City University, Dublin, Ireland","Byrne R., School of Arts Education and Movement, Dublin City University, Dublin, Ireland; Murphy R., School of Arts Education and Movement, Dublin City University, Dublin, Ireland; Ward F., School of Arts Education and Movement, Dublin City University, Dublin, Ireland; McCabe U., School of Arts Education and Movement, Dublin City University, Dublin, Ireland","The value and importance of play for children’s well-being, learning and development is evidenced by its inclusion within the UN Convention on the Rights of the Child, and its increased policy and research presence on a national and international stage. However, with a need for educators and pupils to navigate a range of implicit tensions in understandings of play and formal learning, enactment of playful pedagogy in primary schools is not without its challenges. This article situates playful teaching and learning in the primary education sphere, drawing from the broader policy and research context, and findings from empirical case study research conducted with Irish primary school teachers (n = 6) exploring playful music pedagogy over a 6-week period in their classrooms in 2019. Results indicated teacher perceptions of a capacity for playful music pedagogy to facilitate deep, holistic learning in tandem with enhanced engagement and motivation for children. Also of note is a blurring of boundaries between play and work with implicit shifts to classroom culture, ownership, and associated movement outside comfort zones for teachers and pupils alike. Recommendations are made pertaining to cultural and policy shifts, and sustained support for educators in navigating tensions, paradoxes and challenges associated with implementing playful pedagogy in the Irish primary education context. © 2024 Educational Studies Association of Ireland.","education; music; ownership; Play; policy; primary school","","","","","","","","Allee-Herndon K.A., Roberts S.K., The Power of Purposeful Play in Primary Grades: Adjusting Pedagogy for Children’s Needs and Academic Gains, Journal of Education, 201, 1, pp. 54-63, (2021); Beegle A., Bond J., Orff Schulwerk: Releasing and Developing the Musical Imagination, Teaching General Music: Approaches, Issues and Viewpoints, pp. 25-48, (2016); Bodrova E., Germeroth C., Leong D.J., Play and Self-Regulation: Lessons from Vygotsky, American Journal of Play, 6, 1, pp. 111-123, (2013); Brumfield S., First, we sing! Kodály-inspired Teaching for the Music Classroom, (2014); Bruner J., Play, Thought and Language, Peabody Journal of Education, 60, 3, pp. 60-69, (1983); Bruner J., Value Presuppositions of Developmental Theory, Value Presuppositions in Theories of Human Development, pp. 19-29, (1986); Bubikova-Moan J., Hanne Naess H., Wollscheid S., ECE Teachers’ Views on Play-Based Learning: A Systematic Review, European Early Childhood Education Research Journal, 27, pp. 776-800, (2019); Byrne R., (2023); Cohen L., Manion L., Morrison K., Research Methods in Education, (2011); Literacy and Numeracy for Learning and Life: The National Strategy to Improve Literacy and Numeracy Among Children and Young people 2011–2020, (2011); National Strategy: Literacy and Numeracy for Learning and Life 2011–2020; Interim review 2011–2016; New targets 2017–2020., (2017); (2023); Desimone L.M., Improving Impact Studies of Teachers’ Professional Development: Toward Better Conceptualizations and Measures, Educational Researcher, 38, 3, pp. 181-199, (2009); Dewey J., Democracy and Education: An Introduction to the Philosophy of Education, (1916); Eisner E., The Role of art and Play in Children’s Cognitive Development, Children’s Play and Learning: Perspectives and Policy Implications, (1990); Frost J.L., Wortham S.C., Reifel S., Play and Child Development, (2012); Geoghegan L., Nemes L.N., Singing Games for Ages 9-99, (2014); Glaser B.G., Strauss A.L., The Discovery of Grounded Theory: Strategies for Qualitative Research, (1967); (1999); Gray C., Ryan A., Aistear vis-à-vis the Primary Curriculum: The Experiences of Early Years Teachers in Ireland, International Journal of Early Years Education, 24, 2, pp. 188-205, (2016); Hall N., Abbott L., Play in the Primary Curriculum, (1992); Hargreaves D.J., The Developmental Psychology of Music, (2009); Hart R.A., (2008); Hirsh-Pasek K., Zosh J.M., Golinkoff R.M., Gray J.H., Robb M.B., Kaufman J., Putting Education in “Educational” Apps: Lessons From the Science of Learning, Psychological Science in the Public Interest, 16, 1, pp. 3-34, (2015); Houlahan M., Tacka P., Kodaly Today: A Cognitive Approach to Elementary Music Education (Second), (2015); Hsieh H.-F., Shannon S.E., Three Approaches to Qualitative Content Analysis, Qualitative Health Research, 15, pp. 1277-1288, (2005); Kangas J., Harju-Luukkainen H., Brotherus A., Gearon L.F., Kuusisto A., Outlining Play and Playful Learning in Finland and Brazil: A Content Analysis of Early Childhood Education Policy Documents, Contemporary Issues in Early Childhood, 23, 2, pp. 153-165, (2022); Kodaly Z., The Selected Writings of Zoltan Kodály, (1974); Kokas K., Joy Through the Magic of Music, (1999); Kokas K., (2013); Kolb S.M., Grounded Theory and the Constant Comparative Method: Valid Research Strategies for Educators, Journal of Emerging Trends in Educational Research and Policy Studies, 3, 1, pp. 83-86, (2012); Littleton D., Music Learning and Child’s Play, General Music Today, 12, 1, pp. 8-15, (1998); Lofgren O., Ehn B., The Secret World of Doing Nothing, (2010); Mardell B., Solis S.L., Bray O., The State of Play in School: Defining and Promoting Playful Learning in Formal Education Settings, International Journal of Play, 8, pp. 232-236, (2019); Martlew J., Stephen C., Ellis J., Play in the Primary School Classroom? The Experience of Teachers Supporting Children’s Learning Through a new Pedagogy, Early Years, 31, pp. 71-83, (2011); Maykut P.S., Morehouse R.E., Beginning Qualitative Research: A Philosophic and Practical Guide, (1994); McCabe U., Farrell T., (2021); McKendrick J.H., Shall the Twain Meet? Prospects for a Playfully Play-Full Scottish Education, Scottish Educational Review, 51, 2, pp. 3-13, (2019); Merriam S.B., Qualitative Research and Case Study Applications in Education, (1998); Michnick Golinkoff R., Hirsh-Pasek C., Singer D.G., Why Play = Learning, Play = Learning: How Play Motivates and Enhances Children’s Cognitive and Social-Emotional Growth, pp. 3-12, (2006); (2009); Nieuwmeijer C., Marshall N., van Oers B., Musical Play in the Early Years: The Impact of a Professional Development Programme on Teacher Efficacy of Early Years Generalist Teachers, Research Papers in Education, 38, 3, pp. 426-447, (2023); Niland A., The Power of Musical Play: The Value of Play-Based, Child-Centered Curriculum in Early Childhood Music Education, General Music Today, 23, 1, pp. 17-21, (2009); Parker R., Thomsen B.S., (2019); Parker R., Thomsen B.S., Berry A., Learning Through Play at School–A Framework for Policy and Practice, Frontiers in Education, 7, (2022); Pyle A., Danniels E., A Continuum of Play-Based Learning: The Role of the Teacher in Play-Based Pedagogy and the Fear of Hijacking Play, Early Education and Development, 28, pp. 274-289, (2017); Pyle A., DeLuca C., Danniels E., A Scoping Review of Research on Play-Based Pedagogies in Kindergarten Education, Review of Education, 5, 3, pp. 311-351, (2017); Sahlberg P., Finnish Lessons: What the World Can Learn from Educational Change in Finland, (2011); Sahlberg P., (2017); Tiles J.E., Dewey, (1988); (2010); Vajda C., The Kodály Way to Music: The Method Adapted for British Schools, (2008); VanHoorn J., Nourot P.M., Scales B., Play at the Center of the Curriculum, (2007); Vygotsky L.S., Play and its Role in the Mental Development of the Child, Soviet Psychology, 5, pp. 6-18, (1967); Vygotsky L.S., Mind in Society: The Development of Higher Psychological Processes, (1978); Wasmuth H., Nitecki E., Global Early Childhood Policies: The Impact of the Global Education Reform Movement and Possibilities for Reconceptualization, Global Education Review, 4, pp. 1-17, (2017); Weisberg D.S., Hirsh-Pasek K., Golinkoff R.M., Kittredge A.K., Klahr D., Guided Play, Current Directions in Psychological Science, 25, 3, pp. 177-182, (2016); Whitebread D., Jameson H., Play Beyond the Foundation Stage: Storytelling, Creative Writing and Self-Regulation in Able 6-7 Year Olds, The Excellence of Play, pp. 95-107, (2010); Wright R., Informal Learning in General Music Education, Teaching General Music, pp. 209-237, (2016); Zosh J.M., Hirsh-Pasek K., Hopkins E.J., Jensen H., Liu C., Neale D., Solis S.L., Whitebread D., Accessing the Inaccessible: Redefining Play as a Spectrum, Frontiers in Psychology, 9, pp. 1-12, (2018); Zosh J.M., Hopkins E.J., Jensen H., Liu C., Neale D., Hirsh-Pasek K., Solls S.L., Whitebread D., Learning Through Play: A Review of the Evidence, (2017)","R. Byrne; School of Arts Education and Movement, Institute of Education. DCU St. Patrick's Campus, Dublin, Drumcondra Road, Ireland; email: drrachaelbyrne@gmail.com","","Routledge","","","","","","03323315","","","","English","Ir. Educ. Stud.","Article","Final","","Scopus","2-s2.0-85189525195"
"Pomerleau-Turcotte J.; Moreno Sala M.T.; Dubé F.; Vachon F.","Pomerleau-Turcotte, Justine (57203603497); Moreno Sala, Maria Teresa (56849540700); Dubé, Francis (56847321800); Vachon, François (8696710100)","57203603497; 56849540700; 56847321800; 8696710100","Experiential and Cognitive Predictors of Sight-Singing Performance in Music Higher Education","2022","Journal of Research in Music Education","70","2","","206","227","21","2","10.1177/00224294211049425","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85118099416&doi=10.1177%2f00224294211049425&partnerID=40&md5=6653fb7ca5c5cb79c3be2746cbb65b6d","Faculté de musique, Université Laval, Québec, QC, Canada; École de psychologie, Université Laval, Québec, QC, Canada","Pomerleau-Turcotte J., Faculté de musique, Université Laval, Québec, QC, Canada; Moreno Sala M.T., Faculté de musique, Université Laval, Québec, QC, Canada; Dubé F., Faculté de musique, Université Laval, Québec, QC, Canada; Vachon F., École de psychologie, Université Laval, Québec, QC, Canada","Sight-singing is prevalent in aural skill classes, where learners differ in experience and cognitive abilities. In this research, we investigated whether musical experience, level of study, and working memory capacity (WMC) can predict sight-singing performance and if there is a correlation between WMC and performance among some subgroups of participants. We hypothesized that more experienced students and those with a higher WMC might sight-sing better than those with less experience and lesser WMC. We also hypothesized that the relationship between WMC and sight-singing performance would be more salient for less experienced and less proficient sight-singers. We surveyed 56 subjects about their experience with music, assessed their WMC, and evaluated their performance on a short sight-singing task. The results showed that the age when students began learning music could predict sight-singing performance independently from the number of years of experience and the educational level, suggesting a possible developmental component to sight-singing skill. We also found a negative relationship between WMC and pitch score in the low-performing group and between rhythm and pitch score, suggesting that pitch and rhythm are processed differently. Teachers should be aware of how students’ backgrounds might be related to performance and encourage them to develop strong automated skills, such as reading music or singing basic tonal patterns. © National Association for Music Education 2021.","aural skills; higher education; musical experience; sight-singing; working memory capacity","","","","","","; Joseph-Armand Bombardier; Fonds de Recherche du Québec-Société et Culture, FRQSC","The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: For this research, first author obtained a Joseph-Armand Bombardier Graduate Scholarship from the Social Sciences and Humanities Research Council and funding from Fonds de recherche du Qu\u00E9bec \u2013 Soci\u00E9t\u00E9 et culture. 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Pomerleau-Turcotte; Faculté de musique, Université Laval, Québec, Canada; email: justine.pomerleau-turcotte.1@ulaval.ca","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","All Open Access; Green Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85118099416"
"Alden J.; Callaghan L.","Alden, JANE (26631744500); Callaghan, LYNSEY (57640978300)","26631744500; 57640978300","On dubious claims regarding the enigmatic Chilston","2022","Plainsong and Medieval Music","31","1","","65","90","25","0","10.1017/S0961137122000018","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85128808302&doi=10.1017%2fS0961137122000018&partnerID=40&md5=3a91e86b087a934d8dc336edd55580cd","","","The earliest known treatise on Boethian proportions in Middle English is attributed to 'Chilston' in London, British Library, Lansdowne 763. Nothing is known of Chilston's biography, although his treatise also survives anonymously in two related sources (New York, Morgan Library, B.12 and Dublin, Trinity College, 516). In 1927, Irish musicologist William Henry Grattan Flood suggested an identification between the author of the proportion treatise and the scribe of British Library, Royal 5 A VI, a priest's handbook dated to 1446. English lexicographer Jeffrey Pulver was quick to dismiss Flood's identification, which apparently discouraged any further assessment of it. This article reconsiders Flood's suggestion, taking into account 1920s political and cultural biases that might explain Pulver's swift rejection. A contextual exploration of the evidence supports the connection of the proportion treatise to Royal 5 A VI and sheds light on the milieu in which Chilston may have worked. Long recognised for his significance in the vernacular history of music theory and music pedagogy, the proposed contextual framework has significant implications for understanding the multiple functions of music theory in fifteenth-century England. Most notably, it documents the use of speculative music theory among readers and audiences with limited knowledge of Latin. A variety of uses for music theory reveal themselves within the emerging vernacular pedagogical practices of late medieval England. These reflect the broader production of technical texts in Middle English and the increased vernacularisation of English society at a pivotal moment of ecclesiastic and musical history. Copyright © The Author(s), 2022.","","","","","","","","","Chevalier U., Répertoire des Sources Historiques Du Moyen ÂGe, (1905); Blom E., Grove's Dictionary of Music and Musicians, 10 S, 2, pp. 214-215, (1954); Riemann H., History of Music Theory: Polyphonic Theory to the Sixteenth Century, (1962); Pulver J., A Biographical Dictionary of Old English Music, (1927); Pulver J., A Dictionary of Old English Music and Musical Instruments, (1923); Flood W.H.G., Who Was Chilston?, The Musical Times, 68, (1927); Pulver J., Who Was Chilston?, The Musical Times, 68, (1927); Flood W.H.G., Irish Ancestry of Garland, Dowland, Campion and Purcell, Music and Letters, 3, pp. 59-65, (1922); Pulver J., What is Wrong with Welsh Music?, The Musical Times, 65, pp. 225-226, (1924); Pulver J., A Dictionary of Old English Music and Musical Instruments, (1923); Flood W.H.G., Entries Relating to Music in English Patent Rolls of the Fifteenth Century, The Musical Antiquary, 4, pp. 225-235, (1912); Stock B., Listening for the Text: on the Uses of the Past, (1990); Jones C., Discourse Communities and Medical Texts, Medical and ScientificWriting in Late Medieval English, 1, pp. 23-36, (2004); Hamilton E.G., Walter of Evesham and ""De Speculatione Musicae"": Authority of Music Theory in Medieval England, Musica Disciplina, 58, pp. 153-166, (2013); Forshaw H.P., New Light on the Speculum Ecclesie of St. Edmund of Abingdon, Archives D'Histoire Doctrinale et Littéraire Du Moyen ÂGe, 38, pp. 7-33, (1971); Lawrence C.H., St Edmund of Abingdon: a Study of Hagiography and History, pp. 230-232, (1960); Given-Wilson C., An Illustrated History of Late Medieval England, pp. 128-129, (1996); Ransford R., The Early Charters of the Augustinian Canons of Waltham Abbey, Essex, 1062-1230, (1989); Orme N., Medieval Schools: from Roman Britain to Renaissance England, (2006); Woodley R., John Tucke: a Case Study in Early Tudor Music Theory, (1993); Reaney G., The Anonymous Treatise ""De Origine et Effectu Musicae"", an Early 15th Century Commonplace Book of Music Theory, Musica Disciplina, 37, pp. 101-119, (1983); Macherey P., A Theory of Literary Production, (1978); Carpenter N.C., Music in the Medieval and Renaissance Universities, (1958)","; L. Callaghan; email: jalden01@wesleyan.edu","","Cambridge University Press","","","","","","09611371","","","","English","Plainsong Mediev. Music","Article","Final","","Scopus","2-s2.0-85128808302"
"Arthur P.; Khuu S.; Blom D.","Arthur, Patricia (57191836830); Khuu, Sieu (10045217500); Blom, Diana (26034555900)","57191836830; 10045217500; 26034555900","Visual processing abilities associated with piano music sight-reading expertise","2021","Psychology of Music","49","4","","1006","1016","10","8","10.1177/0305735620920370","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85085702426&doi=10.1177%2f0305735620920370&partnerID=40&md5=623b9fc7c12e4a1e690c7a6b378742f9","University of New South Wales, Sydney, NSW, Australia; Western Sydney University, Penrith, NSW, Australia","Arthur P., University of New South Wales, Sydney, NSW, Australia; Khuu S., University of New South Wales, Sydney, NSW, Australia; Blom D., Western Sydney University, Penrith, NSW, Australia","Visual processing expertise in musicians has traditionally focused on the difference between expert and non-expert music sight-readers. More generally, differences between musicians and non-musicians have been explored, often with a view to promoting the possible benefits of music training. However, as the definition of music sight-reading expertise varies widely and there is largely no accounting for visual processing expertise in other domains that may be present in non-musicians, interpretation of the results becomes challenging and conclusions may be misleading. Of greater value to the investigation of the visual processing benefits of formal music education would be the ability to definitively isolate those with visual processing expertise in the music sight-reading domain from those without. Only then would it be possible for meaningful comparisons to be made between both the expert and the non-expert music sight-readers and each of these groups, in turn, with non-musicians. The aim of the present study was to explore visual processing by measuring the Working Memory Capacity (WMC) and Rapid Automatized Naming (RAN) capabilities of piano music sight-readers. Participants were grouped as expert or non-expert music sight-readers and the results compared with the WMC and RAN results of non-musicians. © The Author(s) 2020.","expertise; music sight-reading; piano; RAN; transfer effects; working memory","","","","","","","","Ackman P.L., Nonsense, common sense, and science of expert performance: Talent and individual differences, Intelligence, 45, pp. 6-17, (2014); Anderson A., Vingrys A., Small samples: Does size matter?, Investigative Ophthalmology & Visual Science, 42, pp. 1411-1413, (2001); Arthur P., Piano music sight reading: The transfer of expertise to non- musical domains and the effect of visual and auditory interference on performance, (2017); Arthur P.J., Khuu S.K., Blom D., Music sight-reading expertise, visually disrupted score and eye movements, Journal of Eye Movement Research, 1, 7, pp. P1-P9, (2016); Baddeley A., Hitch G., Working memory, The Psychology of Learning and Motivation, 8, pp. 47-89, (1974); Beidas H., Khateb A., Breznitz Z., The cognitive profile of adult dyslexics and its relation to their reading abilities, Reading and Writing, 26, pp. 1487-1515, (2013); 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Goolsby T., The parameters of eye movements in vocal music reading, (1987); Halverson D.L., A biometric analysis of eye movement patterns of sight-singers, (1974); Hambrick D., Altmann E., Oswald F., Meinz E., Gobet F., Campitelli G., Accounting for expert performance: The devil is in the details, Intelligence, 45, pp. 112-114, (2014); Kinsler V., Carpenter R., Saccadic eye movements while reading music, Vision Research, 35, pp. 1447-1458, (1995); Lehmann A.C., McArthur V.H., Sight-reading, Science and psychology of music performance, pp. 135-150, (2002); Lervag A., Hulme C., Rapid automatised naming taps a mechanism that places constraints on the development of early reading fluency, Psychological Science, 20, pp. 1040-1048, (2009); Meinz E., Hambrick D., Deliberate practice is necessary but not sufficient to explain individual differences in piano sight-reading skill: The role of working memory capacity, Psychological Science, 21, pp. 914-919, (2010); Nergard-Nilssen T., Hulme C., Developmental dyslexia in adults: Behavioural manifestations and cognitive correlates, Dyslexia, 20, pp. 191-207, (2014); Norton A., Winner E., Cronin K., Overy K., Lee D., Schlaug G., Are there pre-existing neural, cognitive, or motoric markers for musical ability?, Brain and Cognition, 59, pp. 124-134, (2005); Patston L., Kirk I., Mei H., Rolfe M., Corballis L., Tippett J., The unusual symmetry of musicians: Musicians have equilateral interhemispheric transfer for visual information, Neuropsychologia, 45, pp. 2059-2065, (2007); Pietrzyk M.W., McEntee M.F., Evanoff M.E., Brennan P.C., Mello-Thoms C.R., Direction of an initial saccade depends on radiological expertise, (2014); Poll G., Miller C., Mainela-Arnold E., Donnelly-Adams K., Misra M., Park J., Effects of children’s working memory capacity and processing speed on their sentence imitation performance, International Journal of Language and Communication Disorders, 48, pp. 329-342, (2013); Ruthsatz J., Ruthsatz K., Ruthsatz-Stephens K., Putting practice into perspective: Child prodigies as evidence of innate talent, Intelligence, 45, pp. 60-65, (2014); Sloboda J., Phrase units as determinants of visual processing in music reading, British Journal of Psychology, 68, pp. 117-124, (1977); Underwood G., Hubbard A., Wilkinson H., Eye fixations predict reading comprehension: The relationships between reading skill, reading speed, and visual inspection, Language and Speech, 33, pp. 69-81, (1990); Waters A.J., Townsend E., Underwood G., Expertise in musical sight reading: A study of pianists, British Journal of Psychology, 89, pp. 123-149, (1998); Wilkins A., Intuitive Overlays Test, (2000); Wong Y.K., Gauthier I., A multimodal neural network recruited by expertise with musical notation, Journal of Cognitive Neuroscience, 22, pp. 695-713, (2009); Wurtz P., Mueri R., Wiesendanger M., Sight-reading of violinists: Eye movements anticipate the musical flow, Experimental Brain Research, 194, pp. 445-450, (2009); Young L.J., A study of the eye movements and eye-hand temporal relationships of successful and unsuccessful piano sight readers while piano sight reading, (1971)","P. Arthur; University of New South Wales, Sydney, Australia; email: p.arthur@unsw.edu.au","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-85085702426"
"Zadnik K.","Zadnik, Katarina (56055511600)","56055511600","INTERACTIVE LEARNING MATERIALS FOR SUBJECTS MUSIC THEORY AND SOLFEGGIO IN THE SLOVENIAN PRIMARY MUSIC SCHOOL; [INTERAKTIVNI NASTAVNI MATERIJALI ZA PREDMETE GLAZBENA TEORIJA I SOLFEGGIO U OSNOVNIM GLAZBENIM ŠKOLAMA U SLOVENIJI]","2021","Metodicki Ogledi","28","2","","281","301","20","1","10.21464/MO.28.2.1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85124834466&doi=10.21464%2fMO.28.2.1&partnerID=40&md5=f2066b28d5f483c2f8b4ed526e9fb8a7","Academy of Music, University of Ljubljana, Slovenia","Zadnik K., Academy of Music, University of Ljubljana, Slovenia","With the outbreak of the pandemic, general and music education shifted completely to remote learning as the only possible form. The research looks into didactic approaches using digital technology adopted by active teachers and students in the Slovenian music school in asynchronous distance learning. On a sample of 9 active teachers and 16 students, the research study examined 31 interactive learning materials in order to identify innovative didactic approaches using digital tools which were applied to achieve learning objectives within musical activities of the Music Theory and Solfeggio. Based on qualitative-quantitative approach, the research showed a low presence of didactic approaches using digital tools. Even though the results show a higher level of use of digital technology among students, the research focused much more on the presence of e-learning materials as well as predominantly traditional teaching approaches, similar to the classical type of classroom teaching. © 2021 Croatian Philosophical Society. All rights reserved.","Asynchronous distance learning; Didactic approaches using digital tools; I-learning materials; Music school; Music Theory; Solfeggio","","","","","","","","Didaktični laboratorij – Glasbena pedagogika, (2020); Ampa Andi Tenri, The Implementation of Interactive Multimedia Learning Materials in Teaching Listening Skills, English Language Teaching, 8, 12, (2015); Deverich Robin Kay, ''Distance learning for strings'', (2012); Drozdek Sara, Lustek Anja, Rugelj Joze, 'Večpredstavna učna gradiva za boljše usposabljanje učiteljev', Inovativna didaktična uporaba informacijsko komunikacijske tehnologije v študijskem procesu, pp. 11-33, (2019); Flogie Andrej, Abersek Boris, Inovativna učna okolja – vloga IKT, (2019); Gerlic Ivan, Konceptualno učenje in interaktivna učna gradiva, Organizacija, 39, 8, (2006); Gerlic Ivan, Informacijsko komunikacijske tehnologije v slovenskih osnovnih šolah: stanje in možnost, (2013); Jedrinovic Sanja, Bevcic Mateja, Rugelj Joze, Ferk Savec Vesna, 'Aktivni pouk in uporaba IKT v procesu učenja in poučevanja', Inovativna didaktična uporaba informacijsko komunikacijske tehnologije v študijskem procesu, pp. 33-53, (2019); Kavcic Pucihar Ana, Učiteljeve strategije poučevanja pri individualnem inštrumentalnem pouku flavte v glasbenih šolah, (2019); Kolman Kristian, Rugelj Joze, Inovativni pristop k poučevanju violine na osnovi kognitivne teorije učenja z večpredstavnostjo, Mostovi med formalnim in neformalnim glasbenim izobraževanjem, Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani, 31, pp. 83-101, (2019); Kranjc Ziva, Huskic Adelisa, Kokol Zala, Kosir Katja, Učenje in poučevanje na daljavo v času zaprtja šol zaradi epidemije COVID-19: perspektiva pedagoških delavcev v osnovnih in srednjih šolah v prvem mesecu izvdebe pouka na daljavo, Univerza v Mariboru: Filozofska fakulteta, (2020); Lango Jozko, Poučevanje glasbene vzgoje z uporabo informacijsko komunikacijske tehnologije, Univerza v Ljubjani: Pedagoška fakulteta, (2011); Key Competences for Lifelong Learning – A European Framework, (2007); Lustek Anja, Rugelj Joze, Drozdek Sara, Vogrinc Janez, 'Kaj o digitalnih kompetencah študentov pedagoških študijskih programov menijo napredni uporabniki IKT med visokošolskimi učitelji Univerze v Ljubljani', Inovativna didaktična uporaba informacijsko komunikacijske tehnologije v študijskem procesu, pp. 53-71, (2019); Mayer Richard E., ’Učenje s tehnologijo, O naravi učenja: uporaba raziskav za navdih prakse, (2013); Oblak Breda, Ustvarjalnost v glasbeni vzgoji, Glasbeno-pedagoški zbornik, 2, pp. 121-129, (1997); Redecker Christine, European Framework of Digital Competences for Educators: DigCompEdu, (2017); Rossing Jonathan, Miller Willie M., Cecil Amanda K., Stamper Suzan E., iLearning: The future of higher education? Student perceptions on learning with mobile tablets, Journal of the Scholarship of Teaching and Learning, 12, 2, pp. 1-26, (2012); Rotar Pance Branka, Bohak Adam Tina, 'Vključevanje informacijsko-komunikacijske tehnologije v didaktično usposabljanje bodočih učiteljev glasbe', Inovativna didaktična uporaba informacijsko komunikacijske tehnologije v študijskem procesu, (2019); Savage Jonathan, Reconstructing Music Education through ICT, Research in Education, 78, (2007); Simunovic Natalija, Poučevanje inštrumenta v času epidemije Covid-19, Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani, 32, pp. 11-39, (2020); Tomic Ana, Izbrana poglavja iz didaktike, (2003); Urbancic Matej, Kristl Nina, Vogrinc Janez, 'Stališča študentov pedagoških študijskih programov UL do uporabe IKT v pedagoškem procesu', Inovativna didaktična uporaba informacijsko komunikacijske tehnologije v študijskem procesu, (2019); Valant Martina, Pouk v glasbeni šoli po šolski prenovi, Javno glasbeno šolstvo na Slovenskem – pogledi ob 200-let-nici, Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani, 25, pp. 217-237, (2016); Winkler Kuret Lucka, Zdaj je nauka zlati čas, (2006); Zadnik Katarina, Nauk o glasbi v slovenski glasbeni šoli: med preteklostjo, sedanjostjo in prihodnostjo, (2019); Sodelov@lnica.Glasba, Učna gradiva učiteljev za pouk glasbe na daljavo: marec-maj 2020","K. Zadnik; Academy of Music, University of Ljubljana, Slovenia; email: katarina.zadnik@ag.uni-lj.si","","Croatian Philosophical Society","","","","","","0353765X","","","","English","Metod. Ogl.","Article","Final","All Open Access; Bronze Open Access","Scopus","2-s2.0-85124834466"
"Frytsiuk V.A.; Brylin B.A.; Zanalnyuk A.F.; Frytsiuk V.M.; Mykhaylyshen A.V.","Frytsiuk, Valentina A. (57202820229); Brylin, Boris A. (57777149400); Zanalnyuk, Anatoly F. (57776247000); Frytsiuk, Vasyl M. (57776474200); Mykhaylyshen, Alexander V. (57777149500)","57202820229; 57777149400; 57776247000; 57776474200; 57777149500","Implementation of Information Technology into the Education of Music Teachers","2022","Journal of Higher Education Theory and Practice","22","6","","35","43","8","0","10.33423/jhetp.v22i6.5226","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85133231503&doi=10.33423%2fjhetp.v22i6.5226&partnerID=40&md5=467bb98f892c22b53ac9c9b09a231715","Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University, Ukraine","Frytsiuk V.A., Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University, Ukraine; Brylin B.A., Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University, Ukraine; Zanalnyuk A.F., Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University, Ukraine; Frytsiuk V.M., Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University, Ukraine; Mykhaylyshen A.V., Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University, Ukraine","The goal of the research is to study the process of introducing information technologies into the training of music teachers in Ukrainian pedagogical universities. To undertake the research, a study on the scientific literature on the professional training of music teachers in pedagogical colleges, as well as an analysis of the curricula of music pedagogy in general education schools and higher educational establishments. As a science, research on music education technologies focuses on phenomena related to music education technologies through the prism of a modern information society. There is a great interest in music technology creation in the context of constructivism. We propose to use constructivist methods as a philosophical basis for an online music education course for graduates. For Ukraine, it is necessary to study how students use this technology in preparation for a presentation in class, and the results were rated as moderately successful. © 2022, North American Business Press. All rights reserved.","education; musical instruments; software; teaching material","","","","","","","","Anisimova T.I., Sabirova F.M., Shatunova O.V., Formation of design and research competencies in future teachers in the framework of STEAM education, International Journal of Emerging Technologies in Learning, 15, 2, pp. 204-217, (2020); Anito J.J.C., Morales M.P.E., The pedagogical model of Philippine STEAM education: Drawing implications for the reengineering of Philippine STEAM learning ecosystem, Universal Journal of Educational Research, 7, 12, pp. 2662-2669, (2019); Arikhan E., Coban S., The relationship between the creativity levels of music pre-service teachers and the preferences of a teacher model supporting creativity, Revista De Cercetare Si Interventie Sociala, 72, pp. 56-71, (2021); Bassachs M., Canabate D., Nogue L., Serra T., Bubnys R., Colomer J., Fostering critical reflection in primary education through STEAM approaches, Education in Science, 10, 12, (2020); Bush S., Cook K.L., Edelen D., Cox R., Elementary students’ STEAM perceptions: Extending frames of reference through transformative learning experiences, The Elementary School Journal, 120, 4, pp. 692-714, (2020); Cairns D., Areepattamannil S., Exploring the relations of inquiry-based teaching to science achievement and dispositions in 54 countries, Research in Science Education, 49, pp. 1-23, (2019); Campos N., Ramos M., Moreno-Guerrero A.J., Realidad virtual y motivacion en el contexto educativo: Estudio bibliométrico de los últimos veinte años de Scopus, Alteridad, 15, 1, pp. 47-60, (2019); Carmona-Serrano N., Lopez-Belmonte J., Cuesta-Gomez J.L., Moreno-Guerrero A.J., Documentary analysis of the scientific literature on autism and technology in Web of Science, Brain Sciences, 10, 12, (2020); Carmona-Serrano N., Moreno-Guerrero A.J., Marin-Marin J.A., Lopez-Belmonte J., Evolution of the autism literature and the influence of parents: A scientific mapping in Web of Science, Brain Sciences, 11, 1, (2021); Casado R., Checa M., Robotica y Proyectos STEAM: Desarrollo de la creatividad en las aulas de Educación Primaria, Píxel-Bit: Revista de Medios y Educación, 58, pp. 51-69, (2020); Chen C.C., Huang P.H., The effects of STEAM-based mobile learning on learning achievement and cognitive load, (2020); Davis J.B., Archer J., Palmer D., Preservice teachers’ ideas about how to enhance pupils’ long-term interest in science, Research in Science & Technological Education, 37, 3, pp. 279-296, (2018); Dunnett K., Gorman M.N., Bartlett P.A., Assessing first-year undergraduate physics students’ laboratory practices: Seeking to encourage research behaviours, European Journal of Physics, 40, 1, (2018); Hsu Y.Y., Lin C.H., Evaluating the effectiveness of a preservice teacher technology training module incorporating SQD strategies, International Journal of Educational Technology in Higher Education, 17, (2020); Husar D.O., Oparyk L.M., The innovative methods of Vasyl Kuflyuk in the context of domestic and foreign concepts of musical hearing development, Scientific Bulletin of Mukachevo State University. Series “Pedagogy and Psychology”, 1, 11, pp. 20-23, (2021); Juskeviciene A., Stupuriene G., Jevsikova T., Computational thinking development through physical computing activities in STEAM education, Computer Applications in Engineering Education, 29, pp. 175-190, (2020); Kajamaa A., Kumpulainen K., Students’ multimodal knowledge practices in a makerspace learning environment, International Journal of Computer-Supported Collaborative Learning, 15, pp. 411-444, (2020); Kessler G., Technology and the future of language teaching, Foreign Language Annals, 51, 1, pp. 205-218, (2018); Lin C.L., Tsai C.Y., The effect of a pedagogical STEAM model on students’ project competence and learning motivation, Journal of Science Education and Technology, 30, pp. 112-120, (2021); Lohbeck A., Hagenauer G., Frenzel A.C., Teachers’ self-concepts and emotions: Conceptualization and relations, Teaching and Teacher Education, 70, pp. 111-120, (2018); Marin-Marin J.A., Moreno-Guerrero A.J., Duo-Terron P., Lopez-Belmonte J., STEAM in education: A bibliometric analysis of performance and co-words in Web of Science, International Journal of STEM Education, 8, (2021); Max A.L., Schmoll I., Uhl P., Huwer J., Lukas S., Mueller W., Weitzel H., Integration of a teaching-learning lab and a pedagogical makerspace into a module for media education for steam teacher students, (2020); Mengmeng Z., Xiantong Y., Xinghua W., Construction of STEAM curriculum model and case design in kindergarten, American Journal of Educational Research, 7, 7, pp. 485-490, (2019); Murphy C., Smith G., Broderick N., A starting point: Provide children opportunities to engage with scientific inquiry and nature of science, Research in Science Education, 51, pp. 1759-1793, (2021); Murphy S., MacDonald A., Wang C.A., Danaia L., Towards an understanding of STEM engagement: A review of the literature on motivation and academic emotions, Canadian Journal of Science, Mathematics and Technology Education, 19, 3, pp. 304-320, (2019); Popovych N.M., Scientific approaches towards formation professional and personal experience of a specialist of music art, Scientific Bulletin of Mukachevo State University. Series “Pedagogy and Psychology”, 1, 9, pp. 100-103, (2019); Smit R., Robin N., Rietz F., Emotional experiences of secondary pre-service teachers conducting practical work in a science lab course: Individual differences and prediction of teacher efficacy, Disciplinary and Interdisciplinary Science Education Research, 3, (2021); Tsybulsky D., Oz A., From frustration to insights: Experiences, attitudes, and pedagogical practices of preservice science teachers implementing PBL in elementary school, Journal of Science Teacher Education, 30, 3, pp. 259-279, (2019); Tsybulsky D., Gatenio-Kalush M., Abu Ganem M., Grobgeld E., Experiences of preservice teachers exposed to project-based learning, European Journal of Teacher Education, 43, 3, pp. 368-383, (2020); Wilder O., Butler M.B., Acharya P., Gill M., Preservice elementary science teacher attitudes matter: A new instrument on positive affect toward science, Journal of Science Teacher Education, 30, 6, pp. 601-620, (2019); Wu Y., Cheng J., Koszalka T.A., Transdisciplinary approach in middle school: A case study of co-teaching practices in STEAM teams, International Journal of Education in Mathematics, Science, and Technology, 9, 1, pp. 138-162, (2021)","","","North American Business Press","","","","","","21583595","","","","English","J. High. Educ. Theory Pract.","Article","Final","All Open Access; Bronze Open Access","Scopus","2-s2.0-85133231503"
"Lie S.B.","Lie, Siv B. (55789228700)","55789228700","Feeling to Learn: Ideologies of Race, Aurality, and Manouche Music Pedagogy in France","2022","Journal of Linguistic Anthropology","32","1","","139","160","21","3","10.1111/jola.12334","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85118948726&doi=10.1111%2fjola.12334&partnerID=40&md5=a05fa5d6ad095deb1421504730e2c0c3","University of Maryland, College Park, United States","Lie S.B., University of Maryland, College Park, United States","This article explores how music professionals promote interdiscursive oppositions between musical aurality and musical literacy to unsettle the terms of their racialization. For many French Manouches (a subgroup of Romanies/“Gypsies”), music is a source of pride, profit, and public recognition. Manouche musicians often valorize their own sensorially centered pedagogical approaches in distinction to music literacy as espoused by French schools and conservatories. In doing so, they link notions of expressivity, naturalness, and ethical behavior to their Manouche identity in contrast to White French society. They construct parallel contrasts between Black and White musicalities in the jazz world to convey their value as racialized musicians, pointing to transnational formations of race and White supremacy. Because French color-blind policy constrains speech about race and racism, advocacy for an aurally centered approach to music pedagogy becomes a way for speakers to denounce the discrimination Manouches face as racialized subjects. For these musicians, self-exoticization is a multifaceted tactic to develop a market niche, to prove themselves as good neoliberal subjects, and to disrupt the racial logics that render such alterity both an asset and a burden. Their discourse remains powerful even if, in practice, some make use of the very music-theoretical frameworks they critique. © 2021 American Anthropological Association.","aurality; France; literacy; music; pedagogy; race","","","","","","Carol Silverman; University of Pennsylvania","My deepest gratitude goes to numerous people in France who have made time for me over the years; among them are several cited in this article: Patrick Andresz, Natacha Lhenry, Cédric Loeffler, Marcel Loeffler, Francko Mehrstein, Mandino Reinhardt, and Fabrice Steinberger. Versions or parts of this article were presented at the 2016 Annual Meeting of the American Anthropological Association, the 2020 Annual Meeting of the Society for Ethnomusicology, and the 2021 Conference on Semiotic Anthropology at the University of Pennsylvania; I’d like to thank my co-panelists at these conferences for engaging with this work, especially Ioanida Costache, Alexander Marković, and Carol Silverman. I am grateful to Maureen Mahon, David Samuels, Bambi Schieffelin, Becky Schulthies, and Davindar Singh for their crucial feedback on this piece in its various stages. I would also like to thank the two anonymous reviewers for providing incredibly helpful critiques, as well as journal editors Sonia Das and Chaise LaDousa for shepherding this article to publication.","About I., Underclass Gypsies: An Historical Approach on Categorisation and Exclusion in France in the Nineteenth and the Twentieth Centuries, The Gypsy ‘Menace’: Populism and the New Anti-Gypsy Politics, pp. 95-114, (2012); Agha A., Language and Social Relations, (2007); Ake D., Jazz Cultures, (2002); Alim H.S., Rickford J.R., Ball A.H., Raciolinguistics: How Language Shapes Our Ideas about Race, (2016); La Musique Des Manouches Sinti Alsaciens: Le Tournant Des Années 1970–1980, Etudes Tsiganes, 54-55, 2, pp. 132-143, (2015); Balibar E., Is There a ‘Neo-Racism’?, Race, Nation, Class: Ambiguous Identities, pp. 17-28, (1991); Bauman R., Briggs C.L., Voices of Modernity: Language Ideologies and the Politics of Inequality, (2003); Beliso-De Jesuspierre A.M., Special Section: Anthropology of White Supremacy, American Anthropologist, 122, 1, pp. 65-75, (2020); Berliner B.A., Ambivalent Desire: The Exotic Black Other in Jazz-Age France, (2002); Berliner P.F., Thinking in Jazz: The Infinite Art of Improvisation, (1994); Bessieres V., Dregni M., Django Reinhardt: Swing de Paris, (2012); Black S.P., Creativity and Learning Jazz: The Practice of ‘Listening’, Mind, Culture, and Activity, 15, 4, pp. 279-295, (2008); Bohlman P.V., Plastino G., Jazz Worlds, World Jazz, (2016); Bonilla-Silva E., Racism without Racists: Color-Blind Racism and the Persistence of Racial Inequality in America, (2014); Braggs R.K., Jazz Diasporas: Race, Music, and Migration in Post-World War II Paris, (2016); Brothers T., Ideology and Aurality in the Vernacular Traditions of African-American Music (ca. 1890–1950), Black Music Research Journal, 17, 2, pp. 169-209, (1997); Bucholtz M., Hall K., Language and Identity, A Companion to Linguistic Anthropology, pp. 369-394, (2004); Cerquiglini B., Les Langues de la France: Rapport au Ministre de l’Education Nationale, de la Recherche et de la Technologie, et la Ministre de la Culture et de la Communication., (1999); Chevan D., Musical Literacy and Jazz Musicians in the 1910’s and 1920’s, Current Musicology, 71-73, pp. 200-231, (2002); Chumley L.H., Harkness N., Introduction: Qualia, Anthropological Theory, 13, 1-2, pp. 3-11, (2013); Collins J., Literacy and Literacies, Annual Review of Anthropology, 24, 1, pp. 75-93, (1995); Connor J.E., ‘The Langue d’Oc Is Bringing People Together’: Debating the Place of Regional Languages in France, Journal of Linguistic Anthropology, 29, 2, pp. 249-270, (2019); Courthiade M., Le Rromani et les Autres Langues en Usage parmi les Rroms, Manouches et Gitans, Histoire Sociale Des Langues de France, pp. 567-580, (2013); Delaunay C., Django Reinhardt: Souvenirs, (1954); Diallo R., France Refuses to Talk about Race. 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African American Musicians as Artists, Critics, and Activists, (2002); Poueytojean-Luc, Manouches Et Mondes De l’écrit, (2011); Prouty K.E., Orality, Literacy, and Mediating Musical Experience: Rethinking Oral Tradition in the Learning of Jazz Improvisation, Popular Music and Society, 29, 3, pp. 317-334, (2006); Radano R., The Sound of Racial Feeling, Daedalus, 142, 4, pp. 126-134, (2013); Reinhardt B., Maestracci M., Au Nom du Fils, Jazz Hot, 541, June, pp. 38-39, (1997); Roberts T., Resounding Afro Asia: Interracial Music and the Politics of Collaboration, (2016); Rosa J., Looking like a Language, Sounding like a Race: Raciolinguistic Ideologies and the Learning of Latinidad, (2019); Rosa J., Flores N., Unsettling Race and Language: Toward a Raciolinguistic Perspective, Language in Society, 46, 5, pp. 621-647, (2017); Schieffelin B.B., Woolard K.A., Kroskrity P.V., Language Ideologies: Practice and Theory, 16, (1998); Silverstein M., Indexical Order and the Dialectics of Sociolinguistic Life, Language & Communication, 23, 3-4, pp. 193-229, (2003); Silverstein M., Axes of Evals: Token versus Type Interdiscursivity, Journal of Linguistic Anthropology, 15, 1, pp. 6-22, (2005); Simon P., The Choice of Ignorance: The Debate on Ethnic and Racial Statistics in France, French Politics, Culture & Society, 26, 1, pp. 7-31, (2008); Smalls K.A., Fighting Words: Antiblackness and Discursive Violence in an American High School, Journal of Linguistic Anthropology, 28, 3, pp. 356-383, (2018); Smalls K.A., “Race, Signs, and the Body: Towards a Theory of Racial Semiotics, The Oxford Handbook of Language and Race, pp. 233-260, (2020); Smith A.L., Crisis France: Covert Racialization and the Gens Du Voyage, Messy Europe: Crisis, Race, and Nation-State in a Postcolonial World, pp. 171-195, (2018); Sokolova V., Planned Parenthood behind the Curtain: Population Policy and Sterilization of Romani Women in Communist Czechoslovakia, 1972–1989, Anthropology of East Europe Review, 23, 1, pp. 79-98, (2005); Solis G., Nettl B., Musical Improvisation: Art, Education, and Society, (2009); Sterne J., The Audible Past: Cultural Origins of Sound Reproduction, (2003); Stoever J.L., The Sonic Color Line: Race and the Cultural Politics of Listening, (2016); Tannen D., Spoken and Written Language: Exploring Orality and Literacy, (1982); Trouillot M.-R., Global Transformations: Anthropology and the Modern World, (2003); Urciuoli B., Excellence, Leadership, Skills, Diversity: Marketing Liberal Arts Education, Language & Communication, 23, 3-4, pp. 385-408, (2003); Van Baar H., The Emergence of a Reasonable Anti-Gypsyism in Europe, When Stereotype Meets Prejudice: Antiziganism in European Societies, pp. 27-44, (2014); Weidman A.J., Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India, (2006); Wilf E.Y., School for Cool: The Academic Jazz Program and the Paradox of Institutionalized Creativity, (2014); Williams P., Django Reinhardt, (1998); Williams P., Un Héritage sans Transmission: Le Jazz Manouche, Ethnologie Française, 30, 3, pp. 409-422, (2000); Wirtz K., Performing Afro-Cuba: Image, Voice, Spectacle in the Making of Race and History, (2014); Woolard K.A., Singular and Plural: Ideologies of Linguistic Authority in 21st Century Catalonia, (2016)","S.B. Lie; University of Maryland, College Park, United States; email: slie@umd.edu","","John Wiley and Sons Inc","","","","","","10551360","","","","English","J. Linguist. Anthropol.","Article","Final","","Scopus","2-s2.0-85118948726"
"Buonviri N.O.","Buonviri, Nathan O. (56112546500)","56112546500","Effects of Two Approaches to Rhythmic Dictation","2021","Journal of Research in Music Education","68","4","","469","481","12","3","10.1177/0022429420946308","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85089395423&doi=10.1177%2f0022429420946308&partnerID=40&md5=043dd49ca5d925ce4eea4e26399f93f1","Temple University, Philadelphia, PA, United States","Buonviri N.O., Temple University, Philadelphia, PA, United States","The purpose of this study was to investigate the effects of two listening strategies on rhythmic dictation scores. In a within-subjects design, 54 undergraduate music majors completed two-measure rhythmic dictations under each of three conditions: (a) no prescribed approach, (b) required listening before writing, and (c) required writing while listening. The first condition gauged participants’ baseline preference for the approach of the second or third condition. Repeated-measures t tests revealed a significant difference in test scores between the second and third conditions but no significant difference as a function of participants’ preferred strategy. Results suggest that some amount of simultaneous sketching may be helpful to students as they take dictation of rhythms, a common task in aural skills development both in and of itself and as a first phase of melodic dictation. Aural skills instructors should consider the potential benefits of sketching as an anchoring activity during dictation and discuss strategies explicitly with students. Helping high school and college students see how and why various strategies for dictation may be appropriate for particular task parameters can help them integrate component skills of listening, comprehension, and notation most effectively. © National Association for Music Education 2020.","aural skills; dictation; ear training; listening; rhythm","","","","","","","","Abril C., Flowers P., Attention, preference, and identity in music listening by middle school students of different linguistic backgrounds, Journal of Research in Music Education, 55, 3, pp. 204-215, (2007); Acevedo S., Temperley D., Pfordresher P., Effects of metrical encoding on melody recognition, Music Perception: An Interdisciplinary Journal, 31, 4, pp. 372-386, (2014); Baddeley A.D., Working memory, thought, and action, (2007); Beckett C.A., Directing student attention during two-part dictation, Journal of Research in Music Education, 45, 4, pp. 613-625, (1997); Benward B., Kolosick J.T., Ear training: A technique for listening, (2010); Berz W.L., Working memory in music: A theoretical model, Music Perception: An Interdisciplinary Journal, 12, 3, pp. 353-364, (1995); Bui D.C., Myerson J., The role of working memory abilities in lecture note-taking, Learning and Individual Differences, 33, pp. 12-22, (2014); Buonviri N.O., An exploration of undergraduate music majors’ melodic dictation strategies. Update: Applications of Research in Music Education, 33, 1, pp. 21-30, (2014); Buonviri N.O., Effects of a preparatory singing pattern on melodic dictation success, Journal of Research in Music Education, 63, 1, pp. 102-113, (2015); Buonviri N.O., Effects of two listening strategies for melodic dictation, Journal of Research in Music Education, 65, 3, pp. 347-359, (2017); Buonviri N.O., Paney A.S., Melodic dictation instruction: A survey of AP music theory teachers, Journal of Research in Music Education, 63, 2, pp. 224-237, (2015); AP 2018 exam instructions, (2019); Desain P., A (de)composable theory of rhythm perception, Music Perception: An Interdisciplinary Journal, 9, 4, pp. 439-454, (1992); Despres J.P., Burnard P., Dube F., Stevance S., Expert western classical music improvisers’ strategies, Journal of Research in Music Education, 65, 2, pp. 139-162, (2017); Diaz F.M., Listening and musical engagement: An exploration of the effects of different listening strategies on attention, emotion, and peak affective experiences, Update: Applications of Research in Music Education, 33, 2, pp. 27-33, (2015); 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Hofstetter F., Computer-based recognition of perceptual patterns and learning styles in rhythmic dictation exercises, Journal of Research in Music Education, 29, 4, pp. 265-277, (1981); Karpinski G.S., Aural skills acquisition, (2000); Karpinski G.S., Manual for ear training and sight singing, (2007); Klonoski E., Improving dictation as an aural-skills instructional tool, Music Educators Journal, 93, 1, pp. 54-59, (2006); Kraft L., A new approach to ear training, (1999); Louhivuori J., Memory strategies in writing melodies, Bulletin of the Council for Research in Music Education, 141, pp. 81-85, (1999); Madsen C., Coggiola J., The effect of manipulating a CRDI dial on the focus of attention of musicians/nonmusicians and perceived aesthetic response, Bulletin of the Council for Research in Music Education, 149, pp. 13-22, (2001); Madsen C.K., Geringer J.M., A focus of attention model for meaningful listening, Bulletin of the Council for Research in Music Education, 147, pp. 103-108, (2000); Madsen C.K., Geringer J.M., Reflections on Puccini’s La Boheme: Investigating a model for listening, Journal of Research in Music Education, 56, 1, pp. 33-42, (2008); Marcozzi R., Strategies and patterns for ear training, (2009); Margulis E.H., A model of melodic expectation, Music Perception: An Interdisciplinary Journal, 22, 4, pp. 663-714, (2005); Mayfield C.E., Theory essentials, (2013); Mclaughlin P., Boals A., Perceptual organization can affect performance on rhythmic tasks, Psychology of Music, 38, 4, pp. 395-401, (2010); Miller G.A., The magical number seven, plus or minus two: Some limits on our capacity for processing information, Psychological Review, 63, 2, pp. 81-97, (1956); Paananen P.A., Melodic improvisation at the age of 6–11 years: Development of pitch and rhythm, Musicae Scientiae, 11, 1, pp. 89-119, (2007); Paney A.S., Buonviri N.O., Developing melodic dictation pedagogy: A survey of college theory instructors, Update: Applications of Research in Music Education, 36, 1, pp. 51-58, (2017); Pembrook R.G., Interference of the transcription process and other selected variables on perception and memory during melodic dictation, Journal of Research in Music Education, 34, 4, pp. 238-261, (1986); Phillips J., Murphy P., Marvin E.W., Clendenning J.P., The musician’s guide to aural skills: Ear training and composition, (2011); Potter G., Identifying successful dictation strategies, Journal of Music Theory Pedagogy, 4, 1, pp. 63-71, (1990); Shehan P., Effects of rote versus note presentations on rhythm learning and retention, Journal of Research in Music Education, 35, 2, pp. 117-126, (1987); Silva S., Castro S.L., The time will come: Evidence for an eye-audiation span in silent music reading, Psychology of Music, 47, 4, pp. 504-520, (2018); Smith K.C., Cuddy L.L., Upitis R., Figural and metric understanding of rhythm, Psychology of Music, 22, 2, pp. 117-135, (1994); Trubitt A., Hines S., Ear training and sight singing: An integrated approach, (1979)","N.O. Buonviri; Temple University, Philadelphia, United States; email: buonviri@temple.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-85089395423"
"Latukefu L.; Verenikina I.","Latukefu, Lotte (35096401300); Verenikina, Irina (35184454600)","35096401300; 35184454600","A street music festival: Informal learning perspectives","2022","International Journal of Community Music","15","3","","355","364","9","0","10.1386/ijcm_00068_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85152285042&doi=10.1386%2fijcm_00068_1&partnerID=40&md5=7dd02ef4eb412138042e45337b94896b","Excelsia College, 69-71 Waterloo Road, Macquarie Park, Sydney, 2113, Australia; University of Wollongong, Excelsia College, 69-71 Waterloo Road, Macquarie Park, 2113, NSW, Australia","Latukefu L., Excelsia College, 69-71 Waterloo Road, Macquarie Park, Sydney, 2113, Australia; Verenikina I., University of Wollongong, Excelsia College, 69-71 Waterloo Road, Macquarie Park, 2113, NSW, Australia","Community music forges relationships and interactions between people and the location they live. Previous research into community music and learning demonstrate that these social interactions can in turn lead to informal life-long learning. This article reports on learning perspectives of festival participants and organizers, of the HONK! Oz Street Music Festival. The data revealed that many participants noted an increase in their understanding and ability to improvise, play tunes in genres outside of their previous experience and play their instruments more freely due to the nature of mobile street music. Specifically, they talked about how the pre-festival workshops, which were an innovative feature of these festivals, helped them to meet and interact with other musicians at the festival and helped them to improve their understanding of how to play street music. © 2022 Intellect Ltd Article. English language.","collaborative creativity; communities of practice; community music pedagogy; HONK! Oz; informal learning; social interaction","","","","","","United States Embassy Canberra","Festival organizers secured a travel assistance grant from the United States Embassy Canberra Public Affairs Section (PAS) to support their initiative. For the inaugural festival, two experienced street music performers travelled from the United States with the assistance of the grant. They led workshops to prepare participants in the festival for being part of the pick-up band. The pick-up band workshop was an important way to integrate the unattached musicians into the festival. The pick-up band repertoire was led by an expert in the music common among American street music bands. After two full days of workshops, the festival kicked off in the local outdoor shopping mall. The festival was strategically timed to coincide with an existing market selling street food. There were no stages, but the performance areas had names like ‘Market Generator’ and ‘Top of the Mall’. The workshop groups played in the opening concert, families ate dinner at the markets and then paraded through and around the markets with lanterns.","Garofalo R., Not your parents’marching bands: The history of HONK!, pedagogy, and music education, International Journal of Community Music, 4, 3, pp. 221-236, (2011); Grodd U., Lines D., Manukau Symphony Orchestra: Reflections on a sustainable model for a community orchestra in Aotearoa New Zealand, International Journal of Community Music, 11, 3, pp. 325-336, (2018); Higgins L., Community Music in Theory and Practice, (2012); Home page; Lave J., Wenger E., Situated Learning: Legitimate Peripheral Participation, (1991); Marsick V. J., Watkins K. E., Informal and incidental learning, New Directions for Adult and Continuing Education, 89, pp. 25-34, (2001); Marsick V. J., Watkins K., Informal and Incidental Learning in the Workplace, (2015); Macedonian migration to Illawarra, Migration Heritage; Sangiorgio A., A manifesto for creative interactions in music education, Creative Interactions: Dynamic Processes in Group Music Activities, pp. 7-24, (2020); Schippers H., Bartleet B., The nine domains of community music: Exploring the crossroads of formal and informal education, International Journal of Music Education, 31, 4, pp. 454-471, (2013); Turino T., Music as Social Life: The Politics of Participation, (2008); Willingham L., Carruthers G., Community music in higher education, The Oxford Handbook of Community Music, pp. 262-297, (2018)","","","Intellect Ltd.","","","","","","17526299","","","","English","Int. J. Community Music","Article","Final","","Scopus","2-s2.0-85152285042"
"Fan P.; Wong A.C.-N.; Wong Y.K.","Fan, Pu (57657615700); Wong, Alan C.-N. (7403147319); Wong, Yetta Kwailing (35724817600)","57657615700; 7403147319; 35724817600","Visual and Visual Association Abilities Predict Skilled Reading Performance: The Case of Music Sight-Reading","2022","Journal of Experimental Psychology: General","151","11","","2683","2705","22","1","10.1037/xge0001217","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85130623626&doi=10.1037%2fxge0001217&partnerID=40&md5=150d890d335aecd17a0b823f6374ac0b","Department of Psychology, The Chinese University of Hong Kong, Hong Kong; Department of Educational Psychology, Faculty of Education, The Chinese University of Hong Kong, Hong Kong","Fan P., Department of Psychology, The Chinese University of Hong Kong, Hong Kong; Wong A.C.-N., Department of Psychology, The Chinese University of Hong Kong, Hong Kong; Wong Y.K., Department of Educational Psychology, Faculty of Education, The Chinese University of Hong Kong, Hong Kong","The role of visual shape processing in skilled reading is an understudied topic. This study focused on the role of visual and visual association skills in a type of skilled reading, music sight-reading, which refers to the ability to play a piece of music when one reads the score for the first time. One hundred and 43 intermediate-to-advanced musicians were assessed on their sight-reading performance as well as visual fluency for notes, general visual fluency, motor dexterity, visual–auditory association for notes, visual–motor association for numbers, working memory capacity, and executive function. Correlation and regression analyses showed that sight-reading performance can be largely explained by three abilities related to vision, including visual fluency for notes, visual–auditory association for notes, and visual–motor association for numbers (9.99, 10.11, and 4.62% respectively). The findings led to a better understanding of music sight-reading that takes into account the long-overlooked association between visual shape processing ability and sight-reading, which has clear educational implications. The importance of visual shape processing ability may also apply to other domains of skilled reading requiring visual perceptual extraction of visual codes, such as word reading. © 2022 American Psychological Association","Individual difference; Multisensory integration; Music reading; Musical training; Perceptual learning","Cognition; Humans; Memory, Short-Term; Music; Visual Perception; cognition; human; music; short term memory; vision","","","","","Research Grants Council, University Grants Committee, 研究資助局","This research was supported by the General Research Fund (Grant 14622818) from the Research Grants Council of Hong Kong to Yetta Kwailing Wong. The data for the current study are available at: https://osf.io/8dqp5/?view_only=7cbeb094b12946dd8afc9b82329af66f (Fan et al., 2022).","Baddeley A., Working memory, Science, 255, 5044, pp. 556-559, (1992); Bean K. L., An experimental approach to the reading of music, Psychological Monographs, 50, 6, pp. i-80, (1938); Bernard J.-B., Coates D. R., Chung S. T. L., Contributions of target and flanker features to crowding, Journal of Vision, 12, 9, (2012); Bialystok E., Craik F., Luk G., Cognitive control and lexical access in younger and older bilinguals, Journal of Experimental Psychology: Learning, Memory, and Cognition, 34, 4, pp. 859-873, (2008); Bialystok E., Depape A. M., Musical expertise, bilingualism, and executive functioning, Journal of Experimental Psychology: Human Perception and Performance, 35, 2, pp. 565-574, (2009); Boggan A. L., Bartlett J. C., Krawczyk D. 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R., Learning to identify crowded letters: Does the learning depend on the frequency of training?, Vision Research, 77, pp. 41-50, (2013); Cohen L., Dehaene S., Naccache L., Lehericy S., Dehaene-Lambertz G., Henaff M. A., Michel F., The visual word form area: Spatial and temporal characterization of an initial stage of reading in normal subjects and posterior split-brain patients, Brain: A Journal of Neurology, 123, 2, pp. 291-307, (2000); Coltheart M., Rastle K., Perry C., Langdon R., Ziegler J., DRC: A dual route cascaded model of visual word recognition and reading aloud, Psychological Review, 108, 1, pp. 204-256, (2001); Conway A. R. A., Kane M. J., Bunting M. F., Hambrick D. Z., Wilhelm O., Engle R. W., Working memory span tasks: A methodological review and user’s guide, Psychonomic Bulletin & Review, 12, 5, pp. 769-786, (2005); Cronbach L. J., Coefficient alpha and the internal structure of tests, Psychometrika, 16, 3, pp. 297-334, (1951); de Vet H. C. W., Mokkink L. 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C., Extra-large letter spacing improves reading in dyslexia, Proceedings of the National Academy of Sciences of the United States of America, 109, 28, pp. 11455-11459, (2012)","Y.K. Wong; Department of Educational Psychology, Faculty of Education, The Chinese University of Hong Kong, Hong Kong; email: yetta.wong@gmail.com","","American Psychological Association","","","","","","00963445","","JPGED","35511564","English","J. Exp. Psychol. Gen.","Article","Final","","Scopus","2-s2.0-85130623626"
"Schiavio A.; Biasutti M.; van der Schyff D.; Parncutt R.","Schiavio, Andrea (55582317300); Biasutti, Michele (6603982003); van der Schyff, Dylan (55308042600); Parncutt, Richard (6602410680)","55582317300; 6603982003; 55308042600; 6602410680","A matter of presence: A qualitative study on teaching individual and collective music classes","2020","Musicae Scientiae","24","3","","356","376","20","30","10.1177/1029864918808833","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85058687064&doi=10.1177%2f1029864918808833&partnerID=40&md5=cee823df1e8ec7a42c9dc9adfae025be","University of Graz, Austria; University of Padua, Italy; University of Oxford, United Kingdom","Schiavio A., University of Graz, Austria; Biasutti M., University of Padua, Italy; van der Schyff D., University of Oxford, United Kingdom; Parncutt R., University of Graz, Austria","In the current study, 11 expert music teachers were asked to reflect on their own practice and compare their experience of individual and collective teaching settings. Adopting an approach based on grounded theory, two interrelated themes were identified in the raw data: teaching issues and professional development. In both categories, the notion of ‘presence’ emerged as a defining feature of the comparison. Teachers reported to be less present in collective settings, whereas one would expect that the higher (cognitive, teaching, etc.) demands associated with more learners would result in teachers being instead more involved in the unfolding dynamics of the lesson. Inspired by the conceptual tools offered by the Extended Mind (ExM) approach, we suggest that in collective settings teachers feel less present because they can offload the cognitive role of ‘teacher’ onto the learners, giving rise to a hybrid extended system that fosters a shared sense of responsibility, where pedagogical dynamics are functionally distributed across the whole group. In reporting excepts from music teachers, and adopting a novel perspective to frame our discussion, our research may contribute to existing literature in (collective) music pedagogy. © The Author(s) 2018.","collective music lesson; Extended Mind; music teacher; musical learning; presence","","","","","","Social Sciences and Humanities Research Council of Canada, SSHRC; Austrian Science Fund, FWF, (M2148)","The authors disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: A. S. is supported by a Lise Meitner Postdoctoral Fellowship granted by the Austrian Science Fund (FWF): project number M2148. D. v.d. 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Schiavio; University of Graz, Austria; email: andrea.schiavio@uni-graz.at","","SAGE Publications Ltd","","","","","","10298649","","","","English","Musicae Scientiae","Article","Final","All Open Access; Green Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85058687064"
"Young S.","Young, Susan (36571193600)","36571193600","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","2021","British Journal of Music Education","38","2","","107","118","11","6","10.1017/S0265051720000248","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85099545573&doi=10.1017%2fS0265051720000248&partnerID=40&md5=032a3b5f46df33bece692fa02f078bed","University of Roehampton, Roehampton Lane, London, SW15 5PJ, United Kingdom","Young S., University of Roehampton, Roehampton Lane, London, SW15 5PJ, United Kingdom","In 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.  © 2021 Cambridge University Press.","commodification; Early childhood music education; marketisation; music pedagogy","","","","","","","","Arculus C., Giving Artists A Seat at the Table, (2019); Baker G., Editorial Introduction: El Sistema in critical perspective, Action, Criticism & Theory for Music Education, 15, 1, pp. 10-32, (2016); Ball S.J., Junemann C., Networks, New Governance and Education, (2012); Becker G., Human Capital: A Theoretical and Empirical Analysis, with Special Reference to Education, (2013); Brown W., Undoing the Demos: Neoliberalism's Stealth Revolution, (2015); Bruer J.T., Revisiting 'the Myth of the First Three Years': Special Briefing Paper Written to Accompany the Event Monitoring Parents: Science, Evidence, Experts and the New Parenting Culture, Centre for Parenting Culture Studies, Kent University, (2011); Buzzelli C.A., How human capital theory sells early education short: Revaluing early education through the capabilities approach, Global Perspectives on Human Capital in Early Childhood Education, pp. 215-229, (2015); Campbell-Barr V., Nygard M., Losing sight of the child Human capital theory and its role for early childhood education and care policies in Finland and England since the mid-1990s, Contemporary Issues in Early Childhood, 15, pp. 346-359, (2014); Crouch C., The Knowledge Corrupters: Hidden Consequence of the Financial Takeover of Public Life, (2016); Gillies V., Edwards R., Horsley N., Challenging the Politics of Early Intervention: Who's Saving Children and Why, (2017); Harvey D., A Brief History of Neoliberalism, (2005); Harvey D., Neo-liberalism as creative destruction, Human Geography, 88, 2, pp. 145-158, (2006); Hays S., The Cultural Contradictions of Motherhood, (1996); Hochschild R.A., The Managed Heart: Commercialization of Human Feeling, (1983); Logan O., Hand in Glove: El Sistema and Neoliberal Research, (2015); Moore A., Neoliberalism and the musical entrepreneur, Journal of the Society for American Music, 10, 1, pp. 33-53, (2016); Moss P., Transformative Change and Real Utopias in Early Childhood Education: A Story of Democracy, Experimentation and Potentiality, (2014); Palmer T.G., Book Review: What Money Can't Buy: The Moral Limits of Markets, (2012); Penn H., Childcare markets: Do they work, Childcare Markets: Can They Deliver and Equitable Service, pp. 19-42, (2012); Sandel M., What Money Can't Buy: The Moral Limits of Markets, (2012); Ward S., Neoliberalism and the Global Restructuring of Knowledge and Education, (2012); Young S., Critical New Perspectives in Early Childhood Music, (2018); Young S., Towards A Music Education for Maturing, Never Arriving, Routledge Handbook of the Sociology of Music Education; Youth Music Impact Report 2017-18","S. Young; University of Roehampton, Roehampton Lane, London, SW15 5PJ, United Kingdom; email: susanyoung351@gmail.com","","Cambridge University Press","","","","","","02650517","","","","English","Br. J. Music Educ.","Article","Final","","Scopus","2-s2.0-85099545573"
"Pomerleau-Turcotte J.; Dubé F.; Moreno Sala M.T.; Vachon F.","Pomerleau-Turcotte, Justine (57203603497); Dubé, Francis (56847321800); Moreno Sala, Maria Teresa (56849540700); Vachon, Francois (8696710100)","57203603497; 56847321800; 56849540700; 8696710100","Building a mental toolbox: Relationships between strategy choice and sight-singing performance in higher education","2023","Psychology of Music","51","1","","119","139","20","2","10.1177/03057356221087444","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85129457848&doi=10.1177%2f03057356221087444&partnerID=40&md5=beada1d12ff5ff976ca05a9b2f7d942e","Faculté de musique de l’Université Laval, Québec City, QC, Canada; École de psychologie de l’Université Laval, Québec City, QC, Canada","Pomerleau-Turcotte J., Faculté de musique de l’Université Laval, Québec City, QC, Canada; Dubé F., Faculté de musique de l’Université Laval, Québec City, QC, Canada; Moreno Sala M.T., Faculté de musique de l’Université Laval, Québec City, QC, Canada; Vachon F., École de psychologie de l’Université Laval, Québec City, QC, Canada","Sight-singing is an inescapable component of music training in higher education and is often challenging for students. However, some strategies could help students perform. Yet, the extent to which students can use strategies to improve their sight-singing performance remains unclear. This article asks two questions to fill this gap: (1) Which strategies do students use when sight-singing? (2) Does the application of some types of strategy predict performance? We recruited 56 postsecondary music students and asked them about their musical backgrounds. They then sight-sang a short melody while we recorded their eye movements. After that, we conducted semi-structured retrospective interviews, using eye-movement videos and attention distribution heatmaps to help participants remember the strategies they used. We analyzed the interview transcripts to identify the strategies students used and regrouped them into categories. We extracted seven categories and discovered that using body movements predicted rhythm scores, that using musical knowledge predicted pitch and combined scores, and that relying on automatic skills predicted all dimensions of sight-singing performance. We recommend that aural skills instructors teach strategies explicitly and help students develop robust musical knowledge, as they are required to build strong automatic skills. © The Author(s) 2022.","aural skills; cued retrospective reporting; eye-tracking; higher education; sight-singing; strategies","","","","","","Joseph-Armand Bombardier; Social Sciences and Humanities Research Council of Canada, SSHRC; Fonds de Recherche du Québec-Société et Culture, FRQSC","The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: For this research, first author obtained a Joseph-Armand Bombardier Graduate Scholarship from the Social Sciences and Humanities Research Council and funding from Fonds de recherche du Qu\u00E9bec \u2013 Soci\u00E9t\u00E9 et culture.","Aiba E., Matsui T., Music memory following short-term practice and its relationship with the sight-reading abilities of professional pianists, Frontiers in Psychology, 7, (2016); Baddeley A.D., Working memory, thought, and action, (2007); Baddeley A.D., Hitch G., Working memory, Psychology of learning and motivation, 8, pp. 47-89, (1974); Baldwin C.L., Auditory cognition and human performance: Research and applications, (2012); Beckett C.A., Directing student attention during two-part dictation, Journal of Research in Music Education, 45, 4, pp. 613-625, (1997); Begin C., Les stratégies d’apprentissage: Un cadre de référence simplifié, Revue des sciences de l’éducation, 34, 1, pp. 47-67, (2008); Bender L., Renkl A., Eitel A., When and how seductive details harm learning. 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Advanced sight-readers’ strategies across different tonal environments, Psychology of Music, 49, pp. 1303-1320, (2020); Krippendorff K., Content analysis: An introduction to its methodology, (2013); Laforest J., Bouchard L.M., Maurice P., Guide d’organisation d’entretiens semi-dirigés avec des informateurs clés: Trousse diagnostique de sécurité à l’intention des collectivités locales—2e édition (Guide to Semi-Structured Interviews With Key Informants: Safety Diagnostic Toolbox to Local Collectivities – 2nd edition), (2009); Lehmann A.C., McArthur V., Sight-reading, The science and psychology of music performance, pp. 135-149, (2002); Lim Y., Park J.M., Rhyu S.-Y., Chung C.K., Kim Y., Yi S.W., Eye-hand span is not an indicator of but a strategy for proficient sight-reading in piano performance, Scientific Reports, 9, (2019); Lovorn T., The effect of writing solfège syllables into choral repertoire on the sight-reading ability of high school choir students, Texas Music Education Research, 15, 24, (2016); Mennen J., van der Klink M., Is the first-year predictive for study success in subsequent years? 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Pomerleau-Turcotte; Faculté de musique de l’Université Laval, Québec City, Canada; email: justine.pomerleau-turcotte.1@ulaval.ca","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","All Open Access; Green Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85129457848"
"Barrett J.S.; Schachter R.E.; Gilbert D.; Fuerst M.","Barrett, Jentry S. (57220963067); Schachter, Rachel E. (55583890600); Gilbert, Danni (57191471871); Fuerst, Mathew (57221997164)","57220963067; 55583890600; 57191471871; 57221997164","Best Practices for Preschool Music Education: Supporting Music-Making Throughout the Day","2022","Early Childhood Education Journal","50","3","","385","397","12","17","10.1007/s10643-021-01155-8","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85100902840&doi=10.1007%2fs10643-021-01155-8&partnerID=40&md5=a500a285ab0f32683ea0b3fe2cddce8a","Department of Child, Youth and Family Studies, University of Nebraska-Lincoln, 215 Louise Pound Hall, Lincoln, 68588, NE, United States; Department of Child, Youth and Family Studies, University of Nebraska-Lincoln, 261 Louise Pound Hall, Lincoln, 68588, NE, United States; Glenn Korff School of Music, University of Nebraska-Lincoln, 364 Westbrook Music Building, Lincoln, 68588, NE, United States; Music Department, Doane University, 1014 Boswell Ave., Crete, 68333, NE, United States","Barrett J.S., Department of Child, Youth and Family Studies, University of Nebraska-Lincoln, 215 Louise Pound Hall, Lincoln, 68588, NE, United States; Schachter R.E., Department of Child, Youth and Family Studies, University of Nebraska-Lincoln, 261 Louise Pound Hall, Lincoln, 68588, NE, United States; Gilbert D., Glenn Korff School of Music, University of Nebraska-Lincoln, 364 Westbrook Music Building, Lincoln, 68588, NE, United States; Fuerst M., Music Department, Doane University, 1014 Boswell Ave., Crete, 68333, NE, United States","Active engagement in music has numerous academic and social benefits for young children and music-making is included in many early childhood standards and preschool curricula. The purpose of this article is to provide quality resources for classroom teachers to use in providing music-making activities for young children, ages 3–5. Although teachers may use music in their classrooms, we provide resources and suggestions for more intentional and extended integration of music-making. Specifically, we identify best practices for preschool music education based on key standards and research as well as with common music pedagogies. We then turn to concrete examples of how teachers can implement these music best practices throughout the entire preschool day. We provide ideas and resources for whole-group activities, focusing on choice-time/center activities and ways to incorporate music activities in other academic areas as these seem to be of greater need for teachers. Finally, we use the stated best practices to review the alignment of a sample of commercially available preschool music curricula as an additional support for teachers. © 2021, The Author(s), under exclusive licence to Springer Nature B.V. part of Springer Nature.","Curricula; Developmentally appropriate practice; Music-making; Preschool","","","","","","Orff and Kodály pedagogies","The nine identified best practices (BP, shown in Table ) provide a guide for implementing high-quality music instruction in preschool classrooms. Across these nine best practices, three distinct categories of music-making practices emerged—singing, using instruments, and movement (see Table ). This grouping of practices is supported by the Orff and Kodály pedagogies. For example, the Orff approach links music and movement through singing, clapping, and dancing activities that perhaps come naturally to children (Perlmutter ). The Kodály system is comprised of a sequential curriculum geared for young children that uses techniques such as signs, games, clapping, rhythmic notation, and singing to teach folk songs (Huriwitz et al. ). We hope to utilize the results of the content analysis with support from the common music education pedagogies to give teachers a valuable music-making instructional guide. Next, we will define and elaborate each best practice by describing what age-appropriate music-making looks like and by providing examples of age-appropriate expectations for music-making. 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Barrett; Department of Child, Youth and Family Studies, University of Nebraska-Lincoln, Lincoln, 215 Louise Pound Hall, 68588, United States; email: jbarrett3@unl.edu","","Springer Science and Business Media B.V.","","","","","","10823301","","","","English","Early Child. Educ. J.","Article","Final","","Scopus","2-s2.0-85100902840"
"Eusterbrock L.","Eusterbrock, Linus (57191843186)","57191843186","Climate-conscious popular music education: Theory and practice","2022","Journal of Popular Music Education","6","3","","385","401","16","5","10.1386/jpme_00098_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85173239984&doi=10.1386%2fjpme_00098_1&partnerID=40&md5=27afc15ab9def2633e52660ef68a0990","Department of Arts and Music, University of Cologne, Gronewaldstr. 2, Cologne, D-50931, Germany","Eusterbrock L., Department of Arts and Music, University of Cologne, Gronewaldstr. 2, Cologne, D-50931, Germany","Given popular music’s impact and its tradition in environmental activism, popular music education seems suited to contribute to a societal transformation towards sustainability in which the arts are increasingly considered to play an important role. The article proposes goals and methods of a climate-conscious popular music education, illustrated with examples from the author’s experience in music educa-tion. Drawing from and adding to eco-literate music pedagogy and activist music education, the article suggests that a climate-conscious popular music education should include: reducing the carbon footprint of educational practices; cultivating ecological consciousness, i.e. a connection to and appreciation of local nature; understanding climate change as a complex issue of intergenerational and global justice; using the specific potential of music to help overcome barriers to climate action, in particular its sensory, imaginative, creative, emotional, expressive and communal character. © 2022 Intellect Ltd Article. English language.","arts education; climate justice; critical pedagogy; eco-literacy; ecology of music education; ecomusicology; music and the environment; sustainability","","","","","","","","Adams Matthew, Individual action won’t achieve 1.5°C warming: Social change is needed, as history shows, The Conversation, (2018); Bates Vincent C., Music education unplugged, ACT, 12, 2, pp. 75-90, (2013); Benedict Cathy, Schmidt Patrick, Spruce Gary, Woodford Paul, The Oxford Handbook of Social Justice in Music Education, (2015); Bentz Julia, O'Brien Karen, Art for change: Transformative learning and youth empowerment in a changing climate, Elementa: Science of the Anthropocene, 7, 52, pp. 1-19, (2019); Bourdieu Pierre, Cultural reproduction and social reproduction, Knowledge, Education, and Social Change: Papers in the Sociology of Education, pp. 71-112, (1973); Bradley Deborah, Oh, that magic feeling! Multicultural human subjec-tivity, community, and fascism’s footprints, Philosophy of Music Education Review, 17, 1, pp. 56-74, (2009); Brennan Matt, The environmental sustainability of the music industries, Cultural Industries and the Environmental Crisis: New Approaches for Policy, pp. 37-49, (2020); Brosch Tobias, Affect and emotions as drivers of climate change perception and action: A review, Current Opinion in Behavioral Sciences, 42, pp. 15-21, (2021); DeNora Tia, Music in Everyday Life, (2000); Denton Fatma, Climate change vulnerability, impacts, and adaptation: Why does gender matter?, Gender & Development, 10, 2, pp. 10-20, (2002); Devine Kyle, Decomposed: The Political Ecology of Music, (2019); Dominey-Howes Dale, Gorman-Murray Andrew, McKinnon Scott, Queering disasters: On the need to account for LGBTI experiences in natural disaster contexts, Gender, Place & Culture, 21, 7, pp. 905-918, (2014); Elliott David, Silverman Marissa, Bowman Wayne, Artistic Citizenship: Artistry, Social Responsibility, and Ethical Praxis, (2016); Eusterbrock Linus, Moving musical spaces: How mobile music making creates new virtual social spaces, Musikalische Praxen und virtuelle Räume, pp. 107-123, (2020); Eusterbrock Linus, Godau Marc, Haenisch Matthias, Krebs Matthias, Rolle Christian, Von “inspirierenden Orten” und “safe places”: Die Ästhetische Nutzung von Orten in der Appmusikpraxis’ (‘On “inspiring” and “safe” places: The aesthetic use of place in app music practices’), Musikpädagogische Forschung, 41, pp. 155-173, (2021); Ultrasonic, (2020); Figueres Christiana, Rivett-Carnac Tom, The Future We Choose: Surviving the Climate Crisis, (2020); Fjelde Hanne, Uexkull Nina von, Climate triggers: Rainfall anoma-lies, vulnerability and communal conflict in sub-Saharan Africa, Political Geography, 31, 7, pp. 444-453, (2012); Freire Paulo, Education for Critical Consciousness, (2011); Galafassi Diego, Tabara J. David, Heras Maria, Restoring our senses, restoring the earth: Fostering imaginative capacities through the arts for envisioning climate transformations, Elementa: Science of the Anthropocene, 6, 1, pp. 1-14, (2018); Gardiner Stephen M., Climate justice, The Oxford Handbook of Climate Change and Society, pp. 309-322, (2011); George Scott St, Crawford Daniel, Reubold Todd, Giorgi Elizabeth, Making climate data sing: Using music-like sonifications to convey a key climate record, Bulletin of the American Meteorological Society, 98, 1, pp. 23-27, (2017); Gleick Peter H., Water, drought, climate change, and conflict in Syria, Weather, Climate, and Society, 6, 3, pp. 331-340, (2014); Hess Juliet, Music Education for Social Change: Constructing an Activist Music Education, (2019); Hess Juliet, Musicking a different possible future: The role of music in imagination, Music Education Research, 23, 2, pp. 270-285, (2021); Hoffman Jeremy S., Shandas Vivek, Pendleton Nicholas, The effects of historical housing policies on resident exposure to intra-urban heat: A study of 108 US urban areas, Climate, 8, 1, (2020); Holthaus Eric, Through song, passion and protest, Varshini Prakash’s sunrise movement is changing US climate politics, The Correspondent, (2020); Summary for policymakers, Global Warming of 1.5°C: An IPCC Special Report on the Impacts of Global Warming of 1.5°C Above Pre-industrial Levels and Related Global Greenhouse Gas Emission Pathways, pp. 3-24, (2018); Johnson Bruce, Cloonan Martin, Dark Side of the Tune: Popular Music and Violence, (2016); Jorgensen Estelle R., Search of Music Education, (1997); Jorritsma Marie, Towards an eco-literate tertiary music educa-tion: Notes from a South African context, International Journal of Music Education, 40, 1, pp. 14-25, (2021); Konig Bernhard, Monteverdi und der Klimawandel: Wie die Musik auf eine globale Herausforderung reagieren könnte’ (‘Monteverdi and climate change: How music can react to a global challenge, Neue Musikzeitung, 68, 9, pp. 1-13, (2019); Koza Julia E., Save the music”? Toward culturally relevant, joyful, and sustainable school music, Philosophy of Music Education Review, 14, 1, pp. 23-38, (2006); Lafontant Di Niscia Attilio, Unveiling the dark side of tonewoods: A case study about the musical instrument demand for the Venezuelan youth orchestra El Sistema, Action, Criticism & Theory for Music Education, 18, 3, pp. 259-288, (2019); Mark Jason, Yes, actually, individual responsibility is essential to solving the climate crisis, The Magazine of the Sierra Club, (2019); Milkoreit Manjana, Imaginary politics: Climate change and making the future, Elementa: Science of the Anthropocene, 5, 62, pp. 1-18, (2017); Morton Charlene A., Music education for “all my relations, The Oxford Handbook of Philosophy in Music Education, pp. 472-491, (2012); Orr David W., Ecological Literacy: Education and the Transition to a Postmodern World, (1992); Pedelty Mark, Ecomusicology. Rock, Folk, and the Environment, (2012); Reckwitz Andreas, The Invention of Creativity: Modern Society and the Culture of the New, (2017); Rothenberg David, Why Birds Sing, (2005); Schafer Raymond Murray, The Soundscape: Our Sonic Environment and the Tuning of the World, (1993); Shepherd Marshall, Binita KC, Climate change and African Americans in the USA, Geography Compass, 9, 11, pp. 579-591, (2015); Shevock Daniel J., Eco-literate Music Pedagogy, (2018); Shevock Daniel J., Waste in popular music education: Rock’s proble-matic metaphor and instrument-making for eco-literacy, TOPICS for Music Education Praxis, 19, 2, pp. 37-56, (2019); Shevock Daniel J., Bates Vincent C., A music educator’s guide to saving the planet, Music Educators Journal, 105, 4, pp. 15-20, (2019); Smith Gareth Dylan, Popular music education: Identity, aesthetic expe-rience, and eudaimonia, The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices, pp. 303-319, (2019); Smith Gareth Dylan, Moir Zack, Popular music, policy and educa-tion, The Bloomsbury Handbook of Popular Music Policy, pp. 91-107, (2022); Smith Tawnya D., Music education for surviving and thriving: Cultivating children’s wonder, senses, emotional wellbeing, and wild nature as a means to discover and fulfill their life’s purpose, Frontiers in Education, (2021); Stoknes Per Espen, What We Think About When We Try Not to Think About Global Warming: Toward a New Psychology of Climate Action, (2015); Till Rupert, Twenty first century popular music studies, IASPM Journal, 3, 2, pp. 1-14, (2013); Vaugeois Lise C., Eco-literate music pedagogy, Music Education Research, 21, 5, pp. 608-609, (2019); Westerlund Heidi M., The return of moral questions: Expanding social epistemology in music education in a time of super-diversity, Music Education Research, 21, 5, pp. 503-516, (2019); Woodward Sheila C., Social justice and popular music education: Building a generation of artists impacting social change, The Routledge Research Companion to Popular Music Education, pp. 395-411, (2017)","L. Eusterbrock; Department of Arts and Music, University of Cologne, Cologne, Gronewaldstr. 2, D-50931, Germany; email: linus.eusterbrock@uni-koeln.de","","Intellect Ltd.","","","","","","23976721","","","","English","J. Pop. Music. Educ.","Article","Final","","Scopus","2-s2.0-85173239984"
"Knapp D.H.; Powell B.; Smith G.D.","Knapp, David H. (55963541300); Powell, Bryan (57002386200); Smith, Gareth Dylan (53564157900)","55963541300; 57002386200; 53564157900","Music teacher perceptions of modern band and Little Kids Rock: a qualitative study of programme outcomes","2023","Music Education Research","25","2","","121","135","14","1","10.1080/14613808.2023.2167967","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85149264947&doi=10.1080%2f14613808.2023.2167967&partnerID=40&md5=5b1034615fa039cfac62050e29106f0c","Music Education, Syracuse University, Syracuse, NY, United States; Music Education and Music Technology, Montclair State University, Montclair, NJ, United States; Music Education, Boston University, College of Fine Arts, Boston, MA, United States","Knapp D.H., Music Education, Syracuse University, Syracuse, NY, United States; Powell B., Music Education and Music Technology, Montclair State University, Montclair, NJ, United States; Smith G.D., Music Education, Boston University, College of Fine Arts, Boston, MA, United States","Music education in the United States is typified by students in large ensembles, like band and orchestra, learning to perform pieces of Western art music. One organisation working to expand curricular offerings within the field is Little Kids Rock (LKR), which has invested millions of dollars training music teachers and providing instrument resources for popular music pedagogy. Though this organisation has demonstrated success in its ability to propagate 'modern band' programmes, the effects of its investment are not known. LKR administers an end-of-year survey to its participating teachers to assess teachers' perceptions of their music programmes. However, LKR do not publish meaningful information regarding the outcomes and impact of its activities. The present study examined free-response data from the 2018 end-of-year survey. Using the passive and active identity and learning realisation (PAILR) model as our analytical framework (Froehlich, Hildegard C., and Gareth Dylan Smith. 2017. Sociology for Music Teachers: Practical Applications. 2nd ed. New York: Routledge. doi:10.4324/9781315402345), the authors analysed themes using grounded theory to produce a logic model to describe the effects of LKR's investment. Results indicate participating teachers perceive a positive impact on students, including being more engaged in their learning, and more musically independent. Additionally, teachers believed they were more engaged and committed to their profession, and more able to teach previously disengaged students. © 2023 Informa UK Limited, trading as Taylor & Francis Group.","learner identity; Modern band; popular music education; teacher identity","","","","","","","","Abeles H., Weiss-Tornatore L., Powell B., Integrating Popular Music Into Urban Schools: Assessing the Effectiveness of a Comprehensive Music Teacher Development Program, International Journal of Music Education, 39, 2, pp. 218-233, (2021); Abril C.R., Responding to Culture in the Instrumental Music Programme: A Teacher's Journey, Music Education Research, 11, 1, pp. 77-91, (2009); Allsup R.E., Remixing the Classroom: Toward an Open Philosophy of Music Education, (2016); Anfara V., Visual Data Displays, The SAGE Encyclopedia of Qualitative Research Methods, pp. 930-934, (2008); Barrett M.S., Towards a Cultural Psychology of Music Education, A Cultural Psychology of Music Education, pp. 1-15, (2010); Bauman Z., Intimations of Postmodernity, (1992); Byo J.L., “Modern Band” as School Music: A Case Study, International Journal of Music Education, 36, 2, pp. 259-269, (2018); Campbell P.S., Myers D., Sarath E., Transforming Music Study from its Foundations: A Manifesto for Progressive Change in the Undergraduate Preparation of Music Majors, College Music Symposium, 56, (2016); Campbell P.S., Myers D.E., Sarath E.W., Transforming Music Study from its Foundations: A Manifesto for Progressive Change in the Undergraduate Preparation of Music Majors, Redefining Music Studies in an Age of Change, pp. 59-99, (2016); Clauhs M., Cremata R., Student Voice and Choice in Modern Band Curriculum Development, Journal of Popular Music Education, 4, 1, pp. 101-116, (2020); Cole M., Cultural Psychology: A Once and Future Discipline, (1996); Cremata R., Facilitation in Popular Music Education, Journal of Popular Music Education, 1, 1, pp. 63-82, (2017); Cremata R., Evangelism in Modern Band, Journal of Popular Music Education, 5, 3, pp. 359-374, (2021); Elliott D., Silverman M., Bowman W., Artistic Citizenship: Artistry, Social Responsibility, and Ethical Praxis, (2016); Elpus K., Abril C.R., Who Enrolls in High School Music? A National Profile of U.S. Students, 2009–2013, Journal of Research in Music Education, 67, 3, pp. 323-338, (2019); Epstein M.J., Yuthas K., Measuring and Improving Social Impacts: A Guide for Nonprofits, Companies, and Impact Investors, (2014); Ewell P., Music Theory’s White Racial Frame, Music Theory Spectrum, 43, 2, pp. 324-329, (2021); Froehlich H.C., Smith G.D., Sociology for Music Teachers: Practical Applications, (2017); Fung C.V., Williams D.A., Bugos J., Randles C., The Suncoast Declaration, Music Educators Journal, 106, 3, pp. 19-22, (2020); Galvin R., How Many Interviews are Enough? Do Qualitative Interviews in Building Energy Consumption Research Produce Reliable Knowledge?, Journal of Building Engineering, 1, pp. 2-12, (2015); Gladwell M., The Tipping Point: How Little Things Can Make a Big Difference, (2000); Green L., How Popular Musicians Learn: A way Forward for Music Education, (2002); Green L., Music, Informal Learning and the School: A New Classroom Pedagogy, (2008); Green L., To Construe and Construct … What do we Mean by ‘the Sociology of Music Education,’ and What’s the Point of it Anyway?, Music Education as Critical Theory and Practice: Selected Essays, pp. 3-16, (2014); Guest G., Namey E., Chen M., A Simple Method to Assess and Report Thematic Saturation in Qualitative Research, PloS One, 15, 5, pp. 1-2, (2020); Hebert D.G., Abramo J., Smith G.D., Epistemological and Sociological Issues in Popular Music Education, The Routledge Research Companion to Popular Music Education, pp. 451-478, (2017); Holley S., Coaching a Popular Music Ensemble: Blending Formal, non-Formal, and Informal Approaches in the Rehearsal, (2019); Jones P.M., Lifewide as Well as Lifelong: Broadening Primary and Secondary School Music Education's Service to Students’ Musical Needs, International Journal of Community Music, 2, 2-3, pp. 201-214, (2009); Kelly-McHale J., Abril C.R., “Thinking About and Responding to Culture in General Music.” Chap. 11 in Teaching General Music, (2016); Knapp D.H., Powell B., Smith G.D., National Profile of Teacher Perceptions of Teaching and Learning in Modern Band Programs in the United States, Bulletin of the Council for Research in Music Education, 231, pp. 77-92, (2022); Kratus J., Music Education at the Tipping Point: Music Education Must Find Ways to Both Keep Up with the Changing Musical Culture and—Preserve the Best of our Musical Past, Music Educators Journal, 94, 2, (2007); Kratus J., A Return to Amateurism in Music Education, Music Educators Journal, 106, 1, pp. 31-37, (2019); Lamont A., The Beat Goes on: Music Education, Identity and Lifelong Learning, Music Education Research, 13, 4, pp. 369-388, (2011); (2021); (2021); (2021); Madsen C.K., (2000); Mantie R., Liminal or Lifelong: Leisure, Recreation, and the Future of Music Education, Music Education: Navigating the Future, pp. 181-196, (2014); Mok A., (2010); Molloy L.A., Finally–Outcome Measurement Strategies Anyone Can Understand, (2010); Narvaez R.F., Meyer I.H., Kertzner R.M., Ouellette S.C., Gordon A.R., A Qualitative Approach to the Intersection of Sexual, Ethnic, and Gender Identities, Identity, 9, 1, pp. 63-86, (2009); Powell B., Burstein S., Popular Music and Modern Band Principles, The Routledge Research Companion to Popular Music Education, pp. 243-254, (2017); Powell B., Hewitt D., Smith G.D., Olesko B., Davis V., Curricular Change in Collegiate Programs: Toward a More Inclusive Music Education, Visions of Research in Music Education, 35, 1, (2020); Powell B., Krikun A., Pignato J.M., Something’s Happening Here!”: Popular Music Education in the United States, IASPM Journal, 5, 1, pp. 4-22, (2015); Randles C., Music Teacher as Writer and Producer, Journal of Aesthetic Education, 46, 3, pp. 36-52, (2012); Randles C., Modern Band: A Descriptive Study of Teacher Perceptions, Journal of Popular Music Education, 2, 3, pp. 217-230, (2018); Randles C., Smith G.D., A First Comparison of Pre-Service Music Teachers’ Identities as Creative Musicians in the United States and England, Research Studies in Music Education, 34, 2, pp. 173-187, (2012); Rathgeber J., Bernard C.F., ‘When I say “Modern”, you say “Band”‘: A Critical Narrative of Modern Band and Little Kids Rock as Music Education Curriculum, Journal of Popular Music Education, 5, 3, pp. 337-358, (2021); Saldana J., The Coding Manual for Qualitative Researchers, (2021); Silverman M., Sense-Making, Meaningfulness, and Instrumental Music Education, Frontiers in Psychology, 11, (2020); Small C., Musicking: The Meanings of Performing and Listening, (1998); Smith G.D., I Drum, Therefore I am: Being and Becoming a Drummer, (2013); Strauss A., Corbin J.M., Grounded Theory in Practice, (1997); (2007); Tran V.-T., Porcher R., Falissard B., Ravaud P., Point of Data Saturation was Assessed Using Resampling Methods in a Survey with Open-Ended Questions, Journal of Clinical Epidemiology, 80, pp. 88-96, (2016); Every Student Succeeds Act, (2015); Weiss L., Abeles H.F., Powell B., Integrating Popular Music into Urban Schools: Examining Students’ Outcomes of Participation in the Amp Up New York City Music Initiative, Journal of Popular Music Education, 1, 3, pp. 331-356, (2017); Wenger E., Communities of Practice: Learning, Meaning, and Identity, (1998); (2019)","D.H. Knapp; Music Education, Syracuse University, Syracuse, 108D Crouse College, 13244, United States; email: dhknapp@syr.edu","","Routledge","","","","","","14613808","","","","English","Music Educ. Res.","Article","Final","","Scopus","2-s2.0-85149264947"
"Iofis B.R.","Iofis, Boris R. (57222811347)","57222811347","CONCEPTUAL FOUNDATIONS OF MUSICAL THEORETICAL PREPARING TO A MUSIC TEACHER; [КОНЦЕПТУАЛЬНЫЕ ОСНОВЫ МУЗЫКАЛЬНО-ТЕОРЕТИЧЕСКОЙ ПОДГОТОВКИ МУЗЫКАНТА-ПЕДАГОГА]","2023","Musical Art and Education","11","1","","62","79","17","2","10.31862/2309-1428-2023-11-1-62-79","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85166089318&doi=10.31862%2f2309-1428-2023-11-1-62-79&partnerID=40&md5=887c645ccf6a2d65dfd1d77459b2a96b","Moscow Pedagogical State University (MPGU), Moscow, 119435, Russian Federation","Iofis B.R., Moscow Pedagogical State University (MPGU), Moscow, 119435, Russian Federation","The article deals with the problem of musical theoretical preparing to music teachers. It is noted that initially the pedagogical universities copied the structure of musical and theoretical education that developed in the “classical” conservatories, but over time, the search for a specific didactic system begins. The need for this process is determined by the characteristics of the modern contingent of students in relation to pre-university musical preparing: a high degree of heterogeneity with limited opportunities for differentiation at the organizational level. In this regard, the creation of a model of musical theoretical training of students, which combines fundamentality, subjective novelty, and accessibility for all participants in the educational process, becomes relevant. Such an opportunity opens under the condition of a transition from the individual elements mastering, which is characteristic of secondary vocational education, to the coverage of integral systems. The specificity of the musical and theoretical preparing to a music teacher is realized in the application of a practiceoriented approach to education. The purpose of the musical theoretical activity of students is the formation of their musical literacy, understood as the ability to perceive differentiated, adequately understand, and meaningfully create (intonate) musical texts. The key tool that allows students to learn from their own experience a didactic model that they can implement in their professional activities is a pedagogically oriented system analysis. An integrative approach is also considered, within the framework of which a rethinking of the didactic systems of each discipline and the entire block is carried out and a focus on the formation of priority professional qualities of a music teacher is ensured. The proposed concept can be enriched by the inclusion of valuesemantic, genre, comparative and historical-stylistic approaches, rethought in relation to the specifics of the preparing to a musician-teacher. © The content is licensed under a Creative Commons Attribution 4.0 International License","analysis of musical compositions; harmony; integrative approach; musical theoretical activity; musical theoretical education; practice-oriented approach; solfeggio","","","","","","","","Reuterstein M. I., Kurs muzykal’nogo analiza v uchebnom plane podgotovki uchitelya peniya [Music Analysis Course in the Singing Teacher Training Program, Uchyonye zapiski N 399: Muzykal’no-pedagogicheskaya podgotovka uchitelya [Educational notes No. 399: Musical and Pedagogical Teacher Preparing], pp. 186-194, (1970); Reuterstein M. I., Analiz muzykal’nykh proizvedenij i analiz muzykal’nykh form [Analysis of Musical Works and Analysis of Musical Forms, Muzykal’naya akademiya [Music Academy], 1, (2004); Iofis B. R. M. I., Reuterstein: Scientific Activity and the Author’s Model of Musical and Theoretical Preparing to a Music Teacher, Vestnik kafedry UNESCO “Muzykal’noe iskusstvo i obrazovanie” = Bulletin of the UNESCO Chair “Musical Arts and Education”, 4, 12, pp. 80-91, (2015); Fedotova T. Yu., Tsennostno-smyslovoj podkhod v muzykal’no-teoreticheskoj podgotovke studentov pedagogicheskogo kolledzha [Value-Semantic Approach in Music-Theoretical Training to Pedagogical College Students, Iskusstvo i obrazovanie [Bulletin of Art and Education], 4, 138, pp. 147-153, (2022); Aranovskaya I. V., Orlova T. S., Pedagogicheskie usloviya realizatsii zhanrovogo podkhoda k obucheniyu studentov vuzov iskusstv muzykal’no-teoreticheskim disciplinam [Pedagogical Conditions for the Implementation of a Genre Approach to Teaching Students of Art Universities Musical and Theoretical Disciplines, Izvestiya Volgogradskogo gosudarstvennogo pedagogicheskogo universiteta, 4, 167, pp. 68-75, (2022); Romashkova O. N., Sorokina E. A., Formirovanie muzykal’nogo tezaurusa kak odno iz aktual’nykh napravlenij v prepodavanii muzykal’no-teoreticheskikh disciplin [The Formation of a Musical Thesaurus as One of the Actual Directions in Teaching Musical and Theoretical Disciplines, Chelovecheskij capital [Human Capital], 1, 157, pp. 138-144, (2022); Ozarenskaya N. V., O razvitii nekotoiykh bazovykh navykov po sol’fedzhio u budushhikh uchitelej muzyki [On the Development of Some Basic Skills in Solfeggio for Future Music Teachers, Problemy mezhregional’nykh svyazej [Problems of Interregional Relations], 20, pp. 55-58, (2022); Butorina N. I., Konovalov A. A., Fonogramma kak sredstvo razvitiya navyka mnogogolosnogo peniya studentov na zanyatiyakh po sol’fedzhio [Phonogram as a Means of Developing the Skill of Polyphonic Singing of Students in Solfeggio Classes, Vestnik Kemerovskogo gosudarstvennogo universiteta kul’tury i iskusstv [Bulletin of the Kemerovo State University of Culture and Arts], 55, pp. 247-258, (2021); Pereverzeva M. V., Shevchuk L. E., Gejm-tekhnologii v processe osvoeniya muzykal’no-teoreticheskikh disciplin [Game Technologies in the Process of Mastering Musical and Theoretical Disciplines, Uchyonye zapiski Rossijskogo gosudarstvennogo social’nogo universiteta [Scientific Notes of the Russian State Social University], 18, 4, pp. 131-137, (2019); Sizova E. R., Realization of Meta-subject Approach in Teaching the Course of Harmony Based on Interactive Methods of Training in Musical Higher Education Institution, Vestnik kafedry UNESCO “Muzykal’noe iskusstvo i obrazovanie” = Bulletin of the UNESCO Chair “Musical Arts and Education”, 2, 22, pp. 92-102, (2018); Parshina L. G., Karpushina L. P., Formirovanie gotovnosti studentov k raskrytiyu muzykal’nogo obraza (v ramkakh discipliny “Osnovy muzykal’no-teoreticheskikh znanij”) [Formation of Students’ Readiness to Reveal a Musical Image (Within the Framework of the Discipline “Fundamentals of Musical and Theoretical Knowledge”), Gumanitarnye nauki i obrazovanie [Humanities and Education], 12, 2, pp. 75-83, (2021); Dresvyannikova N. M., Ovladenie interaktivnymi metodami obucheniya budushchimi uchitelyami muzyki v vuze v processe podgotovki k professional’noj deyatel’nosti [Mastering Interactive Teaching Methods by Future Music Teachers at a University in Preparation for Professional Activity, Perspektivy nauki [Prospects of Science], 2, 125, pp. 132-135, (2020); Tsareva N. A., Pylaeva L. D., Pylaev M. E., Mezhdisciplinarnyj podkhod v podgotovke magistrov muzykal’no-pedagogicheskogo obrazovaniya [Interdisciplinary Approach in the Preparation of Masters of Music and Pedagogical Education, Gumanitarnye issledovaniya. Pedagogika i psikhologiya [Humanitarian Studies. Pedagogy and Psychology], 3, pp. 9-17, (2020); Fedotova T. Yu., Nemirovskaya I. D., Integrativnye svyazi v prepodavanii disciplin muzykal’no-teoreticheskogo i muzykal’no-istoricheskogo tsiklov [Integrative Connections in Teaching Disciplines of Musical-Theoretical and Musical-Historical Cycles, Samarskij nauchnyj vestnik [Samara Scientific Bulletin], 8, 3, pp. 329-333, (2019); Sergienko I. N., K voprosu o sovershenstvovanii professional’noj podgotovki budushchikh uchitelej muzyki [On the Issue of Improving the Professional Preparing to Future Music Teachers, Pedagogika i psikhologiya obrazovaniya [Pedagogy and Psychology of Education], 3, pp. 105-113, (2018); Muzykal’no-teoreticheskie sistemy [Musical-Theoretical Systems], Textbook for Historical-Theoretical and Compositional Faculties of Music Universities, (2006); Abdullin E. B., Nikolaeva E. V., Teoriya muzykal’nogo obrazovaniya [Theory of Music Education], Textbook for Students Higher Pedagogical Education, (2013); Iofis B. R., The Influence of Objective and Subjective Factors on the Process and Results of Composing Music as an Educational and Creative Activity of Students of Pedagogical Universities, Vestnik kafedry UNESCO “Muzykal’noe iskusstvo i obrazovanie” = Bulletin of the UNESCO Chair “Musical Arts and Education”, 1, 13, pp. 72-87, (2016); Testov V. A., Kachestvo i fundamental’nost’ obrazovaniya: vzaimosvyazi i protivorechiya [Quality and Fundamental Nature of Education: Interrelations and Contradictions, Vestnik instituta: prestuplenie, nakazanie, ispravlenie [Bulletin of the Institute: Crime, Punishment, Correction], 9, pp. 77-80, (2009); Iofis B. R., Musical Text Analysis: Research and Pedagogical Aspects, Vestnik kafedry UNESCO “Muzykal’noe iskusstvo i obrazovanie” = Bulletin of the UNESCO Chair “Musical Arts and Education”, 4, 24, pp. 70-84, (2018); Iofis B. R., The Model of Intonation Form of Music as the Basis of the Meaningful Unity of Musical-Theoretical Education, Vestnik kafedry UNESCO “Muzy'kal'noe iskusstvo i obrazovanie” = Bulletin of the UNESCO Chair “Musical Arts and Education”, 3, 7, pp. 103-112, (2014); Garipova N. M., Convergent Potential of the Psychological Component of Music-Pedagogical Education, Muzykal’noe iskusstvo i obrazovanie = Musical Art and Education, 10, 4, pp. 25-39, (2022); Iofis B. R., An Integrative Approach to Teaching Musical Theoretical Disciplines, Muzykal’noe iskusstvo i obrazovanie = Musical Art and Education, 10, 2, pp. 79-92, (2022); Tsenova V. S., K teorii sovremennoj muzykal’noj kompozitsii (na materiale sovetskoj muzyki) [To the Theory of Modern Musical Composition (Based on the Material of Soviet Music), Sovetskaya muzyka [Soviet Music], 9, pp. 81-86, (1991); Vyalukhina V. I., Gorodilova M. V., Ermakov A. A., Korobova A. G., Meshkova A. S., Istoriko-stilevoj podkhod v prepodavanii muzykal’no-teoreticheskikh disciplin (iz opyta kafedry teorii muzyki Ural’skoj konservatorii) [Historical and Stylistic Approach in Teaching Music-Theoretical Disciplines (From the Experience of the Department of Music Theory at the Ural Conservatory), Khudozhestvennoe obrazovanie i nauka [Art Education and Science], 4, 33, pp. 6-16, (2022)","B.R. Iofis; Moscow Pedagogical State University (MPGU), Moscow, 119435, Russian Federation; email: iofisbr@gmail.com","","Moscow Pedagogical State University","","","","","","23091428","","","","English","Musical Art Educ.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85166089318"
"Bucura E.","Bucura, Elizabeth (57200581988)","57200581988","Considerations With Virtual Secondary Music Students","2022","Journal of General Music Education","35","2","","29","35","6","2","10.1177/27527646211061504","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85132349880&doi=10.1177%2f27527646211061504&partnerID=40&md5=3a32bb1144a04b568269b7ec7d28d96f","University of Music and Performing Arts Graz, Austria","Bucura E., University of Music and Performing Arts Graz, Austria","The global COVID-19 pandemic disrupted learning environments, adding significantly to an already-challenging time for adolescents. In many cases, students and teachers have abruptly shifted to online learning platforms that may occur entirely in a home environment. Music often plays a significant role in adolescents’ processes of identity-building and social connection. Music classes might play an important role in coping during these times, even when learning is virtual. Music teachers may question students’ well-being and their own mentorship roles. This article includes concerns about teaching music with adolescents, specifically when adapted to virtual technologies. Considerations are detailed for pedagogical care and possible benefits of at-home learning that might enhance students’ music learning experiences. © National Association for Music Education 2021.","adolescents; care; lockdown; mentorship; music pedagogy; virtual learning","","","","","","","","Blackwell H.R., The real story of real Americans: Country music’s depiction of the ideal American, (2011); Brooks S.K., Webster R.K., Smith L.E., Woodland L., Wessely S., Greenberg N., Rubin G.J., The psychological impact of quarantine and how to reduce it: Rapid review of the evidence, Lancet, 395, pp. 912-920, (2020); Bucura E., A social phenomenological investigation of music teachers’ senses of self, place, and practice, (2013); Bucura E., Fostering self-efficacy among adolescents in secondary general music, General Music Today, 32, 3, pp. 5-12, (2019); Bucura E., Secondary general music in middle school and high school, The Oxford handbook of music teacher education, pp. 697-720, (2019); Bucura E., Becoming self-directed and self-determined: Learning music pedagogically, andragogically, and heutagogically, Problems in Music Pedagogy, 19, 1, pp. 7-24, (2020); Bucura E., Rethinking excellence in music education, Visions of Research in Music Education, 36, (2020); Cabedo-Mas A., Arriaga-Sanz C., Moliner-Miravet L., Uses and perceptions of music in times of COVID-19: A Spanish population survey, Frontiers in Psychology, 11, (2021); Campbell P.S., Connell C., Beegle A., Adolescents’ expressed meanings of music in and out of school, Journal of Research in Music Education, 55, 3, pp. 220-236, (2007); Coutts L., Empowering students to take ownership of their learning: Lessons from one piano teacher’s experiences with transformative pedagogy, International Journal of Music Education, 37, 3, pp. 493-507, (2019); Daubney A., Fautley M., Editorial research: Music education in a time of pandemic, British Journal of Music Education, 37, 2, pp. 107-114, (2020); Daykin N., Mansfield L., Meads C., Julier G., Tomlinson A., Payne A., Grigsby Duffy L., Lane J., D'Innocenzo G., Burnett A., Kay T., Dolan P., Testoni S., Victor C., What works for wellbeing? A systematic review of wellbeing outcomes for music and singing in adults, Perspectives in Public Health, 138, 1, pp. 39-46, (2018); Erikson E.H., The life cycle completed: A review, (1982); Hessler D.M., Katz L.F., Brief report: Associations between emotional competence and adolescent risky behavior, Journal of Adolescence, 33, 1, pp. 241-246, (2010); Isbell D.S., Musicians and teachers: The socialization and occupational identity of preservice music teachers, Journal of Research in Music Education, 56, 2, pp. 162-178, (2008); Jorgensen E.R., Pictures of music education, (2011); Knowles M.S., Holton E.F., Swanson R.A., The adult learner: The definitive classic in adult education and human resource development, (2005); Kodzopeljic J., Smederevac S., Mitrovic D., Dinic B., Colovic P., School bullying in adolescence and personality traits: A person-centered approach, Journal of Interpersonal Violence, 29, 4, pp. 736-757, (2014); Majra D., Benson J., Pitts J., Stebbing J., SARS-CoV-2 (COVID-19) superspreader events, Journal of Infection, 82, 1, pp. 36-40, (2021); McAdams D.P., Vaillant G.E., Intimacy motivation and psychosocial adjustment: A longitudinal study, Journal of Personality Assessment, 46, 6, pp. 586-593, (1982); Montgomery M.J., Psychosocial intimacy and identity: From early adolescence to emerging adulthood, Journal of Adolescent Research, 20, 3, pp. 346-374, (2005); Moscardelli D.M., Divine R., Adolescents’ concern for privacy when using the internet: An empirical analysis of predictors and relationships with privacy-protecting behaviors, Family & Consumer Sciences Research Journal, 35, 3, pp. 232-252, (2007); Roulston K., There is no end to learning”: Lifelong education and the joyful learner, International Journal of Music Education, 28, 4, pp. 341-352, (2010); Sim T.N., Adolescent psychosocial competence: The importance and role of regard for parents, Journal of Research on Adolescence, 10, 1, pp. 49-64, (2000); Singh S., Roy D., Sinha K., Parveen S., Sharma G., Joshi G., Impact of COVID-19 and lockdown on mental health of children and adolescents: A narrative review with recommendations, Psychiatry Research, 293, (2020); Smeltz H., Reframing student practice to facilitate lifelong, joyful musicianship, Music Educators Journal, 99, 2, pp. 51-55, (2012); Sobol N., Lifelong learning: Music adult education, Continuing Professional Education: Theory and Practice, 1, 58, (2019); Thompson M., Barker T., It’s a boy! Understanding your son’s development from birth to age 18, (2008); Tiggemann M., Slater A., Facebook and body image concern in adolescent girls: A prospective study, International Journal of Eating Disorders, 50, 1, pp. 80-83, (2017); Willow-Peterson K.A., Identity development among adolescent males enrolled in a middle school general music program, (2016); Winstanley M.R., Meyers S.A., Florsheim P., Psychosocial correlates of intimacy achievement among adolescent fathers-to-be, Journal of Youth and Adolescence, 31, 2, pp. 91-100, (2002); Wu Y.-J., Outley C., Matarrita-Cascante D., Murphrey T.P., A systematic review of recent research on adolescent social connectedness and mental health with internet technology use, Adolescent Research Review, 1, 2, pp. 153-162, (2016)","E. Bucura; University of Music and Performing Arts Graz, Austria; email: elizabeth.bucura@kug.ac.at","","SAGE Publications Inc.","","","","","","27527646","","","","English","J. Gen. Music. Educ.","Article","Final","","Scopus","2-s2.0-85132349880"
"Demeyere E.","Demeyere, Ewald (57194810648)","57194810648","Yet Another Galant Schema: The Dominant Pedal Accompanied by a Chromatic Descent","2022","Eighteenth-Century Music","19","2","","173","199","26","0","10.1017/S1478570622000124","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85135700425&doi=10.1017%2fS1478570622000124&partnerID=40&md5=3435ab6c33cb7843f7077a886256d466","AP Hogeschool Antwerpen, Institut Royal Supérieur de Musique et de Pédagogie, Namur, Antwerp, Belgium","Demeyere E., AP Hogeschool Antwerpen, Institut Royal Supérieur de Musique et de Pédagogie, Namur, Antwerp, Belgium","It is now well established that stock voice-leading patterns were an essential component of eighteenth-century compositional and improvisational practices both in Italy and abroad. In this article I focus on one of those patterns, which, as far as I am aware, remains unscrutinized: a dominant pedal point in the bass with a paradigmatic upper voice that descends chromatically from scale steps 5 to 2. In the first two sections, I deal with this pattern successively in eighteenth-century music pedagogy, with special emphasis on the teaching of the Neapolitan maestro Fedele Fenaroli, and in actual galant repertory, thereby exploring both its voice-leading and its syntactic possibilities. In the third section, I compare how this dominant pedal relates to other, already identified pedal-based patterns. Copyright © The Author(s), 2022. Published by Cambridge University Press.","chromaticism; galant; improvisation; music theory; schema","","","","","","","","Tour Petervan, Demeyere Ewald, On Fedele Fenaroli's Pedagogy: An Update, Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples, 15, 2, pp. 157-169, (2018); Demeyere Ewald, Brown Clive, Johann Sebastian Bach's Art of Fugue: Performance Practice Based on German Eighteenth-Century Theory, (1999); Byros Vasili, Trazom's Wit: Communicative Strategies In a “Popular” Yet “Difficult” Sonata, Eighteenth-Century Music, 10, 2, (2013)","E. Demeyere; AP Hogeschool Antwerpen, Institut Royal Supérieur de Musique et de Pédagogie, Antwerp, Namur, Belgium; email: ewald.demeyere@ap.be","","Cambridge University Press","","","","","","14785706","","","","English","Eighteenth-Century Music","Article","Final","All Open Access; Bronze Open Access","Scopus","2-s2.0-85135700425"
"Kim Y.J.; Song M.K.; Atkins R.","Kim, You Jin (57216656550); Song, Moo Kyoung (57216655845); Atkins, Rebecca (56878419900)","57216656550; 57216655845; 56878419900","What is your thought process during sight-reading? Advanced sight-readers’ strategies across different tonal environments","2021","Psychology of Music","49","5","","1303","1320","17","2","10.1177/0305735620942596","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85089856156&doi=10.1177%2f0305735620942596&partnerID=40&md5=09809f034ef6bccdccb9d9138f1bad39","Chonnam National University, Gwangju, South Korea; Yonsei University, Seoul, South Korea; University of Georgia, Athens, GA, United States","Kim Y.J., Chonnam National University, Gwangju, South Korea; Song M.K., Yonsei University, Seoul, South Korea; Atkins R., University of Georgia, Athens, GA, United States","Sight-reading strategies used for reading music in different tonal environments are critical for musicians to perform accurately. We investigated the strategies advanced sight-readers utilize when they encounter different tonal environments. After a brief study period, six advanced sight-readers performed a through-composed piece that included tonal, non-tonal, and ambiguously tonal music. Immediately following the performance, participants went back through the music and described their thought process and strategies. Participants reported different strategies from one another to play accurately, but there were also common strategies used for different tonal environments. We found verbal reports of critical and relevant strategies of advanced sight-readers were categorized as attention, static analysis, informed intuition, and performer’s analysis. The sight-readers executed their performance interacting with static analysis, informed intuition, and performer’s analysis. Most importantly, participants relied heavily on performer’s analysis for the expressive performance in the tonal section, followed by the non-tonal and ambiguously tonal sections. Findings imply that advanced sight-readers’ strategies moved back and forth between attention, intuition, and analytical strategies based on the demands in each tonal environment. © The Author(s) 2020.","intuition; performer’s analysis; sight-reading strategy; thought process; tonal environments","","","","","","Yonsei University","We would like to thank the pianists at Yonsei University for participating in this experiment. We also wish to thank the reliability reviewer for their work on categorizing the comments of this study. The author(s) disclosed receipt of the following support for the research, authorship, and/or publication of this article: This study was supported by the Yonsei Research Grant of 2020.","Bangert D., Doing without thinking? Aspects of musical decision-making, pp. 403-408, (2009); Bangert D., Fabian D., Schubert E., Yeadon D., Performing solo Bach: A case study of musical decision-making, Musicae Scientiae, 18, pp. 35-52, (2014); Bangert D., Schubert E., Fabian D., Decision-making in unpracticed and practiced performances of Baroque violin music, Proceedings of Research, the International Conference on Music Communication Science, pp. 3-6, (2009); Bangert D., Schubert E., Fabian D., A spiral model of musical decision-making, Frontiers in Psychology, 5, pp. 1-11, (2014); Bent I., Drabkin W., Analysis, (1987); Betsch T., The nature of intuition and its neglect in research on judgment and decision-making, Intuition in judgment and decision-making, pp. 3-22, (2008); Bogunovic B., Vujovic I., Metacognitive strategies in learning sight-singing, Psiholoska Istrazivanja, 15, pp. 115-133, (2012); Cook N., A guide to musical analysis, (1994); Drai-Zerbib V., Baccino T., Bigand E., Sight-reading expertise: Cross-modality integration investigated using eye tracking, Psychology of Music, 40, pp. 216-235, (2012); Fine P., Berry A., Rosner B., The effect of pattern recognition and tonal predictability on sight-singing ability, Psychology of Music, 34, pp. 431-447, (2006); Fonteyn M.E., Kuipers B., Grobe S.J., A description of think aloud method and protocol analysis, Qualitative Health Research, 3, pp. 430-441, (1993); Fournier G., Moreno Sala M.T., Dube F., O'Neill S., Cognitive strategies in sight-singing: The development of an inventory for aural skills pedagogy, Psychology of Music, 47, pp. 270-283, (2019); Furneaux S., Land M.F., The effects of skill on the eye–hand span during musical sight–reading, Proceedings of the Royal Society of London. Series B: Biological Sciences, 266, pp. 2435-2440, (1999); Gegenfurtner A., Lehtinen E., Saljo R., Expertise differences in the comprehension of visualizations: A meta-analysis of eye-tracking research in professional domains, Educational Psychology Review, 23, pp. 523-552, (2011); Goolsby T.W., Eye movement in music reading: Effects of reading ability, notational complexity, and encounters, Music Perception, 12, pp. 77-96, (1994); Goolsby T.W., Profiles of processing: Eye movements during sightreading, Music Perception, 12, pp. 97-123, (1994); Grutzmacher P.A., The effect of tonal pattern training on the aural perception, reading recognition, and melodic sight-reading achievement of first-year instrumental music students, Journal of Research in Music Education, 35, pp. 171-181, (1987); Hallam S., Professional musicians’ approaches to the learning and interpretation of music, Psychology of Music, 23, pp. 111-128, (1995); Hallam S., Professional musicians’ orientations to practice: Implications for teaching, British Journal of Music Education, 12, pp. 3-19, (1995); Halpern A.R., Bower G.H., Musical expertise and melodic structure in memory for musical notation, The American Journal of Psychology, 95, pp. 31-50, (1982); Henry M.L., The use of targeted pitch skills for sight-singing instruction in the choral rehearsal, Journal of Research in Music Education, 52, pp. 206-217, (2004); Huovinen E., Ylitalo A.-K., Puurtinen M., Early attraction in temporally controlled sight reading of music, Journal of Eye Movement Research, 11, 2, pp. 1-30, (2018); Kopiez R., Lee J.I., Towards a dynamic model of skills involved in sight reading music, Music Education Research, 8, 1, pp. 97-120, (2006); Kostka M.J., Effects of self-assessment and successive approximations on “knowing” and “valuing” selected keyboard skills, Journal of Research in Music Education, 45, pp. 273-281, (1997); Kuusela H., Paul P., A comparison of concurrent and retrospective verbal protocol analysis, The American Journal of Psychology, 113, pp. 387-404, (2000); Lehmann A.C., Ericsson K.A., Sight-reading ability of expert pianists in the context of piano accompanying, Psychomusicology, 12, pp. 182-195, (1993); Lehmann A.C., Ericsson K.A., Performance without preparation: Structure and acquisition of expert sight-reading and accompanying performance, Psychomusicology, 15, pp. 1-29, (1996); Lewandowska O.P., Schmuckler M.A., Tonal and textural influences on musical sight-reading, Psychological Research, (2019); Lim Y., Park J.M., Rhyu S.-, Chung C.K., Kim Y., Yi S.W., Eye-hand span is not an indicator of but a strategy for proficient sight-reading in piano performance, Scientific Reports, 9, (2019); McPherson G.E., Factors and abilities influencing sightreading skill in music, Journal of Research in Music Education, 42, pp. 217-231, (1994); Miklaszewski K., A case study of a pianist preparing a musical performance, Psychology of Music, 17, pp. 95-109, (1989); Mishra J., Factors related to sight-reading accuracy a meta-analysis, Journal of Research in Music Education, 61, pp. 452-465, (2014); Mishra J., Improving sightreading accuracy: A meta-analysis, Psychology of Music, 42, pp. 131-156, (2014); Morin A., Toward a glossary of self-related terms, Frontiers in Psychology, 8, (2017); Penttinen M., Huovinen E., Ylitalo A.-K., Reading ahead: Adult music students’ eye movements in temporally controlled performances of a children’s song, International Journal of Music Education, 33, pp. 36-50, (2015); Puurtinen M., Eye on music reading: A methodological review of studies from 1994 to 2017, Journal of Eye Movement Research, 11, 2, pp. 1-16, (2018); Rink J., Review of musical structure and performance by Wallace Berry, Music Analysis, 9, pp. 319-339, (1990); Rink J., Analysis and (or?) performance, Musical performance: A guide to understanding, pp. 35-58, (2002); Ronkainen S., Kuusi T., The keyboard as a part of visual, auditory, and kinesthetic processing in sight-reading at the piano, Proceedings of the 7th Triennial Conference of European Society for the Cognitive Sciences of Music, pp. 453-458, (2009); Rosemann S., Altenmuller E., Fahle M., The art of sight-reading: Influence of practice, playing tempo, complexity and cognitive skills on the eye–hand span in pianists, Psychology of Music, 44, pp. 658-673, (2016); Sloboda J.A., The eye-hand span-an approach to the study of sight reading, Psychology of Music, 2, pp. 4-10, (1974); Sloboda J.A., The effect of item position on the likelihood of identification by inference in prose reading and music reading, Canadian Journal of Psychology/Revue Canadienne de Psychologie, 30, pp. 228-237, (1976); Sloboda J.A., Experimental studies of music reading: A review, Music Perception, 2, pp. 222-236, (1984); Sloboda J.A., The musical mind: The cognitive psychology of music, (1985); Waters A.J., Underwood G., Eye movements in a simple music reading task: A study of expert and novice musicians, Psychology of Music, 26, pp. 46-60, (1998); Zhukov K., Exploring advanced piano students’ approaches to sight-reading, International Journal of Music Education, 32, pp. 487-498, (2014)","M.K. Song; Yonsei University, Seoul, South Korea; email: msong999@yonsei.ac.kr","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-85089856156"
"Vidulin S.; Kazić S.","Vidulin, Sabina (56047692400); Kazić, Senad (57224452904)","56047692400; 57224452904","Cognitive-emotional music listening paradigm in professional music education","2021","International Journal of Cognitive Research in Science, Engineering and Education","9","1","","135","145","10","4","10.23947/2334-8496-2021-9-1-135-145","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85107579614&doi=10.23947%2f2334-8496-2021-9-1-135-145&partnerID=40&md5=7673009a64232a6630ec39cf4e8962b9","University of Juraj Dobrila in Pula, Academy of Music, Pula, Croatia; University of Sarajevo, Academy of Music in Sarajevo, Bosnia and Herzegovina","Vidulin S., University of Juraj Dobrila in Pula, Academy of Music, Pula, Croatia; Kazić S., University of Sarajevo, Academy of Music in Sarajevo, Bosnia and Herzegovina","Music education is an important factor of students± development. The positive effect of music training is evident in all areas, from the intellectual, psychomotor to social and emotional ones, and therefore music classes in the music school should focus both on music making and on experience, understanding and evaluating music, as well as on expressing one±s own ideas, feelings and thoughts. In ear training classes it can be achieved through the area of music listening. Didactical initiatives of the 19th and 20th century contributed to the recognition of the advantages of the auditory approach, while technological innovations allowed the practical application of music listening. Although there are examples that point to fostering the emotional experience in music classes, music listening is still focused on giving assignments of cognitive type and learning about music components. Some exceptions pertain to the application of multimodality in music teaching using both musical and extra-musical areas. The paper is aimed at pointing to the value of the cognitive-emotional music listening and to the possibilities it opens in ear training classes. The cognitive-emotional music listening focuses on experiencing, understanding and appreciation of classical music aimed at shaping students± worldview and improving their music competences. It can be achieved by the multimodal and interdisciplinary approach to a musical piece. Students learn about the musical-historical context of the emergence of a piece in a given time and circumstances, about the composing approach and the theoretical and harmony features of the work, they develop their musical and critical thinking, make music, and evaluate both music and their own achievements. Repeated listening to a musical piece or excerpts from it, observing and familiarizing with the piece from different perspectives and discussion about the piece and experience after listening make it possible to better understand the piece and its specifics, as well as to discover and improve one±s own self and accept others and the different. © 2021 by the authors.","Art education; Cognitive-emotional music listening; Ear training; Music school","","","","","","","","Alt M., Didaktik der Musik: Orientierung am Kunstwerk [Didactics of Music: Orientation towards the artwork], (1968); Armstrong Th, Višestruke inteligencije u razredu [Multiple intelligences in the classroom], (2006); Bilhartz T. D., Bruhn R. A., Olson J. E., The effect of early music training on child cognitive development, Journal of Applied Developmental Psychology, 20, 4, pp. 615-636, (1999); Bresgen C., Die Improvisation [Improvisation], (1960); Chan A. S., Ho Y. C., Cheung M. C., Music training improves verbal memory, Nature, 396, 6707, pp. 128-128, (1998); Dunn R. E., The effect of auditory, visual, or kinesthetic perceptual strengths on music listening, Contributions to Music Education, 35, pp. 47-78, (2008); Dunn R. E., Life music as a beginning point: Connecting with the intuitive listener, (2014); Fung C. V., Gromko J. E., Effects of active versus passive listening on the quality of children’s invented notations and preferences for two pieces from an unfamiliar culture, Psychology of Music, 29, 2, pp. 128-138, (2001); Gardner H., Kornhaber M. L., Wake W. K., Inteligencija: različita gledišta [Intelligence: different points of view], (1999); Gibson C., Folley B. S., Park S., Enhanced divergent thinking and creativity in musicians: A behavioral and near-infrared spectroscopy study, Brain and Cognition, 69, 1, pp. 162-169, (2009); Gruhn W., Phases and stages in early music learning. A longitudinal study on the development of young children’s musical potential, Music Education Research, 4, 1, pp. 51-71, (2002); Hallam S., The power of music: Its impact on the intellectual, social and personal development of children and young people, International Journal of Music Education, 28, 3, pp. 269-289, (2010); Hetland L., Learning to make music enhances spatial reasoning, Journal of Aesthetic Education, 34, 3, pp. 179-238, (2000); Hille K., Gust L., Bitz U., Kammer T., Associations between music education, intelligence, and spelling ability in elementary school, Advances in Cognitive Psychology, 7, pp. 1-6, (2011); Ho Y-C, Cheung M-C., Chan A. S., Music training improves verbal but not visual memory: Cross-sectional and longitudinal explorations in children, Neuropsychology, 17, 3, pp. 439-450, (2003); Jacques-Dalcroze E., Rhythm, music and education, (1921); Johnson D., Creating meaningful music listening experiences with active music making, Musicworks: Journal of the Australian Council of Orff Schulwerk, 18, pp. 49-56, (2013); Kazic S., Solfeggio: historija i praksa [Ear training: History and practice], (2013); Kazic S., Muzička improvizacija u edukaciji: historija i praksa [Musical improvisation in education: History and practice], (2019); Kirschner S., Tomasello M., Joint music making promotes prosocial behavior in 4-year-old children, Evolution and Human Behavior, 31, 5, pp. 354-364, (2010); Letica M., Vjerujem svakom djetetu - tekstovi iz ostavštine Elly Bašić [I trust every child - texts from the legacy of Elly Bašić], (2014); Mayer R. E., Multimedia learning, (2001); Nacionalni kurikulum za umjetničko obrazovanje [National Curriculum for Art Education], (2017); Rabinowitch T-C., Cross I., Burnard P., Long-term musical group interaction has a positive influence on empathy in children, Psychology of Music, 41, 4, pp. 484-498, (2013); Rauscher F. H., Mozart and the mind: Factual and fictional effects of musical enrichment, Improving academic achievement: Impact of psychological factors on education, pp. 269-278, (2002); Rickard N. S., Appelman P., James R., Murphy F., Gill A., Bambrick C., Orchestrating life skills: The effect of increased school-based music classes on children’s social competence and self-esteem, International Journal of Music Education, 31, 3, pp. 292-309, (2013); Rojko P., Psihološke osnove intonacije i ritma. [Psychological bases of intonation and rhythm], (1982); Schellenberg E. G., Music and cognitive abilities, Current Directions in Psychological Science, 14, 6, pp. 317-320, (2005); Schellenberg E. G., Examining the association between music lessons and intelligence, British Journal of Psychology, 102, 3, pp. 283-302, (2011); Schellenberg E. G., Music training and nonmusical abilities, Oxford library of psychology. The Oxford handbook of music psychology, pp. 415-429, (2016); Schellenberg E. G., Mankarious M., Music training and emotion comprehension in childhood, Emotion, 12, 5, pp. 887-891, (2012); Schumann R., Album für die Jugend [Album for young people], (1849); Schwarzer R., Lippke S., Luszczynska A., Mechanisms of health behaviour change in persons with chronic illness or disability: The Health Action Process Approach (HAPA), Rehabilitation Psychology, 56, 3, pp. 161-170, (2011); Stefanija L., Metode analize glazbe - Povijesno-teorijski ocrt [Methods of music analysis - Historical-theoretical outline], (2008); Vidulin S., Correlation of art and language for the purpose of developing students’ knowledge and skills, Sociološki aspekt pedagogije i izvođaštva u scenskim umetnostima, pp. 189-200, (2015); Vidulin S., The “Listening to and Making Music” approach in the function of improving musical understanding, Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani/The Journal of Music Education of the Academy of Music in Ljubljana, pp. 145-162, (2017); Vidulin S., Music teaching in regular class and extracurricular music activities in Croatia: State and perspectives, Hungarian Educational Research Journal, 10, 2, pp. 143-154, (2020); Vidulin-Orbanic S., Glazbeno stvaralaštvo: teorijski i praktični prinos izvannastavnim glazbenim aktivnostima [Musical creativity: theoretical and practical contribution to extracurricular musical activities], (2013); Vidulin S., Plavsic M., Contribution of cognitive-emotional approach to music listening on students’ cognitive and emotional experience, Musicological Annual, 56, 1, pp. 225-241, (2020); Vidulin S., Plavsic M., Zauhar V., Usporedba spoznajnog i emocionalnog aspekta slušanja glazbe u glazbeno-pedagoškom kontekstu osnovne škole [A comparison between the cognitive and emotional aspects of music listening in the context of primary school music teaching, Metodički ogledi: časopis za filozofiju odgoja, 26, 2, pp. 9-32, (2019); Vidulin S., Plavsic M., Zauhar V., Spoznajno-emocionalno slušanje glazbe u školi [Cognitive-emotional listening to music in school], (2020); Zachopoulou E., Tsapakidou A., Derri V., The effects of a developmentally appropriate music and movement program on motor performance, Early Childhood Research Quarterly, 19, 4, pp. 631-642, (2004); Zafranas N., Piano keyboard training and the spatial-temporal development of young children attending kindergarten classes in Greece, Early Child Development and Care, 174, 2, pp. 199-211, (2007); Yu P. T., Lai Y. S., Tsai H. H., Chang Y. H., Using a multimodal learning system to support music instruction, Journal of Educational Technology & Society, 13, 3, pp. 151-162, (2010)","S. Vidulin; University of Juraj Dobrila in Pula, Academy of Music, Pula, Croatia; email: sabina.vidulin@unipu.hr","","Association for the Development of Science, Engineering and Education","","","","","","2334847X","","","","English","Int. J. Cogn. Res. Sci. Eng. Educ.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85107579614"
"Thomas M.A.; Norgaard M.; Stambaugh L.A.; Atkins R.L.; Kumar A.B.; Farley A.L.P.","Thomas, Michelle A. (57224731818); Norgaard, Martin (57202637164); Stambaugh, Laura A. (36847024200); Atkins, Rebecca L. (56878419900); Kumar, Anita B. (57190683525); Farley, Alison L. P. (57224725406)","57224731818; 57202637164; 36847024200; 56878419900; 57190683525; 57224725406","Online Involvement for Georgia Student Teachers During Covid-19","2021","Frontiers in Psychology","12","","648028","","","","6","10.3389/fpsyg.2021.648028","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85108181916&doi=10.3389%2ffpsyg.2021.648028&partnerID=40&md5=4f7f162a2213b713f9591a0ed92260c8","School of Music, Georgia State University, Atlanta, GA, United States; Department of Music, Georgia Southern University, Statesboro, GA, United States; Hugh Hodgson School of Music, University of Georgia, Athens, GA, United States","Thomas M.A., School of Music, Georgia State University, Atlanta, GA, United States; Norgaard M., School of Music, Georgia State University, Atlanta, GA, United States; Stambaugh L.A., Department of Music, Georgia Southern University, Statesboro, GA, United States; Atkins R.L., Hugh Hodgson School of Music, University of Georgia, Athens, GA, United States; Kumar A.B., School of Music, Georgia State University, Atlanta, GA, United States; Farley A.L.P., Hugh Hodgson School of Music, University of Georgia, Athens, GA, United States","As concerns about Covid-19 rapidly escalated in March 2020 in the United States, all levels of education were impacted. A unique population (student teachers) faced challenges from two perspectives: as students and as teachers forced to teach and learn from a distance. Student Teachers, or preservice teachers (PST), are university students finishing a degree and/or teacher certification program by serving as an intern in a school setting. As schools were closed, these PSTs may not have been given access to the online learning platforms of their cooperating teachers (CT) and were no longer included in classroom instruction. The purpose of this study was to examine how the sudden shift away from traditional face-to-face instruction, co-teaching, and mentorship affected the involvement of music PSTs and their CT mentors in one region of the United States. Specifically, the research questions were: (1) How and in what ways were PSTs involved in planning, instruction, and/or assessment synchronously and asynchronously after school closures? (2) In what subdomains (performance, music theory/ear-training, etc.) were PSTs engaged in instruction and learning activities? (3) What challenges and solutions did PSTs report related to Covid-19 closures? A survey was sent, via email, to PSTs attending teacher preparation programs at universities in the state of Georgia at the end of the spring semester. Thirty-seven participants responded to the survey questions representing about 32% of all PSTs in Georgia in Spring 2020. Twenty-one were not given access to the online teaching platform of their placement school. A thematic analysis of the open-ended questions identified common themes including whether experiences were perceived as negative or positive. Of the PSTs given access, the majority of their responsibilities and experiences were creating assignments, additional help videos, participating in Zoom meetings, and assessing student assignment submissions. Of these experiences, interestingly, most were classified as positive by the PSTs. However, the importance of face-to-face interactions for both PST and the P-12 students was mentioned throughout survey responses. Approximately 10 PSTs mentioned their CT relationship/interaction and four of the respondents noted that their CT never reached out for help; however, six noted collaborative meetings or teaching with their CT. Importantly, some PSTs reported a lack of knowledge related to the planning and implementation of music instruction in the online modality. Therefore, teacher preparation programs should consider incorporating technology including online solutions into the music curriculum so that future music educators may more flexibly incorporate both in-person and distance learning. © Copyright © 2021 Thomas, Norgaard, Stambaugh, Atkins, Kumar and Farley.","Covid-19; digital learning; distance learning; music education; preservice teacher; student teachers; teacher education","","","","","","","","Abrahams F., Nurturing preservice music teacher dispositions: collaborating to connect practice, theory, and policy, Arts Educ. Policy Rev, 112, pp. 108-114, (2011); Arndt D.K., Liles J., Preservice teachers’ perceptions of coteaching: a qualitative study, Action Teach. Educ, 32, pp. 15-25, (2010); Baeten M., Simons M., Schelfhout W., Pinxten R., Team teaching during field experiences in teacher education: exploring the assistant teaching model, Eur. J. Teach. Educ, 41, pp. 377-397, (2018); Barry N.H., Caravan L.R., Preservice music teachers’ reactions to K-12 field experiences: a qualitative analysis of discussion board posts, Contrib. Music. Educ, 45, pp. 81-103, (2020); Bartolome S.J., Comparing field-teaching experiences: a longitudinal examination of preservice and first-year teacher perspectives, J. Res. Music. Educ, 65, pp. 264-286, (2017); Battersby S.L., Reimagining music teacher collaboration: the culture of professional communities as professional development within schools and districts, Gen. Music Today, 33, pp. 15-23, (2019); Baumgartner C.M., Councill K.H., Music student teachers’ perceptions of their seminar experience: an exploratory study, J. Music. Teach. Educ, 29, pp. 11-25, (2019); Bautista A., Tan C., Wong J., Conway C., The role of classroom video in music teacher research: a review of the literature, Music. Educ. 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Music Educ, 37, pp. 107-114, (2020); Denis J.M., Key aspects of student teaching: a triumvirate approach, Update Appl. Res. Music Educ, 35, pp. 54-61, (2017); Dye K., Student and instructor behaviors in online music lessons: an exploratory study, Int. J. Music. Educ, 34, pp. 161-170, (2016); (2020); Gorgoretti B., The use of technology in music education in North Cyprus according to student music teachers, S. Afr. J. Educ, 39, pp. 1-10, (2019); Gurley R., (2012); Hash P.M., Remote learning in school bands during the covid-19 shutdown, J. Res. Music. Educ, 68, pp. 381-397, (2021); Hodges C., Moore S., Lockee B., Trust T., Bond A., The difference between emergency remote teaching and online learning, Educ. Rev, pp. 1-15, (2020); Johnson C., Teaching music online: changing pedagogical approach when moving to the online environment, Lond. Rev. Educ, 15, pp. 439-456, (2017); Joseph N., (2020); Kelly S.N., The influence of student teaching experiences on preservice music teachers’ commitments to teaching, J. Music. Teach. Educ, 24, pp. 10-22, (2015); Kim J., Implementing a co-teaching model in music student teaching: a literature review, Update Appl. Res. Music Educ, 38, pp. 18-24, (2019); Kim J., Learning and teaching online during Covid-19: experiences of student teachers in an early childhood education practicum, Int. J. Early Child, 52, pp. 145-158, (2020); King A., Prior H., Waddington-Jones C., Connect resound: using online technology to deliver music education to remote communities, J. Music Technol. Educ, 12, pp. 201-217, (2019); Lehimler E., The evaluation of music teacher candidates’ awareness of music applications and software, their frequency of use, and purpose of use, J. Educ. Train. Stud, 7, pp. 99-107, (2019); Lejonberg E., Elstad E., Sandvik L.V., Solhaug T., Christophersen K.A., Developmental relationships in schools: pre-service teachers’ perceptions of mentors’ effort, self-development orientation, and use of theory, Mentor. Tutoring, 26, pp. 524-541, (2018); Mantie R., Thinking about music and technology, The Oxford Handbook of Technology and Music Education, pp. 48-65, (2020); Mishra P., Koehler M.J., Technological pedagogical content knowledge: a framework for teacher knowledge, Teach. Coll. Rec, 108, pp. 1017-1054, (2006); Montgomery M.S., Akerson A., Facilitating collaboration through a co-teaching field experience, Networks Online J. Teach. Res, 21, pp. 1-21, (2019); Montgomery A.P., Mousavi A., Carbonaro M., Hayward D., Dunn W., Using learning analytics to explore self-regulated learning in flipped blended learning music teacher education, Br. J. Educ. Technol, 50, pp. 114-127, (2019); Nishinosono H., A smooth road from conventional teaching to distance learning in teacher education, Educ. Perspect, 35, pp. 37-44, (2002); Perry P.J., (2014); Powell B., The integration of music technology into popular music ensembles: perspectives of modern band teachers, J. Music Technol. Educ, 12, pp. 297-310, (2019); Saldana J., The Coding Manual for Qualitative Researchers, (2021); Schildkamp K., Wopereis I., Kat-de Jong M., Peet A., Hoetjes I., Building blocks of instructor professional development for innovative ICT use during a pandemic, J. Prof. Cap. Community, 5, pp. 281-293, (2020); Shearer L., (2020); Stegman S.F., An exploration of reflective dialogue between student teachers in music and their cooperating teachers, J. Res. Music. Educ, 55, pp. 65-82, (2007); (2020); (2019); Williams D.A., Another perspective: the iPad is a real musical instrument, Music. Educ. J, 101, pp. 93-98, (2014); Zach S., Co-teaching – an approach for enhancing teaching-learning collaboration in physical education teacher education (Pete), J. Phys. Educ. Sport, 20, pp. 1402-1407, (2020)","M.A. Thomas; School of Music, Georgia State University, Atlanta, United States; email: michelleamosu88@gmail.com","","Frontiers Media S.A.","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85108181916"
"Lv H.Z.; Luo J.","Lv, Hua Zhen (57223437868); Luo, Junyi (57223440040)","57223437868; 57223440040","Creative approaches in music teaching: Possibilities of Web 2.0 technologies","2021","Thinking Skills and Creativity","40","","100840","","","","20","10.1016/j.tsc.2021.100840","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85105851355&doi=10.1016%2fj.tsc.2021.100840&partnerID=40&md5=be390d6094b001d67fc0a95436c26034","Music Department, Lishui University, Lishui, China","Lv H.Z., Music Department, Lishui University, Lishui, China; Luo J., Music Department, Lishui University, Lishui, China","The study aims to experimentally reveal the potential of the use of online learning resources, namely SmartMusic, eMusicTheory, and Dolmetsch Music Theory, to improve qualitative music learning indicators in such skills as sight-singing, ear training, rhythmic reading, musical notation and performing skills. Much of the research is based on the direct experimental research in the music classroom. Google Forms were used to create an online questionnaire containing questions to be rated based on the Likert scale. The evaluators were music teachers from Lishui University (China). The research sample involves a group of students enrolled in the 2018/2019 and 2019/2020 choir singing classes. The sample consists of 56 students (64 % men and 36 % women). The participants were randomly divided into experimental and control groups. A survey of students suggests that the use of SmartMusic, eMusicTheory, and Dolmetsch Music Theory is perceived positively. Pre- and post-assessments showed that when using SmartMusic to train sight-singing, the gap between the mean improvement score of the experimental and control groups was 14 points. The use of eMusicTheory and Dolmetsch Music Theory for ear training led to the gap of 6.7 points, and the use of SmartMusic, eMusicTheory, and Dolmetsch Music Theory to train rhythmic reading, performance and musical notation skills resulted in the gap of 6.2 points, 3.3 points, and 2.4 points, respectively. The study can be of interest to music educators, education administrators, and researchers who are seeking to improve the quality of music teaching and learning by leveraging the power of Internet platforms. © 2021 Elsevier Ltd","Dolmetsch Music Theory; eMusicTheory; Online learning platforms; Online technologies in music education; SmartMusic; Web 2.0 in teaching music skills","","","","","","","","Acar S., Neumayer M., Burnett C., Social media use and creativity: Exploring the influences on ideational behavior and creative activity, The Journal of Creative Behavior, 55, 1, pp. 39-52, (2019); Adelsberger H.H., Collis B., Pawlowski J.M., Handbook on information technologies for education and training, (2013); Al-Qerem A., Alauthman M., Almomani A., Gupta B.B., IoT transaction processing through cooperative concurrency control on fog–cloud computing environment, Soft Computing, 24, 8, pp. 5695-5711, (2020); Alsmirat M.A., Al-Alem F., Al-Ayyoub M., Jararweh Y., Gupta B., Impact of digital fingerprint image quality on the fingerprint recognition accuracy, Multimedia Tools and Applications, 78, 3, pp. 3649-3688, (2019); Bassani P.B.S., Barbosa D.N.F., Experiences with web 2.0 in school settings: A framework to foster educational practices based on a personal learning environment perspective, Educação em Revista, 34, (2018); Biasutti M., Assessing a collaborative online environment for music composition, Journal of Educational Technology and Society, 18, 3, pp. 49-63, (2015); Biasutti M., Creativity in virtual spaces: Communication modes employed during collaborative online music composition, Thinking Skills and Creativity, 17, pp. 117-129, (2015); Brandstrom S., Wiklund C., Lundstrom E., Developing distance music education in Arctic Scandinavia: Electric guitar teaching and master classes, Music Education Research, 14, 4, pp. 448-456, (2012); Brophy T.S., The Oxford handbook of assessment policy and practice in music education, 1, (2019); Burland K., Music for all: Identifying, challenging and overcoming barriers, Music & Science, 3, (2020); Cayari C., Connecting music education and virtual performance practices from YouTube, Music Education Research, 20, 3, pp. 360-376, (2018); Cayari C., Popular practices for online musicking and performance: Developing creative dispositions for music education and the Internet, Journal of Popular Music Education, pp. 1-18, (2020); Cherkasov A., Bratanovskii S.N., Koroleva L.A., Zimovets L.G., Development of the school education system in the province of Vologda (1725-1917). 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Paper 2698, (2017); Ruokonen I., Ruismaki H., E-learning in music: A case study of learning group composing in a blended learning environment, Procedia-Social and Behavioral Sciences, 217, pp. 109-115, (2016); Saenko N., Voronkova O., Zatsarinnaya E., Mikhailova M., Philosophical and cultural foundations of the concept of “A, Journal of Social Studies Education Research, 11, 1, pp. 88-103, (2020); Sastre J., Cerda J., Garcia W., Hernandez C.A., Lloret N., Murillo A., Dannenberg R.B., New technologies for music education, 2013 Second international conference on E-learning and E-technologies in education (ICEEE), pp. 149-154, (2013); Shestak V., Gura D., Khudyakova N., Shaikh Z.A., Bokov Y., Chatbot design issues: Building intelligence with the Cartesian paradigm, Evolutionary Intelligence, pp. 1-9, (2020); (2021); Stefanic N.M., Creativity-based music learning: Modeling the process and learning outcomes in a massive open online course. Graduate theses and dissertations, (2014); (2021); Tsvetkova M., The shadows of reading: Reasons for the bad results of Bulgarians in PISA studies, European Journal of Contemporary Education, 17, pp. 368-377, (2016); Waddell G., Williamon A., Technology use and attitudes in music learning, Frontiers in ICT, 6, (2019); Waldron J., An alternative model of music learning and ‘Last Night's Fun’: Participatory music making in/as participatory culture in Irish traditional music, Action, Criticism, and Theory for Music Education, 15, 3, pp. 86-112, (2016); Waldron J.L., Horsley S., Veblen K.K., The Oxford handbook of social media and music learning, (2020); Webster P.R., Key research in music technology and music teaching and learning, Journal of Music, Technology & Education, 4, 2-3, pp. 115-130, (2012); Wei C.T., Young S.S., Investigating the role and potentials of using Web2. 0 in Music Education from student perspective, 2011 IEEE 11th international conference on advanced learning technologies, pp. 344-346, (2011); Wendell K., Pre-service teachers’ engineering design practices in an integrated engineering and literacy experience, Conference proceedings, collection: Proceedings from the American society of engineering education annual conference, (2013); Wolf T., A cognitive model of musical sight-reading, Journal of Psycholinguistic Research, 5, pp. 143-172, (1976); Young S.Y., Musicality means…Sight reading, (2018)","J. Luo; Music Department, Lishui University, Lishui, China; email: luojunyi93508@163.com","","Elsevier Ltd","","","","","","18711871","","","","English","Think. Skills Creat.","Article","Final","","Scopus","2-s2.0-85105851355"
"Katušić A.; Burić K.","Katušić, Ana (57217039876); Burić, Ksenija (55778186500)","57217039876; 55778186500","Music therapy in educating children with developmental disabilities; [Muzikoterapija u procesu obrazovanja djece s teškoćama u razvoju]","2021","Croatian Journal of Education","23","1","","63","79","16","3","10.15516/CJE.V23I1.3915","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85106930234&doi=10.15516%2fCJE.V23I1.3915&partnerID=40&md5=18506db774fc0a51baeb0b152bc862c0","Croatian Institute for Brain Research, School of Medicine, University of Zagreb, Šalata 12, Zagreb, 10 000, Croatia; Croatian Music Therapists Association, Srebrnjak 66, Zagreb, 10 000, Croatia","Katušić A., Croatian Institute for Brain Research, School of Medicine, University of Zagreb, Šalata 12, Zagreb, 10 000, Croatia, Croatian Music Therapists Association, Srebrnjak 66, Zagreb, 10 000, Croatia; Burić K., Croatian Music Therapists Association, Srebrnjak 66, Zagreb, 10 000, Croatia","Music therapy acts as a separate discipline in the interdisciplinary field of science and art. Unlike music education, music therapy is aimed at developing and enhancing non-musical skills by using music as a symbol of emotional and personal growth. The purpose of this paper is to present an overview of the theoretical foundations of music therapy in the field of human psychology and music pedagogy, as well as the development of music therapy models that have arisen from these theoretical approaches. The most commonly used music therapy models in special education are based on improvisational music therapy techniques, which include free improvisation therapy, creative music therapy known as the Nordoff-Robbins model, and Orff music therapy. Improvisation in these models plays a key role during the acquisition and promotion of skills. Using sounds, playing instruments, making music here and now, allows for expression and exploration, and enables children to acquire skills in different developmental domains. Finally, the paper offers an overview of the use of music therapy in education of children with developmental disabilities, its unique features and connections with the education through music approach, in accordance with the set-up goals of the Individual Education Plan. © 2021, FACTEACHEREDUCATION. All rights reserved.","Children with developmental disabilities; Education; Improvisational models; Individual Education Plan; Music therapy","","","","","","","","Band J. P., Using music and imagery to explore bullying behavior in elementary school children, Journal of the Association for Music & Imagery, 15, pp. 1-18, (2015); Boxill E. H., Music therapy for the developmentally disabled, (1985); Brunk B. K., Coleman K. A., Development of a special education music therapy assessment process, Music Therapy Perspectives, 18, 1, pp. 59-68, (2000); Bruscia K., Improvisational Models of Music Therapy, (1987); Bruscia K., Defining music therapy, (1989); Bunt L., Music Therapy: An art beyond words, (1994); Bunt L., Music Therapy: An art beyond words, (2005); Bunt L., Music therapy with children: A complementary service to music education?, British Journal of Music Education, 20, 2, pp. 179-195, (2003); Bunt L., Hoskyns S., The handbook of music therapy, (2002); Chester K. K., Holmberg T. K., Lawrence M. P., Thurmond L. L., A program-based consultative music therapy model for public schools, Music Therapy Perspectives, 17, 2, pp. 82-91, (1999); Daveson B., Edwards J., A role for music therapy in special education, International Journal of Disability, Development and Education, 45, 4, pp. 449-455, (1998); Davis W. B., Gfeller K., Thaut M. H., An introduction to music therapy: Theory and practice, (1999); Eagle C., Music psychology index, (1978); Gantt L., Assessments in the creative arts therapies: Learning from each other, Music Therapy Perspectives, 18, 1, pp. 41-46, (2000); Gfeller K.E., Music: A human phenomenon and therapeutic tools, An Introduction to Music Therapy Theory and Practice, pp. 35-39, (1999); Gfeller K.E., Thaut M.H., Music therapy in the treatment of mental disorders, An Introduction to Music Therapy Theory and Practice, (1999); Jellison J. A., A content analysis of music research with disabled children and youth (1975-1999): Applications in special education, Effectiveness of Music Therapy Procedures. Documentation of Research and Clinical Practice, pp. 199-264, (2000); Joseph R., Neuropsychology, neuropsychiatry, and behavioral neurology, (1990); Loewy J., Music psychotherapy assessment, Music Therapy Perspectives, 18, 1, pp. 47-58, (2000); Nordoff P., Robbins C., Music therapy in special education, (1983); Nordoff P., Robbins C., Creative music therapy, (2007); Ockelford A., Welch G., Zimmermann S., Music education for pupils with severe or profound and multiple difficulties-current provision and future need, British Journal of Special Education, 29, 4, pp. 178-192, (2002); Orff G., The Orff Music Therapy, (1980); Orff G., Key concepts in the Orff Music Therapy, (1989); Pellitteri J., Music therapy in the special education setting, Journal of Educational and Psychological Consultation, 11, 3&4, pp. 379-391, (2000); Rogers C., On becoming a person, (1961); Sacks O., An anthropologist on Mars: Seven paradoxical tales, (1995); Snow S., D'Amico M., The drum circle project: A qualitative study with at-risk youth in a school setting, Canadian Journal of Music Therapy, 16, 1, pp. 12-39, (2010); Swanson A.L., Music therapy in schools: Stimulating the mind and body to create positive change, Applying psychology in the schools. Promoting mind–body health in schools: Interventions for mental health professionals, pp. 233-244, (2020); Voigt M., Orff Music Therapy with multi-handicapped children, Clinical Applications of Music Therapy: Developmental Disability, Pediatrics and Neurology, (1999); Voigt M., Promoting parent-child interaction through Orff Music Therapy, Conference – Music Therapy in Europe, pp. 1012-1029, (2002); Voigt M., Orff Music Therapy: History, principles and further development, Approaches: Music Therapy & Special Music Education, Special Issue, 5, 2, pp. 97-105, (2013); Wigram T., A method of music therapy assessment for the diagnosis of autism and communication disorders in children, Music Therapy Perspectives, 18, 1, pp. 13-21, (2000); Wigram T., Pedersen I.N., Bonde L.O., A comprehensive guide to music therapy, (2002); Wigram T., Improvisation methods and techniques for music therapy clinicians, educators and students, (2004); Wilson S., Music therapy in education, British Journal of Music Therapy, 5, 2, pp. 14-17, (1991)","","","FACTEACHEREDUCATION","","","","","","18485189","","","","English","Croat. J. Educ.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-85106930234"
"O’Handley R.D.; Dufrene B.A.; Wimberly J.","O’Handley, Roderick D. (56117896500); Dufrene, Brad A. (12766727100); Wimberly, Joy (57190064092)","56117896500; 12766727100; 57190064092","Bug-in-the-Ear Training Increases Teachers’ Effective Instruction Delivery and Student Compliance","2022","Journal of Behavioral Education","31","4","","771","795","24","10","10.1007/s10864-020-09429-8","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85100446832&doi=10.1007%2fs10864-020-09429-8&partnerID=40&md5=36971a7c99db6917b39b16a3a06a5ca1","Department of Special Education, Rehabilitation, and Counseling, California State University, San Bernardino, 5500 University Parkway, San Bernardino, 92407, CA, United States; Department of Psychology, University of Southern Mississippi, Hattiesburg, MS, United States","O’Handley R.D., Department of Special Education, Rehabilitation, and Counseling, California State University, San Bernardino, 5500 University Parkway, San Bernardino, 92407, CA, United States; Dufrene B.A., Department of Psychology, University of Southern Mississippi, Hattiesburg, MS, United States; Wimberly J., Department of Psychology, University of Southern Mississippi, Hattiesburg, MS, United States","Many teachers struggle to implement behavioral interventions in the classroom with sufficient treatment integrity. One way to support teachers’ intervention implementation is through bug-in-the-ear (BITE) training, a training format in which a school-based consultant provides teachers real-time prompts and immediate performance feedback as teachers interact with students. In the current study, a multiple baseline design across three teachers was used to test the independent effects of BITE training on teachers’ initial and maintained use of effective instruction delivery (EID), an intervention for increasing student compliance with teacher instructions. Student compliance in response to EID was also measured. Results indicated immediate and large increases in EID and student compliance, with both outcomes maintained at high levels post-BITE training. Teachers also rated BITE training positively on a social validity measure. Limitations, directions for future research, and implications for applied practice are discussed. © 2021, The Author(s), under exclusive licence to Springer Science+Business Media, LLC part of Springer Nature.","Bug-in-the-ear; Compliance; Consultation; Effective instruction delivery; Treatment integrity","article; consultation; ear; human; social validity; teacher","","","","","","","Alter P., Walker J.N., Landers E., Teachers' perceptions of students' challenging behavior and the impact of teacher demographics, Education and Treatment of Children, 36, 4, pp. 51-69, (2013); Bellipanni K.D., Tingstrom D.H., Olmi D.J., Roberts D.S., The sequential introduction of positive antecedent and consequent components in a compliance training package with elementary students, Behavior Modification, 37, 6, pp. 768-789, (2013); Brand D., Henley A.J., Reed F.D.D., Gray E., Crabbs B., A review of published studies involving parametric manipulations of treatment integrity, Journal of Behavioral Education, 28, 1, pp. 1-26, (2019); Chesley G.M., Jordan J., What’s missing from teacher prep, Educational Leadership, 69, 8, pp. 41-45, (2012); Coogle C.G., Rahn N.L., Ottley J.R., Storie S., Ecoaching across routines to enhance teachers’ use of modeling, Teacher Education and Special Education, 39, 4, pp. 227-245, (2016); Cook B.G., Odom S.L., Evidence-based practices and implementation science in special education, Exceptional Children, 79, 2, pp. 135-144, (2013); Cooper J.O., Heron T.E., Heward W.L., Applied behavior analysis, (2020); Dufrene B.A., Parker K.M., Menousek K., Zhou Q., Lestremau Harpole L., Olmi D.J., Direct behavioral consultation in head start to improve teacher use of praise and effective instruction delivery, Journal of Educational and Psychological Consultation, 22, 3, pp. 159-186, (2012); Dufrene B.A., Ware E., Consultation acceptability and satisfaction scale manual, (2018); Elliott S.N., Von Brock Treuting M., The behavior intervention rating scale: Development and validation of a pretreatment acceptability and effectiveness measure, Journal of School Psychology, 29, 1, pp. 43-51, (1991); Erchul W.P., Martens B.K., School consultation: Conceptual and empirical bases of practice, (2010); Everett G.E., Olmi D.J., Edwards R.P., Tingstrom D.H., The contributions of eye contact and contingent praise to effective instruction delivery in compliance training, Education and Treatment of Children, 28, pp. 48-62, (2005); Fallon L.M., Collier-Meek M.A., Maggin D.M., Sanetti L.M., Johnson A.H., Is performance feedback for educators an evidence-based practice? A systematic review and evaluation based on single-case research, Exceptional Children, 81, 2, pp. 227-246, (2015); Fallon L.M., Kurtz K.D., Mueller M.R., Direct training to improve educators’ treatment integrity: A systematic review of single-case design studies, School Psychology Quarterly, 33, 2, pp. 169-181, (2018); Fixsen D., Naoom S., Blase K., Friedman R., Wallace F., Implementation research: A synthesis of the literature, (2005); Flower A., McKenna J.W., Haring C.D., Behavior and classroom management: Are teacher preparation programs really preparing our teachers?, Preventing School Failure: Alternative Education for Children and Youth, 61, 2, pp. 163-169, (2017); Ford A.D., Olmi D.J., Edwards R.P., Tingstrom D.H., The sequential introduction of compliance training components with elementary-aged children in general education classroom settings, School Psychology Quarterly, 16, 2, pp. 142-157, (2001); Forehand R.L., McMahon R.J., Helping the noncompliant child: A clinician's guide to parent training, (1981); Forman S.G., Shapiro E.S., Codding R.S., Gonzales J.E., Reddy L.A., Rosenfield S.A., Stoiber K.C., Implementation science and school psychology, School Psychology Quarterly, 28, 2, pp. 77-100, (2013); Frank J.L., Kratochwill T.R., School-based problem-solving consultation: Plotting a new course for evidence-based research and practice in consultation, Handbook of research in school consultation, pp. 19-39, (2014); Freeman J., Simonsen B., Briere D.E., MacSuga-Gage A.S., Pre-service teacher training in classroom management: A review of state accreditation policy and teacher preparation programs, Teacher Education and Special Education, 37, 2, pp. 106-120, (2014); Hagermoser Sanetti L.M., Luiselli J.K., Handler M.W., Effects of verbal and graphic performance feedback on behavior support plan implementation in a public elementary school, Behavior Modification, 31, 4, pp. 454-465, (2007); Horner R.H., Carr E.G., Halle J., McGee G., Odom S., Wolery M., The use of single-subject research to identify evidence-based practice in special education, Exceptional Children, 71, 2, pp. 165-179, (2005); Kalb L.M., Loeber R., Child disobedience and noncompliance: A review, Pediatrics, 111, 3, pp. 641-652, (2003); Kratochwill T.R., Hitchcock J.H., Horner R.H., Levin J.R., Odom S.L., Rindskopf D.M., Shadish W.R., Single-case intervention research design standards, Remedial and Special Education, 34, 1, pp. 26-38, (2013); Kratochwill T.R., Levin J.R., Enhancing the scientific credibility of single-case intervention research: Randomization to the rescue, Psychological Methods, 15, 2, pp. 124-144, (2010); LaBrot Z.C., Pasqua J.L., Dufrene B.A., Brewer E.A., Goff B., In situ training for increasing head start after-care teachers’ use of praise, Journal of Behavioral Education, 25, 1, pp. 32-48, (2016); Lane K.L., Pierson M.R., Stang K.K., Carter E.W., Teacher expectations of students’ classroom behavior: Do Expectations vary as a function of school risk?, Remedial and Special Education, 31, 3, pp. 163-174, (2010); Lyon A.R., Gershenson R.A., Farahmand F.K., Thaxter P.J., Behling S., Budd K.S., Effectiveness of teacher-child interaction training (TCIT) in a preschool setting, Behavior modification, 33, 6, pp. 855-884, (2009); Martens B.K., DiGennaro Reed F.D., Magnuson J.D., Behavioral consultation: Contemporary research and emerging challenges, Handbook of research in school consultation, pp. 147-170, (2014); Matheson A.S., Shriver M.D., Training teachers to give effective commands: Effects on student compliance and academic behaviors, School Psychology Review, 34, 2, pp. 202-219, (2005); McMahon R.J., Forehand R.L., Helping the noncompliant child: Family-based treatment for oppositional behavior, (2003); McNeil C.B., Hembree-Kigin T.L., Parent-child interaction therapy, (2010); Mortenson B.P., Witt J.C., The use of weekly performance feedback to increase teacher implementation of a prereferral academic intervention, School Psychology Review, 27, 4, pp. 613-627, (1998); Noell G.H., Gansle K.A., Mevers J.L., Knox R.M., Mintz J.C., Dahir A., Improving treatment plan implementation in schools: A meta-analysis of single subject design studies, Journal of Behavioral Education, 23, 1, pp. 168-191, (2014); Noell G.H., Volz J.R., Henderson M.Y., Williams K.L., Evaluating an integrated support model for increasing treatment plan implementation following consultation in schools, School Psychology Quarterly, 32, 4, pp. 525-538, (2017); 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Roberts D.S., Tingstrom D.H., Olmi D.J., Bellipanni K.D., Positive antecedent and consequent components in child compliance training, Behavior Modification, 32, 1, pp. 21-38, (2008); Sanetti L.M.H., Kratochwill T.R., Toward developing a science of treatment integrity: Introduction to the special series, School Psychology Review, 38, 4, pp. 445-459, (2009); Schaefer J.M., Ottley J.R., Evaluating immediate feedback via bug-in-ear as an evidence-based practice for professional development, Journal of Special Education Technology, 33, 4, pp. 247-258, (2018); Spaulding S.A., Irvin L.K., Horner R.H., May S.L., Emeldi M., Tobin T.J., Sugai G., Schoolwide social-behavioral climate, student problem behavior, and related administrative decisions: Empirical patterns from 1,510 schools nationwide, Journal of Positive Behavior Interventions, 12, 2, pp. 69-85, (2010); Sterling-Turner H.E., Watson T.S., Moore J.W., The effects of direct training and treatment integrity on treatment outcomes in school consultation, School Psychology Quarterly, 17, 1, pp. 47-77, (2002); Sugai G., Horner R.H., A promising approach for expanding and sustaining school-wide positive behavior support, School Psychology Review, 35, 2, pp. 245-259, (2006); Sugai G., Lewis-Palmer T., Todd A., Horner R., School-wide evaluation tool version 21 Eugene OR: Educational and community supports, (2005); Vannest K.J., Ninci J., Evaluating intervention effects in single-case research designs, Journal of Counseling & Development, 93, 4, pp. 403-411, (2015); Wilder D.A., Atwell J., Wine B., The effects of varying levels of treatment integrity on child compliance during treatment with a three-step prompting procedure, Journal of Applied Behavior Analysis, 39, 3, pp. 369-373, (2006); Zoder-Martell K.A., Floress M.T., Bernas R.S., Dufrene B.A., Foulks S.L., Training teachers to increase behavior-specific praise: A meta-analysis, Journal of Applied School Psychology, 35, 4, pp. 309-338, (2019)","R.D. O’Handley; Department of Special Education, Rehabilitation, and Counseling, California State University, San Bernardino, San Bernardino, 5500 University Parkway, 92407, United States; email: rohandley@csusb.edu","","Springer","","","","","","10530819","","","","English","J. Behav. Educ.","Article","Final","","Scopus","2-s2.0-85100446832"
"Chen K.-Z.; Lin C.-Y.; Wang Y.-H.; Chen S.-G.","Chen, Ken-Zen (56225640200); Lin, Chiung-Yuan (57221245171); Wang, Yu-Hsin (59031489400); Chen, Sau-Gee (35232638000)","56225640200; 57221245171; 59031489400; 35232638000","Safely maintaining distance while singing together: Developing synchronous and asynchronous solutions for an amateur choir under the time of social distancing","2022","Journal of Music, Technology and Education","15","2-3","","183","200","17","0","10.1386/jmte_00053_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85192184918&doi=10.1386%2fjmte_00053_1&partnerID=40&md5=7ea541f647862cad96db3e36162c1fa4","National Yang Ming Chiao Tung University, 1001 University Rd., Hsinchu City, 300, Taiwan; National Taiwan University of Arts, 59 Sec 1 Daguan Road, Banqiao Dist., New Taipei City, 220307, Taiwan","Chen K.-Z., National Yang Ming Chiao Tung University, 1001 University Rd., Hsinchu City, 300, Taiwan; Lin C.-Y., National Yang Ming Chiao Tung University, 1001 University Rd., Hsinchu City, 300, Taiwan; Wang Y.-H., National Taiwan University of Arts, 59 Sec 1 Daguan Road, Banqiao Dist., New Taipei City, 220307, Taiwan; Chen S.-G., National Yang Ming Chiao Tung University, 1001 University Rd., Hsinchu City, 300, Taiwan","The social distancing reinforcement under COVID-19 seriously limited the opportunities of practising and performing for arts and music performers. While many activities can be transferred online with minimal effort, the latency obstacle in using live streaming audio software negatively affects the musicians and singers in performing or practising online. The researchers sought to integrate both asynchronous and synchronous solutions to mitigate the demand of rehearsal practices. This action research applied and examined the viability of both low audio latency technology and mobile learning applications with amateur choir members. The researchers and participants field-tested and improved the choir’s online practice by using the JackTrip Audio Device (an audio low-latency device), Sight Singing Studio and Practice Bird (two mobile apps). Using current technology, we found that amateur choir singers have opportunities to keep learning and performing ‘together’ while staying healthy from virus threats. © 2022 Intellect Ltd Article.","distance education; low audio latency technology; music learning","","","","","","Ministry of Science and Technology, Taiwan, MOST; Ministry of Education, MOE, (111W20264); Ministry of Education, MOE; National Science Council, NSC, (MOST-109-2327-B-010-005); National Science Council, NSC","Funding text 1: the Foundation promote both open-source software-based Jamulus and hardware-based JackTrip (see https://jacktrip.github.io). JackTrip Virtual Studio Device was developed about a decade ago and was tested by several studies prior to the COVID-19 outbreak (e.g. Prior et al. 2017). With the financial support from the Ministry of Science and Technology, we purchased 31 JackTrips from the Foundation and locally prepared accessories for our members: an internet switch, a microphone, an earphone, a stand and an RJ-45 cable (Figure 2). The device works independently for audio connections. A web-based management console was provided with basic audio tuning features (Figure 3). There have been successful stories shared via YouTube channels.1 However, given that the network infrastructure varies by countries, it was necessary for us to field test from our end. Moreover, we would like to develop a workable model so that choristers still would see each other when we finally can sing simultaneously.; Funding text 2: This work was supported by the Higher Education Sprout Project from Taiwan\u2019s Ministry of Education (grant number 111W20264) and National Science Council (grant number MOST-109-2327-B-010-005). The funding agencies had no involvement in this research.","Australian composer Brett Dean was hospitalized with coronavirus, (2020); Adelman C., Kurt Lewin and the origins of action research, Educational Action Research, 1, 1, pp. 7-24, (1993); Alexander C. G., Heather N. M., Philip D. G., Niki P., Online postsecondary adult learners: An analysis of adult learner characteristics and online course taking preferences, American Journal of Distance Education, 35, 3, pp. 1-17, (2021); Atkins L., Wallace S., Qualitative Research in Education, (2012); Barnard L., Lan W. Y., To Y. M., Paton V. 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K., Development of traditional musical instruments using augmented reality (AR) through mobile learning, AIP Conference Proceedings, 2016, (2018); Tingley K., All together now: How the Skagit Valley Chorale learned to sing again amid COVID, New York Times, (2021); Ward F., Technology and the transmission of tradition: An exploration of the virtual pedagogies in the Online Academy of Irish Music, Journal of Music, Technology & Education, 12, 1, pp. 5-23, (2019); Multi-country monkeypox outbreak in non-endemic countries, (2022); Youngblood F. K., Bosse J., Whitley C., How can I keep from singing? The effects of COVID-19 on the emotional wellbeing of community singers during early-stage lockdown in the United States, International Journal of Community Music, 14, pp. 205-221, (2021)","","","Intellect Ltd.","","","","","","17527066","","","","English","J. Music Technol. Educ.","Article","Final","","Scopus","2-s2.0-85192184918"
"Lu C.-I.; Greenwald M.L.; Lin Y.-Y.; Bowyer S.M.","Lu, Ching-I (57189038329); Greenwald, Margaret L (35452307400); Lin, Yung-Yang (26660515300); Bowyer, Susan M (7101691033)","57189038329; 35452307400; 26660515300; 7101691033","Musical transposing versus sight-reading: Mapping brain activation with magnetoencephalography","2021","Psychology of Music","49","3","","581","599","18","2","10.1177/0305735619883692","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85075500772&doi=10.1177%2f0305735619883692&partnerID=40&md5=def9d10d3846de278002efcdad84dda5","Department of Communication Sciences and Disorders, Wayne State University, Detroit, MI, United States; Institute of Brain Science, National Yang-Ming University, Taipei, Taiwan; Department of Critical Care Medicine, Taipei Veterans General Hospital, Taipei, Taiwan; Department of Neurology, Henry Ford Health System, Detroit, MI, United States; Department of Physics, Oakland University, Rochester, MI, United States; Department of Neurology, Wayne State University, Detroit, MI, United States","Lu C.-I., Department of Communication Sciences and Disorders, Wayne State University, Detroit, MI, United States; Greenwald M.L., Department of Communication Sciences and Disorders, Wayne State University, Detroit, MI, United States; Lin Y.-Y., Institute of Brain Science, National Yang-Ming University, Taipei, Taiwan, Department of Critical Care Medicine, Taipei Veterans General Hospital, Taipei, Taiwan; Bowyer S.M., Department of Neurology, Henry Ford Health System, Detroit, MI, United States, Department of Physics, Oakland University, Rochester, MI, United States, Department of Neurology, Wayne State University, Detroit, MI, United States","Transposing of musical notes is a cognitively challenging task requiring working memory and the ability to convert notes mentally from one musical key to another. We used magnetoencephalography (MEG) to compare the timing and localization of brain regions active during transposing of printed music versus sight-reading of music in 21 professional musicians. Musical transposing of visual stimuli has not been examined in previous brain imaging studies. The MEG data were analyzed using three techniques: MR-FOCUSS (a current density imaging technique), coherence source imaging, and neural synchrony analysis. MEG was effective in detecting differences in brain activation underlying the increased cognitive load of a visual task and stimulus length. The additional mental conversion required for transposing compared to the sight-reading task was linked to increased frontal lobe activation and slowed activation of the ventral (fusiform gyrus) occipito-temporal stream of visual-spatial encoding. © The Author(s) 2019.","dorsal versus ventral pathway; magnetoencephalography (MEG); musical transposing; professional musicians; sight-reading","","","","","","","","Bouhali F., Mongelli V., Cohen L., Musical literacy shifts asymmetries in the ventral visual cortex, NeuroImage, 156, pp. 445-455, (2017); Bowyer S.M., Moran J.E., Mason K.M., Constantinou J.E., Smith B.J., Barkley G.L., Tepley N., MEG localization of language-specific cortex utilizing MR-FOCUSS, Neurology, 62, pp. 2247-2255, (2004); Cappelletti M., Waley-Cohen H., Butterworth B., Kopelman M., A selective loss of the ability to read and to write music, Neurocase, 6, pp. 321-332, (2000); D'Anselmo A., Giuliani Campopiano F., Carta E., Brancucci A., Hemispheric asymmetries in setticlavio reading, Neuropsychology, 32, pp. 337-343, (2018); 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Mishkin M., Ungerleider L.G., Contribution of striate inputs to the visuospatial functions of parieto-preoccipital cortex in monkeys, Behavioral Brain Research, 6, pp. 57-77, (1982); Mongelli V., Dehaene S., Vinckier F., Peretz I., Bartolomeo P., Cohen L., Music and words in the visual cortex: The impact of musical expertise, Cortex, 86, pp. 260-274, (2017); Moran J.E., Bowyer S.M., Tepley N., Multi-resolution FOCUSS: A source imaging technique applied to MEG data, Brain Topography, 18, 1, pp. 1-17, (2005); Oldfield R.C., The assessment and analysis of handedness: The Edinburgh inventory, Neuropsychologia, 9, pp. 97-113, (1971); Schon D., Anton J.L., Roth M., Besson M., An fMRI study of music sight-reading, NeuroReport, 13, pp. 2285-2289, (2002); Sergent J., Zuck E., Terriah S., MacDonald B., Distributed neural network underlying musical sight-reading and keyboard performance, Science, 257, pp. 106-109, (1992); Stewart L., A neurocognitive approach to music reading, Annals of the New York Academy of Sciences, 1060, pp. 377-386, (2005); Stewart L., Henson R., Kampe K., Walsh V., Turner R., Frith U., Brain changes after learning to read and play music, NeuroImage, 20, pp. 71-83, (2003); Stiles J., Akshoomoff N., Haist F., The development of visuospatial processing, Neural circuit development and function in the healthy and diseased brain, 3, pp. 271-296, (2013); Stuss D.T., Functions of the frontal lobes: Relation to executive functions, Journal of the International Neuropsychological Society, 17, pp. 759-765, (2011); Sutherland M.E., Paus T., Zatorre R.J., Neuroanatomical correlates of musical transposition in adolescents: A longitudinal approach, Frontiers in Systems Neuroscience, 7, (2013); Vuilleumier P., How brains beware: Neural mechanisms of emotional attention, Trends in Cognitive Science, 9, pp. 585-594, (2005); Wechsler D., Wechsler Adult Intelligence Scale, (1997); Wimmer M.C., Maras K.L., Robinson E.J., Doherty M.J., Pugeault N., How visuo-spatial mental imagery develops: Image generation and maintenance, PLoS ONE, 10, (2015); Wong Y.K., Gauthier I., A multimodal neural network recruited by expertise with musical notation, Journal of Cognitive Neuroscience, 22, pp. 695-713, (2010)","C.-I. Lu; Department of Communication Sciences and Disorders, Wayne State University, Detroit, United States; email: chingilu@gmail.com","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-85075500772"
"Ornoy E.; Cohen S.","Ornoy, Eitan (26121281500); Cohen, Shai (55252986500)","26121281500; 55252986500","Tool for a real-time automatic assessment of vocal proficiency","2022","Journal of Music, Technology and Education","14","1","","69","91","22","1","10.1386/jmte_00034_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85131667878&doi=10.1386%2fjmte_00034_1&partnerID=40&md5=7a83bba0b2085751f3b43f2b59384759","Faculty of Music Education, Levinsky College of Education, 15 Shoshana Persits St., Tel Aviv, 6937808, Israel; Department of Music, The Faculty of Humanities, Bar-Ilan University, Ramat-Gan, 5290002, Israel","Ornoy E., Faculty of Music Education, Levinsky College of Education, 15 Shoshana Persits St., Tel Aviv, 6937808, Israel; Cohen S., Department of Music, The Faculty of Humanities, Bar-Ilan University, Ramat-Gan, 5290002, Israel","Over the years, a growing number of researchers have been developing models that would automatically generate assessments of music performances. Yet the number and usage of automatic singing evaluation systems is still rather rudimentary, addressing, for the most part, a limited amount of performance features and lacking verification. This study reports on a newly designed automatic singing assessment tool based on a score-based model and its validation. Short music segments (N = 2640) were gathered via recordings made by music education students (N = 55) of a specially inscribed vocal music excerpt. Recorded data evaluation was generated by a specially devised automatic tool as well as by three human experts, addressing pitch intonation (examined for its overall display, single note accuracy and interval manifestation), dynamics transmission and vocal resonation quality. Findings indicated a higher rating given by the experts in regard to pitch intonation and vocal resonation. However, a similitude was found for the dynamics transmission scoring, and a correlation was found for pitch intonation and the dynamics transmission scoring level: in both performance parameters, the higher the experts’ gradings were, the higher the gradings provided by the automatic tool. Results attest to the automatic tools’ qualification as an aid for human judgement of singing proficiency. The tool could assist investigations in various musical domains, such as music pedagogy, music performance or music perception research. © 2022 Intellect Ltd Article. English language.","automatic music performance assessment; music dynamics; pitch accuracy; singing evaluation; vocal performance; vocal resonation","","","","","","Levinsky College of Education Fund; MOFET Institute","This work was supported by the MOFET Institute and by the president of the Levinsky College of Education Fund.","Abesser J., Hasselhorn J., Dittmar C., Lehmann A., Grollmisch S., Automatic quality assessment of vocal and instrumental performances of ninth-grade and tenth-grade pupils, Proceedings of the International Symposium on Computer Music Multidisciplinary Research, pp. 975-988, (2013); Adams K., Developing growth mindset in the ensemble rehearsal, Music Educators Journal, 105, 4, pp. 21-27, (2019); Bella S. D., Defining poor-pitch singing: A problem of measurement and sensitivity, Music Perception: An Interdisciplinary Journal, 32, 3, pp. 272-282, (2015); Bergee M. J., McWhirter J. L., Selected influences on solo and small-ensemble festival ratings: Replication and extension, Journal of Research in Music Education, 53, 2, pp. 177-190, (2005); Bjorkner E., Musical theater and opera singing: Why so different? A study of subglottal pressure, voice source, and formant frequency characteristics, Journal of Voice, 22, 5, pp. 533-540, (2008); Brown W. S., Rothman H. B., Sapienza C. M., Perceptual and acoustic study of professionally trained versus untrained voices, Journal of Voice, 14, 3, pp. 301-309, (2000); Cao C., Li M., Liu J., Yan Y., A study on singing performance evaluation criteria for untrained singers, ICSP 2008: 9th International Conference on Signal Processing, pp. 1475-1478, (2008); Ciorba C. R., Smith N. 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New insights into performance evaluation, Music Educators Journal, 64, 4, pp. 22-25, (1977); Gabrielsson A., Music performance research at the millennium, Psychology of Music, 31, 3, pp. 221-272, (2003); Gaunt H., One-to-one tuition in a conservatoire: The perceptions of instrumental and vocal teachers, Psychology of Music, 36, 2, pp. 215-245, (2008); Gupta C., Li H., Wang Y., Perceptual evaluation of singing quality, 2017 Asia-Pacific Signal and Information Processing Association Annual Summit and Conference (APSIPA ASC), pp. 577-586, (2017); Gupta C., Li H., Wang Y., Automatic evaluation of singing quality without a reference, 2018 Asia-Pacific Signal and Information Processing Association Annual Summit and Conference (APSIPA ASC), pp. 990-997, (2018); Gururani S., Pati K. A., Wu C. 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R., A survey of computer systems for expressive music performance, ACM Computing Surveys (CSUR), 42, 1, pp. 1-41, (2009); Knight T., Upham F., Fujinaga I., The potential for automatic assessment of trumpet tone quality, Proceedings of the 12th International Society for Music Information Retrieval Conference (ISMIR 2011), pp. 573-578, (2011); Lal P., A comparison of singing evaluation algorithms, INTERSPEECH2006:ICSLP Ninth International Conference on Spoken Language Processing, pp. 2298-2301, (2006); Larrouy-Maestri P., Leveque Y., Schon D., Giovanni A., Morsomme D., The evaluation of singing voice accuracy: A comparison between subjective and objective methods, Journal of Voice, 27, 2, pp. 259-e1, (2013); Larrouy-Maestri P., Magis D., Morsomme D., The evaluation of vocal pitch accuracy: The case of operatic singing voices, Music Perception: An Interdisciplinary Journal, 32, 1, pp. 1-10, (2014); Larrouy-Maestri P., Pfordresher P. Q., Pitch perception in music: Do scoops matter?, Journal of Experimental Psychology: Human Perception and Performance, 44, 10, (2018); Latimer M. E., Bergee M. J., Cohen M. L., Reliability and perceived pedagogical utility of a weighted music performance assessment rubric, Journal of Research in Music Education, 58, 2, pp. 168-183, (2010); Leech-Wilkinson D., The Changing Sound of Music: Approaches to Studying Recorded Musical Performance, (2009); Lerch A., Arthur C., Pati A., Gururani S., Music performance analysis: A survey, Proceedings of the 20th International Society for Music Information Retrieval Conference (ISMIR), pp. 33-43, (2019); Lerch A., Arthur C., Pati A., Gururani S., An interdisciplinary review of music performance analysis, Transactions of the International Society for Music Information Retrieval, 3, 1, pp. 221-245, (2021); Li P. C., Su L., Yang Y. H., Su A. W., Analysis of expressive musical terms in violin using score-informed and expression-based audio features, Proceedings of the 16th International Society for Music Information Retrieval Conference (ISMIR, 2015), pp. 809-815, (2015); Lin C. H., Lee Y. S., Chen M. Y., Wang J. C., Automatic singing evaluating system based on acoustic features and rhythm, 2014 International Conference on Orange Technologies, pp. 165-168, (2014); Mayor O., Bonada J., Loscos A., Performance analysis and scoring of the singing voice, Proceedings of the 35th International Conference on Audio for Games, pp. 52-58, (2009); What is Max?, (2021); McPherson G. E., Thompson W. F., Assessing music performance: Issues and influences, Research Studies in Music Education, 10, 1, pp. 12-24, (1998); Mendes A., Vaz I., Ibrahim S., Audio-perceptual features of the singing voice classified by 4 judges’ groups: Development of an appreciation scale, 12th Western Pacific Acoustics Conference, pp. 289-296, (2015); Mills J., Smith J., Teachers’ beliefs about effective instrumental teaching in schools and higher education, British Journal of Music Education, 20, 1, pp. 5-27, (2003); Molina E., Barbancho I., Gomez E., Barbancho A. M., Tardon L. J., Fundamental frequency alignment vs. note-based melodic similarity for singing voice assessment, 2013 IEEE International Conference on Acoustics, Speech and Signal Processing, pp. 744-748, (2013); Nakano T., Goto M., Hiraga Y., An automatic singing skill evaluation method for unknown melodies using pitch interval accuracy and vibrato features, Proceedings of the 9th International Conference on Spoken Language Processing, pp. 1706-1709, (2006); Oates J. M., Bain B., Davis P., Chapman J., Kenny D., Development of an auditory-perceptual rating instrument for the operatic singing voice, Journal of Voice, 20, 1, pp. 71-81, (2006); Omori K., Kacker A., Carroll L. M., Riley W. D., Blaugrund S. 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M., Belyk M., Liotti M., Imprecise singing is widespread, The Journal of the Acoustical Society of America, 128, 4, pp. 2182-2190, (2010); Podlipniak P., The neo-Pythagorean view of musical structure in the light of music psychology, Roczniki Psychologiczne, 22, 2, pp. 121-134, (2019); Rennies J., Verhey J., Appell J., Kollmeier B., Loudness of complex time-varying sounds: A challenge for current loudness models, The Journal of The Acoustical Society of America, 133, 5, pp. 3597-3597, (2013); Romani P. O., Parra R. H., Dabiri D., Tokuda H., Hariya W., Oishi K., Serra X., A real-time system for measuring sound goodness in instrumental sounds, Proceedings of the 138th Audio Engineering Society Convention, pp. 1106-1111, (2015); Ryan C., Costa-Giomi E., Attractiveness bias in the evaluation of young pianists’ performances, Journal of Research in Music Education, 52, 2, pp. 141-154, (2004); Schnell N., Robel A., Schwarz D., Peeters G., Borghesi R., MuBu and friends: Assembling tools for content based real-time interactive audio processing in Max/MSP, IRCAM, (2009); Schnell N., Schwarz D., Larralde J., Borghesi R., PiPo, a plugin interface for afferent data stream processing modules, Proceedings of the 18th International Symposium on Music Information Retrieval (ISMIR), pp. 361-367, (2017); Skovenborg E., Nielsen S. H., Evaluation of different loudness models with music and speech material, Audio Engineering Society Convention, 117, pp. 1-34, (2004); Stone R. E., Cleveland T. F., Sundberg P. J., Prokop J., Aerodynamic and acoustical measures of speech, operatic, and broadway vocal styles in a professional female singer, Journal of Voice, 17, 3, pp. 283-297, (2003); Sundberg J., Level and center frequency of the singer’s formant, Journal of Voice, 15, 2, pp. 176-186, (2001); Tsai W. H., Lee H. C., Automatic evaluation of karaoke singing based on pitch, volume, and rhythm features, IEEE Transactions on Audio, Speech, and Language Processing, 20, 4, pp. 1233-1243, (2011); Vidwans A., Gururani S., Wu C. W., Subramanian V., Swaminathan R. V., Lerch A., Objective descriptors for the assessment of student music performances, Audio Engineering Society Conference: 2017 AES International Conference on Semantic Audio, pp. 1-8, (2017); Vurma A., Ross J., Production and perception of musical intervals, Music Perception, 23, 4, pp. 331-344, (2006); Waddell G., Perkins R., Williamon A., Making an impression: Error location and repertoire features affect performance quality rating processes, Music Perception: An Interdisciplinary Journal, 36, 1, pp. 60-76, (2018); Wapnick J., Ekholm E., Expert consensus in solo voice performance evaluation, Journal of Voice, 11, 4, pp. 429-436, (1997); Widmer G., Applications of machine learning to music research: Empirical investigations into the phenomenon of musical expression, Machine Learning, Data Mining and Knowledge Discovery: Methods and Applications, pp. 269-293, (1998); Widmer G., Goebl W., Computational models of expressive music performance: The state of the art, Journal of New Music Research, 33, 3, pp. 203-216, (2004)","E. Ornoy; Faculty of Music Education, Levinsky College of Education, Tel Aviv, 15 Shoshana Persits St., 6937808, Israel; email: eitan.ornoy@levinsky.ac.il","","Intellect Ltd.","","","","","","17527066","","","","English","J. Music Technol. Educ.","Article","Final","","Scopus","2-s2.0-85131667878"
"Quin R.","Quin, Rhythy (57222018303)","57222018303","How popular music pedagogy is integrated in the diverse environment of international school education in China: A case study in Shanghai","2022","International Journal of Music Education","40","4","","502","513","11","3","10.1177/02557614211073809","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85124156900&doi=10.1177%2f02557614211073809&partnerID=40&md5=139487eb9d5c76b02ff59481e188b785","Shanghai Jiao Tong University, China","Quin R., Shanghai Jiao Tong University, China","In Western countries, music educators have made efforts to revitalise enthusiasm for music education by integrating more mainstream and culturally-relevant genres into their curriculum. Conversely, current research indicates that popular music pedagogy in mainland China is not encouraged and faces many obstacles, as school music education is used to promote Chinese traditional music and bolster nationalism. This qualitative case study investigates how popular music pedagogy in an international school, based in China, accommodates the diverse cultural backgrounds of its Chinese and non-Chinese students when teaching Western and Chinese popular music. For 6 weeks, I had the privilege of closely observing a music class containing a mixture of 12 Chinese and non-Chinese students at an international secondary school based in Shanghai, China. Findings revealed that students were given autonomy to engage with their preferred music genre during lessons that focused on music performance and composition. Interestingly, Chinese students gravitated towards studying C-pop on their own accord, a domestic and sanitised form of popular music. However, the study of modern popular music genres was not prevalent during the music appraisal lessons. The challenges of integrating Chinese popular music pedagogy in an international classroom setting are also discussed. © The Author(s) 2022.","c-pop; China; Chinese traditional music; informal learning; music education; popular music","","","","","","","","Allsup R.E., Shieh E., Social justice and music education, Music Educators Journal, 98, 4, pp. 47-51, (2012); Amar N., Do you freestyle?, China Perspectives, 2018, 1-2, pp. 107-113, (2018); Anttila M., Problems with school music in Finland, British Journal of Music Education, 27, 3, pp. 241-253, (2010); Increasing engagement & boosting GCSE Music uptake with VIP, (2021); Christophersen C., Gullberg A.K., Popular music education, participation and democracy: Some Nordic perspectives, (2016); Georgii-Hemming E., Westvall M., Music education: A personal matter? Examining the current discourses of music education in Sweden, British Journal of Music Education, 27, 1, pp. 21-33, (2010); Gould E., Exploring social justice: How music education might matter, Exploring social justice: How music education might matter, (2009); Griffiths A., Playing the white man’s tune: Inclusion in elite classical music education, British Journal of Music Education, 37, 1, pp. 55-70, (2020); Halick M.E., What can you teach with electronic dance music? A music teacher’s guide to EDM, General Music Today, 30, 1, pp. 4-10, (2016); Hess J., Equity in music education: Why equity and social justice in music education?, Music Educators Journal, 104, 1, pp. 71-73, (2017); Ho W.C., Music education curriculum and social change: A study of popular music in secondary schools in Beijing, China, Music Education Research, 16, 3, pp. 267-289, (2014); Ho W.C., Critical Perspectives on Values Education in China’s School Music Education in a Changing Society: A Study of Beijing in the Global Age, Cultural Studies and Transdisciplinarity in Education, (2018); Ho W.C., Propaganda Songs in Music Education: Between Chinese Nationalism and Chinese Socialism, Cultural Studies and Transdisciplinarity in Education, (2018); Ho W.C., The Rise of Individualistic Values, Social Change, Popular Culture, and Depoliticization: Challenge to Music Education, Cultural Studies and Transdisciplinarity in Education, (2018); Humberstone J., A pluralist approach to music education, The Oxford handbook of technology and music education, pp. 420-430, (2017); A-level results day: further decline in music uptake, (2018); A-level results day: continued decline in music uptake, (2019); Kallio A.A., Navigating (un)popular music in the classroom: Censure and censorship in an inclusive, democratic music education, (2015); Kivijarvi S., Vakeva L., Considering equity in applying Western standard music notation from a social justice standpoint: Against the notation argument, Action, Criticism & Theory for Music Education, 19, 1, pp. 153-173, (2020); Kratus J., Music education at the tipping point, Music Educators Journal, 94, 2, pp. 42-48, (2007); Lamont A., Maton K., Choosing music: Exploratory studies into the low uptake of music GCSE, British Journal of Music Education, 25, 3, pp. 267-282, (2008); Lamont A., Maton K., Unpopular music: Beliefs and behaviours towards music in education, Sociology and music education, pp. 63-80, (2010); Law W.W., Ho W.C., Music education in China: In search of social harmony and Chinese nationalism, British Journal of Music Education, 28, 3, pp. 371-388, (2011); Law W.W., Ho W.C., Popular music and school music education: Chinese students’ preferences and dilemmas in Shanghai, China, International Journal of Music Education, 33, 3, pp. 304-324, (2015); Luo M., Ming W., From underground to mainstream and then what? Empowerment and censorship in china’s hip-hop music, Critical Arts, 34, pp. 1-12, (2020); MacCuthcheon D., Greasley A.E., Elliott M.T., Investigating the value of DJ performance for contemporary music education and sensorimotor synchronisation (SMS) abilities, Dancecult: Journal of Electronic Dance Music Culture, 8, 1, pp. 46-72, (2016); Melvin S., Cai J., Rhapsody in red: How western classical music became Chinese, (2004); Ng C.H.C., Hartwig K., Teachers’ perceptions of declining participation in school music, Research Studies in Music Education, 33, 2, pp. 123-142, (2011); Rambarran S., Keepin’ it on da streets? UK rap and music education, Journal of Popular Music Education, 2, 1, pp. 165-171, (2018); Rauduvaite A., The educational aspects of integrating popular music into lessons, (2018); Vasil M., Integrating popular music and informal music learning practices: A multiple case study of secondary school music teachers enacting change in music education, (2015); Woodford P., Music education and social justice: Towards a radical political history and vision, Debates in music teaching, (2012); Wright R., Music for all? Pupils’ perceptions of the GCSE Music examination in one South Wales secondary school, British Journal of Music Education, 19, 3, pp. 227-241, (2002); Yang M., East meets west in the concert hall: Asians and classical music in the century of imperialism, post-colonialism, and multiculturalism, Asian Music, 38, 1, pp. 1-30, (2007); Zou S., When nationalism meets hip-hop: Aestheticized politics of ideotainment in China, Communication and Critical/Cultural Studies, 16, 3, pp. 178-195, (2019)","R. Quin; Shanghai Jiao Tong University, China; email: rhythycaoquin@gmail.com","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-85124156900"
"Barić Z.; Šulentić Begić J.","Barić, Zrinka (58638644800); Šulentić Begić, Jasna (57202575536)","58638644800; 57202575536","The Pedagogical Competences of Teachers of Theoretical Music Subjects in Croatia; [PEDAGOŠKE KOMPETENCE UČITELJEV TEORETIČNIH GLASBENIH PREDMETOV NA HRVAŠKEM]","2022","Sodobna Pedagogika/Journal of Contemporary Educational Studies ","73","4","","146","167","21","0","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85173663939&partnerID=40&md5=f40a5fe01e4793a51a2a6ba0e138cda6","Art school Beli Manastir, Kralja Tomislava 2, Beli Manastir, 31300, Croatia; The Academy of Arts and Culture Osijek, Ul. kralja Petra Svačića 1/f, Osijek, 31000, Croatia","Barić Z., Art school Beli Manastir, Kralja Tomislava 2, Beli Manastir, 31300, Croatia; Šulentić Begić J., The Academy of Arts and Culture Osijek, Ul. kralja Petra Svačića 1/f, Osijek, 31000, Croatia","Theoretical music subjects are present at all levels of the music school system. Their purpose is to provide the knowledge necessary for learning and mastering the language of music and improving one’s overall understanding. Selecting appropriate teaching methods, procedures and strategies for the function and nature of theoretical music subjects primarily depend on a teacher’s training and readiness to improve the educational process. This research, conducted during the second semester of 2018/2019, investigated the pedagogical competences of 101 teachers of theoretical music subjects in primary and secondary music schools located throughout seventeen counties in the Republic of Croatia. By conducting quantitative research, the results showed that teachers rated their pedagogical competence very highly. However, the results also showed that teachers expressed the need for personal and professional development; that is, advancement in teaching. It was also noticeable that the importance of maintaining quality relationships with students and supporting them increases with years of work experience, which indicates developed personal competences. © 2022 Association of Slovenian Educationalists. All rights reserved.","pedagogical competences; studies of music theory and music pedagogy; teachers; theoretical music subjects","","","","","","","","Blazevic I., Suvremeni kurikul i kompetencijski profil učitelja, Zbornik radova Filozofskog fakulteta u Splitu, 6, 7, pp. 119-131, (2013); Bogunovic B., Stanisic J., Kompetencije nastavnika muzičkih i opšteobrazovnih škola, Pedagogija, 67, 2, pp. 193-206, (2013); Brust Nemet M., Pedagoške kompetencije učitelja u sukonstrukciji nastave, Život i škola, 30, 2, pp. 79-95, (2013); Brust Nemet M., Velki T., The Social, Emotional and Educational Competences of Teachers as Predictors of Various Aspects of the School Culture, Croatian Journal of Education, 18, 4, pp. 1087-1119, (2016); Chan P. Y., Dong M., Li H., The Science of Harmony: A Psychophysical Basis for Perceptual Tensions and Resolutions in Music, Research, 2019, pp. 1-22, (2019); Davidson J. W., Sloboda J. A., Howe M. J. A., The Role of Parents and Teachers in the Success and Failure of Instrumental Learners, Bulletin of the Council for Research in Music Education, 127, pp. 40-44, (1995); Dimitrov T., Kompetencije učitelja glazbe kao odgovornosti o glazbenom pedagoškom obrazovanju, Pedagoški časopis Sveučilišta u Velikom Trnovu Sv. sv. Ćirila i Metoda, 1, pp. 45-54, (2022); Frey A., Die Kompetenzstruktur von Studierenden des Lehrerberufs. Eine internationale Studie, Zeitschrift für Pädagogik, 50, 6, pp. 903-925, (2004); Goodman G., Arbona C., Dominguez de Rameriz R., High-stakes, minimum-competency exams. How competent are they for evaluating teacher competence?, Journal of Teacher Education, 59, 1, pp. 24-39, (2008); Ilanlou M., Zand M., Professional Competencies of Teachers and the Qualitative Evaluation, Procedia -Social and Behavioral Sciences, 29, pp. 1143-1150, (2011); Jennings P. A., Greenberg M. T., The Prosocial Classroom: Teacher Social and Emotional Competence in Relation to Student and Classroom Outcomes, Review Of Educational Research, 79, 1, pp. 491-525, (2009); Jurcic M., Kompetentnost nastavnika -pedagoške i didaktičke dimenzije, Pedagogijska istraživanja, 11, 1, pp. 77-93, (2014); Kunter M., Klusmann U., Baumert J., Richter D., Voss T., Hachfeld A., Professional Competence of Teachers: Effects on Instructional Quality and Student Development, Journal of Educational Psychology, 105, 3, pp. 805-820, (2013); Lee D., Form as classification: an exploration of musical form as a knowledge organization system, Proceedings of the NASKO 2021: Resilience, Resistance, and Reflection:Knowledge Organization at a Crossroads, 8, pp. 1-14, (2021); Markus M., Socijalna kompetentnost -jedna od ključnih kompetencija, Napredak, 151, 3-4, pp. 432-444, (2010); Mayer J. D., What is Emotional Intelligence?, UNH Personality Lab, 8, pp. 1-14, (2004); Mijatovic A., Leksikon temeljnih pedagogijskih pojmova, (2000); Milanovic M., Stricevic I., Males D., Sekulic-Majurec A., Skrb za dijete i poticanje ranog razvoja djeteta u Republici Hrvatskoj, (2000); Milas G., Istraživačke metode u psihologiji i drugim društvenim znanostima, (2009); Muzic V., Uvod u metodologiju istraživanja odgoja i obrazovanja, (2004); Neill S., Caswell S., Body Language for Competent Teachers, (2005); Pollard A., Collins J., Maddock M., Simco N., Swaffield S., Warin J., Warwick P., Reflective teaching (2nd edition), (2005); Pravilnik o odgovarajućoj vrsti obrazovanja učitelja i stručnih suradnika u osnovnoj školi. [Rulebook on the appropriate type of education for teachers and professional associates in primary schools], (2019); Pravilnik o stručnoj spremi i pedagoško-psihološkom obrazovanju nastavnika u srednjem školstvu. [Rulebook on professional training and pedagogical-psychological education of teachers in secondary education], (1996); Robinson J., Inspiring music teachers: A study of what is important in practice, Australian Journal of Music Education, 52, 1, pp. 51-58, (2018); Rojko P., Glazbenopedagoške teme, (2012); Sablic M., Interkulturalni kurikulum -osvrti i perspektive, Pedagogijska istraživanja, 8, 1, pp. 125-138, (2011); Schon D. A., Educating the Reflective Practitioner, (1987); Selvi K., Teachers’ Competencies. Cultura, International Journal of Philosophy of Culture and Axiology, 7, 1, pp. 167-175, (2010); Spajic-Vrkas V., The Emergence of Multiculturalism in Education: From Ignorance to Separation Through Recognition, Perspectives of Multiculturalism:Western & Transitional Countries, pp. 87-101, (2004); Sudzilovski D., Vasilijevic D., Sudjelovanje nastavnika u akreditiranim programima iz područja glazbene pedagogije, Teme, 44, 4, pp. 1275-1290, (2020); Tannenbaum R. J., Rosenfeld M., Job Analysis For Teacher Competency Testing:Identification Of Basic Skills Important For All Entry-Level Teachers, Educational and Psychological Measurement, 54, 1, pp. 199-211, (1994); Teachout D. J., Preservice and Experienced Teachers’ Opinions of Skills and Behaviors Important to Successful Music Teaching, Journal of Research in Music Education, 45, 1, pp. 41-50, (1997)","Z. Barić; Art school Beli Manastir, Beli Manastir, Kralja Tomislava 2, 31300, Croatia; email: zrinkabari7@gmail.com","","Association of Slovenian Educationalists","","","","","","00380474","","","","English","Sodob. Pedagog.","Article","Final","","Scopus","2-s2.0-85173663939"
"Gerber C.L.","Gerber, Casey L. (57214219363)","57214219363","Ralph L. Baldwin: His Influence on American Music Education through Teaching, Publication, and Service","2021","Journal of Historical Research in Music Education","43","1","","5","25","20","0","10.1177/1536600620901329","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85078491152&doi=10.1177%2f1536600620901329&partnerID=40&md5=bde4c2efa929aa62fb5e3b7cc70bb54f","University of Oklahoma, Norman, OK, United States","Gerber C.L., University of Oklahoma, Norman, OK, United States","Ralph L. Baldwin (1872–1943) was a prominent music educator who, in addition to his role as a teacher, was an author, composer, and leader of various professional music organizations. Baldwin later became known through his many publications and as the administrator of the Sterrie Weaver Summer School after Weaver’s untimely death. This narrative study was intended to describe the teaching philosophy developed by Baldwin. In addition, the visibility and recognition brought to Baldwin through his books in the “Music Education Series,” published by Ginn and Company, were detailed. Baldwin advocated teaching sight reading or the “language” of music to balance out the rote singing methods being used. He blended the rote and note philosophies much like his predecessor Sterrie Weaver. While Baldwin’s methods and publications are not necessarily used in American classrooms today, it is important to recognize the quality ideas and resources that he offered to music educators of that time. Baldwin’s publications are a good example of an effective instructional method, including materials, that directly preceded the adoption of current methods and approaches to music education. © The Author(s) 2020.","historical methods; instructional methods; music education history; music teachers; oral history","","","","","","","","","C.L. Gerber; University of Oklahoma, Norman, United States; email: casey.gerber@ou.edu","","SAGE Publications Ltd","","","","","","15366006","","","","English","J. Hist. Res.  Music Educ.","Article","Final","","Scopus","2-s2.0-85078491152"
"Carter J.","Carter, Jennifer (57565410100)","57565410100","Preservice music teachers in New South Wales: How prepared do they feel for secondary music teaching in a changing world?","2022","Research Studies in Music Education","44","2","","399","412","13","0","10.1177/1321103X211053799","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85127796270&doi=10.1177%2f1321103X211053799&partnerID=40&md5=8ea6c50abc0e8b4799556f0c6dc34a5d","The University of Sydney, Australia","Carter J., The University of Sydney, Australia","The ideas and philosophies of preservice secondary music teachers (PSMTs) are formalized in their tertiary education years. In these years, PSMTs must reconcile the expectations, beliefs, and values espoused by their lecturers, tutors, and other significant people from their past. PSMTs have accumulated various musical experiences through prior interactions with their primary and secondary school teachers and private tutors, which nurture and shape the kind of teachers they anticipate becoming. This research focuses on a group of six PSMTs who face a very different future, teaching in the COVID-19 world of digital delivery amid a time of curriculum change in New South Wales (NSW), Australia. Thirty-minute Zoom interviews with the six participants took place over the two semesters of 2020, beginning before the COVID-19 outbreak in Australia and investigating how prepared PSMTs felt they were for classroom teaching. Their most positive responses regarding online learning provided evidence that their music lecturers had built PSMTs’ understanding of the curriculum, which increased their confidence in their musical ability during practicum. The findings in this article provide an informed NSW perspective about PSMTs’ tertiary education, adding to research about classroom music pedagogy. Finally, the opinions of PSMTs on their current learning and future careers are of importance and interest for both tertiary education institutions and curriculum designers. © The Author(s) 2022.","COVID-19; musical ability; practicum experience; preservice secondary music teachers; tertiary education","","","","","","University of Sydney, Usyd","The author(s) disclosed receipt of the following financial support for the research, authorship, and/orpublication of this article: Sydney Conservatorium of Music, The University of Sydney.","Abioui M., Dades M., Kostyuchenko Y., Benssaou M., Martinez-Frias J., M'Barki L., Ezaidi S., Aichi A., Di Cencio A., Garzarella A., de Carvalho C.N., Covid-19 and education in Morocco as a potential model of concern for North Africa: A short commentary, International Journal of Ethics Education, 5, pp. 145-150, (2020); Australian professional standards for teachers, (2011); Ballantyne J., Documenting praxis shock in early-career Australian music teachers: The impact of pre-service teacher education, International Society for Music Education, 25, 3, pp. 181-191, (2007); Ballantyne J., Grootenboer P., Exploring relationships between teacher identities and disciplinarity, International Journal of Music Education, 30, 4, pp. 368-381, (2012); Ballantyne J., Kerchner J.L., Arostegui J.L., Developing music teacher identities: An international multi-site study, International Journal of Music Education, 30, 3, pp. 211-226, (2012); Ballantyne J., Packer J., Effectiveness of preservice teacher education programs: Perceptions of early-career music teachers, Music Education Research, 6, 3, pp. 299-312, (2004); Bandura A., Self-efficacy, Encyclopedia of mental health, pp. 77-81, (1998); Bergee M.J., Demorest S.M., Developing tomorrow’s teachers today, Music Educators Journal, 89, 4, pp. 17-20, (2003); Music years 7–10: Syllabus, (2003); Music 1: Stage 6 syllabus, (2009); Music 2 and music extension: Stage 6 syllabus, (2009); Borg M., The apprenticeship of observation, ELT Journal, 58, 3, pp. 274-276, (2004); Brand M., Effects of student teaching on the classroom management beliefs and skills of music student teachers, Journal of Research in Music Education, 30, pp. 255-265, (1982); Bresler L., Basic and applied qualitative research in music education, Research Studies in Music Education, 6, 1, pp. 5-17, (1996); Bukor E., Exploring teacher identity from a holistic perspective: Re-constructing and re-connecting personal and professional selves, Teachers and Teaching, Theory and Practice, 21, 3, pp. 305-327, (2015); Carroll C., Illiterate” musicians: An historic review of curriculum and practice for student popular musicians in Australian senior secondary classrooms, British Journal of Music Education, 36, pp. 155-171, (2019); Chua S.L., Welch G.F., A lifelong perspective for growing music teacher identity, Research Studies in Music Education, 43, 3, pp. 329-346, (2020); Cohen L., Manion L., Morrison K., Research methods in education, (2008); Corbin J., Strauss A., Basics of qualitative research: Techniques and procedures for developing grounded theory, (2008); Daniel J., Education and the COVID-19 pandemic, Prospects, 49, pp. 91-96, (2020); Eisner E.W., The enlightened eye: Qualitative inquiry and the enhancement of educational practice, (2017); Freer P.K., Bennett D., Developing musical and educational identities in university music students, Music Education Research, 14, 3, pp. 265-284, (2012); Isbell D.S., Musicians and teachers: The socialization and occupational identity of preservice music teachers, Journal of Research in Music Education, 56, 2, pp. 162-178, (2008); Jeanneret N., The preparation of secondary music teachers in NSW: Is it out of step?, British Journal of Music Education, 10, pp. 47-55, (1993); Kelly S.N., The influence of student teaching experiences on preservice music teachers’ commitments to teaching, Journal of Music Teacher Education, 24, 2, pp. 10-22, (2015); Kratus J., Music education at the tipping point, Music Educators Journal, 94, 2, pp. 42-48, (2007); Lebler D., Weston D., Staying in sync: Keeping popular music pedagogy relevant to an evolving music industry, Journal of the International Association for the Study of Popular Music, 5, 1, pp. 124-138, (2015); Locke L., Silverman S., Spirduso W., Reading and understanding research, (2004); Martin L., Foundations for good practice: The student experience of online learning in Australian higher education during the COVID-19 pandemic, (2020); Mills J., Addressing the concerns of conservatoire students about school music teaching, Journal of Music Education, 22, 1, pp. 63-75, (2005); Nurturing wonder and igniting passion: Designs for a new school curriculum, (2020); Odena O., Welch G.F., The influence of teachers’ backgrounds on their perceptions of musical creativity: A qualitative study with secondary school music teachers, Research Studies in Music Education, 28, 1, pp. 71-81, (2007); Parkes K.A., Jones B.D., Motivational constructs influencing undergraduate students’ choices to become classroom music teachers or music performers, Journal of Research in Music Education, 60, 1, pp. 101-123, (2012); Pellegrino K., Becoming music-making music teachers: Connecting music-making, identity, wellbeing, and teaching for four student teachers, Research Studies in Music Education, 37, 2, pp. 175-194, (2015); Powell S.R., Cassidy Parker E., Preservice music teachers’ descriptions of successful and unsuccessful teachers, Journal of Music Teacher Education, 26, 3, pp. 27-37, (2017); Robinson J., Inspiring music teachers: A study of what is important in practice, Australian Journal of Music Education, 52, 1, pp. 51-58, (2019); Rowley J.L., Expectations of beginning music teachers: An Australian profile, (2010); Rowley J.L., Final year music students’ identities: Music student or music teacher?, Victorian Journal of Music Education, 2012, 1, pp. 22-23, (2012); Rowley J.L., Dunbar-Hall P., Cultural diversity in music learning: Developing identity as a music teacher and learner, Pacific-Asian Education, 25, 2, pp. 41-50, (2012); Schleuter L., Student teachers’ preactive and postactive curricular thinking, Journal of Research in Music Education, 39, pp. 46-63, (1991); Shuler S.C., Building inclusive, effective twenty-first-century music programs, Music Educators Journal, 98, 1, pp. 8-13, (2011); Shulman L.S., Those who understand: Knowledge growth in teaching, Educational Researcher, 15, 2, pp. 4-14, (1986); Sichivitsa V.O., The influences of parents, teachers, peers and other factors on students’ motivation in music, Research Studies in Music Education, 29, 1, pp. 55-68, (2007); Swainston A., Jeanneret N., Pre-service teacher beliefs: Are musicians different?, Victorian Journal of Music Education, 1, pp. 17-22, (2013); Turney C., Innovation in teacher education, (1977); Welch G., Purves R., Hargreaves D., Marshall N., Early career challenges in secondary school music teaching, British Educational Research Journal, 37, 2, pp. 285-315, (2011)","J. Carter; The University of Sydney, Australia; email: Jennifer.carter@sydney.edu.au","","SAGE Publications Ltd","","","","","","1321103X","","","","English","Res. Stud. Music Educ.","Article","Final","","Scopus","2-s2.0-85127796270"
"Jorritsma M.","Jorritsma, Marie (55384052100)","55384052100","Towards an eco-literate tertiary music education: Notes from a South African context","2022","International Journal of Music Education","40","1","","14","25","11","20","10.1177/02557614211018477","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85106738713&doi=10.1177%2f02557614211018477&partnerID=40&md5=98fa3ce37d6e3fcf6387f1cb4967a071","University of the Witwatersrand, South Africa","Jorritsma M., University of the Witwatersrand, South Africa","On 20 September 2019 in Cape Town, as part of the global protests on inaction on climate change, the African Climate Alliance submitted a memorandum of demands to South African government representatives, one of which was ‘the creation of a mandatory climate-education curriculum for South Africa’. This raises the question of how this imperative would be met within a tertiary music education context. Does the justified insistence on decolonised curricula in the period following the national #FeesMustFall protests of 2015–2016 allow space for inclusion of climate education? Given the links between social justice and environmental justice, there is certainly an argument for a focus on eco-literate education. What, then, would this include at South African tertiary music level? There are several (mostly United States based) course syllabi available online which focus mainly on themes and case studies in the field of ecomusicology. Daniel J. Shevock’s work on eco-literate music pedagogy strongly advocates for a place-based approach, but Greg Garrard’s critique would indicate otherwise. This article examines eco-critical and eco-literate theories and their application to music and uses the author’s own teaching context to outline ideas for integrating a more climate-related educational approach. © The Author(s) 2021.","eco-literate; Ecoliteracy; ecomusicology; South Africa; tertiary music pedagogy","","","","","","University of the Witwatersrand, Johannesburg","The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: The completion of this article was funded by a University of the Witwatersrand threshold grant. ","Allen A.S., Ecomusicology: Bridging the sciences, arts, and humanities, Environmental leadership: A reference handbook, pp. 373-381, (2012); Allen A.S., ‘Fatto Di Fiemme’: Stradivari’s violins and the musical trees of the Paneveggio, Invaluable trees: Cultures of nature, 1660–1830, pp. 301-315, (2012); Allen A.S., Teaching ecomusicology: Active listening via soundwalks, Ecomusicology Newsletter, 2, pp. 14-15, (2013); Allen A.S., Greening the curriculum: Beyond a short music history in ecomusicology, Journal of Music History Pedagogy, 8, pp. 91-109, (2017); Allen A.S., One ecology and many ecologies: The problem and opportunity of ecology for music and sound studies, MUSICultures, 45, pp. 1-13, (2018); Allen A.S., Sounding sustainable; or, the challenge of sustainability, Cultural sustainabilities: Music, media, language, advocacy, pp. 43-60, (2019); Allen A.S., From anthropocentrism to ecocentrism, Ethnomusicology, 64, (2020); Allen A.S., Dawe K., Current directions in ecomusicology: Music, culture, nature, (2016); Allen A.S., Titon J.T., Von Glahn D., Sustainability and sound: Ecomusicology inside and outside the university, Music and Politics, 8, 2, pp. 1-26, (2014); Benjamin D., Por H., Budescu D., Climate change versus global warming: Who is susceptible to the framing of climate change?, Environment and Behavior, 49, pp. 745-770, (2017); Bennett L., What does it mean to be ecoliterate?, (2012); Black A.M., Bohlman A.F., Resounding the campus: Pedagogy, race, and the environment, Journal of Music History Pedagogy, 8, pp. 6-27, (2017); Blacking J., How musical is man?, (1973); Blatt H., America’s environmental report card: Are we making the grade?, (2005); Bloom K., No tomorrow, parts 1, 2, and 3, Daily Maverick, (2019); Bond P., Unsustainable South Africa: Environment, development and social protest, (2002); Boyle W.A., Waterman E., The ecology of musical performance: Towards a robust methodology, Current directions in ecomusicology: Music, culture, nature, pp. 25-39, (2016); The Economist, (2018); 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A critique of the Anthropocene narrative, Anthropocene Review, 1, pp. 62-69, (2014); Mbembe A., Decolonizing knowledge and the question of the archive, (2016); Moola F.F., Natures of Africa: Ecocriticism and animal studies in contemporary cultural forms, (2001); Morris R.C., The miner’s ear, Transition, 98, pp. 96-115, (2008); Murray R.A., On my watch: A review of the environmental education literature with particular reference to South Africa, and South African teenagers, (2015); Mwenda M., Bond P., African climate justice: Articulations and activism, Climate justice and community renewal: Resistance and grassroots solutions, (2020); R. Murray Schafer: Listen, (2017); Ndebele N.S., Game lodges and leisure colonialists, Blank: Architecture, apartheid and after, pp. 119-123, (1998); Nixon R., Slow violence and the environmentalism of the poor, (2011); Pedelty M., A song to save the Salish Sea: Musical performance as environmental activism, (2016); Pedelty M., Sentinels of silence? 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The age of sustainability: Just transitions in a complex world, (2020); Titon J.T., Economy, ecology, and music: An introduction, The World of Music, 51, pp. 5-15, (2009); Titon J.T., Music and sustainability: An ecological viewpoint, The World of Music, 51, pp. 119-137, (2009); Titon J.T., Sustainability, resilience, and adaptive management for applied ethnomusicology, The Oxford handbook of applied ethnomusicology, pp. 157-195, (2015); Titon J.T., Ecomusicology and the problems in ecology, MUSICultures, 45, pp. 255-264, (2018); Titon J.T., Music’s contribution to global warming, Ethnomusicology, 64, pp. 317-322, (2020); Trump M., Granger J., Musicwood, (2013); South Africa: National urban policies and city profiles for Johannesburg and Cape Town, (2018)","M. Jorritsma; University of the Witwatersrand, South Africa; email: marie.jorritsma@wits.ac.za","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-85106738713"
"Weidner B.N.","Weidner, Brian N (57191582648)","57191582648","The transfer of group practice strategy instruction to beginning instrumentalists’ individual practice","2021","Psychology of Music","49","4","","958","971","13","4","10.1177/0305735620911713","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85084571003&doi=10.1177%2f0305735620911713&partnerID=40&md5=d25dabd0d565853af360648e53a0f8b7","Butler University, Indianapolis, IN, United States","Weidner B.N., Butler University, Indianapolis, IN, United States","This quasi-experimental study investigated the transfer of learning for effective practice strategies from large ensemble to individual rehearsal. Five middle school bands were randomly assigned to one of three conditions. Two treatment conditions had teachers use an iterative, explicit instruction protocol to teach a targeted practice strategy during a sight-reading activity on a novel piece of music over a series of six lessons. The control condition included non-specific sight-reading activities. A sample of students from each band (N=66) participated in a cycle of pre-test/post-test/delay-test observations that involved a ten- minute practice session followed by a performance on a new piece of music similar to those used in the treatment sessions. Student practice sessions were analyzed for frequency of usage of the targeted strategies, and performances were rated for pitch and rhythmic accuracy. A 3x2x3 ANOVA identified a significant effect for strategy used within groups (F(1,63)=122.388, p<.001, η2=.660), but no significant effect or interactions were found between groups. The results of a 3x3 ANOVA identified a moderate-sized main effect for test cycle on performance scores (F(2,63)=2.192, p<.001, η2=.414), leading to a series of repeated measures t-tests that demonstrated significant changes in performance scores from pre- to post-test in both treatment conditions. © The Author(s) 2020.","deliberate practice; high-road transfer; instrumental learning and teaching; learning; teaching; transfer of learning","","","","","","","","Araujo M.V., Measuring self-regulated practice behaviours in highly skilled musicians, Psychology of Music, 44, pp. 278-292, (2016); Austin J.R., Berg M.H., Exploring music practice among sixth-grade band and orchestra students, Psychology of Music, 34, pp. 535-558, (2006); Barry N.H., A comparison of advanced student musicians’ and professional musicians’ practice attitudes and strategies, Southeastern Journal of Music Education, 3, pp. 32-41, (1991); Barry N.H., The effects of practice strategies, individual differences in cognitive style, and gender upon technical accuracy and musicality of student instrumental performance, Psychology of Music, 20, pp. 112-123, (1992); 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Rohwer D., Polk J., Practice behaviors of eighth-grade instrumental musicians, Journal of Research in Music Education, 54, pp. 350-362, (2006); Salomon G., Perkins D.N., Rocky roads to transfer: Rethinking mechanism of a neglected phenomenon, Educational Psychologist, 24, pp. 113-142, (1989); Thorndike E.L., Woodworth R.S., The influence of improvement in one mental function upon the efficiency of other functions, Psychological Review, 8, pp. 247-261, (1901); Tunks T.W., The transfer of music learning, Handbook of research on music teaching and learning, pp. 437-447, (1992); Worthy M.D., Observations of three expert wind conductors in college rehearsals, Bulletin of the Council for Research in Music Education, 168, pp. 51-61, (2006)","B.N. Weidner; Butler University, Indianapolis, United States; email: bweidner@butler.edu","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-85084571003"
"Qi J.; Adachi M.","Qi, Jing (57836387000); Adachi, Mayumi (21742013100)","57836387000; 21742013100","The influence of modality on input, visuo-motor coordination, and execution in the advanced pianist's sight-reading processes","2022","Frontiers in Psychology","13","","933106","","","","1","10.3389/fpsyg.2022.933106","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85135604242&doi=10.3389%2ffpsyg.2022.933106&partnerID=40&md5=203d51c19bac8bbc3ffe31b186c2b358","Department of Psychology, Hokkaido University, Sapporo, Japan","Qi J., Department of Psychology, Hokkaido University, Sapporo, Japan; Adachi M., Department of Psychology, Hokkaido University, Sapporo, Japan","In this study, we explored how the modality (major and minor) would affect the input (i. e., fixation), visuo-motor coordination (i.e., eye-hand span and time of performance), and execution (i.e., errors) in the advanced pianist's sight-reading processes, as well as relations among these three phases. Thirty-two advanced pianists with 5–54 years of piano training participated in the study. All participants sight-read three two-voice pieces in either major (n = 16) or minor (n = 16) mode while their eye movements were measured by an eye-tracking device (30 fps). All pieces were 20-measure long written in 4/4 m, adapted from unfamiliar Baroque pieces. Results showed that sight-readers fixated more frequently and tended to spend more time performing in a minor score than in a major score. This implies that modality of a score affects an efficiency of input and visuo-motor coordination in the advanced pianist's sight-reading. Spearman's correlation coefficients showed that errors were correlated positively with the number of fixations and the duration of performance. These results add more evidence to the notion that efficiencies in input and visuo-motor coordination are related to the accuracy in execution. Copyright © 2022 Qi and Adachi.","errors; eye-hand span; fixation; modality; sight-reading","","","","","","Music Psychology Laboratory of the Graduate School of Humanities and Human Sciences, Hokkaido University","This work was supported by the Music Psychology Laboratory of the Graduate School of Humanities and Human Sciences, Hokkaido University, Japan. ","Adachi M., Tracking the Nature of Melodic Expectancy Development in Musical Children, (1995); Adachi M., Takiuchi K., Shoda H., “Effects of melodic structure and meter on the sight-reading performances of beginners and advanced pianists,”, 12th International Conference on Music Perception and Cognition and the 8th Triennial Conference of the European Society for the Cognitive Sciences of Music (Thessaloniki, Greece), pp. 5-8, (2012); Banton L.J., The role of visual and auditory feedback during the sight-reading of music, Psychol. 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Monogr, (1943); Wolf T., A cognitive model of musical sight-reading, J. Psycholinguist. Res, 5, pp. 143-171, (1976); Wurtz P., Mueri R.M., Wiesendanger M., Sight-reading of violinists: eye movements anticipate the musical flow, Exp. Brain Res, 194, pp. 445-450, (2009); Zhukov K., Evaluating new approaches to teaching of sight-reading skills to advanced pianists, Music Educ. Res, 16, pp. 70-87, (2014); Zhukov K., Exploring advanced piano students' approaches to sight-reading, Int. J. Music Educ, 32, pp. 487-498, (2014); Zhukov K., Viney L., Riddle G., Teniswood-Harvey A., Fujimura K., Improving sight-reading skills in advanced pianists: a hybrid approach, Psychol. Music, 44, pp. 155-167, (2016)","M. Adachi; Department of Psychology, Hokkaido University, Sapporo, Japan; email: m.adachi@let.hokudai.ac.jp","","Frontiers Media S.A.","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85135604242"
"Butkovic A.; Modrusan I.","Butkovic, Ana (6506148057); Modrusan, Ilijana (57209231356)","6506148057; 57209231356","Personality differences among musicians: Real differences or stereotypes?","2021","Psychology of Music","49","2","","216","226","10","10","10.1177/0305735619849625","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85066926885&doi=10.1177%2f0305735619849625&partnerID=40&md5=19c211a313394dd23aae01c8a257ba1d","Department of Psychology, University of Zagreb, Croatia","Butkovic A., Department of Psychology, University of Zagreb, Croatia; Modrusan I., Department of Psychology, University of Zagreb, Croatia","The aim of this study was to examine whether the differences in personality traits of different groups of musicians are real differences or stereotypes. In our study we included string, brass and woodwind players, singers, pianists and music pedagogy students, namely, more groups of musicians than in previous studies. Participants were 182 music students (103 female) with average age 20.86 years (SD = 2.72). Using the BFI-10 personality questionnaire, the participants had to evaluate their own personality traits, and then the personality traits of six groups of musicians. Participants also had to evaluate themselves and six groups of musicians on three pairs of adjectives: masculine–feminine (MF), insensitive/not emotional–sensitive/emotional (EM), and averse to alcohol consumption–prone to excessive alcohol consumption (AC). Results of the Kruskal–Wallis (K–W) test indicated that self-reported personality traits and self-reports on pairs of adjectives of different groups of musicians were coming from the same distribution. Comparison of self-reports with in-group and out-group peer reports showed that there are stereotypes about different groups of musicians. The differences between self-reports and peer-reports were most pronounced for openness, agreeableness, and proneness to alcohol consumption. © The Author(s) 2019.","alcohol; individual differences; personality; Professional musicians; stereotypes","","","","","","","","Abrams D., Hogg M.A., Metatheory: Lessons from social identity research, Personality and Social Psychology Review, 8, 2, pp. 98-106, (2004); Barrick M.R., Mount M.K., Yes, personality matters: Moving on to more important matters, Human Performance, 18, pp. 359-372, (2005); Bell C.R., Cresswell A., Personality differences among musical instrumentalists, Psychology of Music, 12, pp. 83-93, (1984); Bogunovic B., Personality of musicians: Age, gender, and instrumental group differences, pp. 23-28, (2012); Builione R.S., Lipton J.P., Stereotypes and personality of classical musicians, Psychomusicology, 3, pp. 36-43, (1983); Butkovic A., Rancic Dopudj D., Personality traits and alcohol consumption of classical and heavy metal musicians, Psychology of Music, 45, 2, pp. 246-256, (2017); Buttsworth L.M., Smith G.A., Personality of Australian performing musicians by gender and by instrument, Personality and Individual Differences, 18, pp. 595-603, (1995); Cameron J.E., Duffy M., Glenwright B., Singers take center stage! Personality traits and stereotypes of popular musicians, Psychology of Music, 43, 6, pp. 818-830, (2015); Coimbra D., The personality of opera singers, (2005); Crede M., Harms P., Niehorster S., Gaye-Valentine A., An evaluation of the consequences of using short measures of the Big Five personality traits, Journal of Personality and Social Psychology, 102, 4, pp. 874-888, (2012); Cribb C., Gregory A.H., Stereotypes and personalities of musicians, The Journal of Psychology, 133, pp. 104-114, (1999); Cutietta R.A., McAllister P.A., Student personality and instrumental participation, continuation, and choice, Journal of Research in Music Education, 45, pp. 282-294, (1997); Davies J.B., The psychology of music, (1978); Gee K.A., Lives and careers in music: A social identity perspective on brass music-making, (2010); Gusewell A., Ruch W., Character strengths profiles of musicians and non-musicians, Journal of Arts and Humanities, 4, 6, pp. 1-17, (2015); Kemp A.E., Personality differences between the players of string, woodwind, brass and keyboard instruments, and singers, Council for Research in Music Education Bulletin, 33-38, pp. 66-67, (1981); Kemp A.E., The musical temperament: Psychology and personality of musicians, (1996); Langendorfer F., Personality differences among orchestra instrumental groups: Just a stereotype?, Personality and Individual Differences, 44, pp. 610-620, (2008); Lipton J.P., Stereotypes concerning musicians within symphony orchestras, The Journal of Psychology, 121, 1, pp. 85-93, (1987); Martin P.J., Appreciation of music in relation to personality factors, (1976); Mihajlovski Z., Personality, intelligence and musical instrument, Croatian Journal of Education, 15, 1, pp. 155-172, (2013); Paulhus D.L., Self-deception and impression management in test responses, Personality assessment via questionnaires, pp. 143-165, (1986); Rammstedt B., John O.P., Measuring personality in one minute or less: A 10-item short version of the Big Five Inventory in English and German, Journal of Research in Personality, 41, pp. 203-212, (2007); Reardon MacLellan C., Differences in Myers-Briggs personality types among high school band, orchestra, and choir members, Journal of Research in Music Education, 59, 1, pp. 85-100, (2011); Sandgren M., Exploring personality and musical self-perceptions among vocalists and instrumentalists at music colleges, Psychology of Music, (2018); Tajfel H., Differentiation between social groups. Studies in the social psychology of inter-group relations, (1978); Thalmayer A.G., Saucier G., Eigenhuis A., Comparative validity of brief to medium-length Big Five and Big Six Personality Questionnaires, Psychological Assessment, 23, 4, pp. 995-1009, (2011); Tomczak M., Tomczak E., The need to report effect size estimates revisited. An overview of some recommended measures of effect size, Trends in Sport Sciences, 21, 1, pp. 19-25, (2014); Torrance T.A., Bugos J.A., Music ensemble participation: Personality traits and music experience, Update: Applications of Research in Music Education, 36, 1, pp. 28-36, (2017); Turner J.C., Social categorization and the self-concept: A social cognitive theory of group behavior, Advances in group processes: Theory and research, 2, pp. 77-122, (1985); Vaag J., Sund E.R., Bjerkeset O., Five-factor personality profiles among Norwegian musicians compared to the general workforce, Musicae Scientiae, 22, pp. 434-445, (2017); Wubbenhorst T.M., Personality characteristics of music educators and performers, Psychology of Music, 22, 1, pp. 63-74, (1994)","A. Butkovic; Department of Psychology, University of Zagreb, Croatia; email: abutkovic@ffzg.hr","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-85066926885"
"Eroğlu Ö.","Eroğlu, Özgür (57384901100)","57384901100","Integrating movable numbers into fixed-do system in solfege class: an action research study","2022","Music Education Research","24","1","","70","82","12","0","10.1080/14613808.2021.2015311","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85121701774&doi=10.1080%2f14613808.2021.2015311&partnerID=40&md5=022f8e921a7d9be3f31b430b544fc5bb","State Conservatory of Turkish Music, Atatürk University, Erzurum, Turkey","Eroğlu Ö., State Conservatory of Turkish Music, Atatürk University, Erzurum, Turkey","The aim of this study was to explore the impact of a new solfege course design, where movable numbers integrated into the fixed-do system, on students’ sight-singing skills. The procedure of this action research, carried out in two cycles, consists of three steps: ‘planning’, ‘acting and observing’ and ‘reflecting’. The course, which was designed in the planning step, was implemented by the researcher for 28 weeks in the acting and observing step. Data were collected through research diary, student interviews, midterm and final exams, and student self-evaluations. In the reflecting step, evaluation regarding the entire process was made and an improved version of the course design was formed at the end of each cycle. According to the results of Cycle 1, the necessity of rearranging the tonal patterns, and progressing more slowly in rhythm teaching has emerged. The results of Cycle 2 revealed the need to update the ‘rhythmic melody sight-singing’ materials in the last unit and to incorporate video assignments into the course design. The overall results showed that integrating movable numbers into the fixed-do system is an effective way to teach music reading skills in solfege class. © 2021 Informa UK Limited, trading as Taylor & Francis Group.","action research; course design; movable numbers; Music education; sight-singing; solfege teaching","","","","","","","","Asmus E.P., Music Teaching and Music Literacy, Journal of Music Teacher Education, 13, 2, pp. 6-8, (2004); Bresler L., Ethnography, Phenomenology and Action Research in Music Education, The Quarterly Journal of Music Teaching and Learning, 6, 3, pp. 16-18, (1995); Brittain L., Sight-singing Pedagogy: Research Applied to Classroom Methods, The Choral Journal, 39, 1, pp. 9-18, (1998); Brown K.D., An Alternative Approach to Developing Music Literacy Skills in a Transient Society, Music Educators Journal, 90, 2, pp. 46-54, (2003); Buzas Z., Marodi A., Nine months before the mother’s birth: teaching and assessment of music literacy skills, Book Music Education in the Focus of Historical Concepts and New Horizons, pp. 15-28, (2018); 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Eroğlu; Atatürk Üniversitesi Türk Musikisi Devlet Konservatuvarı, Yakutiye, Erzurum, 25240, Turkey; email: ozgureroglu76@yahoo.com","","Routledge","","","","","","14613808","","","","English","Music Educ. Res.","Article","Final","","Scopus","2-s2.0-85121701774"
"Lewandowska O.P.; Schmuckler M.A.","Lewandowska, Olivia Podolak (57215612797); Schmuckler, Mark A. (7004510942)","57215612797; 7004510942","Tonal and textural influences on musical sight-reading","2020","Psychological Research","84","7","","1920","1945","25","10","10.1007/s00426-019-01187-1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85081324070&doi=10.1007%2fs00426-019-01187-1&partnerID=40&md5=7c8547c77f1aa07f68dacd45b8129cf2","Department of Psychology, University of Toronto Scarborough, 1265 Military Trail Drive, Toronto, M1C 1A4, ON, United States","Lewandowska O.P., Department of Psychology, University of Toronto Scarborough, 1265 Military Trail Drive, Toronto, M1C 1A4, ON, United States; Schmuckler M.A., Department of Psychology, University of Toronto Scarborough, 1265 Military Trail Drive, Toronto, M1C 1A4, ON, United States","Two experiments investigated the impact of two structural factors—musical tonality and musical texture—on pianists’ ability to play by sight without prior preparation, known as musical sight-reading. Tonality refers to the cognitive organization of tones around a central reference pitch, whereas texture refers to the organization of music in terms of the simultaneous versus successive onsets of tones as well as the number of hands (unimanual versus bimanual) involved in performance. Both experiments demonstrated that tonality and texture influenced sight-reading. For tonality, both studies found that errors in performance increased for passages with lesser perceived psychological stability (i.e., minor and atonal passages) relative to greater perceived stability (i.e., major passages). For texture, both studies found that errors in performance increased for passages that were more texturally complex, requiring two-handed versus one-handed performance, with some additional evidence that the relative simultaneity of note onsets (primarily simultaneous versus primarily successive) also influenced errors. These experiments are interpreted within a perception–action framework of music performance, highlighting influences of both top-down cognitive factors and bottom-up motoric processes on sight-reading behavior. © 2019, Springer-Verlag GmbH Germany, part of Springer Nature.","","Adolescent; Adult; Female; Hand; Humans; Motion; Music; Reading; Visual Perception; Young Adult; adolescent; adult; female; hand; human; motion; music; physiology; psychology; reading; vision; young adult","","","","","Natural Sciences and Engineering Research Council of Canada, NSERC","This research was supported by grants awarded to Mark A. Schmuckler from the Natural Sciences and Engineering Research Council of Canada. The authors would like to thank Amy Lin, Jamie (Yuan Jun) Li, Aneesah Bari and Jenny Ho for their assistance in the recruitment of participants, and the collection of data. Data from this article were presented at the 12th annual Auditory Perception, Cognition and Action Meeting in Toronto, Canada, as well as the 13th International Conference on Music Perception and Cognition in Seoul, South Korea. The datasets generated and/or analyzed during the current study are available from the corresponding author upon reasonable request. 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(submitted), (2019); Schulze K., Dowling W.J., Tillman B., Working memory for tonal and atonal sequences during a forward and a backward recognition task, Music Perception, 29, pp. 255-267, (2012); Schulze K., Koelsch S., Working memory for speech and music, Annals of the New York Academy of Sciences, 1252, pp. 229-236, (2012); Simpson J., Huron D., Absolute pitch as a learned phenomenon: Evidence consistent with the Hick-Hyman law, Music Perception, 12, pp. 267-270, (1994); Sloboda J.A., The eye-hand span—An approach to the study of sight reading, Psychology of Music, 2, pp. 4-10, (1974); Sloboda J.A., Phrase units as determinants of visual processing in music reading, British Journal of Psychology, 68, pp. 117-124, (1977); Sloboda J.A., The psychology of music reading, Psychology of Music, 6, pp. 3-20, (1978); Sloboda J.A., Experimental studies of music reading: A review, Music Perception, 2, pp. 222-236, (1984); Stephan M.A., Brown R., Lega C., Penhue V.B., Melodic priming of motor sequence performance: The role of the dorsal premotor cortex, Frontiers in Neuroscience, 10, pp. 1-10, (2016); Stephan M.A., Heckel B., Song S., Cohen L.G., Crossmodal encoding of motor sequence memories, Psychological Research, 79, pp. 318-326, (2015); Tirovolas A.K., Levitin D.J., Music perception and cognition research from 1983 to 2010: A categorical and bibliometric analysis of empirical articles in Music Perception, Music Perception, 29, pp. 23-36, (2011); Todd N., A model of expressive timing in tonal music, Music Perception, 3, pp. 33-58, (1985); Truitt F.E., Clifton C., Pollatsek A., Rayner K., The perceptual span and the eye-hand span in sight reading music, Visual Cognition, 4, pp. 143-161, (1997); Vuvan D.T., Podolak O.M., Schmuckler M.A., Memory for musical tones: The impact of tonality and the creation of false memories, Frontiers in Psychology: Auditory Cognitive Neuroscience, 5, pp. 1-18, (2014); Vuvan D.T., Prince J.B., Schmuckler M.A., Probing the minor tonal hierarchy, Music Perception, 28, pp. 461-472, (2011); Vuvan D.T., Schmuckler M.A., Tonal hierarchy representations in auditory imagery, Memory and Cognition, 39, pp. 477-490, (2011); Wallace L., Beethoven’s letters 1790-1826 (Complete), (2004); Wolf T., A cognitive model of musical sight-reading, Journal of Psycholinguistic Research, 5, pp. 143-171, (1976); Wolfs Z.G., Boshuizen H.P., van Strien J.L., The role of positional knowledge and tonal approaches in cellists’ sight-reading, Musicae Scientiae, 22, pp. 1-18, (2018); Wollner C., Halfpenny E., Ho S., Kurosawa K., The effects of distracted inner hearing on sight-reading, Psychology of Music, 31, pp. 377-389, (2003); Wurtz P., Mueri R.M., Wiesendanger M., Sight-reading of violinists: Eye movements anticipate the musical flow, Experimental Brain Research, 194, pp. 445-450, (2009); Zatorre R.J., Chen J.L., Penhue V.B., When the brain plays music: Auditory-motor interactions in music perception and production, Nature Reviews, 8, pp. 547-558, (2007); Zatorre R.J., Evans A.C., Meyer E., Neural mechanisms underlying melodic perception and memory for pitch, Journal of Neuroscience, 14, pp. 1908-1919, (1994); Zhukov K., Exploring advanced piano students’ approaches to sight-reading, International Journal of Music Education, 32, pp. 487-498, (2014)","O.P. Lewandowska; Department of Psychology, University of Toronto Scarborough, Toronto, 1265 Military Trail Drive, M1C 1A4, United States; email: olivia.podolak@mail.utoronto.ca","","Springer","","","","","","03400727","","","31073771","English","Psychol. Res.","Article","Final","","Scopus","2-s2.0-85081324070"
"Dordzro J.-D.","Dordzro, John-Doe (57203405474)","57203405474","Teaching and learning strategies used by basic school band instructors in Accra, Ghana","2021","Journal of the Musical Arts in Africa","18","1","","77","94","17","0","10.2989/18121004.2021.2013005","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85121859522&doi=10.2989%2f18121004.2021.2013005&partnerID=40&md5=91be581ee1d675cba950f6c132f97959","University of Cape Coast, Cape Coast, Ghana","Dordzro J.-D., University of Cape Coast, Cape Coast, Ghana","Ghanaian scholarship in the field of instrumental music pedagogy is minimal. This article aims to examine the teaching and learning strategies demonstrated by basic school band instructors in the Accra metropolis of Ghana. Ten basic school bands and five school band instructors were purposively selected and studied in 2015 and 2016. Analyses of video recordings from rehearsals, fieldnotes and interviews revealed that teacher-directed instruction was the most used approach. To meet their teaching goals and objectives, most school band instructors used the rote teaching system with only a few utilising staff notation. Because of the many challenges of playing in a band, as well as the potential limitations of certain teaching approaches, instructors may need to consider other strategies such as teaching beyond the full-band class, implementing materials specifically intended for school bands, and utilising aural and visual models. © 2021 South African College of Music, University of Cape Town.","","","","","","","","","Austin J.R., Comprehensive musicianship research: Implications for addressing the national standards in music ensemble classes, Update: Applications of Research in Music Education, 17, 1, pp. 25-32, (1998); Banister S., Another view on beginning bands, The Instrumentalist, 57, 4, pp. 30-31, (2002); Barton G., Reflective practice in music: A collaborative professional approach, Teaching Reflective Learning in Higher Education: A Systematic Approach Using Pedagogic Patterns, pp. 65-76, (2015); Beecham J., Ashantee and the Gold Coast, (1841); Blocher L., Greenwood R., Shellahamer B., Teaching behaviors of middle school and high school band directors in the rehearsal settings, Journal of Research in Music Education, 45, 3, pp. 457-469, (1997); Button S., ‘Music teachers’ perceptions of effective teaching.’, Bulletin of the Council for Research in Music Education, 183, pp. 25-38, (2010); Carpenter R.A., (1986); Cavitt M.E., A descriptive analysis of error correction in instrumental music rehearsals, Journal of Research in Music Education, 51, 3, pp. 218-230, (2003); Chapman N.A., (2015); Compton K.R., (2015); National Standards for Arts Education: What Every Young American Should Know and be Able to Do in the Arts, (1994); Conway C.M., ‘Why wait to start beginning band rehearsals?, ’ Teaching Music, 5, 1, pp. 36-45, (1997); Creswell J.W., Qualitative Inquiry and Research Design: Choosing Among Five Approaches, (2007); Culp D.J., (2018); Danielson C., Enhancing Professional Practice: A Framework for Teaching, (1996); Davies D., Dodd J., Qualitative research and the question of rigor, Qualitative Health Research, 12, 2, pp. 279-289, (2002); Diehl D., Scheib J.W., Factors related to the integration of the creating and responding national standards in high school bands, Journal of Band Research, 48, 2, pp. 1-16, (2013); Dietz W., Teaching Woodwinds: A Method and Resource Handbook for Music Educators, (1998); Dordzro J., (2017); Dordzro J., ‘An exploration of Ghanaian basic school marching band pupils’ instrument choices.’, Journal of African Arts & Culture, 3, 3, pp. 25-50, (2019); Dordzro J., Informal brass band instruction in Ghana: A study of effective and efficient rehearsals using research findings, Journal of African Arts & Culture, 4, 3, pp. 1-27, (2020); Gardner H., Zero-based arts education: An introduction to Arts Propel, Studies in Art Education, 30, 2, pp. 71-83, (1989); Gonzalez L.S., (2001); Goolsby T.W., Time use in instrumental rehearsals: A comparison of experienced, novice, and student teachers, Journal of Research in Music Education, 44, 4, pp. 286-303, (1996); Goolsby T.W., Verbal instruction in instrumental rehearsals: A comparison of three career levels and preservice teachers, Journal of Research in Music Education, 45, 1, pp. 21-40, (1997); Goolsby T.W., ‘A comparison of expert and novice music teachers’ preparing identical band compositions: An operational replication.’, Journal of Research in Music Education, 47, 2, pp. 174-187, (1999); Groulx T.J., Three nations, one common root: A historical comparison of elementary music education in the United Kingdom, the United States, and Australia, Journal of Historical Research in Music Education, 34, 2, pp. 137-153, (2013); Gumm A., Music Teaching Style: Moving Beyond Tradition, (2003); Hartley L.A., Influence of starting grade and school organization on enrolment and retention in beginning instrumental music, Journal of Research in Music Education, 44, 4, pp. 304-318, (1996); Kemper R., When to start beginning oboists, Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist, pp. 649-650, (1972); Klinedinst R.E., Predicting performance achievement and retention of fifth-grade instrumental students, Journal of Research in Music Education, 39, 3, pp. 225-238, (1991); Leppert R.D., The Sight of Sound: Music, Representation, and the History of the Body, (1993); Luce D.W., Collaborative learning in music education: A review of the literature, Update: Applications of Research in Music Education, 19, 2, pp. 20-25, (2001); MacLeod R., A comparison of instructional strategies used by experienced band and orchestra teachers when teaching a first-year class an unfamiliar music excerpt, Bulletin of the Council for Research in Music Education, 185, pp. 49-61, (2010); Madsen C.K., Standley J.M., Cassidy J.W., Demonstration and recognition of high and low contrasts in teacher intensity, Journal of Research in Music Education, 37, 2, pp. 85-92, (1989); McPherson G.E., Zimmerman B.J., Self-regulation of musical learning: A social cognitive perspective, The New Handbook of Research on Music Teaching and Learning, pp. 327-347, (2002); Menchaca L.A., (1988); Merriam S.B., Qualitative Research: A Guide to Design and Implementation, (2009); Miles R., –2009). Teaching Music Through Performance in Band, (1997); Napoles J., Bowers J., ‘Differential effects of instructor feedback vs. self-observation analysis on music education majors’ increase of specific reinforcement in choral rehearsals.’, Bulletin of the Council for Research in Music Education, 183, pp. 39-48, (2010); (2014); Neuman W.L., 1991]). Social Research Methods: Qualitative and Quantitative Approaches, (2003); Otchere E.D., Reconsidering music in tertiary education: An empirical basis, Tertiary Education Series, 7, 1, pp. 1-18, (2014); Otchere E.D., Lost in the mix: A (hi)story of music in Ghanaian basic education, Journal of African Arts & Culture, 3, 1, pp. 1-13, (2019); O'Toole P., Shaping Sound Musicians: An Innovative Approach to Teaching Musicianship Through Performance, (2003); Parasiz G., The use of music technologies in field education courses and daily lives of music education department students (sample of Atatürk University), Universal Journal of Education Research, 6, 5, pp. 1005-1014, (2018); Piaget J., Memory and Intelligence, (1973); Pontious M.F., (1982); Prodan L.H., (2005); Reynolds A.M., Beitler N.S., Reflective practice in a middle-school instrumental setting, Bulletin of the Council for Research in Music Education, 173, pp. 55-69, (2007); Rumbolz R.C., (2000); Schwandt T.A., Dictionary of Qualitative Inquiry, (2001); Shapiro A., Case Studies in Constructivist Leadership and Teaching, (2003); Shively J., Constructivism in music education, Arts Education Policy Review, 116, 3, pp. 128-136, (2015); Silvey B.A., Springer D.G., Noon C.M., Baumgartner C.M., Scherer A.D., Montemayor M., ‘Band directors’ perceptions of instrumental conducting curricula.’, Journal of Music Teacher Education, 30, 1, pp. 65-78, (2020); Sink P.E., Behavioral research on direct music instruction, The New Handbook of Research on Music Teaching and Learning, pp. 315-326, (2002); Skube J.T., (2002); Stuber S., (1997); Tomlinson C.A., The Differentiated Classroom: Responding to the Needs of all Learners, (1999); Valle C., Andrade H., Palma M., Hefferen J., Applications of peer assessment and self- assessment in music, Music Educators Journal, 102, 4, pp. 41-49, (2016); Worthy M.D., Rehearsal frame analysis of an expert wind conductor in high school vs. college band rehearsals, Bulletin of the Council for Research in Music Education, 156, pp. 11-19, (2003); Wych G.M.F., Gender and instrument associations, stereotypes, and stratification: A literature review, Update: Applications of Research in Music Education, 30, 2, pp. 22-31, (2012); Yarbrough C., Price H.E., Sequential patterns of instruction in music, Journal of Research in Music Education, 37, 3, pp. 179-187, (1989)","J.-D. Dordzro; University of Cape Coast, Cape Coast, Ghana; email: doe.dordzro@ucc.edu.gh","","Routledge","","","","","","18121004","","","","English","J. Musical Arts Afr.","Article","Final","","Scopus","2-s2.0-85121859522"
"Guven E.","Guven, Elif (57031608900)","57031608900","Piano-accompanied solfège reading experiences of preservice music teachers","2021","Research Studies in Music Education","43","3","","417","433","16","1","10.1177/1321103X19871078","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85078587552&doi=10.1177%2f1321103X19871078&partnerID=40&md5=8886cd8b5bc01f51a79beaca45058865","Balikesir University, Turkey","Guven E., Balikesir University, Turkey","This study examines how piano-accompanied solfège reading practices of preservice music teachers (N = 28) affect their performance on their musical hearing, reading, and writing (MHRW) classes. A pretest–posttest design with control groups was employed. The data were analyzed by 2 × 2 split-plot analysis of variance (ANOVA) and one-way ANOVA. Consequently, a significant difference was not found between the MHRW performance scores of the experimental and control groups. An analysis of mean performance scores revealed that the scores received by the control group were higher than those of the experimental group after the practice. Follow-up interviews that were held with 14 students after the experimental implementation revealed that students believed piano-accompanied courses were more useful, and they felt more comfortable with piano accompaniment. Although MHRW performance scores indicated that piano-accompanied solfège reading practices did not have a significant effect on preservice music teachers’ MHRW performances, it helped them participate in courses more enthusiastically. © The Author(s) 2020.","ear training; music education; piano accompaniment; preservice music teachers; solfège","","","","","","","","Atterbury B.W., Silcox L., The effect of piano accompaniment on kindergartners’ developmental singing ability, Journal of Research in Music Education, 41, pp. 40-47, (1993); Bergonzi L., Effects of finger markers and harmonic context on performance of beginning string students, Journal of Research in Music Education, 45, pp. 197-211, (1997); Boyle J.D., Lucas K.V., The effect of context on sightsinging, Bulletin of the Council for Research in Music Education, 106, pp. 1-9, (1990); Brittin R.V., Children’s preference for sequenced accompaniments: The influence of style and perceived tempo, Journal of Research in Music Education, 48, pp. 237-248, (2000); Brittin R.V., Instrumentalists’ assessment of solo performances with compact disc, piano, or no accompaniment, Journal of Research in Music Education, 50, pp. 63-74, (2002); Burns R., Introduction to research methods, (2000); Costa-Giomi E., Recognition of chord changes by 4- and 5-year-old American and Argentine children, Journal of Research in Music Education, 42, pp. 68-85, (1994); English W.H., The relative effectiveness of the amount of piano accompaniment in beginning strings class instruction, (1985); Fine P., Younger H., Sight-singing performance and piano accompaniment, pp. 778-781, (2004); Geringer J.M., Intonational performance and perception of ascending scales, Journal of Research in Music Education, 26, pp. 32-40, (1978); Geringer J.M., Madsen C.K., Musicians’ ratings of good versus bad vocal and string performances, Journal of Research in Music Education, 46, pp. 522-534, (1998); Grutzmacher P.A., The effect of tonal pattern training on the aural perception, reading recognition, and melodic sight-reading achievement of first-year instrumental music students, Journal of Research in Music Education, 35, pp. 171-181, (1987); Guelker-Cone L., The unaccompanied choral rehearsal, Music Educators Journal, 85, 2, (1998); Guilbault D.M., The effect of harmonic accompaniment on the tonal achievement and tonal improvisations of children in kindergarten and first grade, Journal of Research in Music Education, 52, pp. 64-76, (2004); Guilbault D.M., The effects of harmonic accompaniment on the tonal improvisations of students in first through sixth grade, Journal of Research in Music Education, 57, pp. 81-91, (2009); Hair H.I., Verbal identification of music concepts, Journal of Research in Music Education, 29, pp. 11-21, (1981); Hale M.R., An experimental study of the comparative effectiveness of harmonic and melodic accompaniment in singing as it relates to the development of a sense of tonality, Bulletin of the Council for Research in Music Education, 53, pp. 23-30, (1977); Hedden D.G., Baker V.A., Perceptual and acoustical analyses of second graders’ pitch-matching ability in singing a cappella or with piano accompaniment, Bulletin of the Council for Research in Music Education, 184, pp. 35-48, (2010); Henry M.L., The use of targeted pitch skills for sight-singing instruction in the choral rehearsal, Journal of Research in Music Education, 52, pp. 206-217, (2004); Humphreys J.T., Measurement, prediction, and training of harmonic audiation and performance skills, Journal of Research in Music Education, 34, pp. 192-199, (1986); Ilari B., Sundara M., Music listening preferences in early life: Infants’ responses to accompanied versus unaccompanied singing, Journal of Research in Music Education, 56, pp. 357-369, (2009); Imberty M., Tonal acculturation and perceptual structuring of musical time in children, pp. 107-130, (1981); Kuhn T.L., Sims W.L., The effect of simultaneous melodic and harmonic accompaniment, pitch level, and song tones on first-grade students’ ability to sing correct pitches, pp. 153-167, (1983); Petzold R.G., Auditory perceptions of musical sounds by children in the first six grades, (1966); Shaw B., Jacks M., Stein R., Black W.C., Bailey G., Norton D., The idea bank: Teaching harmonic concepts at the elementary level, Music Educators Journal, 66, pp. 66-68, (1979); Sheldon D.A., Reese S., Grashel J., The effects of live accompaniment, intelligent digital accompaniment, and no accompaniment on musicians’ performance quality, Journal of Research in Music Education, 47, pp. 251-265, (1999); Stauffer S.L., An investigation of the effects of melodic and harmonic context on the development of singing ability in primary grade children (Doctoral dissertation, University of Michigan, 1985), Dissertation Abstracts International, 46, (1985); Sterling P., The effects of accompanying harmonic context on vocal pitch accuracy of a melody, Psychology of Music, 13, 2, pp. 72-80, (1985)","E. Guven; Balikesir University, Turkey; email: eguven@balikesir.edu.tr","","SAGE Publications Ltd","","","","","","1321103X","","","","English","Res. Stud. Music Educ.","Article","Final","","Scopus","2-s2.0-85078587552"
"Burwell K.","Burwell, Kim (48360975900)","48360975900","Authoritative discourse in advanced studio lessons","2021","Musicae Scientiae","25","4","","465","479","14","15","10.1177/1029864919896085","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85078182330&doi=10.1177%2f1029864919896085&partnerID=40&md5=718c4af26950288295d4c5d83c7c7fe0","University of New South Wales Australia, Australia","Burwell K., University of New South Wales Australia, Australia","The purpose of this paper is to explore authoritative discourses in advanced studio lessons. Authoritative approaches have been described variously as systematic instruction, direct teaching and teacher-centred, and they appear to be widely accepted in music education, and sought by advanced students. Concerns have been raised in general education theory about the limitations of such approaches, but they have been little researched in the context of studio teaching. This qualitative case study seeks evidence of authority in advanced studio behaviour, through Bakhtin’s account of dialogism and authoritative discourse and theories related to direct instruction. Specifically, an analysis is made of a single studio lesson given by an expert saxophone teacher to an undergraduate student. The terms of inquiry are focused on features of lesson dialogue, including representations of others as emblems of authority, the teacher’s initiation of tasks, student responses and teacher feedback. The study identifies internally consistent patterns of behaviour that provide abundant evidence of teacher-centred approaches to advanced studio tuition, which draw attention to the teacher’s personal expertise, privilege her perspective and convey a sense of her authority. However, the observed studio practices are found to be complex and sophisticated, with features of cognitive scaffolding that are inconsistent with authoritative discourse. It is argued that authoritative approaches are contingent on the subject matter, with their productivity contingent on the balance and match between participants’ expertise, commitment and purpose. © The Author(s) 2020.","authoritative discourse; Higher music education; instrumental teaching and learning; music pedagogy; systematic instruction in music education","","","","","","","","Bakhtin M.M., The dialogic imagination: Four essays, (1981); Bakhtin M.M., Speech genres and other late essays, (1986); Blunden A., An interdisciplinary theory of activity: Studies in critical social science, (2010); Britton J., Vygotsky’s contribution to pedagogical theory, English in Education, 21, pp. 22-26, (1987); Burwell K., Studio-based instrumental learning, (2012); Burwell K., ‘She did miracles for me’: An investigation of dissonant studio practices in higher education music, Psychology of Music, 44, pp. 466-480, (2016); Burwell K., Dissonance in the studio: An exploration of tensions within the apprenticeship setting in higher education music, International Journal of Music Education, 34, pp. 499-512, (2016); Burwell K., Feeling and thinking about studio practices: Exploring dissonance in semi-structured interviews with students in higher education music, British Journal of Music Education, 34, pp. 189-202, (2017); Burwell K., Coaching and feedback in the exercise periods of advanced studio voice lessons, Orfeu, 3, pp. 11-35, (2018); Burwell K., Issues of dissonance in advanced studio lessons, Research Studies in Music Education, 41, pp. 3-17, (2019); Burwell K., Carey G., Bennett D., Isolation in studio music teaching: The secret garden, Arts & Humanities in Higher Education, 18, pp. 372-394, (2019); Cazden C.B., Classroom discourse: The language of teaching and learning, (2001); Cheyne J.A., Tarulli D., Dialogue, difference and voice in the zone of proximal development, Theory & Psychology, 9, pp. 5-28, (1999); Colwell R., Roles of direct instruction, critical thinking, and transfer in the design of curriculum for music learning, MENC Handbook of Research on Music Learning, 1, pp. 84-139, (2011); Duke R.A., Measures of instructional effectiveness in music research, Bulletin of the Council for Research in Music Education, 143, pp. 1-48, (1999); Duke R.A., Henninger J.C., Effects of verbal corrections on student attitude and performance, Journal of Research in Music Education, 46, pp. 482-495, (1998); Duke R.A., Simmons A.L., The nature of expertise: narrative descriptions of 19 common elements observed in the lessons of three renowned artist-teachers, Bulletin of the Council for Research in Music Education, 170, pp. 7-19, (2006); Erickson F., Going for the zone: The social and cognitive ecology of teacher–student interaction in classroom conversations, Discourse, learning, and schooling, pp. 29-62, (1996); Erickson F., Comments on causality in qualitative inquiry, Qualitative Inquiry, 18, pp. 686-688, (2012); Gillespie A., Cornish F., Intersubjectivity: Towards a dialogical analysis, Journal for the Theory of Social Behaviour, 40, pp. 19-46, (2009); Hicks D., Contextual inquiries: A discourse-oriented study of classroom learning, Discourse, learning, and schooling, pp. 104-141, (1996); Hodges N.J., Franks I.M., Modelling coaching practice: The role of instruction and demonstration, Journal of Sports Sciences, 20, pp. 793-811, (2002); Holquist M., Dialogism: Bakhtin and his world, (1990); Howard V.A., Learning by all means: Lessons from the arts. A study in the philosophy of education, (1992); Hsu P., Roth W., From authoritative discourse to internally persuasive discourse: Discursive evolution in teaching and learning the language of science, Cultural Studies in Science Education, 9, pp. 729-733, (2014); Jorgensen H., Research into higher music education: An overview from a quality improvement perspective, (2009); Kennell R., Systematic research in studio instruction in music, The new handbook of research on music teaching and learning, pp. 243-256, (2002); Kostka M.J., An investigation of reinforcements, time use, and student attentiveness in piano lessons, Journal of Research in Music Education, 32, pp. 113-122, (1984); Kozulin A., A literary model for psychology, Discourse, learning and schooling, pp. 145-164, (1996); Kozulin A., Sociocultural contexts of cognitive theory, Human Development, 42, pp. 78-82, (1999); Lave J., Wenger E., Situated learning: Legitimate peripheral participation, (1991); Lock A., Strong T., Social constructionism: Sources and stirrings in theory and practice, (2010); Marchand D.J., A study of two approaches to developing expressive performance, Journal of Research in Music Education, 23, pp. 14-22, (1975); Maxwell J.A., Using numbers in qualitative research, Qualitative Inquiry, 16, pp. 475-482, (2010); Mehan H., ‘What time is it, Denise?’: Asking known information questions in classroom discourse, Theory into Practice, 18, pp. 285-294, (1979); Mehan H., The study of social interaction in educational settings: Accomplishments and unresolved issues, Human Development, 41, pp. 245-269, (1998); Nerland M., One-to-one teaching as cultural practice: Two case studies from an academy of music, Music Education Research, 9, pp. 399-416, (2007); Nerland M., Hanken I.M., Academies of music as arenas for education: Some reflections on the institutional construction of teacher–student relationships, Research in and for higher education, pp. 167-186, (2002); Nettl B., Heartland excursions: Ethnomusicological reflections on schools of music, (1995); Nielsen K.N., Learning at the Academy of Music as socially situated, (1999); O'Connor M.C., Michaels S., Aligning academic task and participation status through revoicing: Analysis of a classroom discourse strategy, Anthropology & Education Quarterly, 24, pp. 318-335, (1993); Perakyla A., Reliability and validity in research based on tapes and transcripts, Qualitative research: Theory, method and practice, pp. 201-220, (1997); Persson R., Control before shape – on mastering the clarinet: A case study on commonsense teaching, British Journal of Music Education, 11, pp. 223-238, (1994); Pomerantz A., Extreme case formulations: A way of legitimizing claims, Human Studies, 9, (1986); Radley A., Chamberlain K., The study of the case: Conceptualising case study research, Journal of Community & Applied Social Psychology, 22, pp. 390-399, (2012); Rosenshine B., Froehlich H., Fakhouri I., Systematic instruction, The new handbook of research on music teaching and learning, pp. 299-314, (2002); Sink P.E., Behavioural research on direct music instruction, The new handbook of research on music teaching and learning, pp. 315-326, (2002); Sosniak L.A., Learning to be a concert pianist, Developing talent in young people, pp. 19-67, (1985); Sosniak L.A., The phases of learning, Developing talent in young people, pp. 409-438, (1985); Speer D.R., An analysis of sequential patterns of instruction in piano lessons, Journal of Research in Music Education, 42, pp. 14-26, (1994); Stake R.E., The art of case study research, (1995); Vygotsky L.S., Mind in society: The development of higher psychological processes, (1979); Vygotsky L.S., Genesis of the higher mental functions, Learning to think, pp. 32-41, (1981); Vygotsky L.S., Thought and language, (1986); Wertsch J.V., Mind as action, (1997); Yarbrough C., Price H.E., Sequential patterns of instruction in music, Journal of Research in Music Education, 37, pp. 179-187, (1989); Yin R.K., The abridged version of case study research: Design and method, Handbook of applied social research methods, pp. 229-259, (1998)","K. Burwell; University of New South Wales Australia, Australia; email: k.burwell@unsw.edu.au","","SAGE Publications Ltd","","","","","","10298649","","","","English","Musicae Scientiae","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-85078182330"
"dos Santos R.A.T.; dos Santos R.P.","dos Santos, Regina Antunes Teixeira (26036301600); dos Santos, Rafael Puchalski (57218991330)","26036301600; 57218991330","Developing a Tool for Music Theory Placement: An Emphasis on Implicitly Learned Abilities","2021","Journal of Research in Music Education","69","1","","43","61","18","5","10.1177/0022429420949963","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85090947491&doi=10.1177%2f0022429420949963&partnerID=40&md5=6f1cdaa06c63f8eb4a3c167fc9b7cc15","Federal University of Rio Grande do Sul, Porto Alegre, Brazil","dos Santos R.A.T., Federal University of Rio Grande do Sul, Porto Alegre, Brazil; dos Santos R.P., Federal University of Rio Grande do Sul, Porto Alegre, Brazil","Addressing the disparate levels of aural skills that students may have acquired through their daily musical experiences prior to formal schooling can be difficult. Placement tests within the Western classical musical tradition typically involve structural decoding and formal concepts of elementary music theory. In this manuscript, we discuss the development of a music placement evaluation for beginner students (N = 539) involved in the ear training and music theory classes of a university outreach program. The measure consisted of 12 aural skills tasks inspired by the principles of Serafine’s music development model that assessed knowledge acquired from daily music experiences without stressing the formal nomenclature of music theory. Stimuli were comprised of temporal (idiomatic construction and textural abstraction) and nontemporal processes (melodic closure, harmonic closure, transformation, and hierarchical levels) according to Serafine’s model. The comprehension of tempo, register, and melodic contours also was evaluated. The use of real music excerpts, some of which likely belonged to students’ own repertoires, may have helped the students to concentrate on the cognitive/aural tasks. The implications of this evaluation for music education are discussed. © National Association for Music Education 2020.","aural skills; music cognition; music theory; placement evaluation","","","","","","Conselho Nacional de Desenvolvimento Científico e Tecnológico, CNPq, (312186/2019-3); Fundação de Amparo à Pesquisa do Estado do Rio Grande do Sul, FAPERGS, (19/2551-0001945-9)","The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: R.A.T.S is thankful for CNPq (Project 312186/2019-3) and FAPERGS (19/2551-0001945-9) for financial support. R.P.S. is thankful to FAPERGS for the grant. ","Adams C.R., Melodic contour typology, Ethnomusicology, 20, 2, pp. 179-215, (1976); Atar H.Y., Sayin A., Atar B., Examination of the classification of accuracy of music education special aptitude exams, Educational Sciences: Theory & Practice, 13, 3, pp. 1573-1577, (2013); Bigand E., More about the musical expertise of musically untrained listeners, Annals of the New York Academy of Sciences, 999, pp. 304-312, (2003); Bigand E., McAdams S., Foret S., Divided attention in music, International Journal of Psychology, 35, 6, pp. 270-278, (2000); Bigand E., Vieillard S., Madurell F., McAdams S., Poulin B., Effects of instrumentation on the memorization of musical materials, Proceedings of the 7th International Conference on Music Perception and Cognition, (2002); Brown A.V., Thompson G.L., The evolution of foreign language AP Exam candidates: A 36-year descriptive study, Foreign Language Annals, 49, 2, pp. 235-251, (2016); Castro M.G., De Alves D.A., Teaching, research and outreach program at the Universidade Federal de Viçosa: Origin and institutional trajectory (1926–1988), Revista Brasileira de Educação, 22, 70, pp. 752-773, (2017); Cook N., The perception of large-scale tonal closure, Music Perception, 5, 2, pp. 197-205, (1987); Demorest S.M., Morrison S.J., Vu Nguyen V.Q., Bodnar E.N., The influence of contextual cues on cultural bias in music memory, Music Perception: An interdisciplinary Journal, 33, 5, pp. 590-600, (2016); Deutsch D., Grouping mechanisms in music, The psychology of music, pp. 183-325, (2013); Dowling W.J., Harwood D.L., Music cognition, (1986); Dyson M.C., Watkins A.J., A figural approach to the role of melodic contour in melody recognition, Perception & Psychophysics, 35, pp. 477-488, (1984); Eckes T., Setting cut scores on an EFL placement test using the prototype group method: A receiver operating characteristic (ROC) analysis, Language Testing, 34, 3, pp. 383-411, (2017); Fujioka T., Trainer L.J., Ross B., Kakigi R., Pantev C., Automatic encoding to polyphonic melodies in musicians and nonmusicians, Journal of Cognitive Neuroscience, 17, 10, pp. 1578-1592, (2005); Gomes V.E., Vargas A.M.D., Ferreira E.F., The academic dimension of university extension programs, Brazilian Oral Research, 27, 5, pp. 387-388, (2013); Grannan-Rubenstein G., Grannan-Rubenstein W., Thibodeau P., Enculturation effects of musical training on pitch discrimination, Proceedings of the Annual Meeting of the Cognitive Science Society, 36, pp. 2985-2989, (2014); Hallam S., Shaw J., Constructions of musical ability, Bulletin of the Council for Research in Music Education, 153, 4, pp. 102-108, (2002); Hargreaves D., Lamont A., The psychology of musical development, (2017); Heffner C.C., Slevc L.R., Prosodic structure as a parallel to musical structure, Frontiers in Psychology, 6, (2015); Hilton P.R., Brownlow C., McMurray I., Cozeris B., SPSS explained, (2004); Huron D., Voice denumerability in polyphonic music of homogeneous timbres, Music Perception, 6, 4, pp. 361-382, (1989); Kennedy M., The Oxford dictionary of music, (1985); Lapidaki E., Stability of tempo perception in music listening, Music Education Research, 2, 1, pp. 25-44, (2000); Lerdahl F., Jackendoff R.A., Generative theory of tonal music, (1983); Lessa B.S., De Souza A.C.A.A., Silva-Filho J.C.L., From the Brazilian semiarid to university: The incorporation of a Cooperative Learning Project as academic extension, Brazilian Journal of Science and Technology, 3, 6, pp. 1-13, (2016); Lim A., Doumas A.A., Sinnett S., Supramodal representations in melodic perception, Proceedings of the Thirty-Sixty Annual Conference of the Cognitive Science Society, pp. 2573-2578, (2014); Madaus G.F., Airasian P.W., Placement, formative, diagnostic, and summative evaluation of classroom learning, pp. 1-24, (1970); McAdams S., Matzkin D., Similarity, invariance, and musical variation, Annals of the New York Academy of Sciences, 930, pp. 62-76, (2001); McAdams S., Matzkin D., The roots of musical variation in perceptual similarity and invariance, The cognitive neuroscience of music, pp. 79-94, (2003); McMullen E., Saffran J.R., Music and language: A development comparison, Music Perception, 21, 3, pp. 289-311, (2004); Neuhaus C., Knosche T.R., Friederici A.D., Similarity and Repetition. An ERP study on musical form perception, Annals of the New York Academy of Sciences, 1169, pp. 485-489, (2009); North A., Hargreaves D., The social and applied psychology of music, (2008); Prince J.B., Schmuckler M.A., Thompson W.F., Cross-modal melodic contours similarity, Canadian Acoustics, 37, 1, pp. 37-49, (2009); Robinson K., Patterson R.D., The duration required to identify an instrument, the octave, or the pitch chroma of a musical note, Music Perception, 13, 1, pp. 127-140, (1995); Quinn S., Watt R., The perception of tempo in music, Perception, 53, 2, pp. 267-280, (2006); Runfola M., Swanwick K., Developmental characteristics of music learners (2002), The new handbook of research on music teaching and learning, pp. 373-397, (2002); Saffran J.R., Johnson E.K., Aslin R.N., Newport E.L., Statistical learning of tone sequence by human infants and adults, Cognition, 70, 1, pp. 27-52, (1999); Schwarzer G., Analytic and holistic modes in the development of melody perception, Psychology of Music, 25, 1, pp. 35-56, (1987); Serafine M.L., Music as cognition. The development of though in sound, (1988); Stevens C., Music perception and cognition: A review of recent cross-cultural research, Topics in Cognitive Science, 4, 4, pp. 653-667, (2012); Swanwick K., Musical development theories revisited, Music Education Research, 3, 2, pp. 227-242, (2001); Thaut M.H., Trimarchi P.D., Parsons L.M., Human brain basis of musical rhythm perception: Common and distinct neural substrates for meter, tempo, and pattern, Brain Science, 4, 2, pp. 428-452, (2014); Thompson W.F., Schellenberg E.G., Listening to music, MENC handbook of music cognition and development, pp. 72-123, (2006); Timpe-Laughlin V., Choi I., Exploring the validity of a second language intercultural pragmatics assessment tool, Language Assessment Quarterly, 14, 1, pp. 19-35, (2017); Torff B., A comparative review of human ability theory: Context, structure and development, The new handbook of research on music teaching and learning, pp. 509-521, (2002); Van der Weij B., Pearce M.T., Honing H., A probabilistic model of meter perception: Simulating enculturation, Frontiers in Psychology, 8, (2017)","R.A.T. dos Santos; Federal University of Rio Grande do Sul, Porto Alegre, Brazil; email: regina.teixeira@ufrgs.br","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-85090947491"
"Høffding S.; Yi W.; Lippert E.; Sanchez V.G.; Bishop L.; Laeng B.; Danielsen A.; Jensenius A.R.; Wallot S.","Høffding, Simon (55459462100); Yi, Wenbo (58292008000); Lippert, Eigil (58292008100); Sanchez, Victor Gonzales (57193544918); Bishop, Laura (55612865300); Laeng, Bruno (6603814176); Danielsen, Anne (7004505364); Jensenius, Alexander Refsum (14026820200); Wallot, Sebastian (38762545900)","55459462100; 58292008000; 58292008100; 57193544918; 55612865300; 6603814176; 7004505364; 14026820200; 38762545900","Into the Hive-Mind: Shared Absorption and Cardiac Interrelations in Expert and Student String Quartets","2023","Music and Science","6","","","","","","9","10.1177/20592043231168597","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85160423427&doi=10.1177%2f20592043231168597&partnerID=40&md5=086ee1cd4f4534d723e0cf8c5d9555bf","RITMO Center for Interdisciplinary Studies in Rhythm, Time, and Motion, University of Oslo, Oslo, Norway; Department of Sport Science and Clinical Biomechanics, University of Southern Denmark, Odense, Denmark; Department of Musicology, University of Oslo, Oslo, Norway; Department of Psychology, McGill University, Montreal, Canada; Department of Space Research and Technology, Technical University of Denmark, Lyngby, Denmark; SINTEF, Oslo, Norway; Department of Psychology, University of Oslo, Oslo, Norway; Institute of Psychology, Leuphana University Lüneburg, Lüneburg, Germany","Høffding S., RITMO Center for Interdisciplinary Studies in Rhythm, Time, and Motion, University of Oslo, Oslo, Norway, Department of Sport Science and Clinical Biomechanics, University of Southern Denmark, Odense, Denmark; Yi W., RITMO Center for Interdisciplinary Studies in Rhythm, Time, and Motion, University of Oslo, Oslo, Norway, Department of Musicology, University of Oslo, Oslo, Norway, Department of Psychology, McGill University, Montreal, Canada; Lippert E., RITMO Center for Interdisciplinary Studies in Rhythm, Time, and Motion, University of Oslo, Oslo, Norway, Department of Space Research and Technology, Technical University of Denmark, Lyngby, Denmark; Sanchez V.G., RITMO Center for Interdisciplinary Studies in Rhythm, Time, and Motion, University of Oslo, Oslo, Norway, SINTEF, Oslo, Norway; Bishop L., RITMO Center for Interdisciplinary Studies in Rhythm, Time, and Motion, University of Oslo, Oslo, Norway, Department of Musicology, University of Oslo, Oslo, Norway; Laeng B., RITMO Center for Interdisciplinary Studies in Rhythm, Time, and Motion, University of Oslo, Oslo, Norway, Department of Psychology, University of Oslo, Oslo, Norway; Danielsen A., RITMO Center for Interdisciplinary Studies in Rhythm, Time, and Motion, University of Oslo, Oslo, Norway, Department of Musicology, University of Oslo, Oslo, Norway; Jensenius A.R., RITMO Center for Interdisciplinary Studies in Rhythm, Time, and Motion, University of Oslo, Oslo, Norway, Department of Musicology, University of Oslo, Oslo, Norway; Wallot S., Institute of Psychology, Leuphana University Lüneburg, Lüneburg, Germany","Expert musicians portray awe-inspiring precision, timing, and phrasing and may be thought to partake in a “hive-mind.” Such a shared musical absorption is characterized by a heightened empathic relation, mutual trust, and a sense that the music “takes over,” thus uniting the performers’ musical intentions. Previous studies have found correlations between empathic concern or shared experience and cardiac synchrony (CS). We aimed to investigate shared musical absorption in terms of CS by analyzing CS in two quartets: a student quartet, the Borealis String Quartet (BSQ), and an expert quartet, the Danish String Quartet (DSQ), world-renowned for their interpretations and cohesion. These two quartets performed the same Haydn excerpt in seven conditions, some of which were designed to disrupt their absorption. Using multidimensional recurrence quantification analysis (MdRQA), we found that: (1) performing resulted in significantly increased CS in both quartets compared with resting; (2) across all conditions, the DSQ had a significantly higher CS than the BSQ; (3) the BSQ's CS was inversely correlated with the degree of disruption; 4) for the DSQ, the CS remained constant across all levels of disruption, besides one added extreme disruption—a sight-reading condition. These findings tentatively support the claim that a sense of shared musical absorption, as well as group expertise, is correlated with CS. © The Author(s) 2023.","Cardiac synchrony; expert musicianship; multidimensional recurrence quantification analysis; shared musical absorption","","","","","","Borealis String Quartet; Danish String Quartet; University of Oslo and the Research Council of Norway, (262762, 311746); Deutsche Forschungsgemeinschaft, DFG, (442405852); Deutsche Forschungsgemeinschaft, DFG","Funding text 1: This work was supported by the University of Oslo and the Research Council of Norway through its Centres of Excellence scheme, project number 262762 as well as its IKTPLUSS initiative, project number 311746. Sebastian Wallot was supported by German Science Foundation (DFG; grant number 442405852). ; Funding text 2: We would like to thank the Danish String Quartet and the Borealis String Quartet for participating in the experiments. We also thank Andreas Roepstorff for his instrumental role in shaping the work. Finally, we sincerely thank all RITMO members who supported this work. This work was supported by the University of Oslo and the Research Council of Norway through its Centres of Excellence scheme, project number 262762 as well as its IKTPLUSS initiative, project number 311746. Sebastian Wallot was supported by German Science Foundation (DFG; grant number 442405852).","Benson C., The absorbed self: Pragmatism, psychology, and aesthetic experience, (1993); Bernardi L., Porta C., Casucci G., Balsamo R., Bernardi N.F., Fogari R., Sleight P., Dynamic interactions between musical, cardiovascular, and cerebral rhythms in humans, Circulation, 119, 25, pp. 3171-3180, (2009); Bernardi L., Porta C., Sleight P., Cardiovascular, cerebrovascular, and respiratory changes induced by different types of music in musicians and non-musicians: The importance of silence, Heart (British Cardiac Society), 92, 4, pp. 445-452, (2006); Bernardi N.F., Codrons E., di Leo R., Vandoni M., Cavallaro F., Vita G., Bernardi L., Increase in synchronization of autonomic rhythms between individuals when listening to music, Frontiers in Physiology, 8, (2017); Bishop L., Cancino-Chacon C., Goebl W.; Bishop L., Goebl W., When they listen and when they watch: Pianists’ use of nonverbal audio and visual cues during duet performance, Musicae Scientiae, 19, 1, pp. 84-110, (2015); 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General, 144, 4, pp. 873-888, (2015); Takens F., Detecting strange attractors in turbulence, Dynamical systems and turbulence, warwick 1980, 898, pp. 366-381, (1981); Tomashin A., Gordon I., Wallot S., Interpersonal physiological synchrony predicts group cohesion, Frontiers in Human Neuroscience, 16, (2022); Vickhoff B., Malmgren H., Astrom R., Nyberg G., Ekstrom S.-R., Engwall M., Snygg J., Nilsson M., Jornsten R., Music structure determines heart rate variability of singers, Frontiers in Psychology, 4, (2013); Wallot S., Fusaroli R., Tylen K., Jegindo E.-M., Using complexity metrics with R-R intervals and BPM heart rate measures, Frontiers in Physiology, 4, (2013); Wallot S., Leonardi G., Analyzing multivariate dynamics using cross-recurrence quantification analysis (CRQA), diagonal-cross-recurrence profiles (DCRP), and multidimensional recurrence quantification analysis (MdRQA) – A tutorial in R, Frontiers in Psychology, 9, (2018); Wallot S., Mitkidis P., McGraw J.J., Roepstorff A., Beyond synchrony: Joint action in a complex production task reveals beneficial effects of decreased interpersonal synchrony, PLOS ONE, 11, 12; Wallot S., Mitkidis P., McGraw J.J., Roepstorff A., Beyond synchrony: Joint action in a complex production task reveals beneficial effects of decreased interpersonal synchrony, PLOS ONE, 11, 12; Wallot S., Monster D., Calculation of average mutual information (AMI) and false-nearest neighbors (FNN) for the estimation of embedding parameters of multidimensional time series in Matlab, Frontiers in Psychology, 9, (2018); Wallot S., Roepstorff A., Monster D., Multidimensional Recurrence Quantification Analysis (MdRQA) for the Analysis of Multidimensional Time-Series: A Software Implementation in MATLAB and Its Application to Group-Level Data in Joint Action, Frontiers in Psychology, 7; Wright S.E., Palmer C., Physiological and behavioral factors in Musicians’ performance tempo, Frontiers in Human Neuroscience, 14, (2020); Yoon H., Choi S.H., Kim S.K., Kwon H.B., Oh S.M., Choi J.-W., Lee Y.J., Jeong D.-U., Park K.S., Human Heart Rhythms Synchronize While Co-sleeping, Frontiers in Physiology, 10, (2019)","S. Høffding; RITMO Center for Interdisciplinary Studies in Rhythm, Time, and Motion, University of Oslo, Oslo, Norway; email: simon.hoffding@imv.uio.no","","SAGE Publications Inc.","","","","","","20592043","","","","English","Music. Sci.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85160423427"
"de Quadros A.; Abrahams F.","de Quadros, André (56155886900); Abrahams, Frank (57191449038)","56155886900; 57191449038","No justice, no peace: an arts-based project with a college choir","2022","Music Education Research","24","5","","533","548","15","1","10.1080/14613808.2022.2134330","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85141712337&doi=10.1080%2f14613808.2022.2134330&partnerID=40&md5=2e4af000f389364c998be073f7461040","Music Education, Boston University, Boston, United States; Westminster Choir College of Rider University, Lawrenceville, United States","de Quadros A., Music Education, Boston University, Boston, United States; Abrahams F., Westminster Choir College of Rider University, Lawrenceville, United States","This study examined the changes in perception toward systemic racism of twenty-six first-year students at a mid-sized university in central New Jersey. All were members of the first-year choir and, with their conductor, participated in a three-week workshop called ‘No Justice, No Peace.’ The goal was to examine social justice issues and systemic racism in society and to produce multimedia works of art to express their changing attitudes. Reacting to prompts by the facilitator, they created original poetry, singing, movement, and visual art projects recorded and posted on YouTube for public viewing. Critical pedagogy, critical pedagogy for music education, and activist pedagogy provided the theoretical frameworks. Coding techniques from the grounded theory literature offered a structure for the data analysis. We invited four students from the choir to participate in open-ended interviews and to share their final projects. We found that the students had positive feelings about the project, which did provide a safe space for dialogue among the students. But little changed in their attitudes and understandings about systemic racism and/or their commitments to social justice by condemning acts of racism and injustice when they see evidence of it in society. © 2022 Informa UK Limited, trading as Taylor & Francis Group.","Activist music pedagogy; black lives matter; racism; social justice","","","","","","","","Abad-Santos A., (2014); Abrahams F., The Application of Critical Pedagogy to Music Teaching and Learning, Visions of Research in Music Education, 6, pp. 1-16, (2005); Abrahams F., Critical Pedagogy for Music Education Editorial, Visions of Research in Music Education, 6, pp. 1-2, (2005); Abrahams F., Critical Pedagogy for Music Education: A Best Practice to Prepare Future Music Educators, Visions of Research in Music Education, 7, 1, pp. 1-8, (2006); Abrahams F., Musicing Paulo Freire: A Critical Pedagogy for Music Education, Critical Pedagogy: Where Are We Now?, pp. 223-237, (2007); Abrahams F., Hosanna, Hanukah, and Hegemony: Anti-Semitism in the Music Classroom, Exploring Social Justice: How Music Education Might Matter, pp. 325-342, (2009); Abrahams F., Starbucks Doesn’t Sell Hot Cross Buns: Embracing New Priorities for Pre-Service Music Teacher Preparation Programs, Promising Practices in 21st Century Music Teacher Education, pp. 41-60, (2014); Abrahams F., Teaching Music for Social Justice, Tempo, 75, 2, pp. 38-41, (2021); Abrahams F., Schmidt P., A New Sound for Urban Schools: Rethinking How We Plan, Teaching Music in the Urban Classroom, pp. 153-163, (2006); Allsup R.E., Shieh E., Social Justice and Music Education: The Call for a Public Pedagogy, Music Educators Journal, 98, 4, pp. 47-51, (2012); Benedict C., Schmidt P., Spruce G., Woodford P., The Oxford Handbook of Social Justice in Music Education, (2015); Bergonzi L., Sexual Orientation and Music Education: Continuing a Tradition, Music Educators Journal, 96, 2, pp. 21-25, (2009); Boler M., All Speech Is Not Free: The Ethics of ‘Affirmative Action Pedagogy, Counterpoints, 240, pp. 3-13, (2004); Bradley D., Music Education, Multiculturalism, and Anti-Racism– Can We Talk?, Action, Criticism, and Theory in Music Education, 5, 2, pp. 2-30, (2006); Brodkin K., How Jews Become White Folks and What That Says About Race in America, (1998); Byrd J., Whitewashing Blackface Minstrelsy in American College Textbooks, Popular Music and Society, 32, 1, pp. 77-86, (2009); Charmaz K., Constructing Grounded Theory: A Practical Guide Through Qualitative Analysis, (2006); (2020); (2020); Crenshaw K., Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory, and Antiracist Politics, University of Chicago Legal Forum, 1989, pp. 139-168, (1989); De La Cancela V., Sotomayor G.M., Rainbow Warriors: Reducing Institutional Racism in Mental Health, Journal of Mental Health Counseling, 15, 1, pp. 55-71, (1993); de Quadros A., Case Illustration: I Once Was Lost But Now Am Found: Music and Embodied Arts in Two American Prisons, The Oxford Textbook of Creative Arts, Health and Wellbeing, pp. 187-192, (2016); de Quadros A., Laurel Richardson: Permission Study, Permission: The International Interdisciplinary Impact of Laurel Richardson’s Work, pp. 4-35, (2016); de Quadros A., Community Music Portraits of Struggle, Identity, and Togetherness, The Oxford Handbook of Community Music, pp. 65-280, (2018); de Quadros A., Nurturing Vulnerability in Imprisoned Manhood: A Spirit Journey, Queering Freedom: Music, Identity, and Spirituality, pp. 187-200, (2018); de Quadros A., Amrein E., Empowering Song: Music Education from the Margins, (2022); DiAngelo R., White Fragility: Why It’s So Hard for White People to Talk About Racism, (2018); Ermolaeva K., (2019); Ewell P., (2020); Flowers H., Just Mercy, (2019); Forness J., Reconsidering the Role of Stephen Foster in the Music Classroom, Music Educators Journal, 103, 2, pp. 58-63, (2016); Freire P., Pedagogy of the Oppressed, (1970); Good-Perkins E., Culturally Sustaining Music Education and Epistemic Travel, Philosophy of Music Education Review, 29, 1, pp. 47-66, (2021); Gould E., Social Justice in Music Education: The Problematic of Democracy, Music Education Research, 9, 2, pp. 229-240, (2007); Greene M., Releasing the Imagination: Essays on Education, the Arts, and Social Change, (1995); Hess J., Detroit Youth Speak Back: Rewriting Deficit Perspectives Through Songwriting, Bulletin of the Council for Research in Music Education, 27, 6, pp. 7-30, (2018); Hess J., Music Education for Social Change: Construction an Activist Music Education, (2019); Holland D., Lachicotte W., Skinner D., Cain C., Identity and Agency in Cultural Worlds, (1998); Jost J.T., Kay A.C., Social Justice: History, Theory, and Research, The Handbook of Social Psychology, Volume 1, pp. 1122-1165, (2010); Kallio A.A., Towards Solidarity Through Conflict: Listening for the Morally Irreconcilable in Music Education, Difference and Division in Music Education, pp. 163-176, (2020); Kendi I.X., How to be an Antiracist, (2019); King M.L., Letter from Birmingham Jail, UC Davis Law Review, 26, 4, pp. 835-852, (1963); Laes T., Westerlund H., Performing Disability in Music Teacher Education: Moving Beyond Inclusion Through Expanded Professionalism, International Journal of Music Education, 36, 1, pp. 34-46, (2018); (2018); Marya R., (2020); Matthews R.S., Beyond Toleration: Facing the Other, The Oxford Handbook of Social Justice in Music, pp. 238-249, (2015); McCall J.M., Speak No Evil: Talking Race as an African American in Music Education, Marginalized Voices in Music Education, pp. 13-27, (2017); Oluo I., So You Want to Talk About Race, (2018); Palkki J., Caldwell P., ‘We are Often Invisible’: A Survey on Safe Space for LGBTQ Students in Secondary School Choral Programs, Research Studies in Music Education, 40, 1, pp. 28-49, (2017); Ridley C.R., Overcoming Unintentional Racism in Counseling and Therapy, (1995); (1988); Taylor S.R., The Body is Not an Apology: The Power of Radical Self-Love, (2018); Urbach M., (2019); Vaugeois L., Social Justice and Music Education: Claiming the Space of Music Education as a Site of Postcolonial Contestation, Action, Criticism, and Theory for Music Education, 6, 4, pp. 163-200, (2007); Warwick J., (2020); Watts R.J., Carter R.T., Psychological Aspects of Racism in Organizations, Group and Organizational Studies, 16, pp. 328-344, (1991); Wildeman C., (2018); Wilkerson I., Caste: The Origins of Our Discontents, (2020); Zuckerman M., Some Dubious Premises in Research and Theory on Racial Differences: Scientific, Social, and Ethical Issues, American Psychologist, 45, pp. 1297-1303, (1990)","A. de Quadros; Music Education, Boston University, Boston, 855 Commonwealth Avenue, 02215-1300, United States; email: adq@bu.edu","","Routledge","","","","","","14613808","","","","English","Music Educ. Res.","Article","Final","","Scopus","2-s2.0-85141712337"
"Neto P.D.A.S.D.O.; Delmolin de Oliveira G.A.","Neto, Pedro de Alcântara Senra de Oliveira (57211680411); Delmolin de Oliveira, Guilherme Alves (57211688544)","57211680411; 57211688544","Differences between scale steps and absolute interval sizes: A new test for intervallic awareness","2021","Psychology of Music","49","3","","413","425","12","3","10.1177/0305735619869456","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85074843627&doi=10.1177%2f0305735619869456&partnerID=40&md5=62b8b43b360e22c12f2cdcc0dd495b36","Institute of Arts, State University of Campinas, Campinas, Brazil; Center of Mathematics, Computing and Cognition (CMCC), Federal University of ABC, Santo Andre, Brazil","Neto P.D.A.S.D.O., Institute of Arts, State University of Campinas, Campinas, Brazil; Delmolin de Oliveira G.A., Center of Mathematics, Computing and Cognition (CMCC), Federal University of ABC, Santo Andre, Brazil","Musical scales can be described as either an organization of scale-step degrees or as a pattern of absolute interval sizes. Even though experimental data show that these two melodic features might have different perceptual implications, not every music education method or psychology experiment separately accounts for them. The present study undertakes an investigation of scale steps, absolute interval sizes, and their cognitive role on melodic perception. The development and partial validation of a new psychometric instrument are reported, and the results are discussed in regard to its experimental and educational implications. © The Author(s) 2019.","intervallic awareness; intervals; melodic perception; scale steps; sight-singing","","","","","","Brazilian agency FAPESP; Fundação de Amparo à Pesquisa do Estado de São Paulo, FAPESP","Funding text 1:    https://orcid.org/0000-0001-5707-1545  Neto Pedro de Alcântara Senra de Oliveira  1    Delmolin de Oliveira Guilherme Alves  2   1 Institute of Arts, State University of Campinas, Campinas, Brazil  2 Center of Mathematics, Computing and Cognition (CMCC), Federal University of ABC, Santo Andre, Brazil  Pedro de Alcântara Senra de Oliveira Neto, Center of Mathematics, Computing and Cognition (CMCC), Federal University of ABC, Bangú, Santo André, 0921-580, Brazil. Email: pasoneto@gmail.com  10 2019  0305735619869456  © The Author(s) 2019 2019 Society for Education, Music, and Psychology Research   Musical scales can be described as either an organization of scale-step degrees or as a pattern of absolute interval sizes. Even though experimental data show that these two melodic features might have different perceptual implications, not every music education method or psychology experiment separately accounts for them. The present study undertakes an investigation of scale steps, absolute interval sizes, and their cognitive role on melodic perception. The development and partial validation of a new psychometric instrument are reported, and the results are discussed in regard to its experimental and educational implications.   intervallic awareness scale steps intervals sight-singing melodic perception    fundação de amparo à pesquisa do estado de são paulo https://doi.org/10.13039/501100001807     edited-state corrected-proof      Authors’ Note  Pedro de Alcântara Senra de Oliveira Neto is now affiliated with Center of Mathematics, Computing and Cognition (CMCC), Federal University of ABC, Bangú, Santo André, Brazil.   Funding  The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This work was supported by the Institutional Program for Scientific and Technological Initiation, which is funded by the Brazilian agency FAPESP.   ORCID iD  Pedro de Alcântara Senra de Oliveira Neto https://orcid.org/0000-0001-5707-1545   Supplemental material  Supplemental material for this article is available online.   ; Funding text 2: The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This work was supported by the Institutional Program for Scientific and Technological Initiation, which is funded by the Brazilian agency FAPESP.","Attneave F., Olson R.K., Pitch as a medium: A new approach to psychophysical scaling, American Journal of Psychology, 84, pp. 147-166, (1971); Bartlett J.C., Dowling W.J., Recognition of transposed melodies: A key-distance effect in developmental perspective, Journal of Experimental Psychology: Human Perception and Performance, 6, pp. 501-515, (1980); Bharucha J.J., Stoeckig K., Reaction time and musical expectancy: Priming of chords, Journal of Experimental Psychology: Human Perception and Performance, 12, pp. 403-410, (1986); Curran P.J., West S.G., Finch J.F., The robustness of test statistics to nonnormality and specification error in confirmatory factor analysis, Psychological Methods, 1, 1, pp. 16-29, (1996); Dowling W.J., Scale and contour: Two components of a theory of memory for melodies, Psychological Review, 85, pp. 341-354, (1978); Dowling W.J., Context effects on melody recognition: Scale-step versus interval representations, Music Perception, 3, pp. 281-296, (1986); Dowling W.J., Tonal strength and melody recognition after long and short delays, Perception & Psychophysics, 50, pp. 305-313, (1991); Dowling W.J., Bartlett J.C., The importance of interval information in long-term memory for melodies, Psychomusicology, 1, pp. 30-49, (1981); Dowling W.J., Fujitani D.S., Contour, interval, and pitch recognition in memory for melodies, Journal of the Acoustical Society of America, 49, pp. 524-531, (1971); Edlund L., Modus novus, (1963); Eiting M.H., Perceptual similarities between musical motifs, Music Perception, 2, pp. 78-94, (1984); Etterson R., Shanteau J., Krogstad J., Expert judgement: Is more information better?, Psychological Reports, 60, pp. 227-238, (1987); Fournier G., Moreno Sala M.T., Dube F., O'Neill S., Cognitive strategies in sight-singing: The development of an inventory for aural skills pedagogy, Psychology of Music, 47, pp. 270-283, (2019); Goldemberg R., Modus Novus e a abordagem intervalar da leitura cantada à primeira vista [Modus Novus and the Intervallic Approach to Sight-singing], Opus, 17, pp. 107-120, (2011); Goldemberg R., Uma avaliação da abordagem ascendente para a leitura cantada à primeira vista [An evaluation of the bottom-up approach to sight singing], Revista da Abem, 23, 34, pp. 84-94, (2015); Holmes A.V., Effect of fixed-do and movable-do solfege instruction on the development of sight-singing skills in 7- and 8-year-old children, (2009); Hung J.-L., An investigation of the influence of fixed-do and movable-do solfège systems on sight-singing pitch accuracy for various levels of diatonic and chromatic complexity, (2012); Krumhansl C.L., The psychological representation of musical pitch in a tonal context, Cognitive Psychology, 11, pp. 346-374, (1979); Krumhansl C.L., Cognitive foundations of musical pitch, (1990); Leman M., Maes P.J., Music perception and embodied music cognition, The Routledge handbook of embodied cognition, pp. 81-89, (2014); More B.E., Sight singing and ear training at the university level: A case for the use of Kodály’s system of relative solmization, The Choral Journal, 25, 7, pp. 9-22, (1985); Russo F.A., Thompson W.F., An interval size illusion: The influence of timbre on the perceived size of melodic intervals, Perception & Psychophysics, 67, pp. 559-568, (2005); Schmuckler M.A., Testing models of melodic contour similarity, Music Perception, 16, pp. 295-326, (1999); Smith J.D., Nelson D.G.K., Grohskopf L.A., Appleton T., What child is this? What interval was that? Familiar tunes and music perception in novice listeners, Cognition, 52, pp. 23-54, (1994); Tavakol M., Dennick R., Making sense of Cronbach’s alpha, International Journal of Medical Education, 2, pp. 53-55, (2011); Thompson W.F., Russo F.A., Livingstone S.R., Facial expressions of singers influence perceived pitch relations, Psychonomic Bulletin & Review, 17, pp. 317-322, (2010); Trainor L.J., McDonald K.L., Alain C., Automatic and controlled processing of melodic contour and interval information measured by electrical brain activity, Journal of Cognitive Neuroscience, 14, pp. 430-442, (2002); Welker R.L., Abstraction of themes from melodic variations, Journal of Experimental Psychology: Human Perception and Performance, 8, pp. 435-447, (1982); Zarate J.M., The neural control of singing, Frontiers in Human Neuroscience, 7, (2013)","P.D.A.S.D.O. Neto; Institute of Arts, State University of Campinas, Campinas, Brazil; email: pasoneto@gmail.com","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-85074843627"
"Yessetova A.; Atembayeva G.; Mashimbayeva A.; Usenbayev E.; Absatarova G.; Janseitova S.","Yessetova, Ainur (57219946371); Atembayeva, Gulnara (57219947712); Mashimbayeva, Ainur (57196373672); Usenbayev, Erbol (57204496879); Absatarova, Gulsara (57219949274); Janseitova, Svetlana (57191911883)","57219946371; 57219947712; 57196373672; 57204496879; 57219949274; 57191911883","Semiotic signs and kui performing interpretation in the paradigm of the national concepts of kazakh music pedagogy","2020","Universal Journal of Educational Research","8","11B","","6192","6199","7","0","10.13189/ujer.2020.082257","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85096231701&doi=10.13189%2fujer.2020.082257&partnerID=40&md5=698aec7ba4c078afa4575967ce6de6ae","Department of Social and Humanitarian Disciplines, Kazakh National Conservatory named after Kurmangazy, Almaty, 50000, Kazakhstan; Department of Musical Education, Kazakh National Conservatory named after Kurmangazy, Almaty, 50000, Kazakhstan","Yessetova A., Department of Social and Humanitarian Disciplines, Kazakh National Conservatory named after Kurmangazy, Almaty, 50000, Kazakhstan; Atembayeva G., Department of Social and Humanitarian Disciplines, Kazakh National Conservatory named after Kurmangazy, Almaty, 50000, Kazakhstan; Mashimbayeva A., Department of Social and Humanitarian Disciplines, Kazakh National Conservatory named after Kurmangazy, Almaty, 50000, Kazakhstan; Usenbayev E., Department of Musical Education, Kazakh National Conservatory named after Kurmangazy, Almaty, 50000, Kazakhstan; Absatarova G., Department of Social and Humanitarian Disciplines, Kazakh National Conservatory named after Kurmangazy, Almaty, 50000, Kazakhstan; Janseitova S., Department of Social and Humanitarian Disciplines, Kazakh National Conservatory named after Kurmangazy, Almaty, 50000, Kazakhstan","The content of music education and upbringing oriented towards the national music tradition belongs to the basic laws of modern music education. These are objective reasons that characterize the essential connection between social and musical phenomena or processes, without which one cannot effectively implement music education and upbringing. This article is dedicated to the study of a special style of playing stringed instruments in the performance of kuis, Kazakh instrumental musical compositions. The interpretation of archetypal ethnical texts evoked an organic syncresis of music with an ancient sign language, including a separate aspect associated with the specifics of non-verbal forms of artistic communication. The essence of the sign language of Kazakh kuis, its meaning and the limits to its applicability are not fully disclosed. They require considering many issues related to the semantic nature of gestures. The present study is based on the exploration of performing Kazakh kuis with stressing on gestures as semiotic structures on these ethnical Kazakh compositions. The authors adhere to the principle that musical language is a synergy of word (text), music and its performing (gestures). The study used comparative-historical, theoretical, and historical-typological methods.  © 2020 by authors.","Emotionality; Expressiveness; Gesture; Kui; Modality; Music Pedagogy; National Music; Sensory Perception; Sign System","","","","","","","","Alekseeva L.A., Nazhmedenov Zh., Uniqueness of the Kazakh dombyra sound and tuning. Kazakh Culture researches, Scientific articles brochure, pp. 34-54, (2000); Tansug F., A Bibliographic Survey of Kazakh and Kyrgyz Literature on Music, Yearbook for Traditional Music, 41, pp. 199-220, (2009); Fokin M., Upstream, pp. 1-267, (1989); Klark Ye, Understanding the psychology of performance gesture, Musical Performance: A Guide to Understanding, pp. 76-97, (2002); Bowman W., Cognition and the body: Perspectives from music education, Knowing Bodies, Moving Minds, pp. 127-178, (2004); Munch Ch, I Am a Conductor. Translated from French, pp. 1-187, (1982); Chaffin R., Lemieux A., Chen C., It is different each time I play: Variability in highly prepared musical performance gesture, Music Perception, 24, pp. 455-472, (2007); Caen E., Elements of conducting art. Translated from English, pp. 1-163, (1980); Hatten R.S., Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert, pp. 67-123, (2014); Munoz E.E., When gesture sounds: Bodily significance in musical performance, International Symposium on Performance Science, pp. 45-56, (2007); Ahlner F., Zlatev J., Cross-modal iconicity: A cognitive semiotic approach to sound symbolism, Sign Systems Studies, 38, pp. 298-348, (2010); Lazutina T.V., Lazutin N.K., The Language of Music as a Specific Semiotic Structure, Asian Social Science, 11, 7, pp. 201-207, (2015); Monelle R., Linguistics and Semiotics in Music, pp. 15-79, (2014); Spychiger M., Understanding Musical Activity and Musical Learning as Sign Processes: Toward a Semiotic Approach to Music Education, Journal of Aesthetic Education, 35, 1, pp. 53-67, (2001); Tarasti E., Musical Signification: Essays in the Semiotic Theory and Analysis of Music, pp. 11-68, (2011); Turino Th, Signs of Imagination, Identity, and Experience: A Percian Semiotic Theory for Music, Ethnomusicology, 43, 2, pp. 221-236, (1999); Lotman Y.M., The Structure of the Artistic Text, pp. 1-192, (1970); Kristeva Y., Selected works: The destruction of poetics. Gesture: Practice or communication?, pp. 71-119, (2004); Reznikov L.O., Epistemological issues of semiotics, pp. 14-59, (1964); Nietzsche F., Dionysian Worldview, pp. 1-198, (1870); Ershov P.M., The logic of passion and feelings in gestures, pp. 1-192, (2009); Bonfeld M.Sh., Music: Language, speech, thinking. Experience of systemic research of musical art, pp. 45-86, (2006); Zaporozhets A.V., Perception, movement, action, Journal of Russian and East European Psychology, 40, 4, pp. 53-93, (2002); Ursom J.O., The ethics of musical performance, The Interpretation of Music: Philosophical Essays, pp. 34-65, (1993); Tarasti E., Myth and Music: A Semiotic Approach to the Aesthetics of Myth in Music especially that of Wagner, Sibelius and Stravinsky, pp. 35-67, (2012); Vinogradov V., Kyrgyz folk music, Kyrgysizdat, pp. 1-123, (1958); Asafiev B.V., Musical form as a process, Science, pp. 1-154, (1971); Leontiev A.N., Sensations and perception as images of the subject world, Cognitive processes: Sensations. Perception, pp. 1-139, (1982); Snyder B., Music and Memory, pp. 1-320, (2010); Ozkut B., Kaya S.O., Perceptions of Pre-school Teachers in Terms of Music Culture, Universal Journal of Educational Research, 7, 1, pp. 278-292, (2019); Yegul B.U., Determination of Preservice Preschool Teachers' Perceptions of Music Lesson through Metaphors, Universal Journal of Educational Research, 6, 6, pp. 1305-1312, (2018)","","","Horizon Research Publishing","","","","","","23323205","","","","English","Univers. J. Edu. Res.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85096231701"
"Yan J.","Yan, Jin (57283939100)","57283939100","ANALYSIS OF RELIGIOUS ELEMENTS IN WESTERN POP MUSIC EDUCATION","2023","European Journal for Philosophy of Religion","15","2","","123","138","15","0","10.24204/ejpr.2021.3958","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85164326997&doi=10.24204%2fejpr.2021.3958&partnerID=40&md5=d6ba6fb70efe7631c608df8a84b72140","HUNAN NORMAL UNIVERSITY, Chang Sha, 410000, China","Yan J., HUNAN NORMAL UNIVERSITY, Chang Sha, 410000, China","After a thousand years of feudal middle ages, the west entered a new era, namely the Renaissance, from the 14th century. With the influence of humanism on the cultural field, people's individuality consciousness has been released. Western pop music is a western art form with profound connotation and eternal value. In recent years, many scholars and music educators have carried out a series of research and popularization of western pop music. Through scientific methods, the students' ability to control pop music can be transformed into the basic quality of solfeggio listening training, so as to achieve the combination of the advantages of pop music and serious music, so as to complete the interactive, concise and diversified solfeggio teaching and broaden new teaching ideas. The role and influence of religious songs on the development of western vocal music art is incalculable. Its value is reflected in various fields of vocal music art. Therefore, while singing and appreciating religious songs, we should also strengthen the study and research of their background and historical development. © 2023, European Journal for Philosophy of Religion. All Rights Reserved.","Religious elements; Vocal music education; Western pop music","","","","","","","","Abramo J. M., Gender differences of popular music production in secondary schools, Journal of Research in music Education, 59, 1, pp. 21-43, (2011); Akins N. J., Religious Transformation in the Late Pre-Hispanic Pueblo World, (2013); Arostegui J. L., Exploring the global decline of music education, Arts education policy review, 117, 2, pp. 96-103, (2016); Barovic V., Kokovic D., Ristic D., Elemente religioase in cadrul adunárilor publice, ca o exprimare a tendintelor politice in trecut; Bekhuis H., Lubbers M., Ultee W., A macro-sociological study into the changes in the popularity of domestic, European, and American pop music in Western countries, European sociological review, 30, 2, pp. 180-193, (2014); Bennett A., Music, space and place: popular music and cultural identity, (2017); Bohloli M. P., Balaghat S. R., Marzieh A., Comparing the Effects of Traditional, Religious, and Pop Music on Student Mental Health at University of Sistan and Baluchestan, International Journal of Research in Organizational Behavior and Human Resource Management, 2, 4, pp. 60-70, (2014); Cayari C., Connecting music education and virtual performance practices from YouTube, Music education research, 20, 3, pp. 360-376, (2018); Fu R., Religious Difference Between Chinese and Western Music Creative Thinking, Journal ofChizhou University, 61, pp. 14-15, (2015); Heryanto A., Upgraded piety and pleasure: The new middle class and Islam in Indonesian popular culture, Islam and popular culture in Indonesia and Malaysia, pp. 76-98, (2011); Hess J., Decolonizing music education: Moving beyond tokenism, International Journal of Music Education, 33, 3, pp. 336-347, (2015); Ho V. W.-K., Thirty Years of Contemporary Christian Music in Hong Kong: Interactions and Crossover Acts between a Religious Music Scene and the Pop Music Scene, Journal of Creative Communications, 8, 1, pp. 65-75, (2013); Humphreys J. T., The United States of America: Reflections on the development and effectiveness of compulsory music education, The Origins and Foundations of Music Education: International Perspectives, (2016); Ilari B., Chen-Hafteck L., Crawford L., Singing and cultural understanding: A music education perspective, International Journal of Music Education, 31, 2, pp. 202-216, (2013); Pitts P. J., Popovian R., Weingarden W., Waiving CO VID-19 Vaccine Patents: A Bad Idea and a Dangerous Precedent, Journal of Commercial Biotechnology, 26, 2, (2021); Rahayu P. S. E., Hermanto H., Widjiati W., Mozart Music Increases The Number Of Glial Cells Compared To Indonesia Pop And Religious Music, Saintika Medika, 15, 2, pp. 133-138, (2019); Reader I., Secularisation, RIP? Nonsense! The Tush hour away from the gods’ and the decline of religion in contemporary Japan, Journal of Religion in Japan, 1, 1, pp. 7-36, (2012); St John G., Electronic dance music culture and religion: An overview, Culture and religion, 7, 1, pp. 1-25, (2006); Stowe D. W., No sympathy for the devil: Christian pop music and the transformation of American evangelicalism, (2011); Tassi N., Dancing the image’: materiality and spirituality in Andean religious ‘images, Journal of the Royal Anthropological Institute, 18, 2, pp. 285-310, (2012); Till R., Pop cult: religion and popular music: A&C Black, (2010); Truesdell S. D., Conversion: An element of ethno-religious nation building in early Judaism, (2013); The Seductions of Pilgrimage: Sacred Journeys Afar and Astray in the Western Religious Tradition, Journal of Anthropological Research, 2019, 2, pp. 7-15, (2019); Weintraub A. N., Dangdut stories: a social and musical history of Indonesia's most popular music, (2010)","J. Yan; HUNAN NORMAL UNIVERSITY, Chang Sha, 410000, China; email: 202010160242@HUNNU.EDU.CN","","European Journal for Philosophy of Religion","","","","","","16898311","","","","English","European J.  Philos. Relig.","Article","Final","","Scopus","2-s2.0-85164326997"
"de Bruin L.R.","de Bruin, Leon R. (56399221200)","56399221200","Director perspectives to equity, access, and inclusion in the school jazz ensemble","2022","Frontiers in Education","7","","1001971","","","","3","10.3389/feduc.2022.1001971","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85145490545&doi=10.3389%2ffeduc.2022.1001971&partnerID=40&md5=9c9468acebdd73aa96f57c392be28535","Melbourne Conservatorium of Music, Faculty of Fine Arts and Music, University of Melbourne, Parkville, VIC, Australia","de Bruin L.R., Melbourne Conservatorium of Music, Faculty of Fine Arts and Music, University of Melbourne, Parkville, VIC, Australia","Arts and culture are increasingly acknowledged as pillars of society in which all of humanity including people who identify as’ LGBTQIA+ can contribute in 21st century society. United Nations and individual country initiatives continue to promote the notion of inclusive, egalitarian values that promote equal access and opportunity to chosen careers and passions. Jazz as an artform has evolved as a form of cultural expression, entertainment, and political metaphor, subject to societal and populist pressures that have created both a canon and popularized history. Jazz education has moved from largely informal to almost wholly formal and institutionally designed methods of learning and teaching. The jazz ensemble or stage band remains an enduring secondary education experience for most students learning jazz today. This qualitative study of music directors investigates their approaches, perspectives and concerns regarding attitudes and practices in the teaching profession, the promoting of inclusive practices, access, and equity, amidst a pervasive masculinized performance and social structure that marginalizes non-male participation. The study provides implications for how jazz education may continue to evolve in both attitude and enlightened access in the education of jazz learners. Copyright © 2022 de Bruin.","gender studies; jazz education; music pedagogy; qualitative study; sociology; women in jazz","","","","","","","","Abeles H.F., Porter S.Y., The sex stereotyping of musical instruments, J. Res. Music. Educ, 26, pp. 165-175, (1978); Ake D., Jazz Cultures, (2002); Barber D., A study of jazz band participation by gender in secondary high school instrumental music programs, Jazz Res. Proc. Yearbook, 19, pp. 92-99, (1998); Berger D., Score notes, A Mellow Tone, (1996); Bergonzi L., Gender and sexual diversity challenges (for socially just) music education, The Oxford Handbook of Social Justice in Music Education, pp. 221-237, (2015); Berliner P.F., Thinking in Jazz: The Infinite Art of Improvisation, (2009); Bjorck C., Claiming Space: Discourses on Gender, Popular Music, and Social Change, (2011); Bowers J., Tick J., Women Making Music. The Western Art Tradition, 1150–1950, (1986); Bronfenbrenner U., Ecological systems theory, Ann. Child Dev, 6, pp. 187-249, (1989); Bull A., Inequalities in the classical music industry: the role of subjectivity in constructions of the ‘ideal’ classical musician, The Classical Music Industry, (2018); Buscatto M., Feminisation of artistic work. Legal Measures and Female Artists’ Resources do Matter’, Revista Todas as Artes, 1, pp. 21-38, (2018); Butler J., Bodies That Matter, (1993); Caudwell J., The jazz–sport analogue: passing notes on gender and sexuality, Int. Rev. Sociol. Sport, 45, pp. 240-248, (2010); Charlton J., Nothing About Us Without Us: Disability Oppression and Empowerment, (1998); Collier G., Gill J., Turkenburg W., Spring. Editorial, Jazz Changes, 1, (1994); Connell R., Messerschmidt J.W., Hegemonic masculinity: rethinking the concept, Gend. Soc, 19, pp. 829-859, (2005); de Bruin L.R., Journeys in jazz education: learning, collaboration and dialogue in communities of musical practice, Int. J. Commun. Music, 9, pp. 307-325, (2016); de Bruin L.R., Apprenticing for creativity in the improvisation lesson: a qualitative enquiry, Teach. High. Educ, 23, pp. 84-103, (2017); de Bruin L.R., Shaping interpersonal learning in the jazz improvisation lesson: observing a dynamic systems approach, Int. J. Music. Educ, 36, pp. 160-181, (2018); de Bruin L.R., Musical play, creativity and metacognitive processes in developing improvisational expertise: expert improvising voices, Int. J. Play, 7, pp. 248-265, (2018); de Bruin L.R., Apprenticing the jazz performer through ensemble collaboration: a qualitative enquiry, Int. J. Music. Educ, 23, pp. 84-103, (2020); de Bruin L.R., Jazz education: revolution or devolution?, Revolutions in Music Education, (2022); de Bruin L.R., Southcott J., Musical Ecologies–Community Music Ensembles Around the World, (2022); Delzell J.K., Lappla D.A., Gender association of musical instruments and preferences of fourth-grade students for selected instruments, J. Res. Music. Educ, 40, pp. 93-103, (1992); Denzin N.K., Lincoln Y.S., Handbook of Qualitative Research, (2003); Dobson M.C., Performing yourself? Autonomy and self-expression in the work of jazz musicians and classical string players, Music Perform. Res, 3, pp. 42-60, (2010); (2022); (2009); Eros J., Instrument selection and gender stereotypes: a review of recent literature. Update: applications of research in music, Education, 27, pp. 57-64, (2008); Foley D., (2021); Gibson W., Material culture and embodied action: sociological notes on the examination of musical instruments in jazz improvisation, Sociol. Rev, 54, pp. 171-187, (2006); Gill J., Queer Noises, (1995); Gill J., Arnold P., Performing the principal: school leadership, masculinity and emotion, Int. J. Leadersh. Educ, 18, pp. 19-33, (2015); Gilman C.P., Women and economics, Inequality in the 21st Century, pp. 31-33, (2018); Green L., Exposing the gendered discourse of music education, Fem. Psychol, 12, pp. 137-144, (2002); Greene K.J., Intellectual property at the intersection of race and gender: lady sings the blues, Am. Univ. J. Gender Soc. Policy Law, 16, pp. 365-385, (2008); Hallam S., Rogers L., Creech A., Gender differences in musical instrument choice, Int. J. 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Sociol, 82, pp. 965-990, (1977); Kanter R.M., Men and Women of the Corporation: New Edition, (1993); Lawn R., The Jazz Ensemble Director's Handbook, (1981); Lazar M.M., Language, communication and the public sphere: a perspective from feminist critical discourse analysis, Handbook of Communication in the Public Sphere, pp. 89-112, (2008); Lincoln Y.S., Guba E.G., Naturalistic Inquiry, (1985); Mac Kinnon C.A., Reflections on sex equality under law, Yale Law J, 100, pp. 1281-1328, (1991); Macleod B.A., Women Performing Music: The Emergence of American Women as Classical Instrumentalists and Conductors, (2001); Mantie R.A., Schooling the future: perceptions of selected experts on jazz education, Critic. Stud. Improv./Études critiques en improvisation, 3, (2007); McClary S., Feminine Endings, (1991); McCord K., The conceptualization of women in jazz, Jazz Res. Papers, 61, pp. 128-139, (1985); McCord K., (1996); McGee K., The feminization of mass culture and the novelty of all-girl bands: the case of the Ingenues, Pop. Music Soc, 31, pp. 629-662, (2008); McKeage K.M., Gender and participation in high school and college instrumental jazz ensembles, J. Res. Music. Educ, 52, pp. 343-356, (2004); McKeage K., Where are all the girls?” Women In Collegiate Instrumental Jazz, GEMS (Gender, Education, Music, and Society), the on-line journal of GRIME (Gender Research in Music Education), 7, (2014); (2021); McMillan K., (2019); Monson I., The problem with white hipness: race, gender, and cultural conceptions in jazz historical discourse, J. Am. Musicol. Soc, 48, pp. 396-422, (1995); Moustakis C., Phenomenological Research Methods, (1994); (2020); (2017); Nixon G., Evans K., Kalischuk R.G., Solowoniuk J., McCallum K., Hagen B., Female gambling, trauma and the not good enough self: an interpretative phenomenological analysis, Int. J. Mental Health Addict, 11, pp. 214-231, (2013); North A.C., Colley A.M., Hargreaves D.J., Adolescents’ perceptions of the music of male and female composers, Psychol. Music, 31, pp. 139-154, (2003); Education at a Glance 2022, (2022); Pendle K., Women & Music. A History, (1991); Peterson E.R., Rubie-Davies C., Osborne D., Sibley C., Teachers' explicit expectations and implicit prejudiced attitudes to educational achievement: relations with student achievement and the ethnic achievement gap, Learn. Instr, 42, pp. 123-140, (2016); Phillips D., The illusion of incompetence among academically competent children, Child Dev, 55, pp. 2000-2016, (1984); Raftery D., Valiulis M., Gender Balance and Gender Bias in Education: International Perspectives, (2013); Rasula J., Jazz and American modernism, The Cambridge Companion to American Modernism, pp. 157-176, (2005); Ravet H., Coulangeon P., La division sexuelle du travail chez les musiciens francais, Sociologie du Travail, 45, pp. 361-384, (2003); Rogoff B., Culture and participation: a paradigm shift, Curr. Opin. Psychol, 8, pp. 182-189, (2016); Rowe E., Gender and swing, Jazz Changes, 2, pp. 5-7, (1995); Scharff C., Gender, Subjectivity, and Cultural Work: The Classical Music profession, (2018); Smith J.A., Flowers P., Larkin M., Interpretative Phenomenological Analysis: Theory, Method and Research, (2009); Solmon M.A., Lee A.M., Belcher D., Harrison L., Wells L., Beliefs about gender appropriateness, ability, and competence in physical activity, J. Teach. Phys. Educ, 22, pp. 261-279, (2003); Spencer L., Ritchie J., Ormston R., O'Connor W., Barnard M., Analysis: principles and processes, Qualitative Research Practice: A Guide for Social Science Students and Researchers, pp. 269-293, (2014); Stake R.E., The Art of Case Study Research, (1995); Steiblin R., The gender stereotyping of musical instruments in the Western tradition, Can. Univ. Music. Rev, 16, pp. 128-144, (1995); Steinberg E.N.P., (2001); Storb I., Ten statements on women in jazz, Jazz Changes, 2, (1995); Teichman E., Something's missing from my jazz Band's bulletin board: an autoethnographic reflection on making space for girls 1 and women in jazz education, Can. Music. Educ, 59, pp. 8-12, (2018); Teichman E., Pedagogy of discrimination: instrumental jazz education, Music. Educ. Res, 22, pp. 201-213, (2020); Terry C., Personal Communication, (1992); Tucker S., Swing Shift: “All-girl” Bands of the 1940s, (2000); Van Vleet K., Women in Jazz Music: A Hundred Years of Gender Disparity in Jazz Study and Performance (1920–2020), Jazz Education in Research and Practice, 2, pp. 211-227, (2021); Wehr E.L., Understanding the experiences of women in jazz: a suggested model, Int. J. Music. Educ, 34, pp. 472-487, (2016); Wehr-Flowers E., Differences between male and female students' confidence, anxiety, and attitude toward learning jazz improvisation, J. Res. Music. Educ, 54, pp. 337-349, (2006); Wehr-Flowers E.L., (2007); Yin R.K., Case Study Research, Design and Methods, (2009)","L.R. de Bruin; Melbourne Conservatorium of Music, Faculty of Fine Arts and Music, University of Melbourne, Parkville, Australia; email: leon.debruin@unimelb.edu.au","","Frontiers Media S.A.","","","","","","2504284X","","","","English","Front. Educ.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85145490545"
"Morenom J.P.","Morenom, Juan Pablo (58619423000)","58619423000","An approach to the theoretical-pedagogical work of Andrés Steinfort Mulsow; [Aproximación a la obra teórico-pedagógica de Andrés Steinfort Mulsow]","2023","Revista Musical Chilena","77","239","","167","190","23","0","10.4067/s0716-27902023000100167","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85172330537&doi=10.4067%2fs0716-27902023000100167&partnerID=40&md5=b4b1e10d4585c9cbede0b3a38e0d1bae","Germany","Morenom J.P., Germany","This article presents an approach to the work of Andrés Steinfort Mulsow (1883-1949) in the field of music theory and pedagogy of music. This author, today practically unknown, and who was a professor at the National Conservatory of Music and Declamation of Chile, developed in the first of these areas a proposal to reform of musical writing. This paper reviews this proposal, its reception, and its international acceptance. In addition, a review is made of his pedagogical thinking applied to the teaching of music, which was embodied in his texts for the learning of musical reading and harmony. These works had a better reception and have allowed that his name has not been completely lost in time. © (2023). All Rights Reserved.","Andrés Steinfort Mulsow; harmony; music notation; music pedagogy; theory of music","","","","","","","","ALBA ANTONIO, Teoría musical: Ilustrada con ejemplos de música y con un pequeño vocabulario de las principales palabras y términos más usados en la música; Asamblea Pedagógica, (1927); BARBACCI RODOLFO, El arte musical en Chile, Revista Musical Peruana, II, 22, pp. 2-6, (1940); BOUTIN A., A propos d’un projet de Réforme Musicale, L’art à lÉcole, IV, 31, pp. 25-26, (1911); BUSSLER LUDWIG, Praktische Harmonielehre, (1903); Reglamento y Planes de Estudios del Conservatorio Nacional de Música, (1923); CHIANTORE LUCA, AUREA DOMINGUEZ, Escribir sobre música, (2018); ECORCHEVILLE JULES, Les livres, S.I.M. Revue Musical Mensuelle, 7, pp. 53-61, (1911); GARCIA GALLARDO CRISTOBAL, De Rameau a Schenker: Principales teorías armónicas, Hoquet. Revista del Conservatorio Superior de Música de Málaga, 5, pp. 35-52, (2017); HUSSONG HANNO, Untersuchungen zu praktischen Harmonielehren seit 1945, (2005); IZQUIERDO JOSE MANUEL, Aproximación a una recuperación histórica: Compositores excluidos, músicas perdidas, transiciones estilísticas y descripciones sinfónicas a comienzos del siglo XX, Resonancias, XV, 28, pp. 33-47, (2011); IZQUIERDO JOSE MANUEL, Prólogo, Palabra deSoro, (2011); JOHANNIS CARL, Notenschriftreform, (1961); Sitzungsberichte der Philosophische-Historische Klasse der Kaiserlichen Akademie der Wissenschaften, (1913); Nachrichten von der Königlichen Gesellschaft der Wissenschaften Zu Göttingen, (1912); MERINO LUIS, La música en Chile entre 1887 y 1928: Compositores que pervivieron después de 1928, compositores en las penumbras, compositores olvidados, Neuma, VII, 2, pp. 32-79, (2014); MOLLER HARMUTT, Notation. Einleitung, (2016); MORALES MARIA SOLEDAD, Manual de Armonía, (1988); MORENO JUAN PABLO, Teorías en armonía: Principios y conceptos, Hoquet, 8, pp. 86-99, (2020); MORENO JUAN PABLO, Andrés Steinfort Mulsow y las huellas del olvido, Neuma, XV, 2, pp. 42-69, (2022); MULLER HERMANN, Im Lesezimmer, Cäciliensvereins-Organ, 46, (1911); POBLETE CARLOS, Formación docente en música en Chile: Una aproximación histórica desde tres universidades, Revista FAEEBA, XXVI, 48, pp. 97-109, (2017); READ GARDNER, Source Book of Proposed Music Notation Reforms, (1987); RICHTER CHRISTOPH, Musikpädagogik, Versuch einer Systematik der Musikpädagogik, Begriffe und Aufgaben, MGG Online, (2016); ROHWER JENS, Harmonielehre, Die Musik in Geschichte und Gegenwart 1, pp. 1614-1665, (1956); SANDOVAL LUIS, Reseña histórica del Conservatorio Nacional de Música y Declamación: 1849 a 1911, (1911); SCHNURL KARL, Notation, Oesterreichisches Musiklexikon, (2001); SCHWARTZ RUDOLF, Verzeichnis der in allen Kulturländern im Jahre 1911 erschienenen Bücher über Musik, Jahrbuch der Musikbibliothek Peters für 1911, 18, (1912); STEINFORT ANDRES, Reform in der Musikschrift oder die Unterdrückung der Schlüssel, (1910); STEINFORT ANDRES, Armonía. Libro Primero: Armonía Consonante; Libro Segundo: Armonía Disonante; Libro Tercero: Adornos Armónicos, (1925); STEINFORT ANDRES, ABC de La Música, (1927); Memoria. Plan de Estudios Reglamento del Instituto Superior de Educación Física Correspondiente al Año 1918, (1919); Decretos de la Rectoría, Boletín del Consejo Universitario, Anales de la Universidad de Chile, I/ Segundo semestre, Serie, 3, pp. 413-478, (1931); URRUTIA BLONDEL JORGE, Ensayo de una síntesis autobiográfica, Revista Musical Chilena, XXXI, 138, pp. 5-16, (1977); UZCATEGUI EMILIO, Músicos Chilenos Contemporáneos. Datos biográficos e impresiones de sus obras, (1919); UZCATEGUI EMILIO, Andrés Steinfort Mulsow, Música, III, 3, pp. 1-3, (1922); WARSZAWSKI JEAN-MARC, Écorcheville Jules 1872-1915, Musicologie.Org, (2016); WENNINGER GERD, Selbstunterricht, Lexikon Der Psychologie, (2000); WOLF UWE, Notation. 17. Bis 19. Jahrhundert, Die Musik in Geschichte und Gegenwart 2, pp. 339-350, (1997); ZIEGENRUCKER WIELAND, ABC Musik: Allgemeine Musiklehre, (1998)","J.P. Morenom; Germany; email: juanpablomoreno.romero@gmail.com","","Universidad de Chile","","","","","","07162790","","","","English","Rev. Music. Chil.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85172330537"
"Lima F.G.B.; Caregnato C.; Silva R.D.","Lima, Fernando Gabriel Batista (57221679072); Caregnato, Caroline (56440254100); Silva, Ronaldo da (57221678249)","57221679072; 56440254100; 57221678249","The singing effect during melodic dictation","2021","International Journal of Music Education","39","4","","438","449","11","3","10.1177/0255761421989114","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85099759561&doi=10.1177%2f0255761421989114&partnerID=40&md5=b4cc1bcbd9e4f9c9ad3f0230f6cfd83c","Amazonas State University (UEA), Brazil; Ponta Grossa State University (UEPG), Brazil","Lima F.G.B., Amazonas State University (UEA), Brazil; Caregnato C., Amazonas State University (UEA), Brazil; Silva R.D., Ponta Grossa State University (UEPG), Brazil","To sing while taking melodic dictation is a strategy employed by some Ear Training students as an aid, but there is a disagreement among the literature about its efficiency. Thus, it is important to disambiguate this question examining the contributions related to vocalization. The purpose of this research is to investigate the influence singing during melodic dictation can have over this activity, and to observe if this strategy contributes in a differentiated way for subjects in different development stages. An experimental study was conducted collectively with 68 undergraduates, which were divided in groups, one that was instructed to sing during dictation taking, and another that was instructed to stay in silence. Data collected were furthermore divided in sub-groups according to participants’ study time. The results show that singing hinders the dictation performance, especially in students with less musical experience, because it deconcentrates and disturbs the individuals in the same room. Although, we suggest instructors to not discourage vocalization, and to recommend students to do it outside the classroom until they develop inner singing. Our study, however, counted on a reduced number of subjects. Future research with an increased number of participants could give rise to different conclusions. © The Author(s) 2021.","Aural skills; Ear Training; melodic dictation; singing; undergraduate music students","","","","","","Amazon State Research Support Foundation; Conselho Nacional de Desenvolvimento Científico e Tecnológico, CNPq; Fundação de Amparo à Pesquisa do Estado do Amazonas, FAPEAM","The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This work was supported by CNPq - Conselho Nacional de Desenvolvimento Científico e Tecnológico [The National Council for Scientific and Technological Development] (Brazil); and FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas [Amazon State Research Support Foundation] (Brazil). ","Beckett C.A., Directing student attention during two-part dictation, Journal of Research in Music Education, 45, 4, pp. 613-625, (1997); Blix H.S., Learning strategies in ear training, Aural perspectives on musical learning and practice in higher music education, pp. 97-115, (2013); Buonviri N.O., An exploration of undergraduate music majors’ melodic dictation strategies, Update: Applications of Research in Music Education, 33, 1, pp. 21-30, (2014); Buonviri N.O., Effects of a preparatory singing pattern on melodic dictation success, Journal of Research in Music Education, 63, 1, pp. 102-113, (2015); Buonviri N.O., Effects of two listening strategies for melodic dictation, Journal of Research in Music Education, 65, 3, pp. 347-359, (2017); Buonviri N.O., Effects of silence, sound, and singing on melodic dictation accuracy, Journal of Research in Music Education, 66, 4, pp. 365-374, (2019); Buonviri N.O., Paney A.S., Melodic dictation instruction: A survey of advanced placement music theory teachers, Journal of Research in Music Education, 63, 2, pp. 224-237, (2015); Caregnato C., O desenvolvimento da competência de notar músicas ouvidas: Um estudo fundamentado na teoria de Piaget visando à construção de contribuições à atividade docente (The development of the competence to notate heard music: A study grounded in Piaget’s theory aiming contributions to pedagogical activity), (2016); Dutica L., Didactic strategies for the development of professional musical hearing, Review of Artistic Education, 11-12, pp. 42-52, (2016); Gonzales C.I., Brinckmeyer L., Beckman A.A., A pilot study: The effect of singing and non-singing—Instructional strategies on harmonic listening skills, Texas Music Education Research, 2012, pp. 20-32, (2012); Gordon E.E., Teoria de aprendizagem musical: Competências, conteúdos e padrões (Learning sequences in music: A contemporary music learning theory), (2000); Johnson E., Practical tools to foster harmonic understanding, Music Educators Journal, 99, 3, pp. 63-68, (2013); Karpinski G.S., Aural skills acquisition: The development of listening, reading, and performing skills in college-level musicians, (2000); Killam R.N., Baczewski P.C., Hayslip B., A model of performing musicians’ melodic perception through transcription of two-voice contrapuntal music, Musicae Scientiae, 7, 2, pp. 263-291, (2003); Klonoski E., Improving dictation as an aural-skills instructional tool, Music Educators Journal, 93, pp. 54-59, (2006); Lake W.E., Interval and scale-degree strategies in melodic perception, Journal of Music Theory Pedagogy, 7, 1, pp. 55-67, (1993); Menezes R.C., Les stratégies cognitives utilisées lors de la transcription musicale et des facteurs cognitifs pouvant influencer leur résultat (Cognitive strategies used during musical transcription and cognitive factors that can influence their outcome), (2010); Paney A.S., Dictation strategies of first-year university of music students, Missouri Journal of Research in Music Education, 47, pp. 23-30, (2010); Paney A.S., The effect of directing attention on melodic dictation testing, Psychology of Music, 44, 1, pp. 15-24, (2016); Paney A.S., Buonviri N.O., Teaching melodic dictation in advanced placement music theory, Journal of Research in Music Education, 61, 4, pp. 396-414, (2014); Paney A.S., Buonviri N.O., Developing melodic dictation pedagogy: A survey of college theory instructors, Update: Applications of Research in Music Education, 36, 1, pp. 51-58, (2017); Pembrook R.G., Interference of the transcription process and other selected variables on perception and memory during melodic dictation, Journal of Research in Music Education, 34, 4, pp. 238-261, (1986); Pembrook R.G., The effect of vocalization on melodic memory conservation, Journal of Research in Music Education, 35, 3, pp. 155-169, (1987); Potter G., Identifying successful dictation strategies, Journal of Music Theory Pedagogy, 4, 1, pp. 63-71, (1990); Rogers M.R., Teaching approaches in music theory: An overview of pedagogical philosophies, (2004); Vargas G., Lopez I., Las acciones explícitas que acompañan el proceso de transcripción de melodías (The explicit actions that accompany the process of melodies transcription), (2008); Vargas G., Lopez I., Shifres F., Modalidades en las estrategias de la transcripción melódica (Modalities in melodic transcription strategies), (2007); White J.D., Guidelines for college teaching of music theory, (2002)","C. Caregnato; Amazonas State University (UEA), Brazil; email: ccaregnato@uea.edu.br","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-85099759561"
"Petrušić D.; Šešelj T.","Petrušić, Daniela (57224083966); Šešelj, Tonka (57359148700)","57224083966; 57359148700","The relation between intercultural sensitivity and world music preferences among grammar school and vocational school students; [Povezava med medkulturno občutljivostjo in svetovnimi glasbenimi preferencami med gimnazijami in poklicnimi šolami]","2021","Journal of Elementary Education","14","3","","319","335","16","1","10.18690/REI.14.3.319-335.2021","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85120426090&doi=10.18690%2fREI.14.3.319-335.2021&partnerID=40&md5=a3e92dcedbfd693f9a68fcf1a5517455","University of Split, Faculty of Philosophy, Department of Early and Preschool Education, Poljička cesta 35, Split, 21000, Croatia","Petrušić D., University of Split, Faculty of Philosophy, Department of Early and Preschool Education, Poljička cesta 35, Split, 21000, Croatia; Šešelj T., University of Split, Faculty of Philosophy, Department of Early and Preschool Education, Poljička cesta 35, Split, 21000, Croatia","The paper explores the influence of the type of secondary education chosen by the participants on the level of intercultural sensitivity and world music preferences, as well as the connection between intercultural sensitivity and world music preferences. The research employed a general data questionnaire, the Intercultural Sensitivity Scale and an assessment scale to examine music fragment preferences in a sample of 124 participants. The results have significant implications for music and pedagogical theory and practice, in terms of increasing intercultural sensitivity and the tolerance of students towards members of other cultures and their music. © 2021 Avtor(ji)/The Author(s)","Intercultural sensitivity; Music education; Music pedagogy; Musical preferences; World music","","","","","","","","Bedekovic V., Interkulturalna kompetentnost pedagoga u odgoju i obrazovanju za interkulturalne odnose, (2015); Carper K., The Effects of Repeated Exposure and Instructional Activities on the Least Preferred of Four Culturally Diverse Musical Styles with Kindergarten and Pre-k Children, Bulletin of the Council for Research in Music Education, 151, pp. 41-50, (2001); Chen G. M., Starosta W. J., Intercultural Communication Competence: A Synthesis, Communication Yearbook, 19, (1996); Chen G. M., Starosta W. J., The Development and Validation of the Intercultural Communication Sensitivity Scale, Human Communication, 3, pp. 1-15, (2000); Choate R. 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C., Hargreaves D. J., The Social and Applied Psychology of Music, (2008); Palisca C., Music in Our Schools: A Search for Improvement, (1964); Peery J. C., Peery I. W., Effects of Exposure to Classical Music on the Musical Preferences of Preschool Children, Journal of Research in Music Education, 34, pp. 24-33, (1986); Peko A., Mlinarevic V., Jindra R., Interkulturalno obrazovanje učitelja - Što i kako poučavati?, Izazovi obrazovanja u multikulturalnim sredinama, (2009); Portalla T., Chen G., The Development and Validation of the Intercultural Effectiveness Scale, Intercultural Communication Studies, 19, 3, pp. 21-37, (2010); Rentfrow P.J., Gosling S.D., The Do Re Mi's of Everyday Life: The Structure and Personality Correlates of Music Preferences, Journal of Personality and Social Psychology, 84, 6, pp. 1236-1256, (2003); Siebenaler D. J., Student Song Preference in the Elementary Music Class, Journal of Research in Music Education, 47, pp. 213-223, (1999); Topic I., Interkulturalizam u kurikulumu primarnog obrazovanja, (2010)","D. Petrušić; University of Split, Faculty of Philosophy, Department of Early and Preschool Education, Split, Poljička cesta 35, 21000, Croatia; email: dpetrusic@ffst.hr","","University of Maribor Press","","","","","","18554431","","","","English","J. Elem. Educ.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85120426090"
"Clauhs M.; Powell B.","Clauhs, Matthew (56162433700); Powell, Bryan (57002386200)","56162433700; 57002386200","Teaching the Core Arts Standards in Modern Band","2021","Music Educators Journal","108","1","","25","33","8","4","10.1177/00274321211037999","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85133253211&doi=10.1177%2f00274321211037999&partnerID=40&md5=e4cfce02887b103489c7ab1cbe097828","","","The National Coalition for Core Arts Standards released standards for music education in 2014. These standards are guided by artistic processes and measured by performance standards specific to content areas and grade levels. As school districts in the United States adopt the Core Arts Standards for their music programs, it is imperative that modern band teachers demonstrate how their curriculum aligns with this new framework. Modern band is one approach to popular music education that is particularly well suited to address this new framework; the emphases of songwriting, improvising, critical listening, and group work in a learner-centered modern band class/ensemble are associated with a wide variety of standards. This article explores connections between popular music pedagogies and each of the processes in the Core Arts Standards and examines which standards may be most appropriate for modern band contexts. © 2021 National Association for Music Education.","2014 Music Standards; artistic processes; creativity; curriculum; ensembles; modern band","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85133253211"
"Deja J.A.; Mayer S.; Čopič Pucihar K.; Kljun M.","Deja, Jordan Aiko (57203125622); Mayer, Sven (57014349100); Čopič Pucihar, Klen (42762031000); Kljun, Matjaz (14019698800)","57203125622; 57014349100; 42762031000; 14019698800","A Survey of Augmented Piano Prototypes: Has Augmentation Improved Learning Experiences?","2022","Proceedings of the ACM on Human-Computer Interaction","6","ISS","","226","253","27","13","10.1145/3567719","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85142536800&doi=10.1145%2f3567719&partnerID=40&md5=066a2fc778659ba6f0a98acfa2f51395","University of Primorska, Koper, 6000, Slovenia; De La Salle University, Manila, Philippines; LMU Munich, Munich, Germany","Deja J.A., University of Primorska, Koper, 6000, Slovenia, De La Salle University, Manila, Philippines; Mayer S., LMU Munich, Munich, Germany; Čopič Pucihar K., University of Primorska, Koper, 6000, Slovenia; Kljun M., University of Primorska, Koper, 6000, Slovenia","Humans have been developing and playing musical instruments for millennia. With technological advancements, instruments were becoming ever more sophisticated. In recent decades computer-supported innovations have also been introduced in hardware design, usability, and aesthetics. One of the most commonly digitally augmented instruments is the piano. Besides electronic keyboards, several prototypes augmenting pianos with different projections providing various levels of interactivity on and around the keyboard have been implemented in order to support piano players. However, it is still unclear whether these solutions support the learning process. In this paper, we present a systematic review of augmented piano prototypes focusing on instrument learning based on the four themes derived from interviews with piano experts to understand better the problems of teaching the piano. These themes are (i) synchronised movement and body posture, (ii) sight-reading, (iii) ensuring motivation, and (iv) encouraging improvisation. We found that prototypes are saturated on the synchronisation themes, and there are opportunities for sight-reading, motivation, and improvisation themes. We conclude by presenting recommendations on augmenting piano systems towards enriching the piano learning experience as well as on possible directions to expand knowledge in the area.  © 2022 ACM.","augmented piano; music learning; piano; survey; systematic review","Computer hardware; Motivation; Musical instruments; Augmented piano; Hardware design; Improvization; Interactivity; Learning experiences; Learning process; Music learning; Piano; Systematic Review; Technological advancement; Music","","","","","European Commission, EC; Javna Agencija za Raziskovalno Dejavnost RS, ARRS, (J1-1715, J1-1692, P1-0383, J5-1796, J1-9186); Javna Agencija za Raziskovalno Dejavnost RS, ARRS; , (739574); ","The authors wish to thank the several experts who willingly offered their free time to share their experiences and opinions during our interviews. The authors also would like to thank Sarah R\u00FCller for helping them generate the high-resolution affinity diagram that is part of this paper's supplementary material. 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Zhang D., Shen Y., Ong S.-K., Nee A.Y.C., An Affordable Augmented Reality Based Rehabilitation System for Hand Motions, 2010 International Conference on Cyberworlds (CW '10), pp. 346-353, (2010); Zimmerman B.J., Moylan A.R., Self-regulation: Where metacognition and motivation intersect, Handbook of metacognition in education, pp. 311-328, (2009); Zorc L., Pucihar K.C., Kljun M., Prepričljive tehnologije za spodbujanje pravilne drže telesa pri sedenju-Persuasive technologies for promoting correct sitting posture, IS 2019-Information society multi conference-Human-Computer Interaction in Information Society, pp. 21-24, (2019)","","","Association for Computing Machinery","","","","","","25730142","","","","English","Proc. ACM Hum. Comput. Interact.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-85142536800"
"Le X.","Le, Xinyue (57752797300)","57752797300","Engaging Multitasking Performance Ensembles Through World Music Pedagogies","2022","Journal of General Music Education","35","3","","12","17","5","1","10.1177/27527646221092160","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85132340690&doi=10.1177%2f27527646221092160&partnerID=40&md5=c5f61ecc98ee24abe30e1de88e1c3fc3","Arizona State University School of Music, Tempe, United States","Le X., Arizona State University School of Music, Tempe, United States","In world music ensembles such as African and African Caribbean percussion ensembles, the Gamelan ensemble, and the Latin marimba ensemble, members may sing a song, play instruments, and dance simultaneously. This practice is known as music multitasking. For musicians in Western art music traditions, music multitasking can be a challenge. This article discusses four teaching strategies for helping beginning learners or musicians who are new to music multitasking ensembles. The four teaching strategies are movement and dancing, rote learning, switching performance roles, and embodying the intended aesthetic and performance practice of the music and the style. © National Association for Music Education 2022.","multitasking music ensemble; music learning; world music; world music pedagogy","","","","","","","","Addo A.O., Feeling Gahu, Connecticut Music Educators Association (CMEA) News, pp. 45-48, (2000); Agawu V.K., The rhythmic structure of West African music, Journal of Musicology, 5, 3, pp. 400-418, (1987); Agawu V.K., Polymeter, additive rhythm, and other enduring myths, Representing African music: Postcolonial notes, queries, positions, pp. 151-194, (2014); Anderson W.M., Campbell P.S., Multicultural perspectives in music education, 2, (2011); Bakan M.B., Learning to play: Balinese experiences, Music of death and new creation: Experiences in the world of balinese gamelan beleganjur, pp. 281-291, (1999); Campbell P.S., World music pedagogy, Teaching general music: Approaches, issues, and viewpoints, pp. 89-111, (2016); Conway C., Marshall H., Hartz B., Movement instruction to facilitate beat competency in instrumental music, Music Educators Journal, 100, 3, pp. 61-66, (2014); Eyler D.P., The history and development of the Marimba ensemble in the United States and its current status in college and university percussion programs (Musser), (1985); Frazee J., Kreuter K., Discovering Orff: A curriculum for music teachers, (1987); Gordon E.E., Audiation, music learning theory, music aptitude, and creativity, Proceedings of the Suncoast Music Education Forum on Creativity, pp. 75-81, (1989); Kelly S.N., Music education’s role in society, Teaching music in American society: A social and cultural understanding of music education, pp. 46-62, (2018); Locke D., Drum gahu! A systematic method for an African percussion piece, (1987); Locke D., The African ensemble in America: Contradictions and possibilities, Performing ethnomusicology: Teaching and representation in world music ensembles, pp. 156-174, (2004); Nettl B., Notes on infant musical development, Musical Quarterly, 42, 1, pp. 28-34, (1956); Roberts J.C., Beegle A.C., World music pedagogy, volume II: Elementary music education, (2018); Shamrock M., Orff-Schulwerk: An integrated foundation: This article on the methodologies and practices of Orff-Schulwerk was first published in the Music Educators Journal in February 1986, Music Educators Journal, 83, 6, pp. 41-44, (1997); Shin'ichi S., Selden K., Selden L., Selections from nurtured by love, Review of Japanese Culture and Society, 27, 1, pp. 210-219, (2015); Solis T., Community of comfort: Negotiating a world of “latin marimba, Performing ethnomusicology: Teaching and representation in world music ensembles, pp. 210-228, (2004); Suzuki S., Suzuki W., Nurtured by love: The classic approach to talent education, (1983); Titon J.T., Worlds of music: An introduction to the music of the world’s peoples, (2009); Volk T.M., The history and development of multicultural music education as evidenced in the Music Educators Journal, 1967-1992, Journal of Research in Music Education, 41, 2, pp. 137-155, (1993); Wallin N.L., Merker B., Brown S., An introduction to evolutionary musicology, The origins of music, pp. 3-24, (2001)","X. Le; Arizona State University School of Music, Tempe, United States; email: xinyuele@asu.edu","","SAGE Publications Inc.","","","","","","27527646","","","","English","J. Gen. Music. Educ.","Article","Final","","Scopus","2-s2.0-85132340690"
"Ocádiz G.","Ocádiz, Gabriela (59005321800)","59005321800","Coping with Discomfort: Understanding Pedagogical Decision-making as Coping with Social Change","2022","Action, Criticism, and Theory for Music Education","21","1","","80","109","29","2","10.22176/act21.1.80","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85184320231&doi=10.22176%2fact21.1.80&partnerID=40&md5=b3b2aebe2f0abf586e7ce469ce166fe7","Western University, Canada","Ocádiz G., Western University, Canada","The social tides of instability present in today’s world often require teachers to cope with social change in their pedagogical practices. Discomfort may be viewed as the beginning of a continuous critical reflective practice rather than a momentary emotive state: a way to see music education founded on an acceptance that nothing will be as it was, that nothing is ever supposed to remain static, and thus, no pedagogy is ever supposed to be the same for everyone. In this paper, I define coping with discomfort as a process of reflexivity that music teachers may already experience; it is continuous, incessant, and can help music teachers develop capacities to respond more actively to their students from diverse backgrounds. © Gabriela Ocádiz.","adaptation; coping mechanisms; Discomfort; human mobility; music pedagogy","","","","","","","","Abril Carlos, Learning outcomes of two approaches to multicultural music education, International Journal of Music Education, 24, 1, pp. 30-42, (2006); Allsup Randall E., Transformational education and critical music pedagogy: Examining the link between culture and learning, Music Education Research, 5, 1, pp. 5-12, (2003); Anderson Benedict, Imagined communities: Reflections on the origin and spread of nationalism, (1991); Apple Michael W., Can education change society?, (2013); Bandura Albert, The self-system in reciprocal determinism, American Psy-chologist, 33, 4, pp. 344-358, (1978); Barrett Margaret S., Stauffer Sandra L., Narrative soundings: An an-thology of narrative inquiry in music education, (2012); Bauman Zygmunt, Liquid life, (2005); Bauman Zygmunt, Liquid modernity, (2012); Bauman Zygmunt, Strangers at our door, (2016); Benedict Cathy, Chasing legitimacy: The US National Music Standards viewed through a critical theorist framework, Music Education Research, 8, 1, pp. 3-16, (2007); Berger Roni, Now I see it, now I don’t: Researcher’s position and reflexivity in qualitative research, Qualitative Research, 15, 2, pp. 21-34, (2015); Birjandian Fariborz, A practitioner’s view: Integration and civic participa-tion, Canadian Issues (Summer), pp. 22-24, (2005); Bloemraad Irene, Korteweg Anna, Yurdakul Gokce, Citizenship and im-migration: multiculturalism, assimilation, and challenges to the nation-state, Annual Review of Sociology, 34, 1, pp. 154-179, (2008); Bradley Deborah, The sounds of silence: Talking race in music education, Action, Criticism, and Theory for Music Education, 6, 4, pp. 132-162, (2007); Bradley Deborah, Oh, that magic feeling! 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Crit. Theory Music Educ.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85184320231"
"Steenstrup K.; Haumann N.T.; Kleber B.; Camarasa C.; Vuust P.; Petersen B.","Steenstrup, Kristian (57327378500); Haumann, Niels Trusbak (57190566715); Kleber, Boris (8307432400); Camarasa, Carles (57326952100); Vuust, Peter (16041024200); Petersen, Bjørn (57202597953)","57327378500; 57190566715; 8307432400; 57326952100; 16041024200; 57202597953","Imagine, Sing, Play- Combined Mental, Vocal and Physical Practice Improves Musical Performance","2021","Frontiers in Psychology","12","","757052","","","","5","10.3389/fpsyg.2021.757052","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85118755845&doi=10.3389%2ffpsyg.2021.757052&partnerID=40&md5=58bbd2928212c5c2ddee911ee1726a1d","The Royal Academy of Music, Aarhus, Denmark; Center for Music in the Brain, Department of Clinical Medicine, Aarhus University, Aarhus, Denmark","Steenstrup K., The Royal Academy of Music, Aarhus, Denmark; Haumann N.T., Center for Music in the Brain, Department of Clinical Medicine, Aarhus University, Aarhus, Denmark; Kleber B., Center for Music in the Brain, Department of Clinical Medicine, Aarhus University, Aarhus, Denmark; Camarasa C., The Royal Academy of Music, Aarhus, Denmark; Vuust P., The Royal Academy of Music, Aarhus, Denmark, Center for Music in the Brain, Department of Clinical Medicine, Aarhus University, Aarhus, Denmark; Petersen B., The Royal Academy of Music, Aarhus, Denmark, Center for Music in the Brain, Department of Clinical Medicine, Aarhus University, Aarhus, Denmark","Classical musicians face a high demand for flawless and expressive performance, leading to highly intensified practice activity. Whereas the advantage of using mental strategies is well documented in sports research, few studies have explored the efficacy of mental imagery and overt singing on musical instrumental learning. In this study, 50 classically trained trumpet students performed short unfamiliar pieces. Performances were recorded before and after applying four prescribed practice strategies which were (1) physical practice, (2) mental imagery, (3) overt singing with optional use of solfege, (4) a combination of 1, 2 and 3 or a control condition, no practice. Three experts independently assessed pitch and rhythm accuracy, sound quality, intonation, and musical expression in all recordings. We found higher gains in the overall performance, as well as in pitch accuracy for the physical practice, and the combined practice strategies, compared to no practice. Furthermore, only the combined strategy yielded a significant improvement in musical expression. Pitch performance improvement was positively correlated with previous solfege training and frequent use of random practice strategies. The findings highlight benefits from applying practice strategies that complement physical practice in music instrument practice in short term early stages of learning a new piece. The study may generalize to other forms of learning, involving cognitive processes and motor skills. Copyright © 2021 Steenstrup, Haumann, Kleber, Camarasa, Vuust and Petersen.","auditory imagery; brass pedagogy; deliberate practice; interleaved/random practice; motor imagery; solfege; trumpet; varied practice","","","","","","Klaus Schuhwerk; Kulturministeriet, (FPK.2018-0017)","Funding text 1: This work was partly funded by the Research Foundation of The Danish Ministry of Culture Grant No: FPK.2018-0017.; Funding text 2: The authors wish to thank the following professors of music academies in Germany and Switzerland for providing a large number of high-level trumpet students to act as participants in this study: Reinhold Friedrich, Wim van Hasselt, Wolfgang Guggenberger, and Klaus Schuhwerk.","Allen S.E., Procedural memory consolidation in musicians, (2007); Altenmuller E., Furuya S., Apollo’s gift and curse: making music as a model for adaptive and maladaptive plasticity, Neuroforum, 23, pp. 57-75, (2017); Apostolaki A., Working memory for music, pitch labels and solfège: a cross-cultural study of university students’ aural and cognitive skills, (2012); Bangert M., Altenmuller E.O., Mapping perception to action in piano practice: a longitudinal DC-EEG study, BMC Neurosci, 4, 26, (2003); Bangert M., Peschel T., Schlaug G., Rotte M., Drescher D., Hinrichs H., Et al., Shared networks for auditory and motor processing in professional pianists: evidence from fMRI conjunction, Neuroimage, 30, pp. 917-926, (2006); Bangert M., Wiedemann A., Jabusch H.C., Effects of variability of practice in music: a pilot study on fast goal-directed movements in pianists, Front. 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"Lam N.L.","Lam, Nathan L. (57221726393)","57221726393","Modal spelled pitch class, la-minor solfège, and schubert’s third relations","2020","Journal of Music Theory","64","2","","241","281","40","5","10.1215/00222909-8550795","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85099925283&doi=10.1215%2f00222909-8550795&partnerID=40&md5=c4af12092c74a0e6e2d7b9eaf59151a3","Massachusetts Institute of Technology, United States","Lam N.L., Massachusetts Institute of Technology, United States","This article develops the notion of modal spelled pitch class by combining Julian Hook’s theory of spelled heptachords and Steven Rings’s heard scale degree. Modal spelled pitch class takes the form of an ordered triple that includes the key signature, the generic pitch classes (letter names without accidentals) of the tonic, and the note in question. From there one can infer other information, such as scale degree, mode, and la-minor solfège. In the construction of modal spelled pitch class, la-minor solfège is of equal importance to do-minor solfège, and subsequent analyses contrast the perspectives of both types of movable-do solfège users. This argument aligns with recent reevaluations of Jacques Handschin’s tone character (Clampitt and Noll 2011; Noll 2016b) and suggests a path of reconciliation in the ongoing solfège debate. Close readings of Franz Schubert’s Impromptu in E major, D. 899, and Piano Sonata in B major, D. 960, demonstrate the analytic potential of modal spelled pitch class and the eight types of coordinated transpositions. While previous transformational theories have shed light on third relations in Schubert’s harmony (Cohn 1999), modal spelled pitch class transpositions show the scales and melodies that prolong third-related harmonies also participate in their own third relations. © 2020 by Yale University.","Diatonic modes; Franz Schubert; Pitch class; Solfège; Solmization","","","","","","","","Adorno Theodor W., Schubert (1928), Nineteenth-Century Music, 29, 1, pp. 7-14, (2005); Bates Ian, Vaughan Williams’s Five Variants of ‘Dives and Lazarus’: A Study of the Composer’s Approach to Diatonic Organization, Music Theory Spectrum, 34, 1, pp. 34-50, (2012); Burnham Scott, Landscape as Music, Landscape as Truth: Schubert and the Burden of Repetition, Nineteenth-Century Music, 29, 1, pp. 31-41, (2005); Carey Norman, Clampitt David, Aspects of Well-Formed Scales, Music Theory Spectrum, 11, 1, pp. 187-206, (1989); Clampitt David, Noll Thomas, Modes, the Height-Width Duality, and Handschin’s Tone Character, Music Theory Online, 17, 1, (2011); Clark Suzannah, Analyzing Schubert, (2011); Clement Brett G., Scale Systems and Large-Scale Form in the Music of Yes, Music Theory Online, 21, 1, (2015); Clough John, Myerson Gerald, Variety and Multiplicity in Diatonic Systems, Journal of Music Theory, 29, 2, pp. 249-270, (1985); Cohn Richard, As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert, Nineteenth-Century Music, 22, 3, pp. 213-232, (1999); Cohn Richard, Audacious Euphony: Chromatic Harmony and the Triad’s Second Nature, (2012); Curwen John, The Standard Course of Lessons and Exercises in the Tonic Sol-Fa Method of Teaching Music, (1853); Dahlhaus Carl, Sonata Form in Schubert: The First Movement of the G-Major String Quartet Op. 161 (D. 887), Schubert: Critical and Analytical Studies, pp. 1-12, (1986); Dahlhaus Carl, Studies on the Origin of Harmonic Tonality, (1990); Douthett Jack, Filtered Point-Symmetry and Dynamical Voice-Leading, Music TheoryandMathematics:Chords, Collections, andTransformations, pp. 137-160, (2008); Douthett Jack, Steinbach Peter, Hermann Richard, Hypercubes and the Generalized Cohn Cycle, Mathematical Music Theory: Algebraic, Geometric, Combinatorial, Topological, and Applied Approaches to Understanding Musical Phenomena, pp. 21-46, (2018); Fisk Charles, Comment and Chronicle, Nineteenth-Century Music, 23, 3, pp. 301-303, (2000); Fisk Charles, Returning Cycles: Contexts for the Interpretation of Schubert’s Impromptus and Last Sonatas, (2001); Glover Sarah Ann, Scheme for Rendering Psalmody Congregational, (1835); Handschin Jacques, Der Toncharackter: Eine Einführung in die Tonpsychologie, (1948); Holst Imogen, The Music of Gustav Holst, (1968); Hook Julian, Cross-Type Transformations and the Path Consistency Condition, Music Theory Spectrum, 29, 1, pp. 1-39, (2007); Hook Julian, Signature Transformations, Music Theory and Mathematics: Chords, Collections, and Transformations, pp. 137-160, (2008); Hook Julian, Spelled Heptachords, Mathematics and Computation in Music, pp. 84-96, (2011); Hook Julian, Forthcoming. 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Smith, ‘A Comparison of Pedagogical Resources in Solmization Systems, Journal of Music Theory Pedagogy, 6, pp. 137-151, (1992); Houlahan Micheal, Tacka Philip, Continuing the Dialogue: The Potential of Relative Solmization for the Music Theory Curriculum at the College Level, Journal of Music Theory Pedagogy, 8, pp. 221-225, (1994); Houlahan Micheal, Tacka Philip, Kodály Today: A Cognitive Approach to Elementary Music Education, (2008); Huron David, Sweet Anticipation: Music and the Psychology of Expectation, (2006); Karpinski Gary Steven, Aural Skills Acquisition: The Development of Listening, Reading, and Performing Skills in College-Level Musicians, (2000); Klorman Edward, On the Slow Movement of Brahms’s F-Minor Clarinet Sonata: Third-Cycles, Diatonie, and Todesangst, Gamut, 7, 1, pp. 126-149, (2014); Kopp David, Chromatic Transformations in Nineteenth-Century Music, (2002); Krebs Harald Manfred, Third Relation and Dominant in Late Eighteenth- and Early Nineteenth-Century Music, (1980); Larson Steve, The Value of Cognitive Models in Evaluating Solfege Systems, Indiana Theory Review, 14, 2, pp. 74-116, (1993); Lewin David, Generalized Musical Intervals and Transformations, (1987); Noll Thomas, Die Vernunft in der Tradition: Neue mathematische Untersuchungen zu den alten Begriffen der Diatonizität, Special issue, Zeitschrift der Gesellschaft für Musiktheorie, 13, pp. 85-133, (2016); Noll Thomas, Handschins ‘Toncharakter’: Plädoyer für einen neuen Anlauf, ausgehend von neueren musiktheoretischen und kognitionspsychologischen Untersuchungen zu den tonalen ‘Qualia, Zeitschrift der Gesellschaft für Musiktheorie, 13, 2, pp. 237-295, (2016); Noll Thomas, Garbers Joerg, Theory, SolFa Mode-Go-Round, (2013); Peck Robert, Review of Steven Rings, Tonality and Transformation (Oxford University Press, 2011), Music Theory Online, 18, 3, (2012); Rapp Will, The Wind Band Masterworks of Holst, Vaughan Williams, and Grainger, (2005); Regener Eric, Pitch Notation and Equal Temperament: A Formal Study, (1973); Rings Steven, Perspectives on Tonality and Transformation in Schubert’s Impromptu in E-Flat, D. 899, Journal of Schenkerian Studies, 2, pp. 33-64, (2007); Rings Steven, Tonality and Transformation, (2011); Salzer Felix, Die Sonatenform bei Franz Schubert, Studien zur Musikwissenschaft, 15, pp. 86-125, (1928); Schenker Heinrich, Harmony, (1954); Sharp Cecil, English Folk-Song: Some Conclusions, (1907); Siciliano Michael, Neo-Riemannian Transformations and the Harmony of Franz Schubert, (2002); Smith Timothy A., A Comparison of Pedagogical Resources in Solmization Systems, Journal of Music Theory Pedagogy, 5, 1, pp. 1-23, (1991); Smith Timothy A., Liberation of Solmization: Searching for Common Ground, Journal of Music Theory Pedagogy, 6, pp. 153-168, (1992); Smith Timothy A., Ending the Dialogue: Imaginary Solutions Are No Solution, Journal of Music Theory Pedagogy, 8, pp. 227-230, (1994); Temperley David, The Line of Fifths, Music Analysis, 19, 3, pp. 289-319, (2000); Tymoczko Dmitri, Scale Networks and Debussy, Journal of Music Theory, 48, 2, pp. 219-294, (2004); Tymoczko Dmitri, A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice, (2011); Yust Jason, Distorted Continuity: Chromatic Harmony, Uniform Sequences, and Quantized Voice Leadings, Music Theory Spectrum, 37, 1, pp. 120-143, (2015)","","","Duke University Press","","","","","","00222909","","","","English","J. Music Theory","Article","Final","","Scopus","2-s2.0-85099925283"
"Wiley C.","Wiley, Christopher (38162681200)","38162681200","Exploring the integration of teaching and research in the contemporary classroom: An autoethnographic inquiry into designing an undergraduate music module on Adele’s 25 album","2022","Arts and Humanities in Higher Education","21","1","","74","93","19","3","10.1177/14740222211013759","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85106733876&doi=10.1177%2f14740222211013759&partnerID=40&md5=349a0f9b4287489d750a912de1e9b2cb","Department of Music and Media, University of Surrey, United Kingdom","Wiley C., Department of Music and Media, University of Surrey, United Kingdom","This study seeks to investigate aspects of the relationship between the core academic activities of teaching and research in higher education, through a theoretically enriched discussion of the design of an innovative popular music module on Adele’s 25 album and its delivery to first-year undergraduates on a general-purpose music degree during the academic years 2015–21. Drawing on autoethnographic approaches, it contemplates the challenges associated with the execution of a module on genuinely contemporary topics, outlining the case for the importance of ensuring that university curricula remain up-to-the-minute as well as exploring strategies by which to realise this aspiration in the absence of a body of academic literature that might ordinarily have provided strong foundations for the content of such teaching. These lines of inquiry lead to consideration of broader questions concerning the evolving relationship between teaching and research in light of the substantial changes that have taken place within the UK higher education sector in recent years, as well as the possibilities for teaching-led research, developed exclusively for and in the academic classroom, as an alternative to the more traditional research-led teaching. © The Author(s) 2021.","Adele Adkins; autoethnography; contemporary pop music; music and popular culture; music pedagogy; Popular music studies; research-teaching nexus","","","","","","Institute of Musical Research; University of London, UoL; University of Surrey; Western University, UWO","Previous versions of this article were presented at ‘Teaching and Creativity in Popular Music’, University of Surrey, 10 June 2017; ‘Surrey ExciTeS’ Excellence in Teaching Symposium, University of Surrey, 3 January 2018; ‘Beyond “Mesearch”: Autoethnography, self-reflexivity, and personal experience as academic research in music studies’, Institute of Musical Research, University of London, 16 April 2018; and ‘Progressive Methods in Popular Music Education’, Western University, London, Ontario, Canada, 8 June 2018. My thanks to the participants in these events for their questions, feedback, and encouragement. This article will appear in revised form in the forthcoming The Routledge Companion to Autoethnography and Self-Reflexivity in Music Studies and is printed here with the permission of the publisher. The author(s) received no financial support for the research, authorship, and/or publication of this article.","Archer L., Younger academics’ constructions of ‘authenticity’, ‘success’ and professional identity, Studies in Higher Education, 33, 4, pp. 385-403, (2008); Austin J., Hickey A., Autoethnography and teacher development, The International Journal of Interdisciplinary Social Sciences, 2, 2, pp. 369-378, (2007); Barnett R., Beyond All Reason: Living with Ideology in the University, (2003); Barnett R., Reshaping the University: New Relationships between Research, Scholarship and Teaching, (2005); Building on Success and Learning from Experience: An Independent Review of the Research Excellence Framework [Stern Review], (2016); Success as a Knowledge Economy: Teaching Excellence, Social Mobility and Student Choice [White Paper], (2016); Bjornberg A., (2000); Bochner A.P., Ellis C., Evocative Autoethnography: Writing Lives and Telling Stories, (2016); Boshier R., Why is the scholarship of teaching and learning such a hard sell?, Higher Education Research & Development, 28, 1, pp. 1-15, (2009); Braidwood E., (2020); Brew A., Research and Teaching: Beyond the Divide, (2006); Brew A., Imperatives and challenges in integrating teaching and research, Higher Education Research & Development, 29, pp. 139-150, (2010); Brew A., Teaching and research: New relationships and their implications for inquiry-based teaching and learning in higher education, Higher Education Research & Development, 31, pp. 101-114, (2012); Chang H., Autoethnography as Method, (2008); Chang H., Ngunjiri F.W., Hernandez K.C., Collaborative Autoethnography, (2013); Cloonan M., What is popular music studies? 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G. Plasketes, Music & Letters, 93, 4, pp. 639-641, (2012); Yorke M., A cloistered virtue? Pedagogical research and policy in UK higher education, Higher Education Quarterly, 54, 2, pp. 106-126, (2000)","C. Wiley; Department of Music and Media, University of Surrey, United Kingdom; email: c.wiley@surrey.ac.uk","","SAGE Publications Ltd","","","","","","14740222","","","","English","Arts Humanit. High. Educ.","Article","Final","All Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85106733876"
"Zhang X.; King A.; Prior H.","Zhang, Xiangming (57299854000); King, Andrew (35334411200); Prior, Helen (57207259354)","57299854000; 35334411200; 57207259354","Exploring the Factors Influencing Chinese Music Teachers’ Perceptions and Behavioural Intentions in Using Technology in Higher Education: A Pilot Study","2021","Music and Science","4","","","","","","3","10.1177/20592043211044819","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85117323856&doi=10.1177%2f20592043211044819&partnerID=40&md5=116ae9e411234b99a1dbcb6b6984bd1f","School of Arts, University of Hull, Hull, United Kingdom; Ningbo College of Health Sciences, Zhejiang Province, Ningbo, China","Zhang X., School of Arts, University of Hull, Hull, United Kingdom, Ningbo College of Health Sciences, Zhejiang Province, Ningbo, China; King A., School of Arts, University of Hull, Hull, United Kingdom; Prior H., School of Arts, University of Hull, Hull, United Kingdom","The development of new technologies drives many aspects of socio-economic development, including the development of education. The behavioural intention of music teachers, particularly in relation to how technology is integrated into the classroom, needs to be understood since it has a direct effect on the pedagogical approach used in classroom learning. Existing theories (the Unified Theory of Acceptance and Use of Technology (UTAUT) and Technological Pedagogical and Content Knowledge (TPACK)) have explored aspects of teachers’ adoption of technologies; this article uses data from a pilot study to develop and test a model that combines the two theories in order to understand more fully the relationship between Individual Beliefs, Technological Competence and Behavioural Prediction of music teachers using technology in the context of the Chinese governmental policy: ‘Internet +’. The participants of this pilot study were 61 music teachers (12 male and 49 female); the proportion of participants in different provincial administrative regions covered more than half of mainland China (18 out of 34). Structural Equation Modelling (SEM) revealed that the overall fit of the model was above the recommended level of acceptable fit. The results showed that Technological Competence has a significant impact on Individual Beliefs; Individual Beliefs have a significant impact on Behavioural Prediction. However, Technological Competence was found to have no significant direct impact on Behavioural Prediction. This study is one of only a few studies that combine the UTAUT and TPACK models into the field of music pedagogy and uses SEM for analysis. This study attempts to fill the gap in the factors influencing the adoption of technology in music education in non-Western cultures and also provides a starting point for understanding Chinese music teachers’ technological beliefs and behavioural intentions. © The Author(s) 2021.","Chinese higher education; Internet + Music; music educational technology; technological competence","","","","","","University of York; China Scholarship Council, CSC, (201808330307); Technische Universität Berlin","Funding text 1: We thank Dr Caroline Waddington-Jones (University of York), who was the first author’s second supervisor, for her help in designing the study. We thank Dr Elaine King for suggesting training opportunities in data analysis, Dr Hauke Egermann for organising the SEM Training Seminar at the University of York and Dr Steffen Lepa (Technische Universität Berlin) for providing course training and post-course guidance. The authors disclosed receipt of the following financial support for the research, authorship, and publication of this article: This work was supported by the China Scholarship Council (CSC) [grant number 201808330307].; Funding text 2: The authors disclosed receipt of the following financial support for the research, authorship, and publication of this article: This work was supported by the China Scholarship Council (CSC) [grant number 201808330307]. 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Hofer M., Grandgenett N., TPACK development in teacher education: A longitudinal study of preservice teachers in a secondary MA Ed. program, Journal of Research on Technology in Education, 45, 1, pp. 83-106, (2012); Hu L., Bentler P., Fit indices in covariance structure modeling: Sensitivity to underparameterized model misspecification, Psychological Methods, 3, 4, pp. 424-453, (1998); Hunt C., National strategy for higher education to 2030, (2011); Isaac S., Michael W.B., Handbook in research and evaluation: A collection of principles, methods, and strategies useful in the planning, design, and evaluation of studies in education and the behavioral sciences, (1995); Jianqiu Z., Mengke Y., Internet plus and networks convergence, China Communications, 12, 4, pp. 42-49, (2015); Kang C., Premier Li and internet Plus, (2015); Kim E., Music technology-mediated teaching and learning approach for music education: A case study from an elementary school in South Korea, International Journal of Music Education, 31, 4, pp. 413-427, (2013); King A., Himonides E., Music, technology, and education: Critical perspectives, (2016); King A., Prior H., Waddington-Jones C., Exploring teachers’ and pupils’ behaviour in online and face-to-face instrumental lessons, Music Education Research, 21, 2, pp. 197-209, (2019); Klassen R.M., Tze V.M., Teachers’ self-efficacy, personality, and teaching effectiveness: A meta-analysis, Educational Research Review, 12, pp. 59-76, (2014); Kline R.B., Principles and practice of structural equation modeling, (2015); Koehler M.J., Mishra P., Kereluik K., Shin T.S., Graham C.R., The technological pedagogical content knowledge framework, Handbook of research on educational communications and technology, pp. 101-111, (2014); Leong S., Strategies for enabling curriculum reform: Lessons from Australia, Singapore and Hong Kong, Music education with digital technology, pp. 276-279, (2007); Li M., Zheng C., Li Z., Tang Y., The key characteristics of the best University teachers in the Era of “Internet +, China Educational Technology, 1, pp. 39-44, (2017); 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Mishra P., Koehler M.J., Technological pedagogical content knowledge: A framework for teacher knowledge, Teachers College Record, 108, 6, pp. 1017-1054, (2006); Mroziak J., Bowman J., Music TPACK in higher education, Handbook of Technological Pedagogical Content Knowledge (TPACK) for Educators, pp. 285-308, (2016); National association of schools of music Handbook 2020-21, (2021); Nielsen L.D., A study of K-12 music educators’ attitudes towards technology-assisted assessment tools, Student research, creative activity, and performance - school of music, (2011); Nijs L., Dalcroze meets technology: Integrating music, movement and visuals with the music paint machine, Music Education Research, 20, 2, pp. 163-183, (2018); Ning J., The implementation background, connotation and main content of the “Internet +” action plan, E-Government, 6, pp. 32-38, (2015); Pena-Lopez I., Innovating education and educating for innovation, (2016); Prince R., Mombour W., A technique for improving linguistic equivalence in cross-cultural surveys, International Journal of Social Psychiatry, 13, 3, pp. 229-237, (1967); Redecker C., European framework for the digital competence of educators, (2017); Rogers E.M., Diffusion of innovations, (2010); Rosseel Y., Lavaan: An R package for structural equation modeling, Journal of Statistical Software, 48, 2, pp. 1-36, (2012); Rowe V., Triantafyllaki A., Anagnostopoulou X., Young pianists exploring improvisation using interactive music technology, International Journal of Music Education, 33, 1, pp. 113-130, (2015); Ruthmann A., Mantie R., The Oxford Handbook of technology and music education, (2017); Salvador K., Corbett K., But I never thought I’d teach the little kids”: Secondary teachers and early-grades music instruction, Music Educators Journal, 103, 1, pp. 55-63, (2016); Savage J., A survey of ICT usage across English secondary schools, Music Education Research, 12, 1, pp. 89-104, (2010); Schmidt D.A., Baran E., Thompson A.D., Koehler M.J., Mishra P., Shin T., Survey of preservice teachers’ knowledge of teaching and technology, (2009); Schwab K., The fourth industrial revolution, (2017); Swallow M.J.C., Olofson M.W., Contextual understandings in the TPACK framework, Journal of Research on Technology in Education, 49, 3-4, pp. 228-244, (2017); Thomas T., Singh L., Gaffar K., The utility of the UTAUT model in explaining mobile learning adoption in higher education in Guyana, International Journal of Education and Development using ICT, 9, 3, pp. 71-85, (2013); Tomte C.E., Fossland T., Aamodt P.O., Degn L., Digitalisation in higher education: Mapping institutional approaches for teaching and learning, Quality in Higher Education, 25, 1, pp. 98-114, (2019); Tosuntas S.B., Cubukcu Z., Beauchamp G., A new model for the factors that affect interactive whiteboard usage of teachers and its effect on performance, Education and Information Technologies, (2021); Triandis H.C., Interpersonal behavior, (1977); Triandis H.C., Values, attitudes, and interpersonal behavior, (1979); Van Belle G., Statistical rules of thumb, (2011); Venkatesh V., Morris M.G., Davis G.B., Davis F.D., User acceptance of information technology: Towards a unified view, MIS Quarterly, 27, 3, pp. 425-478, (2003); Venkatesh V., Thong J.Y.L., Xu X., Consumer acceptance and use of information technology: Extending the unified theory of acceptance and use of technology, MIS Quarterly, 36, 1, pp. 157-178, (2012); Venkatesh V., Thong J.Y.L., Xu X., Unified theory of acceptance and use of technology: A synthesis and the road ahead, Journal of the Association for Information Systems, 17, pp. 328-376, (2016); Waddell G., Williamon A., Technology use and attitudes in music learning, Frontiers in ICT, 6, 11, (2019); Wang Z., Chen C., Guo B., Yu Z., Zhou X., Internet plus in China, It Professional, 18, 3, pp. 5-8, (2016); Webster P.R., Computer-based technology and music teaching and learning: 2000–2005, International handbook of research in arts education, pp. 1311-1330, (2007); Williamon A., Ginsborg J., Perkins R., Waddell G., Performing music research: Methods in music education, psychology, and performance science, (2021); Wise S., Greenwood J., Davis N., Teachers’ use of digital technology in secondary music education: Illustrations of changing classrooms, British Journal of Music Education, 28, 2, pp. 117-134, (2011); Wu X., Ye Y., An Introduction to technical and vocational education in China, Technical and vocational education in China, pp. 1-43, (2018); Xie J., Xu B., Application of the MOOC mixed teaching method under the background of internet+ education, Educational Sciences: Theory & Practice, 18, 6, pp. 2611-2616, (2018); Xiong W., Zhao Z., Fang J., Influence of internet plus to International business development, American Journal of Industrial and Business Management, 6, 4, pp. 241-249, (2016); Zhang B., Peng P., Research on the development of education resources for the internet plus universities in the national health field, EURASIA Journal of Mathematics, Science and Technology Education, 13, 8, pp. 5085-5093, (2017); Zhang Y., On the concept and mode of “internet plus education, China Higher Education Research, 2, pp. 70-73, (2016); Zhu H., Lou S., Development and reform of higher education in China, (2011)","X. Zhang; School of Arts, University of Hull, Hull, United Kingdom; email: X.Zhang-2018@hull.ac.uk","","SAGE Publications Ltd","","","","","","20592043","","","","English","Music. Sci.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85117323856"
"Spieker B.P.A.","Spieker, B.P.A. (57564825800)","57564825800","Towards a sustainable, student-centred approach for technology-supported music education: A Dutch perspective","2021","Journal of Music, Technology and Education","13","2-3","","263","286","23","2","10.1386/jmte_00026_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85127714640&doi=10.1386%2fjmte_00026_1&partnerID=40&md5=a177ed703f39c44d2f67d07479bb5ffe","ArtEZ Conservatory, Enschede, Netherlands","Spieker B.P.A., ArtEZ Conservatory, Enschede, Netherlands","Applying technology in music education is not always obvious for music teachers. Pre-service music teachers should be trained in technology-supported music pedagogy, but this requires more than isolated lessons, short projects and ad hoc support. This article reports on an exploration towards a structural implementation of digital pedagogy in higher music education (i.e. a bachelor of music in schools). This exploration was based on student-centred approaches that were iteratively developed over time and have been investigated through an action research strategy. The aim of this article is to inform about the design of the approaches, such as the structure of courses with its assignments, participants and external collaborations, and turning points and insights that steered the approach. Focus is put on the so-called technological pedagogical content knowledge (TPACK), technology acceptance and students’ motivation. In the end, this article presents recommendations for designing education that prepares students to enhance their practice with technology: (1) adapt to your students; (2) be concrete to your students; and (3) embrace collaboration. This article concludes with explaining the value of these recommendations beyond higher music teacher education by providing examples of how these recommendations can be translated to higher music performance education. © 2021 Intellect Ltd Article. English language.","curriculum renewal; higher education; music pedagogy; technology acceptance; technology-supported education; TPACK","","","","","","ArtEZ University of the Arts","The author gratefully acknowledges the students, external clients, collaborators, supervisors and colleagues who were involved in this research for making the work possible and ArtEZ University of the Arts for financial support.","Bauer W. I., Music Learning Today Digital Pedagogy for Creating, Performing, and Responding to Music, (2014); Bauer W. I., Dammers R., Technology in music teacher education: A national survey, Research Perspectives in Music Education, 18, 1, pp. 2-15, (2016); Brown A. R., Computers in Music Education Amplifying Musicality, (2007); Brown A. R., Music Technology and Education. Amplifying Musicality, (2015); Brummelhuis ten A., Binda A., Vier in balans-monitor 2017: De hoofdlijn, Kennisnet, (2017); Caillois R., Man, Play, and Games, (2001); Studiegids Docent Muziek 2020–2021, (2020); Davis F. D., A technology acceptance model for empirically testing end-user information systems: Theory and results, (1985); Deci E. L., Ryan R. M., Self-determination theory and the facilitation of intrinsic motivation, American Psychologist, 55, 1, pp. 68-78, (2000); Deming W. E., The New Economics for Industry, Government, Education, (1994); Denscombe M., The Good Research Guide for Small-Scale Social Research Projects, (2017); Dorfman J., Theory and Practice of Technology-Based Music Instruction, (2013); Evans C., Robertson W., The four phases of the digital natives debate, Human Behavior and Emerging Technologies, 2, 3, pp. 269-277, (2020); Fisser P., Voogt J., TPACK-NL vragenlijst een toelichting, Curriculumontwerp & Onderwijsinnovatie, 42, (2010); Gall M., Sammer G., Vugt A. De, European Perspectives on Music Education. New Media in the Classroom, (2012); Haning M., Are they ready to teach with technology? An investigation of technology instruction in music teacher education programs, Journal of Music Teacher Education, 25, 3, pp. 78-90, (2015); Holzman L., Vygotsky at Work and Play, Vygotsky at Work and Play, (2008); Huizinga J., Homo Ludens: Proeve eener bepaling van het spel-element der cultuur, (2008); Koehler M. J., Mishra P., What is technological pedagogical content knowledge (TPACK)?, Contemporary Issues in Technology and Teacher Education, 9, 1, pp. 60-70, (2009); Lei R. Van der, Haverkort F., Noordam L., Muziek Meester!, (2015); Manzo V. J., Max/Msp/Jitter for Music: A Practical Guide to Developing Interactive Music Systems for Education and More, (2016); McPherson G. E., The Child as Musician: A Handbook of Musical Development, (2017); Mishra P., Koehler M., Technological pedagogical content knowledge: A framework for integrating technology in teacher knowledge, Teachers College Record, 108, 6, pp. 1017-1054, (2006); Moen R., Norman C., Evolution of the PDCA cycle, Proceedings of the 7th Asia Network for Quality Conference, pp. 1-11, (2009); Nijs L., Baets T. De, Muziekpedagogiek in beweging Technologie als medium, (2015); Pabst-Krueger M., Ziegenmeyer A., Perspectives for Music Education in Schools after the Pandemic: A Joint Publication by Authors of the Network of Music Teacher Associations in Europe, (2021); Prensky M., Digital natives, digital immigrants, On the Horizon, 9, 5, pp. 1-6, (2001); Renger W.-J., Hoogendoorn E., Ludo Didactics Designing for Didacticians, (2019); Curriculum Handbook Bachelor of Music in Education: Docent Muziek, (2020); Schell J., The Art of Game Design: A Book of Lenses, (2020); Scherer R., Siddiq F., Tondeur J., The technology acceptance model (TAM): A meta-analytic structural equation modeling approach to explaining teachers’ adoption of digital technology in education, Computers and Education, 128, 317, pp. 13-35, (2019); Shulman L. S., Those who understand: Knowledge growth teaching, Educational Researcher, 15, 2, pp. 4-14, (1986); Venkatesh V., Morris M. G., Davis G. B., Davis F. D., User acceptance of information technology: Toward a unified view, MIS Quarterly, 27, 3, pp. 425-478, (2003); Vrolijk R., Nieuw geluid, (2017); Wehmeyer M. L., Shogren K. A., The development of selfdetermination during adolescence, Development of Self-Determination Through the LifeCourse, pp. 89-98, (2017); Onderwijs-en examenregeling 2020–2021, Bachelor of Music Teaching, (2020)","B.P.A. Spieker; ArtEZ Conservatory, Enschede, Netherlands; email: b.p.a.spieker@utwente.nl","","Intellect Ltd.","","","","","","17527066","","","","English","J. Music Technol. Educ.","Article","Final","","Scopus","2-s2.0-85127714640"
"Vita J.C.; Campbell P.S.","Vita, Juliana Cantarelli (57406545300); Campbell, Patricia Shehan (26034231100)","57406545300; 26034231100","World Music Pedagogy: Gateway to Global Citizenship and Children’s Creative Impulses","2021","Malaysian Journal of Music","10","2","","45","53","8","3","10.37134/mjm.vol10.2.4.2021","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85122581059&doi=10.37134%2fmjm.vol10.2.4.2021&partnerID=40&md5=1e77eae73d4a0964c5ae966e481eb593","Music Education, University of Hartford, 200 Bloomfield Ave, West Hartford, 06117, CT; Music Education, University of Washington Music Building, Seattle, 98195, WA","Vita J.C., Music Education, University of Hartford, 200 Bloomfield Ave, West Hartford, 06117, CT; Campbell P.S., Music Education, University of Washington Music Building, Seattle, 98195, WA","In this article, we seek to examine ways in which educators can bring music of world cultures into classrooms of children in a respectful, sensitive manner. Myriad issues of diversity, equity, and inclusion are at the center of the conversation among music educators across the globe. As educators are committed to issues of globaliation, social justice, and cultural democracy, we intend here to discuss World Music Pedagogy (WMP) as a means of fostering children’s musical and cultural awareness in embracing both local and global communities. These involve careful considerations, as WMP is a multi-dimensional learning process that recognises the importance of deep and reflective listening as gateway to knowing the music in order to participate in it, to perform it, to create new works within the style of the studied music, and to know its cultural meaning, context, and function. Lastly, we present three “classroom portraits” through activities with examples from Brazilian, Ugandan, and Canadian Arctic Indigenous cultures that can open pathways that lead learners to a comprehensive experience with music in and as culture. © 2021. All Rights Reserved.","cultural awareness; local and global communities; sensitivity; social justice; World Music Pedagogy","","","","","","American Orff-Schulwerk Association; Yakama Nation Tribal School; Social Sciences and Humanities Research Council of Canada, SSHRC","Juliana Cantarelli Vita is an Assistant Professor of Music Education at the University of Hartford's Hartt School. She is a Ph.D. candidate in Music Education with an emphasis in Ethnomusicology at the University of Washington and a member of The Orff Echo Editorial Board. Blending her interests in music education and ethnomusicology, Juliana has presented papers and given clinics on the topic of multicultural sensitivity, Afro-Brazilian drumming traditions, children’s musical cultures, and gender and music. She has received research grants from the American Orff-Schulwerk Association (for the work on collective songwriting at the Yakama Nation Tribal School) and the Canadian Social Sciences and Humanities Research Council (for the work with repatriated recordings). She is a recipient of the Elizabeth May (Slater) Award from the Society for Ethnomusicology for her paper on the topic of archived field recordings featuring children. As a clinician, Juliana has given more than 50 workshops in the United States, Brazil, and Europe. She directs Seattle’s Maracatu de Baque Virado ensemble.","Campbell P. S., Teaching music globally: Experiencing music, expressing culture, (2004); Campbell P. S., Children, teachers, and ethnomusicologists: Traditions and transformations of music in schools, Beyond borders: Welt, musik, pädagogik: Musikpädagogik und ethnomusikologie im diskurs, (2013); Campbell P. S., Teaching a multicultural experience: Music, culture, and pedagogy, The Orff Echo, 46, 2, pp. 10-14, (2014); Campbell P. S., Music, education, and diversity, (2018); Campbell P. S., Lum C.H., World music pedagogy: School-community intersections, (2019); Cain M., Lindblom S., Walden J., Initiate, create, activate: Practical solutions for making culturally diverse music education a reality, Australian Journal of Music Education, 2, pp. 79-97, (2013); Coppola W., Hebert D., Campbell P. S., World music pedagogy: Teaching world music in higher education, (2021); Seu Maia, (2011); Moon J., Delicious peace: Music of the Ugandan Mirembe Kawomera Coffee Cooperative, Smithsonian Folkways Recordings; Omolo-Ongati R., Prospects and challenges of teaching and learning musics of the world’s cultures: An African perspective, Cultural diversity in music education: Directions and challenges for the 21st century, pp. 59-68, (2005); Roberts J. C., Beegle A. C., World music pedagogy: Elementary music education, (2018); Schippers H., Facing the music, (2010); Wright R., Music education and social reproduction: Breaking cycles of injustice, Oxford handbook of social justice in music education, (2015); Tudjaat - Qiugauiit (Inuit, Canadá) [Video], (2016)","J.C. Vita; Music Education, University of Hartford, West Hartford, 200 Bloomfield Ave, 06117; email: jcanterel@hartford.edu","","Universiti Pendidikan Sultan Idris","","","","","","26009366","","","","English","Malays. J. Of. Music.","Article","Final","All Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85122581059"
"Grey A.","Grey, Alyssa (57328918300)","57328918300","Improving Students’ Aural Skills on the AP Music Theory Exam","2021","Music Educators Journal","107","3","","47","53","6","0","10.1177/0027432121994658","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85133298916&doi=10.1177%2f0027432121994658&partnerID=40&md5=ff012681859f763e161eef72051a0304","","","In the past six years, more than 40,000 students have failed the AP Music Theory Exam. Students have struggled especially when sight-singing or taking melodic dictation in compound meter and minor tonality. Research has shown that students can improve these specific aural skills through learning pitch and rhythm patterns, improvisation activities, and learning from musical literature. This article includes research-based practical applications for helping students improve their aural skills for the AP Music Theory Exam. © 2021 National Association for Music Education.","AP Music Theory Exam; aural skills; dictation; music theory; sight-singing; test preparation","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85133298916"
"Lastovetska-Solanska Z.; Dyka N.; Velychko O.; Saldan S.; Makovetska I.","Lastovetska-Solanska, Zoryana (59251009600); Dyka, Nina (58040691300); Velychko, Oksana (58040691400); Saldan, Svitlana (58040596100); Makovetska, Iryna (59668420300)","59251009600; 58040691300; 58040691400; 58040596100; 59668420300","Current Trends in Music Pedagogy in Higher Educational Institutions","2022","Journal of Higher Education Theory and Practice","22","18","","187","198","11","2","10.33423/jhetp.v22i18.5710","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85145469563&doi=10.33423%2fjhetp.v22i18.5710&partnerID=40&md5=3baf5a74a5002f36078e86a99462d82f","Lviv National Academy of Music Named After Mykola Lysenko, Ukraine; Ivan Franko National University of Lviv, Ukraine","Lastovetska-Solanska Z., Lviv National Academy of Music Named After Mykola Lysenko, Ukraine; Dyka N., Lviv National Academy of Music Named After Mykola Lysenko, Ukraine; Velychko O., Ivan Franko National University of Lviv, Ukraine; Saldan S., Ivan Franko National University of Lviv, Ukraine; Makovetska I., Ivan Franko National University of Lviv, Ukraine","The principle of expanding, enriching, and updating approaches to the implementation of educational programmes in higher educational institutions, related, in particular, to the musical art, is an urgent problem, both in geographical and epochal aspects. This phenomenon caused the authors of the study to address this topic. Its disclosure, characterisation of the most important elements (categories) that make up its content is the main purpose of this study. The coverage of such a phenomenon as the modernisation of music education in institutions of higher education, the definition of the components that are its basis and formalise this process into an integral system are the results of this study. © 2022, North American Business Press. All rights reserved.","categories; cultural environment; groups and vectors of learning; integrative principle; modernisation of educational programmes; performing practice","","","","","","","","Andic B., Cvjeticanin S., Lavicza Z., Maricic M., Novovic T., Stesevic D., Mobile and printed dichotomous keys in constructivist learning of biology in primary school, Research in Science and Technological Education, 39, 4, pp. 393-420, (2021); Andic B., Kadic S., Grujicic R., Malidzan D., A comparative analysis of the attitudes of primary school students and teachers regarding the use of games in teaching, IAFOR Journal of Education, 6, 2, pp. 5-16, (2018); Belozub L.M., The national aspect of Ukrainian musical art, Art History, 1, pp. 116-122, (2014); Berkimbaev K.M., Niyazova G.Z., Kerimbaeva B.T., Berdi D.K., Ernazarova D.Z., The formation of information competence of future specialists-As a factor of improvement of quality of preparation, Life Science Journal, 10, SPEC. ISSUE 9, pp. 198-202, (2013); Chmurzynska M., Self-Efficacy of Piano Teachers of Specialized Music School, (2009); Clayton M., Jakubowski K., Eerola T., Keller P., Interpersonal Entrainment in Music Performance, Music Perception, 38, 2, pp. 136-194, (2020); Draper G., Dingle G., “It’s Not the Same”: A Comparison of the Psychological Needs Satisfied by Musical Group Activities in Face to Face and Virtual Modes, Frontiers in Psychology, 12, (2021); Elmgren H., Hindrances to recognition in Finnish music schools, International Journal of Music Education, 39, 2, pp. 202-217, (2021); Fraser T., Crooke A., Davidson J., Music Has No Borders”: An Exploratory Study of Audience Engagement with YouTube Music Broadcasts During COVID-19 Lockdown, 2020, Frontiers in Psychology, 12, (2021); Hesmondhalgh D., Streaming’s Effects on Music Culture: Old Anxieties and New Simplifications, Cultural Sociology, 16, 1, (2021); Jacoby N., Margulis E., Clayton M., Hannon E., Cross-Cultural Work in Music Cognition: Challenges, Insights, and Recommendations, Music Perception, 37, 3, pp. 185-195, (2020); Kim I.S., Baizhanova S.B., Kenzhibayeva G.S., Makhmudova M.A., Kayumova U.R., Principles of designing modern clothing based on traditional Kazakh costume, Izvestiya Vysshikh Uchebnykh Zavedenii, Seriya Teknologiya Tekstil’noi Promyshlennosti, 387, 3, pp. 89-92, (2020); Kim I.S., Kenzhibayeva G.S., Janpaizova V.M., Kupenova A.A., Dairabaeva G.I., Esenbaeva K.A., Torebaev B.P., Features of developing a concept of industrial copyright collections as a way of creative self-realization for designers, Izvestiya Vysshikh Uchebnykh Zavedenii, Seriya Teknologiya Tekstil’noi Promyshlennosti, 388, 4, pp. 148-152, (2020); Klimay E., Modern trends in music education, (2009); Kolomiets G., Philosophy of Music in the Image of the World: From Antiquity to the Modern Time, RUDN Journal of Philosophy, 25, 1, pp. 139-155, (2021); Kuhn W., Hein E., Future-proofing the Electronic Music School, Electronic Music School, pp. 226-231, (2021); Lage-Gomez C., Cremades-Andreu R., Group Identity in a Secondary School Classroom Constructed through Musical Creation, Croatian Journal of Education, 21, 1, pp. 35-61, (2021); Maricic M., Cvjeticanin S., Andic B., Teacher-demonstration and student hands-on experiments in teaching integrated sciences, Journal of Baltic Science Education, 18, 5, pp. 768-779, (2019); Mikhalyuk A., Conceptual provisions of formation of performing culture of future teachers-musicians by means of Ukrainian piano art, Educational Discourse, 2, 29, (2020); Navarro A., Opening a new chapter in Music High Education, (2018); Nowak R., Consuming Music in the Digital Age, (2016); Nowak R., Music Listening Activities in the Digital Age: An Act of Cultural Participation through Adequate Music, Leonardo Music Journal, 26, pp. 20-23, (2016); Nowak R., Bennett A., Music Consumption and Technological Eclecticism: Investigating Generation Y’s Adoption and Uses of Music Technologies, Young, 28, 4, (2020); Nugroho А., Teacher’s Creativity in Arranging Ensemble Music in Junior High School (SMP) In Purbalingga Regency, Jurnal Seni Musik, 10, 1, pp. 57-61, (2021); Ortynskyy V.L., Varii M.Y., Ortynska N.V., Humin O.M., Terletska Y.M., Psychological and pedagogical foundations of quality activities of the teachers of legal disciplines in higher education institutions, Utopia y Praxis Latino Americana, 23, 82, pp. 34-50, (2018); Parikesit G., Kusumaningtyas I., Musical acoustics education in Indonesia, The Journal of the Acoustical Society of America, 148, 4, pp. 2565-2565, (2020); Sabljar M., Opic S., Begic J., Piano Teachers’ Job Satisfaction in Music Schools in the Republic of Croatia, Journal of Elementary Education, 13, 4, pp. 497-518, (2020); Schafer K., Saarikallio S., Eerola T., Music May Reduce Loneliness and Act as Social Surrogate for a Friend: Evidence from an Experimental Listening Study, Music & Science, 3, 311, (2020); Shaikhutdinov R.R., Radynova O.P., Musorin O.C., Traditional approaches to improving the technique of playing the piano and their development at the present stage, Musical art and education, (2018); Sumarokova V., Composer’s work as an object of performing musicology, (2019); Syryatska T.O., Performing interpretation in the aspect of psychology of personality of a musician-artist, (2008); Talevski V., Music Theory and harmony in high music schools in Macedonia in 1940s-1960s, (2006); Terletska Y.M., Fundamentals of psychic and emotional human deprivation, Astra Salvensis, pp. 751-771, (2020); Utami N., Widjajantie K., Faber Method Classical Piano Learning in Purwacaraka Music School Purwokerto, Jurnal Seni Musik, 9, 1, pp. 1-10, (2020); Varii M.Y., Leshchynska O.A., Terletska Y.M., Role of organisational culture of the university in formation of psychological readiness of students to assertive behaviour, Journal of Intellectual Disability-Diagnosis and Treatment, 8, 3, pp. 497-504, (2020); Ward F., Technology and the transmission of tradition: An exploration of the virtual pedagogies in the Online Academy of Irish Music, Journal of Music Technology and Education, 12, 1, pp. 5-23, (2019); Zhang P., Sui X., Application of Digital Music Technology in Music Pedagogy, International Journal of Emerging Technologies in Learning, 12, 12, (2017); Zholaushievna N.G., Abdrakhmanov R., Adylbekova E., Danebekkyzy K.G., Applying augmented and virtual reality in online and offline educaion, Journal of Theoretical and Applied Information Technology, 100, 8, pp. 2528-2541, (2022); Zhou Q., Yan B., Music Solfeggio Learning Platform Construction and Application, International Journal of Emerging Technologies in Learning, 12, 12, (2017)","","","North American Business Press","","","","","","21583595","","","","English","J. High. Educ. Theory Pract.","Article","Final","All Open Access; Bronze Open Access","Scopus","2-s2.0-85145469563"
"Prateepchuang S.","Prateepchuang, Sarisa (57192677700)","57192677700","Exploring the Potential of Independent Learning for the Acquisition of Khim Musicianship and Protection of Intangible Cultural Heritage in Thailand","2023","International Journal of Critical Cultural Studies","21","2","","69","84","15","0","10.18848/2327-0055/CGP/v21i02/69-84","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85164412968&doi=10.18848%2f2327-0055%2fCGP%2fv21i02%2f69-84&partnerID=40&md5=5847796be81cd10da09b664cf5603b35","Graduate School, Bunditpatanasilpa Institute of Fine Arts, Bangkok, Thailand","Prateepchuang S., Graduate School, Bunditpatanasilpa Institute of Fine Arts, Bangkok, Thailand","This is a qualitative investigation to create practice sets for the traditional Thai khim that would permit independent practice and self-tuition. These sets are to be considered part of the promotion, conservation, and development of national arts and culture for longer-term survival and to respond to the increasing demand for independent learning material. Data was gathered from documentary review and in-depth interviews with nine khim musicians. It was found that khim techniques are generally consistent from one musician to the next. This potentially facilitates independent self-tuition of the instrument. However, two of the most important elements of khim musicianship are playing posture and hammer grip, which are more difficult to train without an expert eye. Based on interview comments about the difficulty and different stages of khim training, the researchers develop practice material for independent training. The findings suggest that independent khim learning should be a supplement to traditional, rote-based Thai music pedagogy. © 2023 Common Ground Research Networks. All rights reserved.","Khim; Music Pedagogy; Practice Material; Self-Tuition; Traditional Thai Music","","","","","","","","Adulyadej King Bhumibol, His Majesty's Royal Speech and Speech on Arts and Culture, (1970); Bakan Michael, Lessons from a World: Balinese Applied Music Instruction and the Teaching of Western 'Art' Music, College Music Symposium, 33, 1, pp. 1-22, (1993); Chanphaka Jiraphan, Development of Programs for Teaching Dulcimer According to the Career Course for Students in Grade 6 Schools under the Bangkok Metropolitan Administration, (2002); Chantrangsu Nanthida, Comparison of the Achievements of First Year Khim Students of Wichkim I, Bangkok College of Dramatic Arts: Critical Thinking versus Normal Teaching, (2001); Chinsarojana Lada, Charanyananda Anak, A Development of Khim Teaching Module for Informal Education System, Journal of Fine and Applied Arts Khon Kaen University, 12, 2, pp. 67-90, (2020); de Oliveira Pinto Tiago, Music as Living Heritage: An Essay on Intangible Culture, (2018); Denes Alexandra, Culture by Decree: Thailand's Intangible Cultural Heritage Bill and the Regulation of Thai-ness, Intellectual Property, Cultural Property and Intangible Cultural Heritage, pp. 191-204, (2017); Eambangyung Somchai, Chareonsuk Sugree, Amatyakul Poonpit, Chaisuwan Phinij, Banjongsilp Orawan, Khim in Thai Educational System, Warasarn Silpakamsart [Fine Arts Journal], 15, 2, pp. 58-71, (2012); Eambangyung Somchai, Dulcimer in the Thai Education System, (2011); Flick Lynette L., An Analysis of the Orff Schulwerk Approach to Teaching Music, (1967); Green Lucy, Music Education, Cultural Capital, and Social Group Identity, The Cultural Study of Music, pp. 228-238, (2012); Jocuns Andrew, Semiotics and Classroom Interaction: Mediated Discourse, Distributed Cognition, and the Multimodal Semiotics of Maguru Panggul Pedagogy in Two Balinese Gamelan Classrooms in the United States, Semiotica, 2007, 164, pp. 123-151, (2007); Kanjanapradit Charan, Lertpradit Maitree, Handbook for Learning Thai Music in a New Karaoke Style: “Practice Dulcim” Series, (2006); Kongdum Supuporn, Pinpart Chuchart, Thongsorn Parinya, Effects of Khim Teaching Activities for Mathayomsuksa II Students with the Application of Using Peer-Assisted Learning Method, Journal of Education, Naresuan University, 23, 3, pp. 345-357, (2021); Laovanich Vitchatalum, Chuppunnarat Yootthana, Laovanich Monsikarn, Saibunmi Skowrung, An Investigation into the Status of Thailand's Music Education Systems and Organisation, British Journal of Music Education, 38, 2, pp. 131-144, (2021); Luang Plu, Tulyanont S., Message from Nakhon Ping to Bangkok, (1972); Maryprasith Primrose, The Effects of Globalization on the Status of Music in Thai Society, (2000); Meepom Dusadee, Inheritance of a Solo Ranat Thum Song through Kru Poom Bapuiwawat, (2013); Miller Terry, Learning How to Learn: Lessons from Diverse Traditions in Music and Dance, College Music Symposium, 42, 1, pp. 76-88, (2002); Miller Terry, Appropriating the Exotic: Thai Music and the Adoption of Chinese Elements, Asian Music, 41, 2, pp. 113-148, (2010); Moro Pamela, Religion and the Transmission of Thai Musical Heritage in Thailand and the United States, Music, Education, and Religion: Intersections and Entanglements, pp. 87-98, (2019); Morton David, Duriyanga Chen, The Traditional Music of Thailand, 8, (1976); Naksawat Uthit, Theory and Practice of Thai Music, Part 2: Handbook of Thai Musical Instruments Practice, (1982); Narkwong Twatchai, The Possibility of using the Kodály Method to Teach Music Literacy in Thailand, Manusya: Journal of Humanities, 3, 2, pp. 23-31, (2000); Nicolas Arsenio, Traditional Music and Contemporary Trends: Music in Asean Communities, Sorai: Jurnal Pengkajian dan Penciptaan Musik, 12, 1, pp. 54-56, (2019); Noinit Saman, Knowing Thai Rhythms, Knowing the Heart of Music, (2010); Noppasart Teerawat, Prasit Thaworn's Guidelines for Chasing Big Gong Hands Practice Form for Effectiveness in Solo Music, (2015); Numpranee Nuttida, Teaching Methods Khim of Chanok Sagarikin Thailand 4.0, Conference Proceedings: The Future of Education, pp. 390-393, (2018); Phokha Pramote, A Case for Rote Learning: Conserving the Ramwong Saxophone Culture of Suntaraporn, Malaysian Journal of Music, 10, 1, pp. 91-106, (2021); Rosen Deborah A., Music Training and Cultural Transmission: A Study of Piano Pedagogy and the Transmission of Culture in Vietnam and Thailand, (1999); Rueanglan Kantaphon, The Development of Exercises for Solo Performance of Lao Pan Dulcimer, (2020); Rungrueng Panya, Investigation of Teaching Concepts for the Development of Thai Music by Thai Music Instructors at the Higher Education Level, (1990); Saisuk Kanlayanee, The Development of Khim Solo Pieces in Thai Traditional Music Business, Journal of Social Academic, 10, 2, pp. 161-174, (2017); Sakrik Chanok, Complete Guide to the Dulcimer, (2008); Shehan Patricia, The Oral Transmission of Music in Selected Asian Cultures, Bulletin of the Council for Research in Music Education, 92, 1, pp. 1-14, (1987); Sowat Boonchuay, Advanced Thai Orchestra Tuning, (1996); Tramote Buntham, Lectures on Thai Music by Mr. Buntham Tramote, 1938, (1997); Welch Graham F., Biasutti Michele, MacRitchie Jennifer, McPherson Gary E., Himonides Evangelos, The Impact of Music on Human Development and Well-Being, Frontiers in Psychology, 11, 1, (2020); Wisuttipat Nattapol, No Notation Needed: The Construction and Politics of Transnational Thai Identity through the Oral Transmission of Classical Music, Asian Music, 51, 2, pp. 5-38, (2020)","S. Prateepchuang; Graduate School, Bunditpatanasilpa Institute of Fine Arts, Bangkok, Thailand; email: sarisa14ketja@gmail.com","","Common Ground Research Networks","","","","","","23270055","","","","English","Int. J. Crit. Cult. Studies","Article","Final","","Scopus","2-s2.0-85164412968"
"Davidson A.","Davidson, Andrew (57231952500)","57231952500","The listening actor: intersections between the musicality of Meisner Technique and ear training in Dalcroze Eurhythmics","2023","Theatre, Dance and Performance Training","14","1","","5","23","18","1","10.1080/19443927.2022.2152483","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85146811564&doi=10.1080%2f19443927.2022.2152483&partnerID=40&md5=f145c495ab2ac8507d9e6692aa325e2b","Guildford School of Acting (GSA), United Kingdom","Davidson A., Guildford School of Acting (GSA), United Kingdom","Discussion on the role of listening in actor training is limited. Compared with studies on ear training for conservatoire music students, there is a gap in the literature regarding the ways in which student actors acquire and improve listening skills. This paper investigates the musicality inherent in Meisner Technique, an approach to actor training, and points to intersections with ear training in Dalcroze Eurhythmics, an approach to music education. It analyses the common ground between these pedagogical practices, drawing on sources from a variety of domains in which listening is foregrounded. It asserts that Meisner Technique and Dalcroze Eurhythmics promote similar forms of responsive, interpretative, and collaborative listening skills. This paper is written from the author’s interdisciplinary perspective as a teacher of acting and music at a university conservatoire. It offers insight into practical training through a personal, philosophical lens. Its themes are transferable to actor trainers and music educators engaged in continuing professional development. © 2023 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group.","actor training; Dalcroze Eurhythmics; listening; Meisner Technique; music education","","","","","","Institute Jaques-Dalcroze; Karol Szymanowski Academy of Music","This article is based on a paper given at the Fourth International Conference of Dalcroze Studies (ICDS) at the Karol Szymanowski Academy of Music, Katowice, Poland in July 2019. Thanks to Steven Ditmyer, Head of Meisner International, whose workshops inspired me to develop my teaching practice in Meisner Technique. Thanks to Silvia del Bianco, Director of the Institute Jaques-Dalcroze, who suggested that acting exercises may have the potential to improve the performance skills of Dalcroze Eurhythmics students.","Adair A., Analyzing and Applying the Sanford Meisner Approach to Acting, (2005); Alperson R., A Qualitative Study of Dalcroze Eurhythmics Classes for Adults, (1994); Andrianopoulou M., Aural Education: Reconceptualising Ear Training in Higher Music Education, (2020); Benedetti J., The Art of the Actor: The Essential History of Acting from Classical Times to the Present Day, (2007); Berger C.R., Listening is for Acting, International Journal of Listening, 25, 1-2, pp. 104-110, (2011); Brook P., The Empty Space, (2008); Carville J., Trost S.T., De Tree a We: The Remarkable Lives of Sanford Meisner, James Carville and Boolu, (2017); The Dalcroze Identity: Professional Training in Dalcroze Eurhythmics, Theory & Practice, (2019); Cutietta R.A., Stauffer S.L., Listening Reconsidered, Praxial Music Education: Reflections and Dialogues, pp. 123-141, (2003); Davidson A., Konstantin Stanislavski and Emile Jaques-Dalcroze: Historical and Pedagogical Connections between Actor Training and Music Education, Stanislavski Studies, 9, 2, pp. 185-203, (2021); Davidson A., The Cycle of Creativity’: A Case Study of the Working Relationship between a Dance Teacher and a Dance Musician in a Ballet Class, Research in Dance Education, pp. 1-19, (2021); Ditmyer S., Foundations of Meisner Technique, (2018); Esper W., DiMarco D., The Actor’s Art and Craft: William Esper Teaches the Meisner Technique, (2008); Fiumara G.C., The Other Side of Language: A Philosophy of Listening, (1990); Galvao A., Kemp A., Kinaesthesia and Instrumental Music Instruction: Some Implications, Psychology of Music, 27, 2, pp. 129-137, (1999); Gordon E.E., Clarity by Comparison and Relationship: A Bedtime Reader for Music Educators, (2008); Jaques-Dalcroze E., Rhythm, Music and Education, (1921); Krasner D., Strasberg, Adler and Meisner: Method Acting, Actor Training, pp. 144-163, (2010); Lamson G., On Acting, The Baton, 2, 5, pp. 1-2, (1923); McLaughlin A., Meisner across Paradigms: The Phenomenal Dynamic of Sanford Meisner’s Technique of Acting and Its Resonances with Postmodern Performance, (2012); Meisner S., Longwell D., Sanford Meisner: On Acting, (1987); Moseley N., Meisner in Practice, (2012); Rogers C., A Way of Being, (1980); Shirley D., The Reality of Doing’: Meisner Technique and British Actor Training, Theatre, Dance and Performance Training, 1, 2, pp. 199-213, (2010); Smith M., Solfège: An Essential in Musicianship, Music Supervisors’ Journal, 20, 5, pp. 16-61, (1934); Stanislavski K., An Actor’s Work, (2017); Stevenson J.R., The Solfège of Émile Jaques-Dalcroze, The Routledge Companion to Aural Skills Pedagogy: Before, in, and beyond Higher Education, pp. 306-319, (2021); Urista D., The Moving Body in the Aural Skills Classroom: A Eurhythmics Based Approach, (2016); Wangh S., The Heart of Teaching: Empowering Students in the Performing Arts, (2013); Willis R.A., The American Laboratory Theatre, 1923–1930, (1968); Zuckerkandl V., Sound and Symbol: Music and the External World, (1956)","","","Routledge","","","","","","19443927","","","","English","Theatre Dance Perform. Train.","Article","Final","All Open Access; Green Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85146811564"
"Quin R.","Quin, Rhythy (57222018303)","57222018303","East meets West: Investigating the state of DJing culture and turntablism pedagogy in China","2021","International Journal of Music Education","39","3","","327","339","12","15","10.1177/0255761421990813","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85100976138&doi=10.1177%2f0255761421990813&partnerID=40&md5=de9cfec1fcc17a225a49ddc5271dd8b7","Shanghai Jiao Tong University, China","Quin R., Shanghai Jiao Tong University, China","In the West, the music practice of turntablism continues to gain traction and awareness both inside and outside of the music classroom, as DJing becomes more prevalent in mainstream music culture. This qualitative study investigates the extent and type of turntablism pedagogy in China, a country with different cultural and political values where traditional Chinese music remains the centre of Chinese music education. Twelve DJs from cities across China took part in a series of in-depth interviews. They were asked to recall their experiences learning how to DJ in China, as well as their opinions of turntablism’s inclusion in music education. Findings showed that participants preferred independent learning methods. In particular, participants significantly depended on Chinese social media applications to learn about turntablism and develop a national DJing culture. An absence of turntablism and popular music pedagogy in Chinese music education was the main reason for participants’ self-discovery and learning of turntablism. Findings also revealed a cultural disconnect between the younger generation engrossed in DJing versus the older generation’s fixation on traditional Chinese music to uphold nationalism and patriotism in society. This study examines an ongoing struggle regarding the extent to which popular music performance practices can be accommodated to work with the political aims of Chinese music education. © The Author(s) 2021.","Chinese traditional music; DJ; hip-hop; informal learning; music education; turntablism","","","","","","","","Albert D.J., Social media in music education, Music Educators Journal, 102, 2, pp. 31-38, (2015); Allsup R.E., Transformational education and critical music pedagogy: Examining the link between culture and learning, Music Education Research, 5, 1, pp. 5-12, (2003); Chen C., Qin B., The emergence of China’s middle class: Social mobility in a rapidly urbanizing economy, Habitat International, 44, pp. 528-535, (2014); Crow B., Musical creativity and the new technology, Music Education Research, 8, 1, pp. 121-130, (2006); Dale P., Engaging students with music education: DJ decks, urban music and child-centred learning, (2017); Egolf E.J., Learning processes of electronic dance music club DJs, (2014); Gore G., The beat goes on: Trance, dance and tribalism in rave culture, Dance in the city, pp. 50-67, (1997); Green L., How popular musicians learn: A way ahead for music education, (2002); Green L., Popular music education in and for itself, and for ‘other’ music: Current research in the classroom, International Journal of Music Education, 24, 2, pp. 101-118, (2006); Harwit E., WeChat: Social and political development of China’s dominant messaging app, Chinese Journal of Communication, 10, 3, pp. 312-327, (2017); Ho W.C., Moral education in China’s music education: Development and challenges, International Journal of Music Education, 28, 1, pp. 71-87, (2010); Ho W.C., Music education curriculum and social change: A study of popular music in secondary schools in Beijing, China, Music Education Research, 16, 3, pp. 267-289, (2014); Ho W.C., Law W., Values, music and education in China, Music Education Research, 6, 2, pp. 149-167, (2004); Ho W.C., Law W., The cultural politics of introducing popular music into China’s music education, Popular Music and Society, 35, 3, pp. 399-425, (2012); Huang H., Why Chinese people play Western classical music: Transcultural roots of music philosophy, International Journal of Music Education, 30, 2, pp. 161-176, (2011); Kruse A.J., ‘They wasn’t makin’ my kinda music’: A hip-hop musician’s perspective on school, schooling, and school music, Music Education Research, 18, 3, pp. 240-253, (2016); Law W., Ho W., Popular music and school music education: Chinese students’ preferences and dilemmas in Shanghai, China, International Journal of Music Education, 33, 3, pp. 304-324, (2015); MacCuthcheon D., Greasley A.E., Elliott M.T., Investigating the value of DJ performance for contemporary music education and sensorimotor synchronisation (SMS) abilities, Dancecult: Journal of Electronic Dance Music Culture, 8, 1, pp. 46-72, (2016); Mantie R., A comparison of ‘popular music pedagogy’ discourses, Journal of Research in Music Education, 61, 3, pp. 334-352, (2013); Montano E., Festival fever and international DJs: The changing shape of DJ culture in Sydney’s commercial electronic dance music scene, Dancecult: Journal of Electronic Dance Music Culture, 2, 1, pp. 63-89, (2011); Narita F.M., Green L., Informal learning as a catalyst for social justice in music education, The Oxford handbook of social justice in music education, pp. 302-317, (2015); Ross M., Continuing the quest for legitimacy: The institutionalization of hip-hop DJing education, (2015); Salavuo M., Open and informal online communities as forums of collaborative musical activities and learning, British Journal of Music Education, 23, 3, pp. 253-271, (2006); Shen G., From zero to hero: The Chinese thirst for education heads to its DJ schools, (2020); Smith S., Hip-hop turntablism, creativity and collaboration, (2013); Snell K., Turntablism: A vehicle for connecting community and school music making and learning, Pop-culture pedagogy in the music classroom: Teaching tools from American Idol to YouTube, pp. 173-186, (2011); Souvignier T., The world of DJs and the turntable culture, (2003); Stahl G., Dale P., Success on the decks: Working-class boys, education and turning the tables on perceptions of failure, Gender and Education, 25, 3, pp. 357-372, (2013); Stroh J., Northeast Asian culture in a hip hop world, Journal of North-East Asian Cultures, 1, 18, pp. 491-506, (2009); Thompson P., An empirical study into the learning practices and enculturation of DJs, turntablists, hip hop and dance music producers, Journal of Music, Technology and Education, 5, 1, pp. 43-58, (2012); Tobias E.S., From Musical Detectives to DJs, General Music Today, 28, 3, pp. 23-27, (2015); Vakeva L., Teaching popular music in Finland: What’s up, what’s ahead?, International Journal of Music Education, 24, 2, pp. 126-131, (2006); Wang Y., Urban poverty, housing and social change in China, (2004)","R. Quin; Shanghai Jiao Tong University, China; email: rhythycaoquin@gmail.com","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-85100976138"
"Hernandez-Lopez V.; Duque-Mendez N.D.; Orozco-Alzate M.","Hernandez-Lopez, Valentina (57348601800); Duque-Mendez, Nestor Dario (44061104100); Orozco-Alzate, Mauricio (14623081400)","57348601800; 44061104100; 14623081400","Assessment of musical representations using a music information retrieval technique","2021","IEEE Potentials","40","6","","11","17","6","3","10.1109/MPOT.2021.3053089","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85119510104&doi=10.1109%2fMPOT.2021.3053089&partnerID=40&md5=7a263de683f0e77df8afe97e954ea404","Management of Information Systems, Universidad Nacional de Colombia-Sede Manizales Manizales, Caldas, Colombia; Department of Informatics and Computing, Universidad Nacional de Colombia-Sede Manizales Manizales, Caldas, Colombia","Hernandez-Lopez V., Management of Information Systems, Universidad Nacional de Colombia-Sede Manizales Manizales, Caldas, Colombia; Duque-Mendez N.D., Department of Informatics and Computing, Universidad Nacional de Colombia-Sede Manizales Manizales, Caldas, Colombia; Orozco-Alzate M., Department of Informatics and Computing, Universidad Nacional de Colombia-Sede Manizales Manizales, Caldas, Colombia","While learning to play a musical instrument, a student does not always have the support of a specialized teacher to guide and assess his or her daily practice. The lack of guidance and untimely feedback can be demotivating for successful study. Lerch et al. (2019), in a recent study, suggest that performance assessment is an important aspect in music pedagogy: 'Students rely on regular feedback from teachers to learn and improve skills.'  © 1988-2012 IEEE.","","Music; Musical instruments; Teaching; Learn+; Learning to play; Music information retrieval; Musical representations; Performance assessment; Retrieval techniques; Teachers'; Students","","","","","Universidad Nacional de Colombia, Sede Manizales","This article is a result of the final undergraduate project of Valentina Hernandez-Lopez at Universidad Nacional de Colombia-Sede Manizales","Gerhard D., Pitch extraction and fundamental frequency: History and current techniques, Dept. Of Computer Science, Univ. Of Regina, Canada, Tech. Rep. TR-CS 2003-06, (2003); Lerch A., Arthur C., Pati A., Gururani S., Music Performance Analysis: A Survey, (2019); Carrion V.L., On the const ruct ion, compar ison and exchangeability of tuning systems, J. Mathematics Music, 9, 3, pp. 197-213, (2015); McFee B., Et al., Librosa: Audio and music signal analysis in Python, Proc. 14th Python Sci. Conf, pp. 18-25, (2015); Milligan K., Bailey N., A review of software for note onset detection, Proc. 4th Int. Sci. Meeting Sound Musical Instrum. Stud., Tavira, Portugal, pp. 18-20, (2015); Mol Ler M., Fundamentals of Music Processing: Audio, Analysis, Algorithms, Applications, (2015); Walker J.S., Don G.W., Mathematics and Music: Composition, Perception, and Performance, (2020); Weihs C., Jannach D., Vatolkin I., Rudolph G., Music Data Analysis: Foundations and Applications, (2017)","","","Institute of Electrical and Electronics Engineers Inc.","","","","","","02786648","","IEPTD","","English","IEEE Potentials","Article","Final","","Scopus","2-s2.0-85119510104"
"Lin Z.; Werner A.; Lindenberger U.; Brandmaier A.M.; Wenger E.","Lin, Ziyong (59442364700); Werner, Andre (57223095786); Lindenberger, Ulman (7003644686); Brandmaier, Andreas M. (55440408000); Wenger, Elisabeth (54879502600)","59442364700; 57223095786; 7003644686; 55440408000; 54879502600","Assessing Music Expertise: The Berlin Gehoerbildung Scale","2021","Music Perception","38","4","","406","421","15","2","10.1525/MP.2021.38.4.406","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85104806222&doi=10.1525%2fMP.2021.38.4.406&partnerID=40&md5=c9bda6f03a6cd58ac6fa95906af15a65","Max Planck Institute for Human Development, Berlin, Germany","Lin Z., Max Planck Institute for Human Development, Berlin, Germany; Werner A., Max Planck Institute for Human Development, Berlin, Germany; Lindenberger U., Max Planck Institute for Human Development, Berlin, Germany; Brandmaier A.M., Max Planck Institute for Human Development, Berlin, Germany; Wenger E., Max Planck Institute for Human Development, Berlin, Germany","WE INTRODUCE THE BERLIN GEHOERBILDUNG SCALE (BGS), a multidimensional assessment of music expertise in amateur musicians and music professionals. The BGS is informed by music theory and uses a variety of testing methods in the ear-training tradition, with items covering four different dimensions of music expertise: (1) intervals and scales, (2) dictation, (3) chords and cadences, and (4) complex listening. We validated the test in a sample of amateur musicians, aspiring professional musicians, and students attending a highly competitive music conservatory (n  59). Using structural equation modeling, we compared two factor models: A unidimensional model postulating a single factor of music expertise; and a hierarchical model, according to which four first-order subscale factors load on a secondorder factor of general music expertise. The hierarchical model showed better fit to the data than the unidimensional model, indicating that the four subscales capture reliable variance above and beyond the general factor of music expertise. There were reliable group differences on both the second-order general factor and the four subscales, with music students outperforming aspiring professionals and amateur musicians.We conclude that the BGS is an adequate measurement instrument for assessing individual differences in music expertise, especially at high levels of expertise. © 2021 University of California Press. All rights reserved.","Hierarchical factor model; Multidimensional assessment; Music expertise; Musicians; Structural equation modeling","","","","","","Max-Planck-Gesellschaft, MPG; Max-Planck-Institut für Bildungsforschung, MPIB","This study was funded by the Max Planck Institute for Human Development and an Innovation grant by the President of the Max Planck Society given to Ulman Lindenberger.","Blacking J., Nettl B., Music, Culture, and Experience: Selected Papers of John Blacking, (1995); Boyle J.D., Radocy R.E., Measurement and Evaluation of Musical Experiences, (1987); Brod G., Opitz B., It really matter? Separating the effects of musical training on syntax acquisition, Frontiers in Psychology, 3, (2012); Carroll J.B., Human Cognitive Abilities: A Survey of Factor-analytic Studies, (1993); Carson A.D., Why has musical aptitude assessment fallen flat? And what can we do about it?, Journal of Career Assessment, 6, 3, pp. 311-327, (1998); Chamorro-Premuzic T., Furnham A., Personality and music: Can traits explain how people use music in everyday life?, British Journal of Psychology, 98, 2, pp. 175-185, (2007); Chin T.C., Coutinho E., Scherer K.R., Rickard N.S., MUSEBAQ: A modular tool for music research to assess musicianship, musical capacity, music preferences, and motivations for music use, Music Perception, 35, 3, pp. 376-399, (2018); Chin T., Rickard N.S., The music USE (MUSE) questionnaire: An instrument to measure engagement in music, Music Perception, 29, 4, pp. 429-446, (2012); Daly H.R., Hall M.D., Not all musicians are created equal: Statistical concerns regarding the categorization of participants, Psychomusicology: Music, Mind, and Brain, 28, 2, pp. 117-126, (2018); Gordon E., The musical aptitude profile, Music Educators Journal, 53, 6, pp. 52-54, (1967); Gottfried T., Thompson G., Elefant C., Gold C., Reliability of the music in everyday life (MEL) scale: A parentreport assessment for children on the autism spectrum, Journal of Music Therapy, 55, 2, pp. 133-155, (2018); Hallam S., 21st century conceptions of musical ability, Psychology of Music, 38, 3, pp. 308-330, (2010); Hambrick D.Z., Tucker-Drob E.M., The geneticsof music accomplishment: Evidence for gene-environment correlation and interaction, Psychonomic Bulletin and Review, 22, 1, pp. 112-120, (2015); Herholz S.C., Zatorre R.J., Musical training as a framework for brain plasticity: Behavior, function, and structure, Neuron, 76, 3, pp. 486-502, (2012); Hooper D., Coughlan J., Mullen M., Structural equation modelling: Guidelines for determining model fit, Electronic Journal of Business Research Methods, 6, 1, pp. 53-60, (2008); Kang R., Nimmons G.L., Drennan W., Longnion J., Ruffin C., Nie K.E.T.A.L., Development and validation of the University of Washington Clinical Assessment of Music Perception test, Ear and Hearing, 30, 4, pp. 411-418, (2009); Kirchberger M.J., Russo F.A., Development of the adaptive music perception test, Ear and Hearing, 36, 2, pp. 217-228, (2015); Kreutz G., Schubert E., Mitchell L.A., Cognitive styles of music listening, Music Perception, 26, 1, pp. 57-73, (2008); Law L.N., Zentner M., Assessing musical abilities objectively: Construction and validation of the Profile ofMusic Perception Skills, PloS One, 12, (2012); Lim C.R., Harris K., Dawson J., Beard D.J., Fitzpatrick R., Price A.J., Floor and ceiling effects in the OHS: An analysis of the NHS PROMs data set, Bmj Open, 5, 7, (2015); Lonsdale A.J., North A.C., Why do we listen to music? A uses and gratifications analysis, British Journal of Psychology, 102, 1, pp. 108-134, (2011); Mas-Herrero E., Marco-Pallares J., Lorenzo-Seva U., Zatorre R.J., Rodriguez-Fornells A., Individual differences in music reward experiences, Music Perception, 31, 2, pp. 118-138, (2013); Mosing M.A., Madison G., Pedersen N.L., Kuja-Halkola R., ULLE N.F., Practice does not make perfect: No causal effect of music practice on music ability, Psychological Science, 25, pp. 1795-1803, (2014); MU Llensiefen D., Gingras B., Musil J., Stewart L., The musicality of non-musicians: An index for assessing musical sophistication in the general population, PloS One, 9, 2, (2014); ALTENMU L.L.E.R.E., Nagel F., Kopiez R., Grewe O., EMuJoy: Software for continuous measurement of perceived emotions in music, Behavior Research Methods, 39, pp. 283-290, (2007); Niarchou M., Sathirapongsasuti J.F., Jacoby N., Bell E., McArthur E., Straub P.E.T.A.L., Unravelling the Genetic Architecture of Musical Rhythm, (2019); Ollen J.E., A Criterion-related Validity Test of Selected Indicators of Musical Sophistication Using Expert Ratings (Unpublished Doctoral Dissertation), (2006); Peretz I., Champod A.S., Hyde K., Varieties of musical disorders: The Montreal Battery of Evaluation of Amusia, Annals of the New York Academy of Sciences, 999, 1, pp. 58-75, (2003); Prindle J.J., Mitchell A.M., Petscher Y., Using response time and accuracy data to inform the measurement of fluency, The Fluency Construct, pp. 165-186, (2016); Rentfrow P.J., Gosling S.D., The do re mi's of everyday life: The structure and personality correlates of music preferences, Journal of Personality and Social Psychology, 84, 6, (2003); Rentfrow P.J., Goldberg L.R., Levitin D.J., The structure of musical preferences: A five-factor model, Journal of Personality and Social Psychology, 100, 6, pp. 1139-1157, (2011); Rosseel Y., Lavaan: An R package for structural equation modeling and more. Version 0.5-12 (BETA), Journal of Statistical Software, 48, 2, pp. 1-36, (2012); Saarikallio S.H., Music in mood regulation: Initial scale development, Musicae Scientiae, 12, 2, pp. 291-309, (2008); Saarikallio S., Gold C., McFerran K., Development and validation of the Healthy-Unhealthy Music Scale, Child and Adolescent Mental Health, 20, 4, pp. 210-217, (2015); Schlaug G., The brain of musicians: A model for functional and structural adaptation, Annals of the New York Academy of Sciences, 930, 1, pp. 281-299, (2001); Seashore C.E., Manual of Instructions and Interpretations for Measures of Musical Talent, (1919); Seashore C.E., Lewis D., Saetveit J.G., Seashore Measures of Muiscal Talents, (1956); Spitzer J.B., Mancuso D., Cheng M.Y., Development of a clinical test of musical perception: Appreciation of music in cochlear implantees (AMICI), Journal of the American Academy of Audiology, 19, 1, pp. 56-81, (2008); ULLEN F., Hambrick D.Z., Mosing M.A., Rethinking expertise: A multifactorial gene-environment interaction model of expert performance, Psychological Bulletin, 142, 4, pp. 427-446, (2016); ULLEN F., Mosing M.A., Holm L., Eriksson H., Madison G., Psychometric properties and heritability of a new online test for musicality, the Swedish Musical Discrimination Test, Personality and Individual Differences, 63, pp. 87-93, (2014); Van D.I.J.K.C., Uys M., Development of a music perception test for adult hearing-aid users, South African Journal of Communication Disorders, 58, pp. 19-47, (2011); Vanstone A.D., Wolf M., Poon T., Cuddy L.L., Measuring engagement with music: Development of an informant-report questionnaire, Aging and Mental Health, 20, 5, pp. 474-484, (2016); Von Oertzen T., Brandmaier A.M., Tsang S., Structural equation modeling with-nyx, Structural Equation Modeling: A Multidisciplinary Journal, 22, 1, pp. 148-161, (2015); Wallentin M., Nielsen A.H., Friis-Olivarius M., Vuust C., Vuust P., The Musical Ear Test, a new reliable test for measuring musical competence, Learning and Individual Differences, 20, 3, pp. 188-196, (2010); Werner P.D., Swope A.J., Heide F.J., The music experience questionnaire: Development and correlates, The Journal of Psychology, 140, 4, pp. 329-345, (2006); Wing H.D., Manual for Standardized Test of Musical Intelligence, (1948); Williams B., Onsman A., Brown T., Exploratory factor analysis: A five-step guide for novices, Australasian Journal of Paramedicine, 8, 3, pp. 1-13, (2010); Wolf A., Kopiez R., Development and validation of the musical ear training assessment (META), Journal of Research in Music Education, 66, 1, pp. 53-70, (2018); Wong P.C., Skoe E., Russo N.M., Dees T., Kraus N., Musical experience shapes human brainstem encoding of linguistic pitch patterns, Nature Neuroscience, 10, 4, pp. 420-422, (2007); Zentner M., Gingras B., The assessment of musical ability and its determinants, Foundations in Music Psychology: Theory and Research, (2019)","Z. Lin; Center for Lifespan Psychology, Max Planck Institute for Human Development, Berlin, Lentzeallee 94, 14195, Germany; email: ziyong@mpib-Berlin.mpg.de","","University of California Press","","","","","","07307829","","","","English","Music Percept.","Article","Final","","Scopus","2-s2.0-85104806222"
"Wong Y.K.; Lui K.F.H.; Wong A.C.-N.","Wong, Yetta Kwailing (35724817600); Lui, Kelvin F. H. (55746681500); Wong, Alan C.-N. (7403147319)","35724817600; 55746681500; 7403147319","A reliable and valid tool for measuring visual recognition ability with musical notation","2021","Behavior Research Methods","53","2","","836","845","9","4","10.3758/s13428-020-01461-w","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85090163907&doi=10.3758%2fs13428-020-01461-w&partnerID=40&md5=115489d14be122a11d3769bf4f211b93","Department of Educational Psychology, Faculty of Education, The Chinese University of Hong Kong, Rm 308, Ho Tim Building, Shatin, NT, Hong Kong; Department of Psychology, The Chinese University of Hong Kong, 344 Sino Building, Shatin, NT, Hong Kong","Wong Y.K., Department of Educational Psychology, Faculty of Education, The Chinese University of Hong Kong, Rm 308, Ho Tim Building, Shatin, NT, Hong Kong; Lui K.F.H., Department of Psychology, The Chinese University of Hong Kong, 344 Sino Building, Shatin, NT, Hong Kong; Wong A.C.-N., Department of Psychology, The Chinese University of Hong Kong, 344 Sino Building, Shatin, NT, Hong Kong","Recognizing musical notation is an important skill to a full participation of Western classical music, but remains a largely under-researched topic in the psychology of music. One plausible reason of such omission is that, in the past, the research field has heavily relied on self-report of music reading ability, which was subjective and highly variable. This paper presents a reliable and valid tool for objectively measuring individual abilities in visual recognition of musical notation. The visual fluency task measures how fast one can accurately recognize a sequence of musical notation at a desired accuracy level using the adaptive psychometric method QUEST. We checked the reliability of this task in over 200 participants in terms of Guttman’s λ-2 and Cronbach’s alpha. Also, we evaluated the construct validity of this task by considering the convergent validity of this task with multiple external real-world measures of one’s musical training background, with numerous experimental measures of visual tendencies of musical notation recognition and with sight-reading performance. Overall, the visual fluency task achieved satisfactory reliability and validity for measuring abilities in recognizing musical notation. This opens the door for characterizing the cognitive mechanisms, development, and individual differences in musical notation recognition, for understanding music learning and music psychology and for understanding of visual perceptual expertise in general. © 2020, The Psychonomic Society, Inc.","Individual differences; Music reading; Perceptual expertise; Psychophysics","Humans; Individuality; Music; Pattern Recognition, Visual; Recognition, Psychology; Reproducibility of Results; adult; article; construct validity; convergent validity; Cronbach alpha coefficient; female; human; human experiment; learning; major clinical study; male; music; psychophysics; visual memory; individuality; pattern recognition; reproducibility","","","","","","","Biederman I., Recognition-by-components: A theory of human image understanding, Psychological Review, 94, pp. 115-147, (1987); Boggan A.L., Bartlett J.C., Krawczyk D.C., Chess masters show a hallmark of face processing with chess, Journal of Experimental Psychology: General, 141, 1, pp. 37-42, (2012); 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Gauthier I., Tarr M.J., Anderson A.W., Skudlarski P., Gore J.C., Activation of the middle fusiform “face area” increases with expertise in recognizing novel objects, Nature Neuroscience, 2, 6, pp. 568-573, (1999); Gordon E., The Psychology of Music Teaching, (1971); Gudmundsdottir H.R., Advances in music-reading research, Music Education Research, 12, 4, pp. 331-338, (2010); Gunter T.C., Schmidt B.H., Besson M., Let’s face the music: a behavioral and electrophysiological exploration of score reading, Psychophysiology, 40, 5, pp. 742-751, (2003); Kinsler V., Carpenter R.H., Saccadic eye movements while reading music, Vision Research, 35, 10, pp. 1447-1458, (1995); Kopiez R., Lee J.I., Towards a dynamic model of skills involved in sight reading music, Music Education Research, 8, 1, pp. 97-120, (2006); Kopiez R., Lee J.I., Towards a general model of skills involved in sight reading music, Music Education Research, 10, 1, pp. 41-62, (2008); Kostka M.J., Effects of self-assessment and successive approximations on “knowing” and “valuing” selected keyboard skills, Journal of Research in Music Education, 45, 2, pp. 273-281, (1997); 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Peretz I., Zatorre R.J., The cognitive neuroscience of music, Oxford University Press, (2003); Prince J.B., Contributions of pitch contour, tonality, rhythm, and meter to melodic similarity, Journal of Experimental Psychology: Human Perception and Performance, 40, 6, pp. 2319-2337, (2014); Pu F., Wong A.C.-N., Wong Y.K., The Role of Visual Shape Processing and Visual Association Abilities in Music Sight-Reading.; Schon D., Anton J.L., Roth M., Besson M., An fMRI study of music sight-reading, Neuroreport, 13, 17, pp. 2285-2289, (2002); Sergent J., Zuck E., Terriah S., MacDonald B., Distributed neural network underlying musical sight-reading and keyboard performance, Science, 257, 5066, pp. 106-109, (1992); Sloboda J., The eye-hand span - An approach to the study of sight reading, Psychology of Music, 2, 2, pp. 4-10, (1974); Sloboda J., The psychology of music reading, Psychology of Music, 6, pp. 3-20, (1978); Sloboda J., Exploring the musical mind: Cognition, emotion, ability, function, Oxford University Press, (2005); Sloboda J., The Psychology of Music Reading, Exploring the Musical Mind: Cognition, Emotion, Ability, Function, pp. 1-27, (2005); Spiro J., Music and the brain, Nat Neurosci, 6, 7, (2003); Stenberg A., Cross I., White spaces, music notation and the facilitation of sight-reading, Scientific Reports, 9, 1, (2019); Szwed M., Cohen L., Qiao E., Dehaene S., The role of invariant line junctions in object and visual word recognition, Vision Research, 49, 7, pp. 718-725, (2009); Waters A.J., Townsend E., Underwood G., Expertise in musical sight reading: A study of pianists, British Journal of Psychology, 89, pp. 123-149, (1998); Waters A.J., Underwood G., Processing pitch and temporal structures in music reading: Independent or interactive processing mechanisms?, European Journal Of Cognitive Psychology, 11, 4, pp. 531-553, (1999); Waters A.J., Underwood G., Findlay J.M., Studying expertise in music reading: use of a pattern-matching paradigm, Perception & Psychophysics, 59, 4, pp. 477-488, (1997); Watson A.B., Pelli D.G., QUEST: A Bayesian adaptive psychometric method, Percept Psychophys, 33, pp. 113-120, (1983); Wolf T., A cognitive model of musical sight-reading, Journal of Psycholinguistic Research, 5, 2, pp. 143-171, (1976); Wong A.C.-N., Bukach C.M., Hsiao J., Greenspon E., Ahern E., Duan Y., Lui K.F.H., Holistic processing as a hallmark of perceptual expertise for nonface categories including Chinese characters, Journal of Vision, 12, (2012); Wong A.C.-N., Bukach C.M., Yuen C., Yang L., Leung S., Greenspon E., Holistic processing of words modulated by reading experience, PLoS ONE, 6, (2011); Wong A.C.-N., Palmeri T., Rogers B.P., Gore J.C., Gauthier I., Beyond shape: How you learn about objects affects how they are represented in visual cortex, PLoS ONE, 4, 12, (2009); Wong A.C.-N., Wong Y.K., Lui K.F.H., Ng T.Y.K., Ngan V.S.H., Sensitivity to configural information and expertise in visual word recognition, Journal of Experimental Psychology: Human Perception and Performance, 45, 1, pp. 82-99, (2019); Wong Y.K., Folstein J.R., Gauthier I., The nature of experience determines object representations in the visual system, Journal of Experimental Psychology: General, 141, pp. 682-698, (2012); Wong Y.K., Gauthier I., A multimodal neural network recruited by expertise with musical notation, Journal of Cognitive Neuroscience, 22, 4, pp. 695-713, (2010); Wong Y.K., Gauthier I., Holistic processing of musical notation: Dissociating failures of selective attention in experts and novices, Cognitive, Affective & Behavioral Neuroscience, 10, pp. 541-551, (2010); Wong Y.K., Gauthier I., Music-reading expertise alters visual spatial resolution for musical notation, Psychonomic Bulletin & Review, 19, pp. 594-600, (2012); Wong Y.K., Peng C., Fratus K.N., Woodman G.F., Gauthier I., Perceptual expertise and top–down expectation of musical notation engages the primary visual cortex, Journal of Cognitive Neuroscience, 26, 8, pp. 1629-1643, (2014); Wong Y.K., Wong A.C.-N., Music-reading training alleviates crowding with musical notation, Journal of Vision, 16, 8, (2016); Wong Y.K., Wong A.C.-N., The role of line junctions in object recognition: The case of reading musical notation, Psychonomic Bulletin & Review, 25, 4, pp. 1373-1380, (2018); Young A.W., Hellawell D., Hay D., Configural information in face perception, Perception, 10, pp. 747-759, (1987)","Y.K. Wong; Department of Educational Psychology, Faculty of Education, The Chinese University of Hong Kong, Shatin, Rm 308, Ho Tim Building, Hong Kong; email: yetta.wong@gmail.com; A.C.-N. Wong; Department of Psychology, The Chinese University of Hong Kong, Shatin, 344 Sino Building, Hong Kong; email: alanwong@cuhk.edu.hk","","Springer","","","","","","1554351X","","","32875400","English","Behav. Res. Methods","Article","Final","All Open Access; Bronze Open Access","Scopus","2-s2.0-85090163907"
"Anderson A.","Anderson, Anthony (57224779664)","57224779664","Understanding curriculum design in the perceptions and practices of classroom music teachers in the lower secondary school in England","2022","British Journal of Music Education","39","2","","157","168","11","5","10.1017/S0265051721000152","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85112263832&doi=10.1017%2fS0265051721000152&partnerID=40&md5=1a607c07846a2158fc4e8227dcdb8c49","Centre for the Study of Practice and Culture in Education, City South Campus, Birmingham City University, Westbourne Road, Birmingham, B15 3TN, United Kingdom","Anderson A., Centre for the Study of Practice and Culture in Education, City South Campus, Birmingham City University, Westbourne Road, Birmingham, B15 3TN, United Kingdom","Curriculum design is a domain that infrequently forms a discrete element of initial teacher training, or continuing professional development for music teachers in English secondary schools. Classroom music teachers, teaching Key Stage 3 (KS3) learners (11-14-year olds), are, however, required to design their own curriculum. Teachers are accountable to school leaders for curricula they implement, and the outcomes from their selected approaches. This article discusses classroom music curriculum practices and their significance in music education. The research project was conducted with music teachers from schools in the East and West Midlands of England, utilising questionnaires and semi-structured interviews. Research findings are conceptualised in a model of music curriculum activity. The research thereby facilitates discussion of unacknowledged complexities and tacit teacher planning practices in music curriculum design.  © ","curriculum activity model; curriculum design; Keywords: curriculum conceptualisation; music pedagogies","","","","","","","","Music education: state of the nation, (2019); Anderson A., Happy accidents? Music teacher perceptions of curriculum design at Key Stage 3 in the English secondary school, (2019); Bate E., Justifying music in the national curriculum: The habit concept and the question of social justice and academic rigour, British Journal of Music Education, 37, 1, pp. 3-15, (2020); Bath N., Daubney A., MacKrill D., Spruce G., The declining place of music education in schools in England, Children & Society, 20, pp. 1-15, (2020); Brown L., Leadership in primary music and responding to the new Ofsted inspection framework, (2020); Bruner J.S., The Culture of Education, (1996); Cohen L., Manion L., Morrison K., Research Methods in Education, (2007); Daubney A., MacKrill D., Changes in Secondary Music Curriculum over Time 2012-2016, (2017); The Importance of Music: A National Plan for Music Education, (2011); Music Programmes of Study: Key Stage 3, (2013); Government backs young musicians, (2019); Secondary National Strategy for School Improvement. 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Blog retrieved, (2017); Glaser B., Strauss A., The Discovery of Grounded Theory, (1967); Green L., How Popular Musicians Learn, (2001); Hallam S., Creech A., Contextualising music education in the UK, (2010); (1880); Music and Integrated Studies in the Secondary School: A bulletin prepared by a working party of the Schools Council Music Committee., (1972); Kinsella V., The Use of Activity Theory as a Methodology for Developing Creativity within the Art and Design Classroom, The International Journal of Art & Design Education, 10, 1111, pp. 1-14, (2017); Miles M., Huberman M.A., Qualitative Data Analysis, (1984); Music Non-Statutory Guidance, (1992); Newby P., Research Methods for Education, (2010); Making More of Music, (2009); Music in Schools: what hubs must do, (2013); Music Survey Visits, (2013); School inspection handbook: Handbook for inspecting school in England under section 5 of the education act 2005, (2019); Music Secondary Key Stage 3: Curriculum plan 2020-21. Version 1.0, (2020); Paynter J., Music in the Secondary School Curriculum: trends and developments in class music teaching, (1982); Paynter J., Sound and Structure, (1992); Philpott C., Musical Learning and Musical Development, Learning to Teach Music in the Secondary School: A Companion to School Experience, (2007); Plummeridge C., The place of music in the school curriculum, Learning to Teach Music in the Secondary School, (2001); Plummeridge C., What is music in the curriculum?, Aspects of teaching secondary music: perspectives on practice, (2002); Music: The National Curriculum for England, (1999); Music Programme of Study for Key Stage 3 and Attainment Target, (2007); Rudland G., Developing the music curriculum: or what might be expected of a subject leader in a music deep dive, (2020); Enquiry One: Young School Leavers, (1968); Sloboda J., The Musical Mind, (1999 Edition, with corrections), (1985); Small C., Musicking: The Meanings of Performing and Listening, (1998); Spielman A., Speech given on 27/1/20 at Headteachers' Symposium on Creativity and Education about arts subject in schools and initial teacher education, (2020); Swanwick K., Tillman J., The sequence of musical development: a study of children's compositions, British Journal of Music Education, 3, 3, pp. 305-309, (1986); Swanwick K., A basis for music education, (1979); Swanwick K., Teaching Music Musically, (1999); Welch G., We are musical, International Journal of Music Education, 2, 1, pp. 117-120, (2005); Yin R.K., Case Study Research: design and methods, (2009)","A. Anderson; Centre for the Study of Practice and Culture in Education, City South Campus, Birmingham City University, Birmingham, Westbourne Road, B15 3TN, United Kingdom; email: Anthony.Anderson@bcu.ac.uk","","Cambridge University Press","","","","","","02650517","","","","English","Br. J. Music Educ.","Article","Final","All Open Access; Green Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85112263832"
"Daugvilaite D.","Daugvilaite, Dainora (57222372753)","57222372753","Exploring perceptions and experiences of students, parents and teachers on their online instrumental lessons","2021","Music Education Research","23","2","","179","193","14","15","10.1080/14613808.2021.1898576","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85102508742&doi=10.1080%2f14613808.2021.1898576&partnerID=40&md5=cbc4b47bc14cbdde481af3de17c0dfcf","The Teaching Musician, Trinity Laban Conservatoire of Music and Dance, London, United Kingdom","Daugvilaite D., The Teaching Musician, Trinity Laban Conservatoire of Music and Dance, London, United Kingdom","This holistic multiple-case study sought to examine how students’ learning changes when transitioning from face-to-face to online instrumental lessons in a one-to-one setting. Specifically, as this was a pilot research, it explored the students’ sight-reading, aural skills, lesson engagement, and motivation to practice. The participants interviewed in this study were ten young, London-based students at beginner and intermediate levels, who had been taking online piano lessons–led by the same teacher as for their previous in-person classes–for four months. Furthermore, five instrumental teachers from the UK were interviewed so as to gain their reflective insight into teaching and learning processes, and to discover their online teaching experiences. The findings revealed that, while most students became more independent, both the students and their parents reported that the teacher’s physical absence had influenced the learning. The absence of such factors as non-verbal communication, gestures, scaffolding, and a tactile approach had affected not only the learning but also the students’ levels of engagement and motivation. While most of the teachers were satisfied with teaching online, the students and their parents preferred face-to-face lessons, reasoning that the lessons were more productive and beneficial when conducted in-person. © 2021 Informa UK Limited, trading as Taylor & Francis Group.","beginner and intermediate music students; Online instrumental lessons; online music education; teacher’s absence","","","","","","","","Akyol Z., Garrison D., The Development of a Community of Inquiry Over Time in an Online Course: Understanding the Progression and Integration of Social, Cognitive and Teaching Presence, Journal of Asynchronous Learning Networks, 12, pp. 3-22, (2008); Bonneville-Roussy A., Hruska E., Trower H., Teaching Music to Support Students: How Autonomy-Supportive Music Teachers Increase Students’ Well-Being, Journal of Research in Music Education, 68, 1, pp. 97-119, (2020); Bremmer M., Nijs L., The Role of the Body in Instrumental and Vocal Music Pedagogy: A Dynamical Systems Theory Perspective on the Music Teacher’s Bodily Engagement in Teaching and Learning, Frontiers in Education, 5, (2020); Camlin D.A., (2015); Cohen L., Research Methods in Education [Electronic Resource, (2011); Costa-Giomi E., Music Instruction and Children’s Intellectual Development: The Educational Context of Music Participation. Music, Health, and Wellbeing, (2013); Creech A., Interpersonal Behaviour in One-To-One Instrumental Lessons: An Observational Analysis, British Journal of Music Education, 29, 3, pp. 387-407, (2012); Creech A., Hallam S., Learning a Musical Instrument: The Influence of Interpersonal Interaction on Outcomes for School-Aged Pupils, Psychology of Music, 39, 1, pp. 102-122, (2011); Dammers R.J., Utilizing Internet-Based Videoconferencing for Instrumental Music Lessons, Update: Applications of Research in Music Education, 28, 1, pp. 17-24, (2009); Damon M., Rockinson-Szapkiw A.J., Online and Face-to-Face Voice Instruction: Effects on Pitch Accuracy Improvement in Female Voice Majors, Pedagogy Development for Teaching Online Music, pp. 21-44, (2018); Daubney A., Fautley M., Editorial Research: Music Education in a Time of Pandemic, British Journal of Music Education, 37, 2, pp. 107-114, (2020); Duffy S., Healey P., A New Medium for Remote Music Tuition, Journal of Music, Technology & Education, 10, 1, pp. 5-29, (2017); Dumlavwalla D., Transitioning from Traditional to Online Piano Lessons: Perceptions of Students, Parents and Teacher, MTNA E-Journal, 8, 3, pp. 2-20, (2017); Johnson C., Teaching Music Online: Changing Pedagogical Approach When Moving to the Online Environment, London Review of Education, 15, 3, pp. 439-466, (2017); Johnson C., Lamothe V.C., Pedagogy Development for Teaching Online Music, (2018); Jorgensen E., Face-To-Face and Distance Teaching and Learning in Higher Education: Lessons from the Preparation of Professional Musicians, The Richard W. Riley College of Education and Leadership Publications, 7, 2, (2014); King A., Prior H., Waddington-Jones C., Exploring Teachers’ and Pupils’ Behaviour in Online and Face-to-Face Instrumental Lessons, Music Education Research, 21, 2, pp. 197-209, (2019); King A., Prior H., Waddington-Jones C., Connect Resound: Using Online Technology to Deliver Music Education to Remote Communities, Journal of Music, Technology & Education, 12, 2, pp. 201-217, (2019); Koutsoupidou T., Online Distance Learning and Music Training: Benefits, Drawbacks and Challenges, Open Learning: The Journal of Open, Distance and E-Learning, 29, 3, pp. 243-255, (2014); Kruse N.B., Harlos S.C., Callahan R.M., Herring M.L., Skype Music Lessons in the Academy: Intersections of Music Education, Applied Music and Technology, Journal of Music, Technology & Education, 6, 1, pp. 43-60, (2013); Kupers E., van Dijk M., McPherson G.E., van Geert P., A Dynamic Model That Links Skill Acquisition with Self-Determination in Instrumental Music Lessons, Musicæ Scientiæ: The Journal of the European Society for the Cognitive Sciences of Music, 18, 1, pp. 17-34, (2014); Maki J., Is It Possible To Teach Music in a Classroom from a Distance of 1000 Km? Learning Environment of Music Education Using ISDN-Videoconferencing, (2001); Pike P.D., Shoemaker K., The Effect of Distance Learning on Acquisition of Piano Sight-Reading Skills, Journal of Music, Technology & Education, 6, 2, pp. 147-162, (2013); Pike P.D., Shoemaker I., Online Piano Lessons: A Teacher’s Journey Into an Emerging 21st-Century Virtual Teaching Environment, American Music Teacher, 65, 1, (2015); Riley P.E., Video-Conferenced Music Teaching: Challenges and Progress, Music Education Research, 11, 3, pp. 365-375, (2009); Ryan R.M., Deci E.L., Self-Determination Theory and the Facilitation of Intrinsic Motivation, Social Development, and Well-Being, American Psychologist, 11-78, (2000); Simones L.L., Rodger M., Schroeder F., Communicating Musical Knowledge Through Gesture: Piano Teachers’ Gestural Behaviours Across Different Levels of Student Proficiency, Psychology of Music, (2014); Upitis R., Abrami P.C., Brook J., King M., Parental Involvement in Children’s Independent Music Lessons, Music Education Research, 19, 1, pp. 74-98, (2017); van de Pol J., Volman M., Beishuizen J., Scaffolding in Teacher–Student Interaction: A Decade of Research, Educational Psychology Review, 22, 3, pp. 271-296, (2010); Xu D., Jaggars S.S., (2013); Yin R.K., Case Study Research and Applications: Design and Methods, (2018)","D. Daugvilaite; King Charles Court, Greenwich Peninsula, London, SE10 9JF, United Kingdom; email: dainora.d18@edu.trinitylaban.ac.uk","","Routledge","","","","","","14613808","","","","English","Music Educ. Res.","Article","Final","","Scopus","2-s2.0-85102508742"
"Tarrés M.A.; Cullell I.F.","Tarrés, Miquel Alsina (57215428712); Cullell, Ivet Farrés (57224522313)","57215428712; 57224522313","Playing or learning? Playful learning in teacher's musical training; [¿Jugar o aprender? El aprendizaje lúdico en la formación musical del maestro]","2021","Revista Electronica Complutense de Investigacion en Educacion Musical","18","","","97","110","13","5","10.5209/RECIEM.67853","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85107817819&doi=10.5209%2fRECIEM.67853&partnerID=40&md5=f366a07a8b8c110de0ba7a3d86ed05e4","Universitat de Girona, Spain; Departamento de Didácticas Específicas, Spain","Tarrés M.A., Universitat de Girona, Spain, Departamento de Didácticas Específicas, Spain; Cullell I.F., Universitat de Girona, Spain, Departamento de Didácticas Específicas, Spain","The various methods and strategies of playful learning (game, gamification, simulation, etc.) have become elements of methodological innovation increasingly used in university teaching. This article presents a study on a gamified musical education practice, carried out in a core subject of artistic education of the Degree in Primary Education, with a group of second-year students (n = 90) from a Spanish university. The application is carried out in groups of five students, over six weeks, and the final implementation of the project is carried out with primary school students from the Middle and the Upper Cycle (8 to 11). Following a mixed, qualitative and quantitative case study methodology, different aspects of the designed activities are coded and evaluated in order to be analysed: a) the interactions among participants, b) the curricular musical contents, and c) the gamification strategies used. The results reveal a high degree of involvement, collaboration and adaptation to the curricular musical content, moreover, they underline game strategies linked to classification, obtaining feedback and challenges. © 2021 Universidad Complutense de Madrid. All rights reserved.","Music pedagogy; Playful learning; Primary education; Teacher training","","","","","","","","Ardila-Munoz J. Y., Supuestos teóricos para la gamificación de la educación superior, Magis, Revista Internacional de Investigación en Educación, 12, 24, pp. 71-84, (2019); Bautista J., Guzman D., Jugar, aprender y sus contradicciones en la sociedad del conocimiento, Comunicación y Pedagogía. Nuevas Tecnologías y Recursos Didácticos, 186, pp. 75-81, (2003); Borras O., Fundamentos de la gamificación, (2015); Burnard P., Musical creativities in practice, (2012); Cain T., Investigación-acción en educación musical, Investigación cualitativa en educación musical, pp. 57-75, (2013); Carrion E., El uso del juego y la metodología cooperativa en la Educación Superior: una alternativa para la enseñanza creativa, Artseduca, 23, pp. 70-97, (2019); Decret 119/2015, de 23 de juny, d'ordenació dels ensenyaments de l'educació primària, Diari Oficial de la Generalitat de Catalunya, 6900, pp. 1-136, (2015); Clapper T., Situational interest and instructional design: a guide for simulation facilitators, Simulation and gaming, 45, 2, pp. 167-182, (2014); Cleaver D., Ballantyne J., Teachers' views of constructivist theory: A qualitative study illuminating relationships between epistemological understanding and music teaching practice, International Journal of Music Education, 32, 2, pp. 228-241, (2013); Contreras R.S., Gamificando en contextos educativos. Revisando literatura para aclarar conceptos, Experiencias de gamificación en las aulas, pp. 11-17, (2017); Creswell J.W., Creswell J. D., Research Design: Qualitative, Quantitative, and Mixed Methods Approaches, (2018); Criss E., Teamwork in the Music Room, Music Educators Journal, 97, pp. 30-36, (2010); Csikszentmihalyi M., Flow, the psychology of optimal experience, (1990); Csikszentmihalyi M., Beyond boredom and anxiety: Experiencing flow in work and play, (2000); De Sousa S., Durelli V., Macedo H., Isotani S., A systematic mapping on gamification applied to education, En Proceedings of the 29th Annual ACM Symposium on Applied Computing (SAC '14), pp. 216-222, (2014); Deterding S., Gameful Design for Learning, T+D, 67, 7, pp. 60-63, (2013); Deterding S., The Ambiguity of Games: Histories and Discourses of a Gameful World, The Gameful World. Approaches, Issues, Applications, pp. 23-64, (2014); Deterding S., Dixon D., Khaled R., Nacke L., From game design elements to gamefulness: defining “gamification, En Proceedings of the 15th International Academic MindTrek Conference: Envisioning Future Media Environments (MindTrek'11), pp. 9-15, (2011); Elkind D., Can we play?, Greater Good Magazine, 4, 2, pp. 14-17, (2008); Garcia-Hernandez R.J., Barbancho I., Tardon L.J., Arrambarri J., Magdics M., Sbert M., E-celilia: implementation of a music game, Proceedings of CoSECivi 2014 Computer Science, (2014); Garcia-Lazaro I., Escape Room como propuesta de gamificación en educación, Revista Educativa Hekademos, 27, pp. 71-79, (2019); Garris R., Ahlers R., Driskell J. E., Games, motivation, and learning: A research and practice model, Simulation & Gaming, 33, pp. 441-467, (2002); Gault B.M., Kodály-inspired teaching: a bridge to musical fluency, Teaching General Music: Approaches, Issues, and Viewpoints, pp. 73-88, (2016); Competències bàsiques de l'Educació Artística. Educació Artística: visual i oord.a, música i dansa. Identificació i desplegament a l'Educació Primària, (2016); Giglio M., Cuando la colaboración creativa cambia la forma de enseñar, (2013); Gomes C., Figueiredo M., Bidarra J., Gamification in Teaching Music: Case Study, En EduRe'14 Conference Proceedings, (2014); Gomes J., Figueiredo M., Amante L., Musical Journey: A virtual world gamification experience for music learning, International Journal on Advances in Education Research, 1, 1, pp. 1-21, (2014); Hamari J., Koivisto J., Sarsa H., Does Gamification Work? - A Literature Review of Empirical Studies on Gamification, Proceedings of the 47th Hawaii International Conference on System Sciences, pp. 3025-3034, (2014); Hamari J., Koivisto J., Measuring Flow in Gamification: Dispositional Flow Scale-2, Computers in Human Behavior, 40, pp. 133-134, (2014); Hassinger-Das B., Toub T. S., Zosh J. M., Michnick J., Golinkoff R., Hirsh-Pasek K., More than just fun: a place for games in playful learning, Infancia y Aprendizaje, 40, 2, pp. 191-218, (2017); Hein E., Music games in education, Learning, Education and Games, pp. 93-108, (2014); Hemsy de Gainza V., La educación musical en el siglo XX, Revista Musical Chilena, 201, pp. 74-81, (2004); Hirsh-Pasek K., Golinkoff R.M., Why Play = Learning, Encyclopedia on Early Childhood Development, (2008); Hirsh-Pasek K., Zosh J. M., Golinkoff R. M., Gray J. H., Robb M. B., Kaufman J., Putting education in “educational” apps: Lessons from the science of learning, Psychological Science in the Public Interest, 16, pp. 3-34, (2015); Holden H., Button S.W., The teaching of music in the primary school by the non-music specialist, British Journal of Music Education, 23, 1, pp. 23-38, (2006); Johnson L., Adams Becker S., Estrada V., Freeman A., NMC Horizon Report: 2014 K-12 Edition, (2014); Kapp K. M., The Gamification of learning and instruction: game-based methods and strategies for training and education, (2012); Kapp K. M., Blair L., Mesch R., The Gamification of learning and instruction. Ideas into practice, (2014); Koops L.H., Taggart C.C., Learning through play: Extending an early childhood music education approach to undergraduate and graduate music education, Journal of Music Teacher Education, 20, 2, pp. 55-66, (2010); Lieberoth A., Shallow Gamification, Testing Psychological Effects of Framing an Activity as a Game, Games and Culture, 10, 3, pp. 229-248, (2015); Lozada C., Betancur S., La gamificación en la educación superior: una revisión sistemática, Revista Ingenierías Universidad de Medellín, 16, 31, pp. 97-124, (2017); Lucato M., El método Kodály y la formación del profesorado de música, Revista electrónica LEEME, 7, pp. 1-7, (2001); Margoudi M., Oliveira M., Waddell G., Game-Based Learning of Musical Instruments: A Review and Recommendations, Proceedings of the 10th European Conference on Games Based Learning, pp. 426-433, (2016); Margoudi M., Waddell G., Oliveira M., Co-creating a gamified solution for music learning, Proceedings of the 11th European Conference on Game-Based Learning, pp. 420-427, (2017); Morante P.C., Castellano I., Re-creando: propuesta de estrategias lúdico musicales para promover aprendizajes creativos y significativos en la escuela, Memorias del quinto Congreso Internacional de Ciencias Pedagógicas de Ecuador: Aprendizaje en la sociedad del conocimiento: modelos, experiencias y propuestas, pp. 1005-1014, (2019); Navarro J. L., Pautas para la aplicación de métodos de enseñanza musical desde un enfoque constructivista, Revista Electrónica de Investigación Educativa, 19, 3, pp. 143-160, (2017); Ortiz-Colon A.M., Jordan J., Agredal M., Gamificación en educación: una panorámica sobre el estado de la cuestión, Educação e Pesquisa, 44, pp. 1-17, (2018); Perdomo I.R., Rojas J.A., La ludificación como herramienta pedagógica: algunas reflexiones desde la psicología, REXE. Revista de Estudios y Experiencias en Educación, 18, 36, pp. 161-175, (2019); Pesek M., Vucko Z., Savli P., Kavcic A., Marolt M., Troubadour: A gamified e-learning platform for ear training, IEEE Access, 8, pp. 97090-97102, (2020); Politis D., Margounakis D., Aleksii V., Karanikas N., From Music Gamification to the Musification of Games: A Synaesthetic Learning Pathway, International Journal of New Technologies in Science and Engineering, 4, 1, pp. 14-27, (2017); Prieto J.M., Una revisión sistemática sobre gamificación, motivación y aprendizaje en universitarios. 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Understanding the principles of gamification, Business Horizons, 58, 4, pp. 411-420, (2015); Saldana J., The coding manual for qualitative researchers, (2016); Scott Sh, A minds-on approach to active learning in general music, General music today, 24, 1, pp. 19-26, (2009); Scott Sh, Contemplating a constructivist stance for active learning within music education, Arts education policy review, 112, 4, pp. 191-198, (2011); Shively J., Constructivism in Music Education, Arts Education Policy Review, 116, 3, pp. 128-136, (2015); Singer D., Golinkoff R. M., Hirsh-Pasek K., Play = learning: How play motivates and enhances children's cognitive and social-emotional growth, (2006); Teixes F., Gamificación: Fundamentos y Aplicaciones, (2014); Tulloch R., Randell-Moon H.E.K., The politics of gamification: Education, neoliberalism and the knowledge economy, Review of Education, Pedagogy, and Cultural Studies, 40, 3, pp. 204-226, (2018); Van As A.J., Excell L., Strengthening early childhood teacher education towards a play-based pedagogical approach through a music intervention programme, South African Journal of Childhood Education, 8, 1, (2018); Wagner C., Digital gamification in private music education, Antistasis, 7, 1, pp. 115-122, (2017); Weisberg D.S., Hirsh-Pasek K., Golinkoff R.M., Kittredge A.K., Klahr D., Guided play: Principles and practices, Current Directions in Psychological Science, 25, pp. 177-182, (2016); Werbach K., Hunter D., Gamificación: revoluciona tu negocio con las técnicas de los juegos, (2014); Zabala A., Arnau L., Métodos para la enseñanza de las competencias, (2014); Zich I., Ortega-Ruiz R., Sibaja S., Children´s play and affective development: affect, school adjustment and learning in preschoolers, Infancia y Aprendizaje, 39, pp. 380-400, (2016)","","","Universidad Compultense Madrid","","","","","","16987454","","","","English","Rev. Electron. Complut. Invest. Music.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85107817819"
"Altun F.; Egermann H.","Altun, Firat (57217119631); Egermann, Hauke (32367476200)","57217119631; 32367476200","Temperament systems influence emotion induction but not makam recognition performance in Turkish makam music","2021","Psychology of Music","49","5","","1088","1101","13","3","10.1177/0305735620922892","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85086339642&doi=10.1177%2f0305735620922892&partnerID=40&md5=0507692d773c11d2a85d501ca5dfe4e9","York Music Psychology Group, Department of Music, University of York, York, United Kingdom","Altun F., York Music Psychology Group, Department of Music, University of York, York, United Kingdom; Egermann H., York Music Psychology Group, Department of Music, University of York, York, United Kingdom","We tested how induced emotions and Turkish makam recognition are influenced by participation in an ear training class and whether either is influenced by the temperament system employed. The ear training class was attended by 19 music students and was based on the Hicaz makam presented as a between-subjects factor in either unfamiliar Turkish original temperament (OT, pitches unequally divided into 24 intervals) or familiar Western equal temperament (ET, pitches equally divided into 12 intervals). Before and after the class, participants listened to 20 music excerpts from five different Turkish makams (in both OT and ET versions). Emotion induction was assessed via the 25-item version of Geneva Emotion Music Scales (GEMS-25), and participants were also asked to identify the makam that was present in the excerpt. The unfamiliar OT was experienced as less vital and more uneasy before the ear training class, and recognition of the Hicaz makam increased after ear training classes (independent of the temperament system employed). Results suggest that unfamiliar temperament systems are experienced as less vital and more uneasy. Furthermore, being exposed to this temperament system for just 1 hr does not seem to be enough to change participants’ mental representations of it or their emotional responses to it. © The Author(s) 2020.","emotion induction; recognition performance; temperament systems","","","","","","","","Balkwill L.L., Thompson W.F., A cross-cultural investigation of the perception of emotion in music: Psychophysical and cultural cues, Music Perception, 17, pp. 43-64, (1999); Barwick L., Tempo bands, metre and rhythmic mode in Marri Ngarr “Church Lirrga” songs, Australasian Music Research, 7, pp. 67-83, (2002); Bibby N., Tuning and temperament: Closing the spiral, Music and mathematics: From Pythagoras to fractals, pp. 13-28, (2003); Boltz M., Schulkind M., Kantra S., Effects of background music on the remembering of filmed events, Memory & Cognition, 19, pp. 593-606, (1991); Bozkurt B., An automatic pitch analysis method for Turkish maqam music, Journal of New Music Research, 37, pp. 1-13, (2008); 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Raman R., Dowling W.J., Real-time probing of modulations in South Indian classical (Carnatic) music by Indian and Western musicians, Music Perception, 33, pp. 367-393, (2016); Rasch R.A., Description of regular twelve-tone musical tunings, Journal of the Acoustical Society of America, 73, pp. 1023-1035, (1983); Tillmann B., Bharucha J.J., Bigand E., Implicit learning of tonality: A self-organizing approach, Psychological Review, 107, pp. 885-913, (2000); Vapnik V., Statistical learning theory, (1998); Vurma A., Ross J., Production and perception of musical intervals, Music Perception, 23, pp. 331-344, (2006); Yarman O., Karaosmanoglu M.K., Yarman-36 Makam tone-system” for Turkish art music, Journal of Applied and Engineering Mathematics, 4, pp. 175-199, (2014); Zajonc R.B., Attitudinal effects of mere exposure, Journal of Personality and Social Psychology, 9, pp. 1-27, (1968); Zentner M., Grandjean D., Scherer K.R., Emotions evoked by the sound of music: Characterization, classification, and measurement, Emotion, 8, pp. 494-521, (2008)","H. Egermann; York Music Psychology Group, Department of Music, University of York, York, United Kingdom; email: hauke.egermann@york.ac.uk","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","All Open Access; Green Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85086339642"
"Fournier G.; O’Neill S.; Moreno Sala M.T.","Fournier, Guillaume (57210689515); O’Neill, Susan (7102723195); Moreno Sala, Maria Teresa (56849540700)","57210689515; 7102723195; 56849540700","Strategic approaches to learning sight-singing at college level: An investigation using Q Methodology","2021","Psychology of Music","49","6","","1429","1448","19","0","10.1177/0305735620964315","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85094661870&doi=10.1177%2f0305735620964315&partnerID=40&md5=09978a1fe2e66d3bdfb2950250c5b7d4","Department of Music, Laval University, Quebec City, QC, Canada; Simon Fraser University, Burnaby, BC, Canada","Fournier G., Department of Music, Laval University, Quebec City, QC, Canada; O’Neill S., Simon Fraser University, Burnaby, BC, Canada; Moreno Sala M.T., Simon Fraser University, Burnaby, BC, Canada","This research investigates the main strategic approaches used by students for learning sight-singing in aural skills training. Using Q method, 41 college-level music students were invited to think about the importance of a wide range of strategies for their sight-singing acquisition. Factor analysis revealed three main strategic approaches: the pragmatic approach, the analytic approach, and the sound-first approach. Post hoc analyses indicated that these strategic approaches do not provide a valid typology of music students; rather, they reveal underlying conceptions about the purposes of sight-singing, which are likely to evolve according to an individual’s musical training. For sight-singing strategy instruction, these findings offer new insights for understanding better the influence of students’ prior musical knowledge on their use of sight-singing strategies. The discussion highlights the need for (re)establishing clear educational expectations that are capable of fulfilling teachers’ musical ideals. © The Author(s) 2020.","aural skills; Q methodology; sight-singing; solfege; strategies","","","","","","Joseph-Armand Bombardier; Social Sciences and Humanities Research Council of Canada, SSHRC","This research has been conducted as part of Guillaume Fournier’s Doctoral dissertation. We give our greatest thanks to the Social Sciences and Humanities Research Council of Canada ( http://www.sshrc-crsh.gc.ca/ ) for awarding the Joseph-Armand Bombardier CGS Doctoral Scholarship to the first author. ","Berkhout J.J., Teunissen P.W., Helmich E., van Exel J., van der Vleuten C.P., Jaarsma D.A., Patterns in clinical students’ self-regulated learning behavior: A Q-methodology study, Advances in Health Sciences Education, 22, 1, pp. 105-121, (2017); Boyle J.D., Lucas K.V., The effect of context on sightsinging, Bulletin of the Council for Research in Music Education, 106, pp. 1-9, (1990); Bradley J., Miller A., Widening participation in higher education: Constructions of “going to university., Educational Psychology in Practice, 26, 4, pp. 401-413, (2010); Brown S.R., Political subjectivity: Applications of Q methodology in political science, (1980); Cooper J.J., The development of a sight-singing achievement test for use with college student, (1965); Davidson L., Scripp L., Surveying the coordinates of cognitive skills in music, Handbook of research on music teaching and learning, pp. 392-413, (1992); Edgington R.A., The perceptions of musicians toward their use of cognitive skills in reading music at sight: Q-methodological study, (2005); Fournier G., L’apport des stratégies dans l’apprentissage du solfège chez les étudiants en musique de niveau collégial, (2020); Fournier G., Moreno Sala M.T., Dube F., O'Neill S., Cognitive strategies in sight-singing: The development of an inventory for aural skills pedagogy, Psychology of Music, 47, 2, pp. 270-283, (2019); Frazier I.I.R.R., A Q-sort comparison of student and teacher values concerning wind band music education in public secondary schools, (2018); Gordon E., Learning sequences in music: Skill, content, and patterns: A music learning theory, (2003); Hanley B.A., Educators’ attitudes to philosophies of music education: A Q study, (1987); Hewitt A., A Q study of music teachers’ attitudes towards the significance of individual differences for teaching and learning in music, Psychology of Music, 34, 1, pp. 63-80, (2006); Hewitt A., Student musicians’ self-and task-theories of musical performance: The influence of primary genre affiliation, British Journal of Music Education, 26, 3, pp. 293-314, (2009); Horn J.L., A rationale and test for the number of factors in factor analysis, Psychometrika, 30, 2, pp. 179-185, (1965); Karpinski G.S., Aural skills acquisition: The development of listening, reading, and performing skills in college-level musicians, (2000); Leong W.S., Understanding classroom assessment in dilemmatic spaces: Case studies of Singaporean music teachers’ conceptions of classroom assessment, Music Education Research, 16, 4, pp. 454-470, (2014); Marquis J.H., A study of interval problems in sight-singing performance with a consideration of the effect of context, (1963); McKeown B., Thomas D.B., Q methodology, (2013); McNeil A.F., Aural skills and the performing musician: Function, training and assessment, (2000); Rogers M., Teaching approaches in music theory: An overview of pedagogical philosophies, (2004); Rutherford S.E., Teaching and learning jazz music improvisation: An investigation of approaches using Q Methodology, (2014); Schmolk P., PQMethod, (2014); Seddon F.A., O'Neill S.A., The application of Q-Methodology to the study of criteria used by adolescents in the evaluation of their musical compositions, Musicae Scientiae, 8, 2, pp. 207-229, (2004); Swenson T.S., Profiles of career-aged keyboard students: Attitudes, preferences, and demographics, (2006); Thompson K.A., Pitch internalization strategies of professional musicians, (2003); Thompson K.A., Thinking in sound: A qualitative study of metaphors for pitch perception, Journal of Music Theory Pedagogy, 18, pp. 81-107, (2004); Vujovic I., Bogunovic B., Cognitive strategies in sight-singing, (2012); Watts S., Stenner P., Doing Q methodological research. Theory, method and interpretation, (2012)","G. Fournier; Department of Music, Laval University, Quebec City, Canada; email: guillaume.fournier.11@ulaval.ca","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-85094661870"
"Zhang X.","Zhang, Xiaoxing (57223006869)","57223006869","Multi-sensory research of singing visualization in pre-school music education","2023","Interactive Learning Environments","31","5","","2830","2840","10","14","10.1080/10494820.2021.1912107","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85104481074&doi=10.1080%2f10494820.2021.1912107&partnerID=40&md5=79c8889f72e75e4f390b3039337ff2b8","School of Teacher Education, Huzhou University, Huzhou, China","Zhang X., School of Teacher Education, Huzhou University, Huzhou, China","The research aim was to develop a visual training simulator with real-time audio correction using the Python programing language and reference audio files classified library. Depending on the melody perception and playback level, the learning pace increases from the minimum. The desired result is affected by the repetitions number. The designed simulator having real-time visualization option allows estimating results and errors. The proposed methodology practical value can be effective for preschool educational institutions music teaching and other music schools and universities music subjects. Further research will be devoted to this technique improvement using virtual reality methods. © 2021 Informa UK Limited, trading as Taylor & Francis Group.","audio visualization; multimedia method of teaching vocal music; pyAudio classifier; Solfeggio teaching","","","","","","2020 Zhejiang Province Educational Science Planning, (2020SCG036)","This work was supported by 2020 Zhejiang Province Educational Science Planning Project Study on Multisensory Linkage of Visual Singing Visualization in Music Courses of Preschool Education [grant number 2020SCG036].","(2016); Arzt A., Widmer G., (2010); Bandura A., Social cognitive theory of moral thought and action, Handbook of moral behavior and development, pp. 45-66, (2014); Baranov A.A., Suntsova A.S., Development of students’ subject position in the process of internship in an inclusive school, The Education and Science Journal, 22, 2, pp. 29-52, (2020); Bates V.C., Talbot B.C., Technology and music education in a digitized, disembodied, posthuman world, Action, Criticism, and Theory for Music Education, 13, 2, (2014); Buonviri N.O., Paney A.S., Technology use in high school aural skills instruction, International Journal of Music Education, 38, 3, pp. 431-440, (2020); Burak S., Self-efficacy of pre-school and primary school pre-service teachers in musical ability and music teaching, International Journal of Music Education, 37, 2, pp. 257-271, (2019); Burks N., Smith L., Saquer J., (2016); Cano M.D., Sanchez-Iborra R., On the use of a multimedia platform for music education with handicapped children: A case study, Computers & Education, 87, pp. 254-276, (2015); Carrillo C., Baguley M., Vilar M., The influence of professional identity on teaching practice: Experiences of four music educators, International Journal of Music Education, 33, 4, pp. 451-462, (2015); Chan J.C., Leung H., Tang J.K., Komura T., A virtual reality dance training system using motion capture technology, IEEE Transactions on Learning Technologies, 4, 2, pp. 187-195, (2011); Crawford R., Rethinking teaching and learning pedagogy for education in the twenty-first century: Blended learning in music education, Music Education Research, 19, 2, pp. 195-213, (2017); De-bo L., Several theoretical issues of the Solfeggio teaching practice, Journal of Shaoguan University, 1, (2012); Demorest S.M., Biological and environmental factors in music cognition and learning, MENC handbook of research on music learning: Volume 1 strategies, pp. 72-80, (2015); Dobashi A., Ikemiya Y., Itoyama K., Yoshii K., (2015); Downey A.B., Think DSP, (2016); Dutica L., Assessment typologies used within the discipline theory, Solfeggio, musical dictation, Review of Artistic Education, 15, 1, pp. 37-43, (2018); Eyles A.-M., Teachers’ perspectives about implementing ICT in music education, Australian Journal of Teacher Education, 43, 5, (2018); Fassbender E., Richards D., Bilgin A., Thompson W.F., Heiden W., Virschool: The effect of background music and immersive display systems on memory for facts learned in an educational virtual environment, Computers & Education, 58, 1, pp. 490-500, (2012); Gordon E.E., A music learning theory for newborn and young children, (2003); Hansberger J.T., Peng C., Blakely V., Meacham S., Cao L., Diliberti N., A multimodal interface for virtual information environments, International conference on human-computer interaction, pp. 59-70, (2019); Hayward C.M., Eastlund Gromko J., Relationships among music sight-reading and technical proficiency, spatial visualization, and aural discrimination, Journal of Research in Music Education, 57, 1, pp. 26-36, (2009); Hornbach C.M., Taggart C.C., The relationship between developmental tonal aptitude and singing achievement among kindergarten, first-, second-, and third-grade students, Journal of Research in Music Education, 53, 4, pp. 322-331, (2005); Jeremic B., Simonji-Cernak R., Markov Z., Pantic J., The effects of applying the vocal performance teaching method on the social-emotional competencies (SEC) of children in early education, Croatian Journal of Education: Hrvatski časopis za odgoj i obrazovanje, 17, 3, pp. 151-185, (2015); Jun-mei M., On current situation and strategies of Solfeggio teaching in music education, Journal of West Anhui University, 3, pp. 1-5, (2012); Kiraly Z., Solfeggio 1: A vertical ear training instruction assisted by the computer, International Journal of Music Education, os-40, 1, pp. 41-58, (2003); Kumar K., Dahiya S., Programming languages: A survey, International Journal on Recent and Innovation Trends in Computing and Communication, 5, 5, pp. 307-313, (2017); Larrouy-Maestri P., Leybaert J., Kolinsky R., The benefit of musical and linguistic expertise on language acquisition in sung material, Musicae Scientiae, 17, 2, pp. 217-228, (2013); Lee Y., Python-based software education model for non-computer majors, Journal of the Korea Convergence Society, 9, 3, pp. 73-78, (2018); Lim K.A., Raphael C., Intune: A system to support an instrumentalist's visualization of intonation, Computer Music Journal, 34, 3, pp. 45-55, (2010); Liu L.-L., Pang Y., Hu Z.-L., Application of spectrogram analysis in traditional vocal music teaching and multimedia animation vocal music teaching, International Journal of Emerging Technologies in Learning (iJET), 11, 11, pp. 64-67, (2016); Lubkov A.V., Modern problems of pedagogical education, The Education and Science Journal, 22, 3, pp. 36-54, (2020); Mahadevan A., Freeman J., Magerko B., Martinez J.C., (2015); Napoles J., Springer D.G., Silvey B.A., Adams K., Effects of pitch source on pitch-matching and intonation accuracy of collegiate singers, Journal of Research in Music Education, 67, 3, pp. 270-285, (2019); Nylander S., Jacobsson M., Tholander J., (2014); Pauwels J., Xambo A., Roma G., Barthet M., Fazekas G., (2018); Persellin D.C., The effects of vocal modeling, musical aptitude, and home environment on pitch accuracy of young children, Bulletin of the Council for Research in Music Education, 169, pp. 39-50, (2006); Reifinger J.L., The acquisition of sight-singing skills in second-grade general music: Effects of using solfège and of relating tonal patterns to songs, Journal of Research in Music Education, 60, 1, pp. 26-42, (2012); Salamatov A.A., Gordeeva D.S., The model of ontological reflection of ecological and economic value orientations formation in the process of vocational education, The Education and Science Journal, 22, 2, pp. 53-77, (2020); Sebald D., (2012); Starks K., Cognitive behavioral game design: A unified model for designing serious games, Frontiers in Psychology, 5, pp. 1-10, (2014); Taylor R., Boulanger P., Torres D., Visualizing emotion in musical performance using a virtual character, International symposium on smart graphics, pp. 13-24, (2005); Volpe G., Varni G., Addessi A.R., Mazzarino B., (2012); Waranusast R., Bang-ngoen A., Thipakorn J., (2013); Wu Q., Kazakevich M., Taylor R., Boulanger P., Interaction with a virtual character through performance based animation, International symposium on smart graphics, pp. 285-288, (2010); Zhou Q., Yan B., Music Solfeggio learning platform construction and application, International Journal of Emerging Technologies in Learning (iJET), 12, 12, pp. 14-23, (2017)","X. Zhang; School of Teacher Education, Huzhou University, Huzhou, No. 759, East 2nd Road, 313000, China; email: xiaoxing881@yahoo.com","","Routledge","","","","","","10494820","","","","English","Interact. Learn. Environ.","Article","Final","","Scopus","2-s2.0-85104481074"
"White R.","White, Rachel (57224783760)","57224783760","Authentic learning in senior secondary music pedagogy: An examination of teaching practice in high-achieving school music programmes","2021","British Journal of Music Education","38","2","","160","172","12","15","10.1017/S0265051720000297","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85098164580&doi=10.1017%2fS0265051720000297&partnerID=40&md5=41078363872110e4da8e6fc814b24c2d","Sydney Conservatorium of Music, The University of Sydney, 1 Conservatorium Road, Sydney, 2000, NSW, Australia","White R., Sydney Conservatorium of Music, The University of Sydney, 1 Conservatorium Road, Sydney, 2000, NSW, Australia","Authentic learning approaches are designed to immerse students in contexts that promote real-life applications of knowledge, and provide meaningful learning experiences beyond the abstract instruction of the classroom. In a grounded theory study of music teaching practice in high-achieving schools, 50 teachers from 23 schools across New South Wales (NSW), Australia, were asked to describe how they taught their senior secondary students and the musical environment they curated within their school. Through examination of the interview data, authentic learning exposed itself as uniquely situated in classroom music teaching of high-achieving music programmes for senior secondary students in NSW. This is shown through the use of thorough inquiry-based and student-centred learning tasks like video journals, the use of professional resources and expertise and collaborative learning in authentic contexts, in and outside of the classroom.  © 2020 Cambridge University Press.","authentic learning; collaborative; grounded theory; senior secondary; student centred","","","","","","","","Abrahamson D., Et al., What's a situation in situated cognition: A constructionist critique of authentic inquiry, The Proceedings of the Seventh International Conference of the Learning Sciences, (2006); Bandura A., Self Efficacy: The Exercise of Control, (1997); Barron B., Darling-Hammond L., Teaching for meaningful learning: A review of research on inquirybased and cooperative learning, Powerful Learning: What We Know about Teaching for Understanding, (2008); Bianchi H., Bell R., The many levels of inquiry, Science and Children, 70, 7, pp. 26-29, (2008); Breckenridge J., Doing Classic Grounded Theory: The Data Analysis Process, (2014); Callison D., Lamb A., Key words in instruction: Authentic learning, School Library Media Activities Monthly, 21, 4, pp. 34-39, (2004); Campbell C., Faulkner M., Pridham B., Supporting adolescent learning and development using applied learning pedagogies in a regional secondary school: An evaluation of a pilot program, The High School Journal, 94, 1, pp. 15-27, (2010); Caprara G.V., Barbaranelli C., Steca P., Malone P.A., Teachers self-efficacy beliefs as determinants of job satisfaction and students' academic achievement: A study at the school level, Journal of School Psychology, 44, pp. 473-490, (2006); Choi J., Hannafin M., Situated cognition and learning environments: Roles, structures, and implications for design, Educational Technology Research and Development, 43, 2, pp. 53-69, (1995); Clancey W.J., A tutorial on situated learning, The International Conference on Computers and Education, (1995); Colburn A., An inquiry primer, Science Scope, 23, 6, pp. 42-44, (2000); Cooper J.E., Ponder G., Merritt S., Matthews C., High-performing high schools: Patterns of success, National Association of Secondary School Principals Bulletin, 89, 645, pp. 2-23, (2005); Creswell J.W., Research Design: Qualitative, Quantitative, and Mixed Methods Approaches, (2009); Dillenbourg P., What do you mean by collaborative learning, Collaborative Learning: Cognitive and Computational Approaches, pp. 1-19, (1999); Evelein F., Pop and world music in Dutch music education: Two cases of authentic learning in music teacher education and secondary music education, International Journal of Music Education, 24, 2, pp. 178-187, (2006); Folkestad G., The local and the global in musical learning: Considering the interaction between formal and informal settings, Cultural Diversity in Music Education: Directions and Challenges for the 21st Century, (2005); Goddard R.D., Hoy W.K., Hoy A.W., Collective teacher efficacy: Its meaning, measure, and impact on student achievement, American Educational Research Journal, 37, 2, pp. 479-507, (2000); Green L., Music, Informal Learning and the School: A New Classroom Pedagogy, (2008); Hansen D., Imse L.A., Student-centred classrooms: Past initiatives, future practices, Music Educators Journal, 103, 2, pp. 20-26, (2016); Haroutounian J., Musical talent, Critical Issues and Practices in Gifted Education: What the Research Says, pp. 449-467, (2008); Herrington J., Oliver R., An instructional design framework for authentic learning environments, Educational Technology Research and Development, 48, 3, pp. 23-48, (2000); Herrington J., Reeves T.C., Oliver R., Authentic learning environments, Handbook of Research on Educational Communications and Technology, pp. 401-412, (2014); Homel J., Ryan C., Educational Outcomes: The Impact of Aspirations and the Role of Student Background Characteristics, (2014); Jeanneret N., McLennan R., Stevens-Ballenger J., Musical Futures: An Australian Perspective: Findings from A Victorian Pilot Study, (2011); Karada E., Bekta F., Coaltay N., Yalcin M., The effect of educational leadership on students' achievement, The Factors Effecting Student Achievement: Meta-Analysis of Empirical Studies, pp. 11-33, (2017); Kolb D.A., Experiential Learning: Experience As the Source of Learning and Development, (2015); Lancaster H., Identifying the gifted in music, The Thai National Centre for the Gifted and Talented, (2003); Lave J., Wenger E., Situated Learning: Legitimate Peripheral Participation, (1991); Lazonder A.W., Harmsen R., Meta-analysis of inquiry-based learning: Effects of guidance, Review of Educational Research, 86, 3, pp. 681-718, (2016); Lombardi M.M., Authentic learning for the 21st century: An overview, Educause Learning Initiative, (2007); McPherson G.E., Williamon A., Building gifts into musical talents, The Child As Musician: A Handbook of Musical Development, pp. 239-256, (2015); O'Connor J., Jeanes R., Alfrey L., Authentic inquiry-based learning in health and physical education: A case study of 'revolutionary' practice, Physical Education and Sport Pedagogy, 21, 2, pp. 201-2016, (2016); Pawlina W., Drake R.L., Authentic learning in anatomy: A primer on pragmatism, Anatomical Sciences Education, 9, 1, pp. 5-7, (2016); Pearce S., Authentic learning: What, why and how e-Teaching, Management Strategies for the Classroom, 10, pp. 1-3, (2016); Quigley C., Expanding our view of authentic learning: Bridging in and out-of-school experiences, Cultural Studies of Science Education, 9, 1, pp. 115-122, (2014); Radinsky J., Bouillion L., Lento E.M., Gomez L.M., Mutual benefit partnership: A curricular design for authenticity, Journal of Curriculum Studies, 33, 4, pp. 405-430, (2001); Roach K., Tilley E., Mitchell J., How authentic does authentic learning have to be, Higher Education Pedagogies, 3, 1, pp. 495-509, (2018); Rule A.C., Editorial: The components of authentic learning, Journal of Authentic Learning, 3, 1, pp. 1-10, (2006); Strauss A.L., Corbin J., Grounded theory methodology: An overview, Handbook of Qualitative Research, (1994); Subotnik R.F., Transforming elite musicians into professional artists: A view of the talent development process at the Juilliard School, Beyond Knowledge: Extracognitive Aspects of Developing High Ability, (2004); Thornberg R., Informed grounded theory, Scandinavian Journal of Educational Research, 56, 3, pp. 243-259, (2012); Wagoner C.L., Measuring music teacher identity: Self-efficacy and commitment among music teachers, Bulletin of the Council for Research in Music Education, 205, pp. 27-49, (2015); Wai J., Rindermann H., What goes into high educational and occupational achievement Education, brains, hard work, networks, and other factors, High Ability Studies, 28, 1, pp. 127-145, (2017); White R., Authentic learning strategies in secondary school music education, The Australian Society for Music Education XXII National Conference, (2019); Wiggins J., Authentic practice and process in music teacher education, Music Educators Journal, 93, 3, pp. 36-42, (2007); Wiggins J., Espeland M.I., Creating in music learning contexts, The Oxford Handbook of Music Education, 1, (2012); Wilson B.G., Myers K.M., Situated cognition in theoretical and practical context, Theoretical Foundations of Learning Environments, pp. 57-88, (2000); Wilson R.A., Clark A., How to situate cognition: Letting nature take its course, The Cambridge Handbook of Situated Cognition, pp. 55-77, (2009)","R. White; Sydney Conservatorium of Music, The University of Sydney, Sydney, 1 Conservatorium Road, 2000, Australia; email: Rachel.a.white@sydney.edu.au","","Cambridge University Press","","","","","","02650517","","","","English","Br. J. Music Educ.","Article","Final","","Scopus","2-s2.0-85098164580"
"Einarsdóttir S.L.","Einarsdóttir, Sigrún Lilja (56320748800)","56320748800","'I Certainly Couldn't Be a Soloist and I Really Struggle with Auditions': The Vocal Identity of the Female Choral Alto Voice","2022","International Review of the Aesthetics and Sociology of Music","53","1","","139","159","20","0","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85138098706&partnerID=40&md5=56d5457818baf5981d64d4949f63bf2f","Department of Social Science and Law, Bifröst University, 311 Borgarnes, Iceland","Einarsdóttir S.L., Department of Social Science and Law, Bifröst University, 311 Borgarnes, Iceland","The aim of this paper is to discuss the self-presentation of identity among female choral alto singers and to identify personality traits that may presumably be more common among choral altos than other voice parts. Subjects were retrieved from two socio-musical studies on amateur choirs: a qualitative study on an English community chamber choir and a mixed-method study on collegiate choirs in Oxford. Findings indicate several common traits among participants; a) serf-perceived lack of musical background and childhood encouragements; b) limited support and guidance in terms of constructing vocal identity; c) self-devaluation of vocal/technical abilities in terms of sight-reading and pitch; d) avoiding auditions, solo parts, and a lack of interest in a professional career in music and e) to be in the role of the Voluntary servant' by taking on administration role like the committee chair, treasurer or secretary. © 2022 Hrvatsko Muzikolosko Drustvo. All rights reserved.","Choir; choral education; female alto; interrupted vocal identity; musical identity; vocal identity","","","","","","","","ABITBOL J., ABITBOL P., ABITBOL B., Sex Hormones and the Female Voice, Journal of Voice, 13, 3, pp. 424-446, (1999); ALLEN R., WILCKEN L., Island Sounds in the Global City: Caribbean Popular Music and Identity in New York, (1998); ALLMENDINGER J., HACKMAN J. R., The More, the Better? A Four-nation Study of the Inclusion of Women in Symphony Orchestras, Social Forces, 74, 2, pp. 423-460, (1995); ASHLEY M., You sing like a girl? An Exploration of 'Boyness' through the Treble Voice, Sex Education, 6, 2, pp. 193-205, (2006); ASHLEY M., How High Should Boys Sing?: Gender, Authenticity and Credibility in the Young Male Voice, (2009); AUSTIN D. S., The Theory and Practice of Vocal Psychotherapy: Songs of the Self, (2008); BELL C. L., Toward a Définition of a Community Choir, International Journal of Community Music, 1, 2, pp. 229-241, (2008); BENNETT A., Popular Music and Youth Culture: Music, Identity and Place, (2000); BIJSTERVELD K., SCHULP M., Breaking into a World of Perfection Innovation in Today's Classical Musical Instruments, Social Studies of Science, 34, 5, pp. 649-674, (2004); BOIA P. S., The Viola in the 21st Century-Sound, Instrument Technologies, Playing Techniques and Performance, (2014); BOULET M. T., ODDENS B. J., Female Voice Changes around and after the Menopause-An Initial Investigation, Maturitas, 23, 1, pp. 15-21, (1996); BRACE T., Popular Music in Contemporary Beijing: Modernism and Cultural Identity, Asian Music, pp. 43-66, (1991); BUCHANAN D. A., Metaphors of Power, Metaphors of Truth: The Politics of Music Professionalism in Bulgarian Folk Orchestras, Ethnomusicology, 39, 3, (1995); BURNS L., LAFRANCE M., Disruptive Divas: Feminism, Identity & Popular Music, Taylor & Francis, (2002); COHEN S., Ethnography and Popular Music Studies, Popular Music, 12, 2, pp. 123-138, (1993); COLLINS S. A., MISSING C., Vocal and Visual Attractiveness are Related in Women, Animal Behaviour, 65, 5, pp. 997-1004, (2003); CONNELL J., GIBSON C., Sound Tracks: Popular Music Identity and Place, Rout-ledge, (2013); DeNORA T., Music in Everyday Life, (2000); DIBBEN N., Gender Identity and Music, Musical identities, pp. 117-133, (2002); EDENSOR T., National Identity, Popular Culture and Everyday Life, (2002); ELORRIAGA A., The Construction of Male Gender Identity through Choir Singing at a Spanish Secondary School, International Journal of Music Education, pp. 318-332, (2011); FEINBERG D. R., DeBRUINE L. M., JONES B. C., PERRETT D. I., The Role of Femininity and Averageness of Voice Pitch in Aesthetic Judgments of Women's Voices, Perception, 37, 4, (2008); FRITH S., Music and Identity, Questions of Cultural Identity, pp. 108-127, (1996); FRITH S., Performing Rites: On the Value of Popular Music, (1998); GABLE G. G., Integrating Case Study and Survey Research Methods: An Example in Information Systems, European Journal of Information Systems, 3, 2, pp. 112-126, (1994); GACKLE L., Female Adolescent Transforming Voices: Voice Classification, Voice Skill Development, and Music Literature Selection, Bodymind & Voice: Foundations of Voice Education, pp. 814-820, (2000); GREEN L., Music, Gender, Education, (1997); HARRISON S. D., WELCH G. F., ADLER A., Men, Boys and Singing, Perspectives on Males and Singing, pp. 3-12, (2012); HUQ R., Beyond Subculture: Pop, Youth and Identity in a Postcolonial World, (2004); JENKINS J., The Voice of the Castrato, The Lancet, 351, 9119, pp. 1877-1880, (1998); JOHNSSON M. C, HAGER P., Navigating the Wilderness of Becoming Professional, Journal of Workplace Learning, 20, 7, pp. 526-536, (2008); JONES A., Like a Knife: Ideology and Genre in Contemporary Chinese Popular Music, (1992); KHODYAKOV D. M., The Complexity of Trust-control Relationships in Creative Organizations: Insights from a Qualitative Analysis of a Conductorless Orchestra, Social Forces, 86, 1, pp. 1-22, (2007); MITCHELL T., Popular Music and Local Identity: Rock, Pop and Rap in Europe and Oceania, (1996); MONKS S., Adolescent Singers and Perceptions of Vocal Identity, British Journal of Music Education, 20, pp. 243-256, (2003); ODDY N., A Field of Vocal Discovery: The Workshop, Voicework in Music therapy, pp. 83-99; PARZIANI D., Orchestral Conducting as Educational Practice: A Smallian Perspective of Relationships and Pedagogy in Youth Orchestras, Approaches: Music Therapy & Special Music Education, 3, 2, pp. 82-S8, (2011); PERRONE C. A., DUNN C., Brazilian Popular Music and Globalization, Journal of Popular Music Studies, 14, 2, pp. 163-165, (2002); RUSER S., National Identity and the West-Eastern Divan Orchestra, Music and Arts in Action, 2, 2, pp. 19-37, (2010); ROLVSJORD R., HALSTEAD J., A Woman's Voice: The Politics of Gender Identity in Music Therapy and Everyday Life, The Arts in Psychotherapy, (2013); SCHEI T. B., Vokal identitet En diskursteoretisk analyse av profesjonelle sangeres iden-titetsdannelse, (2007); SCHWARTZ N., Survey Methods, The Handbook of Social Psychology, 1, pp. 143-179, (1998); SHUKER R., Understanding Popular Music, (1994); STRAW W., Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music, Cultural Studies, 5, 3, pp. 368-388, (1991); UHLIG S., Authentic Voices, Authentic Singing: A Multicultural Approach to Vocal Music Therapy, (2006); VREDENBURGH D., YUNXIA HE I., Leadership Lessons from a Conductorless Orchestra, Business Horizons, 46, 5, pp. 19-24, (2003); WATERMAN C. A., Our Tradition is a Very Modern Tradition': Popular Music and the construction of Pan-Yoruba Identity, Ethnomusicology, 34, 3, pp. 367-379, (1990); WELCH G. F., HOWARD D. M., Gendered Voice in the Cathedral Choir, Psychology of Music, 30, 1, pp. 102-120, (2002); WHITELEY S., Women and Popular Music: Sexuality, Identity and Subjectivity, Rout-ledge, (2013); WHITELEY S., BENNETT A., HAWKINS S., Music, Space and Place: Popular Music and Cultural Identity, (2004)","S.L. Einarsdóttir; Department of Social Science and Law, Bifröst University, 311 Borgarnes, Iceland; email: sigrunlilja@bifrost.is","","Hrvatsko Muzikolosko Drustvo","","","","","","03515796","","","","English","Int. Rev. Aestetics Sociol. Music","Article","Final","","Scopus","2-s2.0-85138098706"
"Jones S.K.; Derges J.D.","Jones, Sara K. (57191578556); Derges, Julie D. (57481728400)","57191578556; 57481728400","Making the Schoolhouse Rock: A Content Analysis of Two Popular Music Pedagogies","2022","Bulletin of the Council for Research in Music Education","","233","","69","95","26","3","10.5406/21627223.233.04","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85148496756&doi=10.5406%2f21627223.233.04&partnerID=40&md5=689e6b8acd89ede556f4ea50c05ea596","DePaul University, Chicago, IL, United States; University of Houston, Houston, TX, United States","Jones S.K., DePaul University, Chicago, IL, United States; Derges J.D., University of Houston, Houston, TX, United States","In popular music education, there has been an increase in the amount of literature, pedagogical resources, and organizations that are available, and two pedagogical approaches for teaching popular music are informal music learning (IML) and modern band (MB). However, there is little existing scholarly critical analysis comparing these approaches. The purpose of this qualitative directed content analysis was to explore the similarities and differences between IML and MB in kindergarten through 12th-grade settings and examine how major characteristics of each approach are represented in scholarly and curricular resources. While similarities exist in the literature on these approaches, there are also distinct differences between them, such as orientation toward process or performance, use of composition and improvisation, and teacher role and approach. Moreover, the representation of the principles of both IML and MB were not always consistent in the resources we examined, with some aspects highly represented and others rarely mentioned. Learning more about both approaches could be beneficial to scholars and teachers interested in popular music pedagogy and how they are implemented in classrooms. © 2022 University of Illinois at Urbana-Champaign. All rights reserved.","","","","","","","LKR","Both of us research IML and use it in our teaching and include MB instruments and approaches in our teaching as well. We also both received an MB fellowship sponsored by LKR, in which we attended a weeklong professional development and received popular music instruments. After our personal experiences with both IML and MB, we were curious about these two approaches and their implementation, which is what led us to this study. However, this research was conducted independently of any funding or influence by any individual or organization connected to either IML or MB. Additionally, this study sought to analyze literature written in a number of countries, such as the United Kingdom, Finland, Sweden, Australia, and Canada. As music teacher","Abramo J. M., Gender differences of popular music production in secondary schools, Journal of Research in Music Education, 59, 1, pp. 21-43, (2011); Burstein S., Breaking the cycle: Personal perspectives on the shifting landscape of public school music education offerings, Journal of Popular Music Education, 1, 3, pp. 359-368, (2017); Byo J. L., “Modern Band” as school music: A case study, International Journal of Music Education, 36, 2, pp. 259-269, (2018); Christophersen C., Gulberg A. K., Popular music education, participation and democracy: Some Nordic perspectives, The Routledge research companion to popular music education, pp. 425-437, (2017); Constantine M. 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D., Aspiring to music making as leisure through the Musical Futures classroom, The Oxford handbook of music making and leisure, pp. 61-80, (2016); Davis S., Informal learning processes in an elementary music classroom, Bulletin of the Council for Research in Music Education, 198, pp. 23-50, (2013); Downey J., Informal learning in music in the Irish secondary school context, Action, Criticism, and Theory for Music Education, 8, 2, pp. 46-59, (2009); Ericsson C., Lindgren M., The rock band context as discursive governance in music education in Swedish schools, Action, Criticism, and Theory for Music Education, 9, 3, pp. 35-54, (2010); Evans S. E., Beauchamp G., John V., Learners’ experience and perceptions of informal learning in key stage 3 music: A collective case study, exploring the implementation of Musical Futures in three secondary schools in Wales, Music Education Research, 17, 1, pp. 1-16, (2015); Green L., Popular music education in and for itself, and for “other” music: Current research in the classroom, International Journal of Music Education, 24, 2, pp. 101-118, (2006); Green L., Informal learning and aural learning in the instrumental music lesson: A research and development pilot project, Future prospects for music education: Corroborating informal learning pedagogy, pp. 161-196, (2012); Hallam S., Creech A., Sandford C., Rinta T., Shave K., McQueen H., Survey of Musical Futures: A report from Institute of Education University of London for the Paul Hamlyn Foundation, (2009); Jeanneret N., Musical Futures in Victoria, Australian Journal of Music Education, 2, pp. 148-164, (2010); Jenkins P., Formal and informal music educational practices, Philosophy of Music Education Review, 19, 2, pp. 179-197, (2011); Jones S. 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E., Mutual learning and democratic action in instrumental music education, Journal of Research in Music Education, 51, 1, pp. 24-37, (2003); Baker D., Green L., Ear playing and aural development in the instrumental lesson: Results from a “case-control” experiment, Research Studies in Music Education, 35, 2, pp. 141-159, (2013); Bell A. P., Guitars have disabilities: Explore guitar adaptations for an adolescent with Down syndrome, British Journal of Music Education, 31, 3, pp. 343-357, (2014); Burstein S. D., Transformation of habitus and social trajectories: A retrospective study of a popular music program, (2016); Byo J. L., “Modern band” as school music: A case study, International Journal of Music Education, 36, 2, pp. 259-269, (2018); Cayari C., Participatory culture and informal music learning through video creation in the curriculum, International Journal of Community Music, 8, 1, pp. 41-57, (2015); Choate R. A., Documentary report of the Tanglewood Symposium, Music Educators National Conference, (1968); Christophersen C., Gulberg A. K., Popular music education, participation, and democracy: Some Nordic perspectives, The Routledge research companion to popular music education, pp. 425-437, (2017); Chu Y., Twenty years of social studies textbook content analysis: Still “decidedly disappointing”?, The Social Studies, 108, 6, (2017); Clauhs M., Cremata R., Student voice and choice in modern band curriculum development, Journal of Popular Music Education, 4, 1, pp. 101-116, (2020); Constantine M. C., The Lakewood Project: Rockin’ out with informal music learning, Alternative approaches in music education: Case studies in the field, pp. 57-66, (2010); Cremata R., Facilitation in popular music education, Journal of Popular Music Education, 1, 1, pp. 63-82, (2017); D'Amore A., Musical Futures: An approach to teaching and learning resource pack; D'Amore A., Smith G. D., Aspiring to music making as leisure through the Musical Future classroom, The Oxford handbook of music making and leisure, pp. 61-80, (2016); Davis S., Informal learning processes in an elementary music classroom, Bulletin of the Council for Research in Music Education, 198, pp. 23-50, (2013); Davis S. G., Blair D. V., Popular music in American teacher education: A glimpse into a secondary methods course, International Journal of Music Education, 29, 2, pp. 124-140, (2011); Davis V. W., Higher ed rocks: Don’t fret the small stuff, Journal of Popular Music Education, 2, 3, pp. 283-288, (2018); SocioCultural Research Consultants, (2016); Dorfman J., Examining effectiveness of modern band professional development for practicing teachers, Journal of Popular Music Education, 4, 1, pp. 5-20, (2020); Evans L., Davies K., No sissy boys here: A content analysis of the representation of masculinity in elementary school reading textbooks, Sex Roles, 42, 3, pp. 255-270, (2000); Evans S. E., Beauchamp G., John V., Learners’ experience and perceptions of informal learning in key stage 3 music: A collective case study, exploring the implementation of Musical Futures in three secondary schools in Wales, Music Education Research, 17, 1, pp. 1-16, (2015); Feichas H., Bridging the gap: Informal learning practices as a pedagogy of integration, British Journal of Music Education, 27, 1, pp. 47-58, (2010); Finney J., Philpott C., Informal learning and meta-pedagogy in initial teacher education in England, British Journal of Music Education, 27, 1, pp. 7-19, (2010); Folkestad G., Formal and informal learning situations or practices vs. formal and informal ways of learning, British Journal of Music Education, 23, 2, pp. 135-145, (2006); Green L., Music, informal learning, and the school: A new classroom pedagogy, (2002); Green L., Popular music education in and for itself, and for “other” music: Current research in the classroom, International Journal of Music Education, 24, 2, pp. 101-118, (2006); Green L., How popular musicians learn, (2008); Green L., Informal learning and aural learning in the instrumental music lesson: A research and development pilot project, Future prospects for music education: Corroborating informal learning pedagogy, pp. 161-196, (2012); Hallam S., Creech A., McQueen H., Teachers’ perceptions of the impact on students of the Musical Futures approach, Music Education Research, 19, 3, pp. 263-275, (2017); Hallam S., Creech A., McQueen H., Pupils’ perceptions of informal learning in school music lessons, Music Education Research, 20, 2, pp. 213-230, (2018); Hess J., Popular music education: A way forward or a new hegemony?, The Bloomsbury handbook of popular music education: Perspectives and practices, pp. 29-43, (2019); Hewitt D., The impact of a professional development program in popular music on a music teacher’s beliefs and practices, (2018); Higgins L., My voice is important too: Non-formal music experiences and young people, The child as musician, pp. 594-605, (2015); Hseih H., Shannon S. E., Three approaches to qualitative content analysis, Qualitative Health Research, 15, 9, pp. 1277-1288, (2005); Jaffurs S. E., The impact of informal music learning practices in the classroom, or how I I learned how to teach from a garage band, International Journal of Music Education, 22, 3, pp. 189-200, (2004); Jenkins P., Formal and informal music educational practices, Philosophy of Music Education Review, 19, 2, pp. 179-197, (2011); Jones S. K., An exploration of band students’ experiences with informal learning, Bulletin of the Council for Research in Music Education, 206, pp. 61-79, (2015); Kallio A. A., Drawing a line in water: Constructing the school censorship frame in popular music education, International Journal of Music Education, 33, 2, pp. 195-209, (2015); Kastner J. D., Exploring informal music learning in a professional development community of music teachers, Bulletin of the Council for Research in Music Education, 202, pp. 71-89, (2014); Kastner J. D., Healing bruises: Identity tensions in a beginning teacher’s use of formal and informal music learning, Research Studies in Music Education, 42, 1, pp. 3-18, (2020); Knapp D., Modern band and special learners, General Music Today, 34, 1, pp. 49-52, (2020); Krippendorff K., Content analysis: An introduction to its methodology, (2019); Lindgren M., Ericsson C., The rock band context as discursive governance in music education in Swedish schools, Action, Criticism, and Theory for Music Education, 9, 3, pp. 35-54, (2010); Linton L. S., Interpretive reproduction and informal music learning in the grade one classroom, (2014); Best practices & lesson plans, (2013); Modern band workshop 102 [Workshop PowerPoint slides], (2017); Popular music education and modern band [Workshop PowerPoint slides], (2018); Love T. S., Strimel G. J., Computer science and technology and engineering education: A content analysis of standards and curricular resources, The Journal of Technology Studies, 42, 2, pp. 76-89, (2016); MacPhail C., Khoza N., Abler L., Ranganathan M., Process guidelines for establishing intercoder reliability in qualitative studies, Qualitative Research, 16, 2, pp. 198-212, (2016); Miles M. B., Huberman A. M., Saldana J., Qualitative data analysis: A methods sourcebook, (2020); Guide to songwriting; What is Musical Futures?; Schools, (2020); Narita F. M., Green L., Informal learning as a catalyst for social justice in music education, The Oxford handbook of social justice in music education, pp. 302-317, (2015); Ojala A., Vakeva L., Keeping it real: Addressing authenticity in classroom popular music pedagogy, Nordic Research in Music Education, 16, pp. 87-99, (2015); Powell B., Breaking down barriers to participation: Perspectives of female musicians in popular music ensembles, Bloomsbury handbook of popular music education, pp. 337-350, (2019); Powell B., Modern bands impact on student enrollment in traditional music ensembles, School Music News, (2019); Powell B., Modern band: A review of literature, Update: Applications of Research in Music Education, 39, 3, pp. 39-46, (2021); Powell B., Burstein S., Popular music and modern band principles, The Routledge research companion to popular music education, pp. 243-254, (2017); Powell B., Krikun A., Pignato J. M., “Something’s happening here!”: Popular music education in the United States, Journal of the International Association for the Study of Popular Music, 5, 1, pp. 4-22, (2015); Powell B., Smith G. D., D'Amore A., Challenging symbolic violence and hegemony in music education through contemporary pedagogical approaches, Education, 45, 6, pp. 734-743, (2017); Randles C., Modern band: A descriptive study of teacher perceptions, Journal of Popular Music Education, 2, 3, pp. 217-230, (2018); Rathgeber J., A place in the band: Negotiating barriers to inclusion in a rock band setting, The Routledge research companion to popular music education, pp. 369-381, (2017); Rathgeber J., Bernard C. F., “When I say ‘modern,’ you say ‘band’”: A critical narrative of modern band and Little Kids Rock as music education curriculum, Journal of Popular Music Education, 5, 3, pp. 337-358, (2021); Saldana J., The coding manual for qualitative researchers, (2016); Schreier M., Qualitative content analysis, The SAGE handbook of qualitative data analysis, pp. 170-183, (2014); Singh S., Richards L., Missing data: Finding “central” themes in qualitative research, Qualitative Research Journal, 3, 1, pp. 5-17, (2003); Smith G. D., Gramm W., Wagner K., Music education for social change in the United States: Towards artistic citizenship through Little Kids Rock, International Journal of Pedagogy, Innovation and New Technologies, 5, 2, pp. 11-21, (2018); Stowell D., Dixon S., Integration of informal music technologies in secondary school music lessons, British Journal of Music Education, 31, 1, pp. 19-39, (2014); Tamir P., Content analysis focusing on inquiry, Journal of Curriculum Studies, 17, 1, pp. 87-94, (1985); Student-centered learning, Teaching Excellence in Adult Literacy, pp. 1-3, (2010); Vasil M., Integrating popular music and informal music learning practices: A multiple case study of secondary school music teachers enacting change in music education, International Journal of Music Education, 37, 2, pp. 298-310, (2019); Vasil M., Weiss L., Powell B., Popular music pedagogies: An approach to teaching 21st-century skills, Journal of Music Teacher Education, 28, 3, pp. 85-95, (2019); Waldron J., Exploring a virtual music community of practice: Informal music learning on the internet, Journal of Music, Technology, and Education, 2, 2–3, pp. 97-112, (2009); Waldron J., Locating narratives in postmodern spaces: A cyber ethnographic field study of informal music learning in online community, Action, Criticism, and Theory for Music Education, 10, 2, pp. 32-60, (2011); Waldron J., YouTube, fanvids, forums, vlogs and blogs: Informal music learning in a convergent on- and offline music community, International Journal of Music Education, 31, 1, pp. 91-105, (2013); Webster P., Constructivism and music learning, MENC handbook of research on music learning, 1, pp. 35-83, (2011); Weiss L., Abeles H. F., Powell B., Integrating popular music into urban schools: Examining students’ outcomes of participation in the Amp Up New York City music initiative, Journal of Popular Music Education, 1, 3, pp. 331-356, (2017); Wish D., Heimbauer G., Speicher C., Flora J., DiMasso A., Zellner R., Danielsson S., Music as a second language & the modern band movement, (2018); Wright R., Informal learning in general music education, Teaching general music: Approaches, issues, and viewpoints, pp. 209-240, (2016); Wright R., Kanellopoulos P., Informal music learning, improvisation, and teacher education, British Journal of Music Education, 27, 1, pp. 71-87, (2010)","S.K. Jones; DePaul University, Chicago, 804 W. Belden Ave., 60614, United States; email: sara.jones@depaul.edu","","University of Illinois at Urbana-Champaign","","","","","","00109894","","","","English","Bul. Counc. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-85148496756"
"Thumlert K.; Harley D.; Nolan J.","Thumlert, Kurt (56123787600); Harley, Daniel (58507015000); Nolan, Jason (16304899700)","56123787600; 58507015000; 16304899700","Sound Beginnings: Learning, Communicating, and Making Sense with Sound","2020","Music Educators Journal","107","2","","66","69","3","4","10.1177/0027432120952081","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85132323819&doi=10.1177%2f0027432120952081&partnerID=40&md5=cb20d9752d2c0fd48bf88e31af7a4d10","","","The ongoing work by educators responding to calls for equity, diversity, and inclusion in music education shows the breadth of difficult work that has been accomplished as well as the challenging work that lies ahead. Our work explores efforts to rethink music education—for all—from the ground up, which requires disrupting many of the norms through which music education has been conventionally understood. In this article, we bring together lessons learned to offer five recommendations for music pedagogy and sound-based inquiry that support a more inclusive understanding of music—one that situates aural/sound/music learning experiences as actively critical and collaborative practices. We suggest that by developing a contextualized, community-based, learner-oriented model, we might be better equipped to create opportunities for all learners. © 2020 National Association for Music Education.","collaboration; diversity; equity; inclusion; sound learning","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85132323819"
"Jordet M.","Jordet, Maria (57802471400)","57802471400","Reclaiming songs of wisdom in rural Bangladesh: four pillars of a unique music pedagogy","2022","Nordic Journal of Comparative and International Education","6","2","","","","","0","10.7577/njcie.4943","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85162108329&doi=10.7577%2fnjcie.4943&partnerID=40&md5=d318b404696dd47dd3d34f39f5f9fbda","Inland Norway University of Applied Sciences, Norway","Jordet M., Inland Norway University of Applied Sciences, Norway","What kind of music teaching and learning takes place among folk musicians and young ones, aiming to reclaim their oral tradition and educate new master teachers? This question will be answered by drawing on extensive fieldwork at nine song-and-music schools in rural Bangladesh, applying critical realism as a meta-theory. An overall aim is to expand views on what music teaching and learning can be, with potential implications for education beyond rural Bangladesh. The empirical material was collected through a focus group interview with 12 students in an advanced class and in-depth interviews with these students and their three master teachers. The analysis shows that the generational transmission can be seen as based on the ‘four pillars’ of music pedagogy. These are re-described through dialectical critical realism in an abductive process, showing that music pedagogy can open an ontology and dialectic on being and becoming human for the participants. Results are discussed with absence and remembrance as key concepts. The study provides practical and philosophical insights into a music pedagogy about deep learning and resonance: towards transformative praxis. © 2022 Maria Jordet. T.","dialectical critical realism; resonance; rural Bangladesh; transformative praxis; vanishing folk songs","","","","","","","","Alderson P., Childhoods real and imagined: Volume 1: an introduction to critical realism and childhood studies, (2013); Annamo E., Transformativ læring: å bringe noe kreativt nytt inn i eksistens, En sammenkobling av Roy Bhaskars kritiske realisme og Edmund O´Sullivans transformative læringsperspektiv, (2020); Archer M. 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"Herrero L.; Carriedo N.","Herrero, Laura (57113236800); Carriedo, Nuria (7801565369)","57113236800; 7801565369","The role of cognitive flexibility and inhibition in complex dynamic tasks: the case of sight reading music","2022","Current Psychology","41","7","","4625","4637","12","7","10.1007/s12144-020-00983-y","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85088831805&doi=10.1007%2fs12144-020-00983-y&partnerID=40&md5=1ef59cb43aabf2e8a817cd00beb96746","Universidad Camilo José Cela, Madrid, Spain; Dpto. de Psicología Evolutiva y de la Educación. Facultad de Psicología, Universidad Nacional de Educación a Distancia (UNED), C/ Juan del Rosal, 10, Madrid, 28040, Spain","Herrero L., Universidad Camilo José Cela, Madrid, Spain, Dpto. de Psicología Evolutiva y de la Educación. Facultad de Psicología, Universidad Nacional de Educación a Distancia (UNED), C/ Juan del Rosal, 10, Madrid, 28040, Spain; Carriedo N., Dpto. de Psicología Evolutiva y de la Educación. Facultad de Psicología, Universidad Nacional de Educación a Distancia (UNED), C/ Juan del Rosal, 10, Madrid, 28040, Spain","Sight reading (SR) is a dynamic task which requires the performance of the music printed in a score whithout previous practice (Lehmann and McArthur 2002). Our main aim was to analyse how cognitive flexibility and the inhibitory processes involved in the control of interference of irrelevant stimulus and in the suppression of preponderant actions or responses, could differently contribute to fluency and accuracy in SR, as a function of the conditions of difficulty of the SR tasks. We also aimed to determine if these contributions were independent of instrument knowledge. 63 students of melodic instruments participated in the study. The results revealed a significant contribution of the inhibitory processes involved in the suppression of preponderant actions or responses to both fluency and accuracy, even in low difficult conditions of the SR tasks. Our results also revealed significant contributions of cognitive flexibility to fluency and of resistance to interference to accuracy only in high difficult conditions of the SR tasks. All these contributions were independent of instrument knowledge. © 2020, Springer Science+Business Media, LLC, part of Springer Nature.","Cognitive flexibility; Prepotent response inhibition; Resistance to interference; Sight reading music","","","","","","","","Altenmuller E.O., How many music centers are in the brain?, Annals of the New York Academy of Sciences, 930, 1, pp. 273-280, (2001); Barrett K.C., Ashley R., Strait D.L., Kraus N., Art and science: How musical training shapes the brain, Frontiers in Psychology, 4, 713, (2013); Beaty R.E., Silvia P.J., Why do ideas get more creative across time? 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Facultad de Psicología, Universidad Nacional de Educación a Distancia (UNED), Madrid, C/ Juan del Rosal, 10, 28040, Spain; email: ncarriedo@psi.uned.es","","Springer","","","","","","10461310","","","","English","Curr. Psychol.","Article","Final","","Scopus","2-s2.0-85088831805"
"Redman B.","Redman, Benjamin (57564065000)","57564065000","Evaluating the use of LoLa in European conservatoires: The SWING project","2021","Journal of Music, Technology and Education","13","2-3","","199","217","18","1","10.1386/jmte_00023_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85127678682&doi=10.1386%2fjmte_00023_1&partnerID=40&md5=eae1a14877c48d045394701db562a84c","Royal Conservatoire of Scotland, 100 Renfrew Street, Glasgow, G2 3DB, United Kingdom","Redman B., Royal Conservatoire of Scotland, 100 Renfrew Street, Glasgow, G2 3DB, United Kingdom","The research presented in this article reports on the SWING project, a qualitative case study initiated by The Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen (AEC) into the use of LoLa (low-latency audiovisual streaming) for instrumental music teaching between conservatoires. LoLa is a software package that allows musicians to perform and interact together synchronously in real-time with high-quality audio, something not currently possible with standard videoconferencing platforms. LoLa is a relatively new technology and there is limited research available on how effective it is when used for instrumental music teaching. Trials of LoLa technology were conducted in three conservatoires in Austria, Italy and Slovenia in early 2019. Follow-up interviews were conducted with music teachers, students and technicians to understand their experiences of using the technology, what changes took place in the teaching, and to determine the potential and limitations of LoLa for teaching in conservatoires. Participants in the trials reported overall satisfaction with the system, with many being surprised at the high quality. The findings showed that LoLa can expand the possibilities for artistic development by facilitating synchronous interaction between teachers and students in different conservatoires. These possibilities include one-to-one lessons, group masterclasses, examinations, and opportunities to rehearse and perform synchronously with musicians from other institutions. This aligns with current research which calls for a reappraisal of the traditional one-to-one conservatoire studio lesson. © 2021 Intellect Ltd Article. English language.","conservatoire; LoLa; low-latency; music education; music pedagogy; online learning; videoconferencing; vocal and instrumental music teaching","","","","","","Académies de Musique et Musikhochschulen; Association Européenne des Conservatoires; Synergic Work Incoming New Goals for Higher Education Music Institutions","The Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen (AEC) initiated the SWING project (Synergic Work Incoming New Goals for Higher Education Music Institutions), a strategic partnership project running from September 2018 until September 2021, funded by the European Commission’s Erasmus+ programme. Erasmus+ is a European Union programme to support students to study and train abroad (European Commission n.d.). 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G., Naturalistic Inquiry, (1985); Maidlow S., The experiences, attitudes and expectations of music students from a feminist perspective, British Journal of Music Education, 15, 1, pp. 37-49, (1998); Norman R., Volpe C., LoLa, music without borders times three, Connect Online, (2021); Prior H., Mackay R., King A., Digital delivery of instrumental lessons in remote rural areas, Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music, (2015); Redman B., The potential of videoconferencing and low-latency (LoLa) technology for instrumental music teaching, Music & Practice, 6, (2020); Renshaw P., Engaged Passions: Searches for Quality in Community Contexts, (2010); Renshaw P., Postlude: Collaborative learning: A catalyst for organizational development in higher music education, Collaborative Learning in Higher Music Education, pp. 237-246, (2013); Riley H., MacLeod R. B., Libera M., Low latency audio video: potentials for collaborative music making through distance learning, Update: Applications of Research in Music Education, 34, 3, pp. 15-23, (2016); Robson C., Real World Research: A Resource for Social Scientists and Practitioner-Researchers, (2002); Shoemaker K., van Stam G., e-Piano: A case of music education via e-learning in rural Zambia, Proceedings of the Web Science Conference, WebSci10: Extending the Frontiers of Society, (2010); Wenger E., McDermott R., Snyder W., Cultivating Communities of Practice, (2002); Zanner A., Stabb D., Singers, actors and classroom dynamics: From co-teaching to co-learning, Collaborative Learning in Higher Music Education, pp. 231-236, (2013); Zeltsman N., Four-Mallet Marimba Playing: A Musical Approach for All Levels, (2003); Zhukov K., Student learning styles in advanced instrumental music lessons, Music Education Research, 9, 1, pp. 111-127, (2007); Zhukov K., Teaching strategies and gender in higher education instrumental studios, International Journal of Music Education, 30, 1, pp. 32-45, (2012); Zhukov K., Saetre J. H., Play with me”: Student perspectives on collaborative chamber music instruction, Research Studies in Music Education, (2021)","B. Redman; Royal Conservatoire of Scotland, Glasgow, 100 Renfrew Street, G2 3DB, United Kingdom; email: b.redman@rcs.ac.uk","","Intellect Ltd.","","","","","","17527066","","","","English","J. Music Technol. Educ.","Article","Final","","Scopus","2-s2.0-85127678682"
"Cornelius N.; Brown J.L.","Cornelius, Nathan (57208442676); Brown, Jenine L (57188680290)","57208442676; 57188680290","The interaction of repetition and difficulty for working memory in melodic dictation tasks","2020","Research Studies in Music Education","42","3","","368","382","14","5","10.1177/1321103X18821194","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85064837939&doi=10.1177%2f1321103X18821194&partnerID=40&md5=7a39e70e13eff54a3547a18ff6c5452b","Peabody Institute, Johns Hopkins University, United States","Cornelius N., Peabody Institute, Johns Hopkins University, United States; Brown J.L., Peabody Institute, Johns Hopkins University, United States","This research examines the effect of repetition on melodic dictation tasks in an undergraduate ear-training class. A pilot group of freshman music majors (n = 17) were asked to notate four melodies, of which two were slightly more difficult since they contained more melodic leaps. Participants heard two melodies repeated three times and two other melodies six times. An analysis of variance (ANOVA) suggests that the number of repetitions had a significant effect on participants’ dictation accuracy, both for scores on pitch and on rhythm. In addition, dictation accuracy was significantly lower when the melodies contained more leaps (controlling for other factors). Overall, we found a statistical interaction between the number of repetitions and the number of leaps in the melody, both of which factors affect the working memory load in these dictation tasks. Given the similarity of the notated melodies, these findings suggest that ear-training pedagogues must carefully select melodic dictations appropriate for student ability and control the number of melodic leaps. Furthermore, we found evidence that the variance in working memory for music among this population is wider than Karpinski (2000) hypothesizes. These findings provide pedagogues with melodic characteristics well-suited for the average incoming freshman music major. Finally, this first empirical evidence of the dictation ability of incoming undergraduate music majors invites a long-term study on the extent to which working memory and/or chunking ability may increase during the multi-semester ear-training curriculum. © The Author(s) 2019.","aural skills; ear-training; melodic dictation; theory pedagogy; working memory","","","","","","","","Baker D., Green L., Ear playing and aural development in the instrumental lesson: Results from a “case-control” experiment, Research Studies in Music Education, 35, 2, pp. 141-159, (2013); Berz W., Working memory in music: A theoretical model, Music Perception: An Interdisciplinary Journal, 12, 3, pp. 353-364, (1995); Buonviri N., An exploration of undergraduate music majors’ melodic dictation strategies, Update: Applications of Research in Music Education, 33, 1, pp. 21-30, (2014); Buonviri N., Effects of a preparatory singing pattern on melodic dictation success, Journal of Research in Music Education, 63, 1, pp. 102-113, (2015); Buonviri N., Effects of silence, sound, and singing on melodic dictation accuracy, Journal of Research in Music Education, (2018); Butler D., Lochstampfor M., Bridges unbuilt: Comparing the literatures of music cognition and aural training, Indiana Theory Review, 14, 2, pp. 1-17, (1993); Carlsen J., Bulletin of the Council for Research in Music Education, 5, pp. 29-31, (1965); Cowan N., The magical number 4 in short-term memory: A reconsideration of mental storage capacity, Behavioral and Brain Sciences, 2000, 24, pp. 87-185, (2001); Deutsch D., Effect of repetition of standard and comparison tones on recognition memory for pitch, Journal of Experimental Psychology, 93, 1, pp. 156-162, (1972); Hofstetter F., Computer-based recognition of perceptual patterns and learning styles in rhythmic dictation exercises, Journal of Research in Music Education, 29, 4, pp. 265-277, (1981); Jones E., Shaftel M., Chattah J., Aural skills in context, (2014); Karpinski G., Aural skills acquisition: The development of listening, reading, and performing skills in college-level musicians, (2000); Killam R.N., Baczewski P., Hayslip B., A model of performing musicians’ melodic perception through transcription of two-voice contrapuntal music, Musicae Scientiae, 7, 2, pp. 263-291, (2003); Klonoski E., Improving dictation as an aural-skills instructional tool, Music Educators Journal, 93, 1, pp. 54-59, (2006); Langsford H.M., An experimental study of the effect of practice upon improvement in melodic dictation, (1959); Lawson R.F., Scientific approaches to problems of aural perceptivity, Michigan Academician, 3, 1, pp. 7-18, (1970); Long P., Relationships between pitch memory in short melodies and selected factors, Journal of Research in Music Education, 25, 4, pp. 272-282, (1977); Madsen C., Staum M., Discrimination and interference in the recall of melodic stimuli, Journal of Research in Music Education, 31, 1, pp. 15-31, (1983); Miller G., The magical number seven plus or minus two: Some limits on our capacity for processing information, Psychological Review, 63, 2, pp. 81-97, (1956); Owens P., Sweller J., Cognitive load theory and music instruction, Educational Psychology, 28, 1, pp. 29-45, (2008); Paney A., Directing attention in melodic dictation, (2007); Paney A., The effect of directing attention on melodic dictation testing, Psychology of Music, 44, 1, pp. 15-24, (2016); Paney A., Buonviri N., Teaching melodic dictation in Advanced Placement music theory, Journal of Research in Music Education, 61, 4, pp. 396-414, (2014); Pembrook R., Interference of the transcription process and other selected variables on perception and memory during melodic dictation, Journal of Research in Music Education, 34, 4, pp. 238-261, (1986); Pembrook R., The effect of vocalization on melodic memory conservation, Journal of Research in Music Education, 35, 3, pp. 155-169, (1987); Rogers N., Ottman R., Music for sight singing, (2013); Schellenberg G., Habashi P., Remembering the melody and timbre, forgetting the key and tempo, Memory & Cognition, 43, 7, pp. 1021-1031, (2015); Schellenberg S., Moore R., The effect of tonal-rhythmic context on short-term memory of rhythmic and melodic sequences, Bulletin of the Council for Research in Music Education, (1985); Sloboda J., Parker D., Immediate recall of melodies, Musical structure and cognition, pp. 143-167, (1985); Varvarigou M., Promoting collaborative playful experimentation through group playing by ear in higher education, Research Studies in Music Education, 39, 2, pp. 161-176, (2017); Vygotskii L.S., Interaction between learning and development, Mind in society: The development of higher psychological processes, pp. 79-91, (1978); Weiss M., Vanzella P., Schellenberg G., Trehub S., Pianists exhibit enhanced memory for vocal melodies but not piano melodies, The Quarterly Journal of Experimental Psychology, 68, 5, pp. 866-877, (2015); Wheatley S.E., An application of chunking to the memory and performance of melodic patterns, (1991); Williams D.B., Short-term retention of pitch sequence, Journal of Research in Music Education, 23, 1, pp. 53-66, (1975); Williamson V., Baddeley A., Hitch G., Musicians’ and nonmusicians’ short-term memory for verbal and musical sequences: Comparing phonological similarity and pitch proximity, Memory & Cognition, 38, 2, pp. 163-175, (2010)","N. Cornelius; Peabody Institute, Johns Hopkins University, United States; email: ncornel3@jhu.edu","","SAGE Publications Ltd","","","","","","1321103X","","","","English","Res. Stud. Music Educ.","Article","Final","","Scopus","2-s2.0-85064837939"
"Chung F.M.Y.","Chung, Fanny M. Y. (57223677031)","57223677031","The Impact of Music Pedagogy Education on Early Childhood Teachers’ Self-Efficacy in Teaching Music: The Study of a Music Teacher Education Program in Hong Kong","2021","Asia-Pacific Journal of Research in Early Childhood Education","15","2","","63","86","23","12","10.17206/apjrece.2021.15.2.63","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85106588506&doi=10.17206%2fapjrece.2021.15.2.63&partnerID=40&md5=4664a86723a5d56c3d8dfc52c9bf025e","The Chinese University of Hong Kong, Hong Kong","Chung F.M.Y., The Chinese University of Hong Kong, Hong Kong","Previous studies have suggested that teacher education plays a crucial role in developing pedagogical knowledge and enthusiasm in teaching music. Based on Bandura’s (1977) self-efficacy framework, this study sought to investigate the impact of music teacher education program on self-perceived confidence and competence of 32 in-service early childhood teachers. Adopting a mixed methods approach, the Music Teaching Self-Efficacy Survey (MTSES) was the main source of quantitative data, whereas focus group interviews elicited the qualitative data. The results showed a significant increase in the participants’ self-efficacy after completing a music pedagogy program which had strong emphasis on applied music. Aligning with Bandura’s social cognitive theory, each of the four sources of self-efficacy contributed to changes in self-efficacy perception. Mastery experience was the most significant source, as exemplified by prior relevant experiences, peer teaching, and practice in music classrooms. Vicarious experiences included observations of music specialists and peers. Verbal persuasion included feedback and encouragement from the course instructor and peers. Lastly, physiological and affective states included anxiety in musical performance as well as stress and fatigue. The findings of this study may inspire the policymakers and universities for the future development of music teacher education programs in Hong Kong and beyond. Copyright 2021 by The Pacific In Early Childhood Education Early Childhood Education Research Association","early childhood education; music teacher education; music teachers’ competency; self-efficacy","","","","","","","","Alger C. L., Secondary teachers’ conceptual metaphors of teaching and learning: changes over the career span, Teaching and Teacher Education, 25, 1->5, pp. 743-751, (2009); Bandura A., Self-efficacy: Toward a unifying theory of behavioral change, Psychological Review, 84, 2, pp. 191-215, (1977); Bandura A., Social foundations of thought and action, (1986); Bandura A., Self-efficacy: The exercise of control, (1997); Bandura A., Guide for constructing self-efficacy scales, Self-efficacy beliefs of adolescents, pp. 307-337, (2006); Blazenka B. S., Preschool teachers’ music competencies based on preschool education students’ self-assessment, Croatian Journal of Education, 20, pp. 113-129, (2018); Braun V., Clarke V., Using thematic analysis in psychology, Qualitative Research in Psychology, 3, 2, pp. 77-101, (2006); Burke A., The ukulele strategy, (2006); Caprara G. V., Barbaranelli C., Borgogni L., Steca P., Efficacy beliefs as determinants of teachers’ job satisfaction, Journal of Educational Psychology, 95, 4, pp. 821-832, (2003); Chan W., Professional learning and pre-school music teacher education: Developing a framework for early childhood music teacher education, (2012); Chung F., Interdisciplinary play-based approach in early childhood music education, European perspectives on music education, pp. 113-122, (2019); Cochran-Smith M., Lytle S. L., The teacher research movement: A decade later, Educational Researcher, 28, 7, pp. 15-25, (1999); Creswell J., Research design: Qualitative, quantitative, and mixed methods approaches, (2014); Creswell J. W., Research design: Qualitative, quantitative, and mixed methods approaches, (2003); Cronbach L. J., Coefficient alpha and the internal structure of tests, Psychometrika, 16, 3, pp. 297-334, (1951); Kindergarten Education Curriculum Guide, (2017); Guide to the Pre-primary Curriculum, (2006); De Vries P., Generalist teachers’ self-efficacy in primary school music teaching, Music Education Research, 15, 4, pp. 375-391, (2013); Ferrance E., Themes in education: Action research, (2000); Flohr J. W., Musical lives of young children, (2005); Garvis S., Pendergast D., Supporting novice teachers of the arts, International Journal of Education & the Arts, 11, 8, pp. 1-22, (2010); Garvis S., Pendergast D., An investigation of early childhood teacher self-efficacy beliefs in the teaching of arts education, International Journal of Education & the Arts, 12, 9, pp. 1-15, (2011); Kelly S. N., Preschool classroom teachers’ perceptions of useful music skills and understandings, Journal of Research in Music Education, 46, 3, pp. 374-383, (1998); Kretchmer D., Developing pre-service teacher self-efficacy to integrate music in elementary classrooms: An investigation in growth through participation, observation and reflection, (2002); Lee B., Cawthon S., Dawson K., Elementary and secondary teacher self-efficacy for teaching and pedagogical conceptual change in a drama-based professional development program, Teaching and Teacher Education, 30, 1, pp. 84-98, (2013); Leu J., Facilitating children’s musical connections in Taiwan: Rethinking the music curriculum for preservice early childhood educators, Journal of Music-and MovementBased Learning, 9, 1, pp. 28-34, (2003); Professional standards and competencies for early childhood educators, (2019); Niland A., The power of musical play: The value of play-based, child-centered curriculum in early childhood music education, General Music Today, 23, 1, pp. 17-21, (2009); PROPHET Stat Guide: Do your data violate test assumptions?, (1996); Orcher L. T., Conducting a survey: Techniques for a term project, (2017); Pascoe R., Leong S., MacCallum J., Mackinlay E., Marsh K., Smith B., Church T., Winterton A., National review of school music education: Augmenting the diminished, (2005); Piaget J., Play, dreams, and imitation in childhood, (1962); Poulter V., Teaching music in the early years in schools in challenging circumstances: Developing student teacher competence and confidence through cycles of enactment, Educational Action Research, (2020); Punch K. F., Introduction to social research: Quantitative and qualitative approaches, (2005); Russell-Bowie D., An Ode to Joy...or the Sounds of Silence? An exploration of arts education policy in Australian primary schools, Arts Education Policy Review, 112, 4, pp. 163-173, (2011); Shields P., A playbook for research methods: Integrating conceptual frameworks and project management, (2013); Stremmel A. J., The value of teacher research: Nurturing professional and personal growth through inquiry, (2007); Stringer E.T., Action research, (2007); Wertheim C., Leyser Y., Efficacy beliefs, background variables, and differentiated instruction of Israeli prospective teachers, Journal of Educational Research, 96, 1, pp. 54-63, (2002); A guide to ethical issues and action research, Educational Action Research, 6, 1, pp. 9-19, (1998)","F.M.Y. Chung; The Chinese University of Hong Kong, Hong Kong; email: fannychung@arts.cuhk.edu.h","","Pacific Early Childhood Education Research Association","","","","","","19761961","","","","English","Asia-Pacific J. Res. Early Child .Educ.","Article","Final","","Scopus","2-s2.0-85106588506"
"Wong G.K.; Comeau G.; Russell D.; Huta V.","Wong, Grace K. (57992314900); Comeau, Gilles (15623017600); Russell, Donald (59048491100); Huta, Veronika (23469530600)","57992314900; 15623017600; 59048491100; 23469530600","Postural Variability in Piano Performance","2022","Music and Science","5","","","","","","4","10.1177/20592043221137887","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85143288533&doi=10.1177%2f20592043221137887&partnerID=40&md5=d9848f437f3e60a4142690a4682eda29","School of Human Kinetics, University of Ottawa, Ottawa, Canada; Music and Health Research Institute, University of Ottawa, Ottawa, ON, Canada; School of Music, University of Ottawa, Ottawa, ON, Canada; Department of Mechanical and Aerospace Engineering, Carleton University, Ottawa, ON, Canada; School of Psychology, University of Ottawa, Ottawa, ON, Canada","Wong G.K., School of Human Kinetics, University of Ottawa, Ottawa, Canada, Music and Health Research Institute, University of Ottawa, Ottawa, ON, Canada; Comeau G., Music and Health Research Institute, University of Ottawa, Ottawa, ON, Canada, School of Music, University of Ottawa, Ottawa, ON, Canada; Russell D., Music and Health Research Institute, University of Ottawa, Ottawa, ON, Canada, School of Music, University of Ottawa, Ottawa, ON, Canada, Department of Mechanical and Aerospace Engineering, Carleton University, Ottawa, ON, Canada; Huta V., School of Psychology, University of Ottawa, Ottawa, ON, Canada","Variability is inevitable in human movement and posture, including piano performance, although little research has been conducted in this area. The purpose of this study was to determine if, when comparing individuals to themselves, pianists demonstrate consistent postural angles within a task across multiple measurements and to ascertain if, between various tasks, there are discernible task-related postural patterns. Fifteen pianists participated in this study. Each pianist returned for a total of three measurement sessions. The tasks they were required to perform at each session were quiet sitting, raising their hands on and off the keyboard, playing an ascending and descending scale, sight reading, and playing a piece in three expressive conditions (i.e., deadpan, projected, exaggerated). The following postural angles were calculated based on motion capture data collected during the performance of these tasks: craniovertebral angle, head tilt, head-neck-trunk angle, trunk angle, thoracic angle, thoracolumbar angle, and lumbar angle. The within-person variability ratio across the three measurements was calculated for each angle and across all tasks. Task-related patterns in angles were examined by comparing the same postural angle across different tasks. Results showed that there is a considerable amount of within-person variability, but not enough to be inconsistent over time. Task-related patterns indicate that reading a musical score or playing at the extreme ends of the keyboard tend to involve leaning closer to the instrument. Implications for future studies, intervention studies in particular, include taking more than a single baseline measurement to provide a more accurate picture of an individual pianist's typical posture. © The Author(s) 2022.","baseline measurements; piano performance; Posture; variability","","","","","","","","Bartlett R., Wheat J., Robins M., Is movement variability important for sport biomechanists?, Sports Biomechanics, 6, pp. 224-243, (2007); Bernstein N., The co-ordination and regulation of movements, (1967); Chau T., Young S., Redekop S., Managing variability in the summary and comparison of gait data, Journal of NeuroEngineering and Rehabilitation, 2, (2005); Degrave V., Verdugo F., Pelletier J., Traube C., Begon M., Time history of upper-limb muscle activity during isolated piano keystrokes, Journal of Electromyography and Kinesiology, 54, (2020); Demos A.P., Lisboa T., Chaffin R., Flexibility of expressive timing in repeated musical performances, Frontiers in Psychology, 7, (2016); Dhawale A.K., Smith M.A., Olveczky B.P., The role of variability in motor learning, Annual Review of Neuroscience, 40, pp. 479-498, (2017); Fagot D., Mella N., Évolution de la variabilité cognitive au cours de la vie, Différences et variabilités en psychologie, pp. 179-195, (2015); Furuya S., Altenmuller E., Flexibility of movement organization in piano performance, Frontiers in Human Neuroscience, 7, (2013); Furuya S., Aoki T., Nakahara H., Kinoshita H., Individual differences in the biomechanical effect of loudness and tempo on upper-limb movements during repetitive piano keystrokes, Human Movement Science, 31, pp. 26-39, (2012); Furuya S., Goda T., Katayose H., Miwa H., Nagata N., Distinct inter-joint coordination during fast alternate keystrokes in pianists with superior skill, Frontiers in Human Neuroscience, (2011); Haibach P.S., Reid G., Collier D.H., Motor learning and development, (2011); Kalra N., Seitz A.L., Boardman N.D., & Michener I.I.I., A L., Effect of posture on acromiohumeral distance with arm elevation in subjects with and without rotator cuff disease using ultrasonography, Journal of Orthopaedic & Sports Physical Therapy, 40, pp. 633-640, (2010); Latash M.L., Scholz J.P., Schoner G., Motor control strategies revealed in the structure of motor variability, Exercise and Sport Sciences Review, 30, pp. 26-31, (2002); Lewis J.S., Wright C., Green A., Subacromial impingement syndrome: The effect of changing posture on shoulder range of movement, Journal of Orthopaedic & Sports Physical Therapy, 35, pp. 72-87, (2005); Lipke-Perry T., Dutto D.J., Levy M., The piano keyboard as task constraint: Timing patterns of pianists’ scales persist across instruments, Music & Science, 2, pp. 1-14, (2019); Minetti A.E., Ardigo L.P., McKee T., Keystroke dynamics and timing: Accuracy, precision and difference between hands in pianist’s performance, Journal of Biomechanics, 40, pp. 3738-3743, (2007); Muller H., Sternad D., Motor learning: Changes in the structure of variability in a redundant task, Progress in motor control: A multidisciplinary approach. Advances in experimental medicine and biology, 629, pp. 439-456, (2009); Newell K.M., Constraints on the development of coordination, Motor development in children: Aspects of coordination and control, pp. 341-360, (1986); Preatoni E., Hamill J., Harrison A.J., Hayes K., van Emmerik R.E.A., Wilson C., Rodano R., Movement variability and skills monitoring in sports, Sports Biomechanics, 12, pp. 69-92, (2013); Rosenbaum D.A., Human motor control, (2010); Rosenblatt N.J., Hurt C.P., Latash M.L., Grabiner M.D., An apparent contradiction: Increasing variability to achieve greater precision?, Experimental Brain Research, 232, pp. 403-413, (2014); Salthouse T.A., Implications of within-person variability in cognitive and neuropsychological functioning for the interpretation of change, Neuropsychology, 21, pp. 401-411, (2007); Srinivasan D., Mathiassen S.E., Motor variability in occupational health and performance, Clinical Biomechanics, 27, pp. 979-993, (2012); Thompson M.R., Luck G., Exploring relationships between pianists’ body movements, their expressive intentions, and structural elements of the music, Musicae Scientiae, 16, pp. 19-40, (2011); Tominaga K., Lee A., Altenmuller E., Miyazaki F., Furuya S., Kinematic origins of motor inconsistency in expert pianists, PLos ONE, 11, (2016); Van Vugt F.T., Jabusch H.-C., Altenmuller E., Fingers phrase music differently: Trial-to-trial variability in piano scale playing and auditory perception reveal motor chunking, Frontiers in Psychology, 3, (2012)","G.K. Wong; School of Human Kinetics, University of Ottawa, Ottawa, Canada; email: gwong050@uottawa.ca","","SAGE Publications Inc.","","","","","","20592043","","","","English","Music. Sci.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85143288533"
"Hill S.C.","Hill, Stuart Chapman (57188707009)","57188707009","An investigation of musical “boundary crossers”","2022","Research Studies in Music Education","44","1","","219","233","14","0","10.1177/1321103X211025843","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85109398695&doi=10.1177%2f1321103X211025843&partnerID=40&md5=98b1084301e9b962c61959bb3d1fddd9","Webster University, United States","Hill S.C., Webster University, United States","With the intent of informing the practice of music teachers navigating “multi-musicality” in their classrooms, this qualitative study, employing case study and narrative research tools, investigates the experiences of three musical “boundary crossers”—professional musicians whose work traverses the popular–classical divide. Three questions guided the inquiry: (a) How do professional musicians describe the experience of boundary crossing from one musical domain to another? (b) What musical skills do these professionals find valuable for their work in various domains, and what skills have they acquired or adapted in crossing musical boundaries? and (c) How does working in one musical domain influence work in another? Each participant navigates the balance between and the integration of their classical and popular musicianship(s) differently. All acknowledge that classical training, although it may afford some advantages, also can be a hindrance for individuals pursuing the creation and performance of music in a popular domain. Findings point to the need for functional piano skills, practical application of ear training, and development of a musical value set that includes “focused simplicity.” The findings have implications for how preservice teachers develop musical versatility, enabling them to respond to students’ varied interests and needs. © The Author(s) 2021.","contemporary musicianship; popular music; vernacular music","","","","","","","","Abramo J.M., Austin S.C., The trumpet metaphor: A narrative of a teacher’s mid-career change from formal to informal learning practices, Research Studies in Music Education, 36, 1, pp. 57-73, (2014); Adams M.C., One leg in one, and one leg in the other”: Reflections of vernacular musicians as music educators, (2017); Allsup R.E., Mutual learning and democratic action in instrumental music education, Journal of Research in Music Education, 51, 1, pp. 24-37, (2003); Allsup R.E., Popular music and classical musicians: Strategies and perspectives, Music Educators Journal, 97, 3, pp. 30-34, (2011); Barrett M.S., Stauffer S.L., Narrative inquiry in music education: Troubling certainty, (2009); Bennett J., Collaborative songwriting—The ontology of negotiated creativity in popular music studio practice, Journal on the Art of Record Production, (2011); Bennett J., Constraint, creativity, copyright and collaboration in popular songwriting teams, (2014); Boespflug G., Popular music and the instrumental ensemble, Music Educators Journal, 85, 6, pp. 33-37, (1999); Bowman W.D., Pop” goes.. ? Taking popular music seriously, Bridging the gap: Popular music and music education, pp. 29-49, (2004); Brewer W.D., Searching for community: The role-identity development of a dually nontraditional music education student enrolled in a traditional degree program, Bulletin of the Council for Research in Music Education, 200, pp. 23-40, (2014); Campbell P.S., Of garage bands and song-getting: The musical development of young rock musicians, Research Studies in Music Education, 4, pp. 12-20, (1995); Campbell P.S., Myers D., Sarath E., Chattah J., Higgins L., Levine V.L., Rudge D., Rice T., The College Music Society, Transforming music study from its foundations: A manifesto for progressive change in the undergraduate preparation of music majors, (2014); Connelly F.M., Clandinin D.J., Stories of experience and narrative inquiry, Educational Researcher, 19, 5, pp. 2-14, (1990); Cutietta R., Popular music: An ongoing challenge, Music Educators Journal, 77, 8, pp. 26-29, (1991); Davis S.G., That thing you do!” Compositional processes of a rock band, International Journal of Education & the Arts, 6, 16, pp. 1-19, (2005); Folkestad G., Formal and informal learning situations or practices vs. formal and informal ways of learning, British Journal of Music Education, 23, pp. 135-145, (2006); Folkestad G., Digital tools and discourse in music: The ecology of composition, Musical imaginations: Multidisciplinary perspectives on creativity, performance, and perception, pp. 193-205, (2012); Gage N., Low B., Reyes F.L., Listen to the tastemakers: Building an urban arts high school music curriculum, Research Studies in Music Education, 42, 1, pp. 19-36, (2020); Green L., How popular musicians learn, (2002); Green L., Music, informal learning, and the school: A new classroom pedagogy, (2008); Hallam S., Creech A., McQueen H., Can the adoption of informal approaches to learning music in school music lessons promote musical progression?, British Journal of Music Education, 34, 2, pp. 127-151, (2017); Hallam S., Creech A., McQueen H., Teachers’ perception of the impact on students of the musical futures approach, Music Education Research, 19, 3, pp. 263-275, (2017); Hill S.C., Until that song is born”: An ethnographic investigation of teaching and learning among col- laborative songwriters in Nashville, (2016); Jaffurs S.E., The impact of informal music learning practices in the classroom, or how I learned to teach from a garage band, International Journal of Music Education, 22, pp. 189-200, (2004); Kastner J., Healing bruises: Identity tensions in a beginning teacher’s use of formal and informal music learning, Research Studies in Music Education, 42, 1, pp. 3-18, (2020); Kratus J., Music education at the tipping point, Music Educators Journal, 94, 2, pp. 42-48, (2007); Kruse A.J., They wasn’t makin’ my kind a music”: Hip-hop, schooling, and music education, (2014); Kruse A.J., He didn’t know what he was doin’”: Student perspectives of a White teacher’s Hip-Hop class, International Journal of Music Education, 38, 4, pp. 495-512, (2020); Kruse A.J., Take a back seat”: White music teachers engaging Hip-Hop in the classroom, Research Studies in Music Education, 42, 2, pp. 143-159, (2020); Lavengood M.L., Bespoke music theory: A modular core curriculum designed for audio engineers, classical violinists, and everyone in between, Engaging Students: Essays in Music Pedagogy, 7, (2020); McIntyre P., Rethinking the creative process: The systems model of creativity applied to popular songwriting, Journal of Music, Technology and Education, 4, 1, pp. 77-90, (2011); Mercado E.M., Popular, informal, and vernacular music classrooms: A review of the literature, Update: Applications of Research in Music Education, 37, 2, pp. 30-37, (2019); Merriam S.B., Tisdell E.J., Qualitative research: A guide to design and implementation, (2016); Patton M.Q., Qualitative research and evaluation methods: Integrating theory and practice, (2015); Polkinghorne D.E., Narrative configuration in qualitative analysis, Life history and narrative, pp. 5-23, (1995); Powell B., Modern band: A review of literature, Update: Applications of Research in Music Education, 39, 3, pp. 39-46, (2021); Rodriguez C.X., Bringing it all back home: The case for popular music in the schools, Bridging the gap: Popular music and music education, pp. 3-9, (2004); Saldana J., Fundamentals of qualitative research, (2011); Saldana J., The coding manual for qualitative researchers, (2013); Soderman J., Folkestad G., How hip-hop musicians learn: Strategies in informal creative music making, Music Education Research, 6, pp. 313-326, (2004); Springer D.G., Gooding L.F., Preservice music teachers’ attitudes toward popular music in the music classroom, Update: Applications of Research in Music Education, 32, 1, pp. 25-33, (2013); Taggart C.C., Hill S.C., Musicianship for teaching, Oxford handbook of preservice music teacher education in the United States, pp. 295-321, (2019); Thanki J., How the Nashville Number System revolutionized recording sessions, The Tennessean, (2017); Tobias E.S., Crossfading music education: Connections between secondary students’ in- and out-of-school music experience, International Journal of Music Education, 33, pp. 18-35, (2015); About, (2019); Waldron J., Veblen K., Learning in a Celtic community: An exploration of informal music learning and adult amateur musicians, Bulletin of the Council for Research in Music Education, 180, pp. 59-74, (2009); Woody R.H., Popular music in school: Remixing the issues, Music Educators Journal, 93, 4, pp. 32-37, (2007); Yin R.K., Case study research and applications: Design and method, (2018)","S.C. Hill; Webster University, United States; email: stuchapmanhill@gmail.com","","SAGE Publications Ltd","","","","","","1321103X","","","","English","Res. Stud. Music Educ.","Article","Final","","Scopus","2-s2.0-85109398695"
"Arthur P.; McPhee E.; Blom D.","Arthur, P. (57191836830); McPhee, E. (54417712300); Blom, D. (26034555900)","57191836830; 54417712300; 26034555900","Determining what expert piano sight-readers have in common","2020","Music Education Research","22","4","","447","456","9","9","10.1080/14613808.2020.1767559","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85087125078&doi=10.1080%2f14613808.2020.1767559&partnerID=40&md5=d8bed73d245cf6c367ee9030a8af87ea","School of Optometry and Vision Science, University of New South Wales, Sydney, Australia; School of the Arts, English and Media, University of Wollongong, Wollongong, Australia; School of Humanities and Communication Arts, Western Sydney University, Penrith South, Australia","Arthur P., School of Optometry and Vision Science, University of New South Wales, Sydney, Australia; McPhee E., School of the Arts, English and Media, University of Wollongong, Wollongong, Australia; Blom D., School of Humanities and Communication Arts, Western Sydney University, Penrith South, Australia","Music sight-reading is a valuable skill that eludes and frustrates many musicians. Techniques for teaching sight-reading are varied, with teachers mostly falling back on personal experience or simply hoping that, somehow, the penny will drop for the student. This study reports on a survey of the music learning and playing habits of expert and non-expert piano sight-readers. Pianists were categorised as ‘experts’ according to their ability to perfectly perform a 6th Grade AMEB (Australian Music Examinations Board) sight-reading assessment piece. This grouping was determined by the analysis of eye movement patterns as pianists performed various sight-reading tasks (Arthur 2017). The data show significant differences in musical training and performance experiences between the two groups. © 2020 Informa UK Limited, trading as Taylor & Francis Group.","Expertise; eye-movements; pedagogy; piano; sight-reading","","","","","","UNSW Sydney; University of Queensland, UQ","Dr Sieu Khuu: School of Optometry and Vision Science, UNSW Sydney, Australia for encouragement and technical expertise and Dr Katie Zhukov: University of Queensland, Australia; for sharing her knowledge of sight-reading pedagogy.","Alexander M.L., Henry M.L., The Development of a String Sight- Reading Pitch Skill Hierarchy, Journal of Research in Music Education, 60, 2, pp. 201-216, (2012); Arthur P., (2017); Arthur P., Blom D., Khuu S., Music Sight-Reading Expertise, Visually Disrupted Score and Eye Movements, Journal of Eye Movement Research, 9, 7, pp. 1-12, (2016); Ashby J., Rayner K., Clifton C., Eye Movements of Highly Skilled and Average Readers: Differential Effects of Frequency and Predictability, The Quarterly Journal of Experimental Psychology. A, Human Experimental Psychology, 58, 6, pp. 1065-1086, (2005); Boyle J.D., The Effect of Prescribed Rhythmical Movements on the Ability to Read Music at Sight, Journal of Research in Music Education, 18, 4, pp. 307-308, (1970); Chin T., Rickard N.S., The Music USE (MUSE) Questionnaire: An Instrument to Measure Engagement in Music, Music Perception, 29, 4, pp. 429-446, (2010); Corrigall K.A., Trainor L.J., Associations Between Length of Music Training and Reading Skills in Children, Music Perception: An Interdisciplinary Journal, 29, 2, pp. 147-155, (2011); Cox B., (2000); Daniels R.D., Relationships among Selected Factors and the Sight- Reading Ability of High School Mixed Choirs, Journal of Research in Music Education, 34, 4, pp. 279-289, (1986); Dirkse S., (2009); Elliott C.A., The Relationships Among Instrumental Sight-Reading Ability and Seven Selected Predictor Variables, Journal of Research in Music Education, 30, 1, pp. 5-14, (1982); Ericsson A.C.L.K.A., Performance Without Preparation: Structure and Aquisition of Expert Sight-Reading and Accompanying Performance, Psychomusicology, 15, pp. 1-29, (1996); Ericsson K.A., Krampe R.T., Tesch-Romer C., The Role of Deliberate Pracrice in the Aquisition of Expert Performance, Psychology Review, 100, 3, pp. 363-406, (1993); Fourie E., The Processing of Music Notation: Some Implications for Piano Sight-Reading, Journal of the Musical Arts in Africa, 1, 1, pp. 1-23, (2004); Furneaux S., Land M.F., The Effects of Skill on the Eye-Hand Span During Musical Sight-Reading, Proceedings. Biological Sciences/The Royal Society, 266, 1436, pp. 2435-2440, (1999); Gaser C., Schlaug G., Brain Structures Differ Between Musicians and Non-Musicians, Journal of Neuroscience, 23, 27, pp. 9240-9245, (2003); Gobet F., Lane P.C., Croker S., Cheng P.C., Jones G., Oliver I., Pine J.M., Chunking Mechanisms in Human Learning, Trends in Cognitive Science, 5, 6, pp. 236-243, (2001); Goolsby T., (1987); Gudmundsdottir H.R., Advances in Music-Reading Research, Music Education Research, 12, 4, pp. 331-338, (2010); Halsband U., Binkofski F., Camp M., The Role of Perception of Rhythmic Grouping in musical Performance: Evidence from Motor-Skill Development in Piano Playing, Music Perception, 11, 3, pp. 265-288, (1994); Halverson D.L., (1974); Hambrick D.Z., Oswald F.L., Altmann E.M., Meinz E.J., Gobet F., Campitelli G., Deliberate Practice: Is That All It Takes to Become an Expert?, Intelligence, 45, pp. 34-45, (2014); Heller D., Eye Movements in Reading, Cognition and Eye Movements, pp. 139-154, (1982); Hodges D.A., Nolker D.B., The Acquisition of Music Reading Skills, MENC Handbook of Research on Music Learning, 2, pp. 61-91, (2011); Kinsler V., Carpenter R., Saccadic Eye Movements While Reading Music, Vision Research, 35, 10, pp. 1447-1458, (1995); Kopiez R., Lee J.I., Towards a Dynamic Model of Skills Involved in Sight Reading Music, Music Education Research, 8, 1, pp. 99-120, (2006); Kopiez R., Lee J.I., Towards a General Model of Skills Involved in Sight Reading Music, Music Education Research, 10, 1, pp. 41-62, (2008); Kornicke E., An Exploratory Study of Individual Difference Variables in Piano Sight-Reading Achievement, The Quarterly, 6, 1, pp. 56-79, (1995); Kostka M.J., The Effects of Error-Detection Practice on Keyboard Sight- Reading Achievement of Undergraduate Music Majors, Journal of Research in Music Education, 48, 2, pp. 114-122, (2000); Kowler E., Eye Movements: The Past 25 Years, Vision Research, 51, 13, pp. 1457-1483, (2011); Legge G.E., The Psychophysics of Reading, (2007); Lehmann A.C., Ericsson K.A., Sight-Reading Ability of Expert Pianists in the Context of Piano Accompanying, Psychomusicology, 12, 2, pp. 122-136, (1993); Lehmann A., McArthur V.H., Sight-reading, The Science & Psychology of Music Performance: Creative Strategies for Teaching and Learning, pp. 135-150, (2002); MacKenzie C.L., Vaneerd D.L., Graham E.D., Huron D.B., Wills W.B., The Effect of Tonal Structure on Rhythm in Piano Performance, Music Perception, 4, 2, pp. 215-225, (1986); McMullen E., Saffran J., Music and Language: A Developmental Comparison, Music Perception: An Interdisciplinary Journal, 21, 3, pp. 289-311, (2004); McPherson G.E., Factors and Abilities Influencing Sightreading Skill in Music, Journal of Research in Music Education, 42, 3, pp. 217-231, (1994); Meinz E., Hambrick D., Deliberate Practice Is Necessary but Not Sufficient to Explain Individual Differences in Piano Sight-Reading Skill: The Role of Working Memory Capacity, Psychological Science, 21, 7, pp. 914-919, (2010); Meseguer E., Carreiras M., Clifton C., Overt Reanalysis Strategies and Eye Movements During the Reading of Mild Garden Path Sentences, Memory & Cognition, 30, 4, pp. 551-561, (2002); Mishra J., Factors Related to Sight-Reading Accuracy: A Meta Analysis, Journal of Research in Music Education, 61, 4, pp. 452-465, (2014); Mishra J., Improving Sightreading Accuracy: A Meta-Analysis, Psychology of Music, 42, 2, pp. 131-156, (2014); Moreno S., Besson M., Musical Training and Language-Related Brain Electrical Activity in Children, Psychophysiology, 43, pp. 287-291, (2006); Norton A., Winner E., Cronin K., Overy K., Lee D., Schlaug G., Are There Pre-Existing Neural, Cognitive, or Motoric Markers for Musical Ability?, Brain and Cognition, 59, pp. 124-134, (2005); Pike P., Sight Reading Strategies for the Beginning and Intermediate Piano Student: A Fresh Look At A Familiar Topic, American Music Teacher, 61, 4, pp. 23-28, (2012); Rauscher F.H., Hinton S.C., Music Instruction and its Diverse Extra- Musical Benefits, Music Perception, 29, 2, pp. 215-226, (2011); Rayner K., Eye Movements in Reading and Information Processing: 20 Years of Research, Psychological Bulletin, 124, 3, pp. 372-422, (1998); Rayner K., Chace K., Slattery T., Ashby J., Eye Movements as Reflections of Comprehension Processes in Reading, Scientific Studies of Reading, 10, 3, pp. 241-255, (2006); Rogalsky C., Rong F., Saberi K., Hickok G., Functional Anatomy of Language and Music Perception: Temporal and Structural Factors Investigated Using Functional Magnetic Resonance Imaging, The Journal of Neuroscience, 31, 10, pp. 3843-3852, (2011); Schmidt F., (1981); Sloboda J., The Eye-Hand Span: An Approach to the Study of Sight Reading, Psychology of Music, 2, 4, pp. 4-10, (1974); Sloboda J., Phrase Units as Determinants of Visual Processing in Music Reading, British Journal of Psychology, 68, pp. 117-124, (1977); Sloboda J., The Musical Mind: The Cognitive Psychology of Music, (1985); Standley J.M., Does Music Instruction Help Children Learn to Read? Evidence of a Meta-Analysis, Applications of Research in Music Education, 27, 1, pp. 17-32, (2008); Truitt F., Clifton C.J., Pollatsek A., Rayner K., The Perceptual Span and the Eye-Hand Span in Sight Reading Music, Visual Cognition, 4, 2, pp. 143-161, (1997); Underwood G., Hubbard A., Wilkinson H., Eye Fixations Predict Reading Comprehension: The Relationships Between Reading Skill, Reading Speed, and Visual Inspection, Language and Speech, 33, pp. 69-81, (1990); Waters A.J., Townsend E., Underwood G., Expertise in Musical Sight Reading: A Study of Pianists, British Journal of Psychology, 89, 1, pp. 123-149, (1998); Werner P.D., Swope A.J., Heide F., Music Experience Questionnaire: Developments and Correlates, The Journal of Psychology, 140, 4, pp. 329-345, (2006); Wolf T., A Cognitive Model of Musical Sight-Reading, Journal of Psycholinguistic Research, 5, 2, pp. 143-171, (1976); Woody R.H., Playing by Ear: Foundation or Frill?, Music Educators Journal, 99, 2, pp. 82-88, (2012); Wristen B., Cognition and Motor Execution in Piano Sight-Reading: A Review of Literature, Applications of Research in Music Education, 24, 1, pp. 44-56, (2005); Wurtz P., Mueri R., Wiesendanger M., Sight-reading of Violinists: eye Movements Anticipate the Musical Flow, Experimental Brain Research, 194, 3, pp. 445-450, (2009); Young L., A Study of the Eye Movements and Eye-Hand Temporal Relationships of Successful and Unsuccessful Piano Sight Readers While Piano Sight Reading, (1971); Zhukov K., (2005); Zhukov K., (2006); Zhukov K., Exploring Advanced Piano Students’ Approaches to Sight- Reading, International Journal of Music Education, 32, 4, pp. 487-498, (2014); Zhukov K., Evaluating New Approaches to Teaching of Sight-Reading Skills to Advanced Pianists, Music Education Research, 16, 1, pp. 70-87, (2014)","P. Arthur; School of Optometry and Vision Science, University of New South Wales, Sydney, Australia; email: p.arthur@unsw.edu.au","","Routledge","","","","","","14613808","","","","English","Music Educ. Res.","Article","Final","","Scopus","2-s2.0-85087125078"
"Boaro E.","Boaro, Eric (57224314945)","57224314945","Vocal embellishment in 18th-century Naples: solfeggio patterns in pre-composed cadenzas in sacred pieces by Gennaro and Gaetano Manna","2021","Early Music","49","4","","579","595","16","3","10.1093/em/caab068","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85183047293&doi=10.1093%2fem%2fcaab068&partnerID=40&md5=064aa3f19e6ac19ef01e8c6b7efede9d","State University in Milan, Italy","Boaro E., State University in Milan, Italy","[No abstract available]","","","","","","","","","Gjerdingen R., Music in the Galant style, (2007); Byros V., Towards an “archaeology” of hearing: schemata and eighteenth-century consciousness, Musica Humana, i, 2, pp. 235-306, (2009); Byros V., Meyer’s anvil: revisiting the schema concept, Music Analysis, xxxi, 3, pp. 273-346, (2012); Rabinovitch G., Reimagining historical improvisation: an analysis of Robert Levin’s Fantasy on Themes by W. A. Mozart, October 29, 2012’, Music Theory Online, xxvi/2 (2020), www.mtosmt.org. See also Rabinovitch, ‘Gjerdingen’s schemata reexamined, pp. 41-84; Dietz H. B., Manna, Grove Music Online; Sarro D., L’impresario delle Canarie, (2016); Biblioteca Nazionale Universitaria; Marino M., Le carte degli antichi banchi e il panorama musicale e teatrale della Napoli di primo Settecento (1726–1736): la musica sacra, Pergolesi Studies, ix, 1, pp. 659-677, (2015); Gjerdingen, A classic turn of phrase: music and the psychology of convention (Philadelphia, 1988); Gjerdingen and J. Bourne, ‘Schema theory as a construction grammar, Music Theory Online, xxi, (2015); Meyer L., Emotion and meaning in music (Chicago, 1956); Meyer, Explaining music: essays and explorations, (1978); Cafiero R., La didattica del partimento a Napoli fra Settecento e Ottocento: Note sulla fortuna delle Regole di Carlo Cotumacci, Gli affetti convenienti all’idee: studi sulla musica vocale italiana (Naples, 1993), pp. 549-580; Baragwanath N., The solfeggio tradition: a forgotten art of melody in the long eighteenth century, (2020); Baragwanath, The solfeggio tradition; Baragwanath, The solfeggio tradition, pp. 156-159; Baragwanath, The solfeggio tradition; Baragwanath, The solfeggio tradition; Baragwanath, The solfeggio tradition; Baragwanath, The solfeggio tradition; Basso Solo con oboè e fagotto obbligato del Sig. D. Gaetano Manna’ in I-Nf, Inventario; Baragwanath, The solfeggio tradition; Gjerdingen, Music in the Galant style, pp. 77-88; Baragwanath, The solfeggio tradition; This example is scored up from four separate parts: Violin I (fol.6r); Inventario; Baragwanath, The solfeggio tradition; Inventario; This example is scored up from two separate parts: Violin I (vol.i, fol.67v), which also includes the Bass staff, and Violin II; Baragwanath, The solfeggio tradition","E. Boaro; State University in Milan, Italy; email: Eric.boaro@gmail.com","","Oxford University Press","","","","","","03061078","","","","English","Early Music","Article","Final","","Scopus","2-s2.0-85183047293"
"Angel-Alvarado R.; López-Íñiguez G.; Quiroga-Fuentes I.; Gárate-González B.","Angel-Alvarado, Rolando (57201445006); López-Íñiguez, Guadalupe (55787046700); Quiroga-Fuentes, Isabel (57222132761); Gárate-González, Bayron (57479919900)","57201445006; 55787046700; 57222132761; 57479919900","Mapping the cultural elements that support and inhibit music teachers’ sociomusical identities in Chile","2022","Musicae Scientiae","26","4","","761","776","15","5","10.1177/10298649221110834","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85144982762&doi=10.1177%2f10298649221110834&partnerID=40&md5=3967aebf5c0675cab12e7c0427553596","Universidad Alberto Hurtado, Chile; University of the Arts Helsinki, Finland","Angel-Alvarado R., Universidad Alberto Hurtado, Chile; López-Íñiguez G., University of the Arts Helsinki, Finland; Quiroga-Fuentes I., Universidad Alberto Hurtado, Chile; Gárate-González B., Universidad Alberto Hurtado, Chile","Sociomusical identities determine the social positions of individuals based on traditions and historical backgrounds, deriving from the reciprocal interchange of cultural elements within social groups. This study aimed to identify the cultural elements that support and inhibit the sociomusical identities of music teachers in Chile. Because the country is exceptionally long and narrow, it was possible to examine the distinctive features of the sociomusical identities of teachers in its four geographical zones. Thirty school music teachers took part in semi-structured interviews, in which they shared their professional stories in terms of their social position and transcultural processes. The researchers took a humanistic standpoint, employing a multiple-case study design in which boundaries of time, space, and place formed the basis of the analysis of teachers’ stories. The findings reveal that sociomusical identities are supported and inhibited by elements of the national education system. Furthermore, music teaching is informed by music teachers’ personal interests, which in turn reflect their sociomusical identities resulting from their pedagogical knowledge, teaching experience, and the environmental conditions of their particular milieu. The implications are that country-wide generalizations about music pedagogy should be avoided, as each geographical zone has its own particular issues. © The Author(s) 2022.","interculturality; music teaching; professionalism; syncretism; teacher beliefs","","","","","","","","Angel-Alvarado R., Controversies between curriculum theory and educational practice in music education, Revista Electrónica Complutense de Investigación en Educación Musical, 15, pp. 83-95, (2018); Angel-Alvarado R., The crisis in music education resulting from the demise of educational institutions, Revista Educación, 44, 1, pp. 1-14, (2020); Angel-Alvarado R., Belletich O., Wilhelmi M.R., Motivation of secondary education students in soundscape activities: A quasi-experimental study in a context of social vulnerability, Revista Electrónica Educare, 23, 2, pp. 1-17, (2019); Angel-Alvarado R., Garate-Gonzalez B., Quiroga-Fuentes I., Insurrection in Chile: The effects of neoliberalism from a music education perspective, Action, Criticism, and Theory for Music Education, 20, 3, pp. 107-131, (2021); Angel-Alvarado R., Quiroga-Fuentes I., Garate-Gonzalez B., Working on the dark side of the moon: Overcoming music education inequities in the Chilean school system, Arts Education Policy Review, (2022); Bernal M.J., Castro-Tejerina J., Blanco F., Hooked on the blues: Technical and expressive continuities between life and music, Culture & Psychology, 24, 1, pp. 80-95, (2017); Bourdieu P., The forms of capital, Handbook of theory and research for the sociology of education, pp. 241-258, (1986); Carlson A., Inundating the country with music: Jorge Peña, democracy, and music education in Chile, Journal of Historical Research in Music Education, 36, 1, pp. 65-78, (2014); Casas-Mas A., Developing an approach to the flamenco learning-teaching culture: An innovate (traditional) learning, Traditional musics in the modern world: Transmission, evolution, and challenges, pp. 25-40, (2018); Casas-Mas A., Pozo J.I., Montero I., The influence of music learning cultures on the construction of teaching-learning conceptions, British Journal of Music Education, 31, 3, pp. 319-342, (2014); Fuhrmann W., Toward a theory of socio-musical systems: Reflections on Niklas Luhmann’s challenge to music sociology, Acta Musicologica, 83, 1, pp. 135-159, (2011); Garcia M., Canción valiente: 1969-1989 tres décadas de canto social y político en Chile, (2013); Gavilan V., Vigueras P., Embodied temporalities and memories in Aymara rituals in northern Chile, Cultura y Religión, 14, 2, pp. 100-127, (2020); Gonzalez J.P., Música chilena andina 1970-1975: Construcción de una identidad doblemente desplazada, Cuadernos de Música Iberoamericana, 24, pp. 175-186, (2012); Guerrero B., Sociomusical identity of Aymaran youth: The music sound, Última Década, 15, 27, pp. 11-25, (2007); Hao J., Li D., Peng L., Peng S., Torelli C.J., Advancing our understanding of culture mixing, Journal of Cross-Cultural Psychology, 47, 10, pp. 1257-1267, (2016); Harnish D., Defining ethnicity, (re)constructing culture: Processes of musical adaptation and innovation among the Balinese of Lombok, Journal of Musicological Research, 24, 3-4, pp. 265-286, (2005); Hennion A., The passion for music: A sociology of mediation, (2016); Kallio A., Navigating (un)popular music in the classroom: Censure and censorship in an inclusive, democratic music education, (2015); Kippen J., Wajid revisited: A reassessment of Robert Gottlieb’s “tabla” study, and a new transcription of the solo of Wajid Hussain Khan of Lucknow, Asian Music, 33, 2, pp. 111-166, (2002); Langler M., Nivala M., Brouwer J., Gruber H., Quality of network support for the deliberate practice of popular musicians, Musicae Scientiae, 26, 1, pp. 185-207, (2020); Magnitzky D., Sepulveda A., Evaluation in music education in primary school: A reflection from teachers’ perception, Revista Electrónica Complutense de Investigación en Educación Musical, 14, pp. 239-265, (2017); Mascia M.L., Agus M., Penna M.P., Emotional intelligence, self-regulation, smartphone addiction: Which relationship with student well-being and quality of life?, Frontiers in Psychology, 11, (2020); McCarthy M., Toward a global community: The International Society for Music Education 1953-2003, (2004); Bases curriculares: Primero a sexto básico, (2013); Bases curriculares 7º básico a 2º medio, (2016); Ley 20120, sobre la investigación científica en el ser humano, su genoma, y prohíbe la clonación humana, (2006); Montoya L., Solis K., Cultural influence through Mexican music: Rancheras in Chile, Revista Digital Universitaria, 21, 3, pp. 1-10, (2020); Moore T., Interculturality, postethnicity and the aboriginal Australian policy future, Ethnicities, 16, 5, pp. 712-732, (2016); The definition and selection of key competencies: Executive summary, (2005); Making decentralisation work in Chile: Towards stronger municipalities, (2017); Ozer S., Bertelsen P., Singla R., Schwartz S.J., Grab your culture and walk with the global”: Ladakhi students’ negotiation of cultural identity in the context of globalization-based acculturation, Journal of Cross-Cultural Psychology, 48, 3, pp. 294-318, (2017); Pino O., El concepto de música en el currículo escolar chileno 1810–2010, (2015); Poblete C., Socio-cultural background and teacher education in Chile: Understanding the musical repertoires of music teachers of Chile, The Routledge handbook to sociology of music education, pp. 136-152, (2021); Poblete C., Leguina A., Masquiaran N., Carreno B., Informal and non formal music experience: Power, knowledge and learning in music teacher education in Chile, International Journal of Music Education, 37, 2, pp. 272-285, (2019); Rekedal J., Martyrdom and mapuche metal: Defying cultural and territorial reductions in twenty-first century wallmapu, Ethnomusicology, 63, 1, pp. 78-104, (2019); Rojas J.S., Afro-Colombian internal migration and participatory music: Ethnically and politically charged religious festivals in Bogota, Musicae Scientiae, 25, 3, pp. 317-331, (2021); Sepulveda A.T., Chile, Music education in the Caribbean and Latin America: A comprehensive guide, pp. 185-202, (2017); Shaheen M., Pradhan S., Ranajee, Sampling in qualitative research, Qualitative techniques for workplace data analysis, pp. 25-52, (2019); Sim J., Saunders B., Waterfield J., Kingstone J., Can sample size in qualitative research be determined a priori?, International Journal of Social Research Methodology, 21, 5, pp. 619-634, (2018); Skinner R.T., Bamako sounds: The Afropolitan ethics of Malian music, (2015); Stake R.E., Multiple case study analysis, (2006); Steingress G., El flamenco como arte popular y popularizado, Introducción al flamenco en el currículum escolar, pp. 181-199, (2004); Strike K.T., Fitzsimmons J.C., Meyer D.K., The impact of teacher leaders: Case studies from the field, (2019); Valdivia C.V., Angel-Alvarado R., Representations and activism in music education: The case of an emblematic secondary school, Revista Chilena de Pedagogía, 2, 2, pp. 105-134, (2021); Van Klyton A., All the way from.. authenticity and distance in world music production, Cultural Studies, 30, 1, pp. 106-128, (2014); Weidman A., The ethnographer as apprentice: Embodying sociomusical knowledge in South India, Anthropology and Humanism, 37, 2, pp. 214-235, (2012)","R. Angel-Alvarado; Universidad Alberto Hurtado, Chile; email: rangel@uahurtado.cl","","SAGE Publications Ltd","","","","","","10298649","","","","English","Musicae Scientiae","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-85144982762"
"Sorenson R.","Sorenson, Rachel (59243863900)","59243863900","Perceptions and Preparedness: Preservice Music Educators and Popular Music Teaching Skills","2021","Update: Applications of Research in Music Education","39","2","","34","43","9","7","10.1177/8755123320957945","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85146541614&doi=10.1177%2f8755123320957945&partnerID=40&md5=063bc95379212605f26b0c17a0fc1cab","Florida State University, Tallahassee, United States","Sorenson R., Florida State University, Tallahassee, United States","The purpose of this study was to examine the perceptions of undergraduate music education majors regarding the skills needed to teach popular music classes, and their comfort level with those skills. Preservice music educators (N = 81) completed a researcher-designed questionnaire describing their previous experiences with popular music, their perceptions of necessary teaching skills for popular music instruction, their comfort level with those skills, and their overall feelings of preparedness to teach popular music. Respondents rated the teaching skills of ear training, piano/keyboard, and informal learning practices as most important. In addition, respondents indicated that they were most comfortable with the teaching skills of singing, music theory, and informal learning practices. In general, respondents felt moderately prepared to teach popular music, but many believed they were lacking important knowledge and skills, including proficiency on various instruments, understanding how to integrate popular music, and music software proficiency. Implications for music educators are discussed. © 2020 National Association for Music Education.","music education; popular music; preparation; preservice; teaching skills","","","","","","","","Abril C.R., Gault B.M., The state of music in secondary schools: The principal’s perspective, Journal of Research in Music Education, 56, 1, pp. 68-81, (2008); Allsup R.E., Popular music and classical musicians: Strategies and perspectives, Music Educators Journal, 97, 3, pp. 30-34, (2011); Asmus E., How many courses? What content?, Journal of Music Teacher Education, 10, 2, pp. 5-6, (2001); Bernard R., Finding a place in music education: The lived experiences of music educators with “non-traditional” backgrounds, Visions of Research in Music Education, 22, 1, pp. 1-28, (2012); Boespflug G., Popular music and the instrumental ensemble, Music Educators Journal, 85, 6, pp. 33-37, (1999); Branscome E., Vision 2020 and beyond: Imminent deadlines of the Housewright Declaration, Contributions to Music Education, 41, pp. 71-91, (2016); Burstein S., Powell B., Approximation and scaffolding in modern band, Music Educators Journal, 106, 1, pp. 39-47, (2019); Choate R.A., Fowler C.B., Brown C.E., Wersen L.G., The Tanglewood symposium: Music in American society, Music Educators Journal, 54, 3, pp. 49-80, (1967); Cutietta R.A., Popular music: An ongoing challenge, Music Educators Journal, 77, 8, pp. 26-29, (1991); Davis S.G., Blair D.V., Popular music in American teacher education: A glimpse into a secondary methods course, International Journal of Music Education, 29, 2, pp. 124-140, (2011); Dunbar-Hall P., Designing a teaching model for popular music, International Journal of Music Education, 21, 1, pp. 16-24, (1993); Dunbar-Hall P., Wemyss K., Popular music and music teacher education: Relationships between course content and course design, Research Studies in Music Education, 15, 1, pp. 50-57, (2000); Dunbar-Hall P., Wemyss K., The effects of the study of popular music on music education, International Journal of Music Education, 36, 1, pp. 23-34, (2000); Green L., How popular musicians learn: A way ahead for music education, (2002); Hamilton S., Vannatta-Hall J., Popular music in preservice music education: Preparedness, confidence and implementation, Journal of Popular Music Education, 4, 1, pp. 41-60, (2020); Isbell D., Popular music and the public school music curriculum, Update: Applications of Research in Music Education, 26, 1, pp. 53-63, (2007); Isbell D.S., Apprehensive and excited: Music education students’ experience vernacular musicianship, Journal of Music Teacher Education, 25, 3, pp. 27-38, (2016); Kruse A.J., Preservice music teachers’ experiences with and attitudes toward music genres, Journal of Music Teacher Education, 24, 3, pp. 11-23, (2015); Kuhn W., Reaching the other 80% by adding music technology to your curriculum, Triad, 79, 4, pp. 96-98, (2012); Kuzmich J., Popular music in your program: Growing with the times, Music Educators Journal, 77, 8, pp. 50-52, (1991); Lebler D., Popular music pedagogy: Peer learning in practice, Music Education Research, 10, 2, pp. 193-213, (2008); Modern band, (2020); MacClusky T., Peaceful coexistence between pop and the classics, Music Educators Journal, 65, 8, pp. 54-57, (1979); Madsen C.K., Vision 2020: The Housewright Symposium on the future of music education, (2000); Mantie R., A comparison of “popular music pedagogy” discourses, Journal of Research in Music Education, 61, 3, pp. 334-352, (2013); Mills S.W., Recognizing middle school students’ taste for popular music, General Music Today, 13, 3, pp. 3-6, (2000); Popular music education SRIG: A special research interest group of the National Association for Music Education, (2016); Newsom D., Rock’s quarrel with tradition: Popular music’s carnival comes to the classroom, Popular Music and Society, 22, 3, pp. 1-20, (1998); Niknafs N., Engaging with popular music from a cultural standpoint: A concept-oriented framework, Music Educators Journal, 106, 1, pp. 25-30, (2019); O'Brien J.P., A plea for pop, Music Educators Journal, 68, 7, pp. 44-54, (1982); Pembrook R.G., Popular music in research and in the classroom, Update: Applications of Research in Music Education, 8, 2, pp. 30-35, (1990); Regier B.J., Scherer A.D., Silvey B.A., An examination of undergraduate conductor practice behavior, Journal of Music Teacher Education, 29, 3, pp. 37-49, (2019); Saldana J., The coding manual for qualitative researchers, (2009); Sanderson D.N., Music class offerings beyond bands, choirs, and orchestras in Nebraska high schools, (2014); Silvey B.A., Springer D.G., Eubanks S.C., An examination of university conducting faculty members’ score study attitudes and practices, Journal of Music Teacher Education, 26, 1, pp. 82-95, (2016); Sims W.L., Cassidy J.W., The role of the dissertation in music education doctoral programs, Journal of Music Teacher Education, 25, 3, pp. 65-77, (2016); Springer D.G., Teaching popular music: Investigating music educators’ perceptions and preparation, International Journal of Music Education, 34, 4, pp. 403-415, (2016); Springer D.G., Gooding L.F., Preservice music teachers’ attitudes toward popular music in the music classroom, Update: Applications of Research in Music Education, 32, 1, pp. 25-33, (2013); Strauss A.L., Qualitative analysis for social scientists, (1987); Temmerman N., School music experiences: How do they rate?, Research Studies in Music Education, 1, 1, pp. 59-65, (1993); Tobias E.S., From musical detectives to DJs: Expanding aural skills and analysis through engaging popular music and culture, General Music Today, 28, 3, pp. 23-27, (2015); Tomczak M., Tomczak E., The need to report effect size estimates revisited. An overview of some recommended measures of effect size, Trends in Sport Sciences, 1, 21, pp. 19-25, (2014); Vasil M., Weiss L., Powell B., Popular music pedagogies: An approach to teaching 21st-century skills, Journal of Music Teacher Education, 28, 3, pp. 85-95, (2019); Veronee K.E., An investigation of non-traditional secondary music courses in select states, (2017); Wang J.-C., Humphreys J.T., Multicultural and popular music content in an American music teacher education program, International Journal of Music Education, 27, 1, pp. 19-36, (2009)","R. Sorenson; Florida State University, Tallahassee, United States; email: ras17d@my.fsu.edu","","SAGE Publications Inc.","","","","","","87551233","","","","English","Updat. Appl. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-85146541614"
"Williams S.G.; van Ketel J.E.; Schaefer R.S.","Williams, Susan G. (58091061600); van Ketel, Joram E. (58091632700); Schaefer, Rebecca S. (23974678700)","58091061600; 58091632700; 23974678700","Practicing Musical Intention: The Effects of External Focus of Attention on Musicians’ Skill Acquisition","2023","Music and Science","6","","","","","","5","10.1177/20592043231151416","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85147432405&doi=10.1177%2f20592043231151416&partnerID=40&md5=9ffd08fff8b22d3e80facbe9e91b8602","Academy of Creative and Performing Arts, Leiden University, Leiden, Netherlands; Royal Conservatoire The Hague, The Hague, Netherlands; Institute of Psychology, Health, Medical Neuropsychology Unit, Leiden University, Leiden, Netherlands; Leiden Institute for Brain and Cognition (LIBC), Leiden University, Leiden, Netherlands","Williams S.G., Academy of Creative and Performing Arts, Leiden University, Leiden, Netherlands, Royal Conservatoire The Hague, The Hague, Netherlands; van Ketel J.E., Royal Conservatoire The Hague, The Hague, Netherlands, Institute of Psychology, Health, Medical Neuropsychology Unit, Leiden University, Leiden, Netherlands; Schaefer R.S., Academy of Creative and Performing Arts, Leiden University, Leiden, Netherlands, Royal Conservatoire The Hague, The Hague, Netherlands, Institute of Psychology, Health, Medical Neuropsychology Unit, Leiden University, Leiden, Netherlands, Leiden Institute for Brain and Cognition (LIBC), Leiden University, Leiden, Netherlands","Movement science research indicates that an external focus of attention benefits learning as well as performing movement. Despite these findings from the field of sports, research on the effects of external focus in music pedagogy is sparse, especially in naturalistic settings. This in-depth, small-sample study investigated the effect of external focus on musical learning in terms of accuracy, self-efficacy, confidence, motivation, and engagement, as well as the qualitative performance experience. Seven conservatoire (natural trumpet) students practiced challenging, unfamiliar pieces in short practice sessions using their normal practice methods, followed by a trial using the instructions of the Audiation Practice Tool (APT). This tool was developed to enhance auditory and kinaesthetic engagement as well as detailed musical intention through vivid imagination, singing, gesturing, playing, and seeking musical variation. Use of the APT resulted in higher performance accuracy than participants’ usual practice methods, and a non-significant trend for improvement in self-efficacy and confidence compared to practice as usual. Logbook scores were inconclusive on motivation and engagement; however, exit questionnaire answers showed that most participants experienced audiation or external focus as engaging and enjoyable. Although none of the participants initially favored external focus, participants generally intended to continue using elements of the APT. This study suggests that the use of external focus could be more explicit and prominent in teaching and in practicing music. © The Author(s) 2023.","Attentional focus; external focus; imagery; motor control; music pedagogy; skill acquisition","","","","","","","","50, 5, pp. 428-446; 70, 2, pp. 168-189; Altenmuller E., Neurology of musical performance, Medicine, Music and the Mind, 8, pp. 410-413, (2008); 64, 4, pp. 421-434; Bandura A., Self-efficacy: The exercise of control, (1997); Bernardi N., Schories A., Jabusch H.-C., Colombo B., Altenmuller E., Mental practice in music memorization: An ecological-empirical study, Music Perception, 30, 3, pp. 275-290, (2013); Davidson Kelly K., Hong S., Dhinakaran J., Sanders J., Gray C., van Beek E., Roberts N., Overy K., An fMRI study of expert musical imagery; To what extent do imagined and executed performance share the same neural substrate, (2011); Davidson Kelly K., Moran N., Schaefer R.S., & Overy K., Total inner memory”: Deliberate uses of multimodal musical imagery during performance preparation, Psychomusicology: Music, Mind and Brain, 25, 1, pp. 83-92, (2015); Dweck C., Self-theories: Their role in motivation, personality, and development (Essays in social psychology), (2000); Dweck C., Mindset: The new psychology of success, (2008); Duke R., Cash C., Allen S., Focus of attention affects performance of motor skills in music, Journal of Research in Music Education, 59, 1, pp. 44-55, (2011); Frick U., An introduction to qualitative research, (2011); Gordon E., Preparatory audiation, audiation, and music learning theory, (2001); Kenny D.T., The psychology of music performance anxiety, (2011); Masters R.S.W., Conscious and unconscious awareness in learning and performance, The Oxford handbook of sport and performance psychology, pp. 131-153, (2012); Maxwell J.P., Masters R.S.W., Eves F.F., From novice to no know-how: A longitudinal study of implicit motor learning, Journal of Sports Science, 18, pp. 111-120, (2000); Moritz S., Feltz D., Fahrbach K., Mack D., The relation of self-efficacy measures to sport performance: A meta-analytic review, Research Quarterly for Exercise and Sport, 71, pp. 280-294, (2000); Mornell A., Wulf G., Adopting an external focus of attention enhances musical performance, Journal of Research in Music Education, 66, 4, pp. 375-391, (2019); Nanay B., Multimodal mental imagery, Cortex, 105, pp. 125-134, (2018); Pascua L., Wulf G., Lewthwaite R., Additive benefits of external focus and enhanced performance expectancy for motor learning, Journal of Sports Sciences, 33, 1, pp. 58-66, (2015); Ritchie L., Williamon A., Measuring distinct types of musical self-efficacy, Psychology of Music, 39, 3, pp. 328-344, (2010); Rose S.A., Gottfried A.W., Melloy-Carminar P., Bridger W.H., Familiarity and novelty preferences in infant recognition memory: Implications for information processing, Developmental Psychology, 18, 5, (1982); Schaefer R.S., Music in the brain: Imagery and memory, The Routledge companion to music cognition, pp. 25-35, (2017); Schmidt R., Lee T., Principles of practice for learning motor skills: Some implications for practice and instruction in music, Art in motion II, pp. 17-51, (2012); Schmidt R., Wrisberg C., Motor learning and performance: A situation-based learning approach, (2008); Stambaugh L.A., Effects of internal and external focus of attention on woodwind performance, Psychomusicology: Music, Mind, and Brain, 27, 1, pp. 45-53, (2017); Stambaugh L.A., Effects of focus of attention on performance by second-year band students, Journal of Research in Music Education, 67, 2, pp. 233-246, (2019); Van Zijl A.G.W., Luck G., Thoughts in concert: A multi-method approach to investigate the effect of performers’ focus of attention, pp. 665-670, (2013); Williams S.G., Finding focus: Using external focus of attention for practicing and performing music, Doctoral Dissertation Published in Research Catalogue for Artistic Research, (2019); Wulf G., Attention and motor skill learning, (2007); Wulf G., Attentional focus and motor learning: A review of 15 years, International Review of Sport and Exercise Psychology, 6, 1, pp. 77-104, (2013); Wulf G., Hoss M., Prinz W., Instructions for motor learning: Differential effects of internal versus external focus of attention, Journal of Motor Behavior, 30, pp. 169-179, (1998); Wulf G., Lewthwaite R., Attentional and motivational influences on motor performance and learning, Art in motion, pp. 95-117, (2009); Wulf G., Lewthwaite R., Optimizing performance through intrinsic motivation and attention for learning: The OPTIMAL theory of motor learning, Psychonomic Bulletin & Review, 23, 5, pp. 1382-1414, (2016); Zajonc R.B., Attitudinal effects of mere exposure, Journal of Personality and Social Psychology, 9, 2, Pt.2, pp. 1-27, (1968); Zimmerman B.J., Bandura A., Martinez-Pons M., Self-motivation for academic attainment: The role of self-efficacy beliefs and personal goal setting, American Educational Research Journal, 29, 3, pp. 663-676, (1992)","S.G. Williams; Academy of Creative and Performing Arts, Leiden University, Leiden, Netherlands; email: s.williams@koncon.nl","","SAGE Publications Inc.","","","","","","20592043","","","","English","Music. Sci.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85147432405"
"Arasomwan D.A.; Mashiy N.J.","Arasomwan, Deborah A. (57232033800); Mashiy, Nontokozo J. (57231337900)","57232033800; 57231337900","Early childhood care and education educators’ understanding of the use of music-based pedagogies to teach communication skills","2021","South African Journal of Childhood Education","11","1","a896","","","","5","10.4102/sajce.v11i1.896","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85113438062&doi=10.4102%2fsajce.v11i1.896&partnerID=40&md5=be9c621d91feb456486710bd9c6230c8","Discipline of Early Childhood Education, School of Education, University of KwaZulu-Natal, Pinetown, South Africa; Discipline of Early Childhood Education, Faculty of Education, University of Zululand, Empangeni, South Africa","Arasomwan D.A., Discipline of Early Childhood Education, School of Education, University of KwaZulu-Natal, Pinetown, South Africa; Mashiy N.J., Discipline of Early Childhood Education, Faculty of Education, University of Zululand, Empangeni, South Africa","Background: Early Childhood Care and Education (ECCE) learners have unique needs, and specific pedagogies, therefore, need to be employed to support the acquisition of their essential skills. A great deal of research has been conducted on the use of music-based pedagogies to teach mathematics, life skills, civics and literacy at various levels of education. In South Africa, where ECCE is a relatively new educational sector, very little structure has been put in place to facilitate using music-based pedagogies to teach communication skills to ECCE learners. Aim: The aim of this study was to explore ECCE educators use music-based pedagogies to positively impact children’s communication skills and language development. Setting: The qualitative case study was conducted at two Urban ECCE centers in Durban, KwaZulu Natal Province, South African. Method: The study was informed by a social constructivist paradigm underpinned by Vygotsky’s sociocultural theory, focussing on ECCE learners’ interaction with the more knowledgeable other (MKO). Data were generated through semi-structured interviews and classroom observations with six educators, and through document analysis. The data were analysed using thematic analysis. Findings: The study confirmed that the ECCE educators have some levels of understanding of using music-based pedagogies as a strategy for teaching communication skills to children aged from three to four, but there are constraints. These limitations include insufficient training, a lack of musical resources and the non-inclusion of music-based pedagogies in both the pre-service teachers’ curriculum and the ECCE curriculum. Conclusions: The study recommended a comprehensive review of the content and implementation of the ECCE curriculum in relation to music pedagogy. © 2021. The Authors. Licensee: AOSIS.","Communication skills; Early childhood care and education; Music-based pedagogy; Songs; Urban setting","","","","","","University of Zulu Land; Inyuvesi Yakwazulu-Natali, UKZN","The authors acknowledge the University of KwaZulu-Natal and the University of Zulu Land.","Adams-Ojugbele R.O., Moletsane R., Towards quality early childhood development for refugee children: An exploratory study of a grade R class in a Durban childcare centre, South African Journal of Childhood Education, 9, 1, (2019); Almutairi M., Shukri N., Using songs in teaching oral skills to young learners: Teachers’ views and attitudes, International Journal of Linguistics, 8, 6, pp. 133-153, (2016); Alterator S., Deed C., Teacher adaptation to open learning spaces, Issues in Educational Research, 23, 3, (2013); Atmore E., Van Niekerk L.J., Ashley-Cooper M., Challenges facing the early childhood development sector in South Africa, South African Journal of Childhood Education, 2, 1, pp. 120-139, (2012); Barrett M., Bond N., Connecting through music: The contribution of a music programme to fostering positive youth development, Research Studies in Music Education, 37, 1, pp. 37-54, (2015); Ba'th F., Mychailyszyn M.P., The power of musical learning: A pilot study of whether private music lessons can decrease parental stress and disruptive behaviour in children, Mental Health Family Medicine, 14, 1, pp. 642-651, (2017); Bertram C., Christiansen I., Understanding research: An introduction to reading research, (2014); Beukes D.B., Creative arts in pre-service teacher education at South African universities: A case study, (2016); Bolduc J., Evrard M., Music education from birth to five: An examination of early childhood educators’ music teaching practices, Research and Issues in Music Education, 13, 1, (2017); Brandt A., Gebrian M., Slevc L.R., Music and early language acquisition, Frontiers in Psychology, 3, (2012); Britto P.R., Lye S.J., Proulx K., Yousafzai A.K., Matthews S.G., Vaivada T., Et al., Nurturing care: Promoting early childhood development, The Lancet, 389, 1, pp. 91-102, (2017); Bronfenbrenner U., Ecological systems theory, Six theories of child development: Revised formulations and current issues, pp. 187-249, (1992); Cloete E., Delport A., Music education in the grade R classroom: How three teachers learned in a participatory action inquiry, South African Journal of Childhood Education, 5, 1, pp. 1-24, (2015); Cumming T., Early childhood educators’ well-being: An updated review of the literature, Early Childhood Education Journal, 45, 5, pp. 583-593, (2017); Dalton E.M., Mckenzie J.A., Kahonde C., The implementation of inclusive education in South Africa: Reflections arising from a workshop for teachers and therapists to introduce universal design for learning, African Journal of Disability, 1, 1, pp. 1-7, (2012); The South African national curriculum framework for children from birth to four, (2015); De Vries P., Generalist teachers’ self-efficacy in primary school music teaching, Music Education Research, 15, 4, pp. 375-391, (2013); Eerola P., Eerola T., Extended music education enhances the quality of school life, Music Education Research, 16, 1, pp. 88-104, (2014); Fernandez M., Wegerif R., Mercer N., Rojas-Drummond S., Re-conceptualizing “scaffolding” and the zone of proximal development in the context of symmetrical collaborative learning, Journal of Classroom Interaction, 50, 1, pp. 54-72, (2013); Floridi L., Cowls J., A unified framework of five principles for AI in society, Harvard Data Science Review, 1, 1, pp. 1-15, (2019); Ford A.L., Elmquist M., Merbler A.M., Kriese A., Will K.K., McConnell S.R., Toward an ecobehavioral model of early language development, Early Childhood Research Quarterly, 50, pp. 246-258, (2020); Gillespie C.W., Glider K.R., Preschool teachers’ use of music to scaffold children’s learning and behaviour, Early Child Development and Care, 180, 6, pp. 799-808, (2010); Halberda J., Feigenson L., Developmental change in the acuity of the “number sense”: The approximate number system in 3-, 4-, 5-, and 6-year-olds and adults, Developmental Psychology, 44, 5, pp. 1457-1465, (2008); Hancock D.R., Wright S.W., Enhancing early childhood development through arts integration in economically disadvantaged learning environments, The Urban Review, 50, 3, pp. 430-446, (2018); Hansen D., Bernstorf E., Stuber G.M., The music and literacy connection, (2014); Haslip M.J., Gullo D.F., The changing landscape of early childhood education: Implications for policy and practice, Early Childhood Education Journal, 46, 3, pp. 249-264, (2018); Hawkins S., Great Scott!, Critical musicological reflections: Essays in honour of Derek B. Scott, pp. 1-20, (2016); Herrera L., Hernandez-Candelas M., Lorenzo O., Ropp C., Music training influence on cognitive and language development in 3 to 4 year-old children, Revista de Psicodidáctica, 19, 2, pp. 367-386, (2014); Horng J.S., Hong J.C., ChanLin L.J., Chang S.H., Chu H.C., Creative teachers and creative teaching strategies, International Journal of Consumer Studies, 29, 4, pp. 352-358, (2005); Jancke L., The relationship between music and language, Frontiers in Psychology, 3, (2012); Kamalodeen V.J., Figaro-Henry S., Ramsawak-Jodha N., Dedovets Z., The development of teacher ICT competence and confidence in using web 2.0 tools in a STEM professional development initiative in Trinidad, The Caribbean Teaching Scholar, 7, 1, pp. 25-46, (2017); Khaghaninejad M.S., Motlagh H.S., Chamacham R., How does Mozart’s music affect the reading comprehension of Iranian EFL learners of both genders?, International Journal of Humanities and Cultural Studies (IJHCS), (2016); Knight A., Rabon P., Music for speech and language development in early childhood populations, Music Therapy Perspectives, 35, 2, pp. 124-130, (2017); Linnavalli T., Putkinen V., Lipsanen J., Huotilainen M., Tervaniemi M., Music playschool enhances children’s linguistic skills, Scientific Reports, 8, 1, pp. 1-10, (2018); McIntire J.M., Developing literacy through music, Teaching Music, 15, 1, pp. 44-48, (2007); McLeod S.A., Lev Vygotsky, Simply psychology, (2018); Miles M.B., Huberman A.M., Qualitative data analysis: An expanded sourcebook, (1994); Modisaotsile B.M., The failing standard of basic education in South Africa, Policy brief, 72, pp. 1-7, (2012); Mohangi K., Krog S., Stephens O., Nel N., Contextual challenges in early literacy teaching and learning in grade R rural schools in South Africa, Per Linguam, 32, 1, pp. 71-87, (2016); Morley J., Floridi L., Kinsey L., Elhalal A., From what to how: An initial review of publicly available AI ethics tools, methods and research to translate principles into practices, Science and Engineering Ethics, 26, 4, pp. 2141-2168, (2020); Morley J., Floridi L., Kinsey L., Elhalal A., From what to how. An overview of AI ethics tools, methods and research to translate principles into practices, (2019); Nel N., Krog S., Mohangi K., Muller H., Stephens O., Research partnership between South Africa and China: Emergent literacy teaching and learning in early childhood education in South Africa, Per Linguam: A Journal of Language Learning, 32, 1, pp. 102-122, (2016); Niland A., The power of musical play: The value of play-based, child-centered curriculum in early childhood music education, General Music Today, 23, 1, pp. 17-21, (2009); Niland A., Holland J., Journeys towards empowerment: Educators sharing their musical cultural identities with children, International Journal of Music in Early Childhood, 14, 1, pp. 71-88, (2019); Parsad B., Spiegelman M., Arts education in public elementary and secondary schools: 1999–2000 and 2009–10, (2012); Piaget J., The origins of intelligence in children, (1952); Roberts M.Y., Kaiser A.P., Wolfe C.E., Bryant J.D., Spidalieri A.M., Effects of the teach-model-coach-review instructional approach on caregiver use of language support strategies and children’s expressive language skills, Journal of Speech, Language, and Hearing Research, 57, 5, pp. 1851-1869, (2014); Rule P., Land S., Finding the plot in South African reading education, Reading & Writing, 8, 1, (2017); Ryan R.A., Integrating the musical, the natural, and the improvised: David Rothenberg and multispecies musicking, Jazz Education in Research and Practice, 1, 1, pp. 167-184, (2020); Sampa F.K., Ojanen E., Westerholm J., Ketonen R., Lyytinen H., Literacy programs efficacy for developing children’s early reading skills in familiar language in Zambia, Journal of Psychology in Africa, 28, 2, pp. 128-135, (2018); Sayakhan N., Bradley D., Nursery rhymes as a vehicle for teaching English as a foreign language, Journal of University of Raparin, 6, 1, pp. 44-55, (2019); Shabani K., Implications of Vygotsky’s sociocultural theory for second language (L2) assessment, Cogent Education, 3, 1, pp. 1-16, (2016); Shulman L., Knowledge and teaching: Foundations of the new reform, Harvard Educational Review, 57, 1, pp. 1-23, (1987); Teddlie C., Yu F., Mixed methods sampling: A typology with examples, Journal of Mixed Methods Research, 1, 1, pp. 77-100, (2007); Early childhood development: A statistical snapshot, (2014); Vandenbroeck M., Lazzari A., Accessibility of early childhood education and care: A state of affairs, European Early Childhood Education Research Journal, 22, 3, pp. 327-335, (2014); Van Vuuren E.J., Van Niekerk C., Music in the life skills classroom, British Journal of Music Education, 32, 3, pp. 273-289, (2015); Van Vuuren J., Eurika N., Arts across the curriculum as a pedagogy for primary school teachers, South African Journal of Childhood Education, 8, 1, pp. 1-10, (2018); Vygotsky L.S., The collected works of LS Vygotsky: Problems of the theory and history of psychology, 3, (1997); Walker S.P., Wachs T.D., Grantham-McGregor S., Black M.M., Nelson C.A., Huffman S.L., Et al., Inequality in early childhood: Risk and protective factors for early child development, The Lancet, 378, 9799, pp. 1325-1338, (2011); Walton P.D., Canaday M., Dixon A., Using songs and movement to teach reading to aboriginal children, Canadian Council on Learning, 16, 3, pp. 54-77, (2014); Weber K.E., Gold B., Prilop C.N., Kleinknecht M., Promoting pre-service teachers’ professional vision of classroom management during practical school training: Effects of a structured online-and video-based self-reflection and feedback intervention, Teaching and Teacher Education, 76, pp. 39-49, (2018); Welch G.F., Henley J., Addressing the challenges of teaching music by generalist primary school teachers, Revista da ABEM, 22, 32, pp. 12-38, (2014); Whitcomb R., Teaching improvisation in elementary general music: Facing fears and fostering creativity, Music Educators Journal, 99, 3, pp. 43-51, (2013); Wolfe S., Flewitt R., New technologies, new multimodal literacy practices and young children’s metacognitive development, Cambridge Journal of Education, 40, 4, pp. 387-399, (2010); Young S., Early childhood music education research: An overview, Research Studies in Music Education, 38, 1, pp. 9-21, (2016)","D.A. Arasomwan; Discipline of Early Childhood Education, School of Education, University of KwaZulu-Natal, Pinetown, South Africa; email: deborahavosuahi@gmail.com","","AOSIS (Pty) Ltd","","","","","","22237674","","","","English","South Afr. J. Child. Edu.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85113438062"
"García A.J.","García, Antonio J. (58714079000)","58714079000","Optimizing Jazz Ensemble Auditions for Success","2021","Jazz Education in Research and Practice","2","1","","186","193","7","0","10.2979/jazzeducrese.2.1.14","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85177698296&doi=10.2979%2fjazzeducrese.2.1.14&partnerID=40&md5=7a5ffb2ec407f6bb6d22410394280994","Virginia Commonwealth University, United States","García A.J., Virginia Commonwealth University, United States","A potentially daunting array of musical and physical logistics awaits the educator auditioning students for jazz ensembles. If rehearsal schedules, spaces, and mentors are not preset, or if the ensemble director is new to a school, the “firehose” of data and tasks can be especially overwhelming: • collecting contact information, • choosing sight-reading samples, • determining which ensemble(s) the given student seeks, • providing in advance any student-prepared music, • guiding students through the audition in a friendly manner, • potentially accompanying them on a chording instrument, • evaluating auditions, • logging assessment of all of the above for each student, • remembering who each student was, • potentially collecting availability information regarding ensemble rooms and faculty, • placing students into ensembles at times the educators and rooms are available, • informing the students as to placements, • and sharing constructive, educational audition notes with students. Here I explore systems to maximize success, providing downloadable forms. © The Trustees of Indiana University •.","assessment; auditions; data; sightread","","","","","","","","","A.J. García; Virginia Commonwealth University, United States; email: ajgarcia@vcu.edu","","Indiana University Press","","","","","","26397668","","","","English","Jazz. Educ. Res. Pract.","Article","Final","","Scopus","2-s2.0-85177698296"
"Imai-Matsumura K.; Mutou M.","Imai-Matsumura, Kyoko (6603456892); Mutou, Megumi (57358104300)","6603456892; 57358104300","Gaze Analysis of Pianists’ Sight-reading: Comparison Between Expert Pianists and Students Training to Be Pianists","2021","Music and Science","4","","","","","","3","10.1177/20592043211061106","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85120314700&doi=10.1177%2f20592043211061106&partnerID=40&md5=c6641128de9fcb57a306228b8336a9f4","Graduate School of Education, Bukkyo University, Kita-ku, Kyoko, Japan; Kobe City YUSEI Special Needs School, Kobe, Japan","Imai-Matsumura K., Graduate School of Education, Bukkyo University, Kita-ku, Kyoko, Japan; Mutou M., Kobe City YUSEI Special Needs School, Kobe, Japan","One of the most important skills for a pianist is sight-reading, which is the ability to read an unknown music score and play it. In recent years, research has analysed eye movement during sight-reading. However, the definition of sight-reading has varied. In addition, the participants enlisted as experts in most studies have been music college students. The present study aimed to compare eye movements during sight-reading between experts, teachers at a music college and pianists, and non-experts, music college students studying to become pianists, using an eye tracker. Using easy and difficult music scores for two-handed playing, we investigated whether there were differences in the number of eye fixations, fixation duration, and eye-hand span. The definition of sight-reading in this study is to read a novel music score once without playing the piano, and then to play it while looking at the music score. The results showed that the higher the piano performance rating, the longer the eye-hand span. Areas of interest (AOIs) were defined every two rows, including a treble and bass staff in each music score. We conducted a two-factor repeated measures ANOVA (group × AOI) for each dependent variable to analyse fixation count and fixation duration per eye fixation. There was a significant interaction for the fixation count between groups and AOIs both without and with performance in the difficult score. In experts, the number of eye fixations on the difficult part of difficult score increased compared with other part both without and with performances. By contrast, there was a significant interaction for the duration per eye fixation between groups and AOIs in easy score with performance. The duration per eye fixation in experts was shorter than that in non-experts in the easy score with performance. These results suggest that experts get information through short gaze fixations. © The Author(s) 2021.","eye-hand span; gaze fixation count; gaze fixation duration; pianist; piano performance; sight-reading","","","","","","","","Ahken S., Comeau G., Hebert S., Balasubramaniam R., Eye movement patterns during the processing of musical and linguistic syntactic incongruities, Psychomusicology: Music, Mind & Brain, 22, 1, pp. 18-25, (2012); Arthur P., Khuu S., Blom D., Music sight-reading expertise, visually disrupted score and eye movements, Journal of Eye Movement Research, 9, 7, pp. 1-11, (2016); Drai-Zerbib V., Baccino T., Bigand E., Sight-reading expertise: Cross-modality integration investigated using eye tracking, Psychology of Music, 40, 2, pp. 216-235, (2012); Furneaux S., Land M.F., The effects of skill on the eye-hand span during musical sight-reading, Proceedings of the Royal Society of London, Series B: Biological Sciences, 266, 1436, pp. 2435-2440, (1999); Gilman E., Underwood G., Restricting the field of view to investigate the perceptual spans of pianists, Visual Cognition, 10, 2, pp. 201-232, (2003); Goolsby T.W., Eye movement in music reading: Effects of reading ability, notational complexity, and encounters, Music Perception, 12, 1, pp. 77-96, (1994); Hadley L.V., Sturt P., Eerola T., Pickering M.J., Incremental comprehension of pitch relationships in written music: Evidence from eye movements, The Quarterly Journal of Experimental Psychology, 71, 1, pp. 211-219, (2018); Huovinen E., Ylitalo A.K., Puurtinen M., Early attraction in temporally controlled sight reading of music, Journal of Eye Movement Research, 11, 2, (2018); Hutton S.B., Nolte S., The effect of gaze cues on attention to print advertisements, Applied Cognitive Psychology, 25, 6, pp. 887-892, (2011); Jancke L., Schlaug G., Steinmetz H., Hand skill asymmetry in professional musicians, Brain and Cognition, 34, 3, pp. 424-432, (1997); Jancke L., Shah N.J., Peters M., Cortical activations in primary and secondary motor areas for complex bimanual movements in professional pianists, Cognitive Brain Research, 10, 1-2, pp. 177-183, (2000); Krampe R.T., Ericsson K.A., Maintaining excellence: Deliberate practice and elite performance in young and older pianists, Journal of Experimental Psychology. General, 125, 4, pp. 331-359, (1996); Lehmann A.C., Ericsson K.A., Research on expert performance and deliberate practice: Implications for the education of amateur musicians and music students, Psychomusicology, 16, 1-2, pp. 40-58, (1997); Lehmann A., McArthur V., Sight-reading, The science & psychology of music performance: Creative strategies for teaching and learning, pp. 135-150, (2002); Madell J., Heebert S., Eye movements and music reading: Where do we look next?, Music Perception, 26, 2, pp. 157-170, (2008); Meinz E.J., Hambrick D.Z., Deliberate practice is necessary but not sufficient to explain individual differences in piano sight-reading skill: The role of working memory capacity, Psychological Science, 21, 7, pp. 914-919, (2010); Penttinen M., Huovinen E., The early development of sight-reading skills in adulthood: A study of eye movements, Journal of Research in Music Education, 59, 2, pp. 196-220, (2011); Puurtinen M., Eye on music reading: A methodological review of studies from 1994 to 2017, Journal of Eye Movement Research, 11, 2, pp. 1-16; Puurtinen M., Learning on the job: Rethinks and realizations about eye tracking in music-reading studies, Frontline Learning Research, 6, 3, pp. 148-161; Rayner K., Eye movements in reading and information processing: 20 years of research, Psychological Bulletin, 124, 3, pp. 372-422, (1998); Rayner K., Pollatsek A., Eye movements, the eye-hand span, and the perceptual span during sight-reading of music, Current Directions in Psychological Science, 6, 2, pp. 49-53, (1997); Rosemann S., Altenmuller E., Fahle M., The art of sight-reading: Influence of practice, playing tempo, complexity and cognitive skills on the eye-hand span in pianists, Psychology of Music, 44, 4, pp. 658-673, (2016); Salvucci D.D., Anderson J.R., Automated eye-movement protocol analysis, Human-Computer Interaction, 16, pp. 39-86; Schlaug G., Jancke L., Huang Y., Staiger J.F., Steinmetz H., Increased corpus callosum size in musicians, Neuropsychologia, 33, 8, pp. 1047-1055, (1995); Schulze K., Mueller K., Koelsch S., Neural correlates of strategy use during auditory working memory in musicians and non-musicians, European Journal of Neuroscience, 33, 1, pp. 189-196, (2010); Shaffer L.H., Timing in solo and duet piano performances, The Quarterly Journal of Experimental Psychology, 36, 4, pp. 577-595, (1984); Sloboda J.A., The eye-hand span: An approach to the study of sight-reading, Psychology of Music, 2, 2, pp. 4-10, (1974); Sloboda J.A., Experimental studies of music reading: A review, Music Perception, 2, 2, pp. 222-236, (1984); Truitt F.E., Clifton C., Pollatsek A., Rayner K., The perceptual span and eye-hand span in sight reading music, Visual Cognition, 4, 2, pp. 143-161, (1997); Uzzaman S., Joordens S., The eyes know what you are thinking: Eye movements as an objective measure of mind wandering, Consciousness and Cognition, 20, 4, pp. 1882-1886, (2011); Waters A.J., Underwood G., Findlay J.M., Studying expertise in music reading: Use of a pattern-matching paradigm, Perception & Psychophysics, 59, 4, pp. 477-488, (1997); Weaver H.E., A survey of visual processes in reading differently constructed musical selections, Psychological Monographs, 55, pp. 1-30, (1943); Wolff C.E., Jarodzka H., van der Bogert N., Boshuizen H., Teacher vision: Expert and novice teachers’ perception of problematic classroom management scenes, Instructional Science, 44, pp. 243-265, (2016); Yamamoto T., Imai-Matsumura K., Teacher’s gaze and awareness of student’s behavior: Using an eye tracker, Comprehensive Psychology, 2, (2013)","K. Imai-Matsumura; Graduate School of Education, Bukkyo University, Kyoko, Kita-ku, Japan; email: k-matsumura@bukkyo-u.ac.jp","","SAGE Publications Ltd","","","","","","20592043","","","","English","Music. Sci.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85120314700"
"Blackwell J.; Matherne N.; Momohara-Ho C.","Blackwell, Jennifer (57201642519); Matherne, Nicholas (57476419700); Momohara-Ho, Cathlyn (57476934600)","57201642519; 57476419700; 57476934600","Preservice Music Teachers Perceptions of Teaching and Learning Popular Music","2022","Journal of Music Teacher Education","31","3","","49","65","16","6","10.1177/10570837211067215","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85125749223&doi=10.1177%2f10570837211067215&partnerID=40&md5=e044da74a1bbca339f12126ada1d4005","University of Hawai‘i at Mānoa, Honolulu, HI, United States; Kaimukī High School, Honolulu, HI, United States; Wilson Elementary School, Honolulu, HI, United States","Blackwell J., University of Hawai‘i at Mānoa, Honolulu, HI, United States; Matherne N., University of Hawai‘i at Mānoa, Honolulu, HI, United States, Kaimukī High School, Honolulu, HI, United States; Momohara-Ho C., Wilson Elementary School, Honolulu, HI, United States","The purpose of this instrumental case study was to investigate the perceptions of preservice music teachers learning popular music and facilitating popular music learning experiences with elementary students in an after-school music program. Preservice music teachers enrolled in a popular music pedagogy course learned techniques for teaching and performing popular music, and facilitated an elective after-school ‘ukulele program where they worked with students from two different elementary schools. Using interviews, researcher journals, preservice teacher reflections, and observations, we explored how preservice music teachers make sense of their experiences in learning to teach in a new musical context. We found that preservice teachers valued extended field experiences before student teaching, developed positive attitudes toward teaching popular music/musicianship, and required significant time to acquire the skills needed to teach in an informal learning environment. © National Association for Music Education 2022.","facilitation; field experience; informal learning; popular music education; preservice teachers; ‘ukulele","","","","","","","","Bartolome S., Growing through service: Exploring the impact of a service-learning experience on preservice educators, Journal of Music Teacher Education, 23, 1, pp. 79-91, (2013); Bell A.P., Stelter R., Ahenda K., Bahhadi J., CanRock classroom: Two preservice teachers’ experiences of a popular music pedagogy course in Canada, Journal of Popular Music Education, 3, 3, pp. 451-468, (2019); Burstein S., Powell B., Approximation and scaffolding in modern band, Music Educators Journal, 106, 1, pp. 39-47, (2019); Cain T., Passing it on”: Beyond formal or informal pedagogies, Music Education Research, 15, 1, pp. 74-91, (2013); Cleaver D., Ballantyne J., Teachers’ views of constructivist theory: A qualitative study illuminating relationships between epistemological understanding and music teaching practice, International Journal of Music Education, 32, 2, pp. 228-241, (2013); Cremata R., Facilitation in popular music education, Journal of Popular Music Education, 1, 1, pp. 63-82, (2017); Cremata R., The schoolification of popular music, College Music Symposium, 59, 1, pp. 1-3, (2019); Cremata R., Pignato J., Powell B., Smith G.D., Flash study analysis and the Music Learning Profiles Project, Action, Criticism, and Theory for Music Education, 15, 5, pp. 51-80, (2016); Cremata R., Powell B., Online music collaboration project: Digitally mediated, deterritorialized music education, International Journal of Music Education, 35, 2, pp. 302-315, (2015); Creswell J.W., Research design: Qualitative, quantitative, and mixed methods approaches, (2014); Davis S.G., Informal learning processes in an elementary music classroom, Bulletin of the Council for Research in Music Education, 198, pp. 23-50, (2013); Davis S.G., Blair D.V., Popular music in American teacher education: A glimpse into a secondary methods course, International Journal of Music Education, 29, 2, pp. 124-140, (2011); Denzin N.K., Sociological methods: A sourcebook, (2006); Elpus K., Abril C., Who enrolls in high school music? A national profile of U.S. students, 2009–2013, Journal of Research in Music Education, 67, 3, pp. 323-338, (2019); Emmanuel D.T., The effects of a music education immersion internship in a culturally diverse setting on the beliefs and attitudes of pre-service music teachers, International Journal of Music Education, 23, pp. 49-62, (2005); Finney J., Philpott C., Informal learning and meta-pedagogy in initial teacher education in England, British Journal of Music Education, 27, 1, pp. 7-19, (2010); Gottlieb F.B., Popular music in the classroom: Perspectives of preservice music educators, The Bloomsbury handbook of popular music education, pp. 275-288, (2019); Green L., How popular musicians learn: A way ahead for music education, (2002); Green L., Popular music education in and for itself, and for “other” music: Current research in the classroom, International Journal of Music Education, 24, 2, pp. 101-118, (2006); Hallam S., Creech A., McQueen H., What impact does teaching music informally in the classroom have on teachers, and their pedagogy?, Music Education Research, 19, 1, pp. 42-59, (2017); Hallam S., Creech A., McQueen H., Teachers’ perceptions of the impact on students of the musical futures approach, Music Education Research, 19, 3, pp. 263-275, (2017); Hallam S., Creech A., McQueen H., Pupil’s perceptions of informal learning in school music lessons, Music Education Research, 20, 2, pp. 213-230, (2018); Isbell D.S., Apprehensive and excited: Music education students’ experience vernacular musicianship, Journal of Music Teacher Education, 25, 3, pp. 27-38, (2016); Jaffurs S.E., The impact of informal music learning practices in the classroom, or how I learned how to teach from a garage band, International Journal of Music Education, 22, pp. 189-200, (2004); Jones S.K., An exploration of band students’ experiences with informal learning, Bulletin of the Council for Research in Music Education, 206, pp. 61-79, (2015); Kastner J.D., Exploring informal music learning in a professional development community of music teachers, Bulletin of the Council for Research in Music Education, 202, pp. 71-89, (2014); Kastner J.D., Healing bruises: Identity tensions in a beginning teacher’s use of formal and informal music learning, Research Studies in Music Education, 42, pp. 3-18, (2020); Miles M.B., Huberman A.M., Saldana J., Qualitative data analysis: A methods sourcebook, (2014); Pendergast S., Robinson N.R., Secondary students’ preferences for various learning conditions and music courses: A comparison of school music, out-of-school music, and nonmusic participants, Journal of Research in Music Education, 68, 3, pp. 264-285, (2020); Smith G.D., Powell B., Fish D.L., Kornfeld I., Reinhert K., Popular music education: A white paper by the association for popular music education, (2018); Springer D.G., Teaching popular music: Investigating music educators’ perceptions and preparation, International Journal of Music Education, 34, 4, pp. 403-415, (2016); Springer D.G., Gooding L.F., Preservice music teachers’ attitudes toward popular music in the music classroom, Update: Applications of Research in Music Education, 32, 1, pp. 25-33, (2013); Stake R.E., The art of case study research, (1995); Webster P., Constructivism and music learning, MENC handbook of research on music learning, Volume 1, pp. 35-83, (2011); Wilson S.M., Floden R.E., Ferrini-Mundy J., Teacher preparation research: Current knowledge, gaps, and recommendations, (2001); Windschitl M., Framing constructivism in practice as the negotiation of dilemmas: An analysis of the conceptual, pedagogical, cultural, and political challenges facing teachers, Review of Educational Research, 72, 2, pp. 131-175, (2002)","J. Blackwell; University of Hawai‘i at Mānoa, Honolulu, United States; email: blackw@hawaii.edu","","SAGE Publications Inc.","","","","","","10570837","","","","English","J. Music Teach. Educ.","Article","Final","","Scopus","2-s2.0-85125749223"
"Ohanezova-Hryhorenko O.V.; Iergiiev I.D.; Muravska O.V.; Sapsovych O.A.; Burkatskyi Z.P.","Ohanezova-Hryhorenko, Olha V. (57291354100); Iergiiev, Ivan D. (57418313300); Muravska, Olha V. (57225217937); Sapsovych, Oleksandra A. (57418512000); Burkatskyi, Zinovii P. (57418313400)","57291354100; 57418313300; 57225217937; 57418512000; 57418313400","Features of Professional Education of a Music Instrumentalist","2021","Journal of Higher Education Theory and Practice","21","14","","82","88","6","1","10.33423/jhetp.v21i14.4812","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85123085966&doi=10.33423%2fjhetp.v21i14.4812&partnerID=40&md5=fbcfad046439ba6e8d304cc4e9e710fa","Odessa National A.V. Nezhdanova Academy of Music, Ukraine","Ohanezova-Hryhorenko O.V., Odessa National A.V. Nezhdanova Academy of Music, Ukraine; Iergiiev I.D., Odessa National A.V. Nezhdanova Academy of Music, Ukraine; Muravska O.V., Odessa National A.V. Nezhdanova Academy of Music, Ukraine; Sapsovych O.A., Odessa National A.V. Nezhdanova Academy of Music, Ukraine; Burkatskyi Z.P., Odessa National A.V. Nezhdanova Academy of Music, Ukraine","Music education is one of the fields that are extremely popular among Ukrainian young people who are committed to develop and express their creative abilities in the modern cultural space. Thus, despite the difference in the levels of training at the time of entering the university, students of art faculties are interested in learning all the intricacies of the profession of a musician. The purpose of training professional musicians is to form their performing culture, which ensures that students master the basics of vocal and instrumental performance and musical pedagogy. When learning the music, students have to master professional musical performance, accumulate a repertoire, master specifics and techniques immanent to different genres of music, and gain experience in stage performance. As a result, methods and skills that are important for a musician-instrumentalist, which one has to master while receiving professional musical education, are determined. It also considers the artistic training of the future musician and the necessity of practical concert activities for instrumental musicians. © 2021, North American Business Press. All rights reserved.","Artistry; Instrumental skill; Music pedagogy; Performing skills; Singer; Vocational training","","","","","","","","Chovriy S., European music-pedagogical systems: the retrospective analysis, Bulletin of Mukachevo State University. Series “Pedagogy and Psychology”, 2, 10, pp. 51-54, (2019); Cogdill S.H., Applying research in motivation and learning to music education: What the experts say update, SAGE Journals, 33, 2, pp. 49-57, (2014); de Reizabal M.L., Benito Gomez M., When theory and practice meet: Avenues for entrepreneurship education in music conservatories, International Journal of Music Education, 38, 3, pp. 352-369, (2020); Ergiev I.D., Artistry of an instrumentalist musician: Monograph, (2014); Georgii-Hemming E., Johansson K., Moberg N., Reflection in higher music education: What, why, wherefore?, Music Education Research, 22, 3, pp. 245-256, (2020); Gish A., Kunduk M., Sims L., McWhorter A.J., Vocal warm-up practices and perceptions in vocalists: A pilot survey, Journal of Voice, 26, 1, pp. 11-21, (2012); Hermina T., Sari I.T.P., Analysis of personality model using the big five theory to enhance academic motivation of garut university students, International Journal of Learning and Change, 13, 3, pp. 289-300, (2021); Li J., Research on musician piano teaching in colleges and universities based on teachers’ effectiveness theory, Agro Food Industry Hi-Tech, 28, 3, pp. 955-958, (2017); Livingstone S.R., Choi D.H., Russo F.A., The influence of vocal training and acting experience on measures of voice quality and emotional genuineness, Frontiers in Psychology, 5, pp. 156-166, (2014); MacIntyre P.D., Schnare B., Ross J., Self-determination theory and motivation for music, Psychol Music, 46, 5, pp. 699-715, (2018); Ohanezova-Hryhorenko O., Musical artists’s talent structure: Immanent musical and professional and organisational moduses Musicological discourse and problems of contemporary semiology: Collective monograph, pp. 42-57, (2020); Ohanezova-Hryhorenko O., Autopoiesis as an immanent creative process of the artist and musician, Music semiology: Categories and methods: Collective monograph, pp. 37-55, (2020); Pereverzeva M.V., Kats M.L., Ovsyannikova V.A., Aksenova S.S., Yushchenko N.S., Technology and innovation in schoolchildren training: Development of musical and acting skills, Universal Journal of Educational Research, 8, 7, pp. 2766-2771, (2020); Pisto T., Jaaskelainen V., Ruokonen I., Ruismaki H., Instrument Teacher’s Narrative Identity and Professional Growth, Procedia – Social and Behavioral Sciences, 217, pp. 443-451, (2016); Pitts S.E., What is music education for? understanding and fostering routes into lifelong musical engagement, Music Education Research, 19, 2, pp. 160-168, (2017); Ponomarev G.N., Radionova N.F., Rivkina S.V., Bachelors of physical education: Attitudes to vocational training, Teoriya i Praktika Fizicheskoy Kultury, 2019, 10, pp. 102-104, (2019); Prokhorova M.P., Vaganova O.I., Aleshugina E.A., Trostin V.L., Preparation of future pedagogs in vocational training to managerial activities in higher educational establishment, Perspektivy Nauki i Obrazovania, 34, 4, pp. 21-25, (2018); Reeve J., Ryan R.M., Deci E.L., Jang H., Understanding and promoting autonomous self-regulation: A self-determination theory perspective, Motivation and self-regulated learning. Theory, research and applications, pp. 223-244, (2012); Renwick J.M., Reeve J., Supporting motivation in music education, The Oxford handbook of music education, 1, pp. 559-580, (2012); Riggs S., Singing for the Stars: A Complete Programme for Training Your Voice, (1998); Teachey J.C., Kahane J.C., Beckford N.S., Vocal mechanics in untrained professional singers, Journal of Voice, 5, 1, pp. 51-56, (1991); Verina N., Titko J., Shina I., Digital transformation outcomes in higher education: Pilot study in Latvia, International Journal of Learning and Change, 13, 4–5, pp. 459-473, (2021); Virkkula E., Evaluating motivational characteristics in vocational music education within the perspective of self-determination theory, Empirical Research in Vocational Education and Training, 12, 1, pp. 13-23, (2020); Yuen M., Yau F.S.Y., Tsui J.Y.C., Shao S.S.Y., Tsang J.C.T., Lee B.S.F., Career education and vocational training in Hong Kong: Implications for school-based career counselling, International Journal for the Advancement of Counselling, 41, 3, pp. 449-467, (2019); Yutsevich Y.E., Nikolaenko P.M., On the Ukrainian singing school, Scientific Journal of the M.P. Drahomanov National Pedagogical University. Series 14: Theory and Methods of Art Education: A collection, 10, 15, pp. 184-189, (1998)","","","North American Business Press","","","","","","21583595","","","","English","J. High. Educ. Theory Pract.","Article","Final","All Open Access; Bronze Open Access","Scopus","2-s2.0-85123085966"
"Kovach C.; Papadopoulos J.; Ilari B.; Goldsworthy R.","Kovach, Chrysa (58180377300); Papadopoulos, Julianne (57394767500); Ilari, Beatriz (14067339400); Goldsworthy, Ray (6603488798)","58180377300; 57394767500; 14067339400; 6603488798","The CI Music Hour: Building community and promoting well-being through music appreciation","2022","International Journal of Community Music","15","3","","365","383","18","2","10.1386/ijcm_00069_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85152297561&doi=10.1386%2fijcm_00069_1&partnerID=40&md5=14dc58b5f33dc7968d603d14dada3136","University of Southern California, Keck Medicine of USC, Health Research Association c/o Bionic Ear Lab, 1640 Marengo St. Ste. 325, Los Angeles, 90033, CA, United States; University of Southern California, Thornton School of Music, 840 W. 34th Street, Los Angeles, 90089, CA, United States","Kovach C., University of Southern California, Keck Medicine of USC, Health Research Association c/o Bionic Ear Lab, 1640 Marengo St. Ste. 325, Los Angeles, 90033, CA, United States; Papadopoulos J., University of Southern California, Keck Medicine of USC, Health Research Association c/o Bionic Ear Lab, 1640 Marengo St. Ste. 325, Los Angeles, 90033, CA, United States; Ilari B., University of Southern California, Thornton School of Music, 840 W. 34th Street, Los Angeles, 90089, CA, United States; Goldsworthy R., University of Southern California, Keck Medicine of USC, Health Research Association c/o Bionic Ear Lab, 1640 Marengo St. Ste. 325, Los Angeles, 90033, CA, United States","The Cochlear Implant (CI) Music Hour is a weekly music appreciation session hosted by a major university in the United States. Led by researchers in music and audiology, the CI Music Hour combines research and community engagement. This study primarily examined the relationship between involvement in the CI Music Hour, musicianship and general well-being of its participants during its two years of existence. A second aim was to uncover resources, learning environments and relationships that our community members found meaningful in the CI Music Hour. In this mixed methods study, we collected qualitative data from weekly CI Music Hour observations and in-depth interviews, and quantitative data in the form of a self-report on musicianship from sixteen community members. Findings were analysed using Martin Seligman’s five categories of well-being, along with an additional category for negative emotions from the PERMA (Positive Emotions, Engagement, Relationships, Meaning, and Accomplishment)-profiler. Our findings suggest that although experiences and levels of musicianship varied, instances of negative emotions were counterbalanced with positive experiences identified in Seligman’s well-being theory. Many of these experiences were the direct result of music making within a group setting and building connections with fellow CI users, thus indicating a benefit to participating in the CI Music Hour. © 2022 Intellect Ltd Article. English language.","audiology; cochlear implant users; community music; ear training; hearing loss; listening rehabilitation","","","","","","National Institute of Health NIDCD, (1 R01 DC018701)","National Institute of Health NIDCD 1 R01 DC018701 Music Appreciation after Cochlear Implantation.","Ascenso S., Perkins R., Williamon A., Resounding meaning: A PERMA wellbeing profile of classical musicians, Frontiers in Psychology, 9, (2018); Bartleet B. L., Higgins L., The Oxford Handbook of Community Music, (2018); Butler J., Kern M. L., The PERMA-profiler: A brief multidimensional measure of flourishing, International Journal of Wellbeing, 6, 3, pp. 1-48, (2016); Churchill W. N., Deaf and hard-of-hearing musicians: Crafting a narrative strategy, Research Studies in Music Education, 37, 1, pp. 21-36, (2015); Creswell J., Guetterman T., Educational Research: Planning, Conducting, and Evaluating Quantitative and Qualitative Research, (2021); Croom A. M., Music practice and participation for psychological wellbeing: A review of how music influences positive emotion, engagement, relationships, meaning, and accomplishment, Musicae Scientiae, 19, 1, pp. 44-64, (2014); Cross I., Music, cognition, culture, and evolution, Annals of the New York Academy of Sciences, 930, 1, pp. 28-42, (2001); Csikszentmihalyi I. S., Csikszentmihalyi M., Optimal Experience: Psychological Studies of Flow in Consciousness, (1988); DeNora T., Music in Everyday Life, (2000); Dritsakis G., van Besouw R. M., O' Meara A., Impact of music on the quality of life of cochlear implant users: A focus group study, Cochlear Implants International, 18, 4, pp. 207-215, (2017); Faran M., Akram S., Tahir N., Malik F., Uses of music and flourish: Mediating role of emotion regulation in university students, Journal of Behavioural Sciences, 31, 2, pp. 25-45, (2021); Gfeller K., Lansing C., Melodic, rhythmic, and timbral perception of adult cochlear implant users, Journal of Speech, Language and Hearing Research, 34, 4, pp. 916-920, (1991); Gfeller K., Oleson J., Knutson J. F., Breheny P., Driscoll V., Olszewski C., Multivariate predictors of music perception and appraisal by adult cochlear implant users, Journal of the American Academy of Audiology, 19, 2, pp. 120-134, (2008); Jiam N. T., Caldwell M. T., Limb C. J., What does music sound like for a cochlear implant user?, Otology and Neurotology, 38, 8, pp. e240-e247, (2017); Jones J. D., Imagined hearing: Music making in deaf culture, The Oxford Handbook of Music and Disability Studies, pp. 54-72, (2016); Juslin P., Emotional reactions to music, The Oxford Handbook of Music Psychology, pp. 197-213, (2016); Koelsch S., From social contact to social cohesion: The 7Cs, Music and Medicine, 5, 4, pp. 204-209, (2013); Looi V., Gfeller K., Driscoll V., Music appreciation and training for cochlear implant recipients: A review, Seminars in Hearing, 33, 4, pp. 307-334, (2012); Maki-Torkko E. M., Vestergren S., Harder H., Lyxell B., From isolation and dependence to autonomy: Expectations before and experiences after cochlear implantation in adult cochlear implant users and their significant others, Disability and Rehabilitation, 37, 6, pp. 541-547, (2015); Maslow A. H., A theory of human motivation, Psychological Review, 50, 4, pp. 370-396, (1943); Mullensiefen D., Gingras B., Musil J., Stewart L., The musicality of non-musicians: An index for assessing musical sophistication in the general population, PLoS One, 9, 2, (2014); Cochlear implants, (2021); My conversations, (2022); Schraer-Joiner L. E., Chen-Hafteck L., The responses of preschoolers with cochlear implants to musical activities: a multiple case study, Early Child Development and Care, 179, 6, pp. 785-798, (2009); Seidman I., Interviewing as Qualitative Research, (1990); Seligman M. E., Flourish: A Visionary New Understanding of Happiness and Well-Being, (2011); Small C., Musicking: The Meanings of Performing and Listening, (1998)","","","Intellect Ltd.","","","","","","17526299","","","","English","Int. J. Community Music","Article","Final","","Scopus","2-s2.0-85152297561"
"Howard K.","Howard, Karen (55964331800)","55964331800","From Veracruz to Los Angeles: The Tradition of Son Jarocho","2022","Journal of General Music Education","35","2","","39","42","3","0","10.1177/27527646211066312","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85132343240&doi=10.1177%2f27527646211066312&partnerID=40&md5=6d85c0cfe18f1d611fe95d559303a52f","University of St, Thomas, St. Paul, MN, United States","Howard K., University of St, Thomas, St. Paul, MN, United States","The African Mexican music tradition of son jarocho comes from the Veracruz region of Mexico. As a performance practice, son jarocho has strong ties to social justice and civil rights, and is a thriving genre both in Mexico and in the United States. This article includes teaching suggestions for guitar or ukulele lessons in general music settings for elementary or middle school level students. The phases of World Music Pedagogy are applied to several son jarocho resources. © National Association for Music Education 2021.","fandango; Mexico; son jarocho; Veracruz","","","","","","","","Campbell P.C., Teaching music globally, (2004); Howard K., Kelley J., World music pedagogy: secondary school innovations, (2018)","K. Howard; University of St, Thomas, St. Paul, United States; email: karen.howard@stthomas.edu","","SAGE Publications Inc.","","","","","","27527646","","","","English","J. Gen. Music. Educ.","Article","Final","","Scopus","2-s2.0-85132343240"
"Joseph D.; Akombo D.","Joseph, Dawn (26034346900); Akombo, David (55811530000)","26034346900; 55811530000","“It Blew My Mind … ”: Using Technology as Conduit to Teach Authentic Kenyan Music to Australian Teacher Education Students","2022","Muziki","19","1","","21","43","22","3","10.1080/18125980.2022.2117239","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85138282720&doi=10.1080%2f18125980.2022.2117239&partnerID=40&md5=7e9d52156594319e1401cc708ecc0148","Deakin University, Australia; University of the West Indies, Barbados","Joseph D., Deakin University, Australia; Akombo D., University of the West Indies, Barbados","In the light of critical race theory, the authors argue that by engaging in multicultural music through song, students gain cultural and historical understandings of minority groups which may break down barriers that propagate Eurocentrism in music education. In this paper we share our field experience using Zoom videoconferencing as a conduit to access and include music from Africa in initial teacher education (ITE) programmes in Australia. In their preparation to be culturally responsive, ITE students are required to participate in activities that foster understandings of other times, places, cultures, and contexts. Author One collaborated in March 2021 with Author Two, a tertiary music educator based in the United States, to teach Kenyan songs sharing about local culture, and music pedagogy to her third year Bachelor of Education (primary) generalist students in Australia. Employing narrative inquiry, we provide insights into the process of our collaboration and, through critical reflection, add insights into the context of music classroom practice. The findings show that Zoom is an effective videoconferencing platform in helping music educators collaborate to improve practice and increase students’ awareness of music and people from Africa. We recommend that music educators across education settings use technology to collaborate locally and internationally with other music educators and culture bearers to promote inclusive ways of teaching and learning music from Africa. As tertiary music educators, we call on all who teach and learn to respect, recognise, and embrace diverse musical arts in their teaching and learning environments. © 2022 Unisa Press.","African music; critical race theory; music pedagogy; narrative inquiry; teacher education","","","","","","","","Abril C.R., Toward a More Culturally Responsive General Music Classroom, General Music Today, 27, 1, pp. 6-11, (2013); Achieng'Andang'O E., Exploring Strategies of Promoting the Singing of Multicultural Songs in Primary School Education in Kenya, The Routledge Companion to Interdisciplinary Studies in Singing, Volume III: Wellbeing, pp. 225-237, (2020); Akombo D.O., Kim Y.H., Music Pedagogies Across Two Cultures: Samulnori Ensemble of South Korea and Mukanda Ensemble of Kenya, Finnish Journal of Music Education, 18, 1, pp. 78-86, (2015); Migration, Australia, (2021); Aboriginal and Torres Strait Islander Histories and Cultures, (2022); (2021); (2020); Baak M., Racism and Othering for South Sudanese Heritage Students in Australian Schools: Is Inclusion Possible?, International Journal of Inclusive Education, 23, 2, pp. 125-141, (2019); Banks J., Multicultural Education: Characteristics and Goals, Multicultural Education: Issues and Perspectives, pp. 3-26, (2001); Banks J., Series Foreword, Music, Education, and Diversity: Bridging Cultures and Communities, pp. ix-xiv, (2017); Baker M., Modernity/Coloniality and Eurocentric Education: Towards a Post-Occidental Self-understanding of the Present, Policy Futures in Education, 10, (2012); Ben J., Elias A., Truong M., Mansouri F., Denson N., Paradies Y., (2021); Blacking J., Movement and Meaning: Dance in Social Anthropological Perspective, Dance Research, 1, 1, pp. 89-99, (1983); Boamajeh C.Y., Ohene-Okantah M., An Introduction to Music Education for Music Teachers in Schools and Colleges, (2000); Bradley D., Music Education, Multiculturalism, and Anti-Racism–Can We Talk?, Action, Criticism, and Theory for Music Education, 5, 2, pp. 2-30, (2006); Bradley D., The Sounds Of Silence: Talking Race in Music Education, Action, Criticism, and Theory for Music Education, 6, 4, pp. 132-162, (2007); Bruce A., Beuthin R., Sheilds L., Molzahn A., Schick-Makaroff K., Narrative Research Evolving: Evolving Through Narrative Research, International Journal of Qualitative Methods, 15, 1, pp. 1-6, (2016); Cain M., Lindblom S., Walden J., Initiate, Create, Activate: Practical Solutions for Making Culturally Diverse Music Education a Reality, Australian Journal of Music Education, 2, pp. 79-97, (2013); Campbell P.S., Teaching Music Globally: Experiencing Music, Expressing Culture, (2004); Campbell P.S., Music, Education, and Diversity: Bridging Cultures and Communities, (2017); Chadha E., Herbert S., Richard R., Review of the Peel District School Board. Ontario Ministry of Education, (2020); Chase S., Taking Narrative Seriously: Consequences for Method and Theory in Interview Studies, Turning Points in Qualitative Research: Tying Knots in a Handkerchief, pp. 273-296, (1995); Clandinin D.J., Connelly F.M., Stories of Experience and Narrative Inquiry, Educational Researcher, 19, 5, pp. 2-14, (1990); Clandinin D.J., Narrative Inquiry: A Methodology for Studying Lived Experience, Research Studies in Music Education, 27, 1, pp. 44-54, (2006); Counted V., Renzaho A.M.N., (2021); Crenshaw K., Gotanda N., Peller G., Thomas K., Critical Race Theory: The Key Writings That Formed the Movement, (1995); Creswell J., Research Design: Qualitative, Quantitative and Mixed Methods Approaches, (2003); Creswell J.W., Creswell J.D., Research Design: Qualitative, Quantitative and Mixed Methods Approaches, (2018); Dawson G.K., (2022); Delgado R., Stefancic J., Critical Race Theory: An Introduction, (2017); De Villiers A.C., (Re) Organizing the Music Curriculum as Multicultural Music Education, International Journal of Music Education, 39, 4, pp. 383-393, (2021); Drummond J., Cultural Diversity in Music Education: Why Bother?, Cultural Diversity in Music Education. Directions and Challenges for the 21st Century, pp. 1-13, (2005); Dunn K.M., Forrest J., Burnley I., McDonald A., Constructing Racism in Australia, Australian Journal of Social Issues, 39, 4, pp. 409-430, (2004); Dunn K.M., (2004); Ewell P., Music Theory’s White Racial Frame, Music Theory Spectrum, 43, 2, pp. 324-329, (2021); Farrell T.S., Critical Incident Analysis Through Narrative Reflective Practice: A Case Study, Iranian Journal of Language Teaching Research, 1, 1, pp. 79-89, (2013); Forrest J., Lean G., Dunn K., Attitudes of Classroom Teachers to Cultural Diversity and Multicultural Education in Country New South Wales, Australia, Australian Journal of Teacher Education, 42, 5, pp. 17-34, (2017); Gonzo C., Multicultural Issues in Music Education, Music Educators Journal, 79, 6, pp. 49-53, (1993); Gubrium F., Holstein J.A., Narrative Ethnography, Handbook of Emergent Methods, pp. 241-264, (2008); Hamilton D., # BlackMusicMatters: Dismantling Anti-Black Racism in Music Education, Canadian Music Educator, 62, 2, pp. 16-28, (2021); Hartlep N.D., (2009); Hernandez K.C., Chang H., Ngunjiri F.W., Collaborative Autoethnography as Multivocal, Relational, and Democratic Research: Opportunities, Challenges, and Aspirations, a/b: Auto/ Biography Studies, 32, 2, pp. 251-254, (2017); Hertscovtich B., Bal D., National Identity and Six Classes: The Limitations of the People of Australia–Australia’s Multicultural Policy, Multiculturalism: Perspectives from Australia, Canada and China, pp. 6-12, (2011); Hess J., Decolonizing Music Education: Moving Beyond Tokenism, International Journal of Music Education, 33, 3, pp. 336-347, (2015); Hess J., Equity and Music Education: Euphemisms, Terminal Naivety, and Whiteness, Action, Criticism and Theory for Music Education, 16, 3, pp. 15-47, (2017); Hess J., Challenging the Empire in Empir (e) ical Research: The Question of Speaking in Music Education, Music Education Research, 20, 5, pp. 573-590, (2018); Hooton C., (2015); Hopton-Jones P., Introducing the Music of East Africa, Music Educators Journal, 82, 3, pp. 26-30, (1995); Ikyoive T., (2011); Inglis C., Multicultural Education in Australia: Two Generations of Evolution, The Routledge International Companion to Multicultural Education, pp. 109-120, (2009); Joseph D., An African Music Odyssey: Introducing a Cross-Cultural Music Curriculum to Australian Primary Teacher Education Students, Music Education International, 2, 1, pp. 98-111, (2003); Joseph D., Different Rhythms to Similar Tunes: African Beats in Action Across Two Continents, Victorian Journal of Music Education, pp. 39-44, (2006); Joseph D., Cultural Diversity in Australia: Promoting the Teaching and Learning of South African Music, Australian Journal of Music Education, 1, 1, pp. 42-56, (2011); Joseph D., Tertiary Educators’ Voices in Australia and South Africa: Experiencing and Engaging in African Music and Culture, International Journal of Music Education, 33, pp. 290-303, (2014); Joseph D., Promoting Cultural Diversity: African Music in Teacher Education, Australian Journal of Music Education, 2, 1, pp. 98-109, (2016); Joseph D., The Dilemma of Being Seen and Unseen: My Dark Skin Amongst the White Walls …, Transnational Women of Indian Origin/Heritage in Academia: Educational and Migration Experiences in (re)Negotiating Identities, pp. 82-96, (2021); Joseph D., Nethsinghe R., Cabedo-Mas A., ‘We Learnt Lots in a Short Time’: Cultural Exchange Across Three Universities Through Songs From Different Lands, International Journal of Music Education, 38, 2, pp. 177-193, (2020); Joseph D., Southcott J., The Blind Men and the Elephant: Music Education in a Changing World, Proceedings of the XXVIIIth Australian Association for Research in Music Education, pp. 66-70, (2006); Kratus J., Music Education at the Tipping Point, Music Educators Journal, 94, 2, pp. 42-48, (2007); Kwansah-Aidoo K., Mapedzahama V., There is Really Discrimination Everywhere: Experiences and Consequences of Everyday Racism among the New Black African Diaspora in Australia, Australasian Review of African Studies, 39, 1, pp. 81-109, (2018); Kymlicka W., (2014); (2022); Ladson-Billings G., Tate W.F., Toward a Critical Race Theory of Education, (1995); Leedy P., Ormrod J., Practical Research: Planning and Design, (2001); Liu C.W., What Does Critical Race Theory Have to do With Music Education?, Journal of General Music Education, 35, 3, pp. 25-27, (2022); Mapedzahama V., Race Matters:(Re) Thinking the Significance of Race and Racial Inequalities in Community Development Practice in Australia, Social Work & Policy Studies: Social Justice, Practice and Theory, 2, 1, pp. 1-19, (2019); Maher D., Video Conferencing to Support Teaching and Learning, Teaching, Technology, and Teacher Education During the COVID-19 Pandemic: Stories from the Field, pp. 91-96, (2020); Martinez A.Y., Counterstory: The Rhetoric and Writing of Critical Race Theory, (2020); Mehra B., Bias in Qualitative Research: Voices from an Online Classroom, Qualitative Report, 7, 1, pp. 1-19, (2002); Mensah I.K., Acquah E.O., Rejection of Indigenous Music? Reflections of Teaching and Learning of Music and Dance in Tamale International School, African Journal of Social Sciences and Humanities Research, 4, 2, pp. 74-86, (2021); Millican J.S., Describing Preservice Instrumental Music Educators’ Pedagogical Content Knowledge, Update: Applications of Research in Music Education, 34, 2, pp. 61-68, (2016); Nethsinghe R., A Snapshot: Multicultural Music Teaching in Schools in Victoria, Australia Portrayed by School Teachers, Australian Journal of Music Education, 1, 1, pp. 57-70, (2012); (2018); Nzewi M., African Music: Theoretical Content and Creative Continuum: The Culture Exponent‘s Definitions, (1997); Parker R., Multicultural Music and Learning, GEMS (Gender, Education, Music, and Society), 8, 3, pp. 20-27, (2015); Pittman J., Severino L., DeCarlo-Tecce M.J., Kiosoglous C., An Action Research Case Study: Digital Equity and Educational Inclusion During an Emergent COVID-19 Divide, Journal for Multicultural Education, 15, 1, pp. 68-84, (2021); Pringle R., Klosterman M., Milton-Brkich K., Hayes L., Collaborative Distance Learning, Science and Children, 47, 9, pp. 52-56, (2010); Reimer B., Seeking the Significance of Music Education: Essays and Reflections, (2009); Riessman C.K., (2005); Roberts R., The Modernity of the Songlines, Transforming Ethnomusicology Volume II: Political, Social and Ecological Issues, pp. 126-132, (2021); Rowley J., Dunbar-Hall P., Cultural Diversity in Music Learning: Developing Identity as a Music Teacher and Learner, Pacific-Asian Education Journal, 25, 2, pp. 41-50, (2013); Saleh M., Menon J., Clandinin D.J., Autobiographical Narrative Inquiry: Tellings and Retellings, Learning Landscapes, 7, 2, pp. 271-282, (2014); Saldana J., The Coding Manual for Qualitative Researchers, (2021); Shulman L., Knowledge and Teaching: Foundations of the New Reform, Harvard Educational Review, 57, 1, pp. 1-23, (1987); Solorzano D.G., Yosso T.J., Critical race Methodology: Counter-Storytelling as an Analytical Framework for Education Research, Qualitative Inquiry, 8, 1, pp. 23-44, (2002); Soutphommasane T., Don‘t Go Back To Where You Came From: Why Multiculturalism Works, (2012); Taylor E., The Foundations of Critical Race Theory and Education: An Introduction, The Foundations of Critical Race Theory in Education, pp. 1-13, (2009); Thomas S., Narrative Inquiry: Embracing the Possibilities, Qualitative Research Journal, 12, 2, pp. 206-221, (2012); Thorsen S.M., Addressing Cultural Identity in Music Education, Talking Drum, 84, pp. 1-7, (2002); Udah H., Singh P., Chamberlain S., Settlement and Employment Outcomes of Black African Immigrants in Southeast Queensland, Australia, Asian and Pacific Migration Journal, 28, 1, pp. 53-74, (2019); Uptin J., If I Peel Off My Black Skin Maybe Then I Integrate: Examining How African-Australian Youth Find Living in a ‘Post Multicultural’ Australia, Social Identities, 27, 1, pp. 75-91, (2020); Vass G., Putting Critical Race Theory To Work in Australian Education Research: We Are With the Garden Hose Here, The Australian Educational Researcher, 42, 3, pp. 371-394, (2015); Vaugeois L., Social Justice and Music Education: Claiming the Space of Music Education as a Site of Postcolonial Contestation, Action, Criticism, and Theory for Music Education, 6, 4, pp. 163-200, (2007); (2021); (2022); Warren F., The Music of Africa: An Introduction. Englewood Cliffs, (1970); Weidknecht M.K., (2009); Weng E., Mansouri F., ‘Swamped by Muslims’ and Facing an ‘African Gang’ Problem: Racialized and Religious Media Representations in Australia, Continuum, 3, pp. 1-19, (2021); Yin R.K., Case Study Research: Design and Methods, (2003); Yosso T.J., Toward a Critical Race Curriculum, Equality and Excellence in Education, 35, 2, pp. 93-107, (2002)","D. Joseph; Deakin University, Australia; email: dawn.joseph@deakin.edu.au","","Routledge","","","","","","18125980","","","","English","Muziki","Article","Final","","Scopus","2-s2.0-85138282720"
"Buonviri N.O.; Paney A.S.","Buonviri, Nathan O (56112546500); Paney, Andrew S (56112696900)","56112546500; 56112696900","Technology use in high school aural skills instruction","2020","International Journal of Music Education","38","3","","431","440","9","9","10.1177/0255761420909917","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85081544451&doi=10.1177%2f0255761420909917&partnerID=40&md5=ae73d7dbfb5bf38bf7a328f3e2ca60cc","Temple University, United States; University of Mississippi, United States","Buonviri N.O., Temple University, United States; Paney A.S., University of Mississippi, United States","In this study, we investigated the use of digital technology for aural skills instruction in Advanced Placement Music Theory (APMT) classes in the United States. Our research questions focused on which technologies teachers use for aural skills, how they incorporate them, and what influences their decisions to use them. We created, piloted, and distributed a survey electronically to a stratified sample by state of 866 instructors. Participants who completed the survey (N = 317, response rate = 36%) were current APMT teachers representing 48 states. Of the 91% of respondents who used digital technologies for teaching aural skills, 93% used websites, 47% used software programs, and 38% used mobile apps. Participants incorporated technology for student practice outside class (93%) and during class (78%), and to present new material during class (55%). Of those who did not use technologies (n = 29), 41% cited lack of funds and 34% cited lack of class time. Participants noted that technology can provide extra practice for students and customization for their needs, but that students’ lack of access and limitations of the programs may temper these benefits. Implications for pedagogical practice and music teacher training are discussed. © The Author(s) 2020.","Aural skills; ear training; music theory; pedagogy; technology","","","","","","","","Abril C.R., Gault B., The state of music in secondary schools: The principal’s perspective, Journal of Research in Music Education, 56, pp. 68-81, (2008); Bauer W.I., Dammers R.J., Technology in music teacher education: A national survey, Research Perspectives in Music Education, 18, 1, pp. 2-15, (2016); Bauer W.I., Reese S., McAllister P.A., Transforming music teaching via technology: The role of professional development, Journal of Research in Music Education, 51, pp. 289-301, (2003); Buonviri N.O., Successful AP music theory instruction: A case study, Update: Applications of Research in Music Education, 36, 2, pp. 53-61, (2018); Buonviri N.O., Paney A.S., Melodic dictation instruction: A survey of AP music theory teachers, Journal of Research in Music Education, 63, pp. 224-237, (2015); Byrne C., Macdonald R.A., The use of Information & Communication Technology (I&CT) in the Scottish Music Curriculum: A focus group investigation of themes and issues, Music Education Research, 4, pp. 263-273, (2002); Celik V., Yesilyurt E., Attitudes to technology, perceived computer self-efficacy and computer anxiety as predictors of computer supported education, Computers & Education, 60, pp. 148-158, (2013); Chen C.W.J., Mobile learning: Using application Auralbook to learn aural skills, International Journal of Music Education, 33, pp. 244-259, (2015); AP course ledger, (2017); AP program participation and performance data 2018, (2018); Dammers R.J., A case study of the creation of a technology-based music course, Bulletin of the Council for Research in Music Education, 186, pp. 55-65, (2010); Dammers R.J., Technology-based music classes in high schools in the United States, Bulletin of the Council for Research in Music Education, 194, pp. 73-90, (2012); Dieteker L., Males L.M., Amador J.M., Earnest D., Curricular noticing: A framework to describe teachers’ interactions with curriculum materials, Journal of Research in Mathematics Education, 49, pp. 521-532, (2018); Hart J.T., Guided metacognition in instrumental practice, Music Educators Journal, 101, 2, pp. 57-64, (2014); Henry M., Vocal sight-reading assessment: Technological advances, student perceptions, and instructional implications, Update: Applications of Research in Music Education, 33, 2, pp. 58-64, (2015); Kiraly Z., Solfeggio 1: A vertical ear training instruction assisted by the computer, International Journal of Music Education, 40, pp. 41-58, (2003); Lee M.H., Tsai C.C., Exploring teachers’ perceived self efficacy and technological pedagogical content knowledge with respect to educational use of the World Wide Web, Instructional Science, 38, pp. 1-21, (2010); Lehman P.R., The class of 2001: Coping with the computer bandwagon, (1985); Lin T.C., Tsai C.C., Chai C.S., Lee M.H., Identifying science teachers’ perceptions of Technological Pedagogical and Content Knowledge (TPACK), Journal of Science Education and Technology, 22, pp. 325-336, (2013); Nielsen L.D., Developing musical creativity: Student and teacher perceptions of a high school music technology curriculum, Update: Applications of Research in Music Education, 31, 2, pp. 54-62, (2013); Paney A.S., Kay A.C., Developing singing in third-grade music classrooms: The effect of a concurrent-feedback computer game on pitch-matching skills, Update: Applications of Research in Music Education, 34, 1, pp. 42-49, (2015); Reese S., Rimington J., Music technology in Illinois public schools, Update: Applications of Research in Music Education, 18, 2, pp. 27-32, (2000); Reiten L., Teaching with (not near) technology, The Mathematics Teacher, 112, pp. 208-214, (2018); Smith R., Shin D., Kim S., A framework for examining teachers’ noticing of mathematical cognitive technologies, Journal of Computers in Mathematics and Science Teaching, 36, 1, pp. 41-63, (2017); Strauss A., Corbin J.M., Basics of qualitative research: Grounded theory procedures and techniques, (1990); Tobias E.S., Hybrid spaces and hyphenated musicians: Secondary students’ musical engagement in a songwriting and technology course, Music Education Research, 14, pp. 329-346, (2012); Webster M.D., Philosophy of technology assumptions in educational technology leadership, Journal of Educational Technology & Society, 20, 1, pp. 25-36, (2017); Webster P., Historical perspectives on technology and music, Music Educators Journal, 89, 1, pp. 38-43, (2002); Zelenak M.S., An exploratory study of middle school music students’ self-efficacy and intention to enroll in future music classes in traditional and technology-enhanced learning environments, Research Perspectives in Music Education, 13, 1, pp. 38-47, (2009)","N.O. Buonviri; Temple University, United States; email: buonviri@temple.edu","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-85081544451"
"Kohfeld J.M.","Kohfeld, J. Michael (57716897500)","57716897500","Women sounding out: Listening for queerness in folk and popular music of the United States","2022","Journal of Popular Music Education","6","2","","207","215","8","0","10.1386/jpme_00085_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85173242325&doi=10.1386%2fjpme_00085_1&partnerID=40&md5=d32aec184ce3cef0840c14deed1d0554","","","Folk music and other popular styles associated with rural regions of the United States appear to be unlikely places to find lesbian, gay, bisexual, transgender, queer and other gender/sexual minorities (LGBTQ+). Consequently, teaching folk music of the United States with attention to diversity, equity and inclusion can be challenging for music educators. In this article, I use Yves Bonenfant’s notion of ‘queer listening’ to discuss queer genders and sexualities in folk and popular music, applying the framework to three songs by women artists: Tracy Chapman’s ‘For My Lover’, the Indigo Girls’ ‘Closer to Fine’ and Amythyst Kiah’s version of ‘Black Myself’. By treating queerness as a ‘doing’ rather than a ‘being’, queer narratives of oppression, survival, resilience and triumph in folk music can be discussed in the music classroom with greater nuance in relation to history, performance and reception. © 2022 Intellect Ltd Article. English language.","Americana; gender; LGBTQ+; music education; popular music pedagogy; queer theory; sexuality","","","","","","","","Allen Samantha, Real Queer America: LGBT Stories from Red States, (2018); Bergonzi Louis, Sexual orientation and music education: Continuing a tradition, Music Educators Journal, 100, 4, pp. 65-69, (2014); Bonenfant Yves, Queer listening to queer vocal timbres, Performance Research, 15, 3, pp. 74-80, (2014); Cayari Christopher, Demystifying trans+ voice education: The Transgender Singing Voice Conference, International Journal of Music Education, 37, 1, pp. 118-131, (2019); Chapman Tracy, Fast Car, (1988); Chapman Tracy, For My Lover, (1988); Chapman Tracy, Give Me One Reason, (1995); Cruz David B., Controlling desires: Sexual orientation conversion and the limits of knowledge, Southern California Law Review, 72, 5, pp. 1297-400, (1999); Garrett Matthew L., Palkki Joshua, Honoring Trans and Gender-Expansive Students in Music Education, (2021); Goldin-Perschbacher Shana, TransAmericana: Gender, genre, journey, New Literary History, 46, 4, pp. 775-803, (2015); Gould Elizabeth, Companion-able species: A queer pedagogy for music education, Bulletin of the Council for Research in Music Education, 197, 1, pp. 63-75, (2013); Gould Elizabeth, Ecstatic abundance: Queer temporalities in LGBTQ studies and music education, Bulletin of the Council for Research in Music Education, 207&208:1, pp. 123-138, (2017); Greene Kate, Southern misfits: Politics, religion and identity in the music of Indigo Girls, Southern Quarterly, 44, 4, pp. 155-174, (2007); Hubbs Nadine, Rednecks, Queers, and Country Music, (2014); Kiah Amethyst, Darlin’ Corey, Dig, digital album, (2013); Kiah Amythyst, About Amythyst, (2021); Kiah Amethyst, Black Myself, (2021); Lang Nico, Gen Z is the queerest generation ever, according to new survey, THEM, (2021); Martin Michel, Without further ado, singer Tracy Chapman returns, National Public Radio, (2009); Black Myself, Songs of Our Native Daughters, (2019); Panetta Brian J., Understanding an invisible minority: A literature review of LGBTQ+ persons in music education, Applications of Research in Music Education, 40, 1, pp. 18-26, (2021); Saliers Emily, Ray Amy, Closer to Fine, (1989); Silveira Jason, Perspectives of a transgender music education student, Journal of Research in Music Education, 66, 4, pp. 428-448, (2019)","J.M. Kohfeld; email: jmkohfeld@gmail.com","","Intellect Ltd.","","","","","","23976721","","","","English","J. Pop. Music. Educ.","Article","Final","","Scopus","2-s2.0-85173242325"
"Rubinoff K.R.","Rubinoff, Kailan R. (37091722200)","37091722200","Toward a revolutionary model of music pedagogy: The Paris conservatoire, Hugot and Wunderlich's Méthode de flûte, and the disciplining of the musician","2017","Journal of Musicology","34","4","","473","514","41","8","10.1525/JM.2017.34.4.473","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85031678817&doi=10.1525%2fJM.2017.34.4.473&partnerID=40&md5=74c15b7ff15b62a838c568c5c48c3373","","","Established in 1795 in the aftermath of the French Revolution, the Paris Conservatoire emerged from a training school for National Guard musicians. Aligned with the French Republic's broader educational reforms, the Conservatoire was marked by its secularization, standardized curriculum, military-style discipline, and hierarchical organization. Among its most ambitious achievements was the publication of new instruction treatises from 1799 to 1814. Covering elementary theory, solfège, harmony, and all the major instruments, these methods articulated the Conservatoire's pedagogy and circulated widely in nineteenth-century Europe. Hugot and Wunderlich's Méthode de flûte (1804) exemplifies the Conservatoire's approach, making a distinct break from methods published only a few years earlier: abstract technical drills predominate, evenness of tone quality in all key areas is emphasized, and the instruction of improvisation is curtailed. Airs, brunettes, and other pieces typical of ancien régime tutors are replaced with exercises demanding repetitive practicing. Meticulous instructions for the mastery of the flute's four-key mechanism bear a striking resemblance to rifle-handling directions in contemporary military training and combat manuals by Jacques-Antoine-Hippolyte, Comte de Guibert, and others. The Conservatoire instruction manuals serve not only as guidebooks to historical fingerings and period performance style; they also can be read as social and political texts. Meant to advance a more rational music pedagogy, these treatises show the extent to which the military model permeated everyday life in post-revolutionary France. Further, they demonstrate a new conception ofmusical training beyond personal development toward the creation of professional musicians serving a patriotic, republican function. The treatise thus becomes what Michel Foucault calls a ""simple instrument,"" disciplining musicians' bodies for the political goals of the state. © 2017 by The Regents of the University of California. All rights reserved.","Antoine hugot; Discipline; Flute; Johann Georg Wunderlich; Paris Conservatoire; Pedagogy","","","","","","","","Boulad-Ayoub J., Introduction generale, La Decade Philosophique Comme Système, 1794-1807, Vol. I: L'Encyclopédie Vivante, pp. 5-16, (2003); Colwill E., Women's Empire' and the sovereignty of man in La Decade philosophique, 1794-1807, Eighteenth-Centûry Studies, 29, pp. 265-289, (1996); Méthode de flûte du Conservatoire, La Décade Philosophique, Littéraire et Politique, 9, pp. 549-550, (1805); Gossec F.-J., Decision relative ala redaction des méthodes d'enseignement musical; 12 fructidor an II (29 August 1794), Le Conservatoire National de Musique et de Déclamation: Documents Historiques et Administratifs, (1900); Bibliothèque des Introuvables, (2002); Pierre, CNMD; Hondre E., Les méthodes officielles du Conservatoire, Le Conservatoire de Musique de Paris: Regards sur une Institution et Son Histoire, pp. 73-107, (1995); Burgess G., Haynes B., The Oboe, (2004); Ellis K., Music Criticism in Nineteenth-Century France: La Revue et Gazette Musicale de Paris 1834-1880, pp. 8-32, (2007); Aitken S.E., Music and the Popular Press: Music Criticism in Paris During the First Empire, pp. 9-10, (1987); Article sur le Conservatoire et ses méthodes, Journal de Paris, (1800); Pierre, CNMD; Beaux-Arts-Musique, Revûe Philosophique, Littéraire et Politique, pp. 43-44, (1807); Correspondance des Amateurs Musiciens, 6, (1802); Spitzer J., Zaslaw N., The Birth of the Orchestra: History of an Institution, 1650-1815, (2004); Mongredien J., Les premiers exercices publics d'élèves (1800-1815) d'après la presse contemporaine, Le Conservatoire de Paris: Des Menûs-Plaisirs à la Cité de la Musique, 1795-1995, pp. 15-37, (1996); Pierre, CNMD, pp. 476-497; Nachrichten, Allgemeine Musikalische Zeitung, 13, pp. 729-739, (1811); Mongredien, Les Premiers Exercices; Holoman D.K., The Société des Concerts Dû Conservatoire, 1828-1967, (2004); Bloom P.A., The public for orchestral music in the nineteenth century, The Orchestra: Origins and Transformations, pp. 251-281, (1986); Foucault M., Discipline and Punish: The Birth of the Prison, (1995); Mason L., Singing the French Revolution: Popular Culture and Politics, 1787-1799, pp. 2-5, (1996); Elizabeth M., Bartlet C., The new repertory at the Opéra during the Reign of Terror: Revolutionary rhetoric and operatic consequences, Music and the French Revolution, pp. 107-156, (1992); Dean W., Opera under the French revolution, Proceedings of the Royal Musical Association, 94, pp. 77-96, (1967); Mason, Singing the French Revolution, pp. 120-122; Kennedy E., A Cultural History of the French Revolution, pp. 235-292, (1989); Ozouf M., Festivals and the French Revolution, (1988); Kennedy, A Cultural History of the French Revolution; Alder K., A revolution to measure: The political economy of the metric system in France, The Values of Precision, pp. 39-71, (1995); Kennedy, A Cultural History of the French Revolution, pp. 187-192; Palmer R.R., The Improvement of Humanity: Education and the French Revolution, (1985); Kennedy, A Cultural History of the French Revolution, pp. 157-162; Kennedy, A Cultural History of the French Revolution; Palmer, The Improvement of Humanity, pp. 179-183; Hunt L., Politics, Culture, and Class in the French Revolution, (2004); Kennedy, A Cultural History of the French Revolution, pp. 353-362; Palmer, The Improvement of Humanity, pp. 139-146; Mongredien J., French Music from the Enlightenment to Romanticism: 1789-1830, (1996); Ellis K., Paris and the regions from the revolution to the First World War, The Cambridge Companion to French Music, pp. 362-378, (2015); Lesure F., Une polémique post-révolutionnaire: Le rétablissement des maîtrises, Échos de France, et D'Italie: Liber Amicorum Yves Gérard, pp. 83-91, (1997); McManners J., Church and Society in Eighteenth-Century France: The Clerical Establishment and its Social Ramifications, pp. 451-456, (1998); Dompnier B., Maîtrises & Chapelles Aux XVIIe & XVIIIe Siècles: Des Institutions Musicales au Service de Dieu, (2003); Loupes P., Les Psallettes aux XVIIe et XVIIIe Siècles: Étude de Structure, pp. 25-42; Lescat P., Le Recrutement des Maîtrises Parisiennes aux XVIIe et XVIIIe Siècles, pp. 97-116; Escoffier G., Elements pour une Typologie des Maîtrises Capitulaires, pp. 203-230; Heartz D., Music in European Capitals: The Galant Style, 1720-1780, (2003); Guillot P., Les Jeésuites et la Musique: Le Collège de la Trinité à Lyon 1565-1762, pp. 37-45, (1991); Compere M.-M., Julia D., Les Collèges Français: 16e-18e Siècles, (1984); McManners, Church and Society; Rapport au Nom des Comités D'instruction Publique et des Finances sur L'Organisation de L'Institut Central de Musique, Présenté par M.-J. Chénier à la Convention, (1795); Pierre, CNMD, pp. 120-122; Pierre C., B. Sarrette et les Origines du Conservatoire National de Musique et de Déclamation, pp. 125-126, (1895); Pierre, BS; Lesure, Une Polémique Postrévolutionnaire; Loi Portant Établissement D'un Conservatoire de Musique à Paris pour L'Enseignement de Cet Art, (1795); Pierre, CNMD; Pierre, BS, pp. 179-180; Gessele C.M., Conservatories: III, 2, Grove Music Online; Pierre, CNMD; Résponse Aux Calomnies Insérées dans le Courrier des Spectacles, (1802); Pierre, CNMD; Pierre, BS; Pierre, CNMD, pp. 511-512; Palmer, The Improvement of Humanity; Charles-Dominique L., Les Ménétriers Français sous l'Ancien Régime, pp. 70-79, (1994); Getreau F., Guillaume de Limoges et François Couperin ou comment enseigner la musique hors la ménestrandise Parisienne, Musik. Raum. Akkord. Bild: Festschrift zum 65. Geburtstag Von Dorothea Baumann, pp. 163-182, (2012); Biget M., Les métiers de la musique au XVIII<sup>e</sup> siècle-Une affaire de famille, Aux Sources de la Puissance, Sociabilité et Parenté: Actes du Colloque de Rouen, 12-13 Novembre 1987, pp. 201-212, (1989); Pierre, Institut national de Chant et de Déclamation, Appointements des professeurs, Quartier de janvier 1793, l'an 2<sup>e</sup> de la Republique, CNMD; Gessele C.M., The Conservatoire de musique and national music education in France, 1795-1801, Music and the French Revolution, pp. 197-198, (1992); Noiray M., L'École royale de chant (1784-1795): Crise musicale, crise institutionnelle, Musical Education in Europe (1770-1914): Compositional, Institutional, and Political Challenges, 1, pp. 49-77, (2005); Pierre, BS, pp. 11-59; Pierre, Decret institutant L'Institut national de musique, CNMD, (1793); Pierre, BS, pp. 38-45; Pierre, BS, pp. 48-49; Pierre, BS; Pierre, Projet d'organisation de l'Institut national de musique, CNMD, pp. 108-110; Pierre, BS, pp. 117-120; Pierre, Loi portant établissement d'un Conservatoire de Musique à Paris pour l'enseignement de cet art"" and ""Décret portant diverses mesures transitoires pour l'exécution de la loi du 16 thermidor an III, BS, pp. 179-182; Pierre, CNMD, pp. 124-126; Baldauf-Berdes J.L., Women Musicians of Venice: Musical Foundations, 1525-1855, (1996); Rostirolla G., L'organizzazione musicale nell' Ospedale veneziano della Pietà al tempo di Vivaldi, Nuova Rivista Musicale Italiana, 13, pp. 168-195, (1979); Burney C., The Present State of Music in France and Italy, (1773); Robinson M.F., The governors minutes of the conservatory S. 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Musicol.","Article","Final","","Scopus","2-s2.0-85031678817"
"Comeau G.; Lu Y.; Swirp M.; Mielke S.","Comeau, Gilles (15623017600); Lu, Yuanyuan (57199326459); Swirp, Mikael (57199328591); Mielke, Susan (57199326583)","15623017600; 57199326459; 57199328591; 57199326583","Measuring the musical skills of a prodigy: A case study","2018","Intelligence","66","","","84","97","13","5","10.1016/j.intell.2017.11.008","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85037835375&doi=10.1016%2fj.intell.2017.11.008&partnerID=40&md5=a286fc5da2d6f377e6db167c4033a5d9","School of Music, University of Ottawa, Ottawa, Canada; Piano Pedagogy Research Laboratory, University of Ottawa, Ottawa, Canada","Comeau G., School of Music, University of Ottawa, Ottawa, Canada, Piano Pedagogy Research Laboratory, University of Ottawa, Ottawa, Canada; Lu Y., Piano Pedagogy Research Laboratory, University of Ottawa, Ottawa, Canada; Swirp M., Piano Pedagogy Research Laboratory, University of Ottawa, Ottawa, Canada; Mielke S., Piano Pedagogy Research Laboratory, University of Ottawa, Ottawa, Canada","While there is a strong interest in and fascination with music prodigies, very few measurements have been conducted on this rare phenomenon and very little empirical data exist. We document the case of LN, an 11-year-old music prodigy. We tested him on his cognitive skills (non-verbal reasoning and working memory), rhythm and melody discrimination skills, sight reading, improvisation, pitch accuracy, and musical memory. The data were then compared to various controls: a group of music students of the same age group (for cognitive and discrimination skills); three university music students with perfect pitch (for pitch accuracy and musical memory); and a music prodigy of similar age who was tested almost one hundred years ago (for pitch accuracy and musical memory). This is the first study that compares the test results of a contemporary music prodigy with the rare data of a prodigy studied in the early 20th century; the results are remarkably similar. LN's results on cognitive skills confirm the exceptional working memory often associated with prodigies. Most interestingly, musical ability results revealed a phenomenal level of melody discrimination, pitch accuracy and musical memory (skills related to auditory pitch memory), but just average rhythm skills, below average sight reading ability and he was not able to improvise. This suggests the potentially important role of exceptional auditory pitch memory in the development of musical prodigies. © 2017 Elsevier Inc.","Ability; Auditory memory; Musical talent; Pitch memory; Prodigy; Working memory","","","","","","","","Bailey J.A., Penhune V.B., Rhythm synchronization performance and auditory working memory in early- and late-trained musicians, Experimental Brain Research, 204, pp. 91-101, (2010); Bamberger J., Cognitive issues in the development of musically gifted children, Conceptions of giftedness, pp. 388-413, (1986); Barrington D., Account of a very remarkable young musician. In a letter from the honourable Daines Barrington, F.R.S. to Mathey Maty, M.D. Sec. 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Searching for the causes of poor singing, Journal of Experimental Psychology: General, 141, 1, pp. 76-97, (2012); Hyde K.L., Lerch J., Norton A., Forgeard M., Winner E., Evans A.C., Schlaug G., The effects of musical training on structural brain development: A longitudinal study, The Neurosciences and Music III: Disorders and Plasticity, 1169, pp. 182-186, (2009); Ireland K., Do musical training and cognitive abilities predict rhythm synchronization and melody discrimination performance in children?, (2014); Jackson N.E., Strategies for modeling the development of giftedness in children, Talents unfolding: Cognition and development, pp. 27-54, (2000); Jenkins J.S., Prodigies of nature, Journal of the Royal Society of Medicine, 98, 6, pp. 277-280, (2005); Kenny B.J., Gellrich M., Improvisation, The science & psychology of music performance: Creative strategies for teaching and learning, pp. 117-134, (2002); Kopiez R., Lehmann A.C., Musicological reports on early 20th century musical prodigies, Musical prodigies: Interpretations from psychology, education, musicology, and ethnomusicology, pp. 168-184, (2016); Lehmann A., McArthur V., Sight-reading, The science & psychology of music performance: Creative strategies for teaching and learning, pp. 135-150, (2002); Lehmann A.C., Sloboda J.A., Woody R.H., Psychology for musicians: Understanding and acquiring the skills, (2007); Lockett A.H., Centenary, or fancy fair polka and gallop [score], The Canadian musical heritage: Piano music I/Le patrimoine musical canadien: Musique pour piano I, (1986); Loui P., Li H., Hohmann A., Schlaug G., Enhanced cortical connectivity in absolute pitch musicians: A model for local hyperconnectivity, Journal of Cognitive Neuroscience, 23, pp. 1015-1026, (2011); McPherson G.E., Diary of a child musical prodigy, International Symposium on Performance Science, (2007); Mills J.R., Jackson N.E., Predictive significance of early giftedness: The case of precocious reading, Journal of Educational Psychology, 82, pp. 410-419, (1990); Morelock M.J., Feldman D.H., Extreme precocity: Prodigies, savants, and children of extraordinarily high IQ, Handbook of gifted education, pp. 455-469, (2003); Nutley S.B., Darki F., Klingberg T., Music practice is associated with development of working memory during childhood and adolescence, Frontiers in Human Neuroscience, 7, 926, pp. 1-9, (2013); Oechslin M.S., Meyer M., Jancke, L., Absolute pitch: Functional evidence of speech-relevant auditory acuity, Cerebral Cortex, 20, pp. 447-455, (2010); Ohnishi T., Matsuda H., Asada T., Atuga M., Hirakata M., Nishikawa M., Et al., Functional anatomy of musical perception in musicians, Cerebral Cortex, 11, pp. 754-760, (2001); Pressing J., Psychological constraints on improvisational expertise and communication, In the course of performance: Studies in the world of musical improvisation, pp. 47-67, (1998); Revesz G., The psychology of a musical prodigy, (2007); Ruthsatz J., Detterman D.K., An extraordinary memory: The case study of a musical prodigy, Intelligence, 31, pp. 509-518, (2003); Ruthsatz J., Ruthsatz K., Ruthsatz-Stephens K., Putting practice into perspective: Child prodigies as evidence of innate talent, Intelligence, 45, pp. 60-65, (2014); Ruthsatz J., Urbach J.B., Child prodigy: A novel cognitive profile places elevated general intelligence, exceptional working memory and attention to detail at the root of prodigiousness, Intelligence, 40, pp. 419-426, (2012); Schulze K., Gaab N., Schlaug G., Perceiving pitch absolutely: Comparing absolute and relative pitch possessors in a pitch memory task, BMC Neuroscience, 10, pp. 1471-2202, (2009); Simonton D.K., Greatness: Why makes history and why, (1994); Sloboda J.A., The musical mind: The cognitive psychology of music, (1985); Stedman L.M., Education of gifted children, pp. 22-31, (1924); Stumpf C., Tonpsychologie, 1, (1883); Stumpf C., Tonpshychologie, 2, (1890); Tolansky S., The boy Mozart: A contemporary scientist's investigation, The New Scientist, 5, pp. 1026-1028, (1959); Vandervert L.R., Working memory, the cognitive functions of the cerebellum and the child prodigy, International handbook on giftedness, pp. 295-316, (2009); Wechsler D., Wechsler intelligence scale for children–fourth edition, (2003); Wilson S.J., Lusher D., Wan C.Y., Dudgeon P., Reutens D.C., The neurocognitive components of pitch processing: Insights from absolute pitch, Cerebral Cortex, 19, pp. 724-732, (2009); Winner E., Martino G., Giftedness in the visual arts and music, International handbook of research and development of giftedness and talent, pp. 253-281, (1993); Winner E., Martino G., Giftedness in non-academic domains: The case of the visual arts and music, International handbook of giftedness and talent, pp. 95-110, (2000)","G. Comeau; School of Music, Piano Pedagogy Research Laboratory, University of Ottawa, Ottawa, 50 Perez Hall, K1N 6N5, Canada; email: gcomeau@uottawa.ca","","Elsevier Ltd","","","","","","01602896","","NTLLD","","English","Intelligence","Article","Final","","Scopus","2-s2.0-85037835375"
"Shang Y.","Shang, Yanxia (57215607141)","57215607141","An evaluation system for the influence of modern pop musicteaching on students' psychology in new media environment","2020","Revista Argentina de Clinica Psicologica","29","1","","1064","1069","5","1","10.24205/03276716.2020.150","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85081372138&doi=10.24205%2f03276716.2020.150&partnerID=40&md5=b7e59c188d02a258a398fbbe4cc3b00b","Shenyang Conservatory of Music, Modern music school, Shenyang, 110168, China","Shang Y., Shenyang Conservatory of Music, Modern music school, Shenyang, 110168, China","With the proliferation of new media, modern pop music has already penetrated into the life of music students. The music industry is calling for including modern pop music into music education. In this paper, a guestionnaire survey is carried out among 600 non-music majors from three universities in Anhui Province, China. Based on the survey results, the author analyzed the current situation of modern pop music pedagogy. Then, the psychological theory was introduced to the music pedagogy, creating an evaluation system of how modern pop music teaching influences the students' psychology in new media environment. The established system was applied for comparative analysis of survey data. The results show that there is room to improve the modern pop music teaching system; for college students, modern pop music helps to alleviate the psychological stress, ease mental illness, and develop sound personality and lofty sentiments. The research results highlight the necessity to introduce and improve modern pop music education in universities. © 2020, Fundacion Aigle.","Modern pop music; New media; Students' psychology; Teaching","","","","","","","","Buxton C.E., Influences in psychology. (Book reviews: Points of view in the modern history of psychology), Science, 232, pp. 1447-1448, (1986); Carpentier F.D., Knobloch-Westerwick S., Blumhoff A., Naughty versus nice: Suggestive pop music influences on perceptions of potential romantic partners, Media Psychology, 9, 1, pp. 1-17, (2007); Furnham A., Bradley A., Music while you work: The differential distraction of background music on the cognitive test performance of introverts and extraverts, Applied Cognitive Psychology, 11, 5, pp. 445-455, (1997); Guerin P., Guerin B., Tedmanson D., Clark Y., How can country, spirituality, music and arts contribute to indigenous mental health and wellbeing?, Australasian Psychiatry, 19, pp. 38-41, (2011); Jakubowski K., Mullensiefen D., The influence of music-elicited emotions and relative pitch on absolute pitch memory for familiar melodies, Quarterly journal of experimental psychology (2006), 66, 7, pp. 1259-1267, (2013); Kellaris J.J., Kent R.J., An exploratory investigation of responses elicited by music varying in tempo, tonality, and texture, Journal of Consumer Psychology, 2, 4, pp. 381-401, (1993); Lenette C., Where words fail, music speaks: The impact of participatory music on the mental health and wellbeing of asylum-seekers, Arts & Health, 8, 2, pp. 125-139, (2015); Long P., Popular music, psychogeography, place identity and tourism: The case of sheffield, Tourist Studies, 14, 1, pp. 48-65, (2014); McCaffrey T., Edwards J., Fannon D., Is there a role for music therapy in the recovery approach in mental health?, Arts in Psychotherapy, 38, 3, pp. 185-189, (2011); North A.C., Hargreaves D.J., Affective and evaluative responses to pop music, Current Psychology, 17, 1, pp. 102-110, (1998); Romans P., Psychology and popular culture: Psychological reflections on mash, Journal of Popular Culture, 17, 3, pp. 3-21, (2010); Sakamoto A., Miura S., Sakamoto K., Mori T., Popular psychological tests and selffulfilling prophecy: An experiment of japanese female undergraduate students, Asian Journal of Social Psychology, 3, 2, pp. 107-124, (2000); Sharp W., Hargrove D.S., Johnson L., Deal W.P., Mental health education: An evaluation of a classroom based strategy to modify help seeking for mental health problems, Journal of College Student Development, 47, 4, pp. 419-438, (2006); Simpson A., Reynolds L., Light I., Attenborough J., Talking with the experts: Evaluation of an online discussion forum involving mental health service users in the education of mental health nursing students, Nurse Education Today, 28, 5, pp. 633-640, (2008); Tomcho T.J., Foels R., Walter M.I., Yerkes K., Brady B., Erdman M., Dantoni L., Venables M., Manry A., Outside the classroom and beyond psychology: A citation analysis of the scientific influence of teaching activities, Teaching of Psychology, 42, 1, pp. 5-13, (2015)","Y. Shang; Shenyang Conservatory of Music, Modern music school, Shenyang, 110168, China; email: shangyanxia1979@163.com","","Fundacion Aigle","","","","","","03276716","","","","English","Rev. Argent. Clin. Psicol.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85081372138"
"Zhang Q.","Zhang, Qi (57206665612)","57206665612","Application of music education in brain cognition","2018","Kuram ve Uygulamada Egitim Bilimleri","18","5","","1960","1967","7","5","10.12738/estp.2018.5.095","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85061814164&doi=10.12738%2festp.2018.5.095&partnerID=40&md5=a016291f208fccd63b8e6daee0e5f1e9","College of Arts, Hebei Agricultural University, China","Zhang Q., College of Arts, Hebei Agricultural University, China","Neuroscience studies have revealed that music education may have a catalytic effect on brain cognition and development. Intensive music training will also intrigue educates’ interests in other disciplines for comprehensive quality development. This paper analyzes the findings of domestic and foreign scholars on how music education will be correlated to cranial nerves and finally bears out that music education contributes much to brain cognition and cranial nerve development. More than that, music education plays a more powerful role in several special sensitive periods of human development process. What's the relationship between cranial nerves and bermorgen training is also analyzed herein. In a word, the unique music training mode can develop the human brain potential, activate the cerebral nerve functions to lay a foundation for the development of other skills, thus providing the clue to the reform of education in the new era. © 2018 EDAM.","Brain cognitive mechanism; Development potential; Music pedagogy","","","","","","","","Banich M.T., Executive function: The search for an integrated account, Current Directions in Psychological Science, 18, 2, pp. 89-94, (2009); Chlan L.L., Engeland W.C., Savik K., Does music influence stress in mechanically ventilated patients, Intensive and Critical Care Nursing, 29, 3, pp. 121-127, (2013); Corrigall K.A., Trainor L.J., Effects of musical training on key and harmony perception, Annals of the New York Academy of Sciences, 1169, 1, pp. 164-168, (2009); Hyde K.L., Lerch J., Norton A., Forgeard M., Winner E., Evans A.C., Schlaug G., Musical training shapes structural brain development, Journal of Neuroscience, 29, 10, pp. 3019-3025, (2009); Jones P.H., Introducing Neuroeducational Research: Neuroscience, Education and the Brain from Contexts to Practice, (2009); Luo C., Guo Z., Lai Y., Liao W., Liu Q., Kendrick K.M., Yao D.Z., Li H., Musical training induces functional plasticity in perceptual and motor networks: Insights from resting-state FMRI, Plos One, 7, 5, (2012); Moreno S., Can music influence language and cognition, Contemporary Music Review, 28, 3, pp. 329-345, (2009); Parbery-Clark A., Strait D.L., Kraus N., Context-dependent encoding in the auditory brainstem subserves enhanced speech-in-noise perception in musicians, Neuropsychologia, 49, 12, pp. 3338-3345, (2011); Parbery-Clark A., Skoe E., Lam C., Kraus N., Musician enhancement for speech-in-noise, Ear and Hearing, 30, 6, pp. 653-661, (2009); Patel A.D., Can nonlinguistic musical training change the way the brain processes speech? The expanded OPERA hypothesis, Hearing Research, 308, pp. 98-108, (2014); Peretz I., Zatorre R.J., Brain organization for music processing, Annual Review of Psychology, 56, pp. 89-114, (2005); Salimpoor V.N., Benovoy M., Larcher K., Dagher A., Zatorre R.J., Anatomically distinct dopamine release during anticipation and experience of peak emotion to music, Nature Neuroscience, 14, 2, pp. 257-262, (2011); Spilka M.J., Steele C.J., Penhune V.B., Gesture imitation in musicians and non-musicians, Experimental Brain Research, 204, 4, pp. 549-558, (2010); Weinberger N.M., Specific long-term memory traces in primary auditory cortex, Nature Reviews Neuroscience, 5, 4, (2004)","Q. Zhang; College of Arts, Hebei Agricultural University, China; email: xxqq1982@163.com","","Edam","","","","","","13030485","","","","English","Kuram Uygulamada Egitim Bilimleri","Article","Final","All Open Access; Bronze Open Access","Scopus","2-s2.0-85061814164"
"Odria C.","Odria, Carlos (57193992977)","57193992977","‘The body is our masterpiece’: learning to transform in Lima’s tambores music","2019","Ethnomusicology Forum","28","2","","135","162","27","0","10.1080/17411912.2019.1700816","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85077840964&doi=10.1080%2f17411912.2019.1700816&partnerID=40&md5=f72e0cac866a4b829b95d73e3c9dd9e5","Visual and Performing Arts Department, Worcester State University, Worcester, MA, United States","Odria C., Visual and Performing Arts Department, Worcester State University, Worcester, MA, United States","In this article I discuss the use of rehearsal drills among the tambores musicians of Villa El Salvador (VES), an underprivileged yet emerging district of Lima, Peru that was built and populated by Andean and mestizo settlers starting in the 1970s. Tambores is a drum genre derived from Afro-Brazilian batucada music that incorporates community-oriented values inherited from the seminal ideological principles established by the first wave of rural settlers. Starting in the early 2000s, grassroots organisations led by VES adolescents began developing and disseminating local pedagogies to promote tambores music as a conduit for galvanising communal engagement and solidarity. The article shows how VES musicians deploy rehearsal routines to fortify their grassroots initiatives, seeking to enfranchise other adolescents by incorporating bodily techniques for self-empowerment and dynamic socialisation. Through this pedagogical programme, tambores musicians employ the rehearsal as a space where the district’s youth may fine-tune and ‘transform’ their bodies and social attitudes in order to become engaged and positively motivated members of the VES community. © 2020, © 2020 Informa UK Limited, trading as Taylor & Francis Group.","batucada; music pedagogy; neo-Andean youth cultures; Peru; practice theory","","","","","","","","Apter A., The Embodiment of Paradox: Yoruba Kingship and Female Power, Cultural Anthropology, 6, 2, pp. 212-229, (1991); Archibald P., Overcoming Science in the Andes, Revista Canadiense de Estudios Hispánicos, 27, 3, pp. 407-434, (2003); Barron M., Exclusion and Discrimination as Sources of Inter-Ethnic Inequality in Perú, Economía, 61, 31, pp. 51-80, (2008); Barth F., Other Knowledge and Other Ways of Knowing, Journal of Anthropological Research, 51, 1, pp. 65-68, (1995); Burt J.-M., Shining Path and the ‘Decisive Battle’ in Lima’s Barriadas: The Case of Villa El Salvador, Shining and Other Paths: War and Society in Peru, 1980–1995, pp. 297-306, (1998); Boal A., Theater of the Oppressed, (2000); Cadena M.D.L., La Producción de Otros Conocimientos y sus Tensiones: ¿De la Antropología Andinista a la Interculturalidad?, Saberes Periféricos. Ensayos Sobre la Antropología en América Latina, pp. 107-152, (2007); Cervone E., Festival Time, Long Live the Festival: Ethnic Conflict and Ritual in the Andes, Anthropos, 93, pp. 101-113, (1998); Collins R., Interaction Ritual Chains, (2004); Coronado J., Pajuelo R., Villa El Salvador: Poder y Comunidad, (1996); Csordas T.J., Embodiment as a Paradigm for Anthropology, Ethos, 18, 1, pp. 5-47, (1990); Csordas T.J., Intersubjectivity and Intercorporeality, Subjectivity, 22, 1, pp. 110-121, (2008); Estatutos de la Comunidad Autogestionaria de Villa El Salvador, (1973); Degregori C.I., Blondet C., Lynch N., Conquistadores de un Nuevo Mundo: De Invasores a Ciudadanos en San Martín de Porres, (1986); Dissanayake E., Bodies Swayed to Music: The Temporal Arts as Integral to Ceremonial Ritual, Communicative Musicality: Exploring the Basis of Human Companionship, pp. 533-544, (2009); Escobar A., Encountering Development: The Making and Unmaking of the Third World, (2011); Freire P., Pedagogy of the Oppressed, (2005); Gootenberg P., Between Silver and Guano: Commercial Policy and the State in Post-Independence Peru, (2014); Gutierrez G., A Theology of Liberation: History, Politics, and Salvation, (1988); Hollan D., Throop C.J., Whatever Happened to Empathy?: Introduction, Ethos, 36, 4, pp. 385-401, (2008); Jacobsen N., Mirages of Transition: The Peruvian Altiplano, 1780–1930, (1993); Lucas G., Clayton M., Leante L., Inter-Group Entrainment in Afro-Brazilian Congado Ritual, Empirical Musicology Review, 6, 2, pp. 75-102, (2011); Maclaren K., Touching Matters: Embodiments of Intimacy, Emotion, Space and Society, 13, pp. 95-102, (2014); Marratto S.L., The Intercorporeal Self: Merleau-Ponty on Subjectivity, (2012); McNeill W.H., Keeping Together in Time, (1995); Mendoza Z.S., Shaping Society through Dance: Mestizo Ritual Performance in the Peruvian Andes, (2000); Merleau-Ponty M., Phenomenology of Perception, (2013); Montoya R., Porvenir de la Cultura Quechua en Perú. Desde Lima, Villa El Salvador y Puquio, (2010); Nugent D., Building the State, Making the Nation: The Bases and Limits of State Centralization in ‘Modern’ Peru, American Anthropologist, 96, 2, pp. 333-369, (1994); Odria C., Los artistas del pasacalle y el ensayo de la cultura en Villa El Salvador, Perú, Mundos Plurales, 3, 2, pp. 75-97, (2016); Odria C., Seeking a New Path: Pasacalle Participants Practicing Culture in Villa El Salvador, Peru, Ethnomusicology, 61, 1, (2017); Odria C., Fractal Performance in a Neo-Andean Fiesta: Kaleidoscopic Voices of Villa El Salvador, Peru, Latin American Music Review, 39, 2, pp. 194-228, (2018); Odria C., Cuerpos jóvenes en sinergia: entretejiendo escenarios de sonido y lucha en Lima, Cuadernos de Etnomusicología, 12, pp. 114-137, (2018); Pravaz N., The Well of Samba: On Playing Percussion and Feeling Good in Toronto, Canadian Ethnic Studies, 41, 3, pp. 207-232, (2010); Ramos Quispe E., Sueños sobre Arena: Proceso Histórico de Villa El Salvador, (2010); Romero R.R., Debating the Past: Music, Memory, and Identity in the Andes, (2001); Tatro K., The Hard Work of Screaming: Physical Exertion and Affective Labor Among Mexico City’s Punk Vocalists, Ethnomusicology, 58, 3, pp. 431-453, (2014); Sherouse P., Skill and Masculinity in Olympic Weightlifting: Training Cues and Cultivated Craziness in Georgia, American Ethnologist, 43, 1, pp. 103-115, (2016); Tucker J., Gentleman Troubadours and Andean Pop Stars: Huayno Music, Media Work, and Ethnic Imaginaries in Urban Peru, (2013); Turino T., Moving Away from Silence: Music of the Peruvian Altiplano and the Experience of Urban Migration, (1993)","C. Odria; Visual and Performing Arts Department, Worcester State University, Worcester, United States; email: carlosodria@outlook.com","","Routledge","","","","","","17411912","","","","English","Ethnomusicol. Forum","Article","Final","","Scopus","2-s2.0-85077840964"
"Zhou Q.; Yan B.","Zhou, Qiao (57200004610); Yan, Baihui (57200001554)","57200004610; 57200001554","Music solfeggio learning platform construction and application","2017","International Journal of Emerging Technologies in Learning","12","12","","14","23","9","9","10.3991/ijet.v12.i12.7968","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85038612208&doi=10.3991%2fijet.v12.i12.7968&partnerID=40&md5=42487b1b566496adebd8ed4d84002471","Jiangxi Science and Technology Normal University, Nanchang, Jiangxi, China","Zhou Q., Jiangxi Science and Technology Normal University, Nanchang, Jiangxi, China; Yan B., Jiangxi Science and Technology Normal University, Nanchang, Jiangxi, China","To better develop the music learning, this paper completes the design and realization of a music solfeggio teaching system by combining with practical teaching conditions of the music academy. Firstly, it elaborates the main functions needing to be possessed by solfeggio teaching system by starting from actual demands of the users, puts forward overall design scheme of the system, and gives detailed design to main function module and database of the system. Secondly, it analyzes and researches theoretical basis of the solfeggio teaching system design, and proposes the construction scheme of teaching knowledge point repository and question bank system, including solfeggio repository information setting and system paper constructing strategy. It is indicated by the system analysis results that: this platform design provides an effective learning and inspection means to the implementation of solfeggio teaching. Thus, it draws the conclusions that: learning system of this paper can directly serve for course learning of the students majoring in music, and it has important practical significance and application value in promoting development of the music education informationization.","Database; Question bank; Solfeggio teaching system","Database systems; Systems analysis; Construction scheme; Detailed design; Effective learning; Information setting; Learning platform; Practical teachings; Question banks; Teaching systems; Learning systems","","","","","","","Tita M.A., Ketney O., Loreta T., Food safety through application of an elearning platform, Management of Sustainable Development, 7, 1, pp. 29-31, (2015); Tong J., Design and implementation of music teaching platform in college based on android mobile technology, International Journal of Emerging Technologies in Learning, 11, 5, (2016); Li M., Smart home education and teaching effect of multimedia network teaching platform in piano music education, 10, 11, pp. 119-132, (2016); Zanden O., Thorgersen C.F., Teaching for learning or teaching for documentation? music teachers' perspectives on a swedish curriculum reform, British Journal of Music Education, 32, 1, pp. 37-50, (2015); Brook J., Upitis R., Can an online tool support contemporary independent music teaching and learning?, Music Education Research, 17, 1, pp. 34-47, (2015); Patston T., Waters L., Positive instruction in music studios: introducing a new model for teaching studio music in schools based upon positive psychology, Psychology of well-being, 5, 1, (2015); Bjontegaard B.J., A combination of one-to-one teaching and small group teaching in higher music education in norway a good model for teaching?, British Journal of Music Education, 32, 1, pp. 23-36, (2015); Miranda M.L., Robbins J., Stauffer S.L., Seeing and hearing music teaching and learning: transforming classroom observations through ethnography and portraiture, Research Studies in Music Education, 28, 1, pp. 3-21, (2015); Kodela S., Mandic B., How much do we cherish the traditional song in the courses of solfeggio and musical culture?, 13, 33, pp. 279-299, (2016); Kereliuk C., Sturm B.L., Larsen J., Deep learning and music adversaries, IEEE Transactions on Multimedia, 17, 11, pp. 2059-2071, (2015)","Q. Zhou; Jiangxi Science and Technology Normal University, Nanchang, Jiangxi, China; email: 66840748@qq.com","","Kassel University Press GmbH","","","","","","18688799","","","","English","Int. J. Emerg. Technol. Learn.","Article","Final","","Scopus","2-s2.0-85038612208"
"Baker D.; Green L.","Baker, David (57169368000); Green, Lucy (36771153500)","57169368000; 36771153500","Perceptions of schooling, pedagogy and notation in the lives of visually-impaired musicians","2016","Research Studies in Music Education","38","2","","193","219","26","16","10.1177/1321103X16656990","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85006340271&doi=10.1177%2f1321103X16656990&partnerID=40&md5=c18c2aed4754fe4b76b6bb39d3841fac","Department of Culture, Communication and Media, UCL Institute of Education, London, 20 Bedford Way, London, WC1H 0AL, United Kingdom","Baker D., Department of Culture, Communication and Media, UCL Institute of Education, London, 20 Bedford Way, London, WC1H 0AL, United Kingdom; Green L., Department of Culture, Communication and Media, UCL Institute of Education, London, 20 Bedford Way, London, WC1H 0AL, United Kingdom","This article discusses findings on schooling, pedagogy and notation in the life-experiences of amateur and professional visually-impaired musicians/music teachers, and the professional experiences of sighted music teachers who work with visually-impaired learners. The study formed part of a broader UK Arts and Humanities Research Council funded project, officially entitled ""Visually-impaired musicians' lives: Trajectories of musical practice, participation and learning"", but which came to be known as ""Visually-impaired musicians' lives"" (VIML). VIML was led at the UCL Institute of Education, London, UK and supported by the Royal Academy of Music, London, and Royal National Institute of Blind People (RNIB) UK, starting in 2013 and concluding in 2015. It sourced ""insider"" perspectives from 225 adult blind and partially-sighted musicians/music teachers, and 6 sighted music teachers, through life history interviews and an international questionnaire, which collected quantitative and qualitative data. Through articulating a range of ""insider"" voices, this article examines some issues, as construed by respondents, around educational equality and inclusion in music for visually-impaired children and adults in relation to three main areas: the provision of mainstream schooling versus special schools; pedagogy, including the preparedness of teachers to respond to the needs of visually-impaired learners; and the educational role of notation, focusing particularly on Braille as well as other print media. The investigation found multifaceted perspectives on the merits of visually-impaired children being educated in either mainstream or special educational contexts. These related to matters such as access to specific learning opportunities, a lack of understanding of visually-impaired musicians' learning processes (including accessible technologies and score media) in mainstream contexts, and concerns about the knowledge of music educators in relation to visual impairment. Regarding pedagogy, there were challenges raised, but also helpful areas for sighted music educators to consider, such as differentiation by sight condition and approach, and the varying roles of gesture, language, light and touch. There was diversity in musical participation of visually-impaired adult learners, along with some surprising barriers as well as opportunities linked to different genres and musical contexts, particularly in relation to various print media, and sight reading. © SEMPRE.","blindness; Braille; disability; ear playing; partial sight; pedagogy; schooling; scores; visual impairment","","","","","","Arts and Humanities Research Council, AHRC, (AH/K003291/1); Arts and Humanities Research Council, AHRC","","Aitken S., Mason H., McCall S., Access through technology, Visual Impairment: Access to Education for Children and Young People, pp. 187-195, (1997); Alan Dobbins D., De La Mere T., Efficacy of special education provision for primary school pupils with serious visual impairment, British Journal of Visual Impairment, 11, 2, pp. 49-54, (1993); Alghazo E.M., Nagger Gaad E.E., General education teachers in the United Arab Emirates and their acceptance of the inclusion of students with disabilities, British Journal of Special Education, 31, 2, pp. 94-99, (2004); 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Baker; Department of Culture, Communication and Media, UCL Institute of Education, London, London, 20 Bedford Way, WC1H 0AL, United Kingdom; email: david.baker@ioe.ac.uk","","SAGE Publications Ltd","","","","","","1321103X","","","","English","Res. Stud. Music Educ.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-85006340271"
"Fasano M.C.; Semeraro C.; Cassibba R.; Kringelbach M.L.; Monacis L.; de Palo V.; Vuust P.; Brattico E.","Fasano, Maria C. (57192268108); Semeraro, Cristina (57201680771); Cassibba, Rosalinda (6505829393); Kringelbach, Morten L. (6701378751); Monacis, Lucia (36167319700); de Palo, Valeria (55373067400); Vuust, Peter (16041024200); Brattico, Elvira (6603399835)","57192268108; 57201680771; 6505829393; 6701378751; 36167319700; 55373067400; 16041024200; 6603399835","Short-term orchestral music training modulates hyperactivity and inhibitory control in school-age children: A longitudinal behavioural study","2019","Frontiers in Psychology","10","","750","","","","27","10.3389/fpsyg.2019.00750","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85064181222&doi=10.3389%2ffpsyg.2019.00750&partnerID=40&md5=e5605f6e957b74ebe9edf2237072b569","Center for Music in the Brain, Department of Clinical Medicine, Aarhus University - The Royal Academy of Music, Aarhus, Denmark; Department of Psychology, Educational Sciences, Communication, University of Bari, Bari, Italy; Department of Psychiatry, University of Oxford, Oxford, United Kingdom; Institut D'études Avancées de Paris, Paris, France; Department of Humanities, University of Foggia, Foggia, Italy","Fasano M.C., Center for Music in the Brain, Department of Clinical Medicine, Aarhus University - The Royal Academy of Music, Aarhus, Denmark; Semeraro C., Department of Psychology, Educational Sciences, Communication, University of Bari, Bari, Italy; Cassibba R., Department of Psychology, Educational Sciences, Communication, University of Bari, Bari, Italy; Kringelbach M.L., Center for Music in the Brain, Department of Clinical Medicine, Aarhus University - The Royal Academy of Music, Aarhus, Denmark, Department of Psychiatry, University of Oxford, Oxford, United Kingdom, Institut D'études Avancées de Paris, Paris, France; Monacis L., Department of Humanities, University of Foggia, Foggia, Italy; de Palo V., Department of Humanities, University of Foggia, Foggia, Italy; Vuust P., Center for Music in the Brain, Department of Clinical Medicine, Aarhus University - The Royal Academy of Music, Aarhus, Denmark; Brattico E., Center for Music in the Brain, Department of Clinical Medicine, Aarhus University - The Royal Academy of Music, Aarhus, Denmark","Survey studies have shown that participating in music groups produces several benefits, such as discipline, cooperation and responsibility. Accordingly, recent longitudinal studies showed that orchestral music training has a positive impact on inhibitory control in school-age children. However, most of these studies examined long periods of training not always feasible for all families and institutions and focused on children's measures ignoring the viewpoint of the teachers. Considering the crucial role of inhibitory control on hyperactivity, inattention and impulsivity, we wanted to explore if short orchestral music training would promote a reduction of these impulsive behaviors in children. This study involved 113 Italian children from 8 to 10 years of age. 55 of them attended 3 months of orchestral music training. The training included a 2-hour lesson per week at school and a final concert. The 58 children in the control group did not have any orchestral music training. All children were administered tests and questionnaires measuring inhibitory control and hyperactivity near the beginning and end of the 3-month training period. We also collected information regarding the levels of hyperactivity of the children as perceived by the teachers at both time points. Children in the music group showed a significant improvement in inhibitory control. Moreover, in the second measurement the control group showed an increase in self-reported hyperactivity that was not found in the group undergoing the music training program. This change was not noticed by the teachers, implying a discrepancy between self-reported and observed behavior at school. Our results suggest that even an intense and brief period of orchestral music training is sufficient to facilitate the development of inhibitory control by modulating the levels of self-reported hyperactivity. This research has implications for music pedagogy and education especially in children with high hyperactivity. 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Cortex, 24, pp. 2512-2521, (2014); Thorell L.B., Lindqvist S., Nutley S.B., Bohlin G., Klingberg T., Training and transfer effects of executive functions in preschool children, Dev. Sci, 12, pp. 106-113, (2009); Whelan R., Conrod P.J., Poline J.B., Lourdusamy A., Banaschewski T., Barker G.J., Et al., Adolescent impulsivity phenotypes characterized by distinct brain networks, Nat. Neurosci, 15, pp. 920-925, (2012)","M.C. Fasano; Center for Music in the Brain, Department of Clinical Medicine, Aarhus University - The Royal Academy of Music, Aarhus, Denmark; email: mariacelestefasano@clin.au.dk","","Frontiers Media S.A.","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85064181222"
"Gurgel R.","Gurgel, Ruth (58507235200)","58507235200","The Tanglewood Symposium: Popular Music Pedagogy from 1967 to Today","2019","Music Educators Journal","105","3","","60","65","5","6","10.1177/0027432119831752","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85098785797&doi=10.1177%2f0027432119831752&partnerID=40&md5=575cc231ec4237532f8955daaa9d518f","","","The Tanglewood Symposium of 1967 is an event now looked back on as a watershed moment in the field of music education. At the Symposium, societal happenings of the day provided the background for the discussions, including the Civil Rights movement and the explosion of rock’n’roll. At the Symposium, members held important conversations about popular music and the future of music education. This article analyzes the documentation surrounding the Symposium and suggests areas of music education that still remain a part of the hidden curriculum supporting inequity and how these areas can be brought to light and addressed in popular music pedagogy today. © 2019 National Association for Music Education.","cross-cultural competency; popular music pedagogy; rock/popular music; Tanglewood Symposium; teaching issues; types of music","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85098785797"
"Cuomo C.; La Face G.","Cuomo, Carla (57200257209); La Face, Giuseppina (57219387661)","57200257209; 57219387661","Music pedagogy in relation to musicology and educational sciences: Three areas of intervention; [Glazbena pedagogija u odnosu na muzikologiju i obrazovne znanosti: Tri područja intervencije]","2020","Arti Musices","51","1","","95","109","14","0","10.21857/mnlqgc5q5y","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85092461974&doi=10.21857%2fmnlqgc5q5y&partnerID=40&md5=954390854486035ab28576715617b29a","Department of Arts, Bologna University, via Barberia 4, Bologna, 40123, Italy; Alma Mater Professor Bologna University, Bologna, 40123, Italy","Cuomo C., Department of Arts, Bologna University, via Barberia 4, Bologna, 40123, Italy; La Face G., Alma Mater Professor Bologna University, Bologna, 40123, Italy","There has long been an unnatural separation in the Western world between the pedagogic-didactic field and musicology, and the contemporary situation has not substantially changed. Musicology and pedagogic-didactic studies have chosen, and proceeded along, parallel paths which do not converge. The conceptual starting point is an awareness of two problems: on the one hand, musicology runs the risk of becoming self-referential if it does not open itself up to a vital relationship with the political aspects of education; on the other hand, the educational sciences develop models of music education the content of which is not updated on the basis of musicological knowledge. This disconnection causes the making of music to prevail over knowing music, instead of the two dimensions being integrated. This article describes the results of an Italian research project carried out by an Italian University Network for Music Education. © 2020 Croatian Musicological Society. All rights reserved.","Educational Sciences; Music Education; Music Pedagogy; Musicology; University Network for Music Education","","","","","","","","BALDACCI Massimo, Trattato di pedagogia generale, (2012); BERTIN Giovanni Maria, Educazione alla ragione, (1968); BRUNER Jerome, On Knowing. Essays for the Left Hand, (1964); BRUNER Jerome, The Culture of Education, (1996); BRUNER Jerome, Toward a Theory of Instruction, (1966); CHEVALLARD Yves, La transposition didactique du savoir savant au savoir enseigné, (1985); CUOMO Carla, Dall'ascolto all'esecuzione. Orientamenti per la Pedagogia e la Didattica della musica, (2018); CUOMO Carla, Didattica dell'ascolto e didattica della produzione musicale: ipotesi di continuità, Musikerziehung. Erfahrungen und Reflexionen, pp. 61-74, (2005); CUOMO Carla, L'esecuzione come esercizio critico, Pedagogia più Didattica, 3, pp. 129-134, (2008); CUOMO Carla, Listening to and performing music with competence, first part of Carla Cuomo and Maria Rosa De Luca, The transposition of musical knowledge in intellectual education, Musica Docta. Rivista digitale di Pedagogia e Didattica della Musica, 4, pp. 17-39, (2014); DAHLHAUS Carl, Che significa e a qual fine si studia la storia della musica, Il Saggiatore musicale, XII, pp. 219-230, (2005); DAHLHAUS Carl, Grundlagen der Musikgeschichte, (1977); DE LUCA Maria Rosa, Understanding by investigating«: how to educate students in historical-musical research, Carla Cuomo and Maria Rosa De Luca: The transposition of musical knowledge in intellectual education, Musica Docta. Rivista digitale di Pedagogia e Didattica della Musica, 4, pp. 17-39, (2014); DE LUCA Maria Rosa, Un approccio didattico alla costruzione del sapere storicomusicale, first part of Trasposizione didattica del sapere musicale: aspetti di contenuto e di metodo, La musica tra conoscere e fare, pp. 123-156, (2011); DELLA CASA Maurizio, Educazione musicale e curricolo, (1985); DEWEY John, Democracy and Education: An Introduction to the Philosophy of Education, (1916); DEWEY John, Experience and Education, (1938); DEWEY John, How We Think, (1910); DEWEY John, Logic, The Teory of Inquiry, (1938); EDLER Arnfried, HELMS Siegmund, HOPF Helmuth, Musikpädagogik und Musikwissenschaft, (1987); EGGEBRECHT Hans Heinrich, Ars musica». Storia di un concetto medievale, Musica e Storia tra Medioevo e età moderna, pp. 109-116, (1986); FRABBONI Franco, PINTO MINERVA, Franca: Manuale di pedagogia generale, (2001); FRABBONI Franco, I fondamenti teoretici del problematicismo, Educazione e ragione. Scritti in onore di Giovani Maria Bertin, 2, pp. 63-68, (1985); LA FACE BIANCONI Giuseppina, CUOMO Carla, PASQUINI Elisabetta, Musicologia e Pedagogia musicale. Resoconti delle ricerche in corso, (2014); LA FACE BIANCONI Giuseppina, Il cammino dell'Educazione musicale: vicoli chiusi e strade maestre, Educazione musicale e Formazione, pp. 13-25, (2008); LA FACE Giuseppina, Italian Musicologists and the Challenge of Music Pedagogy, Musica Docta. Rivista digitale di Pedagogia e Didattica della musica, 6, pp. 1-18, (2016); LA FACE Giuseppina, Keynote Address: Musicology and Music Pedagogy: An Unnatural Divorce (Bologna, May 29-30, 2014), Journal of Music History Pedagogy, 5, 1, pp. 157-163, (2014); LA FACE Giuseppina, La didattica dell'ascolto, Musica e Storia, 3, pp. 511-541, (2006); LA FACE Giuseppina, Le pedate di Pierrot. Comprensione musicale e didattica dell'ascolto, Musikalische Bildung. Educazione musicale, pp. 40-60, (2005); MARTINI Berta, Didattiche disciplinari. Aspetti teorici e metodologici, (2000); MARTINI Berta, Formare ai saperi. Per una pedagogia della conoscenza, (2005); MARTINI Berta, La trasposizione didattica: concetto-chiave della didattica della musica, first part of Berta Martini, Carla Cuomo, Maria Rosa De Luca, Trasposizione didattica del sapere musicale: aspetti di contenuto e di metodo, La musica tra conoscere e fare, pp. 123-129, (2011); PAGANNONE Giorgio, Funzioni formative e didattiche della musica, Musica, Ricerca, Didattica. Profili culturali e competenza musicale, pp. 113-156, (2008); VYGOTSKIJ Lev Semenovic, Istorija razvitija vissih psihiceskih funktij, (1997); VYGOTSKIJ Lev Semenovic, Myšlenie i reč; Indicazioni Nazionali per il Curricolo della scuola dell'infanzia e del primo ciclo d'istruzione; BIBLIOTECA ELETTRONICA, Testi di Pedagogia musicale; (2006)","","","Hrvatsko Muzikolosko Drustvo","","","","","","05875455","","","","English","Arti Musices","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85092461974"
"Debevc M.; Weiss J.; Šorgo A.; Kožuh I.","Debevc, Matjaž (56816724400); Weiss, Jernej (56259227800); Šorgo, Andrej (23976935400); Kožuh, Ines (54412464700)","56816724400; 56259227800; 23976935400; 54412464700","Solfeggio learning and the influence of a mobile application based on visual, auditory and tactile modalities","2020","British Journal of Educational Technology","51","1","","177","193","16","23","10.1111/bjet.12792","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85064698019&doi=10.1111%2fbjet.12792&partnerID=40&md5=d7e5d80727acf06665726855e676a065","Computer Science, University of Maribor, Slovenia; Faculty of Education, University of Maribor, Slovenia; Faculty of Natural Sciences and Mathematics, Slovenia; University of Maribor, Slovenia; Academy of Music, University of Ljubljana, Slovenia; Faculty of Electrical Engineering and Computer Science, University of Maribor, Slovenia","Debevc M., Computer Science, University of Maribor, Slovenia; Weiss J., Faculty of Education, University of Maribor, Slovenia, Academy of Music, University of Ljubljana, Slovenia; Šorgo A., Faculty of Natural Sciences and Mathematics, Slovenia, Faculty of Electrical Engineering and Computer Science, University of Maribor, Slovenia; Kožuh I., University of Maribor, Slovenia","Traditional methods of learning solfeggio (music theory) generally do not take advantage of computer-based support, meaning that, when learning individually, students cannot receive instantaneous feedback on their activities. The aim of this study is to examine the effectiveness of an interactive mobile application, mySolfeggio, for learning solfeggio. Using a mobile device, students can take advantage of visual, auditory and tactile modalities to recognise musical notes. Students can also practice and learn notation, rhythm and melody, for which the mobile application provides corrective feedback. To evaluate students’ perceptions of the mobile application and its effect on knowledge, we conducted an experiment with 42 students, from 9 to 13 years old. After learning a particular song during a regular lesson, one group of students practiced it individually with only the musical notation, while the other group used both the musical notation and the mobile application. The results of the experiment illustrated only a small effect on students’ performance in singing and tapping when using the mobile application. However, they demonstrated higher scores in terms of musical intervals and rhythmic accuracy when compared to students in the control group. The students did not find the use of the application difficult, thus allowing it to be used as a tool for improvement of their homework practice. © 2019 British Educational Research Association","","Feedback; Mobile computing; Computer-based support; Control groups; Corrective feedbacks; Interactive mobile applications; Mobile applications; Musical notation; Musical notes; Tactile modality; Students","","","","","Maintenance Fund of the Republic of Slovenia, (24-16-1); Univerza v Ljubljani, UL","We acknowledge the input of Dr Tjaša Ribizel from The University of Ljubljana, all the parents, students and the institutions who contributed to this project. Funding of this research work was provided by the Public Scholarship, Development, Disability and Maintenance Fund of the Republic of Slovenia, under Grant number 24-16-1.","Bainbridge D., Bell T., The challenge of Optical Music Recognition, Computers and the Humanities, 35, 2, pp. 95-121, (2001); Brook J., Upitis R., Can an online tool support contemporary independent music teaching and learning?, Music Education Research, 17, 1, pp. 34-47, (2015); Brown K., Prelude – an augmented reality iOS application for music education, (2014); Cano M.D., Sanchez-Iborra R., On the use of a multimedia platform for music education with handicapped children, Computers & Education, 87, pp. 254-276, (2015); Carrillo C., Baguley M., Vilar M., The influence of professional identity on teaching practice: Experiences of four music educators, International Journal of Music Education, 33, 4, pp. 451-462, (2015); Cataltepe Z., Yaslan Y., Sonmez A., Music genre classification using MIDI and audio features, EURASIP Journal on Applied Signal Processing, 1, pp. 150-151, (2007); Cheng I., Kerr C., Bischof W.F., Assessing rhythm recognition skills in a multimedia environment, Multimedia and Expo, IEEE International Conference, pp. 361-364, (2008); Csikszentmihalyi M., Flow: The psychology of optimal experience, Journal of Leisure Research, 24, 1, pp. 93-94, (1990); Debevc M., Priročnik za solfeggio 3: samostojni delovni zvezek za predmet Nauk o glasbi, 3. Razred, (2008); Dumas B., Lalanne D., Oviatt S., Multimodal interfaces: A survey of principles, models and frameworks, Human machine interaction, pp. 3-26, (2009); (2018); Erceg-Hurn D.M., Mirosevich V.M., Modern robust statistical methods: an easy way to maximize the accuracy and power of your research, American Psychologist, 63, 7, pp. 591-601, (2008); Eyles A.M., Teachers’ perspectives about implementing ICT in music education, Australian Journal of Teacher Education, 43, 5, pp. 110-131, (2018); Field A., Discovering statistics using SPSS, (2009); Forczmanski P., Evaluation of singer's voice quality by means of visual pattern recognition, Journal of Voice, 30, 1, pp. 127.e21-127.e30, (2016); Gall M., Breeze N., Music composition lessons: The multi-modal affordances of new technology, Education Review, 57, 4, pp. 415-433, (2005); Gault B., Music learning through all the channels: Combining aural, visual, and kinesthetic strategies to develop musical understanding, General Music Today, 19, 1, pp. 7-9, (2005); Good M., MusicXML for notation and analysis, The Virtual Score: Representation, Retrieval, Restoration, 12, pp. 113-124, (2001); Helsper E., Eynon R., Digital natives: Where is the evidence?, British Educational Research Journal, 36, 3, pp. 503-520, (2010); Ho W.C., Use of information technology and music learning in the search for quality education, British Journal of Educational Technology, 35, 1, pp. 57-67, (2004); Ho T.K.L., Lin H.S., Chen C.K., Tsai J.L., Development of a computer-based visualised quantitative learning system for playing violin vibrato, British Journal of Educational Technology, 46, 1, pp. 71-81, (2013); Hsiao C.P., Li R., Yan X., Do E.Y.L., Tactile teacher: Sensing finger tapping in piano playing, Proceedings of the Ninth International Conference on Tangible, Embedded, and Embodied Interaction, pp. 257-260, (2015); Kline R.B., Assumptions in structural equation modeling, Handbook of structural equation modeling, pp. 111-125, (2012); Konecki M., Self-paced computer aided learning of music instruments, Proceedings of the Information and Communication Technology, Electronics and Microelectronics, pp. 809-813, (2015); Krosnick J.A., Questionnaire design, The Palgrave handbook of survey research, pp. 439-455, (2018); (2018); Nart S., Music Software in the technology integrated music education, Turkish Online Journal of Educational Technology, 15, 2, pp. 78-84, (2016); Ng K., Nesi P., i-Maestro: Technology-enhanced learning and teaching for music, NIME, pp. 225-228, (2008); Nijs L., Leman M., Interactive technologies in the instrumental music classroom: A longitudinal study with the music paint machine, Computers & Education, 73, pp. 40-59, (2014); Pauwels J., Xambo A., Roma G., Barthet M., Fazekas G., Exploring real-time visualisations to support chord learning with a large music collection, Proceedings of the Web Audio Conference, (2018); Persellin D.C., Responses to rhythm patterns when presented to children through auditory, visual, and kinesthetic modalities, Journal of Research in Music Education, 40, 4, pp. 306-315, (1992); Poupyrev I., Berry R., Kurumisawa J., Nakao K., Billinghurst M., Airola C., Kato H., Augmented groove: Collaborative jamming in augmented reality, Proceedings of the ACM SIGGRAPH Conference Abstracts and Applications, (2000); Prensky M., Digital natives, digital immigrants Part 1, On the Horizon, 9, 5, pp. 1-6, (2001); Puhek M., Perse M., Sorgo A., Comparison between a real field trip and a virtual field trip in a nature preserve: Knowledge gained in Biology and Ecology, Journal of Baltic Science Education, 11, 2, pp. 164-174, (2012); (2018); (2017); Sharan R.V., Moir T.J., An overview of applications and advancements in automatic sound recognition, Neurocomputing, 200, pp. 22-34, (2016); Sirca Costantini K., Tornic Milharcic B., Mali glasbeniki 4. Učbenik z elementi delovnega zvezka za 4. razred nauka o glasbi, (2015); Spernjak A., Sorgo A., Differences in acquired knowledge and attitudes achieved with traditional, computer-supported and virtual laboratory biology laboratory exercises, Journal of Biological Education, 52, 2, pp. 206-220, (2018); Stivers T., Sidnell J., Introduction: Multimodal interaction, Semiotica, 156, 1-4, pp. 1-20, (2005); Tremblay G., Champagne F., Marking musical dictations using the edit distance algorithm, Software: Practice and Experience, 37, 2, pp. 207-230, (2007); Tsolova S., Angelova K., E-learning and m-learning system at higher academic musical educational institution – Specifics, challenges and results, Proceedings of the IEEE International Symposium ElMAR, (2014); Tzanetakis G., Cook P., Musical genre classification of audio signals, Proceedings – IEEE Transactions on Speech and Audio Processing, 10, 5, pp. 293-302, (2002); Uther M., Banks A., Perception of sound quality in mobile devices is affected by device type and usage context, Proceedings of the 31st British Computer Society Human Computer Interaction Conference 30, (2017); Vidwans A., Gururani S., Wu C.W., Subramanian V., Swaminathan R.V., Lerch A., Objective descriptors for the assessment of student music performances, Proceedings – Audio Engineering Society Conference: 2017 AES International Conference on Semantic Audio, (2017); Vuforia S.D.K., (2017); Waranusast R., Bang-ngoen A., Thipakorn J., Interactive tangible user interface for music learning, Proceedings of the IEEE Image and Vision Computing New Zealand, pp. 400-405, (2013); Weiss J., Ribizel T., Kozuh I., Debevc M., mySolfeggio: Mobile and tablet application for learning of solfeggio, The Journal of Music Education of the Academy of Music in Ljubljana, 26, pp. 21-32, (2017); Zhou Q., Yan B., Music Solfeggio learning platform construction and application, International Journal of Emerging Technologies in Learning, 12, 12, pp. 14-23, (2017)","M. Debevc; Computer Science, University of Maribor, Slovenia; email: matjaz.debevc@um.si","","Blackwell Publishing Ltd","","","","","","00071013","","BJETD","","English","Br J Educ Technol","Article","Final","","Scopus","2-s2.0-85064698019"
"Yoo H.; Kang S.","Yoo, Hyesoo (57061553300); Kang, Sangmi (57061156000)","57061553300; 57061156000","Instructional Approaches to Teaching a Korean Percussion Ensemble (Samulnori) to Preservice Music Teachers and Preservice Classroom Teachers: An Action Research Study","2018","Journal of Music Teacher Education","28","1","","70","82","12","3","10.1177/1057083718777317","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85047658917&doi=10.1177%2f1057083718777317&partnerID=40&md5=41fa161a152adba87aa6b3b14f20aae5","Virginia Tech, Blacksburg, VA, United States; Westminster Choir College of Rider University, NJ, United States","Yoo H., Virginia Tech, Blacksburg, VA, United States; Kang S., Westminster Choir College of Rider University, NJ, United States","The purpose of this practical action research study was to explore how preservice music teachers, preservice classroom teachers, and a methods course instructor responded to the experience of rehearsing a Korean percussion ensemble piece. Seven preservice music teachers and nine preservice classroom teachers rehearsed Samulnori for 20 minutes per week for 8 weeks. Data sources included reflective narratives produced by the instructor and participants, observation field notes, and participant interviews. Through each step in the action research process, across multiple cycles of instruction and reflection, the teaching approach was altered to better fit participants’ needs and interests in the two groups. While preservice music teachers valued authentic music demonstrations and the hands-on process of learning to perform Samulnori in a polished and accurate manner, preservice classroom teachers required more detailed verbal explanations in addition to music demonstrations and showed interest in learning about the historical and cultural background of Samulnori. © National Association for Music Education 2018.","action research; Korean percussion ensemble; multicultural education; teacher education; world music pedagogy","","","","","","","","Bransford J.D., Brown A.L., Cocking R.R., How people learn: Brain, mind, experience, and school, (1999); Brittin R.V., Discrimination of aural and visual tempo modulation, Bulletin of the Council for Research in Music Education, 116, pp. 23-32, (1993); Campbell P.S., Lessons from the world: A cross-cultural guide to music teaching and learning, (1991); Creswell J.W., Qualitative inquiry and research design: Choosing among five approaches, (2013); Denzin N.K., Lincoln Y.S., The landscape of qualitative research, (2013); Edwards K.L., North American Indian music instruction: Influence upon attitudes, cultural perceptions, and achievement, (1994); Fung C.V., Rationales for teaching world music, Music Educators Journal, 82, 1, pp. 36-40, (1995); Fung C.V., Musicians’ and nonmusicians’ preferences for world musics: Relation to musical characteristics and familiarity, Journal of Research in Music Education, 44, 1, pp. 60-83, (1996); Hash P.M., Preservice classroom teachers’ attitudes toward music in the elementary curriculum, Journal of Music Teacher Education, 19, 2, pp. 6-24, (2010); Status and trends in the education of racial and ethnic groups 2016, (2016); Joseph D., Hartwig K., Promoting African music and enhancing intercultural understanding in teacher education, Journal of University Teaching & Learning Practice, 12, 2, pp. 1-13, (2015); Kang S., Yoo H., Effects of a westernized Korean folk music selection on students’ music familiarity and preference for its traditional version, Journal of Research in Music Education, 63, pp. 469-486, (2016); Kang S., Yoo H., Korean percussion ensemble (Samulnori) in the general music classroom, General Music Today, 29, 3, pp. 4-11, (2016); Kvale S., Brinkmann S., Interviews: Learning the craft of qualitative research interviewing, (2009); McKoy C.L., Effects of instructional approach on preferences for an untaught selection of indigenous folk music of Ghana, Bulletin of the Council for Research in Music Education, 159, pp. 33-45, (2004); McLean J.E., Improving education through action research: A guide for administrators and teachers, (1995); McNiff J., Whitehead J., Action research for teachers: A practical guide, (2005); McTaggart R., Participatory action research: International contexts and consequences, (1997); Mertler C.A., Action research: Improving schools and empowering educators, (2014); Mertler C.A., Introduction to educational research, (2016); Mills G.E., Action research: A guide for the teacher research, (2014); Palmer A.J., World musics in music education: The matter of authenticity, International Journal of Music Education, 19, 1, pp. 32-40, (1992); Pembrook R.G., Robinson C.R., The effect of mode of instruction and instrument authenticity on children’s attitudes, information, recall and performance skill for music from Ghana, Bulletin of the Council for Research in Music Education, 133, pp. 115-120, (1997); Phillips K.H., Exploring research in music education & music therapy, (2008); Shehan P.K., The effect of instruction method on preference, achievement, and attentiveness for Indonesian Gamelan music, Psychology of Music, 12, pp. 34-42, (1984); Sloboda J.A., The musical mind: The cognitive psychology of music, (1985); Stringer E., Action research, (2013); VanAlstine S.K., Holmes A.V., Development of international-mindedness and preferences for world music in teacher preparation coursework, Journal of Education and Training Studies, 4, 11, pp. 194-205, (2016); Yoo H., Kang S., Teaching Korean rhythms in music class through improvisation, composition, and student performance, General Music Today, 28, 1, pp. 16-22, (2014)","H. Yoo; Virginia Tech, Blacksburg, School of Performing Arts 195 Alumni Mall (Squires 242 C), 24060, United States; email: haes2000@vt.edu","","SAGE Publications Inc.","","","","","","10570837","","","","English","J. Music Teach. Educ.","Article","Final","","Scopus","2-s2.0-85047658917"
"Fournier G.; Moreno Sala M.T.; Dubé F.; O’Neill S.","Fournier, Guillaume (57210689515); Moreno Sala, Maria Teresa (56849540700); Dubé, Francis (56847321800); O’Neill, Susan (7102723195)","57210689515; 56849540700; 56847321800; 7102723195","Cognitive strategies in sight-singing: The development of an inventory for aural skills pedagogy","2019","Psychology of Music","47","2","","270","283","13","9","10.1177/0305735617745149","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85062274490&doi=10.1177%2f0305735617745149&partnerID=40&md5=79583a1b6a52b960bd264efb52ce644c","Université Laval, Québec City, Canada; Simon Fraser University, Burnaby, Canada","Fournier G., Université Laval, Québec City, Canada; Moreno Sala M.T., Université Laval, Québec City, Canada; Dubé F., Université Laval, Québec City, Canada; O’Neill S., Simon Fraser University, Burnaby, Canada","This research aimed to identify, describe and categorize cognitive strategies related to sight-singing within aural skills education. Using a constant comparative method, we carried out a thematic content analysis using NVivo to categorize strategies in a broad range of sources, including six interviews, five scientific publications, two professional books, and two ear-training manuals. Findings revealed 72 cognitive strategies grouped into four main categories and 14 subcategories: reading mechanisms (pitch decoding, pattern building, validation), sight-singing (preparation, performance), reading skills acquisition (musical vocabulary enrichment, symbolic associations, internalization, rehearsal techniques) and learning support (self-regulation, attention, time management, motivation, stress). Our cognitive strategy inventory provides a new framework for the study of cognitive strategies in aural skills research, and offers new insights for teachers who implement explicit cognitive strategies within their sight-singing pedagogy. © The Author(s) 2017.","aural skills; cognitive strategies; music learning; music pedagogy; sight-singing; solfege","","","","","","","","Asmus E.P., Music teaching and music literacy, Journal of Music Teacher Education, 13, 6, pp. 6-8, (2004); Barnes J.W., An experimental study of interval drill as it affects sight singing skill, (1960); Bartholomew D., Sounds before symbols: What does phenomenology have to say?, Philosophy of Music Education Review, 3, 1, pp. 3-9, (1995); Bean K.L., An experimental approach to the reading of music, Psychological Monographs, 50, 6, (1938); Begin C., Les stratégies d’apprentissage: un cadre de référence simplifié, Revue des sciences de l’éducation, 34, 1, pp. 47-67, (2008); Berkowitz S., Frontier G., Kraft L., Goldstein P., Smaldone E., A new approach to sight singing, (2011); Boutin G., L’entretien de recherche qualitatif, (2001); Brown K.D., Effects of fixed and movable sightsinging systems on undergraduate music students’ ability to perform diatonic, modulatory, chromatic, and atonal melodic passages, (2001); Bowyer J., More than solfège and hand signs: Philosophy, tools, and lesson planning in the authentic Kodály classroom, Music Educators Journal, 102, 2, pp. 69-76, (2015); Boyle J.D., The effect of prescribed rhythmical movements on the ability to read music at sight, Journal of Research in Music Education, 18, 4, pp. 307-318, (1970); Chadwick J.E., Predicting success in sight-singing, Journal of Applied Psychology, 17, pp. 671-674, (1933); Chiu C.W.T., Synthesizing metacognitive interventions: What training characteristics can improve reading performance?, (1998); Dannhauser A., Solfège des solfèges, (1891); Dansereau D.F., Learning strategy research, Thinking and learning skills, (1985); Davidson L., Scripp L., Welsh P., Happy birthday”: Evidence for conflicts of perceptual knowledge and conceptual understanding, Journal of Aesthetic Education, 22, 1, pp. 65-74, (1988); Dean C.D., Predicting sight-singing ability in teacher-education, The Journal of Educational Psychology, 28, 8, pp. 601-608, (1937); DeBellis M., Conceptual and non-conceptual modes of music perception, Postgraduate Journal of Aesthetics, 2, 2, pp. 45-61, (2005); Dignath C., Buttner G., Components of fostering self-regulated learning among students. A meta-analysis on intervention studies at primary and secondary school level, Metacognition Learning, 3, pp. 231-264, (2008); Dignath C., Buttner G., Langfeldt H., How can primary school students learn self- regulated learning strategies most effectively? A meta-analysis on self-regulation training programmes, Educational Research Review, 3, pp. 101-129, (2008); Donker A.S., de Boer H., Kostons D., Dignath van Ewijk C.C., van der Werf M.P.C., Effectiveness of learning strategy instruction on academic performance: A meta-analysis, Educational Research Review, 11, pp. 1-26, (2014); Drake C., Palmer C., Skill acquisition in music performance: Relations between planning and temporal control, Cognition, 74, 1, pp. 1-32, (2000); Elliott C.A., The identification and classification of instrumental performance sight-reading errors, Journal of Band Research, 18, 1, pp. 36-42, (1982); Floyd E., Bradley K.D., Teaching strategies related to successful sight-singing in Kentucky choral ensembles, Update: Applications of Research in Music Education, 25, pp. 70-81, (2006); Fournier G., Recension, description et catégorisation des stratégies cognitives liées à la lecture à vue chantée et à l’apprentissage du solfège chez les étudiants en musique de niveau collégial, (2015); Furby V., Process and products: The sight-singing backgrounds and behaviors of first-year undergraduate students, (2008); Grutzmacher P.A., The effect of tonal pattern training on the aural perception, reading recognition, and melodic sight-reading achievement of first-year instrumental music students, Journal of Research in Music Education, 35, 5, pp. 171-181, (1987); Harrison C., The validity of the musical aptitude profile for predicting grades in freshman music theory, Educational and Psychological Measurement, 47, pp. 477-482, (1987); Harrison C., Relationships between grades in the components of freshman music theory and selected background variables, Journal of Research in Music Education, 38, 3, pp. 175-186, (1990); Harrison C., Analyses of relationships between aural skills and background variables: LISREL versus multiple regression, The Quarterly, 2, 4, pp. 10-20, (1991); Harrison C., Asmus E., Serpe R., Effects of musical aptitude, academic ability, music experience, and motivation on aural skills, Journal of Research in Music Education, 42, 2, pp. 131-144, (1994); Hattie J., Biggs J., Purdie N., Effects of learning skills interventions on student learning: A meta-analysis, Review of Educational Research, 66, pp. 99-136, (1996); Henry M.L., The use of targeted pitch skills for sight-singing instruction in the choral rehearsal, Journal of Research in Music Education, 52, 3, pp. 206-217, (2004); Henry M.L., The use of specific practice and performance strategies in sight-singing instruction, Update: Applications of Research in Music Education, 26, 2, pp. 11-16, (2008); Holmes A.V., Effect of fixed-do and movable-do solfege instruction on the development of sightsinging skill in seven-and eight-year-old children, (2009); Hung J.-L., An investigation of the influence of fixed-do and movable-do solfège systems on sight-singing pitch accuracy for various levels of diatonic and chromatic complexity, (2012); Karpinski G.S., Aural skills acquisition: The development of listening, reading, and performing skills in college-level musicians, (2000); Karpinski G.S., Manual for ear training and sight singing, (2007); Killian J.N., Henry M.L., A comparison of successful and unsuccessful strategies in individual sight-singing preparation and performance, Journal of Research in Music Education, 53, 1, pp. 51-65, (2005); Kopiez R., Lee J., Towards a dynamic model of skills involved in sight reading music, Music Education Research, 8, 1, pp. 97-120, (2006); Kopiez R., Lee J., Towards a general model of skills involved in sight reading music, Music Education Research, 10, 1, pp. 41-62, (2008); Lehmann A., McArthur V., Sight-reading, The science and psychology of music performance: Creative strategies for teaching and learning, pp. 135-150, (2002); Legendre R., Dictionnaire actuel de l’éducation, (1993); Leon-Guerrero A., Self-regulation strategies used by student musicians during music practice, Music Education Research, 10, 1, pp. 91-106, (2008); MacKenzie C.L., Vaneerd D.L., Graham E.D., Huron D.B., Wills B.L., The effect of tonal structure on rhythm in piano performance, Music Perception, 4, 2, pp. 215-225, (1986); MacKnight C.B., Music reading ability of beginning wind instrumentalists after melodic instruction, Journal of Research in Music Education, 23, 1, pp. 23-34, (1975); McPherson G.E., Factors and abilities influencing sightreading skill in music, Journal of Research in Music Education, 42, 3, pp. 217-231, (1994); Mishra J., Improving sightreading accuracy: A meta-analysis, Psychology of Music, 42, 2, pp. 131-156, (2013); Mishra J., Factors related to sight-reading accuracy: A meta-analysis, Journal of Research in Music Education, 61, 4, pp. 452-465, (2014); Nielsen S.G., Learning strategies in instrumental music practice, British Journal of Music Education, 16, 3, pp. 275-291, (1999); Nielsen S.G., Self-regulating learning strategies in instrumental music practice, Music Education Research, 3, 2, pp. 155-167, (2001); Ottman R.W., A statistical investigation of the influence of selected factors on the skill of sight-singing, (1956); Oxford R.L., Teaching and researching language learning strategies, (2011); Paille P., Mucchielli A., L’analyse qualitative en sciences humaines et sociales, (2013); Palmer C., Krumhansl C.L., Mental representations for musical meter, Journal of Experimental Psychology: Human Perception and Performance, 16, 4, pp. 728-741, (1990); Parker R.C., The relative effectiveness of the Tap System in instruction in sight singing: An experimental study, (1979); Pressley M., Woloshyn V., Cognitive strategy instruction that really improves children’s academic performance, (1995); Rodeheaver R.E., An investigation of the vocal sight reading ability of college freshman music majors, (1972); Rogers M., Teaching approaches in music theory: An overview of pedagogical philosophies, (2004); Salis D.L., Laterality effects with visual perception of musical chords and dot patterns, Perception and Psychophysics, 28, 4, pp. 284-292, (1980); Sauvayre R., Les méthodes de l’entretien en sciences sociales, (2013); Schleuter S., A predictive study of an experimental college version of the musical aptitude profile with certain music achievement of college music majors, Psychology of Music, 11, pp. 32-36, (1983); Scripp L.R., The development of skill in reading music, (1995); Scripp L.R., Davidson L., Giftedness and professional training: The impact of music reading skills on musical development of conservatory students, Beyond Terman: Contemporary longitudinal studies of giftedness and talent, pp. 186-211, (1994); Seashore C., The psychology of music, (1938); Sloboda J.A., The psychology of music reading, Psychology of Music, 6, 2, pp. 3-20, (1978); Sloboda J.A., The communication of musical metre in piano performance, Quarterly Journal of Experimental Psychology, 35, 2, pp. 377-396, (1983); Sousa D.A., Un cerveau pour apprendre à lire: mieux comprendre le fonctionnement du cerveau pour enseigner la lecture plus efficacement, (2009); Stegall J.C., The influence of isolated rhythmic training with a selected method of study on the ability to sing music at sight, (1992); Stevenson A.R., The effect of specific strategies on the sight-singing performance of high school singers, (2010); Thackray R., Some thoughts on aural training, Australian Journal of Music Education, 17, pp. 25-30, (1975); Thompson K.A., Pitch internalization strategies of professional musicians, (2003); Thompson K.A., Thinking in sound: A qualitative study of metaphors for pitch perception, Journal of Music Theory Pedagogy, 18, pp. 81-107, (2004); Thornberg R., Arthur J., Waring M., Coe R., Hedges L.V., Grounded theory, Research methods & methodologies in education, (2012); Thostenson M.S., The study and evaluation of certain problems in eartraining related to achievement in sightsinging and music dictation, Bulletin of the Council for Research in Music Education, 11, pp. 14-35, (1967); Tremblay V., L’enseignement de la formation auditive: approches et démarches pédagogiques des enseignants des cégeps francophones du Québec, (2014); Vujovic I., Bogunovic B., Cognitives strategies in sight-singing, (2012); Waters A.J., Townsend E., Underwood G., Expertise in musical sight reading: A study of pianists, British Journal of Psychology, 89, pp. 123-149, (1998); Weinstein C.F., Mayer R.F., The teaching of learning strategies, Handbook of research on teaching, pp. 315-327, (1986); Wolf T., A cognitive model of musical sight-reading, Journal of Psycholinguistic Research, 5, 2, pp. 143-171, (1976)","G. Fournier; Université Laval, Québec City, Canada; email: guillaume.fournier.11@ulaval.ca","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-85062274490"
"Kim S.; Imamura H.","Kim, Sungyoung (22938030800); Imamura, Hidetaka (57195242717)","22938030800; 57195242717","An assessment of a spatial ear training program for perceived auditory source width","2017","Journal of the Acoustical Society of America","142","2","","EL201","EL204","3","3","10.1121/1.4998185","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85027287166&doi=10.1121%2f1.4998185&partnerID=40&md5=018c13728474e139d5b1ae2606ffb7f5","Electrical, Computer, and Telecommunication Engineering Technology, Rochester Institute of Technology, 78 Lomb Memorial Drive, Rochester, 14618, NY, United States; Musical Creativity and the Environment, Tokyo University of the Arts, 1-25-1 Senju, Adachi, Tokyo, 120-0034, Japan","Kim S., Electrical, Computer, and Telecommunication Engineering Technology, Rochester Institute of Technology, 78 Lomb Memorial Drive, Rochester, 14618, NY, United States; Imamura H., Musical Creativity and the Environment, Tokyo University of the Arts, 1-25-1 Senju, Adachi, Tokyo, 120-0034, Japan","The authors propose a training program for a listener to quantify the horizontal extension of an auditory image - auditory source width (ASW). The proposed program controls the ASW of a five-channel sound source by spreading it across five front loudspeakers, displays the corresponding change in visual width, and trains listeners to remember the spread angle through an isomorphic mapping to the corresponding visual cue. To evaluate the efficacy of the training, the authors conducted pre- and post-training tests. The results show that the width judgment error of the post-training test was significantly smaller than the pre-training test. © 2017 Acoustical Society of America.","","Acoustic Stimulation; Acoustics; Auditory Perception; Curriculum; Engineering; Humans; Judgment; Motion; Music; Photic Stimulation; Program Evaluation; Sound; Task Performance and Analysis; Vibration; Visual Perception; Curricula; Personnel training; Auditory source width; Isomorphic mapping; Pre-training; Program control; Sound source; Spread angle; Training program; acoustics; auditory stimulation; comparative study; curriculum; decision making; devices; education; engineering; evaluation study; hearing; human; motion; music; photostimulation; program evaluation; sound; task performance; vibration; vision; Audition","","","","","","","Basset M., William M.L., SAE parametric equaliser training: Development of a technical ear training program using Max, Proceedings of the AES 140th International Convention, (2016); Corey J., Audio Production and Critical Listening, (2016); Iwamiya S., Nakajima Y., Ueda K., Kawahara K., Takada M., Technical listening training: Improvement of sound sensitivity for acoustic engineers and sound designers, Acoust. Sci. Tech., 24, 1, pp. 27-31, (2003); Kim S., Recording Piano in Surround: Discovering Preferences, Investigating Auditory Imagery, and Establishing Physical Predictors, (2009); Kim S., An assessment of individualized technical ear training for audio production, J. Acoust. Soc. Am., 138, 1, pp. EL110-EL113, (2015); Miskiewicz A., Timbre solfege: A course in technical listening for sound engineers, J. Audio. Eng. Soc., 40, 7-8, pp. 621-625, (1992); Morimoto M., Iida K., A practical evaluation method of auditory source width in concert halls, J. Acoust. Soc. Jpn. (E), 16, pp. 59-69, (1995); Moulton D., The Golden Ears Audio Ear-training Program, Audio CD Published by KIQ Productions, (1992); Neher T., Towards a spatial ear trainer, Doctoral Thesis, Department of Music and Sound Recording, (2004); Olive S.E., A new listener training software application, Proceedings of the AES 110th International Convention, (2001); Quesnel R., Timbral ear trainer: Adaptive, interactive training of listening skills for evaluation of timbre, Proceedings of the AES 100th International Convention, (1996); Rumsey F., Spatial quality evaluation for reproduced sound: Terminology, meaning, and a scene-based paradigm, J. Audio. Eng. Soc., 50, 9, pp. 651-666, (2002)","S. Kim; Electrical, Computer, and Telecommunication Engineering Technology, Rochester Institute of Technology, Rochester, 78 Lomb Memorial Drive, 14618, United States; email: sxkiee@rit.edu","","Acoustical Society of America","","","","","","00014966","","JASMA","28863618","English","J. Acoust. Soc. Am.","Article","Final","","Scopus","2-s2.0-85027287166"
"Ted Honea S.M.","Ted Honea, Sion M. (57205417355)","57205417355","Nicolaus listenius’s musica (1537) and the development of music pedagogy","2018","Journal of Historical Research in Music Education","40","1","","10","33","23","2","10.1177/1536600617718140","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85059955341&doi=10.1177%2f1536600617718140&partnerID=40&md5=b9d8c570180aae368ca2ab5a5dd2a131","School of Music, University of Central Oklahoma, Edmond, OK, United States","Ted Honea S.M., School of Music, University of Central Oklahoma, Edmond, OK, United States","Nicolaus Listenius’s Musica (1537) proved to be one of the two most successful music textbooks in the Lutheran Latin Schools of the sixteenth century, issued in at least forty-six editions and surviving in use into the next century. Yet, a casual inspection of the book today does not readily yield to modern expectations of a successful pedagogical text; indeed, there has never been any thorough analysis of the book to determine its merits and defects and so the causes of its popularity. The present analysis demonstrates that the Musica utilizes a variety of influential practices—medieval, humanist, and Lutheran—combined with an innovative new concept in music pedagogy in order to account for its success. It also reveals certain weaknesses and flaws in the book but argues that these were mostly overcome by the intended practice of guidance from the instructor in actual classroom use. The book’s method presents a difficulty for understanding today because of our modern assumptions about proper pedagogy, but an analysis of its method is beneficial for making more conscious those assumptions and advances in current practice. © The Author(s) 2017.","General; Higher education; Historiography; Instructional methods; Music education history; Renaissance","","","","","","","","(2017); Schunemann G., Geschichte Der Deutschen Schulmusik, (1928); Sannemann F., Die Musik Als Unterrichtsgegenstand in Den Evangelischen Lateinschulen Des 16. Jahrhunderts, (1904); Strauss G., Luther’s House of Learning, (1997); Bartel D., Musica Poetica, pp. 7-28, (1997); Gilday P.E., Musical Thought in the Early German Reformation, (2011); Buszin W.E., Luther on Music, Musical Quarterly, 32, 1, pp. 80-97, (1946); Gafurius F., Practica Musice, (1979); Ornithoparchus A., Musicae Activae Micrologus Libris Quatuor Digestus, (1977); Rhau G., Enchiridion Utriusque Musicae; Butt J., Music Education and the Art of Performance in the German Baroque, (1994); Niemoller K.W., Untersuchungen Zu Musikpflege Und Musikunterricht an Den Deutschen Lateinschulen Vom Ausgehenden Mittelalter Bis Um 1600, pp. 611-613, (1969); Cochlaeus J., Tetrachordum Musices, (1970); Faber H., Compendiolum Musicae Pro Incipientibus, (2000); Virdung S., Musica Getutscht; Morley T., A Plain & Easy Inroduction to Practical Music, pp. 133-137, (1952); Turkle S., Reclaiming Conversation: The Power of Talk in a Digital Age, (2015)","S.M. Ted Honea; School of Music, University of Central Oklahoma, Edmond, 100 University Dr., 73034, United States; email: thonea@uco.edu","","SAGE Publications Ltd","","","","","","15366006","","","","English","J. Hist. Res.  Music Educ.","Article","Final","All Open Access; Bronze Open Access","Scopus","2-s2.0-85059955341"
"Bovin A.J.","Bovin, Amy J. (57208759527)","57208759527","The effects of frequent use of a web-based sight-reading software on eighth graders’ music notational literacy","2018","Journal of Music, Technology and Education","11","2","","131","147","16","2","10.1386/jmte.11.2.131_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85065744206&doi=10.1386%2fjmte.11.2.131_1&partnerID=40&md5=29a8097c049c86ad4d647653ef47eaac","University of Hartford’s The Hartt School, United States","Bovin A.J., University of Hartford’s The Hartt School, United States","Due to its potential of improving an individual’s music notational literacy and the ease of use within the ensemble setting, the purpose of this study was to determine if frequent use of a web-based sight-reading software (sightreadingfactory.com) in full band rehearsals and group lessons would improve a band student’s individual music notational literacy level. For this study, the researcher utilized the pretest- post-test control-group statistical design with three groups of eighth-grade band students. Group 1 (n = 25) used the software at the beginning of every full band rehearsal, Group 2 (n = 31) used the software at the beginning of every small group lesson rehearsal, and Group 3 (n = 23) did not use the software in any capacity and served as the control group. The study lasted for eight weeks. The researcher individually administered the pretest to all student participants in Week 1 of the study and the post-test during Week 8. In order to determine which treatment caused the greatest change in music notational literacy, the researcher compared the mean gain scores of each group using an ANOVA and found statistically significant findings (F = 3.84, df = 2, p = 0.026). Group 1 (n = 25, M = 2.80, SD = 1.76) students’ mean gain scores were significantly higher than Group 3‘s (n = 20, M = 0.90, SD = 2.02, p = 0.006 indicating) evident that the web-based software was most effective in the full ensemble rehearsals. © 2018 Intellect Ltd Article.","Band technology; Music literacy; Music notation literacy; Sight-reading; Software","","","","","","","","Besnier N., ‘Literacy’, Journal of Linguistic Anthropology, 9, 1-2, pp. 141-143, (1999); David B.J., ‘The effect of prescribed rhythmical movements on the ability to read music at sight’, Journal of Research in Music Education, 18, 4, pp. 307-308, (1970); Collins J., ‘Literacy and literacies’, Annual Review of Anthropology, 24, pp. 75-93, (1995); Corum J., Kepler D., Mattson T., Okerstrom J., ‘An examination of secondary literacy practices: An evaluation tool for school leaders to improve literacy instruction and student achievement’, (2007); Creswell J., Research Design: Qualitative, Quantitative, and Mixed Methods Approaches, (2014); Crochet L., Green S., ‘Examining progress across time with practice assessments in ensemble setting’, Music Educators Journal, 98, 3, pp. 49-54, (2012); Gerth J., ‘A new wave in music sight reading: Sightreadingfactory. com’, Music Ed Magic, (2015); Giroux H., ‘Critical literacy and student experience: Donald Graves’ approach to literacy’, Empowerment, 64, 2, pp. 175-181, (1987); Goolsby T., ‘Assessment in instrumental music’, Music Educators Journal, 86, 2, (1999); Gromko J., ‘The effect of music instruction on phonemic awareness in beginning readers’, The Journal of Research in Music Education, 53, 3, pp. 199-209, (2005); Hansen D., Bernstorf E., Stuber G., The Music and Literacy Connection, (2014); Hayward C., Gromko J., ‘Relationships among music sightreading and technical proficiency, spatial visualization, and aural discrimination’, Journal of Research in Music Education, 57, 1, pp. 26-36, (2009); Johnson A., ‘Using literacy learning theories to facilitate sightreading and music learning’, The Choral Journal, 39, 1, pp. 37-39, (1998); Kurt J., ‘Factors affecting literacy achievement of eighth grade middle school instrumental music students’, (2010); Lehmann A., McArthur V., Sight-reading, The Science & Psychology of Music Performance: Creative Strategies for Teaching and Learning, (2002); McNamara-Cabral M., ‘Idea bank: How a smart board changed my teaching’, Music Educators Journal, 98, 3, pp. 26-27, (2012); Miller M.D., Linn R., Gronlund N., Measurement and Assessment in Teaching, (2013); Orman E., Yarbrough C., Neill S., Whitaker J., ‘Time usage of middle and high school band directors in sightreading adjudication’, Update: Applications of Research in Music Education, 25, 2, pp. 36-46, (2007); Pisano J., ‘Sight reading factory: The innovative new way to teach and practice sight reading’, MusicTech.net, (2012); Saxon K., ‘The science of sight reading’, American Music Teacher, 58, 6, pp. 22-25, (2009); Stefanova M., ‘Developing critical thinking and assessment in music classrooms’, American String Teacher, 61, 2, pp. 29-31, (2011); Yarbrough C., Orman E., Neill S., ‘Time usage by choral directors prior to sight-singing adjudication’, Update: Applications of Research in Music Education, 25, 2, pp. 27-35, (2007)","A.J. Bovin; University of Hartford’s The Hartt School, West Hartford, 200 Bloomfield Ave, 06117, United States; email: amy.bovin@gmail.com","","Intellect Ltd.","","","","","","17527066","","","","English","J. Music Technol. Educ.","Article","Final","","Scopus","2-s2.0-85065744206"
"Rauduvaitė A.; Wang L.","Rauduvaitė, Asta (36712413000); Wang, Linlin (57210448034)","36712413000; 57210448034","The analysis of content of bachelor study programme of music teacher training in lithuania: Attitude of foreign and Lithuanian students; [Lietuvos muzikos mokytojų rengimo bakalauro studijų programos turinio analizė: Lietuvos ir užsienio studentų požiūris]","2018","Pedagogika","132","4","","197","210","13","1","10.15823/p.2018.132.12","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85070773710&doi=10.15823%2fp.2018.132.12&partnerID=40&md5=c58e0815f75229a7d1e933aa224b0f52","Vytautas Magnus University, Academy of Education, T. Ševčenkos g. 31, Vilnius, LT-03111, Lithuania","Rauduvaitė A., Vytautas Magnus University, Academy of Education, T. Ševčenkos g. 31, Vilnius, LT-03111, Lithuania; Wang L., Vytautas Magnus University, Academy of Education, T. Ševčenkos g. 31, Vilnius, LT-03111, Lithuania","Teacher training institutions play a significant role in preparing future music teachers. Lithuanian University of Educational Sciences (now Vytautas Magnus University, Academy of Education) as an institution that educates professional teachers and implements the study programmes of music teacher education. The aim of the research is to reveal the results of the analysis of the content of music teacher education programme highlighting the attitude of foreign and Lithuanian students. The research shows that most study subjects are thought to be very important by future music teachers, especially music knowledge and pedagogical studies. During the Bachelor studies, the majority of students (Chinese and Lithuanian) have gained the abilities at the professional level. © 2018, Vilnius Pedagogical University. All rights reserved.","Attitude of foreign and Lithuanian students; Music pedagogy; Music teacher education; Teacher education curriculum","","","","","","","","Balcytis E., Muzikinio Ugdymo Labirintais [Labyrinth of Music Education], (2012); Bitinas B., Rinktiniai Edukologiniai raštai I [The Selected Works in Education I], (2013); Burnard P., Musical Creativities in Practice, (2012); Carvalho S.H.M., Scavarda A., Music Economy Field Configuration: An Exploratory Study, Proceedings of the International Society for Music Education. 31St World Conference on Music Education, pp. 210-215, (2014); Dogani K., Using Reflection as a Tool for Training Generalist Teachers to Teach Music, Music Education Research, 10, 1, pp. 125-139, (2008); (2020); Strengthening Teaching in Europe: New Evidence from Teachers Compiled by Eurydice and CRELL, (2015); The Teaching Profession in Europe: Practices, Perceptions, and Policies, (2015); Finney J., Philpott C., Informal Learning and Meta-Pedagogy in Initial Teacher Education in England, British Journal of Music Education, 27, 1, pp. 7-19, (2010); Georgii-Hemming E., Westvall M., Teaching Music in Our Time: Student Music Teachers’ Reflections on Music Education, Teacher Education and Becoming a Teacher, Music Education Research, 12, 4, pp. 353-367, (2010); Girdzijauskas A., Aukštesniųjų klasių mokinių dorovinės kultūros Ugdymas Muzikine Veikla [Development of Moral Culture of Senior School Learners through Musical Activities], (2012); Hallam S., Burnard P., Robertson A., Saleha C., Daviesc V., Rogers L., Kokatsakid D., Trainee Primary-School Teachers’ Perceptions of Their Effectiveness in Teaching Music, Music Education Research, 11, 2, pp. 221-240, (2009); Juvonen A., Ruismaki H., Lehtonen K., Music Education Facing New Challenges, Procedia-Social and Behavioral Sciences, 45, pp. 197-205, (2012); Kenny A., Sound Connections for Institutional Practice: Cultivating ‘Collaborative Creativity’ Through Group Composition, Developing Creativities in Higher Music Education: International Perspectives and Practices, pp. 469-492, (2014); Kokotsaki D., Pre-Service Teachers’ Conceptions of Creativity in the Primary Music Classroom, Research Studies in Music Education, 34, 2, pp. 129-156, (2012); Lasauskiene J., Projektas kaip studijų rezultatų baigiamasis vertinimas, Pedagogika, 109, 1, pp. 86-92, (2013); Leisyte L., Zelvys R., Zenkiene L., Re-contextualization of the Bologna Process in Lithuania, European Journal of Higher Education, 5, 1, pp. 49-67, (2015); Patvirtinta LEU Senato 2013 M. gegužės 22 D. Nutarimu Nr. 220, (2013); [The Draft of the Lithuanian Teacher Training Conception and Its Substantiation], (2016); „Dėl pedagogų Rengimo Modelio aprašo patvirtinimo“, 683, (2017); Maguraushe W., Insights into the Zimbabwe Integrated National Teacher Education Course: Graduates’ Music Teaching Competence, Journal of Music Research in Africa, 12, 1, pp. 86-102, (2015); Mills J., Smith J., Teachers’ Beliefs About Effective Instrumental Teaching in Schools and Higher Education, British Journal of Music Education, 20, 1, pp. 5-27, (2003); Petress K., The Importance of Music Education, (2005); Rauduvaite A., Lasauskiene J., Barkauskaite M., Experience in Teaching Practice of Preservice Teachers: Analysis of Written Reflections, Procedia: Social and Behavioral Sciences, 191, pp. 1048-1053, (2015); Rimsaite R., Umbrasiene V., Muzikos studijų Krypties Kompetencijos plėtotės Metodika [Methodology for Development of Competence in the Study Field of Music], (2010); Rinkevicius Z., Rinkeviciene R., Žmogaus Ugdymas Muzika [Education of an Individual through Music], (2006); Russell-Bowie D., What Me? Teach Music to my Primary Class? Challenges to Teaching Music in Primary Schools in Five Countries, Music Education Research, 11, 1, pp. 23-36, (2009); Ryan G., Interruptions Reshaped into Transitions: Personal Reflections on the Identity Challenges of Moving to Music Education. Action, Criticism, and Theory for Music Education, 9, 2, pp. 48-59, (2010); Sakadolskiene E., Ne vien žinios ir gebėjimai: Transformacijos per mokytojo socializaciją ir tapatybės ugdymą, Acta Paedagogica Vilnensia, 38, pp. 42-57, (2017); Saliene V., Mokytojų Rengimas Lietuvoje: Iššūkiai Ir Galimybes [Teacher Training in Lithuania: Challenges and Opportunities], pp. 27-37, (2016); Schippers H., Campbell P.S., Cultural Diversity: Beyond Songs from Every Land, The Oxford Handbook of Music Education, pp. 87-104, (2012); Seckuviene H., Vaiko muzikinių gebėjimų Ugdymas [Development of Musical Skills of Children], (2004); Seckuviene H., Muzikos mokytojo mentoriaus dalykinė kompetencija, Mentoriaus Kompetencijos [Mentor’s Competences], pp. 59-66, (2007); Tavoras V., Meninė individualybė Ir Jos raiškos plėtojimo Muzikine Veikla galimybės Universitete [Artistic Individuality and Possibilities of Its Development through Musical Activities at University], (2015); Townsend A.S., Introduction to Effective Music Teaching: Artistry and Attitude, (2011); Zibeniene G., Studijų programų kokybės vertinimo koncepcija ir ją veikiantys veiksniai, Acta Paedagogika Vilnensia, 16, pp. 177-189, (2006)","","","Vytautas Magnus University","","","","","","13920340","","","","English","Pedagogika","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85070773710"
"Joret M.-E.; Germeys F.; Gidron Y.","Joret, Marie-Eve (57195315611); Germeys, Filip (6602445082); Gidron, Yori (55746581600)","57195315611; 6602445082; 55746581600","Cognitive inhibitory control in children following early childhood music education","2017","Musicae Scientiae","21","3","","303","315","12","32","10.1177/1029864916655477","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85027047711&doi=10.1177%2f1029864916655477&partnerID=40&md5=8d4c347245c6f71e3f3b1af89f8fa737","Vrije Universiteit Brussel, Belgium; KU Leuven, Belgium","Joret M.-E., Vrije Universiteit Brussel, Belgium; Germeys F., KU Leuven, Belgium; Gidron Y., Vrije Universiteit Brussel, Belgium","The relationship between music training and executive functions has remained inconsistent in previous studies, possibly due to methodological limitations. This study aims to investigate cognitive inhibitory control in children (9–12 years old) with and without musical training, while carefully considering confounding variables. To assess executive functions, the Simon task was used, measuring reaction times (RTs) and error rates on congruent and incongruent trials. Information on important variables such as bilingualism, socio-economic status (SES), music pedagogy and amount of musical training was collected through a parental questionnaire. Furthermore, verbal and non-verbal intelligence were assessed with validated tests to consider their effects as well. The results showed that the samples did not significantly differ in background variables. The analysis of the RT data on the Simon task revealed a significant group × congruency interaction, such that musically trained children showed a reduced magnitude of the congruency effect (RTs on incongruent trials – RTs on congruent trials) compared to non-musicians. To conclude, music training seems to be associated with enhanced cognitive inhibitory control in well-matched samples. © 2016, © The Author(s) 2016.","early childhood music education; executive functions; inhibitory control; music training","","","","","","Fonds Wetenschappelijk Onderzoek, FWO, (11M0115N)","The authors would like to thank Professor Emeritus Eric Soetens for his help and advice. In addition, the authors are grateful to the children, schools and parents who participated in this study. This study was funded by a grant from the Research Foundation Flanders (FWO), which was awarded to Marie-Eve Joret (No.11M0115N).","Bernier A., Carlson S.M., Whipple N., From external regulation to self-regulation: Early parenting precursors of young children’s executive functioning, Child Development, 81, pp. 326-339, (2010); Bialystok E., Bilingualism in development: Language, literacy, and cognition, (2001); Bialystok E., How does experience change cognition? 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Schellenberg E.G., Weiss M.W., Music and cognitive abilities, The psychology of music, pp. 499-550, (2013); Schneider W., Eschman A., Zuccolotto A., E-Prime user’s guide, (2002); Simon J.R., Rudell A.P., Auditory S-R compatibility: The effect of an irrelevant cue on information processing, Journal of Applied Psychology, 51, pp. 300-304, (1967); Sowell E.R., Delis D., Stiles J., Jernigan T.L., Improved memory functioning and frontal lobe maturation between childhood and adolescence: A structural MRI study, Journal of the International Neuropsychological Society, 7, pp. 312-322, (2001); Thompson W.F., Schellenberg E.G., Husain G., Perceiving prosody in speech: Effects of music lessons, Annals of the New York Academy of Sciences, 999, pp. 530-532, (2003); Van der Sluis S., de Jong P.F., van der Leij A., Executive functioning in children, and its relations with reasoning, reading, and arithmetic, Intelligence, 35, pp. 427-449, (2007); Vaughn K., Music and mathematics: Modest support for the oft-claimed relationship, Journal of Aesthetic Education, 34, pp. 149-166, (2000); Voss M.W., Chaddock L., Kim J.S., VanPatter M., Pontifex M.B., Raine L.B., Cohen N.J., Hillman C.H., Kramer A.F., Aerobic fitness is associated with greater efficiency of the network underlying cognitive control in preadolescent children, Neuroscience, 199, pp. 166-176, (2011); Zuk J., Benjamin C., Kenyon A., Gaab N., Behavioral and neural correlates of executive functioning in musicians and non-musicians, PLoS ONE, 9, (2014)","M.-E. Joret; Department of Linguistics, Vrije Universiteit Brussel, Brussels, Pleinlaan 2, 1050, Belgium; email: majoret@vub.ac.be","","SAGE Publications Ltd","","","","","","10298649","","","","English","Musicae Scientiae","Article","Final","","Scopus","2-s2.0-85027047711"
"Slavin R.E.; Collins M.E.; Repka M.X.; Friedman D.S.; Mudie L.I.; Owoeye J.O.; Madden N.A.","Slavin, Robert E. (7102362525); Collins, Megan E. (36008013700); Repka, Michael X. (7007146862); Friedman, David S. (7402079597); Mudie, Lucy I. (57057549600); Owoeye, Josephine O. (57202339956); Madden, Nancy A. (7005578030)","7102362525; 36008013700; 7007146862; 7402079597; 57057549600; 57202339956; 7005578030","In Plain Sight: Reading Outcomes of Providing Eyeglasses to Disadvantaged Children","2018","Journal of Education for Students Placed at Risk","23","3","","250","258","8","26","10.1080/10824669.2018.1477602","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85047918876&doi=10.1080%2f10824669.2018.1477602&partnerID=40&md5=5e91378fa4e24da4d1f865dd6a2a19f4","School of Education, Center for Research and Reform in Education, Johns Hopkins University, Baltimore, MD, United States; Krieger Children's Eye Center, Wilmer Eye Institute, Baltimore, MD, United States; Wilmer Eye Institute, Johns Hopkins School of Medicine, Baltimore, MD, United States","Slavin R.E., School of Education, Center for Research and Reform in Education, Johns Hopkins University, Baltimore, MD, United States; Collins M.E., Krieger Children's Eye Center, Wilmer Eye Institute, Baltimore, MD, United States; Repka M.X., Wilmer Eye Institute, Johns Hopkins School of Medicine, Baltimore, MD, United States; Friedman D.S., Wilmer Eye Institute, Johns Hopkins School of Medicine, Baltimore, MD, United States; Mudie L.I., Wilmer Eye Institute, Johns Hopkins School of Medicine, Baltimore, MD, United States; Owoeye J.O., Krieger Children's Eye Center, Wilmer Eye Institute, Baltimore, MD, United States; Madden N.A., School of Education, Center for Research and Reform in Education, Johns Hopkins University, Baltimore, MD, United States","Many disadvantaged students with refractive errors, such as myopia (nearsightedness) and hyperopia (farsightedness), do not have eyeglasses, and their reduced vision may impact reading proficiency. Providing eyeglasses may increase their reading success. This article reports the findings of a study in Baltimore City in which disadvantaged second and third graders were assessed for vision problems. Of 317 students, 182 were given glasses. Those who needed glasses were given two pairs, one for home and one for school, as well as replacements if glasses were lost or broken. School staff assisted in ensuring that students wore their glasses, storing them safely, and replacing glasses when necessary. Students who received glasses improved more on Woodcock reading measures than those who never needed glasses (ES = +0.16, p <.03). The study demonstrates the potential of providing eyeglasses to disadvantaged students who need them to improve their reading performance. © 2018, © 2018 Taylor & Francis Group, LLC.","","","","","","","Diane Levy Family Foundation; Robert and Diane Levy Family Foundation","Funding text 1: Funding for this study was provided by the Robert and Diane Levy Family Foundation.; Funding text 2: The Robert and Diane Levy Family Foundation. Funding for this study was provided by the Robert and Diane Levy Family Foundation.","Allington R., What really matters for struggling readers, (2011); Basch C., Vision and the achievement gap among urban minority youth, Journal of School Health, 81, 10, pp. 599-605, (2011); Bodack M., Chung I., Krumholz I., An analysis of vision screening data from New York City Public Schools, Optometry, 81, pp. 477-484, (2010); Collins M., Friedman D., Repka M., Owoeye J., Mudie L., Anglemeyer K., Corcoran R., Preliminary results from the Baltimore Reading and Eye Disease Study (BREDS), Paper Presented at the Annual Meeting of the Association for Research in Vision and Ophthalmology, (2015); Creavin A.L., Lingham R., Steer C., Ophthalmic abnormalities and reading impairment, Pediatrics, 135, 6, pp. 1057-1065, (2015); Davidon S., Quinn G.E., The impact of pediatric vision disorders in adulthood, Pediatrics, 127, 2, pp. 334-339, (2011); Duncan G., Murnane R., Restoring opportunity: The crisis of inequality and the challenge for American education, (2014); Gambrell L., Morrow L.M., Pressley M., Best practices in literacy instruction, (2007); Ganz M., Xuan Z., Hunger D., Patterns of eye care use and expenditures among children with diagnosed eye conditions, Journal of the American Association of Pediatric Ophthalmology and Strabismus, 11, 5, pp. 480-487, (2007); Gawande A., Better: A surgeon's notes on performance, (2007); Glewwe P., Park A., Zhao M., Visualizing development: Eyeglasses and academic performance in rural primary schools in China (Tech. Rep.), (2011); Granet D.B., Learning disabilities, dyslexia, and vision: The role of pediatric ophthalmologist, Journal of the American Association of Pediatric Ophthalmology and Strabismus, 15, pp. 119-120, (2011); Hannum E., Zhang Y., Poverty and proximate barriers to learning: Vision deficiencies, vision correction and educational outcomes in rural northwest China, World Development, 40, 9, pp. 1921-1931, (2012); Heslin K., Casey R., Shaheen M., Racial and ethnic differences in unmet need for vision care among children with special health care needs, Archives of Ophthalmology, 124, 6, pp. 895-902, (2006); Kiely P.M., Crewther S.G., Crewther D.P., Is there an association between functional vision loss and learning to read?, Clinical and Experimental Optometry, 84, 6, pp. 46-53, (2001); Kimel L., Lack of follow-up exams after failed school vision screenings: An investigation of contributing factors, The Journal of School Nursing, 22, 3, pp. 156-162, (2006); Kodjebacheva G., Maliski S., Yu F., Oelrich F., Coleman A., Decreasing uncorrected refractive error in the classroom through a multifactorial pilot intervention, The Journal of School Nursing, 30, 1, pp. 24-30, (2014); Levine M.D., Reading disability: Do the eyes have it?, Pediatrics, 73, pp. 869-871, (1984); Ma X., Zhou Z., Yi H., Pang X., Shi Y., Chen Q., Meltzer E., le Cessie S., He M., Rozelle S., Liu Y., Congdo N., Effect of providing free glasses on children's educational outcomes in China: Cluster randomized controlled trial, The British Medical Journal, pp. 1-12, (2014); Maples W.C., Visual factors that significantly impact academic performance, Optometry, 74, 1, pp. 35-49, (2003); Children's vision and eye health: A snapshot of current national issues, (2016); National Assessment of Educational Progress, (2015); Teaching students to read: An evidence-based assessment of the scientific research literature on reading and its implications for reading instruction, (2000); Qui M., Wang S., Singh K., Lin S., Racial disparities in uncorrected and undercorrected refractive error in the United States, Journal of Investigative Ophthalmology and Visual Science, 55, 10, pp. 6996-7005, (2014); Rothstein R., Class and schools: Using social, economic, and educational reform to close the black-white achievement gap, (2004); Schwanenflugel P.J., Knapp N.F., The psychology of reading, (2015); Slavin R.E., Madden N.A., Chambers B., Haxby B., Two Million Children: Success for All, (2009); Temple C., Ogle D., Crawford A., Freppon P., All children read: Teaching for literacy in today's diverse classrooms, (2016); Zhang X., Elliott M., Saaddine J., Unmet eye care needs among U.S. 5<sup>th</sup> grade students, American Journal of Preventive Medicine, 43, 1, pp. 55-58, (2012)","R.E. Slavin; School of Education, Johns Hopkins University 300 E. Joppa Road, Baltimore, 21286, United States; email: rslavin@jhu.edu","","Routledge","","","","","","10824669","","","","English","J. Educ. Stud. Placed Risk","Article","Final","","Scopus","2-s2.0-85047918876"
"Hadley L.V.; Sturt P.; Eerola T.; Pickering M.J.","Hadley, Lauren V. (56781223400); Sturt, Patrick (6603568971); Eerola, Tuomas (6602209042); Pickering, Martin J. (7006461382)","56781223400; 6603568971; 6602209042; 7006461382","Incremental comprehension of pitch relationships in written music: Evidence from eye movements","2018","Quarterly Journal of Experimental Psychology","71","1 Special Issue","","211","219","8","13","10.1080/17470218.2017.1307861","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85044103866&doi=10.1080%2f17470218.2017.1307861&partnerID=40&md5=56f1a0cfec7a7662bf966053969802cd","Department of Psychology, The University of Edinburgh, Edinburgh, United Kingdom; Department of Music, Durham University, Durham, United Kingdom","Hadley L.V., Department of Psychology, The University of Edinburgh, Edinburgh, United Kingdom; Sturt P., Department of Psychology, The University of Edinburgh, Edinburgh, United Kingdom; Eerola T., Department of Music, Durham University, Durham, United Kingdom; Pickering M.J., Department of Psychology, The University of Edinburgh, Edinburgh, United Kingdom","To investigate how proficient pianists comprehend pitch relationships in written music when they first encounter it, we conducted two experiments in which proficient pianists’ eyes were tracked while they read and played single-line melodies. In Experiment 1, participants played at their own speed; in Experiment 2, they played with an external metronome. The melodies were either congruent or anomalous, with the anomaly involving one bar being shifted in pitch to alter the implied harmonic structure (e.g. non-resolution of a dominant). In both experiments, anomaly led to rapid disruption in participants’ eye movements in terms of regressions from the target bar, indicating that pianists process written pitch relationships online. This is particularly striking because in musical sight-reading, eye movement behaviour is constrained by the concurrent performance. Both experiments also showed that anomaly induced pupil dilation. Together, these results indicate that proficient pianists rapidly integrate the music that they read into the prior context and that anomalies in terms of pitch relationships lead to processing difficulty. These findings parallel those of text reading, suggesting that structural processing involves similar constraints across domains. © Experimental Psychology Society 2017.","Eye movements; Music performance; Music processing; Sight-reading","","","","","","Economic and Social Research Council, ESRC","The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: L.V.H. was supported by an ESRC studentship for this research.","Ahken S., Comeau G., Hebert S., Balasubramaniam R., Eye movement patterns during the processing of musical and linguistic syntactic incongruities, Psychomusicology: Music, Mind & Brain, 22, 1, pp. 18-25, (2012); Drai-Zerbib V., Baccino T., The effect of expertise in music reading: Cross-modal competence, Journal of Eye Movement Research, 6, 5, pp. 1-10, (2013); Drai-Zerbib V., Baccino T., Bigand E., Sight-reading expertise: Cross-modality integration investigated using eye tracking, Psychology of Music, 40, pp. 216-235, (2011); 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Waters A.J., Underwood G., Eye movements in a simple music reading task: A study of expert and novice musicians, Psychology of Music, 26, pp. 46-60, (1998); Waters A.J., Underwood G., Findlay J.M., Studying expertise in music reading: Use of a pattern-matching paradigm, Perception & Psychophysics, 59, pp. 477-488, (1997); Wurtz P., Mueri R.M., Wiesendanger M., Sight-reading of violinists: Eye movements anticipate the musical flow, Experimental Brain Research, 194, pp. 445-450, (2009)","L.V. Hadley; Department of Psychology, The University of Edinburgh, Edinburgh, EH8 9JZ, United Kingdom; email: lauren.hadley@cantab.net","","Taylor and Francis Ltd.","","","","","","17470218","","","","English","Q. J. Exp. Psychol.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-85044103866"
"Schiavio A.; van der Schyff D.; Biasutti M.; Moran N.; Parncutt R.","Schiavio, Andrea (55582317300); van der Schyff, Dylan (55308042600); Biasutti, Michele (6603982003); Moran, Nikki (36005292000); Parncutt, Richard (6602410680)","55582317300; 55308042600; 6603982003; 36005292000; 6602410680","Instrumental technique, expressivity, and communication. A qualitative study on learning music in individual and collective settings","2019","Frontiers in Psychology","10","APR","737","","","","23","10.3389/fpsyg.2019.00737","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85065126684&doi=10.3389%2ffpsyg.2019.00737&partnerID=40&md5=99759c54396a47c63a5962011d70debd","Centre for Systematic Musicology, University of Graz, Graz, Austria; Faculty of Music, University of Oxford, Oxford, United Kingdom; Department of Philosophy, Sociology, Education and Applied Psychology, School of Human and Social Sciences and Cultural Heritage, University of Padova, Padova, Italy; Reid School of Music, The University of Edinburgh, Edinburgh, United Kingdom","Schiavio A., Centre for Systematic Musicology, University of Graz, Graz, Austria; van der Schyff D., Faculty of Music, University of Oxford, Oxford, United Kingdom; Biasutti M., Department of Philosophy, Sociology, Education and Applied Psychology, School of Human and Social Sciences and Cultural Heritage, University of Padova, Padova, Italy; Moran N., Reid School of Music, The University of Edinburgh, Edinburgh, United Kingdom; Parncutt R., Centre for Systematic Musicology, University of Graz, Graz, Austria","In this paper, we present a qualitative study comparing individual and collective music pedagogies from the point of view of the learner. In doing so, we discuss how the theoretical tools of embodied cognitive science (ECS) can provide adequate resources to capture the main properties of both contexts. We begin by outlining the core principles of ECS, describing how it emerged in response to the information-processing approach to mind, which dominated the cognitive sciences for the latter half of the 20th century. We then consider the orientation offered by ECS and its relevance for music education. We do this by identifying overlapping principles between three tenets of ECS, and three aspects of pedagogical practice. This results in the categories of ""instrumental technique,"" ""expressivity,"" and ""communication,"" which we adopted to examine and categorize the data emerging from our study. In conclusion, we consider the results of our study in light of ECS, discussing what implications can emerge for concrete pedagogical practices in both individual and collective settings. © 2019 Schiavio, van der Schyff, Biasutti, Moran and Parncutt.","Embodiment; Expressivity; Instrumental technique; Musical communication; Musical learning","","","","","","; Austrian Science Fund, FWF, (M 2148)","AS was supported by a Lise Meitner Postdoctoral Fellowship granted by the Austrian Science Fund (FWF): project number M2148. DvdS was supported by a postdoctoral fellowship granted by the Social Sciences and Humanities Research Council of Canada","Agee J., Developing qualitative research questions: a reflective process, Int. J. Qual. Stud. 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Music, 29, pp. 95-102, (2018); Schiavio A., van der Schyff D., Kruse-Weber S., Timmers R., When the sound becomes the goal 4E Cognition and Teleomusicality in early infancy, Front. Psychol, 8, (2017); Schreier M., Qualitative Content Analysis in Practice, (2012); Shapiro L., Embodied Cognition, (2011); Small C., Musicking: The Meaning of Performing and Listening, (1998); Thompson E., Mind in Life: Biology, Phenomenology, and the Sciences of Mind, (2007); Timmers R., Endo S., Bradbury A., Wing A.M., Synchronization and leadership in string quartet performance: a case study of auditory and visual cues, Front. Psychol, 5, (2014); Turino T., Music as Social Life: The Politics of Participation, (2008); van der Schyff D., Krueger J., Musical empathy, from simulation to 4E interaction,, Music, Sound, and Mind, (2019); van der Schyff D., Schiavio A., Elliott D., Critical ontology for an enactive music pedagogy, Action Crit. Theory Music Educ, 15, pp. 81-121, (2016); Varela F., Thompson E., Rosch E., The Embodied Mind: Cognitive Science and Human Experience, (1991); Walton A., Richardson M.J., Langland-Hassan P., Chemero A., Improvisation and the self-organization of multiple musical bodies, Front. Psychol, 6, (2015)","A. Schiavio; Centre for Systematic Musicology, University of Graz, Graz, Austria; email: andrea.schiavio@gmail.com","","Frontiers Media S.A.","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85065126684"
"Johnson E.","Johnson, Erik (55607136600)","55607136600","The Effect of Symmetrical and Asymmetrical Peer-Assisted Learning Structures on Music Achievement and Learner Engagement in Seventh-Grade Band","2017","Journal of Research in Music Education","65","2","","163","178","15","25","10.1177/0022429417712486","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85020773175&doi=10.1177%2f0022429417712486&partnerID=40&md5=f53a3f6aa4cf4f3cd3fac180308e99d6","Colorado State University, School of Music, Theatre, and Dance, 1778 Campus Delivery, Fort Collins, 80525-1778, CO, United States","Johnson E., Colorado State University, School of Music, Theatre, and Dance, 1778 Campus Delivery, Fort Collins, 80525-1778, CO, United States","The purpose of this study was to examine the effect of two different reciprocal peer-assisted learning (PAL) arrangements on music achievement and learner engagement in the secondary instrumental music classroom. Using a quasi-experimental design, students from six separate seventh-grade bands from one large urban/suburban school district (N = 261) were randomly assigned to one of two treatment conditions: symmetrical PAL, where students of like ability were paired together, and asymmetrical PAL, where students of divergent ability were paired together. Students worked in pairs over the course of four weeks and took turns being the ""learner"" and the ""teacher"" to improve sight-reading ability and music theory knowledge. Student pairs were allowed to determine their own rules for interaction, turn taking, and the amount of material to be covered in each session. Three pre-/posttest outcome variables were assessed: sight-reading performance, music theory knowledge, and learner engagement. Additionally, individual socioeconomic status (SES) and motivation orientation were compared as potential moderating variables. Hierarchical linear regression analyses indicated that regardless of PAL pairings, there were significant gains for each of the outcome variables. Moreover, interaction effects were found between learner engagement, method of instruction, and SES. © 2017 The National Association for Music Education.","engagement; peer-assisted learning; secondary ensembles; SES","","","","","","","","Alexander L., Dorrow L.G., Peer tutoring effects on the music performance of tutors and tutees in beginning band classes, Journal of Research in Music Education, 31, pp. 33-47, (1983); Allsup R.E., Mutual learning and democratic action in instrumental music education, Journal of Research in Music Education, 51, pp. 24-37, (2003); Berg M.H., Social Construction of Musical Experience in Two High School Chamber Music Ensembles, (1997); Bryk A.S., Raudenbush S., Hierarchical Linear Models: Applications and Data Analysis Methods, (1992); Buck M., The Efficacy of SmartMusic® Assessment As A Teaching and Learning Too, (2008); Cohen P.A., Kulik J.A., Kulik C.L.C., Educational outcomes of tutoring: A meta-analysis of findings, American Educational Research Journal, 19, pp. 237-248, (1982); Darrow A.A., Gibbs P., Wedel S., Use of classwide peer tutoring in the general music classroom, Update: Applications of Research in Music Education, 24, pp. 15-26, (2005); Elliot A.J., Approach and avoidance motivation and achievement goals, Educational Psychologist, 34, 3, pp. 169-189, (1999); Elliot A.J., McGregor H.A., A 2 × 2 achievement goal framework, Journal of Personality and Social Psychology, 80, 3, pp. 501-519, (2001); Ensminger M.E., Forrest C.B., Riley A.W., Kang M., Green B.F., Starfield B., Ryan S.A., The validity of measures of socioeconomic status of adolescents, Journal of Adolescent Research, 15, 3, pp. 392-419, (2000); Finney J., Tymoczko M., Secondary school students as leaders: Examining the potential for transforming music education, Music Education International, 2, pp. 36-50, (2003); Fodor D., Critical Moments of Change: A Study of the Social and Musical Interaction of Precollegiate Jazz Combos, (1998); Furrer C., Skinner E., Sense of relatedness as a factor in children's academic engagement and performance, Journal of Educational Psychology, 95, pp. 148-162, (2003); Ginsburg-Block M.D., Rohrbeck C.A., Fantuzzo J.W., A meta-analytic review of social, self-concept, and behavioral outcomes of peer-assisted learning, Journal of Educational Psychology, 98, 4, pp. 732-773, (2006); Goodrich A., Peer mentoring in a high school jazz ensemble, Journal of Research in Music Education, 55, pp. 94-114, (2007); Green L., Music, Informal Learning and the School: A New Classroom Pedagogy, (2008); Johnson E., The effect of peer-based instruction on rhythm reading achievement, Contributions to Music Education, 38, 2, pp. 25-42, (2013); Jones B.F., Palinscar A.S., Ogle D.S., Carr E.G., Learning and thinking, Strategic Teaching and Learning: Cognitive Instruction in the Content Areas, 13, 2, pp. 3-32, (1987); Karas J., The Effect of Aural and Improvisatory Instruction on Fifth Grade Band Students' Sight Reading Ability, (2005); Lamont A., Hargreaves D.J., Marshall N.A., Tarrant M., Young people's music in and out of school, British Journal of Music Education, 20, pp. 229-241, (2003); Lebler D., Student-as-master? Reflections on a learning innovation in popular music pedagogy, International Journal of Music Education, 25, pp. 205-220, (2007); Lee E., A Study of the Effect of Computer Assisted Instruction, Previous Music Experience, and Time on the Performance Ability of Beginning Instrumental Music Students, (2007); Madsen C.K., Smith D.S., Feeman C.C., The use of music in cross-age tutoring within special education settings, Journal of Music Therapy, 22, 1, pp. 34-51, (1988); Matthews W.K., Kitsantas A., Group cohesion, collective efficacy, and motivational climate as predictors of conductor support in music ensembles, Journal of Research in Music Education, 55, 1, pp. 6-17, (2007); McMaster K.L., Fuchs D., Fuchs L.S., Research on peer-assisted learning strategies: The promise and limitations of peer-mediated instruction, Reading & Writing Quarterly, 22, 1, pp. 5-25, (2006); Miksza P., Relationships among impulsivity, achievement goal motivation, and the music practice of high school wind players, Bulletin of the Council for Research in Music Education, 190, 1, pp. 9-27, (2009); Miksza P., Austin J.R., Eyes wide open: High school student reflections on music teaching experiences within a pre-collegiate recruitment program, Bulletin of the Council for Research in Music Education, 191, 2, pp. 7-20, (2010); Payne R.K., A Framework for Understanding Poverty, (1998); Reimer B., Performing with Understanding: The Challenge of the National Standards for Music Education, (2000); Robinson D.R., Schofield J.W., Steers-Wentzell K.L., Peer and cross-age tutoring in math: Outcomes and their design implications, Educational Psychology Review, 17, pp. 327-362, (2005); Rohrbeck C.A., Ginsburg-Block M.D., Fantuzzo J.W., Miller T.R., Peer-assisted learning interventions with elementary school students: A meta-analytic review, Journal of Educational Psychology, 95, pp. 240-267, (2003); Roscoe R.D., Chi M.T., Understanding tutor learning: Knowledge-building and knowledge-telling in peer tutors' explanations and questions, Review of Educational Research, 77, pp. 534-574, (2007); Rusinek G., Disaffected learners and school musical culture: An opportunity for inclusion, Research Studies in Music Education, 30, 1, pp. 9-23, (2008); Schmidt C.P., Relations among motivation, performance achievement, and music experience variables in secondary instrumental music students, Journal of Research in Music Education, 53, pp. 134-147, (2005); Scruggs B.B., Learning Outcomes in Two Divergent Middle School String Orchestra Classroom Environments: A Comparison of A Learner-centered and A Teacher-centered Approach, (2009); Shively J., In the face of tradition: Questioning the roles of conductors and ensemble members in school bands, choirs, and orchestras, Questioning the Music Education Paradigm, 11, pp. 179-190, (2004); Sidwell-Frame K., The Effect of SmartMusic on the Attitudes and Achievement of 5th Grade Students, (2009); Singer J.D., Using SAS PROC MIXED to fit multilevel models, hierarchical models, and individual growth models, Journal of Educational and Behavioral Statistics, 23, 4, pp. 323-355, (1998); (2012); Smith B.P., Goal orientation, implicit theory of ability, and collegiate instrumental music practice, Psychology of Music, 33, 1, pp. 36-57, (2005); Topping K.J., Peer Assisted Learning: A Practical Guide for Teachers, (2001); Topping K.J., Trends in peer learning, Educational Psychology, 25, pp. 631-645, (2005); Topping K.J., Ehly S.W., Peer assisted learning: A framework for consultation, Journal of Educational and Psychological Consultation, 12, pp. 113-132, (2001); Van Ryzin M.J., Gravely A.A., Roseth C.J., Autonomy, belongingness, and engagement in school as contributors to adolescent psychological well-being, Journal of Youth and Adolescence, 38, 1, pp. 1-12, (2009); Wellborn J.G., Engaged and Disaffected Action: The Conceptualization and Measurement of Motivation in the Academic Domain, (1991); Wis R.M., The conductor as servant-leader, Music Educators Journal, 89, 2, pp. 17-23, (2002)","E. Johnson; Colorado State University, School of Music, Theatre, and Dance, 1778 Campus Delivery, Fort Collins, 80525-1778, United States; email: e.johnson@colostate.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-85020773175"
"Zovko M.B.","Zovko, Marija Benić (36098646000)","36098646000","Music textbooks and manuals in zagreb in the last two decades of the 19th century represented by Vjenceslav Novak’s work: A contribution to the history of music pedagogy; [Udžbenici i priručnici glazbe u posljednja dva desetljeća 19. Stoljeća u zagrebu na primjeru Vjenceslava Novaka: prilog povijesti glazbene pedagogije]","2020","Croatian Journal of Education","22","special edition 1","","167","179","12","1","10.15516/cje.v22i0.3848","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85097939698&doi=10.15516%2fcje.v22i0.3848&partnerID=40&md5=fe71fa830d78c17d8f6ed13c765375bb","Vatroslav Lisinski Music School in Zagreb, Gundulićeva 4, Zagreb, 10000, Croatia","Zovko M.B., Vatroslav Lisinski Music School in Zagreb, Gundulićeva 4, Zagreb, 10000, Croatia","There has not been a lot of musicological research on the 19th century music textbooks and manuals as historical sources for the development of musical didactics and pedagogy of the time. Vjenceslav Novak’s textbook Introduction to Music Harmony, intended for students of the teachers’ school, is being analysed in correlation with Novak’s text published in the report of Music Institute’s school in 1891. Both the text and the textbook made significant contributions to the definition of theory of music (especially a part of it the author refers to as “basic theory of music”), defining pedagogical and didactical principles of teaching, and to the making of a comprehensive curriculum for theoretical disciplines. The author found the meaning and purpose of these disciplines in aesthetics, and the ultimate purpose of music in knowing God. In this sense he viewed the educational process as a path from the practical to the speculative. The textbook is also a reflection of the sociopolitical circumstances it was written in. Aesthetical and theological principles of Novak’s concept of theory of music enabled teaching to be a medium for religious and moral upbringing, and the use of folk songs gave it the necessary element of national consciousness. © 2020, FACTEACHEREDUCATION. All rights reserved.","Aesthetics; Mažuranić’s law; Music Institute; Teachers’ school; Theory of music","","","","","","","","Plata učitelju kao orguljašu, Napredak, 16, 11, pp. 171-173, (1875); Knjigotiskarski i litografijski zavod C, (1891); Batinic S., Gacina Skalamera S., Učiteljice i učitelji u Hrvatskoj 1849, (2009); Horbec I., Matasovic M., Svoger V., Od protomodernizacije do modernizacije školstva u Hrvatskoj: zakonodavni okvir, (2017); Horvat V., Pjevanje u pučkoj školi, Napredak, 21, 3, pp. 39-41, (1880); Koscevic V., Narodna pjesma u narodnoj školi, Napredak, 26, 17, pp. 275-276, (1885); Kosta T., Nastava pjevanja u osnovnoj školi na području Hrvatske u drugoj polovici 19. stoljeća, Školski vjesnik: časopis za pedagogijsku teoriju i praksu, 65, 3, pp. 459-474, (2016); Kuhac F. S., Lobe J. C., Katekizam glasbe, (1875); Majer-Bobetko S., Estetika glazbe u Hrvatskoj u 19, (1979); Majer-Bobetko . S., Glazbena edukacija, reprodukcija, periodika i kritika u Hrvatskoj u drugoj polovici XIX. st, Hrvatska i Europa. Kultura, znanost, umjetnost. Moderna hrvatska kultura od preporoda do moderne, pp. 649-654, (2009); Majer-Bobetko S., Blazekovic Z., Doliner G., Hrvatska glazbena historiografija u 19, (2009); Munjiza E., Povijest hrvatskog školstva i pedagogije, (2009); Novak V., Pjesma u pučkoj školi, Napredak, 25, 8, pp. 113-115, (1884); Novak V., Priprava k nauci o glazbenoj harmoniji, (1889); Novak V., Čemu se uči teorija glasbe?, Izvješće narodnoga zemaljskoga glasbenoga zavoda u Zagrebu, pp. 3-7, (1891); Poturcic A., Dvije tri o pjevanju u našim osnovnim školama, Napredak, 29, 6, pp. 86-90, (1888); Pranjic M., Didaktika. Povijest, osnove, profiliranje, postupak. Golden marketing-Tehnička knjiga, (2005); Saban L., 150 godina Hrvatskog glazbenog zavoda, (1982); Sicel M., Povijest hrvatske književnosti, (2005)","M.B. Zovko; Vatroslav Lisinski Music School in Zagreb, Zagreb, Gundulićeva 4, 10000, Croatia; email: marijabeniczovko@gmail.com","","FACTEACHEREDUCATION","","","","","","18485189","","","","English","Croat. J. Educ.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-85097939698"
"Zhou Q.; Yan B.","Zhou, Qiao (57200004610); Yan, Baihui (57200001554)","57200004610; 57200001554","Music Solfeggio Learning Platform Construction and Application","2017","International Journal of Emerging Technologies in Learning","12","12","","14","23","9","0","10.3991/ijet.v12i12.7968","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85099884336&doi=10.3991%2fijet.v12i12.7968&partnerID=40&md5=d29d6c03a461ab8bc738b93e48348e94","Jiangxi Science & Technology Normal University, Nanchang, Jiangxi, China","Zhou Q., Jiangxi Science & Technology Normal University, Nanchang, Jiangxi, China; Yan B., Jiangxi Science & Technology Normal University, Nanchang, Jiangxi, China","To better develop the music learning, this paper completes the design and realization of a music solfeggio teaching system by combining with practical teaching conditions of the music academy. Firstly, it elaborates the main functions needing to be possessed by solfeggio teaching system by starting from actual demands of the users, puts forward overall design scheme of the system, and gives detailed design to main function module and database of the system. Secondly, it analyzes and researches theoretical basis of the solfeggio teaching system design, and proposes the construction scheme of teaching knowledge point repository and question bank system, including solfeggio repository information setting and system paper constructing strategy. It is indicated by the system analysis results that: this platform design provides an effective learning and inspection means to the implementation of solfeggio teaching. Thus, it draws the conclusions that: learning system of this paper can directly serve for course learning of the students majoring in music, and it has important practical significance and application value in promoting development of the music education informationization. © 2017. All rights reserved.","Database; Question bank; Solfeggio teaching system","Systems analysis; Construction scheme; Effective learning; Function module; Information setting; Learning platform; Platform design; Practical teachings; Teaching systems; Learning systems","","","","","","","Tita M. A., Ketney O., Loreta T., Food safety through application of an e-learning platform, Management of Sustainable Development, 7, 1, pp. 29-31, (2015); Tong J., Design and implementation of music teaching platform in college based on android mobile technology, International Journal of Emerging Technologies in Learning, 11, 5, (2016); Li M., Smart home education and teaching effect of multimedia network teaching platform in piano music education, 10, 11, pp. 119-132, (2016); Zanden O., Thorgersen C. F., Teaching for learning or teaching for documentation? music teachers’ perspectives on a swedish curriculum reform, British Journal of Music Education, 32, 1, pp. 37-50, (2015); Brook J., Upitis R., Can an online tool support contemporary independent music teaching and learning?, Music Education Research, 17, 1, pp. 34-47, (2015); Patston T., Waters L., Positive instruction in music studios: introducing a new model for teaching studio music in schools based upon positive psychology, Psychology of well-being, 5, 1, (2015); Bjontegaard B. J., A combination of one-to-one teaching and small group teaching in higher music education in norway–a good model for teaching?, British Journal of Music Education, 32, 1, pp. 23-36, (2015); Miranda M. L., Robbins J., Stauffer S. L., Seeing and hearing music teaching and learning: transforming classroom observations through ethnography and portraiture, Research Studies in Music Education, 28, 1, pp. 3-21, (2015); Kodela S., Mandic B., How much do we cherish the traditional song in the courses of solfeggio and musical culture?, 13, 33, pp. 279-299, (2016); Kereliuk C., Sturm B. L., Larsen J., Deep learning and music adversaries, IEEE Transactions on Multimedia, 17, 11, pp. 2059-2071, (2015)","Q. Zhou; Jiangxi Science & Technology Normal University, Nanchang, China; email: 66840748@qq.com","","Kassel University Press GmbH","","","","","","18688799","","","","English","Int. J. Emerg. Technol. Learn.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85099884336"
"Paule-Ruiz M.; Álvarez-García V.; Pérez-Pérez J.R.; Álvarez-Sierra M.; Trespalacios-Menéndez F.","Paule-Ruiz, MPuerto (56700245500); Álvarez-García, Víctor (55814586000); Pérez-Pérez, Juan Ramón (22734515400); Álvarez-Sierra, Mercedes (57189989200); Trespalacios-Menéndez, Félix (57189989103)","56700245500; 55814586000; 22734515400; 57189989200; 57189989103","Music learning in preschool with mobile devices","2017","Behaviour and Information Technology","36","1","","95","111","16","29","10.1080/0144929X.2016.1198421","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84976324527&doi=10.1080%2f0144929X.2016.1198421&partnerID=40&md5=4c7f58b761b4aa94b703c5b5c228ac19","Department of Computer Science, University of Oviedo, Oviedo, Spain; Office of the Pro Vice-Chancellor (Learning and Teaching), Murdoch University, Perth, Australia; Department of Education, Principality of Asturias, Oviedo, Spain","Paule-Ruiz M., Department of Computer Science, University of Oviedo, Oviedo, Spain; Álvarez-García V., Office of the Pro Vice-Chancellor (Learning and Teaching), Murdoch University, Perth, Australia; Pérez-Pérez J.R., Department of Computer Science, University of Oviedo, Oviedo, Spain; Álvarez-Sierra M., Department of Education, Principality of Asturias, Oviedo, Spain; Trespalacios-Menéndez F., Department of Computer Science, University of Oviedo, Oviedo, Spain","Mobile and game-based learning are novel approaches characterised by the use of mobile devices and enabling learning anywhere and at any time. In this paper, we share an experience-based design and a pilot study to introduce music learning in preschool education. SAMI (Software for music learning in early childhood education) is a mobile application consisting of four games which main objectives are ear training, sound discrimination and music composition. The pilot study carried out in a real-life setting with third-year kindergarten children provides empirical data about music learning outcomes and compares an experimental group of children using SAMI with a control group which follows the traditional Montessori bells method. Our study results reveal a number of key findings for the design of preschool mobile games and the potential of using mobile technologies for music learning in early childhood. © 2016 Informa UK Limited, trading as Taylor & Francis Group.","Children; e-learning; elementary school; music education; tablet","Application programs; E-learning; Education; Children; Early childhood educations; Elementary schools; Mobile applications; Music education; Preschool education; Sound discrimination; tablet; child; childhood; control group; controlled study; ear; experimental model; human; human experiment; kindergarten; learning; mobile application; music; pilot study; primary school; sound; tablet; Mobile devices","","","","","Department of Science and Innovation; National Program for Research, Development and Innovation, (EDU2014-57571-P); Science, Technology and Innovation Plan, (GRUPIN14-100); Gobierno del Principado de Asturias; European Commission, EC; European Regional Development Fund, FEDER","This work has been partially funded by the Department of Science and Innovation (Spain) under the National Program for Research, Development and Innovation project EDU2014-57571-P. We have also received funds from the European Union, through the European Regional Development Funds (ERDF); and the Principality of Asturias, through its Science, Technology and Innovation Plan (grant number GRUPIN14-100).","Akl E.A., Pretorius R.W., Sackett K., Scott Erdley W., Bhoopathi P.S., Alfarah Z., Schunemann H.J., The Effect of Educational Games on Medical Students’ Learning Outcomes: A Systematic Review: BEME Guide No 14, Medical Teacher, 32, 1, pp. 16-27, (2010); Arnab S., Berta R., Earp J., De Freitas S., Popescu M., Romero M., Stanescu I., Usart M., Framing the Adoption of Serious Games in Formal Education, Electronic Journal of E-Learning, 10, 2, pp. 159-171, (2012); Arvanitis T.N., Petrou A., Knight J.F., Savas S., Sotiriou S., Gargalakos M., Gialouri E., Human Factors and Qualitative Pedagogical Evaluation of a Mobile Augmented Reality System for Science Education Used by Learners with Physical Disabilities, Personal and Ubiquitous Computing, 13, 3, pp. 243-250, (2009); Barate A., Bergomi M.G., Ludovico L.A., Development of Serious Games for Music Education, Journal of E-Learning and Knowledge Society, 9, 2, pp. 93-108, (2013); Bauer W.I., Reese S., McAllister P.A., Transforming Music Teaching Via Technology: The Role of Professional Development, Journal of Research in Music Education, 51, 4, pp. 289-301, (2003); Blaine T., Fels S., (2003); Burns A.M., Integrating Technology into Your Elementary Music Classroom, General Music Today, 20, 1, pp. 6-11, (2006); Chen Z.-H., Chou C.-Y., Deng Y.-C., Chan T.-W., Active Open Learner Models as Animal Companions: Motivating Children to Learn Through Interacting with My-Pet and Our-Pet, International Journal of Artificial Intelligence in Education, 17, 2, pp. 145-167, (2007); Clements D.H., Sarama J., Young Children and Technology: What Does the Research Say?, YC Young Children, 58, 6, pp. 34-40, (2003); Cohen J., Statistical Power Analysis for the Behavioral Sciences, (1988); Couse L.J., Chen D.W., A Tablet Computer for Young Children? Exploring Its Viability for Early Childhood Education, Journal of Research on Technology in Education, 43, 1, pp. 75-96, (2010); Druin A., The Role of Children in the Design of New Technology, Behaviour and Information Technology, 21, 1, pp. 1-25, (2002); Egenfeldt-Nielsen S., Overview of Research on the Educational Use of Video Games, Digital Kompetanse, 1, 3, pp. 184-213, (2006); Fails J.A., Druin A., Guha M.L., (2010); Fails J.A., Druin A., Guha M.L., Interactive Storytelling: Interacting with People, Environment, and Technology, International Journal of Arts and Technology, 7, 1, pp. 112-124, (2014); Falloon G., Young Students Using iPads: App Design and Content Influences on Their Learning Pathways, Computers & Education, 68, pp. 505-521, (2013); Gardener M., Beginning R: The Statistical Programming Language, (2012); Gimbert B., Cristol D., Teaching Curriculum with Technology: Enhancing Children’s Technological Competence During Early Childhood, Early Childhood Education Journal, 31, 3, pp. 207-216, (2004); Gordon A., Browne K., Beginnings & Beyond: Foundations in Early Childhood Education, (2013); Hallam S., The Power of Music: Its Impact on the Intellectual, Social and Personal Development of Children and Young People, International Journal of Music Education, 28, 3, pp. 269-289, (2010); Hargreaves D.J., Marshall N.A., North A.C., Music Education in the Twenty-First Century: A Psychological Perspective, British Journal of Music Education, 20, 2, pp. 147-163, (2003); Haugland S.W., What Role Should Technology Play in Young Children’s Learning? Part 1, Young Children, 54, 6, pp. 26-31, (1999); Hinostroza J.E., Labbe C., Matamala C., The Use of Computers in Preschools in Chile: Lessons for Practitioners and Policy Designers, Computers & Education, 68, pp. 96-104, (2013); (2014); Jacobi B.S., Kodály, Literacy, and the Brain: Preparing Young Music Students to Read Pitch on the Staff, General Music Today, (2011); Jorquera-Jaramillo M.-C., Métodos Históricos O Activos En Educación Musical” [Historical Methods or Active in Music Education], Revista Electrónica de LEEME, 14, (2004); Klopfer E., Augmented Learning: Research and Design of Mobile Educational Games, (2008); Koper R., Van Es R., (2003); Kukulska-Hulme A., Mobile Usability and User Experience, Mobile Learning: A Handbook for Educators and Trainers, pp. 45-56, (2005); Lauricella A.R., Gola A.A.H., Calvert S.L., Toddlers’ Learning from Socially Meaningful Video Characters, Media Psychology, 14, 2, pp. 216-232, (2011); Liu T.-Y., Tan T.-H., Chu Y.-L., Outdoor Natural Science Learning with an RFID-Supported Immersive Ubiquitous Learning Environment, Educational Technology and Society, 12, 4, pp. 161-175, (2009); Martin F., Ertzberger J., Here and Now Mobile Learning: An Experimental Study on the Use of Mobile Technology, Computers & Education, 68, pp. 76-85, (2013); Martin-Gutierrez J., Saorin J.L., Contero M., Alcaniz M., Perez-Lopez D.C., Ortega M., Design and Validation of an Augmented Book for Spatial Abilities Development in Engineering Students, Computers & Graphics, 34, 1, pp. 77-91, (2010); McGregor E., (2013); Mitroo J.B., Herman N., Badler N.I., Movies from Music: Visualizing Musical Compositions, ACM SIGGRAPH Computer Graphics, 13, 2, pp. 218-225, (1979); Molin-Juustila T., Kinnula M., Iivari N., Kuure L., Halkola E., Multiple Voices in ICT Design with Children–A Nexus Analytical Enquiry, Behaviour & Information Technology, 34, 11, pp. 1079-1091, (2015); Montessori M., The Montessori Method. Scientific Pedagogy as Applied to Child Education in “the Children’s Houses”., (1912); (2008); O'Malley C., Vavoula G., Glew J.P., Taylor J., Sharples M., Lefrere P., Lonsdale P., Naismith L., Waycott J., (2005); Parikh M., Technology and Young Children. New Tools and Strategies for Teachers and Learners. Introduction and Resources, Young Children, 67, 3, pp. 10-13, (2012); Parra-Damborenea J., (2014); Plowman L., Stevenson O., Stephen C., McPake J., Preschool Children’s Learning with Technology at Home, Computers & Education, 59, 1, pp. 30-37, (2012); Purwins H., Grachten M., Herrera P., Hazan A., Marxer R., Serra X., Computational Models of Music Perception and Cognition II: Domain-specific Music Processing, Physics of Life Reviews, 5, 3, pp. 169-182, (2008); R: A Language and Environment for Statistical Computing. Computer Software Handbook, (2012); Riley P., Teaching, Learning, and Living with iPads, Music Educators Journal, 100, 1, pp. 81-86, (2013); Romero M., Usart M., Ott M., Earp J., de Freitas S., Arnab S., Learning Through Playing for or Against Each Other? Promoting Collaborative Learning in Digital Game Based Learning, Learning, 5, pp. 15-30, (2012); Romero C., Ventura S., Espejo P.G., Hervas C., (2008); Rose D.H., Meyer A., Teaching Every Student in the Digital Age: Universal Design for Learning, (2002); Savage J., Reconstructing Music Education Through ICT, Research in Education, 78, 1, pp. 65-77, (2007); Sotiriou S., Bogner F.X., Visualizing the Invisible: Augmented Reality as an Innovative Science Education Scheme, Advanced Science Letters, 1, 1, pp. 114-122, (2008); Swaminathan S., Wright J.L., Education Technology in the Early and Primary Years, Major Trends and Issues in Early Childhood Education: Challenges, Controversies, and Insights, pp. 136-149, (2003); Vernadakis N., Avgerinos A., Tsitskari E., Zachopoulou E., The Use of Computer Assisted Instruction in Preschool Education: Making Teaching Meaningful, Early Childhood Education Journal, 33, 2, pp. 99-104, (2005); Wake D.G., Exploring Rural Contexts with Digital Storytelling, The Rural Educator, 33, 3, (2012); Webster P.R., (2007); Wise S., Greenwood J., Davis N., Teachers’ Use of Digital Technology in Secondary Music Education: Illustrations of Changing Classrooms, British Journal of Music Education, 28, 2, pp. 117-134, (2011); Wouters P., van Oostendorp H., A Meta-analytic Review of the Role of Instructional Support in Game-based Learning, Computers & Education, 60, 1, pp. 412-425, (2013); Wu W.-H., Wu Y.-C.J., Chen C.-Y., Kao H.-Y., Lin C.-H., Huang S.-H., Review of Trends from Mobile Learning Studies: A Meta-analysis, Computers & Education, 59, 2, pp. 817-827, (2012); Yu K.-C., Lin K.-Y., Han F.-N., Hsu I.-Y., A Model of Junior High School Students’ Attitudes Toward Technology, International Journal of Technology and Design Education, 22, 4, pp. 423-436, (2012); Zhou F., Duh H.B.-L., Mark B., (2008)","M. Paule-Ruiz; Department of Computer Science, University of Oviedo, Oviedo, Spain; email: paule@uniovi.es","","Taylor and Francis Ltd.","","","","","","0144929X","","BEITD","","English","Behav Inf Technol","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-84976324527"
"Cox C.L.","Cox, Cathy L. (57202696733)","57202696733","Ear Training, Solfège and Sound Education","2016","Leonardo Music Journal","","26","","44","47","3","2","10.1162/LMJ_a_00970","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85028853338&doi=10.1162%2fLMJ_a_00970&partnerID=40&md5=55849a71319966e06da3f37d12837606","College of Arts, Tamagawa University, Tamagawagakuen 6-1-1, Machida, Tokyo, 194-8610, Japan","Cox C.L., College of Arts, Tamagawa University, Tamagawagakuen 6-1-1, Machida, Tokyo, 194-8610, Japan","Motivated by Marshall McLuhan's suggestion that advances in technology serve to alter sense perceptions, and that it is the role of artists to be aware of such changes, the author explores intersections and contrasts among five different approaches to the subject and practice of ear training in the context of sound recording technology, with attention to how these approaches serve to expand and challenge traditional ear training pedagogy and what these changes to tradition reveal about how sound recording technology has altered our sense perceptions. © 2016 ISAST.","","","","","","","","","McLuhan M., Understanding Media: The Extensions of Man; Schaeffer P., Solfège de Lobjet Sonore, (1998); Schaeffer P., Traité des Objets Musicaux, (1966); Schaeffer, 2; Alton Everest F., Critical Listening Skills for Audio Professionals (Boston: Course Technology PTR, (2007); Murray Schafer R., A Sound Education: 100 Exercises in Listening and Sound-Making (Indian River, ON: Arcana Editions, (1992); 10 Jeux Decoute, (2000); Izhaki R., Mixing Audio: Concepts, Practices and Tools","C.L. Cox; College of Arts, Tamagawa University, Machida, Tokyo, Tamagawagakuen 6-1-1, 194-8610, Japan; email: cathy.cox@art.tamagawa.ac.jp","","MIT Press Journals","","","","","","09611215","","","","English","Leonardo Music J.","Article","Final","","Scopus","2-s2.0-85028853338"
"Anthony B.","Anthony, Brendan (57201467300)","57201467300","Mixing as a performance: Educating tertiary students in the art of playing audio equipment whilst mixing popular music","2018","Journal of Music, Technology and Education","11","1","","103","122","19","3","10.1386/jmte.11.1.103_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85051635242&doi=10.1386%2fjmte.11.1.103_1&partnerID=40&md5=68c2f2bd00fa6b50e21d676c04442d8f","Griffith University, Australia","Anthony B., Griffith University, Australia","The development of technology and popular music production creative practice are forever interrelated; following the introduction of digital technology there have been significant changes in the way popular musicians mix their music. Analogue eras culminated in pre-automation days with mixers manipulating tactile devices like pots and faders on analogue consoles in a manner akin to that of a performance. During this process many mixers would use the studio as an instrument to craft a mix. However, the Digital Audio Workstation has made mixing a more computer-based practice, which perhaps involves different performance practices than in decades past. This article intends to re-position the current understanding of mixing as a performance and presents a case study of a working higher education pedagogical framework for teaching mixing as a performance. Therefore, this article is intended as a pedagogical starting point for popular music creative practice in higher education. © 2018 Intellect Ltd Article.","Higher education; Mixing; Mixing as a performance; Popular music; Popular music pedagogy; Record production","","","","","","","","Anthony B., Mixing as a performance: Creative approaches to the popular music mix process, Journal on the Art of Record Production, (2017); Bates E., Rons right arm: Tactility, visualization, and the synesthesia of audio engineering’, Journal on the Art of Record Production, (2009); Bennett S., Examining the Emergence and Subsequent Proliferation of Anti Production Amongst the Popular Music Producing Elite, (2010); Boehm C., The discipline that never was: Current developments in music technology in higher education in Britain, Journal of Music, Technology and Education, 1, 1, pp. 7-21, (2007); Bryman A., Social Research Methods, (2008); Burgess R.J., Producer compensation: Challenges and options in the new music business, Journal on the Art of Record Production, (2008); Burnard P., Reframing creativity and technology: Promoting pedagogic change in music education, Journal of Music, Technology and Education, 1, 1, pp. 37-55, (2007); Corey J., Audio Production and Critical Listening: Technical Ear Training, (2010); Cox C., Warner D., Audio Culture: Readings in Modern Music, (2004); Creswell J.W., Educational Research: Planning, Conducting, and Evaluating Quantitative and Qualitative Research, (2005); Csikszentmihalyi M., Creativity: The Psychology of Discovery and Invention, (1996); Dack J., Collage, montage and the composer Pierre Henry: The real, the concrete, the abstract in sound art and music, Journal of Music, Technology and Education, 6, 3, pp. 275-284, (2013); Draper P., On critical listening, musicianship and the art of record production, Journal on the Art of Record Production, (2013); Folkestad G., Formal and informal learning situations or practices vs formal and informal ways of learning, British Journal of Music Education, 23, 2, pp. 135-145, (2006); Frith S., Performing Rites: On the Value of Popular Music, (1996); Frith S., Zagorski-Thomas S., The Art of Record Production: An Introductory Reader for a New Academic Field, (2012); Gay L.R., Mills G.E., Airasian P.W., Educational Research: Competencies for Analysis and Applications, (2009); Green L., How Popular Musicians Learn: A Way Ahead for Music Education, (2002); Green L., Popular music education in and for itself, and for “other music: Current research in the classroom’, International Journal of Music Education, 24, 2, pp. 101-118, (2006); Hugill A., The Digital Musician, (2012); Izhaki R., Mixing Audio: Concepts, Practices and Tools, (2008); Kealy E., From craft to art: “The case of sound mixers and popular music, Sociology of Work and Occupations, 6, 1, pp. 3-29, (1979); Kolb D., Experiential Learning: Experience as the Source of Learning and Development, (1984); Lebler D., Popular music pedagogy: Peer learning in practice, Music Education Research, 10, 2, pp. 193-213, (2008); Lebler D., Carey G., Prior learning of conservatoire students: A popular music perspective, 17Th International Seminar of the Commission for the Education of the Professional Musician (CEPROM), International Society for Music Education (ISME), (2008); Lotze M., Kinesthetic imagery of musical performance, Frontiers in Human Neuroscience, 7, (2013); Macedo F., Teaching creative music technology in higher education: A phenomenological approach, Journal of Music, Technology and Education, 6, 2-3, pp. 207-219, (2013); May R., The Courage to Create, 1, (1975); Milner G., Perfecting Sound Forever: The Story of Recorded Music, (2009); Miskiewicz A., Timbre Solfege: A course in technical listening for sound engineers, Journal of the Audio Engineering Society, 40, 7-8, pp. 621-625, (1992); Zen and the Art of Mixing, (2010); Zen and the Art of Producing, (2012); Moylan W., The Art of Recording: Understanding and Crafting the Mix, (2002); Natal B., Dub Echoes, (2008); Owinski B.E., The Mixing Engineer’s Handbook, (1999); Sacks O., Musicophilia: Tales of Music and the Brain, (2007); SAE, QANTM, (2016); Senior M., Mixing Secrets for the Small Studio, (2011); Stollery P., Capture, manipulate, project, preserve: A compositional journey, Journal of Music, Technology and Education, 6, 3, pp. 285-298, (2013); Theberge P., Technological Rationalization and Musical Practice, (1987); Theberge P., The project ahead: Some thoughts on developing a popular music curriculum, Canadian University Music Review, 21, 1, pp. 28-39, (2000); Theberge P., The network studio historical and technological paths to a new ideal in music making, Social Studies of Science, 34, 5, pp. 759-781, (2004); Theberge P., The end of the world as we know it: The changing role of the studio in the age of the internet, The Art of Record Production: An Introductory Reader for a New Academic Field, pp. 77-90, (2012); Thompson P., McIntyre P., Rethinking creative practice in record production and studio recording education: Addressing the field, Journal on the Art of Record Production, (2013); Vella R., Musical Environments: A Manual for Listening, Improvising and Composing, (2000); Vines B., Krumhansl C.L., Wanderley M.M., Dalca I.M., Levitin D.J., Dimensions of emotion in expressive musical performance, Annals of the New York Academy of Sciences, 1060, 1, pp. 462-466, (2005); Wang G., Bryan N., Oh J., Hamilton R., Stanford laptop orchestra (Slork), International Computer Music Conference, pp. 16-21, (2009); Williams A., All hands on deck, 56Th Annual Meeting of the Society for Ethnomusicology, (2011); Zijl Van A.G.W., Sloboda J., Performers experienced emotions in the construction of expressive musical performance: An exploratory investigation’, Psychology of Music, 39, 2, pp. 196-219, (2011)","B. Anthony; Queensland Conservatorium of Music, Griffith University, Southport, Parklands Drive, 4222, Australia; email: b.anthony@griffith.edu.au","","Intellect Ltd.","","","","","","17527066","","","","English","J. Music Technol. Educ.","Article","Final","","Scopus","2-s2.0-85051635242"
"Gustavsson H.-O.; Ehrlin A.","Gustavsson, Hans-Olof (56737281800); Ehrlin, Anna (56037873100)","56737281800; 56037873100","Music pedagogy as an aid to integration? El Sistema-inspired music activity in two Swedish preschools","2018","Early Child Development and Care","188","2","","183","194","11","9","10.1080/03004430.2016.1209197","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84979529895&doi=10.1080%2f03004430.2016.1209197&partnerID=40&md5=c0881ac28d36f2e4ccbccae56ec7f893","School of Education, Culture and Communication, Mälardalen University, Eskilstuna, Sweden","Gustavsson H.-O., School of Education, Culture and Communication, Mälardalen University, Eskilstuna, Sweden; Ehrlin A., School of Education, Culture and Communication, Mälardalen University, Eskilstuna, Sweden","The study focuses on how preschool and musical school teachers experience working with El Sistema-inspired activity at two municipal preschools in a multicultural district in a medium-sized Swedish town. What, according to the educators,is the most significant aspect of working with El Sistema-inspired activities? The theoretical point of departure is the theory on communities of practice, a distinction between integration and assimilation and perspectives on intercultural education. The study is based on semi-structured interviews. According to the teachers, the most significant aspect of working with an El Sistema-inspired activity is experiencing joy. The teachers also express that they consider the activities to be tools for integration, allowing children and parents to integrate into Swedish society. Using an intercultural perspective, it appears that the teachers’ reasoning, to a certain extent, promotes assimilation rather than integration, with Swedishness as a prerequisite for a social community. © 2016 Informa UK Limited, trading as Taylor & Francis Group.","El Sistema; integration; intercultural education; preschool","child; education; human; human experiment; music; pedagogics; semi structured interview; teacher; theoretical model","","","","","","","Allan J., Morgan N., Duffy C., Loening G., Knowledge exchange with Sistema Scotland, Journal of Education Policy, 25, 3, pp. 335-347, (2010); Alvesson M., Skoldberg K., Tolkning och reflektion: Vetenskapsfilosofi och kvalitativ metod, (1994); Baker G., El Sistema orchestrating Venezuelás youth, (2014); Baker G., Editorial introduction: El Sistema in critical perspective, Action, Criticism & Theory for Music Education, 15, 1, pp. 10-32, (2016); Bamford A., The wow factor. Global research compendium on the impact of arts in education, (2009); Banks J.A., Banks C.A.M., Multicultural education: Issues and perspectives, (2004); Bergman A., Lindgren M., Studying El Sistema as a Swedish community music project from a critical perspective, International Journal of Community Music, 7, 3, pp. 365-377, (2014); Bergman A., Lindgren M., Social change through Babumba and Beethoven. Musical educational ideals of El Sistema, Swedish Journal of Music Research, 1, 2014, pp. 43-58, (2014); Bilalovic Kulset N., Musikk og andrespråk. Norsktilegnelse for små barn med et annet morsmål, (2014); Booth E., Thoughts on seeing El Sistema, Teaching Artist Journal, 7, 2, pp. 75-84, (2009); Booth E., Tunstall T., Five encounters with “El Sistema” international: A Venezuelan Marvel becomes a global movement, Teaching Artist Journal, 12, 2, pp. 69-81, (2014); Bouakaz L., Parental involvement in school: What hinders and what promotes parental involvement in an urban school, (2007); Creech A., Gonzalez-Moreno P., Lorenzino L., Waitman G., El Sistema and El Sistema-inspired programmes: Principles and practices, (2014); Cummins J., Negotiating identities: Education for empowerment in a diverse society, (1996); Dobson N., Hatching plans: Pedagogy and discourse within an El Sistema-inspired music program, Action, Criticism & Theory for Music Education, 15, 1, pp. 88-119, (2016); Ehrlin A., Att lära av och med varandra. En etnografisk studie av musik i förskolan i en flerspråkig miljö, (2012); Gooding L., Enhancing social competence in the music classroom, General Music Today, 23, 1, pp. 35-38, (2009); Gustavsson H.-O., Utan bok är det ingen riktig undervisning”: En studie av skolkulturella referensramar i sfi, (2007); Hallam S., The power of music: Its impact on the intellectual, social and personal development of children and young people, International Journal of Music Education, 28, 3, pp. 269-289, (2010); Kamali M., Den segregerande integrationen: Om social sammanhållning och dess hinder: Rapport, (2006); Kristensson Uggla B., Kommunikation på bristningsgränsen: En studie i Paul Ricoeurs projekt, (1999); Kuuse A.-K., Lindgren M., Skareus E., The feeling have come home to me.” examining advertising films on the Swedish website of El Sistema, Action, Criticism & Theory for Music Education, 15, 1, pp. 187-215, (2016); Kvale S., Den kvalitativa forskningsintervjun, (1997); Lahdenpera P., Invandrarbakgrund eller skolsvårigheter?: En textanalytisk studie av åtgärdsprogram för elever med invandrarbakgrund, (1997); Lahdenpera P., Interkulturell pedagogik i teori och praktik, (2004); Lahdenpera P., Lorentz H., Möten i mångfaldens skola: interkulturella arbetsformer och nya pedagogiska utmaningar, (2010); Lave J., Wenger E., Situated learning. Legitimate peripheral participation, (1991); Lindensjo B., Lundgren U.P., Utbildningsreformer och politisk styrning, (2000); Lindgren M., Bergman A., El Sistema som överskridande verksamheter–konstruktion av ett musikpedagogiskt forskningsfält, Texter om konstarter och lärande faculty of fine, applied and performing arts, pp. 107-130, (2014); Ljungberg C., Den svenska skolan och det mångkulturella - en paradox?, (2005); Logan O., Lifting the Veil: A realist critique of Sistema’s upwardly moble path, Action, Criticism & Theory for Music Education, 15, 1, pp. 58-88, (2016); Lorentz H., Talet om det mångkulturella i skolan och samhället: En analys av diskurser om det mångkulturella inom utbildning och politik åren 1973–2006, (2007); de Los Reyes P., Mångfald och differentiering. Diskurs, olikhet och normbildning inom svensk forskning och samhällsdebatt, (2001); Lunneblad J., Tid till att bli svensk: En studie av mottagandet av nyanlända barn och familjer i den svenska förskolan, Nordic Early Childhood Education Research Journal Tidskrift for Nordisk Barnehageforskning, 6, 8, pp. 1-14, (2013); Majno M., From the model of El Sistema in Venezuela to current applications: Learning and integration through collective music education, Annals of the New York Academy of Sciences, 1252, 1, pp. 56-64, (2012); Curriculum for the Preschool Lpfö 98 Revised 2010, (1910); (2013); Scarpa S., The spatial manifestation of inequality, (2015); Sernhede O., Segregationen, skolan och ungas informella lärande, Segregation, utbildning och ovanliga lärprocesser, pp. 188-206, (2014); Bortom vi och dom: Teoretiska reflektioner om makt, integration och strukturell diskriminering, (2005); Det blågula glashuset: Strukturell diskriminering i Sverige, (2005); Främlingsfienden inom oss, (2012); Statistik för alla 2015/2016 [Statistics for all 2015/2016], (2015); Strandberg M., Läxor om och för kulturell mångfald med föräldrars livserfarenheter som resurs: Några kritiska aspekter, (2013); Utsatta områden–sociala risker, kollektiv förmåga och oönskade händelser, (2015); God forskningssed. Forskningsetiska principer inom humanistisk-samhällsvetenskaplig forskning, (2011); Wenger E., Communities of practice: Learning, meaning, and identity, (1998)","H.-O. Gustavsson; School of Education, Culture and Communication, Mälardalen University, Eskilstuna, Box 325, 631 05, Sweden; email: hans-olof.gustavsson@mdh.se","","Routledge","","","","","","03004430","","ECDCA","","English","Early Child Dev. Care","Article","Final","","Scopus","2-s2.0-84979529895"
"Sulun E.; Nalbantoglu E.; Oztug E.K.","Sulun, Erkan (57196706390); Nalbantoglu, Ertem (57194469055); Oztug, Emine Kivanc (57192396556)","57196706390; 57194469055; 57192396556","The effect of exam frequency on academic success of undergraduate music students and comparison of students performance anxiety levels","2018","Quality and Quantity","52","","","737","752","15","7","10.1007/s11135-017-0653-x","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85033707268&doi=10.1007%2fs11135-017-0653-x&partnerID=40&md5=b4f8e2866afc91cf9a333332be76229b","Near East University, Nicosia, Mersin 10, Turkey","Sulun E., Near East University, Nicosia, Mersin 10, Turkey; Nalbantoglu E., Near East University, Nicosia, Mersin 10, Turkey; Oztug E.K., Near East University, Nicosia, Mersin 10, Turkey","The general measurement and assessment approach among universities in Cyprus is to have one mid-term exam and one final exam within a semester. In terms of the validity and the reliability of the measurement and assessment processes, it is essential to understand the ways in which students got influenced by the frequency of exams in psychological terms, and whether this has any effects on their overall success. In 2015–2016 Fall Terms, Near East University, Music Education Department decided to have two mid-term exams for each semester with the unanimous decision of the council of the department. The decision was bounding for music courses within the department. The decision was taken with the assumption that there is a positive relationship between the frequency of the exams and better studying habits among students who are viewed as highly exam and exam score oriented individuals. The new approach of having two mid-term exams was only introduced for music courses, where pedagogy courses and courses related with general cultural studies were exempted. It is observed that the new exam approach increased the exam anxiety among students at noticeable degrees. Due to undesirable outcomes of the new approach on student’s behaviours, the application of two mid-term exams per semester was cancelled only after one semester. It can be argued that such decisions which are highly critical for the entire learning and educational processes need to be based on solid pillars and evaluated in the light of scientific data. The main purpose of this study is to investigate the effect of the aforementioned approach which is based on two mid-term exam per semester on students’ academic successes. With this study, it is also intended to reflect on the attitude of students concerning the two mid-term exam per semester approach. In this context, the research group of this study was composed 1st, 2nd, and 3rd Grade Students of 2015–2016. There are 59 students in total. The exam scores received by these 59 students during the fall semester of 2015–2016 from two mid-term exams and one final exam will be compared with the exam scores they received during the spring semester of the same year where a different approach was applied as one mid-term and one final exam for the post-requisite (supplementary) courses of the previous term. The courses which were analysed can be listed as: (1) primary instrument, (2) piano, (3) voice training, (4) solfege, (5) choir and (6) orchestrate courses. These courses were selected because the scores received from these courses in different semesters can be consistently compared on the grounds that they are related to each other via being pre-requisite (preparatory)/post-requisite (supplementary) courses. Quantitative research methods were employed where survey research will be employed as the main model and causal survey research as the sub-models. For data collection, Near East University automatic information system was used to get access to the students’ exam scores in fall and spring terms of 2015–2016. An attitude scale was prepared for this study where the reliability and the validity will be controlled and pre-tests were employed for this new scale. The relationship between exam scores received by same students in two different semesters from courses related to each other were determined by using Pearson Correlation Coefficient. Besides descriptive data analysis techniques, t test and one-way analysis of variance were used at the same time. © 2017, Springer Science+Business Media B.V., part of Springer Nature.","Academic success; Exam anxiety; Exam frequency; Music education","","","","","","","","Abel J.L., Larkin K.T., Anticipation of performance among musicians: physiological arousal, confidence, and state-anxiety, Psychol. Music, 18, 2, pp. 171-182, (1990); Basol G., The effect of exam frequency on academic achievement: A quasi-experimental study, The First International Congress of Educational Research Online-Full Text Book, (2009); Basol G., Johanson G., Effectiveness of frequent testing over achievement: A meta-analysis study, Int. J. Hum. Sci, 6, (2009); Basol-Gocmen G., Effectiveness of Frequent Testing over Achievement: A Meta Analysis Study, (2003); Cizek G.J., Burg S.S., Addressing Test Anxiety in a High-Stakes Environment: Strategies for Classrooms and Schools, (2006); Curo D.M., An Investigation of the Influence of Daily Pre-Class Testing on Achievement in High School American History Classes (Doctoral Dissertation), (1963); Deputy E.C., Knowledge of success as a motivating influence in college work, J. Educ. Res., 20, 5, pp. 327-334, (1929); Duffy M., Giordano V.A., Farrell J.B., Paneque O.M., Crump G.B., No child left behind: values and research issues in high-stakes assessments, Couns. Values, 53, 1, pp. 53-66, (2009); Eurich A.C., Longstaff H.P., Wilder M., The effects of weekly tests upon achievement in psychology, Report of the Committee on Education Research, University of Minnesota, (1937); Fitch M.L., Drucker A.J., Norton J.A., Frequent testing as a motivating factor in large lecture classes, J. Educ. Psychol., 42, 1, pp. 1-20, (1951); Fulkerson F.E., Martin G., Effects of exam frequency on student performance, evaluations of instructor, and text anxiety, Teach. Psychol., 8, 2, pp. 90-93, (1981); Gherasim L.R., Butnaru S., The effort attribution, test anxiety and achievement in sciences: the moderating effect of parental behavior, Int. J. Learn., 18, 10, pp. 283-293, (2012); Gocmen G.B., Effectiveness of Frequent Testing over Academic Achievement: A Meta-Analysis Study, (2003); Huston J.L., Familial Antecedents of Musical Performance Anxiety: A Comparison with Social Anxiety (Doctoral Dissertation) [Abstract], (2001); Johnson B.E., The effect of written examinations on learning and on the retention of learning, J. Exp. Educ., 7, 1, pp. 55-62, (1938); Jones H.E., Experimental studies of college teaching, Arch. Psychol., 68, pp. 5-70, (1923); Keys N., Measurement of interest and personality, Occup. Vocat. Guid. J., 12, 7, pp. 58-66, (1934); Kornell N., Bjork R.A., The promise and perils of self-regulated study, Psychon. Bull. Rev., 14, 2, pp. 219-224, (2007); Kulik C.C., Kulik J.A., Mastery testing and student learning: a meta-analysis, J. Educ. Technol. Syst., 15, 3, pp. 325-345, (1987); Leeming F.C., The exam-a-day procedure improves performance in psychology classes, Teach. Psychol., 29, 3, pp. 210-212, (2002); Lewinsohn P.M., Gotlib I.H., Lewinsohn M., Seeley J.R., Allen N.B., Gender differences in anxiety disorders and anxiety symptoms in adolescents, J. Abnorm. Psychol., 107, 1, pp. 109-117, (1998); Lyle K.B., Crawford N.A., Retrieving essential material at the end of lectures improves performance on statistics exams, Teach. Psychol., 38, 2, pp. 94-97, (2011); Mawhinney V.T., Bostow D.E., Laws D.R., Blumenfeld G.J., Hopkins B.L., A comparison of students studying-behavior produced by daily, weekly, and three-week testing schedules, J. Appl. Behav. Anal., 4, 4, pp. 257-264, (1971); Noll V.H., Science as an organized field of study, Sci. Educ., 23, 3, pp. 119-125, (1939); Osborne M.S., Franklin J., Cognitive processes in music performance anxiety, Aust. J. Psychol., 54, 2, pp. 86-93, (2002); Osborne M.S., Kenny D.T., Holsomback R., Assessment of music performance anxiety in late childhood: a validation study of the Music Performance Anxiety Inventory for Adolescents (MPAI-A), Int. J. Stress Manag., 12, 4, pp. 312-330, (2005); Paul A.M., Relax, it’s only a test, Time, 181, pp. 42-45, (2013); Putwain D.W., Deconstructing test anxiety, Emot. Behav. Diffic., 13, 2, pp. 141-155, (2008); Ringeisen T., Buchwald P., Hodapp V., Capturing the multidimensionality of test anxiety in cross-cultural research: an English adaptation of the German test anxiety inventory, Cognit. Brain Behav. Interdiscip. J., 14, pp. 347-364, (2010); Schutte T.H., Is there any value in the final examination?, J. Educ. Res., 12, pp. 204-213, (1925); Segool N.K., Carlson J.S., Goforth A.N., Embse N.V., Barterian J.A., Heightened test anxiety among young children: elementary school students’ anxious responses to high-stakes testing, Psychol. Sch., 50, 5, pp. 489-499, (2013); Spielberger C.D., Preface, Anxiety and Behavior, pp. vii-ix, (1966); Stanlee L.S., Popham W.J., Quizzes contribution to learning, J. Educ. Psychol., 51, 6, pp. 322-325, (1960); Turney A.H., The cumulative reliability of frequent short objective tests, J. Educ. Res., 25, 4-5, pp. 290-295, (1932); Von Der Embse N., Hasson R., Test anxiety and high-stakes test performance between school settings: implications for educators, Prev. Sch. Fail., 56, pp. 180-187, (2012); Wiliam D., Standardized testing and school accountability, Educ. Psychol., 45, 2, pp. 107-122, (2010); Williams M.L., The Effect of Frequent Classroom Testing on the Learning and Retention of Subject Matter (Unpublished Doctoral Dissertation), (1931); Wittmaier B.C., Test anxiety, mood, and performance, J. Personal. Soc. Psychol., 29, 5, pp. 664-669, (1974)","E. Sulun; Near East University, Nicosia, Turkey; email: erkan.sulun@neu.edu.tr","","Springer Netherlands","","","","","","00335177","","","","English","Qual. Quant.","Article","Final","","Scopus","2-s2.0-85033707268"
"Morreale F.; Armitage J.; McPherson A.","Morreale, Fabio (55990530400); Armitage, Jack (57204946841); McPherson, Andrew (57204264836)","55990530400; 57204946841; 57204264836","Effect of instrument structure alterations on violin performance","2018","Frontiers in Psychology","9","DEC","2436","","","","6","10.3389/fpsyg.2018.02436","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85058017140&doi=10.3389%2ffpsyg.2018.02436&partnerID=40&md5=a081b76c50c6a0d5ac5b21a06aa0106c","Centre For Digital Music, School of Electronic Engineering and Computer Science, Queen Mary University of London, London, United Kingdom","Morreale F., Centre For Digital Music, School of Electronic Engineering and Computer Science, Queen Mary University of London, London, United Kingdom; Armitage J., Centre For Digital Music, School of Electronic Engineering and Computer Science, Queen Mary University of London, London, United Kingdom; McPherson A., Centre For Digital Music, School of Electronic Engineering and Computer Science, Queen Mary University of London, London, United Kingdom","Extensive training with a musical instrument results in the automatization of the bodily operations needed to manipulate the instrument: the performer no longer has to consciously think about the instrument while playing. The ability of the performer to automate operations on the instrument is due to sensorimotor mechanisms that can predict changes in the state of the body and the instrument in response to motor commands. But how strong are these mechanisms? To what extent can we alter the structure of the instrument before they disappear? We performed an exploratory study to understand whether and how sensorimotor predictions survive instrument modification. We asked seven professional violinists to perform repertoire pieces and sight-reading exercises on four different violins: their own, a cheap violin, a small violin, and a violin whose strings had been put on in reverse order. We performed a series of quantitative investigations on performance intonation and duration, and on bowing gestures and errors. The analysis revealed that participants struggled adapting to the altered instruments, suggesting that prediction mechanisms are a function of instrument configuration. In particular, the analysis of bowing errors, intonation, and of performance duration suggested that the performance with the reverse violin was much less fluent and precise than the performer's own instrument; the performance with the small violin was also sub-standard though to a lesser extent. We also observed that violinists were differently affected by instrument modifications, suggesting that the capability to adapt to a new instrument is highly personal. © 2018 Morreale, Armitage and McPherson.","Expert performance; Feedback and feedforward; Generalization; Music cognition; Sensorimotor training; Transparency effect","","","","","","Engineering and Physical Sciences Research Council, EPSRC, (EP/N005112/1)","We are grateful to all the performers that participated in this study and to Matthew Rodger for his valuable feedback on an earlier draft of the manuscript.This research was supported by EPSRC under grant EP/N005112/1.","Berard F., Rochet-Capellan A., The transfer of learning as HCI similarity: towards an objective assessment of the sensory-motor basis of naturalness,, Proceedings of the 33rd Annual ACM Conference on Human Factors in Computing Systems, pp. 1315-1324, (2015); Bernard H., Social Research Methods: Qualitative and Quantitative Approaches, (2000); Bernstein N., The Co-ordination and Regulation of Movements, (1966); Biasutti M., Concina E., Wasley D., Williamon A., Music regulators in two string quartets: a comparison of communicative behaviors between low-and high-stress performance conditions, Front. 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Sci, 5, pp. 487-494, (2001); Wolpert D.M., Ghahramani Z., Jordan M.I., An internal model for sensorimotor integration, Science, 269, pp. 1880-1882, (1995); Wulf G., Shea C.H., Principles derived from the study of simple skills do not generalize to complex skill learning, Psychon. Bull. Rev, 9, pp. 185-211, (2002); Yarrow K., Brown P., Krakauer J.W., Inside the brain of an elite athlete: the neural processes that support high achievement in sports, Nat. Rev. Neurosci, 10, pp. 585-596, (2009); Zatorre R.J., Chen J.L., Penhune V.B., When the brain plays music: auditory-motor interactions in music perception and production, Nat. Rev. Neurosci, 8, pp. 547-558, (2007)","F. Morreale; Centre For Digital Music, School of Electronic Engineering and Computer Science, Queen Mary University of London, London, United Kingdom; email: f.morreale@qmul.ac.uk","","Frontiers Media S.A.","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85058017140"
"Vasil M.; Weiss L.; Powell B.","Vasil, Martina (57200573568); Weiss, Lindsay (57202462409); Powell, Bryan (57002386200)","57200573568; 57202462409; 57002386200","Popular Music Pedagogies: An Approach to Teaching 21st-Century Skills","2019","Journal of Music Teacher Education","28","3","","85","95","10","41","10.1177/1057083718814454","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85058636084&doi=10.1177%2f1057083718814454&partnerID=40&md5=f02ce4a7cbed6498be5c80fb54fee305","University of Kentucky, Lexington, United States; California Department of Education, Sacramento, United States; Montclair State University, Montclair, NJ, United States","Vasil M., University of Kentucky, Lexington, United States; Weiss L., California Department of Education, Sacramento, United States; Powell B., Montclair State University, Montclair, NJ, United States","Changes in the world economy and U.S. educational policy present music educators with the challenge of reassessing traditional pedagogy to ensure they are instructing and assessing in ways that contribute to students’ development of 21st-century knowledge and skill sets. Educators are responding by incorporating pedagogical approaches that challenge students to think critically, problem solve collaboratively, and use technology and media efficiently. Popular Music Pedagogies (PMPs) invite students, music teachers, and music teacher educators to take risks, learn alongside one another, and address 21st-century knowledge and skills through engaging with the music that students choose and create. In this article, we define PMPs and discuss how music teacher educators can incorporate PMPs into music teacher education programs to better prepare preservice and inservice music teachers to function within a Partnership for 21st Century Learning framework. © National Association for Music Education 2018.","curriculum; learner-centered; music educators; music teacher preparation; nontraditional ensembles; preservice teachers; teacher roles","","","","","","","","Abramo J.M., Austin S.C., The trumpet metaphor: A narrative of a teacher’s mid-career pedagogical change from formal to informal learning practices, Research Studies in Music Education, 36, pp. 57-73, (2014); Beaumont-Thomas B., Two members of Pussy Riot detained in Russia for Oleg Sentsov protest, The Guardian, (2017); Bell C.L., Beginning the dialogue: Teachers respond to the national standards, Bulletin of the Council for Research in Music Education, 156, pp. 31-42, (2003); Bennett T., Learning the music business: Evaluating the “vocational turn” in music industry education, (2015); Bloom B.S., Taxonomy of educational objectives, Handbook I: The cognitive domain, (1956); Boespflug G., Popular music and the instrumental ensemble: Music educators can make use of student-composed music in popular styles to teach musicianship and skill in the use of recording technology, Music Educators Journal, 85, 6, pp. 33-37, (1999); Boespflug G., The pop music ensemble in music education, Bridging the gap: Popular music and music education, pp. 190-203, (2004); Bowman W., Pop” goes.. ? Taking popular music seriously, Bridging the gap: Popular music and music education, pp. 29-49, (2004); Choate R., Documentary report of the Tanglewood Symposium, (1968); Cremata R., Facilitation in popular music education, Journal of Popular Music Education, 1, pp. 63-82, (2017); Davis S.G., That thing you do!” Compositional processes of a rock band, International Journal of Education & the Arts, 6, 16, (2005); Demski J., Music instruction goes digital, Education Digest, 76, 7, pp. 14-18, (2011); (2015); Ferguson L., Teaching as an extreme sport: One method instructor’s crazy jump off of the popular music cliff, Mountain Lake Reader, 2009, pp. 105-111, (2009); Gilbert A.D., The framework for 21st century learning: A first-rate foundation for music education assessment and teacher evaluation, Arts Education Policy Review, 117, 1, pp. 13-18, (2016); Green L., Popular music education in and for itself, and for “other” music: Current research in the classroom, International Journal of Music Education, 24, pp. 101-118, (2006); Green L., Music, informal learning and the school: A new classroom pedagogy, (2008); Hallam S., Creech A., Sandford C., Rinta T., Shave K., Survey of musical futures: A report from the Institute of Education, (2008); Hannan M., Contemporary music student expectations of musicianship training needs, International Journal of Music Education, 24, pp. 148-158, (2006); Hargreaves D., North A., Tarrant M., English and American adolescents’ reasons for listening to music, Psychology of Music, 28, pp. 166-173, (2000); Hebert D.G., Campbell P.S., Rock music in American schools: Positions and practices since the 1960s, International Journal of Music Education, 36, pp. 14-22, (2000); Hughes D., Evans M., Morrow G., Keith S., The new music industries: Disruption and discovery, (2016); Isbell D.S., Apprehensive and excited: Music education students’ experience vernacular musicianship, Journal of Music Teacher Education, 25, 3, pp. 27-38, (2016); Johnson E.A., The effect of peer-based instruction on rhythm reading achievement, Contributions to Music Education, 38, 2, pp. 43-60, (2011); Kaschub M., Smith J., Composing our future: Preparing music educators to teach composition, (2013); Krikun A., American popular music in the junior college music curriculum during the Swing Era (1935-1945), Journal of Historical Research in Music Education, 30, pp. 39-49, (2008); Lee W., Teaching the historical context of popular music: A view, Bridging the gap: Popular music and music education, pp. 107-126, (2004); (2017); Logsdon L.F., Questioning the role of “21st-century skills” in arts education advocacy discourse, Music Educators Journal, 100, 1, pp. 51-56, (2013); Mantie R., A comparison of “popular music pedagogy” discourses, Journal of Research in Music Education, 61, pp. 334-352, (2013); McClain J.M., A framework for using popular music videos to teach music literacy, Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, 3, 1, (2016); Moir Z., Medboe H., Reframing popular music composition as performance-centred practice, Journal of Music, Technology, & Education, 8, pp. 147-161, (2015); What does Musical Futures mean for the classroom?, (2015); What are the national core arts standards?, (2014); Ojala A., Developing learning through producing: Secondary school students’ experiences of a technologically aided pedagogical intervention, The Routledge research companion to popular music education, 243, pp. 60-74, (2017); Framework for 21st century learning, (2007); Pellegrino K., Beavers J.P., Dill S., Working with college students to improve their improvisation and composition skills: A self-study with music teacher educators and a music theorist, Journal of Music Teacher Education, (2018); Phelps K., The status of instruction in composition in elementary general music classrooms of MENC members in the state of Maryland, (2008); Powell B., Popular music ensembles in post-secondary contexts: A case study of two college music ensembles, (2011); Randles C., Being an iPadist, General Music Today, 27, 1, pp. 48-51, (2013); Randles C., Smith G.D., A first comparison of pre-service music teachers’ identities as creative musicians in the United States and England, Research Studies in Music Education, 34, pp. 115-129, (2012); Regelski T., On “methodolatry” and music teaching as critical and reflective praxis, Philosophy of Music Education Review, 10, pp. 102-123, (2002); Rodriguez C.X., Popular music in music education: Toward a new conception of musicality, Bridging the gap: Popular music and music education, pp. 13-28, (2004); Rotherham A.J., Willingham D.T., 21st-century” skills: Not new, but a worthy challenge, American Educator, 34, 1, pp. 17-20, (2010); Ryan R.M., Deci E.L., Self-determination theory and the facilitation of intrinsic motivation, social development, and well-being, American Psychologist, 55, pp. 68-78, (2000); Smith G.D., Powell B., Special issue on technology and performance in popular music education, Journal of Music, Technology & Education, 8, pp. 107-109, (2015); Spears A., Constructivism in the band room: Facilitating high school band students’ playing by ear through informal, student-led practices, (2014); Vasil M., Weiss L., Roll over Beethoven”: The perspectives of two formally trained musicians integrating popular music pedagogies in higher education, (2017); Webb R.S., An exploration of three peer tutoring cases in the school orchestra program, Bulletin of the Council for Research in Music Education, 203, pp. 63-80, (2015); West C., Cremata R., Bringing the outside in: Blending formal and informal through acts of hospitality, Journal of Research in Music Education, 64, pp. 71-87, (2016); Weston D., The place of practice in tertiary popular music studies: An epistemology, Journal of Popular Music Education, 1, pp. 101-116, (2017); Williams D.A., The elephant in the room, Music Educators Journal, 98, 1, pp. 51-57, (2011); Wright R., A sociological perspective on technology and music education, The Oxford handbook of technology and music education, pp. 345-354, (2017)","B. Powell; Montclair State University, Montclair, United States; email: powellb@montclair.edu","","SAGE Publications Inc.","","","","","","10570837","","","","English","J. Music Teach. Educ.","Article","Final","","Scopus","2-s2.0-85058636084"
"Hong N.H.","Hong, Ng Hoon (58506801600)","58506801600","Structured Surround Soundscapes: A Three-Pronged Strategy for Effective and Meaningful Collective Improvisation","2019","Music Educators Journal","106","2","","51","57","6","6","10.1177/0027432119870584","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85107390274&doi=10.1177%2f0027432119870584&partnerID=40&md5=1828b1019242538cb55ccef188c3ca59","","","This article presents a three-pronged strategy for teaching collective improvisation in the general music classroom through structured surround soundscapes. This strategy consists of developing socio-interactive skills, shared understanding, and personal music vocabulary in collective improvisation. In the music classroom, these concepts should be consciously developed in tandem through hands-on means to foster effective and meaningful collective improvisation. The structured surround soundscape project presents one such way this may be enabled using the three-pronged strategy to nurture ensemble improvisers who can engage in fluent sociomusical conversations in real-world contexts. © 2019 National Association for Music Education.","collective music improvisation; music education; music improvisation; music pedagogy; music vocabulary; soundscape","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85107390274"
"Loudwin J.; Bannert M.","Loudwin, Johannes (57193268461); Bannert, Maria (6603100059)","57193268461; 6603100059","Facing pitch: Constructing associations between space and pitch leads to better estimation of musical intervals","2017","Musicae Scientiae","21","1","","26","40","14","3","10.1177/1029864916634419","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85012177449&doi=10.1177%2f1029864916634419&partnerID=40&md5=e9b35f184255eca7f6e717c33ecf6a45","University of Wuerzburg, Germany; Technical University of Munich, Germany","Loudwin J., University of Wuerzburg, Germany; Bannert M., Technical University of Munich, Germany","Mental-spatial representations are often used for processing quantities and magnitudes such as numbers or pitch. The present study investigates whether the active creation of associations between space and pitch magnitude leads to a better estimation of the distances between pitches (musical intervals). Non-musicians performed an aurally presented comparison task in which musical intervals had to be estimated both before and after a training phase. Experiment 1 shows that the experimental group participants who were given the opportunity to establish associations between space and pitch (by means of spatial visualizations presented during training) improved significantly regarding their skill of estimating musical intervals compared with a control group without exposure to spatial visualizations during training. Experiment 2 replicated these findings, and a supplementary experimental group showed that the establishment of these associations is hindered when, additionally to pitch, task-irrelevant information about the point in time at which a tone is played during a trial, is also presented spatially during training (which does not decrease performance in training). We found that explicitly creating associations between space and pitch leads to a better estimation of the size of musical intervals, and we conclude that using analogies between space and pitch, e.g., in aural training in music education, is an efficient way to train the perception of pitch distances between musical notes. © 2016, © The Author(s) 2016.","cognitive representation; ear training; intermodal perception; musical pitch; SMARC; visualization","","","","","","","","Brugger P., SNARC, SCARC, SMARC und SPARC: Gibt es raumfreie Grössen?, Zeitschrift Für Neuropsychologie, 19, 4, pp. 271-274, (2008); Cho Y.S., Bae G.Y., Proctor R.W., Referential coding contributes to the horizontal SMARC effect, Journal of Experimental Psychology: Human Perception and Performance, 38, 3, pp. 726-734, (2012); Dehaene S., Bossini S., Giraux P., The mental representation of parity and number magnitude, Journal of Experimental Psychology: General, 122, 3, pp. 371-396, (1993); Dolscheid S., Shayan S., Majid A., Casasanto D., The thickness of musical pitch: Psychophysical evidence for linguistic relativity, Psychological Science, 24, 5, pp. 613-621, (2013); Douglas K.M., Bilkey D.K., Amusia is associated with deficits in spatial processing, Nature Neuroscience, 10, 7, pp. 915-921, (2007); Eldridge M., Saltzman E., Lahav A., Seeing what you hear: Visual feedback improves pitch recognition, European Journal of Cognitive Psychology, 22, 7, pp. 1078-1091, (2010); Fischer M.H., Mills R.A., Shaki S., How to cook a SNARC: Number placement in text rapidly changes spatial-numerical associations, Brain and Cognition, 72, 3, pp. 333-336, (2010); Fischer M.H., Riello M., Giordano B.L., Rusconi E., Singing numbers… in cognitive space: A dual-task study of the link between pitch, space, and numbers, Topics in Cognitive Science, 5, 2, pp. 354-366, (2013); Fischer U., Moeller K., Bientzle M., Cress U., Nuerk H.-C., Sensori-motor spatial training of number magnitude representation, Psychonomic Bulletin & Review, 18, 1, pp. 177-183, (2011); Ishihara M., Keller P.E., Rossetti Y., Prinz W., Horizontal spatial representations of time: Evidence for the STEARC effect, Cortex, 44, 4, pp. 454-461, (2008); Keller P.E., Koch I., Action planning in sequential skills: Relations to music performance, Quarterly Journal of Experimental Psychology, 61, 2, pp. 275-291, (2008); Kersting M., Althoff K., Jager A.O., Wilde-Intelligenz-Test 2 (WIT-2). Manual, (2008); Lidji P., Kolinsky R., Lochy A., Morais J., Spatial associations for musical stimuli: A piano in the head?, Journal of Experimental Psychology: Human Perception and Performance, 33, 5, pp. 1189-1207, (2007); Nuerk H.-C., Wood G., Willmes K., The universal SNARC effect, Experimental Psychology, 52, 3, pp. 187-194, (2005); Parise C.V., Knorre K., Ernst M.O., Natural auditory scene statistics shapes human spatial hearing, 111, 16, pp. 6104-6108, (2014); Pfister R., Schroeder P.A., Kunde W., SNARC struggles: Instant control over spatial-numerical associations, Journal of Experimental Psychology: Learning, Memory, and Cognition, 39, 6, pp. 1953-1958, (2013); Pratt C., The spatial character of high and low tones, Journal of Experimental Psychology, pp. 278-285, (1930); Rusconi E., Kwan B., Giordano B.L., Umilta C., Butterworth B., Spatial representation of pitch height: The SMARC effect, Cognition, 99, 2, pp. 113-129, (2006); Schneider W., Eschman A., Zuccolotto A., E-Prime: User’s guide, (2002); Shaki S., Fischer M.H., Petrusic W.M., Reading habits for both words and numbers contribute to the SNARC effect, Psychonomic Bulletin & Review, 16, 2, pp. 328-331, (2009); Siegler R., Ramani G., Playing linear number board games – but not circular ones –improves low-income preschoolers’ numerical understanding, Journal of Educational Psychology, 101, 3, pp. 545-560, (2009); Stumpf C., Tonpsychologie, 1, (1883); Walker P., Bremner J.G., Mason U., Spring J., Mattock K., Slater A., Johnson S.P., Preverbal infants’ sensitivity to synaesthetic cross-modality correspondences, Psychological Science, 21, 1, pp. 21-25, (2010); Walsh V., A theory of magnitude: Common cortical metrics of time, space and quantity, Trends in Cognitive Sciences, 7, 11, pp. 483-488, (2003)","J. Loudwin; Institute of Human-Computer-Media, University of Wuerzburg, Wuerzburg, Oswald-Kuelpe-Weg 82, 97074, Germany; email: johannes@loudwin.de","","SAGE Publications Ltd","","","","","","10298649","","","","English","Musicae Scientiae","Article","Final","","Scopus","2-s2.0-85012177449"
"King A.; Prior H.; Waddington-Jones C.","King, Andrew (35334411200); Prior, Helen (57207259354); Waddington-Jones, Caroline (57207256395)","35334411200; 57207259354; 57207256395","Connect resound: Using online technology to deliver music education to remote communities","2019","Journal of Music, Technology and Education","12","2","","201","217","16","28","10.1386/jmte_00006_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85081202401&doi=10.1386%2fjmte_00006_1&partnerID=40&md5=193d40ab55e69155d1e75378329d9473","School of the Arts, University of Hull, Cottingham Road, Hull, HU6 7RX, United Kingdom; Department of Music, University of York, Heslington, York, YO10 5DD, United Kingdom","King A., School of the Arts, University of Hull, Cottingham Road, Hull, HU6 7RX, United Kingdom; Prior H., School of the Arts, University of Hull, Cottingham Road, Hull, HU6 7RX, United Kingdom; Waddington-Jones C., Department of Music, University of York, Heslington, York, YO10 5DD, United Kingdom","This article describes an action research project that aimed to widen participation for music education in schools in England (United Kingdom). The Connect Resound project involved a pilot stage in North Yorkshire (England, United Kingdom) followed by a roll-out to four further geographical regions of England: Cumbria; Durham/Darlington; East Riding of Yorkshire; and Cornwall. The project involved testing a technological framework created to bring music education to schools with little or no music instrumental lessons within primary schools at key stage 2 (pupils aged 7–11 years). The pilot and roll-out phases refined the approach and established a business case for a grant to roll out the project nationally in 2017. The approach used in the study provided not only the instrumental lessons but also continuing professional development for teachers, on-demand technical support, and access to music performances and masterclasses. The research team designed and tested several scenarios for using technology in this environment some of which were using single cameras and others that used a multi-camera set-up. One of the approaches used technology to allow the teachers and pupils access to different camera angles and high-quality audio to deliver the lessons which proved beneficial. The project team captured both video data as well as interviews and questionnaires with participants in order to better understand and refine the approach developed. This article reports upon the challenges and opportunities provided by the project in terms of the technology and environment, an evaluation using a case study approach of how the teachers used the technology, and feedback in the form of questionnaires from pupils and parents/carers concerning the lessons. Issues around the technology concerned time lag, initial technical problems, and background noise in the teaching environment amplified by the technology. The different camera angles adopted in the project proved valuable for teachers, potential issues with assembling and tuning instruments were considered, and beginner technique could be demonstrated using this approach. © 2019 Intellect Ltd Article.","Connect Resound; Instrumental teaching; Music education; Music pedagogy; Music Technology; Online learning","","","","","","AHRC/Arts Council; Arts and Humanities Research Council, AHRC","Funding text 1: The various stages of this project were made possible by funding from: The Nesta Digital Research and Design Fund (AHRC/Arts Council); Arts Council England; and Paul Hamlyn Foundation.; Funding text 2: The music hubs could be delivering a greater number of online lessons from their geographical base and therefore the investment in the VR3 technology could prove more cost effective.3An important consideration for these hubs is the environment that the lessons are delivered from and to ensure a reasonable acoustic and a fibre-optic broadband connection. If it were possible to set up a number of music hubs across the country in this way with these specialist facilities, the music services have the potential to reach a greater number of pupils and widen access to music education for all. In 2017 funded by a major grant from Paul Hamlyn the project was made accessible to all music hubs in England.","Bauer W.I., Music Learning Today, (2014); Bauer W.I., Mito H., ICT in music education, The Routledge Companion to Music, Technology, and Education, pp. 91-102, (2017); Bowman J., Online Learning in Music, (2014); Cameron A., ‘Instrumental music lessons delivered via video conference to remote schools in Scotland-(V & I forum pre-conference), Paper Presented at the Annual Meeting of the ISME World Conference and Commission Seminars, (2010); Finney J., Burnard P., Music Education with Digital Technology, (2007); Gall M., TPACK and music teacher education, The Routledge Companion to Music, Technology, and Education, pp. 305-318, (2017); Johnson C., Lamothe V.C., Pedagogy Development for Teaching Online Music, (2018); King A., Prior H.P., Waddington-Jones C., “Exploring teachers” and pupils’ behaviour in online and face-to-face lessons, Music, Education, Research, 29, 2, pp. 197-201, (2019); Kruse N.B., Veblen K.K., Music teaching and learning online: Considering YouTube instructional videos, Journal of Music, Technology and Education, 5, 1, pp. 77-87, (2012); Laurillard D., Rethinking University Teaching: A Conversational Framework for the Effective Use of Learning Technologies, (2001); Leong S., ‘Strategies for enabling curriculum reform: Lessons from Australia, Singapore, and Hong Kong, Music Education and Technology: Education and Digital Technology, pp. 181-195, (2007); Pierson M.E., Technology integration practice as a function of pedagogical expertise, Journal of Research on Computing Education, 33, 4, pp. 413-430, (2001); Picciano A.G., Online Education Policy and Practice, (2016); Rofe M., Federico F., Telematic performance and the challenge of latency, Journal of Music, Technology, and Education, 10, 23, pp. 147-165, (2017); Ruthmann S.A., ‘Strategies for supporting music learning through online collaborative technologies, Music Education and Technology: Education and Digital Technology, pp. 131-141, (2007); Shulman L.S., Knowledge and teaching: Foundations of the new reform, Harvard Educational Review, 57, 1, pp. 1-22, (1987); Vai M., Sosulski K., Essentials of Online Learning, (2015); Waldron J., ‘Conceptual frameworks, theoretical models and the role of YouTube: Investigating informal music learning and teaching in online music community, Journal of Music, Technology and Education, 4, 2-3, pp. 189-200, (2012); Ward F., Technology and the transmission of tradition: An exploration of the virtual pedagogies in the Online Academy of Irish Music, Journal of Music, Technology and Education, 12, 1, pp. 5-23, (2019)","","","Intellect Ltd.","","","","","","17527066","","","","English","J. Music Technol. Educ.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-85081202401"
"Jelena C.C.; Milica J.","Jelena, Cvetković Crvenica (57211293988); Milica, Jovanović (57211296889)","57211293988; 57211296889","Transfer of musical abilities and possible reflections of teaching content","2019","International Journal of Cognitive Research in Science, Engineering and Education","7","2","","87","98","11","2","10.5937/IJCRSEE1902087C","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85073327802&doi=10.5937%2fIJCRSEE1902087C&partnerID=40&md5=a43bebe59e10f813bd66a4e09a6d6e2d","University of Niš, Faculty of Arts, Niš, Serbia","Jelena C.C., University of Niš, Faculty of Arts, Niš, Serbia; Milica J., University of Niš, Faculty of Arts, Niš, Serbia","The paper aims to indicate the direct link between the development of knowledge, skills and music abilities in the pedagogical practice which encourages concrete cognitive, psychomotor and affective processes that lie in basis of the transfer of learning. We analyzed the attitudes of the students of the Department of Music Art from the Faculty of Arts in Niš according to musical skills acquired in solfeggio teaching, in the context of their impact on the instrumental performance. Assuming that advancement of musical skills acquired in solfeggio teaching directly affects the field of instrumental performance and leads to the development of music potential, or development of musical abilities, at the level of sensory abilities, as well as at the level of understanding musical structures, the research, which established the student attitudes to evaluating different components of instrumental performance; correlation of solfeggio and instrumental teaching; importance of work on some elements in the solfeggio teaching and evaluating expressive elements in relation to the technical skills in the solfeggio teaching, was conducted. The results of conducted research confirmed basic hypothesis that students express high awareness of the narrow connectivity of solfeggio and instrumental teaching, equally evaluating work in all areas of solfeggio teaching. Simultaneously, they indicate the importance of educational experience in shaping the standpoints of students who showed positive attitudes about a possible reflection of the solfeggio teaching content and skills that are acquired in it, as well as there’s a high degree of the use of skill acquired in solfeggio teaching in instrumental performance. © 2019 IJCRSEE. All rights reserved.","Musical abilities; Musical pedagogy; Performing practice; Theory; Transfer","","","","","","Music Heritage of Southeast Serbia, Contemporary Creativity; Serbian Academy of Sciences and Arts, SASA, (0-10-17)","The paper is the part of the project of Niš Branch of the Serbian Academy of Sciences and Arts (SASA): 0-10-17 “The Music Heritage of Southeast Serbia, Contemporary Creativity and the Formation of Taste”.","Beck A., Surmani K., Lewis B., Sing at first sight, (2004); Bogunovic B., Mirovic T., Visoko obrazovanje muzički darovitih: Studentske procene kompetencija nastavnika. [Musically Gifted Higher Education: Student Assessments of Teachers’ Competencies], Primenjena psihologija, 7, 3, pp. 469-491, (2014); Bogunovic B., Vujovic I., Metacognitive Strategies in Learning Sight-Singing, Psihološka istraživanja, 15, 2, pp. 115-133, (2012); Cvetkovic C.J., Miletic D.A., Obrazovne implikacije potencijalnog uticaja transfera učenja u oblasti muzičkog obrazovanja.[Educational implications of the potential impact of learning transfer in the field of music education], pp. 205-221, (2019); Cvetkovic-Crvenica J.D., Inner pitch and reception in contemporary pedagogy: Fostering and development, Godišnjak Pedagoškog fakulteta u Vranju, 8, 2, pp. 283-298, (2017); Galustyan O.V., Some methodological aspects of the evaluation of students’educational achievements at university, International Journal of Cognitive Research in Science, Engineering and Education, 5, 1, pp. 43-48, (2017); Hallam S., Conceptions of Musical Ability, Research Studies in Music Education, 20, 1, pp. 425-433, (2006); Haskell R.E., Transfer of learning: Cognition, Instruction, and Reasoning, Educational Psychology, pp. 23-29, (2001); Klemp B.A., The effects of instrumental training on the music notation reading abilities of high school choral musicians, (2010); McPherson G.E., Cognitive Strategies and Skill Acquisition in Musical Performance, Bulletin of the Council for Research in Music Education, 133, pp. 64-71, (1997); Nikodinovska Bancotovska S., The attitudes and opinions of teachers to their competences, International Journal of Cognitive Research in Science, Engineering and Education, 3, 1, pp. 99-103, (2015); Norton A., Winner E., Cronin K., Overy K., Lee D.J., Schlaug G., Are there pre-existing neural, cognitive, or motoric markers for musical ability?, Brain and cognition, 59, 2, pp. 124-134, (2005); Pericic V., Stefanovic D.I., Višejezični rečnik muzičkih termina [A multilingual dictionary of musical terms], 563, (1985); Sala G., Gobet F., When the music’s over, Does music skill transfer to children’s and young adolescents’ cognitive and academic skills? A meta-analysis. Educational Research Review, 20, pp. 55-67, (2017); Schellenberg E.G., Music lessons enhance IQ, Psychological science, 15, 8, pp. 511-514, (2004); Stauffer D., Learning to read music fluently, Music Educators Journal, 92, 1, pp. 21-22, (2005); Tsankov N., Development of transversal competences in school education (a didactic interpretation), International Journal of Cognitive Research in Science, Engineering and Education (IJCRSEE), 5, 2, pp. 129-144, (2017)","C.C. Jelena; University of Niš, Faculty of Arts, Niš, Serbia; email: lesnjakjelena@gmail.com","","Association for the Development of Science, Engineering and Education","","","","","","2334847X","","","","English","Int. J. Cogn. Res. Sci. Eng. Educ.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85073327802"
"Hobson V.","Hobson, Vic (49663069600)","49663069600","Historically Informed Jazz Pedagogy: New Orleans Counterpoint and Barbershop Harmony","2020","Jazz Education in Research and Practice","1","1","","155","166","11","0","10.2979/jazzeducrese.1.1.11","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85177649693&doi=10.2979%2fjazzeducrese.1.1.11&partnerID=40&md5=ffc53276e61ba5703934527a9ea1a457","University of East Anglia, United Kingdom","Hobson V., University of East Anglia, United Kingdom","This article explores the implications for jazz pedagogy of recent research into New Orleans counterpoint and its relationship to barbershop harmony. The dominant paradigm in jazz education has been a theoretical approach using chord scales to improvise over chord changes. This is not how early New Orleans musicians improvised. They instead used the melody as their point of reference and improvised countermelodies, and this gave rise to harmony. Barbershop quartet singing was a common pastime in New Orleans in the early twentieth century and the musicians learned to sing harmony parts to popular tunes by ear. The Tonic Sol-Fa system of sight singing was taught in all New Orleans public schools and this also helped a strong sense of relative pitch necessary for singing harmony parts. These harmony parts when applied to their instruments gave rise to jazz counterpoint. This article concludes that through a better understanding of historical practice and by replicating the methods used by the pioneer generation of New Orleans jazz musicians we can develop a less theoretical and more historically informed jazz pedagogy based on an aural approach to improvisation. © The Trustees of Indiana University.","barbershop quartet; Louis Armstrong; New Orleans counterpoint","","","","","","","","Abbott L., “Play that barber shop chord”: A case for the African-American origin of barbershop harmony, American Music, 10, 3, pp. 289-325, (1992); Angrum S., Interview digest, August 8, 1961. Oral History Files, (1961); Armstrong L., Armstrong heritage T.V. program, part 2, August 9, 1960. Audio Collection, (1960); Berrett J., Louis Armstrong and Paul Whiteman: Two kings of jazz, (2004); Bocage P., Interview transcript, January 29, 1959. Oral History Files, (1959); Brothers T., Louis Armstrong, master of modernism, (2014); Harker B., Louis Armstrong’s hot five and hot seven recordings, (2011); Hobson V., Plantation song: Delius, barbershop, and the blues, American Music, 31, 3, pp. 314-339, (2013); Hobson V., Creating jazz counterpoint: New Orleans, barbershop harmony, and the blues, (2014); Hobson V., I figure singing and playing is the same”: Louis Armstrong and barbershop harmony, Jazz Perspectives, 10, 1, pp. 97-116, (2017); Hobson V., Creating the jazz solo: Louis Armstrong and barbershop harmony, (2018); Hodeir A., Jazz: Its evolution and essence, (1956); Johnson B., Interview notes, October 23, 1945, folder 215, (1945); Johnson J. W., Black Manhattan, (1930); Kubik G., Africa and the blues, (1999); Marquis D. M., search of Buddy Bolden: First man of jazz, (1978); Meryman R., Louis Armstrong: A self-portrait, (1966); Sargeant W., Jazz: Hot and hybrid, (1976); Schuller G., Early jazz: Its roots and musical development, (1986); Shapiro N., Hentoff N., Hear me talkin’ to ya: The story of jazz by the men who made it, (1966); Spaeth S., Barber shop ballads and how to sing them, (1940); Spaeth S., Barber shop ballads: A book of close harmony, (1925); Wright D., The African-American roots of barbershop harmony (and why it matters), Harmonizer, pp. 12-17, (2015)","","","Indiana University Press","","","","","","26397668","","","","English","Jazz. Educ. Res. Pract.","Article","Final","","Scopus","2-s2.0-85177649693"
"Ashby P.","Ashby, Patricia (56409614900)","56409614900","Does pronunciation = phonetics? 100 years of phonetics in pronunciation training; [Izgovarjava = fonetika? 100 let fonetike v šolanju izgovorjave]","2020","ELOPE: English Language Overseas Perspectives and Enquiries","17","2","","9","26","17","1","10.4312/elope.17.2.9-26","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85099435903&doi=10.4312%2felope.17.2.9-26&partnerID=40&md5=759327a715fd7f5dd91a31f0faeba467","University of Westminster, United Kingdom","Ashby P., University of Westminster, United Kingdom","The short answer to the question in the title is: not exactly, no. This paper examines the confusion between phonetics on the one hand and pronunciation on the other. It looks at what phonetics actually is (its acoustic, articulatory and auditory components), and attempts to dispel the popular myth that studying or teaching ‘(English) phonetics’ and studying or teaching ‘(English) pronunciation’ are one and the same thing – in fact, the former is general phonetics, the latter applied phonetics. Reviewing 100 years of thoughts about English pronunciation teaching (from Daniel Jones to Geoff Lindsey) it examines the contribution phonetics is considered to make in this field, looking at the roles of both phonetic theory and ear-training in pronunciation acquisition from teachers’ and learners’ perspectives. It concludes by summarizing what phonetics today can offer the language learner. © 2020, Ljubljana University Press. All rights reserved.","Applied phonetics; Daniel Jones; Ear-training; General phonetics; Gimson; Perceptual approach; Pronunciation training","","","","","","","","Ashby Michael G., Ashby Patricia, Moore David, Australia’s First Phonetics Laboratory, 1913: Its Founder and Its Context, Proceedings of the Congress of Phonetic Sciences, pp. 1898-1902, (2019); Carley Paul, Mees Inger, Collins Beverly, English Phonetics and Pronunciation Practice, (2018); Collins Beverly, Mees Inger, The Real Professor Higgins. The Life and Work of Daniel Jones, (1998); Practical Phonetics and Phonology, (2003); Collins Beverly, Mees Inger, Carley Paul, Practical English Phonetics and Phonology, (2019); Cruttenden Alan, Gimson’s Pronunciation of English, (1994); Gimson’s Pronunciation of English, (2001); Gimson’s Pronunciation of English, (2008); Gimson’s Pronunciation of English, (2014); Gimson A.C., An Introduction to the Pronunciation of English, (1962); An Introduction to the Pronunciation of English, (1970); A Practical Course in the Pronunciation of English. A Perceptual Approach, (1975); Towards an International Pronunciation of English, Honour of A.S. Hornby, pp. 45-53, (1978); An Introduction to the Pronunciation of English, (1980); An Introduction to the Pronunciation of English, (1989); Jones Daniel J., The Pronunciation of English, (1909); Phonetic Readings in English, (1912); The English Pronouncing Dictionary, (1917); An Outline of English Phonetics, (1918); Phonetic Readings in English, (1955); The Pronunciation of English, (1958); The Pronunciation of English, (1972); An Outline of English Phonetics, (1960); Kaufmann Steve, Can We Learn to Speak a Foreign Language Like a Native Speaker?, The Linguist, (2018); Kenworthy Joanne, Teaching English Pronunciation, (1987); MacCarthy Peter Arthur Desmond, English Phonetic Reader in Phonetic Transcription with Intonation Marks, (1956); O'Connor J. D., Better English Pronunciation, (1967); Better English Pronunciation, (1980); Pring Julian T., Colloquial English Pronunciation, (1959); Ripman Walter, Elements of Phonetics. English, French & German, (1907); Roach Peter, English Phonetics and Phonology, (1983); English Phonetics and Phonology, (2009); Scott Norman Carson, English Conversations in Simplified Phonetic Transcription, (1949); Thomson Ron I., Derwing Tracey M., The Effectiveness of L2 Pronunciation Instruction: A Narrative Review, Applied Linguistics, 36, 3, pp. 326-344, (2014); Tibbitts E. Leonard, A Phonetic Reader for Foreign Learners of English, (1946); Wells J. C., Accents of English, pp. 1-3, (1982)","","","Ljubljana University Press","","","","","","15818918","","","","English","ELOPE","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85099435903"
"Bortz G.; Germano N.G.; Cogo-Moreira H.","Bortz, Graziela (57193222092); Germano, Nayana G. (59454752700); Cogo-Moreira, Hugo (55367888500)","57193222092; 59454752700; 55367888500","(Dis)agreement on sight-singing assessment of undergraduate musicians","2018","Frontiers in Psychology","9","MAY","837","","","","1","10.3389/fpsyg.2018.00837","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85047667969&doi=10.3389%2ffpsyg.2018.00837&partnerID=40&md5=8eefdb7b6e36e9f07d9ff80795d7a370","Department of Music, Universidade Estadual Paulista Júlio de Mesquita Filho, São Paulo, Brazil; Department of Psychiatry, Federal University of São Paulo, São Paulo, Brazil","Bortz G., Department of Music, Universidade Estadual Paulista Júlio de Mesquita Filho, São Paulo, Brazil; Germano N.G., Department of Music, Universidade Estadual Paulista Júlio de Mesquita Filho, São Paulo, Brazil; Cogo-Moreira H., Department of Psychiatry, Federal University of São Paulo, São Paulo, Brazil","Assessment criteria for sight-singing abilities are similar to those used to judge music performances across music school programs. However, little evidence of agreement among judges has been provided in the literature. Fifty out of 152 participants were randomly selected and blindly assessed by three judges, who evaluated students based on given criteria. Participants were recorded while sight-singing 19 intervals and 10 tonal melodies. Interjudge agreement on melodic sight-singing was tested considering four items in a five-point Likert scale format as follows: (1) Intonation and pitch accuracy; (2) Tonal sense and memory; (3) Rhythmic precision, regularity of pulse and subdivisions; (4) Fluency and music direction. Intervals were scored considering a 3-point Likert scale. Agreement was conducted using weighted kappa. For melodic sight-singing considering the ten tonal melodies, on average, the weighted kappa (κw) were: κ1w = 0.296, κ2w = 0.487, κ3w = 0.224, and κ4w = 0.244, ranging from fair to moderate.. For intervals, the lowest agreement was kappa = 0.406 and the highest was kappa = 0.792 (on average, kappa = 0.637). These findings light up the discussion on the validity and reliability of models that have been taken for granted in assessing music performance in auditions and contests, and illustrate the need to better discuss evaluation criteria. © 2018 Bortz, Germano and Cogo-Moreira.","Conservatoire training; Inter-judge validity and reliability; Music evaluation; Music performance assessment; Sight-singing assessment","","","","","","","","Altman D.G., Gardner M.J., Statistics in medicine: calculating confidence intervals for regression and correlation, Br. Med. J. (Clin. Res. Ed), 296, pp. 1238-1242, (1988); Arunachalam B., Henneberry S.R., Lusk J.L., Norwood F.B., An empirical investigation into the excessive-choice effect, Am. J. Agric. Econ, 91, pp. 810-825, (2009); Bergee M.J., A comparison of faculty, peer, and self-evaluation of applied brass jury performances, J. Res. Music Educ, 41, pp. 19-27, (1993); Bergee M.J., Performer, rater, occasion, and sequence as sources of variability in music performance assessment, J. Res. Music Educ, 55, pp. 344-358, (2007); Bollen K.A., Front Matter in Structural Equations with Latent Variables, (1989); Boyle J.D., Radocy R.E., Measurement and Evaluation of Musical Experiences, (1987); Daly L.E., Bourke G.J., Bias and measurement error,, Interpretation and Uses of Medical Statistics, pp. 381-421, (2000); Darroch J.N., McCloud P.I., Category distinguishability and observer agreement, Aust. J. Stat, 28, pp. 371-388, (1986); Dixon S., MidiCompare [Computer software], (2002); Glejser H., Heyndels B., Efficiency and inefficiency in the ranking in competitions: the case of the Queen Elisabeth Music Contest, J. Cult. Econ, 25, pp. 109-129, (2001); Goldin C., Rouse C., Orchestrating impartiality: the impact of 'blind' auditions on female musicians, Am. Econ. Rev, 90, pp. 715-741, (2000); Haahr M., Random.org, (1998); Haley K.A., Application of Rasch measurement to a measure of musical performance, J. Outcome Meas, 3, pp. 266-277, (1999); Hash P.M., An analysis of the ratings and interrater reliability of high school band contests, J. Res. Music Educ, 60, pp. 81-100, (2012); Jones H., An Application of the Facet-Factorial Approach to Scale Construction in the Development of a Rating Scale for High School Solo Vocal Performance, (1986); Karpinsky G.S., Aural Skills Acquisition: The Development of Listening, Reading, and Performing Skills in College-Level Musicians, (2000); Kopiez R., Weihs C., Ligges U., Lee J.I., Classification of high and low achievers in a music sight-reading task, Psychol. Music, 34, pp. 5-26, (2006); Kottner J., Audige L., Brorson S., Donner A., Gajewski B.J., Hrobjartsson A., Et al., Guidelines for reporting reliability and agreement studies (GRRAS), Int. J. Nurs. Stud, 48, pp. 661-671, (2011); Kraemer H.C., Periyakoil V.S., Noda A., Kappa coefficients in medical research, Stat. Med, 21, pp. 2109-2129, (2002); Latimer M.E., Bergee M.J., Cohen M.L., Reliability and perceived pedagogical utility of a weighted music performance assessment rubric, J. Res. Music Educ, 58, pp. 168-183, (2010); Lester J., The Rhythms of Tonal Music, (1986); Norris C.E., Borst J.D., An examination of the reliabilities of two choral festival adjudication forms, J. Res. Music Educ, 55, pp. 237-251, (2007); Platz F., Kopiez R., When the eye listens: a meta-analysis of how audio-visual presentation enhances the appreciation of music performance, Music Percept, 30, pp. 71-83, (2012); Russell B.E., An empirical study of a solo performance assessment model, Int. J. Music Educ, 33, pp. 359-371, (2015); Schwartz B., The Paradox of Choice: Why More Is Less, (2007); Schwartz B., There must be an alternative, Psychol. Inq, 18, pp. 48-51, (2007); Schwartz B., Ward A., Monterosso J., Lyubomirsky S., White K., Lehman D.R., Maximizing versus satisficing: happiness is a matter of choice, J. Pers. Soc. Psychol, 83, pp. 1178-1197, (2002); Scott C.S., Brophy T.S., Sabol R., McGreevy-Nichols S., Schuttler M.J., Arts assessment in an age of accountability: challenges and opportunities in implementation, design, and measurement,, Meeting the Challenges to Measurement in an Era of Accountability, pp. 183-216, (2016); Shoukri M.M., Asyali M.H., Donner A., Sample size requirements for the design of reliability study: review and new results, Stat. Methods Med. Res, 13, pp. 251-271, (2004); Stanley M., Brooker R., Gilbert R., Examiner perceptions of using criteria in music performance assessment, Res. Stud. Music Educ, 18, pp. 46-56, (2002); Stata: Release 13-Statistical Software, (2013); Statacorp L.P., Kappa: Interrater Agreement, (2013); What is a Graded Music Exam? Sight-Reading, (2017); Thompson S., Williamon A., Evaluating evaluation: musical performance assessment as a research tool, Music Percept, 21, pp. 21-41, (2003); Tsay C.J., Sight over sound in the judgment of music performance, Proc. Natl. Acad. Sci. U.S.A, 110, pp. 14580-14585, (2013); Vach W., The dependence of Cohen's kappa on the prevalence does not matter, J. Clin. Epidemiol, 58, pp. 655-661, (2005); Vanbelle S., A new interpretation of the weighted kappa coefficients, Psychometrika, 81, pp. 399-410, (2016); Watkins J.G., Farnum S.E., The Watkins-Farnum Performance Scale: A Standardized Achievement Test for All Band Instruments, (1954); Wesolowski B.C., Assessing jazz big band performance: the development, validation, and application of a facet-factorial rating scale, Psychol. Music, 44, pp. 324-339, (2016); Wrigley W.J., Emmerson S.B., Ecological development and validation of a music performance rating scale for five instrument families, Psychol. Music, 41, pp. 97-118, (2011); Zaki R., Bulgiba A., Ismail R., Ismail N.A., Statistical methods used to test for agreement of medical instruments measuring continuous variables in method comparison studies: a systematic review, PLoS One, 7, (2012); Zdzinski S.F., Barnes G.V., Development and validation of a string performance rating scale, J. Res. Music Educ, 50, pp. 245-255, (2002); Zegers M., de Bruijne M.C., Wagner C., Groenewegen P.P., van der Wal G., de Vet H.C., The inter-rater agreement of retrospective assessments of adverse events does not improve with two reviewers per patient record, J. Clin. Epidemiol, 63, pp. 94-102, (2010)","G. Bortz; Department of Music, Universidade Estadual Paulista Júlio de Mesquita Filho, São Paulo, Brazil; email: g_bortz@hotmail.com","","Frontiers Media S.A.","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85047667969"
"Reifinger J.L., Jr.","Reifinger, James L. (35185379600)","35185379600","The Relationship of Pitch Sight-Singing Skills With Tonal Discrimination, Language Reading Skills, and Academic Ability in Children","2018","Journal of Research in Music Education","66","1","","71","91","20","9","10.1177/0022429418756029","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85042137594&doi=10.1177%2f0022429418756029&partnerID=40&md5=f8cbf20eef50f89edecf6594d06eec59","Southern Illinois University-Carbondale, Carbondale, IL, United States","Reifinger J.L., Jr., Southern Illinois University-Carbondale, Carbondale, IL, United States","This study investigated correlates that might explain variance in beginning sight-singing achievement, including tonal discrimination, reading fluency, reading comprehension, and academic ability. Both curriculum-based and standardized tests were used, including the Intermediate Measures of Music Audiation, Otis-Lennon School Ability Test, and Dynamic Indicators of Basic Early Literacy Skills. Sight-singing ability of second-grade students (N = 170) was individually assessed for pitch accuracy only using four-note tonal patterns following a 16-week instructional period and again 8 weeks later following a period of no practice. A factor analysis explained 62% of the variance across 13 variables, revealing correlated factors of Music Ability, Reading Ability, and Academic Ability. Regression analyses with individual variables as predictors indicated that significant variance in sight-singing achievement beyond that explained by pitch matching ability could be explained by reading comprehension ability. Similar results were found with both sight-singing tests. Findings are discussed in relation to Patel’s shared syntactic integration resource hypothesis and the need to advocate for music education programs. © 2018, © National Association for Music Education 2018.","advocacy for music education; elementary children; music reading; reading comprehension; sight-singing","","","","","","","","Anvari S.H., Trainor L.J., Woodside J., Levy B.A., Relations among musical skills, phonological processing, and early reading ability in preschool children, Journal of Experimental Child Psychology, 83, pp. 111-130, (2002); Asaridou S.S., McQueen J.M., Speech and music shape the listening brain: Evidence for shared domain-general mechanisms, Frontiers in Psychology, 4, (2013); Asmus E.P., Music teaching and music literacy, Journal of Music Teacher Education, 13, pp. 6-8, (2004); Besson M., Chobert J., Marie C., Language and music in the musician brain, Language and Linguistics Compass, 5, pp. 617-634, (2011); Butzlaff R., Can music be used to teach reading?, Journal of Aesthetic Education, 34, pp. 167-178, (2000); Cooper N.A., Selected factors related to children’s singing accuracy, (1992); Corrigall K.A., Trainor L.J., Associations between length of music training and reading skills in children, Music Perception, 29, pp. 147-155, (2011); Costa-Giomi E., Music instruction and children’s intellectual development: The educational context of music participation, Music, health, and wellbeing, pp. 339-355, (2012); Dege F., Schwarzer G., The effect of a music program on phonological awareness in preschoolers, Frontiers in Psychology, 2, (2011); Demorest S.M., Choral sight-singing practices: Revisiting a web-based survey, International Journal of Research in Choral Singing, 2, pp. 3-10, (2004); Eisinga R., Grotenhuis M., Pelzer B., The reliability of a two-item scale: Pearson, Cronbach or Spearman-Brown?, International Journal of Public Health, 58, 4, pp. 637-642, (2013); Fedorenko E., Patel A., Casasanto D., Winawer J., Gibson E., Structural integration in language and music: Evidence for a shared system, Memory & Cognition, 37, pp. 1-9, (2009); Fine P., Berry A., Rosner B., The effect of pattern recognition and tonal predictability on sight-singing ability, Psychology of Music, 34, pp. 431-447, (2006); Fiveash A., Pammer K., Music and language: Do they draw on similar syntactic working memory resources?, Psychology of Music, 42, pp. 190-209, (2014); Forgeard M., Schlaug G., Norton A., Rosam C., Iyengar U., Winner E., The relation between music and phonological processing in normal-reading children and children with dyslexia, Music Perception, 25, pp. 383-390, (2008); Goetze M., Cooper N., Brown D.J., Recent research on singing in the general music classroom, Bulletin of the Council for Research in Music Education, 104, pp. 16-37, (1990); Good R.H., Kaminski R.A., Dynamic indicators of basic early literacy skill, (2002); Gordon E.E., Intermediate measures of music audiation, (1982); Gordon E.E., Manual for the primary measure of music audiation and the intermediate measures of music audiation music aptitude tests for kindergarten and first, second, third, and fourth grade children, (1986); Gordon R.L., Fehd H.M., McCandliss B.D., Does music training enhance literacy skills? A meta-analysis, Frontiers in Psychology, 6, (2015); Gromko J.E., Predictors of music sight-reading ability in high school wind players, Journal of Research in Music Education, 52, pp. 6-15, (2004); Gromko J.E., The effect of music instruction on phonemic awareness in beginning readers, Journal of Research in Music Education, 53, pp. 199-209, (2005); Gudmundsdottir H.R., Advances in music-reading research, Music Education Research, 12, 4, pp. 331-338, (2010); Hair J.F., Black W.C., Babin B.J., Anderson R.E., Multivariate data analysis, (2010); Hedden S.K., Prediction of music achievement in the elementary school, Journal of Research in Music Education, 30, pp. 61-68, (1982); Henry M., The development of a vocal sight-reading inventory, Bulletin of the Council for Research in Music Education, 150, pp. 21-35, (2001); Henry M., Demorest S.M., Individual sight-singing achievement in successful choral ensembles: A preliminary study, Update: Applications of Research in Music Education, 13, 1, pp. 4-8, (1994); Hornbach C.M., Taggart C.C., The relationship between developmental tonal aptitude and singing achievement among kindergarten, first-, second-, and third-grade students, Journal of Research in Music Education, 53, pp. 322-331, (2005); Jackendoff R., Parallels and nonparallels between language and music, Music Perception, 26, pp. 195-204, (2009); Kaviani H., Mirbaha H., Pournaseh M., Sagan O., Can music lessons increase the performance of preschool children in IQ tests?, Cognitive Processing, 15, pp. 7-84, (2014); Killian J.N., Henry M.L., A comparison of successful and unsuccessful strategies in individual sight-singing preparation and performance, Journal of Research in Music Education, 53, pp. 51-65, (2005); Klinedinst R.E., Predicting performance achievement and retention of fifth-grade instrumental students, Journal of Research in Music Education, 39, pp. 225-238, (1991); Klinedinst R.E., Predicting performance achievement of beginning band students—second-year results, Contributions to Music Education, 19, pp. 46-59, (1992); Lamb S.J., Gregory A.H., The relationship between music and reading in beginning readers, Educational Psychology: An International Journal of Experimental Educational Psychology, 13, pp. 19-27, (1993); Lucas J., Gromko J., The relationship of music pattern discrimination skill and phonemic awareness in beginning readers, Contributions to Music Education, 34, pp. 9-17, (2007); McMullen E., Saffran J.R., Music and language: A developmental comparison, Music Perception, 21, pp. 289-311, (2004); Mills J., McPherson G.E., Musical literacy, The child as musician: A handbook of musical development, pp. 155-172, (2006); Moreno S., Friesen D., Bialystok E., Effect of music training on promoting preliteracy skills: Preliminary causal evidence, Music Perception, 29, pp. 165-172, (2011); Moreno S., Marques C., Santos A., Santos M., Castro S.L., Besson M., Musical training influences linguistic abilities in 8-year-old children: More evidence for brain plasticity, Cerebral Cortex, 19, pp. 712-723, (2009); Nunnally J.C., Bernstein I.H., Psychometric theory, (1994); Orman E.K., Comparison of the National Standards for music education and elementary music specialists’ use of class time, Journal of Research in Music Education, 50, pp. 155-164, (2002); Otis A.S., Lennon R.T., Otis-Lennon school ability test, (1997); Patel A.D., Language, music, syntax and the brain, Nature Neuroscience, 6, pp. 674-681, (2003); Patel A.D., Music, language, and the brain, (2008); Patel A.D., Language, music, and the brain: A resource-sharing framework, Language and music as cognitive systems, pp. 204-223, (2012); Peretz I., Vuvan D., Lagrois M.-E., Armony J.L., Neural overlap in processing music and speech, Philosophical Transactions of the Royal Society B, 370, (2015); Peretz I., Zatorre R.J., Brain organization for music processing, Annual Review of Psychology, 56, pp. 4-26, (2005); Perruchet P., Poulin-Charronnat B., Challenging prior evidence for a shared syntactic processor for language and music, Psychonomic Bulletin and Review, 20, pp. 310-317, (2013); Otis-Lennon school ability test (7th ed.) multilevel fall norms form 3 & 4, (2002); Rauscher R.H., The impact of music instruction on other skills, The Oxford handbook of music psychology, pp. 244-252, (2009); Rutkowski J., The relationship between children’s use of singing voice and singing accuracy, Music Perception: An Interdisciplinary Journal, 32, pp. 283-292, (2015); Schellenberg E.G., Music lessons enhance IQ, Psychological Science, 15, pp. 511-514, (2004); Schellenberg E.G., Long-term positive associations between music lessons and IQ, Journal of Educational Psychology, 98, pp. 457-468, (2006); Schellenberg E.G., Examining the association between music lessons and intelligence, British Journal of Psychology, 102, pp. 283-302, (2011); Shelton N.R., Altwerger B., Jordan N., Does DIBELS put reading first?, Literacy Research and Instruction, 48, pp. 137-148, (2009); Slater J., Strait D.L., Skoe E., O'Connell S., Thompson E., Kraus N., Longitudinal effects of group music instruction on literacy skills in low-income children, PLoS One, 9, 11, (2014); Slevc L.R., Davey N.S., Buschkuehl M., Jaeggi S.M., Tuning the mind: Exploring the connections between musical ability and executive functions, Cognition, 152, pp. 199-211, (2016); Slevc L.R., Okada B.M., Processing structure in language and music: A case for shared reliance on cognitive control, Psychonomic Bulletin and Review, 22, pp. 637-652, (2015); Slevc L.R., Rosenberg J.C., Patel A.D., Making psycholinguistics musical: Self-paced reading time evidence for shared processing of linguistic and musical syntax, Psychonomic Bulletin & Review, 16, pp. 374-381, (2009); Strait D., Kraus N., Playing music for a smarter ear: Cognitive, perceptual and neurobiological evidence, Music Perception, 29, pp. 133-146, (2011); Tabachnick B.G., Fidell L.S., Using multivariate statistics, (2012); Tsang C.D., Conrad N.J., Music training and reading readiness, Music Perception, 29, pp. 157-163, (2011)","J.L. Reifinger; School of Music, Southern Illinois University-Carbondale, Carbondale, 1000 S. Normal Avenue, 62901, United States; email: Reifinger@alumni.iu.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-85042137594"
"Koch K.F.","Koch, Kaitlyn Fay (58715373700)","58715373700","In Search of Effective Jazz Education: An Analysis and Comparison of Pedagogical Methods Employed by Directors of Successful High School Jazz Ensembles","2020","Jazz Education in Research and Practice","1","1","","79","96","17","2","10.2979/jazzeducrese.1.1.07","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85124433408&doi=10.2979%2fjazzeducrese.1.1.07&partnerID=40&md5=fbe4e6bd1d53c0605910af1e13388969","William Paterson University of New Jersey, United States; Schuylerville Central School District, United States","Koch K.F., William Paterson University of New Jersey, United States, Schuylerville Central School District, United States","Jazz education within academia is still young, yet many educators have been recognized for successful leadership of high school jazz ensembles. Directors of finalist bands from the 2012 Essentially Ellington competition, a national opportunity hosted by Jazz at Lincoln Center, completed a questionnaire and interview regarding their pedagogical techniques and supplemental methods. All participants responded that listening to recordings and the fostering of peer mentoring are crucial elements. Other important techniques include singing, sight-reading, rhythmic exercises, and the use of blues improvisation as a warm-up activity. Important supplemental factors included personality traits such as intense, detail-oriented, energetic, and fun, while participants noted the positive experiences and techniques learned from events with Jazz at Lincoln Center. In conclusion, leaders of successful high school jazz ensembles share several techniques, qualities, and behaviors, yet there is no single formula for a great high school jazz ensemble director. © 2020, Indiana University Press. All rights reserved.","band director; Essentially Ellington; jazz education","","","","","","","","Baker D., Jazz pedagogy: A comprehensive method of jazz education for teacher and student, (1979); Dunscomb J. R., Hill W. L., Jazz pedagogy: The jazz educator’s handbook and resource guide, (2002); Erwin J., Edwards K., Kerchner J., Knight J., Prelude to music education, (2003); Ferriano F., A study of the school jazz ensemble in American music education, (1974); Fraile A., Extending the discussion: First steps in developing band director self-efficacy in a jazz setting, UPDATE: Applications of Research in Music Education, 37, 3, pp. 65-68, (2019); Goodrich A., Inside a high school jazz band, (2005); Goodrich A., Peer mentoring in a high school jazz ensemble, Journal of Research in Music Education, 55, 2, pp. 94-114, (2007); Goodrich A., Utilizing elements of the historic jazz culture in a high school setting, Bulletin of the Council for Research in Music Education, 175, pp. 11-30, (2008); Grimes W. F., Conducting and rehearsal techniques of selected secondary school jazz ensemble directors, (1988); Merriam-Webster online; Jarvis J., Beach D., The jazz educator’s handbook, (2002); Jones L. E., Instrumental jazz programs in Alabama high schools, (2009); Kuzmich J., Bash L., Complete guide to instrumental jazz instruction: Techniques for developing a successful school jazz program, (1984); Lawn R., The jazz ensemble director’s manual: A handbook of practical methods and materials for the educator, (1995); Mack K. D., The status of jazz programs in selected secondary schools of Indiana, 1991–1992, (1993); Payne J. R., Jazz education in the secondary schools of Louisiana: Implications for teacher education, (1973); Porter L., Jazz in American education today, College Music Symposium, 29, pp. 134-139, (1989); Prouty K. E., The history of jazz education: A critical reassessment, Journal of Historical Research in Music Education, 26, 2, pp. 79-100, (2005); Regier B. J., A measurement of self-efficacy among Oklahoma secondary band directors in concert, marching, and jazz ensemble pedagogy, UPDATE: Applications of Research in Music Education, 37, 3, pp. 57-64, (2019); Rummel J. R., Perceptions of jazz improvisation among Pennsylvania music educators, (2010); Scagnoli J. R., The status of band programs in public senior high schools in the state of New York, (1978); Smith R., The real jazz pedagogy book: How to build a superior jazz ensemble, (2019); Ward-Steinmann P. M., Confidence in teaching jazz improvisation according to the K–12 achievement standards: Surveys of vocal jazz workshop participants and undergraduates, Bulletin for the Council of Research in Music Education, 172, pp. 25-40, (2007); West C., What research reveals about school jazz education, UPDATE: Applications of Research in Music Education, 33, 2, pp. 34-40, (2015)","K.F. Koch; William Paterson University of New Jersey, United States; email: kfaymusic@gmail.com","","Indiana University Press","","","","","","26397668","","","","English","Jazz. Educ. Res. Pract.","Article","Final","","Scopus","2-s2.0-85124433408"
"Simones L.L.","Simones, Lilian Lima (56454312300)","56454312300","A framework for studying teachers’ hand gestures in instrumental and vocal music contexts","2019","Musicae Scientiae","23","2","","231","249","18","16","10.1177/1029864917743089","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85066408769&doi=10.1177%2f1029864917743089&partnerID=40&md5=00409513aab4802f67ac75d670d87e91","Queen’s University Belfast, United Kingdom","Simones L.L., Queen’s University Belfast, United Kingdom","A framework for studying teachers’ hand gestures in instrumental music pedagogy is proposed, focusing on teachers’ teaching behaviours as a context-dependent basis for understanding the meaning and functionality of their gestures. The application of the Teacher Behaviour and Gesture framework across instrumental music pedagogical settings (one-to-one, small and large teaching groups and across singing, woodwind, brass, strings, and other pedagogical contexts) will bring understandings on the role of teachers’ gestures in their pedagogical interactions with students, with implications for student learning and instrumental music teachers’ teaching and education. © The Author(s) 2017.","action; categorisation; demonstration; gesture; instrumental music teaching; teaching behaviours","","","","","","","","Abeles H.F., Student perceptions of characteristics of effective applied music instructors, Journal of Research in Music Education, 23, pp. 147-154, (1975); Abrahamson D., Sanchez-Garcia R., Learning is moving in new ways: An ecological dynamics view on learning across the disciplines, (2014); Albrecht K., Systematic research in applied music instruction: A review of the literature, The Quarterly Journal of Music Teaching and Learning, 3, 2, pp. 32-45, (1991); Bakeman R., Gottman J., Observing interaction: An introduction to sequential analysis, (1986); Barker R.G., Ecological psychology: Concepts and methods for studying the environment of human behavior, (1968); Bergner R.M., What is behavior?, New Ideas in Psychology, 29, pp. 147-155, (2011); Carlin K., Piano pedagogue perception of teaching effectiveness in the preadolescent elementary level applied piano lesson as a function of teacher behavior, (1997); Cassell J., A framework for gesture generation and interpretation, Computer Vision in human-machine interaction, pp. 248-265, (1998); Clarke E., Davidson J., The body in performance, Composition, performance, reception: Studies in the creative process in music, pp. 74-92, (1998); Clayton M., Communication in Indian Raga performance, Musical communication, pp. 361-381, (2005); Creech A., Gaunt H., The changing face of individual instrumental tuition: Value, purpose and potential, The Oxford handbook of music education, pp. 694-711, (2012); Dahl S., Bevilacqua F., Bresin R., Clayton M., Leante L., Poggi I., Rasamimanana N., Gestures in performance, Musical gestures, sound, movement and meaning, pp. 36-68, (2010); Dahl S., Friberg A., Visual perception of expressiveness in musicians’ body movements, Music Perception, 24, 5, pp. 433-454, (2007); Davidson J., Visual perception of performance manner in the movements of solo musicians, Psychology of Music, 21, pp. 103-113, (1993); Davidson J., What type of information is conveyed in the body movements of solo musician performers?, Journal of Human Movement Studies, 6, pp. 279-301, (1994); Davidson J., The role of the body in the production and perception of solo vocal performance: A case study of Annie Lennox, Musicae Scientiae, 5, pp. 235-256, (2001); Davidson J., Bodily communication in musical performance, Musical communication, pp. 215-237, (2005); Davidson J., She’s the One”: Multiple functions of body movement in a stage performance by Robbie Williams, Music and gesture, pp. 208-226, (2006); Delalande F., La gestique de Gould: Elements pour une semiologie du geste musical, Glenn Gould pluriel, pp. 85-111, (1988); Delalande F., Meaning and behavior patterns: The creation of meaning in interpreting and listening to music, Musical signification essays in the semiotic theory and analysis of music, pp. 219-228, (1995); Dunbar-Hall P., An investigation of strategies developed by music learners in a cross-cultural setting, Research Studies in Music Education, 26, pp. 63-70, (2006); Ekman P., Friesen W., The repertoire of non-verbal behaviour categories, Semiotica, 1, pp. 49-98, (1969); Fulford R., Ginsborg J., The sign language of music: Musical shaping gestures (MSGs) in rehearsal talk by performers with hearing impairments, Empirical Musicology Review, 8, 1, pp. 53-67, (2013); Gibson J., The senses considered as perceptual systems, (1966); Gibson J., The theory of affordances, Perceiving, acting, and knowing: Toward an ecological psychology, pp. 67-82, (1977); Ginsborg J., King E., The roles of expertise and partnership in collaborative rehearsal, pp. 61-66, (2007); Gipson R., An observational analysis of wind instrument private lessons, (1978); Goebl W., Palmer C., Synchronization of timing and motion among performing musicians, Music Perception, 26, pp. 427-438, (2009); Goldin-Meadow S., The role of gesture in communication and thinking, Trends in Cognitive Sciences, 3, 11, pp. 419-429, (1999); Gritten A., King E., Introduction, New perspectives on music and gesture, pp. 1-9, (2011); Hallam S., Bautista A., Processes of instrumental learning: The development of musical expertise, The Oxford handbook of music education, pp. 658-676, (2012); Hepler L.E., The measurement of teacher-student interaction in private music lessons and its relation to teacher field dependence/field independence, (1986); Ishino M., Stam G., Introduction, Integrating gestures: The interdisciplinary nature of gesture, pp. 3-13, (2011); Jensenius A.R., Wanderley M.M., Godoy R.I., Leman M., Musical gestures, concepts and methods in research, Musical gestures, sound, movement and meaning, pp. 12-35, (2010); Jorgensen E.R., The art of teaching music, (2008); Kendon A., Gesticulation and speech: Two aspects of the process of utterance, The relation between verbal and nonverbal communication, pp. 207-227, (1980); King E., Musical shaping gestures: Considerations about terminology and methodology, Empirical Musicology Review, 8, 1, pp. 68-71, (2013); King E., Ginsborg J., Gestures and glances: Interactions in ensemble rehearsal, New perspectives on music and gesture, pp. 177-201, (2011); Kostka M.J., An investigation of reinforcements, time use, and student attentiveness in piano lessons, Journal of Research in Music Education, 32, pp. 113-122, (1984); Kurkul W., Nonverbal communication in one-to-one music performance instruction, Psychology of Music, 35, pp. 327-362, (2007); Lausberg H., Sloetjes H., Coding gestural behavior with the Neuroges-Elan System, Behavior Research Methods, Instruments, & Computers, 41, 3, pp. 841-849, (2009); L'Hommedieu R.L., The management of selected educational process variables by master studio teachers in music performance, (1992); Leman M., Music, gesture, and the formation of embodied meaning, Musical gestures, sound, movement and meaning, pp. 126-153, (2010); Leman M., Godoy R., Why study musical gestures?, Musical gestures, sound, movement, and meaning, pp. 3-11, (2010); Levasseur S., Nonverbal communication in the applied voice studio, (1984); Maes P.J., Leman M., Palmer C., Wanderley M.M., Action-based effects on music perception, Frontiers in Psychology, 4, pp. 1-14, (2014); Magill R., Motor learning and control: Concepts and applications, (2007); McNeill D., So you think gestures are nonverbal?, Psychological Review, 92, 3, pp. 350-371, (1985); McNeill D., Hand and mind, what gestures reveal about thought, (1992); McNeill D., Gesture and thought, (2005); Nafisi J., Gesture and body-movement as teaching and learning tools in western classical singing, (2013); O'Neill S.A., Identifying variations in teacher behaviour during children’s individual music tuition, (1993); Ossorio P.G., Explanation, falsifiability, and rule-following, Advances in descriptive psychology, 1, pp. 37-56, (1981); Ossorio P.G., The behavior of persons: The collected works of Peter G. Ossorio, 5, (2006); Parkes K.A., Recent research in applied studio instruction: Characteristics of the applied setting, Journal of Research in Music Performance, 1, 1, (2009); Parkes K.A., Recent research in applied studio instruction III – Assessment and evaluation, Journal of Research in Music Performance, 1, 3, (2011); Philpott C., The body and musical literacy, Issues in music teaching, pp. 79-91, (2001); Poggi I., Mind, hands, face and body: A goal and belief view of multimodal communication, (2007); Rahaim M., Gesture and melody in Indian vocal music, Gesture, 8, 3, pp. 325-347, (2008); Rahaim M., Gesture and voice in Hindustani music, musicking bodies, (2012); Rodger M., Craig C.M., O'Modhrain S., Expertise is perceived from both sound and body movement in musical performance, Human Movement Science, 31, 5, pp. 1137-1150, (2012); Schmidt C.P., Individual differences in perception of applied music teaching feedback, Psychology of Music, 17, pp. 110-122, (1989); Schneider A., Music and gestures, a historical introduction and survey of earlier research, Musical gestures, sound, movement and meaning, pp. 69-100, (2010); Schiavio A., Hoffding S., Playing together without communicating? A pre-reflective and enactive account of joint musical performance, Musicae Scientiae, 19, 4, pp. 366-388, (2015); Shideler M.M., Persons, behaviour, and the world, the descriptive psychology approach, (1988); Streeck J., Gesturecraft: The manu-facture of meaning, (2009); Thelen E., Smith L., A dynamic systems approach to development, (1994); Trevarthen C., Delafield-Butt J., Shogler B., Psychobiology of musical gesture: Innate rhythm, harmony and melody in movements of narration, New perspectives on music and gesture, pp. 11-43, (2011); Vilar L., Araujo D., Davids K., Renshaw I., The need for “representative task design” in evaluating efficacy of skills tests in sport: A comment on Russell, Benton and Kingsley (2010), Journal of Sports Sciences, 30, 16, pp. 1727-1730, (2012); Vygotsky L., Genesis of the higher mental functions (abridged translation), Learning to think, pp. 32-41, (1991); Wanderley M., Vines B., Origins and functions of clarinetists ancillary gestures, Music and gesture, pp. 165-191, (2006); Wang W., Verbal versus non-verbal communication in music performance instruction, Contributions to Music Education, 28, 1, pp. 41-60, (2001); Simones L., Rodger M., Schroeder F., Communicating musical knowledge through gesture: Piano teachers’ gestural behaviours across different levels of student proficiency, Psychology of Music, 43, pp. 723-735, (2015); Simones L., Rodger M., Schroeder F., Seeing how it sounds: Observation, imitation, and improved learning in piano playing, Cognition and Instruction, 35, pp. 125-140, (2017); Simones L., Schroeder F., Rodger M., Categorisations of physical gesture in piano teaching: A preliminary enquiry, Psychology of Music, 43, pp. 103-121, (2015); Zalar K., Kordes U., Kafol B.S., Non-verbal communication in music lessons, Procedia – Social and Behavioral Sciences, 186, pp. 704-712, (2015); Zhukov K., Teaching styles and student behaviour in instrumental music lessons in Australian Conservatoriums, (2004)","L.L. Simones; Queen’s University Belfast, United Kingdom; email: Lsimones01@qub.ac.uk","","SAGE Publications Ltd","","","","","","10298649","","","","English","Musicae Scientiae","Article","Final","","Scopus","2-s2.0-85066408769"
"Latifah D.","Latifah, Diah (57216367288)","57216367288","Learning experience on salendro scales for students having a musical culture gap","2020","Kasetsart Journal of Social Sciences","41","2","","244","249","5","0","10.34044/j.kjss.2020.41.2.03","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85083298952&doi=10.34044%2fj.kjss.2020.41.2.03&partnerID=40&md5=829d10b380c0632504b769579f33c443","Music Education, Music Education Department, Art and Design Education Faculty, Indonesia University of Education, Kbta Bandung, 40154, West Java, Indonesia","Latifah D., Music Education, Music Education Department, Art and Design Education Faculty, Indonesia University of Education, Kbta Bandung, 40154, West Java, Indonesia","This study analyzes the learning experiences of six students from different areas within Indonesia and with different music cultures where none of them had any prior experience of the salendro music scale as their previous music experience was limited to Western-style music. Narrative Inquiry was the research method employed to analyze the meaning of salendro scale music culture. The results show that after the students had learned the salendro scale they succeeded in mastering it by the practice of singing and sight reading salendro music. © 2020 Kasetsart University.","Kempyung experience learning; Salendro sight-singing; Scale salendro listening,; Sing a song salendro song","","","","","","Fundamental Grants Research of the Ministry of Research, Technology and Higher Education of the Republic of Indonesia","This research was supported by the 2016 research funds from Fundamental Grants Research of the Ministry of Research, Technology and Higher Education of the Republic of Indonesia.","Azzara C., Audiation, improvisation, and music learning theory, The Quarterly, 2, 1, pp. 106-109, (2010); Bledsoe R.N., Music education for all?, General Music Today, 28, 2, pp. 18-22, (2015); Brown R.M., Palmer C., Auditory-motor learning influences auditory memory for music, Memory & Cognition, 40, 4, pp. 567-578, (2012); Christmas D., Kudzai C., Josiah M., Vygotsky’s zone of proximal development theory: What are its implications for mathematical teaching?, Greener Journal of Social Sciences, 3, 7, pp. 371-377, (2013); Craig C.J., You J.A., Oh S., Why school-based narrative inquiry in physical education research? An international perspective, Asia Pacific Journal of Education, 32, 3, pp. 271-284, (2012); Dawn J., We did the how to teach it: Music teaching and learning in higher education in Australia, Australian Journal of Teacher Education, 40, 7, pp. 1-14, (2015); Greenberg D.M., Baron-Cohen S., Stillwell D.J., Kosinski M., Rentfrow P.J., Musical preferences are linked to cognitive styles, Plos ONE, 10, 7, (2015); Gruhn W., Regelski T.A., Music learning in schools: Perspectives of a new foundation for music teaching and learning, Action, Criticism, and Theory for Music Education, 5, 2, pp. 1-27, (2006); Hermawan D., Tangga nada music Sunda: Antara kenyataan teoritis dan praktis, Panggung Jurnal Seni STSI Bandung, (2001); Jones A., Music and cognitive process student perceptions, Polyglossia, 19, pp. 143-150, (2010); Kielczewski N.M., The Effect of Music Learning Theory On-Sight-Singing Ability of Middle School Students, (2011); Krumhansl C.L., The cognition of tonality–As we know it today, Journal of New Music Research, 33, 3, pp. 253-268, (2004); Latifah D., Sundanese traditional tone sensitivity-based audiation model of salendro musical scale, Harmonia: Journal of Arts Research and Education, 16, 2, pp. 172-181, (2016); Latifahkarwatikusmawardi D., Audiasi Sebagai Pengantar Rasa Laras Salendro (Research Report), Bandung, Indonesia: LPPM UPI, (2016); Long A., Involve Me: Using the Orff Approach within the Elementary Classroom, (2013); Mackellar J., Participant observation at events: Theory, practice and potential, International Journal of Event and Festival Management, 4, 1, pp. 56-65, (2013); Mas A.C., Pozo J.I., Scheuer N., Musical learning and teaching conceptions as sociocultural productions in classical, flamenco, and jazz cultures, Journal of Cross-Cultural Psychology, 46, 9, pp. 1191-1225, (2015); Murgan M.G., A critical analysis of the techniques for data gathering in legal research, Journal of Social Sciences and Humanities, 1, 3, pp. 266-274, (2015); Perham N., Currie H., Does listening to preferred music improve reading comprehension performance?, Applied Cognitive Psychology, 28, 2, pp. 279-284, (2014); Pinzino M.E., Audiation – Another way of knowing. Letters on music learning, From the Come Children Sing Institute, 12, (2007); Przybylski L., Niknafs N., Teaching and learning popular music in higher education through interdisciplinary collaboration: Practice what you preach, IASPM@ Journal, 5, 1, pp. 100-123, (2015); Reisenweaver A.J., Guido of Arezzo and his influence on music learning, Musical Offerings, 3, 1, pp. 37-59, (2012); Widodo, Laras in gamelan music’s plurality, Harmonia: Journal of Arts Research and Education, 15, 1, pp. 34-45, (2015); Zanten W., Encounters in the context of inspiring Sundanese music and problematic theories, Recollecting Resonances: Indonesian Dutch Musical Encounters, pp. 203-230, (2014); Zhou M., Brown D., Educational Learning Theories, Open Textbook Dalton State College, (2014)","D. Latifah; Music Education, Music Education Department, Art and Design Education Faculty, Indonesia University of Education, Kbta Bandung, 40154, Indonesia; email: diahlatifah@upi.edu","","Kasetsart University Research and Development Institute","","","","","","24523151","","","","English","Kasetsart J. Soc. Sci.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85083298952"
"van Zyl S.","van Zyl, Silvia (57205186065)","57205186065","Audiation, aural training and the visually impaired pianist in South Africa","2018","Journal of the Musical Arts in Africa","15","1-2","","119","130","11","4","10.2989/18121004.2018.1556897","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85058936510&doi=10.2989%2f18121004.2018.1556897&partnerID=40&md5=8a7c491d6676e07583eb356473d315ed","South African College of Music, University of Cape Town, Private Bag, Rondebosch, 7700, South Africa","van Zyl S., South African College of Music, University of Cape Town, Private Bag, Rondebosch, 7700, South Africa","This article explores the concept of ‘audiation’ as conceptualised by Edwin Gordon (2012 [1988]) and its relevance in the training of visually impaired piano students. The theoretical framework for this study incorporates psychological and learning theories such as developmental, Gestalt and positive psychology, the apprenticeship method and implicit learning. Data were collected through listening-based experiments and interviews with participants, which included both visually impaired and sighted piano students as well as an experienced piano teacher. Research findings from the case studies suggest that the long-standing aural training and music teaching practices implemented in South Africa may need re-evaluation, in particular for the visually impaired. The limited emphasis on the aural training of the latter students and the excessive concentration on sight-reading activities required by Gordon’s audiation training need to be reconsidered. New teaching insights may be gained from the integration of emerging learning and psychological theories such as the dynamic systems theory within a multidisciplinary framework. The adoption of such a framework within aural and music teaching methodologies in South Africa may benefit not only the visually impaired, but also sighted music students. © 2018, © 2018 NISC (Pty) Ltd.","","","","","","","","","(2017); Arievitch I.M., Stetsenko A., The quality of cultural tools and cognitive development: Gal’perin’s perspective and its implications, Human Development, 43, 2, pp. 69-92, (2000); Betts S.L., Cassidy J.W., Development of harmonization and sight-reading skills among university class piano students, Journal of Research in Music Education, 48, 2, pp. 151-161, (2000); Burwell K., Apprenticeship in music: A contextual study for instrumental teaching and learning, International Journal of Music Education, 31, 3, pp. 276-291, (2012); Costall A., Darwin, ecological psychology, and the principle of animal-environment mutuality, Psyke and Logos, 22, 2, pp. 473-484, (2001); Covington K., The mind’s ear: I hear music and no one is performing, College Music Symposium, 45, pp. 25-41, (2005); Csikszentmihalyi M., Flow and the Foundations of Positive Psychology: The Collected Works of Mihaly Csikszentmihalyi, (2014); Daniels H., Applications of Vygotsky’s work: Pedagogy, The Cambridge Companion to Vygotsky, pp. 307-331, (2007); Euba A., Essays on Music in Africa Volume 2: Intercultural Perspectives, (1989); Gordon E.E., The Psychology of Music Teaching., (1971); Gordon E.E., Intermediate Measures of Music Audiation: A Music Aptitude Test for Children, Grades One Through Four, (1978); Gordon E.E., Primary Measures of Music Audiation: A Music Aptitude Test for Kindergarten and Primary Grade Children, (1978); Gordon E.E., The Nature, Description, Measurement and Evaluation of Music Aptitudes., (1987); Gordon E.E., All about audiation and music aptitudes, Music Educators Journal, 86, 2, pp. 41-44, (1999); Gordon E.E., Learning Sequences in Music: A Contemporary Music Learning Theory, (2012); Hargreaves D.J., Lamonte A., The Psychology of Musical Development, (2017); Hodges D.A., Sebald D.C., Music in the Human Experience: An Introduction to Music Psychology., (2011); Ingold T., Beyond biology and culture. The meaning of evolution in a relational world, Social Anthropology, 12, 2, pp. 209-221, (2004); Karpinski G.S., Aural Skills Acquisition: The Development of Listening, Reading, and Performing Skills in College-Level Musicians., (2000); Kimberlin C.T., Euba A., Towards an African Pianism: Keyboard Music of Africa and the Diaspora, 1-2, (2005); Konye P., Conceptualizing African pianism, Towards an African Pianism: Keyboard Music of Africa and the Diaspora, 1, pp. 19-24, (2005); Kostka M.J., The effects of error-detection practice on keyboard sight-reading achievement of undergraduate music majors, Journal of Research in Music Education, 48, 2, pp. 114-122, (2000); Lerner R.M., Developmental science, developmental systems, and contemporary theories of human development, Handbook of Child Psychology Volume 1: Theoretical Models of Human Development, pp. 1-17, (2006); Lewontin R.C., Genes, environment and organisms, Hidden Histories of Science, pp. 115-140, (2003); Lucia C., Abdullah Ibrahim and African pianism in South Africa, Towards an African Pianism: Keyboard Music of Africa and the Diaspora, 1, pp. 53-65, (2005); Nell D.C., Changing perceptions of sight-singing: The experience of first-year BMus students at North-West University of South Africa, Musicus, 41, 1, pp. 5-15, (2013); Penttinen M., Huovinen E., The early development of sight-reading skills in adulthood: A study of eye movements, Journal of Research in Music Education, 59, 2, pp. 196-220, (2011); Piaget J., Theoretical aspects: Piaget’s theory, Piaget and His School: A Reader in Developmental Psychology, pp. 11-23, (1976); Pratt G., Henson M., Cargill S., Aural Awareness: Principles and Practice, (1998); Rohrmeier M., Rebuschat P., Implicit learning and acquisition of music, Topics in Cognitive Science, 4, 4, pp. 525-553, (2012); Sacharowitz H.S., Visual impairment in South Africa: Achievements and challenges, The South African Optometrist, 64, 4, pp. 139-149, (2005); (2011); Sloboda J., Exploring the Musical Mind: Cognition, Emotion, Ability, Function, (2005); Stokes W.A., Is Edwin Gordon’s learning theory a cognitive one?, Philosophy of Music Education Review, 4, 2, pp. 96-106, (1996); Thaut M.H., The future of music in therapy and medicine, Annals of the New York Academy of Sciences, 1060, 1, pp. 303-308, (2005); Thelen E., Grounded in the world: Developmental origins of the embodied mind, Infancy, 1, 1, pp. 3-28, (2000); Thelen E., Dynamic systems theory and the complexity of change, Psychoanalytic Dialogues, 15, 2, pp. 255-283, (2005); Van Zyl S., (2018); Wasserman D., Asch A., Blustein J., Putnam D., Disability: Definitions, models, experience, Stanford Encyclopedia of Philosophy, (2016); Reznek R., From my beloved country: New South African piano music., (2017)","S. van Zyl; South African College of Music, University of Cape Town, Rondebosch, Private Bag, 7700, South Africa; email: silvia.vanzyl@gmail.com","","Routledge","","","","","","18121004","","","","English","J. Musical Arts Afr.","Article","Final","","Scopus","2-s2.0-85058936510"
"Hamilton S.; Vannatta-Hall J.","Hamilton, Sandra (58632872300); Vannatta-Hall, Jennifer (58632370300)","58632872300; 58632370300","Popular music in preservice music education: Preparedness, confidence and implementation","2020","Journal of Popular Music Education","4","1","","41","60","19","8","10.1386/jpme_00013_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85163328557&doi=10.1386%2fjpme_00013_1&partnerID=40&md5=24aa24fc25eac2fb1db973f7bf31f3c4","Tuckers Crossroads School – Music, 5820 Big Springs Road, Lebanon, 37090, TN, United States; Middle Tennessee State University, MTSU Box, Murfreesboro, 37132, TN, United States","Hamilton S., Tuckers Crossroads School – Music, 5820 Big Springs Road, Lebanon, 37090, TN, United States; Vannatta-Hall J., Middle Tennessee State University, MTSU Box, Murfreesboro, 37132, TN, United States","This study examined popular music in preservice music teacher training programmes in the United States. The researchers explored types of courses and programmes offered in undergraduate music education programmes to prepare future music teachers to teach popular music. Quantitative data revealed trends in the inclusion of popular music within undergraduate music education programmes, determined music teacher educators’ perceptions of their students’ attitudes towards using popular music in the general music classroom, and examined the types of popular music pedagogy needed for preservice music educators. Qualitative data ascertained perceived confidence levels of graduates to utilize popular music. Results revealed that western classical music is the focus for the majority of music educators’ undergraduate degree programmes and that often music teacher preparation programmes ignore popular music study. Bridging the gap between western classical and popular music would help prepare teachers to include and value all types of music in K-12 music education. © 2020 Intellect Ltd Article. English language.","general music; informal music learning; music education; music teacher preparation programmes; popular music; vernacular music","","","","","","","","Adams M. C., One leg in one, and one leg in the other: Reflections of vernacular musicians as music educators, (2017); Barry N. H., Walls K. C., Preservice teachers’ reactions to aural examples of various styles and genres, Research Studies in Music Education, 13, 1, pp. 13-27, (1999); Clements A., telephone interview with S. Hamilton, (2018); Davis S. G., Blair D. V., Popular music in American teacher educa-tion: A glimpse into a secondary methods course, International Journal of Music Education, 29, 2, pp. 124-140, (2011); Ferguson L., telephone interview with S. Hamilton, (2018); Green L., How Popular Musicians Learn: A Way ahead for Music Education, (2002); Isbell D. S., Apprehensive and excited: Music education students experience vernacular musicianship, Journal of Music Teacher Education, 25, 3, pp. 27-38, (2016); Kladder J. R., Re-envisioning music teacher education: A comparison of two undergraduate music education programs in the U.S, (2017); Leonhard C., Toward reform in music teacher education, Bulletin of the Council for Research in Music Education, 157, pp. 83-88, (2003); Mason J., Mixing methods in a qualitatively driven way, Qualitative Research, 6, 1, pp. 9-25, (2006); Mixon K., Engaging and educating students with culturally responsive performing ensembles, Music Educators Journal, 95, 4, pp. 66-71, (2009); Mroziak J., Exiles on main street: A pedagogy of popular music through technology & aesthetic education, (2017); Palinkas L. A., Horwitz S. M., Green C. A., Wisdom J. P., Duan N., Hoagwood K., Purposeful sampling for qualitative data collection and analysis in mixed method implementation research, Administration and Policy in Mental Health and Mental Health Services Research, 42, 5, pp. 533-544, (2015); Powell B., Krikun A., Pignato J. M., Something’s happening here! Popular music education in the United States, Journal of the International Association for the Study of Popular Music, 5, 1, pp. 4-22, (2015); Rea L. M., Parker R. A., An overview of the sample survey process, Designing and Conducting Survey Research: A Comprehensive Guide, (2014); Smith E. K., A descriptive analysis of high school choral teachers’ inclusion of popular music in current teaching practices, (2016); Springer D. G., Gooding L. F., Preservice music teachers’ attitudes toward popular music in the music classroom, Update: Applications of Research in Music Education, 32, 1, pp. 25-33, (2013); Tobias E., telephone interview with S. Hamilton, (2018); Vasil M., Integrating popular music and informal music learning prac-tices: A multiple case study of secondary school music teachers enacting change in music education, (2015); Vasil M., telephone interview with S. Hamilton, (2018); Wang J., Humphreys J. T., Multicultural and popular music content in an American music teacher education program, International Journal of Music Education, 27, 1, pp. 19-36, (2009)","J. Vannatta-Hall; Middle Tennessee State University, Murfreesboro, MTSU Box, 37132, United States; email: jennifer.vannatta-hall@mtsu.edu","","Intellect Ltd.","","","","","","23976721","","","","English","J. Pop. Music. Educ.","Article","Final","","Scopus","2-s2.0-85163328557"
"Merrick B.; Johnson C.","Merrick, Brad (57195199328); Johnson, Carol (57193753881)","57195199328; 57193753881","Teaching music online in higher education: 2020 conference report","2020","Journal of Music, Technology and Education","13","1","","95","108","13","7","10.1386/JMTE_00018_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85099463975&doi=10.1386%2fJMTE_00018_1&partnerID=40&md5=d3cd3ae145b71c8e7e5832a76f7031ae","The University of Melbourne, Building 141, Room 109, Gate 12, Royal Parade, Parkville, Victoria, 3010, Australia; The University of Melbourne, Building 862, Office 323, Southbank, Victoria, 3006, Australia","Merrick B., The University of Melbourne, Building 141, Room 109, Gate 12, Royal Parade, Parkville, Victoria, 3010, Australia; Johnson C., The University of Melbourne, Building 862, Office 323, Southbank, Victoria, 3006, Australia","Faced with the state of emergency restrictions due to the global COVID-19 pandemic, the 2020 Teaching Music Online in Higher Education conference was adaptively modified to exist as a synchronous, online event. Embracing the oppor-tunity to model online music pedagogy in its online format, organizers trans-formed the conference to utilize live-streaming, video recordings and other online active learning strategies. A total of 143 tertiary music instructors and graduate students from 66 institutions located around the world took part in the conference at a time of unprecedented restriction on face-to-face learning and travel restric-tions. This report is both important and timely, as it provides insights into compo-nents that were found to be both necessary and fundamental to the success of the event for music researchers, teachers and other delegates in attendance. Key areas related to organization, communication, structure, protocols and activities were explored through learning analytics and a conference evaluation. Strategies and recommendations are included to assist others who wish to create and present an online conference that exemplifies online pedagogy principles. © 2020, Intellect Ltd. All rights reserved.","Adaptive pedagogy; Conference report; COVID-19 response; Higher Education Research; Online conference design; Online music communities; Online practices; Teaching music online","","","","","","","","Blackburn A., Hewitt D., Fostering creativity and colla-boration in a fully online tertiary music program, International Journal on Innovations in Online Education, 4, 2, pp. 1-14, (2020); Garrison D. R.,  Century: A Framework for Research and Practice, (2011); Handley E., From Wuhan to Australia: A timeline of key events in the spread of the deadly coronavirus, ABC News, (2020); Johnson C., A conceptual model for teaching music online, International Journal on Innovations in Online Education, 4, 2, pp. 1-23, (2020); Merrick B., Changing mindset, perceptions, learning, and tradition: An “Adaptive Teaching Framework” for teaching music online, International Journal on Innovations in Online Education, 4, 2, pp. 1-17, (2020); Nikolsky T., Challenges and opportunities in teaching VCE music at Virtual School Victoria, International Journal on Innovations in Online Education, 4, 2, pp. 1-14, (2020); Osborne M., Entering the live-streaming voice and emerging victo-rious: Teaching performance psychology under pressure, International Journal on Innovations in Online Education, 4, 2, pp. 1-23, (2020); Pike P., Preparing an emerging professional to teach piano online: A case study, International Journal on Innovations in Online Education, 4, 2, pp. 1-14, (2020)","","","Intellect Ltd.","","","","","","17527066","","","","English","J. Music Technol. Educ.","Article","Final","","Scopus","2-s2.0-85099463975"
"Tang Y.; Ryan L.","Tang, Yiqing (57217357024); Ryan, Lee (7201612163)","57217357024; 7201612163","Music Performance Anxiety: Can Expressive Writing Intervention Help?","2020","Frontiers in Psychology","11","","1334","","","","17","10.3389/fpsyg.2020.01334","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85087121508&doi=10.3389%2ffpsyg.2020.01334&partnerID=40&md5=30ec380abf144c06e4e20905d6c06912","Fred Fox School of Music, The University of Arizona, Tucson, AZ, United States; Department of Psychology, The University of Arizona, Tucson, AZ, United States","Tang Y., Fred Fox School of Music, The University of Arizona, Tucson, AZ, United States; Ryan L., Department of Psychology, The University of Arizona, Tucson, AZ, United States","Performance is an essential part of music education; however, many music professionals and students suffer from music performance anxiety (MPA). The purpose of this study was to investigate whether a 10-min expressive writing intervention (EWI) can effectively reduce performance anxiety and improve overall performance outcomes in college-level piano students. Two groups of music students (16 piano major students and 19 group/secondary piano students) participated in the study. Piano major students performed a solo work from memory, while group/secondary piano students took a sight-reading exam of an eight-measure piano musical selection. All students performed twice, at baseline and post-EWI, with 2 or 3 days between performances. During the EWI phase, students were randomly divided into two groups: an expressive writing group and a control group. Students in the expressive writing group wrote down feelings and thoughts about their upcoming performances, while students in the control group wrote about a topic unrelated to performing. Each student’s pulse was recorded immediately before performing, and each performance was videotaped. Three independent judges evaluated the recordings using a modified version of the Observational Scale for Piano Practicing (OSPP) by Gruson (1988). The results revealed that, by simply writing out their thoughts and feelings right before performing, students who had high MPA improved their performance quality significantly and reduced their MPA significantly. Our findings suggest that EWI may be a viable tool to alleviate music performance anxiety. © Copyright © 2020 Tang and Ryan.","expressive writing intervention; music performance anxiety; performance quality; piano playing; self-talk","","","","","","College of Fine Arts; University of Arizona, UA","We would like to thank all the piano students for their participation and cooperation in this project, Dr. Andreas Eggertsberger, Ms. Chihiro Honma, Mrs. Natasha, and Mr. Emmanuel Danielson for their time and help on the recording evaluation, Yiqing’s former piano students Mr. John Gordy and Ms. Abby Eckert for their initial positive feedback to the intervention that inspired this project, and Dr. Lisa Zdechlik, Dr. John Milbauer, Dr. Rex Woods, Dr. Daniel Linder, and Prof. Edward Reid for their warm support on this project. Funding. This research was funded through an internal university grant: University of Arizona, College of Fine Arts small grant.","Baikie K.A., Wilhelm K., Emotional and physical health benefits of expressive writing, Adv. Psychiatr. Treatm, 11, pp. 338-346, (2005); Beatty M.J., Behnke R.R., Effects of public speaking trait anxiety and intensity of speaking task on heart rates during performance, Hum. Commun. Res, 18, pp. 147-176, (1991); Beck A.T., Emery G., Greenberg R.L., Anxiety Disorders and Phobias: A Cognitive Perspective, (1985); Beckwith K.M., Greenberg M.A., Gevirtz R., Autonomic effects of expressive writing in individuals with elevated blood pressure, J. Health Psychol, 10, pp. 197-209, (2005); Bird C.M., Burgess N., The hippocampus and memory: insights from spatial processing, Nat. Rev. Neurosci, 9, pp. 182-194, (2008); Brodsky W., Music performance anxiety reconceptualized: a critique of current research practices and findings, Med. Probl. Perform. 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Bull, 132, pp. 823-865, (2006); Frattaroli J., Thomas M., Lyubomirsky S., Opening up in the classroom: effects of expressive writing on graduate school entrance exam performance, Emotion, 11, pp. 691-696, (2011); Gazzaniga M.S., Ivry R.B., Mangun G.R., Cognitive Neuroscience: The Biology of the Mind, (2009); Goren L., A Meta-Analysis of Nonpharmacological Psychotherapies for Music Performance Anxiety, (2014); Gruson L.M., Rehearsal skill and musical competence: does practice make perfect?, Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition, pp. 91-112, (1988); Hatzigeorgiadis A., Theodorakis Y., Zourbanos N., Self-talk in the swimming pool: the effects of self-talk on thought content and performance on water-polo tasks, J. Appl. Sport Psychol, 16, pp. 138-150, (2004); Hiebert B., Uhlemann M.R., Marshall A., Lee D.Y., The relationship between self-talk, anxiety, and counselling skill, Can. J. 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Expressive writing and self- regulation, The Writing Cure: How Expressive Writing Promotes Health and Emotional Well-Being, pp. 119-134, (2002); McCarthy J., Goffin R., Measuring job interview anxiety: beyond weak knees and sweaty palms, Person. Psychol, 57, pp. 607-637, (2004); McGinnis A.M., Milling L.S., Psychological treatment of musical performance anxiety: current status and future directions, Psychotherapy, 42, pp. 357-373, (2005); McKellar J.D., Malcarne V.L., Ingram R.E., States-of-mind and negative affectivity, Cogn. Ther. Res, 20, pp. 235-246, (1996); Moran T.P., Anxiety and working memory capacity: a meta-analysis and narrative review, Psychol Bull, 142, pp. 831-864, (2016); Muris P., Steerneman P., Merckelbach H., Holdrinet I., Meesters C., Comorbid anxiety symptoms in children with pervasive developmental disorders, J. 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Psychol, 58, pp. 528-537, (1986); Pennebaker J.W., Kiecolt-Glaser J., Glaser R., Disclosure of traumas and immune function: health implications for psychotherapy, J. Consult. Clin Psychol, 56, pp. 239-245, (1988); Pennebaker J.W., Smyth J., Opening up by Writing it Down: The Healing Power of Expressive Writing, (2016); Ramirez G., Beilock S.L., Writing About Testing Worries Boosts Exam Performance in the Classroom, Science, 331, pp. 211-213, (2011); Roland D.J., The development and Evaluation of a Modified Cognitive-Behavioural Treatment for Musical Performance Anxiety, (1993); Ronan K.R., Kendall P.C., Self-talk in distressed youth: States-of-mind and content specificity, J. Clin. Child Psychol, 26, pp. 330-337, (1997); Rushall B.S., Hall M., Roux L., Sasseville J., Rushall A.C., Effects of three types of thought content instructions on skiing performance, Sport Psychol, 2, pp. 283-297, (1988); Theodorakis Y., Weinberg R., Natsis P., Douma I., Kazakas P., The effects of motivational versus instructional self-talk on improving motor performance, Sport Psychol, 14, pp. 253-271, (2000); Tod D., Hardy J., Oliver E., Effects of self-talk: a systematic review, J. Sport Exerc. Psychol, 33, pp. 666-687, (2011); Treadwell K.R.H., Kendall P.C., Self-talk in youth with anxiety disorders: states of mind, content specificity, and treatment outcome, J. Consult. Clin. Psychol, 64, pp. 941-950, (1996); Wan C.Y., Huon G.F., Performance degradation under pressure in music: an examination of attentional processes, Psychol. Music, 33, pp. 155-172, (2005); Webb T.L., Miles E., Sheeran P., Dealing with feeling: a meta-analysis of the effectiveness of strategies derived from the process model of emotion regulation, Psychol. Bull, 138, pp. 775-808, (2012); Williamon A., Musical Excellence: Strategies and Techniques to Enhance Performance, (2004); Williamon A., Aufegger L., Wasley D., Looney D., Mandic D.P., Complexity of physiological responses decreases in high-stress musical performance, J. R. Soc. Interface, 10, (2013); Yerkes R.M., Dodson J.D., The relation of strength of stimulus to rapidity of habit-formation, J. Comp. Neurol, 18, pp. 459-482, (1908); Young C.B., Wu S.S., Menon V., the neurodevelopmental basis of math anxiety, Psychol. Sci, 23, pp. 492-501, (2012); Zinsser N., Bunker L.K., Williams J.M., Cognitive techniques for improving performance and building confidence, Applied Sport Psychology: Personal Growth to Peak Performance, pp. 270-295, (1998)","Y. Tang; Fred Fox School of Music, The University of Arizona, Tucson, United States; email: yiqing10@email.arizona.edu","","Frontiers Media S.A.","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85087121508"
"Atkinson R.","Atkinson, Ruth (57194217576)","57194217576","The pedagogy of primary music teaching: talking about not talking","2018","Music Education Research","20","3","","267","276","9","6","10.1080/14613808.2017.1327946","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85019186287&doi=10.1080%2f14613808.2017.1327946&partnerID=40&md5=388b187b23cda04a44845e6af3fd5b23","Plymouth Institute of Education, Plymouth University, Plymouth, United Kingdom","Atkinson R., Plymouth Institute of Education, Plymouth University, Plymouth, United Kingdom","In English primary schools, provision of musical music lessons is often lacking. This paper focuses on whether a lack of clarity around primary music pedagogy might be a contributing factor. Some comparisons are drawn with the realm of second-language teaching. A small qualitative study is reported in which three teacher-educators with responsibility for primary music, from different higher education institutions, were interviewed to explore their pedagogic perspectives and articulacy. There was little evidence of shared pedagogy and interviewees often struggled to explain effective practice. However, one common theme was the implication that to teach musically a teacher needs to ‘feel like a musician’ at some level. It is suggested that teacher-educators might benefit from more clearly articulating ‘pedagogic content knowledge’ (Shulman, Lee. 1987. “Knowledge and Teaching: Foundations of the New Reform.” Harvard Educational Review 57 (1): 1–23) for primary music, including the dimension of ‘feeling like a musician’. This could, in turn, enhance work with student teachers and perhaps enable more teachers to teach musically. © 2017 Informa UK Limited, trading as Taylor & Francis Group.","Musical pedagogy primary-school music teaching","","","","","","","","Adams P., McQueen H., Hallam S., Contextualising Music Education in the UK, Music Education in the 21st Century in the United Kingdom: Achievements, Analysis and Aspirations, pp. 18-35, (2010); Alexander R., Still No Pedagogy? Principle, Pragmatism and Compliance in Primary Education, Cambridge Journal of Education, 34, 1, pp. 7-33, (2004); Armitage A., In Defence of Vocationalism, Working in Post-Compulsory Education, pp. 33-42, (2003); Baldwin L., Beauchamp G., A Study of Teacher Confidence in Teaching Music Within the Context of the Introduction of the Foundation Phase (3–7 Years) Statutory Education Programme in Wales, British Journal of Music Education, 31, pp. 195-208, (2014); Benedict C., Chapter 9: Methods and Approaches, Critical Issues in Music Education: Contemporary Theory and Practice, pp. 194-214, (2010); Biasutti M., Hennessy S., Vugt-Jansen E.D., Confidence Development in Non-Music Specialist Trainee Primary Teachers After an Intensive Programme, British Journal of Music Education, 32, 2, pp. 143-161, (2014); Biesta G., Burbules N.C., Pragmatism and Educational Research, (2003); Braun V., Clarke V., Successful Qualitative Research: A Practical Guide for Beginners, (2013); Charmaz K., Constructing Grounded Theory: A Practical Guide Through Qualitative Analysis, (2006); Cohen L., Manion L., Morrison K., Research Methods in Education, (2011); Coyle D., Content and Language Integrated Learning: Towards a Connected Research Agenda for CLIL Pedagogies, International Journal of Bilingual Education and Bilingualism, 10, 5, pp. 543-562, (2007); Creswell J.W., Qualitative Inquiry and Research Design: Choosing among Five Approaches, (2013); Crystal D., The Cambridge Encyclopedia of Language, (1987); Dewey J., How We Think, (1910); Elliott D., Music Matters: A New Philosophy of Music Education, (1995); Elliott D., Silverman M., Music Matters: A Philosophy of Music Education, (2015); Fautley M., Murphy R., Editorial, British Journal of Music Education, 31, pp. 1-4, (2014); Finney J., (2014); Flick U., Introducing Research Methodology: A Beginner’s Guide to Doing a Research Project, (2015); Green L., Music, Informal Learning and the School: A New Classroom Pedagogy, (2008); Holden H., Button S., The Teaching of Music in the Primary School by the Non-Music Specialist, British Journal of Music Education, 23, 1, pp. 23-38, (2006); Kolb D.A., Experiential Learning: Experience as the Source of Learning and Development, (1984); Lave J., Wenger E., Situated Learning: Legitimate Peripheral Participation, (1991); Mertens D.M., Research and Evaluation in Education and Psychology: Integrating Diversity with Quantitative, Qualitative, and Mixed Methods, (2015); Moon J., A Handbook of Reflective and Experiential Learning, (2004); (2014); (2012); (2012); Oliver D.G., Serovich J.M., Mason T.L., Constraints and Opportunities with Interview Transcription: Towards Reflection in Qualitative Research, Social Forces, 84, 2, pp. 1273-1289, (2005); Philpott C., Is Music a Language?, Issues in Music Teaching, pp. 32-46, (2001); Polanyi M., The Tacit Dimension, (1967); Punch K.F., Introduction to Research Methods in Education, (2009); Richards J.C., Rodgers T.S., Approaches and Methods in Language Teaching: A Description and Analysis, (1986); Rogers L., Hallam S., Creech A., Preti C., Learning About What Constitutes Effective Training from a Pilot Programme to Improve Music Education in Primary Schools, Music Education Research Journal, 10, 4, pp. 485-497, (2008); Saetre J.H., Teaching and Learning Music Composition in Primary School Settings, Music Education Research Journal, 13, 1, pp. 29-50, (2011); Schon D., The Reflective Practitioner: How Professionals Think in Action, (1983); Schostak J.F., Interviewing and Representation in Qualitative Research, (2006); Shulman L., Knowledge and Teaching: Foundations of the New Reform, Harvard Educational Review, 57, 1, pp. 1-23, (1987); Waring M., Evans C., Understanding Pedagogy: Developing a Critical Approach to Teaching and Learning, (2015)","R. Atkinson; Plymouth Institute of Education, Plymouth University, Plymouth, Nancy Astor Building, Drakes Circus, PL4 8AA, United Kingdom; email: ruth.atkinson@plymouth.ac.uk","","Routledge","","","","","","14613808","","","","English","Music Educ. Res.","Article","Final","","Scopus","2-s2.0-85019186287"
"Strand K.; Rinehimer B.","Strand, Katherine (26034755000); Rinehimer, Bridget (57202874177)","26034755000; 57202874177","Into the mystic: lived experiences of world music pedagogy programmes","2018","Music Education Research","20","5","","627","640","13","2","10.1080/14613808.2018.1491540","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85049635865&doi=10.1080%2f14613808.2018.1491540&partnerID=40&md5=7d70855a36d21938bc14d20fd287a6fa","Appalachian State University, United States; Indiana University, United States","Strand K., Appalachian State University, United States; Rinehimer B., Indiana University, United States","The purpose of this autophenomenography was to explore our lived experiences in three world music pedagogy programmes. We participated in three different world music pedagogy programmes in the United States and Ghana. We gathered data through field notes and researcher journals, and by collecting interviews of other participants and programorganizers. After emergent category coding with constant comparison and dialogue, we explored salient related literature in order to root our findings in music education discourse and to find points of agreement or tension between what has been examined and our own lived experiences. Our findings are presented as thematic strands of experiencing the dynamically sublime, struggling with p-prims, engaging in comparisons of spiritual and social mores, exploring the sense of identity and community, and bringing learning home. © 2018, © 2018 Informa UK Limited, trading as Taylor & Francis Group.","autophenomenography; multicultural music pedagogy; music education philosophy; third space; World music pedagogy","","","","","","","","Abril C., Learning Outcomes of Two Approaches to Multicultural Music Education, International Journal of Music Education, 24, 1, pp. 30-42, (2006); Allen-Collinson J., Intention and Epochē in Tension: Autophenomenography, Bracketing and a Novel Approach to Researching Sporting Embodiment, Qualitative Research in Sport, Exercise and Health, 3, 1, pp. 48-62, (2011); Anderson W.M., Multicultural Music Education, Music Educators Journal, 78, 9, (1992); Anderson W.M., Campbell P.S., Multicultural Perspectives in Music Education, Volume 1, (2010); Bhabha H., The Location of Culture, (1994); Cain T., Facing the Music: Shaping Music Education from a Global Perspective, Music Education Research, 13, 1, pp. 127-129, (2011); Campbell P.S., Teaching Music Globally, (2004); Campbell P.S., Teaching a Multicultural Experience: Music, Culture, and Pedagogy, The Orff Echo, 46, 2, pp. 10-14, (2014); Cilesiz S., A Phenomenological Approach to Experiences with Technology: Current State, Promise, and Future Directions for Research, Educational Technology Research and Development, 59, pp. 487-510, (2011); Coffey A., Atkinson P., Making Sense of Qualitative Data: Complementary Research Strategies, (1996); Deardorff D.K., Jones E., Intercultural Competence: An Emerging Focus in Post-Secondary Education, The Sage Handbook of International Higher Education, pp. 283-304, (2012); diSessa A., Phenomenology and the Evolution of Intuition, Mental Models, pp. 15-33, (1983); Elliott D., Key Concepts in Multicultural Music Education, International Journal of Music Education, 13, 1, pp. 11-18, (1989); Gellman J., Mysticism, The Stanford Encyclopedia of Philosophy, (2014); Gesche A.H., Makeham P., Creating Conditions for Intercultural and International Learning and Teaching, Researching International Pedagogies. Sustainable Practice for Teaching and Learning in Higher Education, pp. 241-258, (2010); Giorgi A., An Exploratory Phenomenological Psychological Approach to the Experience of the Moral Sense, Journal of Phenomenological Psychology, 23, 1, pp. 50-86, (1992); Hebert D., Saether E., ‘Please, Give Me Space’: Findings and Implications of the GLOMUS Intercultural Music Camp, Ghana 2011, Music Education Research, 16, 4, pp. 418-435, (2014); Hess J., Performing Tolerance and Curriculum: The Politics of Self-Congratulation, Identity Formation, and Pedagogy in World Music Education, Philosophy of Music Education Review, 21, 1, pp. 66-91, (2013); Husserl E., Ideas: General Introduction to Pure Phenomenology. 1913, (1931); Keltner D., Born to Be Good: The Science of a Meaningful Life, (2009); Legette R.M., Multicultural Music Education Attitudes, Values, and Practices of Public School Music Teachers, Journal of Music Teacher Education, 13, 1, pp. 51-59, (2003); Lieberman F., Relationships of Musical and Cultural Contrasts in Java and Bali.; Lyotard J.-F., Lessons on the Analytic of the Sublime, (1994); McGraw A.C., The Perception and Cognition of Time in Balinese Music, Empirical Musicology Review, 3, 2, pp. 38-54, (2008); McGraw A., Different Temporalities: The Time of Balinese Gamelan, Yearbook for Traditional Music, 40, pp. 136-162, (2008); Merleau-Ponty M., The Primacy of Perception, (1962); Morrison V., (1970); Moustakas C., Phenomenological Research Methods, (1994); Palmer A., World Musics in Music Education: The Matter of Authenticity, International Journal of Music Education, 19, pp. 32-40, (1992); Parker R., Multicultural Music and Learning, GEMS: Gender, Education, Music & Society, 8, 3, pp. 20-27, (2015); Peterson G.A., Factors Contributing to Arizona Elementary General Music Teacher Attitudes and Practices Regarding Multicultural Music Education, (2005); Pichaj M.A., Eduwiki, a Resource Developed by the California State University Northridge, (2009); Saldana J., Coding Manual for Qualitative Researchers, (2009); Sarath E., Myers D., Campbell P.S., Redefining Music Studies in an Age of Change: Creativity, Diversity, and Integration, (2016); Schippers H., Facing the Music: Shaping Music Education from a Global Perspective., (2010); Shaw J., The Skin that We Sing: Culturally Responsive Choral Music Education, Music Educators Journal, 98, 4, pp. 75-81, (2012); Sinclair A., Body and Management Pedagogy, Gender, Work and Organization, 12, 1, pp. 89-104, (2005); Small C., Music-Society-Education, (1977); Stellar J.E., John-Henderson N., Anderson C.L., Gordon A.M., McNeil G.D., Keltner D., Positive Affect and Markers of Inflammation: Discrete Positive Emotions Predict Lower Levels of Inflammatory Cytokines, Emotion, 15, 2, pp. 129-133, (2015); Tairako T., Time and Temporality from the Japanese Perspective, Time and Temporality in Intercultural Perspective, pp. 93-104, (1996); Tenzer M., Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese Music, (2000); Thobani S., Exalted Subjects: Studies in the Making of Race and Nation in Canada, (2007); Guidelines on Intercultural Education; National Population Projections: Summary Tables, (2014); van der Merwe L., Habron J., A Conceptual Model of Spirituality in Music Education, Journal of Research in Music Education, 63, 1, pp. 47-69, (2015); van Manen M., Researching Lived Experience: Human Science for Action Sensitive Pedagogy, (1990); Volk T., The History and Development of Multicultural Music Education as Evidenced in the Music Educators Journal, 1967–1992, Journal of Research in Music Education, 41, 2, pp. 135-155, (1993); Walden J., Culturally Diverse Music Education in North American K-12 Classrooms: The Role of Teacher Attitudes and Attributes in Facilitating Engaged Practices, (2016); Wenger E., A Social Theory of Learning, Contemporary Theories of Learning, pp. 209-218, (2009); Westerlund H., Karlsen S., Knowledge Production Beyond Local and National Blindspots: Remedying Professional Ocularcentrism of Diversity in Music Teacher Education, Action, Criticism, and Theory for Music Education, 16, 3, pp. 78-107, (2017); English-Greek Dictionary., (2017)","K. Strand; Appalachian State University, United States; email: toristinsl@yahoo.com","","Routledge","","","","","","14613808","","","","English","Music Educ. Res.","Article","Final","","Scopus","2-s2.0-85049635865"
"Aiba E.; Sakaguchi Y.","Aiba, Eriko (21233337100); Sakaguchi, Yutaka (7202363429)","21233337100; 7202363429","Visual information pianists use for efficient score reading","2018","Frontiers in Psychology","9","NOV","2192","","","","1","10.3389/fpsyg.2018.02192","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85057058887&doi=10.3389%2ffpsyg.2018.02192&partnerID=40&md5=91a870a629612ab2c777c2d322e41ca0","Department of Mechanical and Intelligent System Engineering, Graduate School of Informatics and Engineering, University of Electro-Communications, Tokyo, Japan; Center for Art and Performance Science, University of Electro-Communications, Tokyo, Japan","Aiba E., Department of Mechanical and Intelligent System Engineering, Graduate School of Informatics and Engineering, University of Electro-Communications, Tokyo, Japan, Center for Art and Performance Science, University of Electro-Communications, Tokyo, Japan; Sakaguchi Y., Department of Mechanical and Intelligent System Engineering, Graduate School of Informatics and Engineering, University of Electro-Communications, Tokyo, Japan, Center for Art and Performance Science, University of Electro-Communications, Tokyo, Japan","When sight-reading music, pianists have to decode a large number of notes and immediately transform them into finger actions. How do they achieve such fast decoding? Pianists may use geometrical features contained in the musical score, such as the distance between notes, to improve their efficiency in reading them. The aim of this study is to investigate the visual information pianists rely on when reading music. We measured the accuracy of the musical score reading of 16 skilled pianists and investigated its relationship with the geometrical features. When a single note was presented, pianists easily read it when it was located within three ledger lines. When two notes with an octave interval were presented, interestingly, their readable range was extended compared to that of the single note. The pianists were also able to recognize the octave interval correctly even if they misread the height (or pitch) of the target notes. These results suggest that the pianists decoded two notes composing an octave interval as a single ""two-tone geometric pattern."" Analyzing the characteristics of incorrect responses, we also found that pianists used the geometrical features of the spatial relationship between the note head and the ledger line, and that the cause of the misreading could be categorized into four types: [Type I] Confusion to a neighboring note having the same ledger line configuration; [Type II] Interference from a commonly used height note having the same note name; [Type III] Misunderstanding based on the appearance probability; [Type IV] Combination of the above three. These results all indicate that the pianists' abilities in score reading rely greatly on the correlation between the geometric features and playing action, which the pianists acquired through long-time training. © 2018 Aiba and Sakaguchi.","Appearance probability; Geometrical features; Pianist; Readable range; Sight-reading","","","","","","Japan Society for the Promotion of Science, JSPS, (17K17726)","We appreciate all the pianists for their cooperation. This study was supported by Grant-in-Aid for Challenging Exploratory Research (No. 26590229) and Young Scientists (B) (No. 17K17726) of the Japan Society for the Promotion of Science (JSPS) and a research grant for young researchers from the University of Electro-Communications.","Aiba E., Matsui T., Music memory following short-term practice and its relationship with the sight-reading abilities of professional pianists, Front. Psychol, 7, (2016); Aiba E., Sakaguchi Y., 'Visual information for efficient score reading by pianists, (2017); Bradley D., Tobin J.R., Sight-Reading for Piano Made Easy-Quick and Simple Lessons for the Amateur Pianist, (2016); Brainard D.H., Vision S., The psychophysics toolbox, Spatial Vision, 10, pp. 433-436, (1997); Deutsch L., Piano-Guided Sight-Reading, (2013); Goolsby T.W., Profiles of Processing: Eye Movements during Sightreading, Music Percep. Interdisciplin. J, 12, pp. 97-123, (1994); Grout D.J., Burkholder J.P., Palisca C.V., A History of Western Music, (2010); Harris P., Improve Your Sight-Reading!: A Workbook for Examinations, (1998); Hatano G., Ongaku to Ninchi, (1987); Kopiez R., In Lee J., Towards a general model of skills involved in sight reading music, Music Educ. Res, 10, pp. 41-62, (2008); Pelli D.G., The VideoToolbox software for visual psychophysics: transforming numbers into movies, Spatial Vis, 10, pp. 437-442, (1997); Schutte K., (2012); Truitt F.E., Clifton C., Pollatsek A., Rayner K., The perceptual span and the eye-hand span in sight reading music, Visual Cogn, 4, pp. 143-161, (1997); Waters A.J., Townsend E., Underwood G., Expertise in musical sight reading: a study of pianists, Br. J. Psychol, 89, pp. 123-149, (1998)","E. Aiba; Department of Mechanical and Intelligent System Engineering, Graduate School of Informatics and Engineering, University of Electro-Communications, Tokyo, Japan; email: eriko@uec.ac.jp","","Frontiers Media S.A.","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85057058887"
"Zhang P.; Sui X.","Zhang, Peiwei (57200001956); Sui, Xin (57200005451)","57200001956; 57200005451","Application of digital music technology in music pedagogy","2017","International Journal of Emerging Technologies in Learning","12","12","","1","13","12","5","10.3991/ijet.v12.i12.7966","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85038621521&doi=10.3991%2fijet.v12.i12.7966&partnerID=40&md5=ec6ad241f70b31d7b1f50b5c61bf73ca","Northeast Agricultural University, Harbin, China; Heilongjiang Vocational Vocational College of Art, Harbin, China","Zhang P., Northeast Agricultural University, Harbin, China; Sui X., Heilongjiang Vocational Vocational College of Art, Harbin, China","This paper expounds the concept and current development of digital music technology in modern times by exploration and analysis around the music technology, in order to better develop music pedagogy. In allusion to the contemporary music pedagogy, a new instruction idea is proposed by analyzing the digital music technologies such as MIDI, digital audio and other new music carriers, namely, an instruction model which integrates the digital music technology and the traditional teaching mode and means in the music classroom of middle school. In order to validate the availability of digital music technology, this paper also contemplates the current development of digital music industry and demonstrates the importance of digital music in modern music pedagogy by drilling down the digital music characteristics. In the end, it is concluded that the digital music technology introduced in music classroom instruction of middle schools contributes to cultivating students' music learning capacity.","Digital audio; Digital music technology; MIDI; Music pedagogy","Engineering education; Students; Classroom instruction; Contemporary musics; Digital audio; Digital music; Learning capacity; MIDI; Music pedagogy; Music technologies; Audio acoustics","","","","","","","Ferguson J.R., Brown A.R., Fostering a post-digital avant-garde: research-led teaching of music technology, Organised Sound, 21, 2, pp. 127-137, (2016); Stuart W., Secondary school teachersâ approaches to teaching composition using digital technology, British Journal of Music Education, 33, 3, pp. 283-295, (2016); Walzer D.A., Software-based scoring and sound design: an introductory guide for music technology instruction, Music Educators Journal, 103, 1, pp. 19-26, (2016); Zanden O., Thorgersen C.F., Teaching for learning or teaching for documentation? music teachers' perspectives on a swedish curriculum reform, British Journal of Musi Education, 32, 1, pp. 37-50, (2015); Patston T., Waters L., Positive instruction in music studios: introducing a new model for teaching studio music in schools based upon positive psychology, Psychology of well-being, 5, 1, (2015); Bjontegaard B.J., A combination of one-to-one teaching and small group teaching in higher music education in norway a good model for teaching?, British Journal of Music Education, 32, 1, pp. 23-36, (2015); Miranda M.L., Robbins J., Stauffer S.L., Seeing and hearing music teaching and learning: transforming classroom observations through ethnography and portraiture, Research Studies in Music Education, 28, 1, pp. 3-21, (2015); Krause A.E., North A.C., Music listening in everyday life: devices, selection methods, and digital technology, Psychology of Music, 44, 1, pp. 155-170, (2016); Soeiro F.C., Santos M., Alves J., Network-based innovation: the case for mobile gaming and digital music, European Business Review, 28, 2, pp. 155-175, (2016); Magaudda P., When materiality 'bites back': digital music consumption practices in the age of dematerialization, Journal of Consumer Culture, 11, 1, pp. 15-36, (2016)","P. Zhang; Northeast Agricultural University, Harbin, China; email: peiweizhang@neau.edu.cn","","Kassel University Press GmbH","","","","","","18688799","","","","English","Int. J. Emerg. Technol. Learn.","Article","Final","","Scopus","2-s2.0-85038621521"
"Burwell K.","Burwell, Kim (48360975900)","48360975900","Issues of dissonance in advanced studio lessons","2019","Research Studies in Music Education","41","1","","3","17","14","12","10.1177/1321103X18771797","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85046632637&doi=10.1177%2f1321103X18771797&partnerID=40&md5=9252f393ddcaece80cc94ba3ad859d64","UNSW Sydney, Australia","Burwell K., UNSW Sydney, Australia","In recent years researchers have contributed a great deal to our shared understanding of the complexities of studio practices, which are widely regarded as a centre-point of higher education music. This article investigates an aspect of studio learning that does not lend itself easily to scrutiny, by drawing common issues from the cases of two students who, exceptionally, reported dissatisfaction with the approaches taken by their current teachers. These issues, loosely grouped under the metaphor of dissonance, are explored through interview and observation evidence, in terms of the balance of activity within lessons, turn taking, and encouragement. The study gives rise to questions that might be applied, arguably, in any studio setting. © The Author(s) 2018.","apprenticeship in music; higher education music; instrumental and vocal learning; music pedagogy; music studio teaching","","","","","","","","Benson C., Fung C.V., Comparisons of teacher and student behaviors in private piano lessons in China and the United States, International Journal of Music Education, 23, pp. 63-72, (2005); Burwell K., On musicians and singers: An investigation of different approaches taken by vocal and instrumental teachers in higher education, Music Education Research, 8, pp. 331-347, (2006); Burwell K., Rich transcription: Exploring lesson interactions in higher education music, Scientia Paedagogica Experimentalis, 47, pp. 305-331, (2010); Burwell K., Studio-based instrumental learning, (2012); Burwell K., She did miracles for me”: An investigation of dissonant studio practices in higher education music, Psychology of Music, 44, pp. 266-480, (2016); Burwell K., Dissonance in the studio: An exploration of tensions within the apprenticeship setting in higher education music, International Journal of Music Education, 34, pp. 499-512, (2016); Burwell K., Feeling and thinking about studio practices: Exploring dissonance in semi-structured interviews with students in higher education music, British Journal of Music Education, 34, pp. 189-202, (2017); Burwell K., Shipton M., Performance Studies in practice: An investigation of students’ approaches to practice in a university music department, Music Education Research, 13, pp. 255-271, (2011); Carey G.M., Bridgstock R., Taylor P., McWilliam E., Grant C., Characterising one-to-one conservatoire teaching: Some implications of a quantitative analysis, Music Education Research, 15, pp. 357-368, (2013); Colprit E.J., Observation and analysis of Suzuki string teaching, Journal of Research in Music Education, 48, pp. 206-221, (2000); Duke R.A., Henninger J.C., Effects of verbal corrections on student attitude and performance, Journal of Research in Music Education, 46, pp. 482-495, (1998); Duke R.A., Henninger J.C., Teachers’ verbal corrections and observers’ perceptions of teaching and learning, Journal of Research in Music Education, 50, pp. 75-87, (2002); Gaunt H., One-to-one tuition in a conservatoire: The perceptions of instrumental and vocal teachers, Psychology of Music, 36, pp. 215-245, (2008); Gaunt H., One-to-one tuition in a conservatoire: The perceptions of instrumental and vocal students, Psychology of Music, 38, pp. 178-208, (2010); Hammersley M., Conversation analysis and discourse analysis: Methods or paradigms?, Discourse & Society, 14, pp. 751-781, (2003); Hanken I.M., Student evaluation of teaching from the actors’ perspective, Quality in Higher Education, 17, pp. 245-256, (2011); Hays T., Minichiello V., Wright P., Mentorship: The meaning of the relationship for musicians, Research Studies in Music Education, 15, pp. 3-14, (2000); Henninger J.C., Flowers P.J., Councill K.H., Pedagogical techniques and student outcomes in applied instrumental lessons taught by experienced and pre-service American music teachers, International Journal of Music Education, 24, pp. 71-84, (2006); Hultberg C., Practitioners and researchers in cooperation – Method development for qualitative practice-related studies, Music Education Research, 7, pp. 211-224, (2005); James M., Wise K., Rink J., Exploring creativity in musical performance through lesson observation with video-recall interviews, Scientia Paedagogica Experimentalis, 47, pp. 219-250, (2010); Johansson K., Undergraduate students’ ownership of musical learning: Obstacles and options in one-to-one teaching, British Journal of Music Education, 30, pp. 277-295, (2013); Jorgensen H., Research into higher music education: An overview from a quality improvement perspective, (2009); Karlsson J., Juslin P.N., Musical expression: An observational study of instrumental teaching, Psychology of Music, 36, pp. 309-334, (2008); Lave J., Wenger E., Situated learning: Legitimate peripheral participation, (1991); Lindstrom E., Juslin P.N., Bresin R., Williamon A., Expressivity comes from within your soul: A questionnaire study of music students’ perspectives on expressivity, Research Studies in Music Education, 20, pp. 23-47, (2003); Madill A., Interaction in the semi-structured Interview: A comparative analysis of the use of and response to indirect complaints, Qualitative Research in Psychology, 8, pp. 333-353, (2011); Maxwell J.A., Using numbers in qualitative research, Qualitative Inquiry, 16, pp. 475-482, (2010); Maxwell J.A., Qualitative research design: An interactive approach, (2013); Nerland M., One-to-one teaching as cultural practice: Two case studies from an academy of music, Music Education Research, 9, pp. 399-416, (2007); Nerland M., Hanken I.M., Academies of music as arenas for education: Some reflections on the institutional construction of teacher–student relationships, Research in and for higher education, pp. 167-186, (2002); Nielsen K.N., Learning at the academy of music as socially situated, (1999); Nielsen S.G., Using stimulated recall methodologies in researching one-to-one instrumental education, Scientia Paedagogica Experimentalis, 47, pp. 199-217, (2010); Perakyla A., Reliability and validity in research based on tapes and transcripts, Qualitative research: Theory, method and practice, pp. 201-220, (1997); Instrumental and vocal teacher education: European perspectives, (2010); Presland C., Conservatoire student and instrumental professor: The student perspective on a complex relationship, British Journal of Music Education, 22, pp. 237-248, (2005); Purser D., Performers as teachers: Exploring the teaching approaches of instrumental teachers in conservatoires, British Journal of Music Education, 22, pp. 287-298, (2005); Potter J., Discursive psychology: Between method and paradigm, Discourse & Society, 14, pp. 783-794, (2003); Scruton R., The aesthetics of music, (1997); Stake R.E., Qualitative case studies, The Sage handbook of qualitative research, pp. 443-466, (2005); Yarbrough C., Price H.E., Sequential patterns of instruction in music, Journal of Research in Music Education, 37, pp. 179-187, (1989); Yin R.K., The abridged version of case study research. Design and method, Handbook of applied social research methods, pp. 229-259, (1998); Yin R.K., Case study research: Design and methods, (2013); Young V., Burwell K., Pickup D., Areas of study and teaching strategies in instrumental teaching: A case study research project, Music Education Research, 5, pp. 139-155, (2003); Zhukov K., Exploratory study of approvals and disapprovals in Australian instrumental music teaching, International Journal of Music Education, 46, pp. 301-314, (2008)","K. Burwell; UNSW Sydney, Australia; email: k.burwell@unsw.edu.au","","SAGE Publications Ltd","","","","","","1321103X","","","","English","Res. Stud. Music Educ.","Article","Final","All Open Access; Bronze Open Access; Green Open Access","Scopus","2-s2.0-85046632637"
"Smith R.","Smith, Rob (57212994551)","57212994551","Music, pedagogy, community, university of South Wales, cardiff, 5 March 2016","2017","International Journal of Community Music","10","2","","227","230","3","0","10.1386/ijcm.10.2.227_7","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85027407074&doi=10.1386%2fijcm.10.2.227_7&partnerID=40&md5=b57821782f5607d6fe8166c0045bb32f","School of Music and Performance, University of South Wales, Atrium Building, 86-88 Adam Street, Cardiff, CF24 2FN, United Kingdom","Smith R., School of Music and Performance, University of South Wales, Atrium Building, 86-88 Adam Street, Cardiff, CF24 2FN, United Kingdom","This article is a report on a symposium held in 2016 that looked at the various roles of musical participation in creating or solidifying communities, whether they be communities of faith, common purpose or cultural practice or nationhood/ethnicity. The report looks at a variety of responses to the call; responses that included read papers, poster presentations, video provocations and a performance. The report concludes by identifying areas for further investigation. © 2017 Intellect Ltd Report.","Community music; Identity; Musical inclusion; Musical practice; Participation; Spirituality","","","","","","","","Higgins L., Community Music, (2012); Partridge C., The Lyre of Orpheus; Popular Music, the Sacred and the Profane, (2013); Stevens J., Search and Reflect: A Music Workshop Manual, London: Community Music Ltd, (1985); Sylvan R., Traces of The Spirit: The Religious Dimensions of Popular Music, (2002); USA: HBO Television, (2010); Ventura M., Shadow Dancing in the USA, (1985)","R. Smith; School of Music and Performance, University of South Wales, Cardiff, Atrium Building, 86-88 Adam Street, CF24 2FN, United Kingdom; email: robert.smith@decymru.ac.uk","","Intellect Ltd.","","","","","","17526299","","","","English","Int. J. Community Music","Article","Final","","Scopus","2-s2.0-85027407074"
"Dyganova E.A.; Yavgildina Z.M.","Dyganova, Elena Aleksandrovna (56660606000); Yavgildina, Zilia Muhtarovna (56660633600)","56660606000; 56660633600","Development of student musician's methodological competence in practice-oriented university environment; [Desarrollo de la competencia metodológica del estudiante músico en un entorno universitario orientado a la práctica]","2020","Utopia y Praxis Latinoamericana","25","Extra 5","","113","125","12","1","10.5281/zenodo.3984214","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85089402927&doi=10.5281%2fzenodo.3984214&partnerID=40&md5=5803b014ecef3106a151edc66a04c29c","Kazan Federal University, Russian Federation; Kazan State Institute of Culture, Russian Federation","Dyganova E.A., Kazan Federal University, Russian Federation; Yavgildina Z.M., Kazan State Institute of Culture, Russian Federation","The article reflects the experience of solving the issue of developing and implementing efficient pedagogical means into higher education practice. The goal of the study is the academic justification of the process of methodological competence formation in student musicians within a practice-oriented university environment. The study has shown that certain pedagogical conditions are an efficient means of developing the future music teacher's methodological competence in the practice-oriented university environment according to federal state requirements for such a specialist's level of education. © 2020, Universidad del Zulia. All rights reserved.","Competence; Music education; Music pedagogy; Music teacher","","","","","","","","ABDULLIN E.B., NIKOLAEVA E.N., The theory of music education: a textbook for higher education teachers’ training institutions, (2004); AKBAROVA G., DYGANOVA E., SHIRIEVA N., ADAMYAN A., The Technology of Scientific Сreativity in the Professional Training of the Music Teacher, Journal of History Culture and Art Research, 7, 4, pp. 138-145, (2018); BONDAREVSKAIA E.V., Paradigmatic approach to the development of the content of key pedagogical competences, Pedagogika, 10, pp. 23-31, (2004); CARRILLO AGUILERA C., VILAR MONMANY M., The Profile Of The Music Teacher Within The European Higher Education Area: Is A Competence-Based Approach Enough? (Preliminary Results), Proceedings of the 4th International Technology, Education and Development Conference (INTED), pp. 3485-3495, (2010); CHAGOROV E.N., Professional training of music teachers at university, Vestnik Penzenskogo gosudarstvennogo universiteta, 1, 5, pp. 65-68, (2014); On the approval of the Federal State Education Standard for higher education – Bachelor's degree program 44.03.05 Pedagogical education (with two specializations), (2018); On the approval of the professional standard ""Pedagogue (pedagogical activity in the field of preschool, primary general, basic general and secondary general education) (preschool teacher, teacher), (2013); No 298n ""On the approval of the professional standard ""Pedagogue of additional education for children and adults, (2018); GRIBKOVA O.V., The theory and practice of shaping the professional ethics of a music educator: PhD thesis, (2010); KARKINA S.V., FAJZRAHMANOVA L.T., GLUZMAN A.V., Subject-Oriented Approach in the Professional Formation of the Future Music Teacher, Tarih Kultur Ve Sanat Arastirmalari Dergisi-Journal Of History Culture And Art Research, 6, 4, pp. 1071-1077, (2017); Uchebnyi protsess. Osnovnye obrazovatelnye programmy [Academic process. Main educational programs]; KAZATCHKOV S., The conductor of a choir as an artist and an educator, (1998); KHUTORSKOI A.V., Kompetentsii v obrazovanii: opytproektirovaniia [Competencies in Education: Design Experience], (2007); KOVALEV D.A., KHUSSAINOVA G.A., BALAGAZOVA S.T., ZHANKULB T., Formation of Various Competencies in the Process of Training the Future Music Teachers at the Present Stage, International Journal of Environmental and Science Education, 11, 11, pp. 4175-4183, (2016); LENNON M., REED G., Instrumental and vocal teacher education: Competences, roles and curricula, Music Education Research, 14, 3, pp. 285-308, (2012); LOGINOVA S.L., AKIMOVA O.B., DOROZHKIN E.M., ZAITSEVA E.V., Methodical competency as a basis of methodical activities of a teacher of the higher school in modern conditions, Revista Espacios, 39, 17, (2018); MANUILOV Yu.S., Conceptual bases of the environmental approach in upbringing, Vestnik Kostromskogo gosudarstvennogo universiteta. Series: Pedagogika. Psikhologiya. Sotsiokinetika [Pedagogy. Psychology. Sociokinetics], 4, pp. 21-27, (2008); MATA L., DUMITRU C., Operational model for the development of methodological competencies at beginning teachers, Lucrări Ştiinţifice, 53, 2, pp. 335-338, (2010); OLOLUBE N., Methodological Competencies of Teachers: A Study of Nigeria, Academic Leadership: The Online Journal, 4, 2, (2006); ROHWER D., HENRY W., University teachers' perceptions of requisite skills and characteristics of effective music teachers, Journal of Music Teacher Education, 13, 2, pp. 18-27, (2004); VARVARIGOU M., Modelling Effective Choral Conducting Education Through An Exploration Of Example Teaching And Learning In England: Thesis Submitted for the Degree of Doctor of Philosophy, (2009); YAVGILDINA Z.M., BATYRSHINA G.I., KAMALOVA I.F., SALAKHOVA R.I., SALAKHOV R.F., Pedagogical conditions for the creative self-actualization of future art teachers, International Journal of Civil Engineering and Technology, 10, 2, pp. 1677-1685, (2019); ZHEREBYATNIKOVA G.V., Educational environment of a university: modern interpretation, Lichnost, semya i obshchestvo: voprosy pedagogiki i psikhologii: collection of articles based on the proceedings of the 20th scientific and practical conference, pp. 64-73, (2012); ZHIVOV V.L., Choir singing: theory, methodology, practice. A manual for the students of higher education institutions, (2003)","","","Universidad del Zulia","","","","","","13165216","","","","English","Utopia Prax. Latinoamericana","Article","Final","","Scopus","2-s2.0-85089402927"
"Radinović S.; Golemović D.O.","Radinović, Sanja (22433617200); Golemović, Dimitrije O. (58490176000)","22433617200; 58490176000","Vladimir R. Đorđević’s Contribution to Serbian Musical Folkloristics","2020","Muzikologija","2020","29","","15","33","18","0","10.2298/MUZ2029015R","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85164961817&doi=10.2298%2fMUZ2029015R&partnerID=40&md5=83eddd95fc6114067b486d4c3634e864","Faculty of Music, Department for Ethnomusicology, Belgrade, Serbia","Radinović S., Faculty of Music, Department for Ethnomusicology, Belgrade, Serbia; Golemović D.O.","Vladimir R. Đorđević (1869–1938), one of the pioneers of Serbian ethnomusicology, achieved outstanding results in various fields; his work is based on Serbian musical folklore. Several dozen of his publications belong to the domain of ethnomusicology, as well as music pedagogy and popularization of folk music. However, for decades, their often very similar titles, as well as numerous repeated and sometimes revised editions, have discouraged researchers from acquiring a clear idea of his overall music-folkloristic contribution. The primary goal of this paper is to create a precondition for a more objective evaluation of Đorđević’s work, in the context of the time to which he belonged. © 2020, Institute of Musicology of the Serbian Academy of Sciences and Arts (SASA). All rights reserved.","history of Serbian ethnomusicology; popularization of Serbian folk melodies; Serbian musical folklor and musical pedagogy; Serbian musical folkloristics; Vladimir R. Đorđević","","","","","",", (177024)","* This study is the result of work on the project Music and Dance Tradition of Multiethnic and Multicultural Serbia (No. 177024), funded by the Ministry of Education, Science and Technological Development of the Republic of Serbia. 1 radinovicsanja62@gmail.com 2 golemovicd@gmail.com","Georgevitch Vlad, Trente danses serbes pour piano, (1918); Georgevitch Vlad, Trente-cinq chansons populaires serbes pour piano avec chant ad li­bitum, (1918); Dordevic Vladimir R., Srpske narodne umotvorine. Skupljene ispod Malog Jastrepca, Po­bratimstvo, 4, pp. 16-20, (1892); Dordevic Vladimir R., Srpske narodne umotvorine. Skupljene ispod Malog Jastrepca, Pobratimstvo, 5, 6, pp. 23-26, (1892); Dordevic Vlad, Srpske narodne melodije (skupio i harmonizirao za mešoviti hor), (1896); Dordevic Vlad, Liturgija nedeljna ili praznična kad se peva „Blaženi, (1903); Dordevic Vlad, Zbirka dečjih pesama, (1904); Dordevic Vlad, Srpske narodne melodije 1, (1904); Dordevic Vlad, Srpske narodne melodije 2, (1904); Dordevic Vlad, Tri srpska kola, (1904); Dordevic Vlad, Trideset srpskih igara za violinu I, (1905); Dordevic Vladimir R., Staro bugarsko crkveno pevanje, Delo, 36, 2, pp. 265-266, (1905); Dordevic Vlad, Srpske narodne melodije 3, (1907); Dordevic Vlad, Srpske narodne melodije 4, (1907); Dordevic Vlad, Srpske narodne melodije 5, (1907); Dordevic Vlad, Zbirka odabranih pesama (U jedan, dva, tri i četiri glasa, za školsku omladinu), (1909); Dordevic Vlad, Liturgija nedeljna ili praznična kad se peva „Blaženi” (Za dva glasa za učenike osnovnih i srednjih škola), (1909); Dordevic Vlad, Srpske narodne melodije 6, (1921); Dordevic Vlad, Srpske narodne melodije 7, (1921); Dordevic Vlad, Srpske narodne melodije 8, (1921); Dr. Matthias Murko: Bericht über phonographische Aufnahmen epicher Volkslieder im mitleren Bosnien und Hercegovina in Sommer 1913. Wien, 1915, Muzički glasnik, 1, (1922); ladimir R., Ciganska muzika u Beogradu u polovini XVII veka, Muzički glas­nik, 1, (1922); Dordevic Vlad, Đaurko mila… Narodna melodija, Muzički glasnik, 2, (1922); ladimir R., Bogoboj Atanacković i naša narodna muzika, Muzički glasnik, 5, (1922); ladimir R., Kornelije Stanković: Srpsko crkveno karlovačko pojanje, zabeležio i harmonizirao za mešoviti hor… od god. 1855–1863. Sveska prva. Blažene 1–8 glasa. Beograd: Štamparija ‘Sv. Sava’, 1922, Muzički glasnik, 5, pp. 6-7; Dordevic Vlad, Građa za istoriju naše muzike za vlade Kneza Miloša (1815–1839), Muzički glasnik, 9, pp. 4-5, (1922); Dordevic Vlad, Građa za istoriju naše muzike za vlade Kneza Miloša (1815–1839), Muzički glasnik, 10, pp. 4-5, (1922); Dordevic Vlad, Građa za istoriju naše muzike za vlade Kneza Miloša (1815–1839), Muzički glasnik, 11, pp. 1-4, (1922); Dordevic Vlad, Građa za istoriju naše muzike za vlade Kneza Miloša (1815–1839), Muzički glasnik, 12, pp. 3-5, (1922); Dordevic Vlad, Pjesmarica. Jugoslovenske narodne popijevke za osnovne škole. Sabrao i uredio Antun Dobronić. Zagreb, 1922. Nakladom Pokrainske Uprave za Hrvatsku i Sla­voniju, Muzički glasnik, 12, (1922); Dordevic Vladimir R., Nevolje naše narodne muzike, Nova Evropa 3–4 (VI), 21, pp. 79-81, (1922); Dordevic Vladimir R., Turski elementi u našoj muzici, Nova Evropa, 15, 21, pp. 469-470, (1923); Dordevic Vlad, О kompozicijama Brankovih pesama, Nova Evropa, 4, pp. 126-127, (1924); Dordevic Vladimir R., Iz naše narodne muzike u Južnoj Srbiji, Nova Evropa, 11, 11, pp. 350-352, (1924); Dordevic Vladimir R., Skopske gajdardžije i njihovi muzički instrumenti, Glasnik Skopsk­og naučnog društva, 2, pp. 384-396, (1925); Dordevic Vlad, Narodna pevanka, (1926); Dordevic Vladimir R., Srpske narodne melodije (Južna Srbija), Ernest Closson (Introduction), (1928); Dordevic Vladimir R., Nekoji dečji narodni muzički instrumenti, Sv. Cecilija, 5, pp. 201-205, (1928); Dordevic Vlad, Sunce zađe. Srpska narodna melodija, Muzika, 4, (1928); Dordevic Vlad, Muzej M. D. ‘Stanković’ (iz referata), Glasnik Muzičkog društva „Stanković, 3, pp. 35-37, (1928); Dordevic Vlad, Pevanka za učenike osnovnih i učiteljskih škola u Kraljevini Srba, Hrva­ta i Slovenaca, (1928); Dordevic Vladimir, Jedna zanimljiva ličnost, Glasnik Muzičkog društva „Stanković, 1, pp. 8-10, (1929); Dordevic Vladimir R., Nekoliko reči o igranju i pevanju u Herceg Novome, Glasnik Etnografskog muzeja u Beogradu, IV, pp. 18-28, (1929); Dordevic Vlad, Trideset i pet srpskih narodnih pesama za klavir sa pevanjem ad libitum II, (1930); Dordevic Vladimir R., Ogled bibliografije srpske narodne muzike, Glasnik Etrnografskog muzeja u Beogradu, VI, pp. 120-125, (1931); Dordevic Vlad, Litirgija kad se peva „Blaženi” i Odgovaranje pri rezanju kolača i vo­doosvećenju (Za mešoviti hor. Crkvene narodne melodije), (1931); Dordevic Vladimir R., Narodne igre za gudački orkestar, (1934); Dordevic Vladimir R., Prilozi biografskom rečniku srpskih muzičara, SAN, Posebna izdanja, knj, 1, (1950); Dordevic Vladimir R., Ogled srpske muzičke bibliografije do 1914, (1969); Joksimovic Bozidar, Dordevic Vladimir R., Pitanja za prikupljanje muzičkih običaja u Srba, Karadžić, 6, (1899); Jankovic Ljubica S., Jankovic Danica S., Narodne igre I, (1934); Jankovic Ljubica S., Jankovic Danica S., Narodne igre II, (1937); Jankovic Ljubica S., Jankovic Danica S., Narodne igre III, (1939); Krader Barbara, South Slavs in Ethnomusicology: Historical and Regional Studies, The Norton/Grove Handbooks in Music, pp. 163-171, (1993); Lazic Кsenijа B., Bibliografska delatnost Vladimira R. Đorđevića, Bibliotekar, 1, 3, pp. 164-197, (1966); Litvinovic Selena, Značaj Vladimira Đorđevića za razvoj etnomuzikologije u Srbiji, Razvitak 201–202 (XXXIX), pp. 135-137, (1999); Mijic Suzana, Organološki rad Vladimira Đorđevića (Izložba narodnih muzičkih instrumena­ta iz legata Vladimira Đorđevića, zaveštanih Muzičkom društvu ‘Stanković’ i iz Etnološke zbirke Muzeja rudarstva i metalurgije u Boru), Melodije i fotografija. Temats­ki zbornik radova posvećen Vladimiru Đorđeviću, pp. 67-73, (2011); Milojevic Miloje, Vladimir R. Đorđević i njegov odnos prema narodnom muzičkom blagu, Srpski književni glasnik – Nova serija LIV, 8, pp. 548-554, (1938); Nenic Iva, Postoje li prave narodne pesme i melodije u gradovima?’ (Prilog istoriji koncep­cijâ tradicionalne muzike u Srbiji), Melodije i fotografija. Tematski zbornik radova posvećen Vladimiru Đorđeviću, pp. 51-65, (2011); Pavlovic Mila, Vladimir R. Đorđević, (1990); Pejovic Roksanda, Đorđević, Vladimir R, Leksikon jugoslavenske muzike 1, (1984); Radinovic Sanja, Napisi o tradicionalnom muzičkom nasleđu jugoslovenskih naroda u časopi­su Nova Evropa, Nova Evropa 1920–1941, pp. 617-634, (2010); Skripka Nazarije, Iz Muzičkog društva ‘Stanković’. Kako je osnovan Muzički muzej M. d. ‘Stanković’. Uspomena na prvog upravnika Vladimira R. Đorđevića, Muzički glasnik, 7, (1938); Sijacki Stevan Mil, Sakupljači narodnih melodija kod Srba, Sv. Cecilija, 4, pp. 111-112, (1925); Sijacki Stevan Mil, Vlad. R. Đorđević, Sv. Cecilija, 1, pp. 31-32, (1928); Spoljar Z., V. R. Đorđević: Pevanka, Sv. Cecilija, 5, pp. 234-235, (1928); Zorko Jovan, Srpske igre za violinu od Vl. Đorđevića, Zvuk, 1, (1933); Zorko Jovan, Narodne igre za gudački orkestar, Zvuk, 12, pp. 449-450, (1933); Zivkovic Milenko, Vladimir R. Đorđević, Muzički glasnik, 7, pp. 133-137, (1938); Zivkovic Milenko, Vlad. R. Gjorgjević: Narodna pevanka, Sv. Cecilija, 1, pp. 22-23, (1926); Zivkovic Milenko, Vladimir R. Gjorgjević: Srpske narodne melodije, Sv. Cecilija, 1, pp. 31-32, (1932); Zivkovic Milenko, Vladimir R. Gjorgjević, Sv. Cecilija, 4, (1938)","","","Institute of Musicology of the Serbian Academy of Sciences and Arts (SASA)","","","","","","14509814","","","","English","Muzikologija.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85164961817"
"Brumbach G.A.","Brumbach, Glen A. (57216299935)","57216299935","The Effects of Two Jazz Pedagogical Approaches on Improvisation and Ensemble Performance Achievement by High School Musicians","2020","Jazz Education in Research and Practice","1","1","","41","58","17","1","10.2979/jazzeducrese.1.1.05","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85177656443&doi=10.2979%2fjazzeducrese.1.1.05&partnerID=40&md5=e4296eb7fb1d77c78c971ff974231072","Texas A & M University Central Texas, United States","Brumbach G.A., Texas A & M University Central Texas, United States","This study investigated the impact of two methods of jazz instruction—theory-based and practice-based—on the improvisational and performance development of high-school jazz musicians. Students (N = 191) from 10 high-school jazz bands in a mid-Atlantic state were randomly assigned to either the theory-based control group or the practice-based experimental group. Both groups were given the same jazz composition and were recorded when sight-reading the piece for the pretest. Individual student soloists in the control (n = 13) and experimental (n = 21) groups improvised over a 32-measure section of the piece. After four weeks of instruction, both groups were again recorded for the posttest evaluation and also completed a questionnaire pertaining to pedagogical and cultural perspectives. Three experienced jazz adjudicators evaluated the recordings. A comparison of scores using a between-subjects repeated-measures ANOVA showed that the practice-based group achieved significantly greater gains in improvisation than the theory-based group. Practice-based participants indicated a stronger inclination to express themselves through improvisation and were more likely to listen to jazz outside school than were theory-based participants. © 2020, Indiana University Press. All rights reserved.","jazz ensemble performance; jazz improvisation; listening; mentorship","","","","","","","","Baker D. N., Jazz pedagogy, (1981); Balfour W. H., An analysis of the status of jazz education in the preparation of music educators in selected California universities (Doctoral dissertation), (1988); Bash L., The effectiveness of three instructional methods on the acquisition of jazz improvsational skills (Doctoral dissertation), (1983); Berliner P. F., Thinking in jazz: The infinite art of improvisation, (1994); Jazz adjudication rubric; Ciorba C., The creation of a model to predict jazz improvisation achievement (Doctoral dissertation), (2006); Dameron T., Gillespie J., Stay on it, (1945); Davison P. D., The role of self-efficacy and modeling in improvisation: The effects of aural and aural/ notated modeling conditions on intermediate instrumental music students’ improvisation achievement (Doctoral dissertation), (2006); Dickey M. R., A review on modeling in music teaching and learning, Bulletin of the Council for Research in Music Education, 113, pp. 27-40, (1992); Ferriano F., A study of the school jazz ensemble in American music education (Doctoral disserta-tion), (1974); Flack M. A., The effectives of Aebersold play-along recordings for gaining proficiency in jazz improvisation, (2004); Goodrich A., Inside a high school jazz band (Doctoral dissertation), (2005); Greennagel D. J., A study of selected predictors of jazz vocal improvisational skills (Doctoral disser-tation), (1994); Healy D. J., “Play it again, Billy, but this time with more mistakes”: Divergent improvisation activities for the jazz ensemble, Music Educators Journal, 100, 3, pp. 67-72, (2014); Heil L., The effects of two vocal jazz improvisation methods on high school choir students’ attitudes and performance achievement (Doctoral dissertation), (2005); Hewitt M. P., The effects of self-evaluation, self-listening, and modeling on junior high instrumen-talists’ music performance and practice attitude, Journal of Research in Music Education, 49, 4, pp. 307-322, (2001); Humphrey J. T., May W. V., Nelson D. J., Research on music ensembles, Handbook of research on music teaching and learning, pp. 651-658, (1992); About the program; Jones H., Jazz in Oklahoma music teacher education (Doctoral dissertation), (2005); Laughlin J. E., The use of notated and aural exercises as pedagogical procedures intended to develop har-monic accuracy among beginning jazz improvisers (Doctoral dissertation), (2001); Tutti player V1.7.0, (2013); Madura P., Relationships among vocal jazz improvisation achievement, jazz theory knowledge, imitative ability, musical experience, creativity, and gender, Journal of Research in Music Education, 44, 3, pp. 252-267, (1996); Mark M. L., Gary C. L., A history of American music education, (2006); Martin H., Jazz theory: An overview, Annual Review of Jazz Studies, pp. 1-17, (1996); May L. F., Factors and abilities influencing achievement in instrumental jazz improvisation, Journal of Research in Music Education, 51, pp. 17-22, (2003); Monroe A., Pearson C., The Munroe multicultural attitude scale questionnaire: A new instrument for multicultural studies, Educational and Psychological Measurement, 66, 5, pp. 819-834, (2006); Monson I., Saying something: Jazz improvisation and interaction, (1996); Standards, (2014); Palmer C., Instrumental jazz improvisation development: Characteristics of novice, interme-diate, and advanced improvisers, Journal of Research in Music Education, 64, 3, pp. 360-378, (2016); Prouty K., Knowing jazz, (2012); Reimer B., Seeking the signficance of music education, (2009); Renick J. S., The past, present, and future of jazz education: Toward alternatives in jazz pedagogy (Doctoral dissertation), (2012); Rummel J. R., Perceptions of jazz improvisation among Pennsylvania music educators (Doctoral dissertation), (2010); Saldana J., The coding manual for qualitative researchers, (2013); Sandke R., Where the dark and the light folks meet, (2010); Suber C., Jazz education, The encyclopedia of jazz in the seventies, pp. 366-374, (1976); Treinen C. M., Kansas high school band directors and college faculties’ attitudes towards teacher preparation in jazz education (Doctoral dissertation), (2011); Watson K. E., The effect of aural versus notated instructional materials on achievement, and self-efficacy in jazz improvisation (Doctoral dissertation), (2008); Webster P. R., Creativity as creative thinking, Music Educators Journal, 76, 9, pp. 22-28, (1990); Webster P. R., Research on creative thinking in music: The assessment literature, Handbook of research on music teaching and learning, pp. 266-280, (1992); Weidknecht M., Multicultural music education: Building an appreciative audience, (2009); Wesolowski B. C., Cognition and the assessment of interaction episodes in jazz improvisation, Psychomusicology: Music, Mind, and Brain, 23, 4, pp. 236-242, (2013); Wetzel N. D., Development of a new jazz method: Learning jazz language, a curriculum for beginning improvisers (Doctoral dissertation), (2007)","G.A. Brumbach; Texas A & M University Central Texas, United States; email: g.brumbach@tamuct.edu","","Indiana University Press","","","","","","26397668","","","","English","Jazz. Educ. Res. Pract.","Article","Final","","Scopus","2-s2.0-85177656443"
"Ruiz M.J.","Ruiz, Michael J. (9277722900)","9277722900","Lissajous Figures, Musical Intervals, and the Just Diatonic Scale","2018","Physics Teacher","56","7","","424","427","3","3","10.1119/1.5055319","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85053867517&doi=10.1119%2f1.5055319&partnerID=40&md5=10c8f3beb713e181ef72b538f0e2fb96","University of North Carolina at Asheville, Asheville, NC, United States","Ruiz M.J., University of North Carolina at Asheville, Asheville, NC, United States","The frequency ratios for the just diatonic scale are obtained by identifying musical intervals corresponding to Lissajous figures. The demonstration integrates the engineering physics of Lissajous patterns with the recognition of musical intervals through simple ear training. A free HTML5 app has been developed for this class activity and the program can be run online or downloaded to the desktop. A video is provided illustrating the use of the software. © 2018 American Association of Physics Teachers.","","","","","","","","","Ruiz M.J., Video: The Just Diatonic Scale, (2017); Hagenow C.F., The equal tempered musical scale, Am. Phys. Teach., 2, pp. 81-84, (1934); Durfee D.S., Colton J.S., The physics of musical scales: Theory and experiment, Am. J. Phys., 83, pp. 835-842, (2015); Helmholtz H.L.F., On the Sensations of Tone As A Physiological Basis for the Theory of Music, (1895); Doctoral Dissertations; Partch H., Genesis of A Music, (1974); Loy G., Musimathics: The Mathematical Foundations of Music, 1, pp. 39-96, (2006); Chalmers J.H., Divisions of the Tetrachord: A Prolegomenon to the Construction of Musical Scales, (1993); Lopresto M.C., Measuring musical consonance and dissonance, Phys. Teach., 53, pp. 225-229; Ruiz M.J., Boomwhackers and end-pipe corrections, Phys. Teach., 52, pp. 73-75; Harmon S.; Ruiz M.J., The Just Diatonic Scale App, (2017); I Think Einstein's Theory of Relativity Is One of the Most Beautiful Creations of Human Kind. It Is Both Scientific and Esthetic at the Same Time, (1995)","M.J. Ruiz; University of North Carolina at Asheville, Asheville, United States; email: mjtruiz@gmail.com","","American Institute of Physics Inc.","","","","","","0031921X","","","","English","Phys. Teach.","Article","Final","","Scopus","2-s2.0-85053867517"
"Omarova G.N.; Maldybayeva R.S.; Alpeisova G.T.","Omarova, Gulzada N. (57205540797); Maldybayeva, Raushan S. (57205546510); Alpeisova, Gulnar T. (57195367496)","57205540797; 57205546510; 57195367496","A new quality of teaching solfeggio in the system of music education; [Una nueva cualidad de la enseñanza solfeo en el sistema de educación musical]","2018","Opcion","34","87-2","","70","86","16","0","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85060496064&partnerID=40&md5=a23710d2324b36c10c9198dfce2971b2","Abai str.150/230, Apt.758, Almaty, 050046, Kazakhstan; Kazakh National University of Arts, ul. Ryskulov d.21, apt. 15, Astana, Kazakhstan","Omarova G.N., Abai str.150/230, Apt.758, Almaty, 050046, Kazakhstan; Maldybayeva R.S., Kazakh National University of Arts, ul. Ryskulov d.21, apt. 15, Astana, Kazakhstan; Alpeisova G.T., Kazakh National University of Arts, ul. Ryskulov d.21, apt. 15, Astana, Kazakhstan","The article is devoted to practical aspects of solfeggio musicians training according to the new methods in the framework of the discipline Ethnic solfeggio through content analysis of contextual features related to identity structure in the works of others. Analysis of modern methods of teaching solfeggio shows that further development of this discipline goes beyond its classical definition and has a number of peculiarities in various countries. In conclusion, with the help of a training course ethnic solfeggio, the musicians returned the ability to improvise and composition activity, the ability to combine the motives of traditional music with the modern. © 2018, Universidad del Zulia. All rights reserved.","Ethnic Solfeggio; Solfeggio; Teaching methods","","","","","","","","Alpeisova G., The Practical Development of the Kazakh Traditional Music in the Course of Ethnic Solfeggio, (2007); Amanov B., Terminology – a Sign of Culture, Soviet Music, 5, (1984); Bakri T., Mallah M., The Sense of Rhythm in Music Review of Some Theoretical Conceptions concerning Its Development, (2014); Baybek A., Song Style of Arch in the Context of Ethnic Solfeggio, (2009); Baygaskina A., The Rhythm of Traditional Kazakh Songs, (1991); Berliner P., Thinking in Jazz: The Infinite Art of Improvisation, (2009); Chan C., Cheng K., Chiu D., Chiu D., Choi S., Wang M., Kafeza E., Alert Driven Communications Management for Children Music Learning Based on Suzuki Method, International Journal of Systems and Service-Oriented Engineering, 5, 3, pp. 75-90, (2015); Danielu A., Tendencies of Musical Cultures Development of the Asian Nations, Musical Grandstand of Asia, (1975); Elemanova S., The Professionalism in the Pre-Revolutionary Kazakh Musical Culture, National Academy of Sciences of the Republic of Kazakhstan Bulletin, 4, pp. 49-56, (1981); Feng L., On Some Training Methods of Harmonic Interval Identification in Solfeggio Teaching, Explorations in Music, 4, (2008); Goldfarb R., Modifying Melodic Intonation Therapy. Commun Disord Deaf Stud Hearing Aids, (2015); Kang S., Yoo H., Effects of a Westernized Korean Folk Music Selection on Students Music Familiarity and Preference for Its Traditional Version, Journal of Research in Music Education, 63, 4, pp. 469-486, (2016); Kokumbaeva B., The Art of Music and Music Education: A New Look in New Conditions., (2012); Komissarova N., The Pedagogical Potential of Jazz Solfeggio in Formation of Professional Training of the Modern Teacher of Music, (2011); Kunst J., Ethno-Musicology, (1955); Lidy T., Silla C., Olmo C., Gouyon F., Rauber A., Kaestner C., Koerich A., On the Suitability of State-of-the-Art Music Information Retrieval Methods for Analyzing, Categorizing and Accessing Non-Western and Ethnic Music Collections, Signal Processing, 90, 4, pp. 1032-1048, (2010); Merriam A., The Anthropology of Music. Evanston, (1964); Moelants D., Cornelis O., Leman M., The Problems and Opportunities of Content-Based Analysis and Description of Ethnic Music, International Journal of Intangible Heritage, 2, pp. 57-68, (2007); Mukhambetova A., National and International in the Music of the Soviet Kazakhstan (To the Kyui Problem), Issues of Theory and Aesthetics of Music, 11, pp. 33-49, (1972); Mukhambetova A., Begalinova G., Amanov B., Kazakh Music Language as a State Problem, (2002); Nasev L., Macedonian Traditional Folksinging of Balladic Type as Example of Music Folklore in Solfeggio Class, (2015); Nettle B., Theory and Method in Ethnomusicology, (1964); Omarova G., Murzagalieva G., Ethnic Solfeggio. Music Collection. Almaty, (2005); Omarova G., Murzagalieva G., Ethnic Solfeggio. Resourse Book (Kaz. Rus.), (2005); Raimbergenova A., Ustaz S., Tradition in Contemporary Culture and Art, (2012); Seip J., Methods of Motivation in Secondary Jazz Ensembles, (2014); Thomas C., The Jazz Improvisational Approach: A New Method for Learning A Classical Piece of Music by Employing Jazz Education Methods, (2014)","","","Universidad del Zulia","","","","","","10121587","","","","English","Opcion","Article","Final","","Scopus","2-s2.0-85060496064"
"Németh A.; Pukánszky B.","Németh, András (57194569938); Pukánszky, Béla (57208084609)","57194569938; 57208084609","Life reform efforts in the Austro-Hungarian monarchy and their impact on Hungarian cultural and pedagogical reforms","2020","Paedagogica Historica","56","4","","429","446","17","5","10.1080/00309230.2019.1586736","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85063750240&doi=10.1080%2f00309230.2019.1586736&partnerID=40&md5=8a04ce4ceabf5a62fd973694df2591a9","Department of Primary and Pre-school Education, János Selye University, Komarno, Slovakia; Department of Education, Eötvös Loránd University, Budapest, Hungary; Department of Education, János Selye University, Komarno, Slovakia","Németh A., Department of Primary and Pre-school Education, János Selye University, Komarno, Slovakia, Department of Education, Eötvös Loránd University, Budapest, Hungary; Pukánszky B., Department of Education, János Selye University, Komarno, Slovakia","“Life reform” is an umbrella term used for describing the movements critical of modernisation whose main features were the desire to return to nature and naturalness, to self-healing and finding lost integrity again. They also have close ties to the educational reforms of the time. These movements were particularly active in the German, Austro-Hungarian monarchy from the end of the 19th century. At the beginning the movement focused mainly on healthy eating and lifestyle but with its decades-long history it finally formed its unique image around the turn of the century, at the time focusing on alternative medicine, spiritual orientation and vegetarianism. The national character is specific to the reception of the Hungarian efforts at life reform, and in this context the role of folk art is particularly appreciated. Our study examines the development and trends of these specific forms of movement in this “golden age” of the monarchy. We also attempt to demonstrate its effects on lifestyle and cultural and educational reforms at the time. The last part of our article also deals with the life-reforming roots of Zoltán Kodály’s music pedagogy. © 2019 Stichting Paedagogica Historica.","cultural and pedagogical reform in Austria and Hungary; Life-reform movement in Austria and Hungary; music pedagogy; new education; reception of pedagogical ideas; Zoltán Kodály","","","","","","","","","A. Németh; Department of Primary and Pre-school Education, János Selye University, Komarno, Slovakia; email: nemeth.andras@ppk.elte.hu","","Routledge","","","","","","00309230","","","","English","Paedagog. Hist.","Article","Final","","Scopus","2-s2.0-85063750240"
"Costa S.C.; Fernandes J.C.B.","Costa, Samuel C. (57194344156); Fernandes, Julio C. B. (59818860900)","57194344156; 59818860900","Listening to pH","2019","Journal of Chemical Education","96","2","","372","376","4","15","10.1021/acs.jchemed.8b00641","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85061625131&doi=10.1021%2facs.jchemed.8b00641&partnerID=40&md5=95876117c1ced52b069b34f3101034a4","Institute of Educational Sciences - ICED, Federal University of Western Pará - UFOPA, S/N Marechal Rondon, Avenue Caranazal, Santarém, PA, CEP 68040-070, Brazil","Costa S.C., Institute of Educational Sciences - ICED, Federal University of Western Pará - UFOPA, S/N Marechal Rondon, Avenue Caranazal, Santarém, PA, CEP 68040-070, Brazil; Fernandes J.C.B., Institute of Educational Sciences - ICED, Federal University of Western Pará - UFOPA, S/N Marechal Rondon, Avenue Caranazal, Santarém, PA, CEP 68040-070, Brazil","                             We developed a simple device to teach the concept of pH to visually impaired people through an experimental approach. An interface between a glass electrode and an open-source electronics platform based on easy-to-use hardware and software (Arduino Uno) was designed using an operational amplifier of ultralow input current. A headphone connected to digital output from Arduino Uno was employed to convert the electrical signals from pH to sound frequency. Using an audio file that emits sound frequencies, visually impaired students were trained to associate specific frequencies with pH values. There is a direct relationship between the logarithm of sound frequency from a given musical note and a pH value, which can be used to train students with low vision who would otherwise have difficulty observing pH values from visual indications. Sound frequency signals of 131-659 Hz that correspond to the piano musical scale of C                             3                             , which is one octave below middle C (small octave or the ""Do"" note in solfège), to E                             5                             , one octave above middle E (two-lined octave or ""Mi"" note in solfège), were used to obtain sounds for the pH scale. Each musical note from these scales corresponded to one pH value with precision of 0.5 unit. This proposed method can be easily implemented in a laboratory with a relatively low cost.                          © 2018 American Chemical Society and Division of Chemical Education, Inc.","Acids/Bases; Analytical Chemistry; Demonstrations; General Public; Hands-On Learning/Manipulatives; Multimedia-Based Learning; pH; Potentiometry","","","","","","Fundação Amazônia Paraense de Amparo à Pesquisa, FAPESPA","This research was supported in part by FAPESPA through scholarship to S.C.C. We thank Gleber Maciel for assistance in musical theory, Carlos Eduardo Fernandes for helping with the electronics devices, and Prof. Dr. Troy Beldini for the English revision. Autodesk and Tinkercad are registered trademarks or trademarks of Autodesk, Inc., in the USA and certain other countries.","World Report on Disability, (2018); The Salamanca Statement and Framework for Action on Special Needs Education, (1994); Goncalves F.P., Regiani A.M., Auras S.R., Silveira T.S., Coelho J.C., Hobmeier A.K., Inclusive Education in Teacher Training and Chemistry Teaching: Visual Impairment in Debate. [A educaçao inclusiva na formaçao de professores e no ensino de química: A deficiência visual em debate], QNEsc., 35, 4, pp. 264-271, (2013); Mabbott G.A., Teaching Electronics and Laboratory Automation using Microcontroller Boards, J. Chem. Educ., 91, 9, pp. 1458-1463, (2014); Kubinova S., Slegr J., ChemDuino: Adapting Arduino for Low-Cost Chemical Measurements in Lecture and Laboratory, J. Chem. Educ., 92, 10, pp. 1751-1753, (2015); Kuntzleman T.S., Jacobson E.C., Teaching Beer's Law and Absorption Spectrophotometry with a Smart Phone: A Substantially Simplified Protocol, J. Chem. Educ., 93, 7, pp. 1249-1252, (2016); Kehoe E., Penn R.L., Introducing Colorimetric Analysis with Camera Phones and Digital Cameras: An Activity for High School or General Chemistry, J. Chem. Educ., 90, pp. 1191-1195, (2013); Soong R., Agmata K., Doyle T., Jenne A., Adamo T., Simpson A., Combining the Maker Movement with Accessibility Needs in an Undergraduate Laboratory: A Cost-Effective Text-to-Speech Multipurpose, Universal Chemistry Sensor Hub (MUCSH) for Students with Disabilities, J. Chem. Educ., 95, (2018); Supalo C.A., Isaacson M.D., Lombardi M.V., Making Hands-On Science Learning Accessible for Students Who Are Blind or Have Low Vision, J. Chem. Educ., 91, pp. 195-199, (2014); (2018); Pereira F., Ponte-E-Sousa J.C., Fartaria R.P.S., Bonifacio V.D.B., Mata P., Aires-De-Sousa J., Lobo A.M., Sonified Infrared Spectra and Their Interpretation by Blind and Visually Impaired Students, J. Chem. Educ., 90, 8, pp. 1028-1031, (2013); Neppel K., Oliver-Hoyo M.T., Queen C., Reed N., A Closer Look at Olfactory Titrations, J. Chem. Educ., 82, 4, pp. 607-610, (2005); Wood J.T., Eddy R.M., Olfactory Titrations, J. Chem. Educ., 73, 3, (1996); Smith R.S., Doty R.L., Burlingame G.K., McKeown D.A., Smell and Taste Function in the Visually Impaired, Percept. Psychophys., 54, 5, pp. 649-655, (1993); Skoog D.A., West D.M., Holler J.F., Fundamentals of Analytical Chemistry, (1996); Norby J., The Origin and the Meaning of the Little p in pH, Trends Biochem. Sci., 25, 1, pp. 36-37, (2000); Sorensen S.P.L., Études enzymatiques. II. sur la mesure et l'importance de la concentration des ions hydrogène dans les réactions enzymatiques, Compt. Rend. du Lab. de Carlsberg, 8, pp. 1-168, (1909); Eggen P.O., Kvittingen L., Lykknes A., Wittje R., Reconstructing Iconic Experiments in Electrochemistry: Experiences from a History of Science Course, Sci. and Educ., 21, (2012); Hofstein A., Shore R., Kipnis M., Providing High School Chemistry Students with Opportunities to Develop Learning Skills in an Inquiry-Type Laboratory: A Case Study, Int. J. Sci. Educ., 26, 1, pp. 47-62, (2004); Hart C., Mulhall P., Berry A., Loughran J., Gunstone R., What Is the Purpose of This Experiment? or Can Students Learn Something from Doing Experiments?, J. Res. Sci. Teach., 37, 7, pp. 655-675, (2000); Ibrahim N.H., Surif J., Hui K.P., Yaakub S., Typical"" Teaching Method Applied in Chemistry Experiment, Procd. Soc. Behv., 116, pp. 4946-4954, (2014); (2018); Datasheet: LMC6041 CMOS Single Micropower Operational Amplifier, SNOS610E, (2018); Horowitz P., Hill W., The Art of Electronics, (2015); ATmega328/P Datasheet Summary, (2016); Audio Jacks: STX-3100 Series PCB Mount 3.5 Mm Audio Jack, (2018); PH Meter (SKU: SEN0161), (2018); Boedec H., Frequency Sound Generator App at Google Play, Version 2.3, (2018); Tombaugh D., Chemistry and the Visually Impaired - Available Teaching Aids, J. Chem. Educ., 58, 3, pp. 222-226, (1981); Application Report: Principles of Data Acquisition and Conversion, SBAA051A, (2018)","J.C.B. Fernandes; Institute of Educational Sciences - ICED, Federal University of Western Pará - UFOPA, Santarém, PA, S/N Marechal Rondon, Avenue Caranazal, CEP 68040-070, Brazil; email: julio.fernandes@ufopa.edu.br","","American Chemical Society","","","","","","00219584","","JCEDA","","English","J Chem Educ","Article","Final","","Scopus","2-s2.0-85061625131"
"Ortega F.J.M.; Giraldo S.I.; Perez A.; Ramírez R.","Ortega, Fábio J.M. (57201948985); Giraldo, Sergio I. (56950430600); Perez, Alfonso (59157877900); Ramírez, Rafael (35280935600)","57201948985; 56950430600; 59157877900; 35280935600","Phrase-level modeling of expression in violin performances","2019","Frontiers in Psychology","10","APR","776","","","","4","10.3389/fpsyg.2019.00776","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85065122821&doi=10.3389%2ffpsyg.2019.00776&partnerID=40&md5=e29c3703f07818eeeaf9e225310238f5","Music Technology Group, Machine Learning and Music Lab, Department of Communication and Information Technology, Pompeu Fabra University, Barcelona, Spain","Ortega F.J.M., Music Technology Group, Machine Learning and Music Lab, Department of Communication and Information Technology, Pompeu Fabra University, Barcelona, Spain; Giraldo S.I., Music Technology Group, Machine Learning and Music Lab, Department of Communication and Information Technology, Pompeu Fabra University, Barcelona, Spain; Perez A., Music Technology Group, Machine Learning and Music Lab, Department of Communication and Information Technology, Pompeu Fabra University, Barcelona, Spain; Ramírez R., Music Technology Group, Machine Learning and Music Lab, Department of Communication and Information Technology, Pompeu Fabra University, Barcelona, Spain","Background: Expression is a key skill in music performance, and one that is difficult to address in music lessons. Computational models that learn from expert performances can help providing suggestions and feedback to students. Aim: We propose and analyze an approach to modeling variations in dynamics and note onset timing for solo violin pieces with the purpose of facilitating expressive performance learning in new pieces, for which no reference performance is available. Method: The method generates phrase-level predictions based on musical score information on the assumption that expressiveness is idiomatic, and thus influenced by similar-sounding melodies. Predictions were evaluated numerically using three different datasets and against note-level machine-learning models, and also perceptually by listeners, who were presented to synthesized versions of musical excerpts, and asked to choose the most human-sounding one. Some of the presented excerpts were synthesized to reflect the variations in dynamics and timing predicted by the model, whereas others were shaped to reflect the dynamics and timing of an actual expert performance, and a third group was presented with no expressive variations. Results: surprisingly, none of the three synthesized versions was consistently selected as human-like nor preferred with statistical significance by listeners. Possible interpretations of these results include the fact that the melodies might have been impossible to interpret outside their musical context, or that expressive features that were left out of the modeling such as note articulation and vibrato are, in fact, essential to the perception of expression in violin performance. Positive feedback by some listeners toward the modeled melodies in a blind setting indicate that the modeling approach was capable of generating appropriate renditions at least for a subset of the data. Numerically, performance in phrase-level suffers a small degradation if compared to note-level, but produces predictions easier to interpret visually, thus more useful in a pedagogical setting. © 2019 Ortega, Giraldo, Perez and Ramírez.","Expressive music performance; Machine learning; Music information retrieval; Music pedagogy; Violin","","","","","","Horizon 2020 Framework Programme, H2020, (688269); Horizon 2020 Framework Programme, H2020","","Akkermans V., Font F., Funollet J., de Jong B., Roma G., Togias S., Et al., Freesound 2: an improved platform for sharing audio clips,, Proceedings of the 12th International Society for Music Information Retrieval Conference, (2011); Bresin R., Friberg A., Evaluation of computer systems for expressive music performance,, Guide to Computing for Expressive Music Performance, pp. 181-203, (2013); Cambouropoulos E., The local boundary detection model (LBDM) and its application in the study of expressive timing,, Proceedings of the International Computer Music Conference ICMC01, pp. 232-235, (2001); Chew G., Articulation and phrasing,'. The New Grove Dictionary of Music and Musicians, 2, pp. 86-89, (2001); Dannenberg R.B., The interpretation of MIDI velocity,, Proceedings of the International Computer Music Conference 2006, pp. 193-196, (2006); Drabkin W., Motif,'. The New Grove Dictionary of Music and Musicians, 12, (2001); Frank E., Hall M.A., Witten I.H., The WEKA workbench. Online Appendix for ""Data Mining: Practical Machine Learning Tools and Techniques"", (2016); Gabrielsson A., Bengtsson I., Gabrielsson B., Performance of musical rhythm in 3/4 and 6/8 meter, Scand. J. Psychol, 24, pp. 193-213, (1983); Gadermaier T., Grachten M., Chacon C.E.C., Basis-function modeling of loudness variations in ensemble performance,, 2nd International Conference on New Music Concepts (ICNMC 2016), (2016); Grachten M., JIG: Jazz improvisation generator,, Proceedings of the MOSART Workshop on Current Research Directions in Computer Music, pp. 1-6, (2001); Gulati S., Serra J., Ishwar V., Senturk S., Serra X., Phrase-based rga recognition using vector space modeling,, 2016 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP), pp. 66-70, (2016); Hawthorne C., Stasyuk A., Roberts A., Simon I., Huang C.-Z.A., Dieleman S., Et al., Enabling factorized piano music modeling and generation with the MAESTRO dataset,, Proceedings of the International Conference on Learning Representations, (2018); Huberth M., Fujioka T., Performers' motions reflect the intention to express short or long melodic groupings, Music Percept, 35, pp. 437-453, (2018); Huron D.B., Sweet Anticipation: Music and the Psychology of Expectation, (2006); Juslin P.N., Five facets of musical expression: a psychologist's perspective on music performance, Psychol. Music, 31, pp. 273-302, (2003); Juslin P.N., Karlsson J., Lindstrom E., Friberg A., Schoonderwaldt E., Play it again with feeling: computer feedback in musical communication of emotions, J. Exp. Psychol, 12, pp. 79-95, (2006); Juslin P.N., Timmers R., Expression and communication of emotion in music performance,, Handbook of Music and Emotion: Theory, Research, Applications, pp. 453-489, (2010); Katayose H., Hashida M., De Poli G., Hirata K., On evaluating systems for generating expressive music performance: the Rencon experience, J. New Music Res, 41, pp. 299-310, (2012); Kirke A., Miranda E.R., A survey of computer systems for expressive music performance, ACM Comput. Surv, 42, pp. 1-41, (2009); Kirke A., Miranda E.R., An Overview of Computer Systems for Expressive Music Performance,, Guide to Computing for Expressive Music Performance, pp. 1-47, (2013); Livingstone S.R., Muhlberger R., Brown A.R., Thompson W.F., Changing musical emotion: a computational rule system for modifying score and performance, Comput. Music J, 34, pp. 41-64, (2010); Maestre E., Modeling Instrumental Gestures: An Analysis/Synthesis Framework for Violin Bowing, (2009); Marchini M., Ramirez R., Papiotis P., Maestre E., The sense of ensemble: a Machine learning approach to expressive performance modelling in string quartets, J. New Music Res, 43, pp. 303-317, (2014); Mauch M., Cannam C., Bittner R., Fazekas G., Salamon J., Dai J., Et al., Computer-aided melody note transcription using the Tony software: accuracy and efficiency,, Proceedings of the First International Conference on Technologies for Music Notation and Representation, (2015); Mauch M., Dixon S., pYIN: A fundamental frequency estimator using probabilistic threshold distributions,, Proceedings of the IEEE International Conference on Acoustics, Speech, and Signal Processing, 1, pp. 659-663, (2014); McAngus Todd N.P., The dynamics of dynamics: a model of musical expression, J. Acoust. Soc. Am, 91, pp. 3540-3550, (1992); Meyer L.B., Emotion and Meaning in Music, (1956); Molina-Solana M., Arcos J.L., Gomez E., Using expressive trends for identifying violin performers,, Proceedings of the 9th International Conference on Music Information Retrieval, pp. 495-500, (2008); Needleman S.B., Wunsch C.D., A general method applicable to the search for similarities in the amino acid sequence of two proteins, J. Mol. Biol, 48, pp. 443-453, (1970); Oore S., Simon I., Dieleman S., Eck D., Simonyan K., This time with feeling: learning expressive musical performance,, Neural Computing and Applications, pp. 1-13, (2018); Pearce M.T., Mullensiefen D., Wiggins G.A., Melodic grouping in music information retrieval: new methods and applications,, Advances in Music Information Retrieval, in, pp. 364-388, (2010); Ramirez R., Maestre E., Perez A., Modeling, analyzing, identifying, and synthesizing expressive popular music performances,, Guide to Computing for Expressive Music Performance, pp. 123-144, (2013); Smoliar S.W., Waterworth J.A., Kellock P.R., pianoFORTE: A System for Piano Education Beyond Notation Literacy,, Proceedings of the Third ACM International Conference on Multimedia, pp. 457-465, (1995); Stammen D.R., Pennycook B., Real-time recognition of melodic fragments using the dynamic timewarp algorithm,, Proceedings of the International Computer Music Conference, pp. 232-235, (1993); Tobudic A., Widmer G., Relational IBL in music with a new structural similarity measure,, Proceedings of the 13th International Conference on Inductive Logic Programming, pp. 365-382, (2003); Van Der Linden J., Schoonderwaldt E., Bird J., Johnson R., MusicJacket-Combining motion capture and vibrotactile feedback to teach violin bowing, IEEE Trans. Instrum. Meas, 60, pp. 104-113, (2011); Widmer G., Flossmann S., Grachten M., YQX plays chopin, AI Mag, 30, (2009); Widmer G., Goebl W., Computational models of expressive music performance: the state of the art, J. New Music Res, 33, pp. 203-216, (2004); Woody R.H., The effect of various instructional conditions on expressive music performance, J. Res. Music Educ, 54, pp. 21-36, (2006)","F.J.M. Ortega; Music Technology Group, Machine Learning and Music Lab, Department of Communication and Information Technology, Pompeu Fabra University, Barcelona, Spain; email: fabiojose.muneratti@upf.edu","","Frontiers Media S.A.","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85065122821"
"Bjørnsen E.; Woddis J.","Bjørnsen, Egil (55295795200); Woddis, Jane (37058218700)","55295795200; 37058218700","Music in our lives: Using the concept of “Bildung” to understand the role of music education policy in England","2020","Research Studies in Music Education","42","2","","192","207","15","5","10.1177/1321103X19841918","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85068358500&doi=10.1177%2f1321103X19841918&partnerID=40&md5=ac554fb2bcfa5d520a9db59047579c8e","NORCE Norwegian Research Center, Norway; University of Warwick, United Kingdom","Bjørnsen E., NORCE Norwegian Research Center, Norway; Woddis J., University of Warwick, United Kingdom","This article considers whether the German concept of “Bildung”, meaning human personal growth—a term not often used in English debates about culture or education—can help in understanding differing pedagogical and philosophical approaches to recent music education policy in England. It explores connections between two conceptions of Bildung: “object-oriented” and “subject-oriented”; two key approaches to education: “traditional” and “progressive”; and two models of cultural policy: cultural democracy and democratisation of culture, in explaining one of the significant debates in music pedagogy about how to engage children and young people in music education. In considering these questions, the article examines recent developments in the provision of music education in the English school system, particularly the National Plan for Music Education, Music Education Hubs and the independent Musical Futures initiative. We conclude that recent government policies incorporate ideas of the authority of teachers and a musical canon, while other approaches give more priority to children’s own musical references and activity. Our three related theories shed light on this continuing debate about value and engagement in music education, and on the place of children and young people in their musical learning. © The Author(s) 2019."," Bildung; cultural authority; culture and democracy; music education policy; musical engagement","","","","","","Research Council Norway, (220959)","We would like to thank our two anonymous reviewers for their valuable comments. The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This article is part of a larger research project, funded by Research Council Norway [grant number 220959]: The relational politics of aesthetics: Negotiating relations between art and society through cultural policy (https://estetikkpolitikk.wordpress.com/about/).","Arnold M., Culture and anarchy, (1935); Barnard F.M., J. G. Herder on social and political culture, (1969); Belfiore E., Auditing culture: The subsidised cultural sector in the new public management, International Journal of Cultural Policy, 10, 2, pp. 183-202, (2004); Bennett O., Cultural policy, cultural pessimism and postmodernity, International Journal of Cultural Policy, 4, 1, pp. 67-84, (1997); Bennett O., Beyond machinery: The cultural policies of Matthew Arnold, History of Political Economy, 37, 3, pp. 455-482, (2005); Bjornsen E., Norwegian cultural policy – a civilising mission? The cultural rucksack and abstract faith in the transforming powers of the arts, Poetics, 40, 4, pp. 382-404, (2012); Report of the Consultative Committee on the Primary School, (1931); Bruford W.H., The German tradition of self-cultivation: Bildung from Humboldt to Thomas Mann, (1975); Burrow J.W., Editor’s introduction, Wilhelm Von Humboldt: The limits of state action, (1993); Burston W.H., The influence of John Dewey in English official reports, International Review of Education, 7, 3, pp. 311-325, (1961); Clarke E., Dibben N., Pitts S., Music and mind in everyday life, (2010); Music education in England: A review by Darren Henley for the Department for Education and the Department for Culture, Media and Sport, (2011); The importance of music: A national plan for music education, (2011); National curriculum in England: Music programmes of study, (2013); National statistics. School workforce in England: November 2015, (2016); Children and their primary schools: A report of the Central Advisory Council for Education (England), (1967); Dewey J., Democracy and education: An introduction to the philosophy of education, (2011); Evrard Y., Democratizing culture or cultural democracy?, Journal of Arts Management, Law and Society, 27, 3, pp. 167-175, (1997); Finney J., Music education in England, 1950–2010: The child-centred progressive tradition, (2011); Ford C., Green L., The phenomenology of music: Implications for teenage identities and music education, Philosophy of music education challenged: Heideggerian inspirations: Music, education and personal development, (2015); Forster M.N., Johann Gottfried von Herder: Philosophical Writings, (2002); Gammon V., Cultural politics of the English National Curriculum for Music, 1991–1992, Journal of Educational Administration and History, 31, 2, pp. 130-147, (1999); Gattinger M., Democratization of culture, cultural democracy and governance, (2011); Girard A., Gentil G., Cultural development: Experiences and policies, (1983); Gove M., Why traditional education is a work of social justice – one that I’m striving to deliver, (2013); Green L., Music, informal learning and the school: A new classroom pedagogy, (2008); Hallam S., The power of music: A research synthesis of the impact of actively making music on the intellectual, social and personal development of children and young people, (2015); Hallam S., Whole Class Ensemble Teaching (WCET) final report, (2016); Helsvig K.G., Norsk reformpedagogikk I historisk perspektiv, Nytt Norsk Tidsskrift, 2, pp. 173-181, (2004); Hermeling S., Bildung – the freedom of the educated, Journal of Adult and Continuing Education, 9, 2, pp. 167-180, (2003); Hesmondhalgh D., Why music matters, (2013); Hewison R., Culture and consensus: England, art and politics since 1940, (1995); Horkheimer M., Adorno T.W., The culture industry: Enlightenment as mass deception, Dialectic of the Enlightenment: Philosophical fragments, pp. 94-136, (2002); Illeris H., Kunstpædagogisk teori og praksis i didaktisk perspektiv, Nordisk Museologi, 1, pp. 29-49, (2010); Jeffers J., Moriarty G., Culture, democracy and the right to make art: The British community arts movement, (2017); Knell J., Taylor M., Arts funding, austerity and the big society: Remaking the case for the arts, (2011); Korsgaard O., Lovlie L., Innledning, Dannelsens forvandlinger, (2003); Lowe R., The death of progressive education: How teachers lost control of the classroom, (2007); Matarasso F., Landry C., Balancing act: Twenty-one strategic dilemmas in cultural policy, (1999); Mills J., Music in the school, (2005); Nielsen H.K., The technocratisation of the field of cultural policy and the role of critical research, Nordisk Kulturpolitisk Tidskrift, 9, 1, pp. 137-154, (2006); Nussbaum M.C., Upheavals of thought: The intelligence of emotions, (2001); Paynter J., Sound & structure, (1992); Paynter J., Aston P., Sound and silence: Classroom projects in creative music, (1970); Pitts S., Chances and choices: Exploring the impact of music education, (2012); Price D., Musical Futures: An emerging vision, (2005); Reedy J., The failure of progressive education and the return to classical models, (2007); Rogers L., Hallam S., Music services, Music education in the 21st century in the United Kingdom, (2010); Savage J., Survey of Musical Futures: A report from Institute of Education, University of London for the Paul Hamlyn Foundation, (2009); Scruton R., Why we need grammar schools, (2015); Scruton R., What’s the point of education?, (2016); Vestheim G., Kulturpolitikk i det moderne Noreg, (1995); Willis P., Notes on common culture – towards a cultural policy for grounded aesthetics, International Journal of Cultural Policy, 4, 2, pp. 413-430, (1998); Woddis J., CBSO Stay Tuned programme supported by “Born to Be”: An evaluation report, (2014); Woddis J., Nilsen A.C.E., Music for one and all? Music education policy in Norway and England, Aesthetics and politics: A Nordic perspective on how cultural policy negotiates the agency of music and arts, (2018); Wraga W.G., Condescension and critical sympathy: Historians of education on progressive education in the United States and England, Pedagogica Historica, 50, 1-2, pp. 59-75, (2014)","J. Woddis; University of Warwick, United Kingdom; email: J.Woddis@warwick.ac.uk","","SAGE Publications Ltd","","","","","","1321103X","","","","English","Res. Stud. Music Educ.","Article","Final","","Scopus","2-s2.0-85068358500"
"Suslova N.V.","Suslova, Nelly V. (57221751437)","57221751437","OPPORTUNITIES AND RISKS OF DISTANCE FORMAT IN MUSIC LEARNING TO SCHOOLCHILDREN","2020","Musical Art and Education","8","4","","116","135","19","2","10.31862/2309-1428-2020-8-4-116-135","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85100043999&doi=10.31862%2f2309-1428-2020-8-4-116-135&partnerID=40&md5=479e07b8fa352da52e4c63eda3d642cd","A. P. Borodin Children’s Music School, Moscow, 109390, Russian Federation","Suslova N.V., A. P. Borodin Children’s Music School, Moscow, 109390, Russian Federation","The article is devoted to the analysis of the forms and methods of music learning to schoolchildren during the self-isolation period. Distance learning is viewed in the context of new trends, opportunities and risks in relation to the various disciplines of the children’s music school curriculum, as well as music lessons in the mainstream school. Among the most acute problems are the vulnerability of the initial stage of musical education, losses in the artistic side of the musical-pedagogical process, individualization of teaching, and the impossibility of collective playing music. Separately considered such issues as the implementation of programmed teaching technology in the field of solfeggio and music theory; examples of algorithms and criterion scales for organizing students’ self-control are given. The problems of the transformation of listener’s perception under the influence of slide shows, the intrusion of the laws of screen arts into musical and pedagogical activity are touched upon. Music and educational content presented as part of large digital educational platforms was subjected to critical analysis. © 2020. All Rights Reserved.","digital technologies; distance learning; educational video recording; electronic resources; music education; music school; music teacher; programmed learning; Russian electronic school; self-isolation","","","","","","","","Strakovich Yu. V., Tsifrolyutsiya: chto sluchilos’ s muzykoj v XXI veke [Digilution: What Happened to Music in the XXI Century], (2015); Kryukova I. A., Klavishnaya elektronika i tekhnologii zvuka [Keyboard Electronics and Sound Technologies]. A Textbook for Students of Synthesizer Classes, (2009); Frazer J., It’s Here: The Bicoastal Piano Lesson; Golovko D. I., Spetsifika rabofy kontsertmejstera v usloviyakh distantsionnogo obucheniya: obobshhenie prakticheskogo opyta [Specifics of Working as an Accompanist in the Conditions of Distance Learning: A Synthesis of Practical Experience], (2020); Guseva T. V., Suslova N. V., Management of Music School in Remote Mode in the Context of Restrictive Measures Related to Coronavirus Pandemic, Materials of the IX International Correspondence Scientific-Practical Conference “Aktual’nye problemy sovremennykh obshhestvennykh nauk v usloviyakh vyzovov mirovoj pandemii COVID-19 [Actual Problems of Modern Social Sciences in the Context of the Challenges of COVID-19 Global Pandemic], pp. 48-57; Krasy A., Virtual’nyj khor real’nogo Erika Vitakera [Virtual Choir of the Real Eric Whitaker]; V Ekaterinburge 150 shkol’nikov na distante speli «Smuglyanku» [In Yekaterinburg, 150 schoolchildren sang “Smug"" at a distance]; Zhivaykin P. L., Glinka «Slav’sya». Detskij orkestr sintezatorov; Konnova E. V., Alyokhina T. R., Ideal’nyj slukh [Perfect Pitch]; Gromadin V. V., SolFa; Theta Music Trainer; Nikandrov N. D., Programmirovannoe obuchenie i idei kibernetiki [Programmed Training and Ideas of Cybernetics], (1970); Klarin M. V., Tekhnologiya obucheniya: ideal i real’nost' [Educational Technology: The Ideal and the Reality], (1999); Educational Internet project “Infourok [Infolesson]; Moscow electronic school; Russian electronic school","N.V. Suslova; A. P. Borodin Children’s Music School, Moscow, 109390, Russian Federation; email: nellysus@yandex.ru.","","Moscow Pedagogical State University","","","","","","23091428","","","","English","Musical Art Educ.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85100043999"
"Manternach B.; Manternach J.N.","Manternach, Brian (57195570034); Manternach, Jeremy N. (36761345500)","57195570034; 36761345500","Survey of University Acting Majors regarding the Most Useful Elements of Singing Training","2019","Voice and Speech Review","13","3","","312","321","9","4","10.1080/23268263.2019.1579481","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85096563768&doi=10.1080%2f23268263.2019.1579481&partnerID=40&md5=20f8a41da447261390dc36ba7891ef9c","Department of Theatre, University of Utah, Salt Lake City, UT, United States; School of Music/College of Education, University of Iowa, Iowa City, IA, United States","Manternach B., Department of Theatre, University of Utah, Salt Lake City, UT, United States; Manternach J.N., School of Music/College of Education, University of Iowa, Iowa City, IA, United States","A three-semester singing course devised for university acting majors had a three-fold focus: (1) performing songs, (2) basic music theory/sight reading, and (3) basic vocal pedagogy (anatomy, technique, wellness). After 4 years of the course, 59 students who completed at least one semester completed a survey assessing which elements of the curriculum were most useful as preparation for subsequent auditions and performances. Respondents indicated that, while enrolled in the courses, they perceived performing songs to be the most useful element (44.1%), followed by music theory (39.0%) and vocal pedagogy (17.0%). After completing at least one semester, these results inverted, with vocal pedagogy perceived to be most useful (40.7%), followed by music theory (32.2%) and performing songs (27.1%). This trend increased as students were further removed from the course. Therefore, most students initially felt best served by performing songs and, as time progressed, they saw greater value in vocal pedagogy and music theory as preparation for professional pursuits. However, students most often reported that they would increase the amount of performing songs (57.6%) and decrease the amount of vocal pedagogy (50.8%). The article discusses these results in terms of curriculum and future research. © 2019 Voice and Speech Trainers Association.","actor training; college/university curriculum; music; pedagogy; Singing; voice; voice pedagogy","","","","","","","","Bartlett I., Reflections on Contemporary Commercial Singing: An Insider’s Perspective, Voice and Speech Review, 8, 1, pp. 27-35, (2014); Demorest S., Stop Obsessing Over Talent—Everyone Can Sing, The Conversation, (2017); Gross-Loh C., How Praise Became a Consolation Prize, The Atlantic, (2016); Melton J., Work More: Integrating Singing Technique into Theatre Voice Training, Voice and Speech Review, 2, 1, pp. 312-314, (2001); Saunders-Barton M., The Well Spoken Singer, Voice and Speech Review, 4, 1, pp. 281-282, (2005); Spivey N., Barton M.S., Cross-Training in the Voice Studio: A Balancing Act, (2018); Ware C., Basics of Vocal Pedagogy: The Foundations and Process of Singing, (1998); Wayth L., Reinvesting in Language: The Use of Singing in Verse Text Exploration, Voice and Speech Review, 7, 1, pp. 307-309, (2011)","B. Manternach; Department of Theatre, University of Utah, Salt Lake City, United States; email: brian.manternach@utah.edu","","Bellwether Publishing, Ltd.","","","","","","23268263","","","","English","Voice Speech Rev.","Article","Final","","Scopus","2-s2.0-85096563768"
"Herrero L.; Carriedo N.","Herrero, Laura (57113236800); Carriedo, Nuria (7801565369)","57113236800; 7801565369","The contributions of updating in working memory sub-processes for sight-reading music beyond age and practice effects","2019","Frontiers in Psychology","10","JAN","1080","","","","9","10.3389/fpsyg.2019.00090","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85064314618&doi=10.3389%2ffpsyg.2019.00090&partnerID=40&md5=e6d88660b4d67fa8730f17209d7eea18","Universidad Camilo José Cela, Spain; Universidad Nacional de Educación a Distancia (UNED), Spain","Herrero L., Universidad Camilo José Cela, Spain; Carriedo N., Universidad Nacional de Educación a Distancia (UNED), Spain","Music sight reading (SR), has been described as a complex task which involves the simultaneous reading of new non-rehearsed material and performance. Although practice related skill have revealed as the most significant predictor of SR, working memory (WM) processes have shown its relevance in the study of individual differences in SR. We aimed to determine how the updating in WM sub-processes of retrieval/transformation and substitution, could differentially contribute to SR when the effects of age and practice were controlled, and according to the difficulty of the SR tasks and the different indexes of performance measured (SR error, tempo maintenance, rhythmic accuracy, pitch accuracy, articulation accuracy and expressiveness). 131 music students of different ages and levels of instrument knowledge participated in the study. The results showed that whereas the efficiency in the retrieval/transformation sub-processes contributed to SR regardless of the difficulty of the SR tasks, the substitution sub-process also contributed to performance at sight but only in low demanding SR tasks. The results also showed all the updating sub-processes were engaged in SR regarding the proportion of error and rhythmic accuracy. However, both expressiveness and tempo maintenance seemed to be uniquely driven by efficiency in the retrieval/transformation sub-processes, whereas articulation accuracy relied on the efficiency to suppress irrelevant information from WM. © 2019 Herrero and Carriedo.","Music; Practice; Retrieval; Sight-reading; Sub-process; Substitution; Transformation; Updating; Working memory; Working meo","","","","","","","","","N. Carriedo; Universidad Nacional de Educación a Distancia (UNED), Madrid, Spain; email: ncarriedo@psi.uned.es","","Frontiers Media S.A.","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","","Scopus","2-s2.0-85064314618"
"Bremmer M.; Nijs L.","Bremmer, Melissa (57215082628); Nijs, Luc (36462725900)","57215082628; 36462725900","The Role of the Body in Instrumental and Vocal Music Pedagogy: A Dynamical Systems Theory Perspective on the Music Teacher's Bodily Engagement in Teaching and Learning","2020","Frontiers in Education","5","","79","","","","28","10.3389/feduc.2020.00079","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85089418028&doi=10.3389%2ffeduc.2020.00079&partnerID=40&md5=3b602728a177b7b72ef3c536211373a9","Research Group Arts Education, Amsterdam University of the Arts, Amsterdam, Netherlands; IPEM, Department of Musicology, Ghent University, Ghent, Belgium; CORPoREAL, Department of Music, Royal Conservatory Antwerp, Antwerp, Belgium","Bremmer M., Research Group Arts Education, Amsterdam University of the Arts, Amsterdam, Netherlands; Nijs L., IPEM, Department of Musicology, Ghent University, Ghent, Belgium, CORPoREAL, Department of Music, Royal Conservatory Antwerp, Antwerp, Belgium","Instrumental and vocal teachers often employ their body in teaching to facilitate sensorimotor engagement with the voice or an instrument. Yet, teacher's bodily engagement in instrumental and vocal education is scarcely addressed in music educational research studies. In our view, this scarcity is related to the lack of a framework about the role of the music teacher's body in instrumental and vocal education. In this article, we will adopt a dynamical systems theory perspective to set first steps in conceptualizing the role of the instrumental and vocal teacher's body in teaching and learning music. From this perspective, learning processes are viewed as emerging from the learner's goal-oriented, situated, adaptive actions in the learning environment. Teachers play a significant role in that environment, due to the different types of constraints (e.g., environmental and task constraints) they can introduce to aid learners in finding a solution for a musical task. In this article, we argue that different types of teacher's bodily engagement can act as constraints in instrumental and vocal music learning, thereby facilitating the learning process in non-verbal ways. To demonstrate this, we describe four types of bodily involvement: physical modeling, action demonstration, pedagogical gestures and touch. In summary, based on existing theoretical and empirical research, the article will present a first conceptualization of the role of the music teacher in instrumental and vocal education viewed from a dynamical systems approach. © Copyright © 2020 Bremmer and Nijs.","action demonstration; constraint-led pedagogy; dynamical systems theory; instrumental and vocal music education; pedagogical gestures; physical modeling; touch","","","","","","","","Abrahamson D., Sanchez-Garcia R., Smyth C., “Metaphors are projected constraints on action: an ecological dynamics view on learning across the disciplines,”, Transforming Learning, Empowering Learners, Proceedings of the International Conference of the Learning Sciences (ICLS 2016), Vol. 1, pp. 314-321, (2016); Abrahamson D., Sanchez-Garcia R.P., Learning is moving in new ways: the ecological dynamics of mathematics education, J. Learn. Sci, 25, pp. 203-239, (2016); Alibali M., Nathan M.J., Embodiment in mathematics teaching and learning: evidence from learners' and teachers' gestures, J. Learn. Sci, 21, pp. 247-286, (2011); Atencio M., Yi C.J., Clara T.W.K., Miriam L.C.Y., Using a complex and non-linear pedagogical approach to design practical primary physical education lessons, Eur. Phys. Educ. Rev, 20, (2014); Aubin D., Dahan Dalmedico A., Writing the history of dynamical systems and chaos: longue durée and revolution, disciplines and cultures, Hist. Math, 29, pp. 273-339, (2002); Bamberger J., Discovering the Musical Mind: a View of Creativity as Learning, (2013); Bonshor M.J., Confidence and the choral singer: The effects of choir configuration, collaboration and communication, (2014); Bransford J., How People Learn: Brain, Mind, Experience, and School, (2000); Bremmer M., What the body knows about teaching music: the specialist preschool music teacher's pedagogical content knowing regarding teaching and learning rhythm skills viewed from an embodied cognition perspective, (2015); Bresler L., “Prelude,”, Knowing Bodies, Moving Minds. Towards Embodied Teaching and Learning, pp. 7-11, (2004); Bruner J., The Culture of Education, (1996); Burwell K., Apprenticeship in music: a contextual study for instrumental teaching and learning, Int. J. Music Educ, 31, pp. 276-291, (2012); Campbell P.S., Unsafe suppositions? Cutting across cultures on questions of music's transmission, Music Educ. Res, 3, pp. 215-227, (2001); Chemero A., An outline of a theory of affordances, Ecol. Psychol, 15, pp. 181-195, (2003); Chow J.Y., Davids K., Hristovski R., Arajo D., Passos P., Nonlinear pedagogy: learning design for self-organizing neurobiological systems, New Ideas Psychol, 29, pp. 189-200, (2011); Creech A., Hallam S., Interpersonal interaction within the violin teaching studio: the influence of interpersonal dynamics on outcomes for teachers, Psychol. Music, 38, pp. 403-421, (2010); Demos A.P., Chaffin R., Kant V., Toward a dynamical theory of body movement in musical performance, Front. Psychol, 5, (2014); Downey G., Scaffolding imitation in capoeira: physical education and enculturation in an afro-brazilian art, Am. Anthropol, 110, (2008); Durrant C., Varvarigou M., (2015); Ennis J., Reconceptualizing learning as a dynamical system, J. Curric. Superv, 7, pp. 173-183, (1992); Fatone G., Clayton M., Leante L., Rahaim M., “Imagery, melody and gesture in cross-cultural perspective,”, New Perspectives on Music and Gesture, pp. 203-220, (2011); Foletto C., Exploring the “secret garden”: instructional communication in one-to-one instrumental lessons, Eduser - Revista De Educação, 10, pp. 50-72, (2018); Haston W., Teacher modeling as an effective teaching strategy, Music Educ. J, 93, pp. 26-30, (2007); Hirose N., An ecological approach to embodiment and cognition, Cogn. Syst. 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Philos, 92, pp. 345-381, (1995); Weddle A.B., Hollan J.D., Professional perception and expert action: scaffolding embodied practices in professional education, Mind Cult. Activity, 17, pp. 119-148, (2010); Zhukov K., Teaching styles and student behaviour in instrumental music lessons in Australian Conservatoriums (Unpublished doctoral dissertation), (2004); Zorzal R., Lorenzo O., Teacher–student physical contact as an approach for teaching guitar in the master class context, Psychol. Music, 47, pp. 69-82, (2019)","M. Bremmer; Research Group Arts Education, Amsterdam University of the Arts, Amsterdam, Netherlands; email: melissa.bremmer@ahk.nl","","Frontiers Media S.A.","","","","","","2504284X","","","","English","Front. Educ.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85089418028"
"Savage-Kroll C.","Savage-Kroll, Camille (57208255897)","57208255897","Supporting parent-child bonding through relationship based community music programmes: Description of an elemental music pedagogy programme with young, at-risk mothers and their children","2019","International Journal of Community Music","12","1","","27","34","7","3","10.1386/ijcm.12.1.27_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85064247232&doi=10.1386%2fijcm.12.1.27_1&partnerID=40&md5=13fd0e8872573eaddfdd9db6969ae20e","Hochschule für Musik Freiburg, Germany","Savage-Kroll C., Hochschule für Musik Freiburg, Germany","Through numerous studies in the field of brain and learning research we know that the first years of a child’s life play a crucial developmental role and that actively engaging with music in these early years can have positive effects on overall development. Music addresses all aspects of intelligence - the cognitive, emotional, social, mental and the spiritual. It touches, unites and encompasses every facet of being human. Attachment Theory emphasizes the primary importance of secure bonding and attunement in children’s development. In Germany, parent-child music groups have boomed since the 1990s. In recent years there has been a movement in the area of Elemental Music Pedagogy towards creating community music groups for parents of babies or young children with the explicit goal of strengthening the parent-child bond. In partnership with organizations supporting young mothers in hardship, music courses are being developed and offered for this specific group. This article aims to present the theoretical groundwork of such groups and examines recent practical examples. © 2019 Intellect Ltd Editorial. English language.","Attachment theory; Community music; Elemental Music; Germany; Parent-child bonding; Pedagogy (EMP); Teen mothers","","","","","","","","Ainsworth M., Attachments and other affectional bonds across the life cycle, Attachment across the Life Cycle, pp. 33-51, (1993); Bowlby J., The Making and Breaking of Affectional Bonds, (2005); Dartsch M., Musikalische Bildung Von Anfang An: Perspektiven Aus Entwicklungspsychologie Und Pädagogik, (2007); Dartsch M., Eltern-Kind-Gruppe an Musikschulen: Grundlagen, Materialien, Unterrichtsgestaltung, (2008); Dartsch M., Savage-Kroll C., Schmidt K., Steffen-Wittek M., Stiller B., Vogel C., Timpano: Elementare Musikpraxis in Themenkreisen für Kinder Von 0 Bis, (2016); Emmerson J., Nicol J.J., McIntyre L.J., Teen mother and child experiences in a parent-child music program, Creative Education, 7:7, pp. 941-951, (2016); Erickson M.F., Egeland B., Linking theory and research to practice: The Minnesota Longitudinal Study of Parents and Children and the STEEPTM program, Clinical Psychologist, 8, 1, pp. 5-9, (2004); Erickson M.F., Egeland B., Die Stärkung Der Eltern-Kind-Bindung: Frühe Hilfen für Die Arbeit Mit Eltern Von Der Schwangerschaft Bis Zum Zweiten Lebensjahr Des Kindes Durch Das Steep-Programm, (2016); Goldsmith D., The emotional dance of attachment, Clinical Social Work Journal, 38, 1, pp. 4-7, (2010); Gordon E.E., A Music Learning Theory for Newborn and Young Children, (1997); Jaschke A.C., Honing H., Scherder E.J.A., Longitudinal analysis of music education on executive functions in primary school children, Frontiers in Neuroscience, 12, (2018); Kraus N., Hornickel J., Strait D.L., Slater J., Thompson E., Engagement in community music classes sparks neuroplasticity and language development in children from disadvantaged backgrounds, Frontiers in Psychology, 5, (2014); Meyer D., Wood S., Stanley B., Nurture is nature: Integrating brain development, systems theory and attachment theory, The Family Journal, 21, 2, pp. 162-169, (2013); Moreno S., Farzan F., Music training and inhibitory control: A multidimensional model: Music training and inhibitory control, Annals of the New York Academy of Sciences, 1337, 1, pp. 147-155, (2015); Pasiali V., Music therapy and attachment relationships across the life span, Nordic Journal of Music Therapy, 23, 3, pp. 202-223, (2013); Seeliger M., Das Musikschiff: Kinder Und Eltern Erleben Musik: Von Der pränatalen Zeit Bis Ins Vierte Lebensjahr, (2003); Stippler R., Musikalische Früherzeihung, Entwicklungen Und Aspekte Eines Fachs Im Letzten Drittel Des 20, (2011); Strait D.L., Parbery-Clark A., O'Connell S., Kraus N., Biological impact of preschool music classes on processing speech in noise, Developmental Cognitive Neuroscience, 6, pp. 51-60, (2013); Stubbs R.M., A review of attachment theory and internal working models as relevant to music therapy with children hospitalized for life threatening illness, The Arts in Psychotherapy, 57, pp. 72-79, (2018)","C. Savage-Kroll; Hochschule für Musik Freiburg, Freiburg, Schwarzwaldstr. 141, 79102, Germany; email: camillensk@gmail.com","","Intellect Ltd.","","","","","","17526299","","","","English","Int. J. Community Music","Article","Final","","Scopus","2-s2.0-85064247232"
"Attas R.","Attas, Robin (57637711700)","57637711700","Music theory as social justice: Pedagogical applications of Kendrick Lamar's to pimp a butterfly","2019","Music Theory Online","25","1","","","","","6","10.30535/mto.25.1.8","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85070752552&doi=10.30535%2fmto.25.1.8&partnerID=40&md5=5e9ed112452b7bfc97ce68c045358412","Queen's University, Center for Teaching and Learning, F200 Mackintosh-Corry Hall, Kingston, K7L 3N6, ON, Canada","Attas R., Queen's University, Center for Teaching and Learning, F200 Mackintosh-Corry Hall, Kingston, K7L 3N6, ON, Canada","Kendrick Lamar's To Pimp A Butterfly offers core music theory instructors many opportunities: to engage with popular music in a curriculum traditionally focused on art music, to discuss theoretical topics not usually considered in the music theory core (including flow, groove, meter and rhythm), and to diversify the range of composer identities included in classroom repertoire. The album's focus on African-American experiences of race and racism in the contemporary United States also allows instructors to integrate social justice topics with musictheoretical ones. This article discusses three possible models for such integration. In the ""plug-andplay"" model, examples from the album are embedded within lesson plans focused on traditional music theory topics. In the ""concept"" model, the undergraduate core curriculum is reorganized to focus on musical concepts rather than on analytical approaches to a particular repertoire, and musical examples from the album are used to explore analytical strategies for each concept. Finally, in the ""social justice"" model, the album is used as a springboard for classroom discussions and assignments about race, racism, poverty, and more, while still maintaining focus on analytical methods. For all three types, the author includes sample teaching materials including lesson plans, curricular design strategies, and teaching techniques. With this work, the author encourages instructors of all backgrounds, abilities, and institutional settings to consider ways of incorporating social justice into their own classrooms to change the world for the better. Copyright © 2019 Society for Music Theory.","Hip hop; Music theory pedagogy; Popular music pedagogy; Popular music theory; Race; Racism; Undergraduate music theory curriculum","","","","","","","","Anderson L.W., Krathwohl D.R., A Taxonomy for Learning, Teaching, and Assessing: A Revision of Bloom's Taxonomy of Educational Objectives., (2001); Biamonte N., Pop-Culture Pedagogy in the Music Classroom., (2011); Bloom B.S., Taxonomy of Educational Objectives: The Classification of Educational Goals., (1956); Blum L., I'M Not A Racist, But... : The Moral Quandary of Race, (2002); Bradley D., Standing in the shadows of mozart: Music education, world music, and curricular change, College Music Curricula for A New Century, pp. 205-221, (2017); Caplin W.E., Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven., (1998); Collaros P., The music of the beatles in undergraduate music theory instruction, Indiana Theory Review, 21, pp. 53-78, (2000); Erickson H.L., Concept-based Curriculum and Instruction., (2002); Everett W., Swallowed by a song: Paul Simon's crisis of chromaticism, Understanding Rock, pp. 113-153, (1997); Everett W., The Foundations of Rock: From ""blue Suede Shoes"" to ""suite: Judy Blue Eyes."", (2008); Folse S., Popular music as a pedagogical resource for musicianship: Contextual listening, prolongations, mediant relationships, and musical form, Journal of Music Theory Pedagogy, 18, pp. 65-79, (2004); Hill M.L., Beats, Rhymes, and Classroom Life: Hip-Hop Pedagogy and the Politics of Identity., (2009); Jones C.P., Telling stories: Allegories on 'race' and racism, Speech Delivered at TedX Emory, (2014); Kajikawa L., Sounding Race in Rap Songs., (2015); King M.L., I Have a Dream, Speech Delivered at the March on Washington for Jobs and Freedom, (1963); Koetting J., Analysis and notation of West African drum ensemble music, Selected Reports in Ethnomusicology, 1, 3, pp. 115-146, (1970); Kruse A.J., Toward hip-hop pedagogies for music education, International Journal of Music Education, 34, 2, pp. 247-260, (2016); Land R.R., Stovall D.O., Hip hop and social justice education, Special Issue of Equity and Excellence in Education, 42, 1, pp. 1-5, (2009); Lasuen Hernandez S., La ausencia de las músicas populares urbanas en las programaciones de los conservatorios españoles: Una incoherente tradición normalizada con fecha de caducidad, Cuadernos de Etnomusicología, 4, pp. 37-59, (2014); London J.M., One step up': A lesson from pop music, Journal of Music Theory Pedagogy, 4, 1, pp. 111-114, (1990); Lyman F., Think-pair-share: An expanding teaching technique, MAA-CIE Cooperative News, 1, pp. 1-2, (1987); MacLachlan H., Teaching traditional music theory with popular songs: Pitch structures, Pop-Culture Pedagogy in the Music Classroom, pp. 73-94, (2011); Malawey V., Ear training with the music of radiohead, Indiana Theory Review, 30, 2, pp. 27-64, (2012); Marvin E.W., The core curricula in music theory: Developments and pedagogical trends, Journal of Music Theory Pedagogy, 26, pp. 255-263, (2012); McNally J., Azealia banks's '212': Black female identity and the white gaze in contemporary hip-hop, Journal of the Society for American Music, 10, 1, pp. 54-81, (2016); Mooney B., Why i dropped everything and started teaching Kendrick Lamar's new album, Personal Blog Entry, (2015); Osborn B., Pop-rock pedagogy: Composition, performance, transcription and analysis in the undergraduate theory core, The Norton Guide to Teaching Music Theory, pp. 221-233, (2018); Parsons L., Ravenscroft B., Analytical Essays on Music by Women Composers: Concert Music, 1960-2000, (2016); Peterson J.B., Hip Hop Headphones: A Scholar's Critical Playlist., (2016); Roig-Francoli M., Understanding Post-Tonal Music., (2007); Rosenberg N.E., Bach, Beck, and Bjork Walk into a bar: Reclassifying harmonic progressions to accommodate popular music repertoire in the traditional music theory class, Journal of Music Pedagogy, 28, pp. 163-209, (2014); Spicer M., (Ac)cumulative form in pop-rock music, Twentieth-Century Music, 1, 1, pp. 29-64, (2004); Stamatis Y., Towards a philosophy of student-centered music and social justice learning, Engaging Students: Essays in Music Pedagogy, 2, (2014); Stengel B., Facing fear, releasing resistance, enabling education, Philosophical Studies in Education, 39, pp. 66-75, (2008); Stephenson K., What to Listen for in Rock., (2002); Tatum B.D., Why Are All the Black Kids Sitting Together in the Cafeteria?, (1997); Terhag J., Populäre Musik und Pädagogik: Grundlagen und Praxismaterialien. III: Orale Musiktradierung, Musiktheorie, Improvisation, Mediale Lebenswelten [Popular Music and Pedagogy: Fundamentals and Practical Materials. III: Oral Music Transmission, Music Theory, Improvisation, Media Worlds.], (2000); Threadgold M., Teaching kendrick lamar and social justice in and outside the classroom, Observer, (2015); Thurman K., Turner K., Six easy was to immediately address racial and gender diversity in your music history classroom, Musicology Now, (2017); Honouring the Truth, Reconciling for the Future: Summary of the Final Report of the Truth and Reconciliation Commission of Canada., (2015); Wade B.C., Thinking Musically: Experiencing Music, Expressing Culture., (2012); Williams J.A., The Cambridge Companion to Hip-Hop, (2015)","R. Attas; Queen's University, Center for Teaching and Learning, F200 Mackintosh-Corry Hall, Kingston, K7L 3N6, Canada; email: robin.attas@gmail.com","","Society for Music Theory","","","","","","10673040","","","","English","Music Theory Online","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85070752552"
"Johnson C.","Johnson, Carol (57193753881)","57193753881","Teaching music online: Changing pedagogical approach when moving to the online environment","2017","London Review of Education","15","3","","439","456","17","75","10.18546/LRE.15.3.08","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85042645878&doi=10.18546%2fLRE.15.3.08&partnerID=40&md5=6b5a1f5d87489736717e1e9a98fb5a2c","University of Melbourne, Australia","Johnson C., University of Melbourne, Australia","The development of educational technology has provided platforms for undergraduate music courses to take place in an online environment. While technology is available, this does not mean that all teaching staff are ready for the pedagogical change required to implement teaching online. A transformation of pedagogical practice (that is, to online pedagogy) is required for teaching courses online. Researchers suggest that the use of social-constructivist learning and collaborative online learning models strongly support online student learning. The following case study explores how teaching staff in an American university music department (N=7) transformed their pedagogy when teaching undergraduate music courses online. The study highlights the diversity of perceptions about teaching music online, and the influence of these perceptions on the pedagogical approaches and strategies used when teaching and developing an online music course. The pedagogical elements of teaching music online were found to have connections with the community of inquiry framework’s nexus of teaching presence, cognitive presence and social presence, and suggested a social-constructivist course design. Finally, the findings show that teaching staff experienced a shift of pedagogical approach when transitioning to teaching music online. Implications include assisting music faculty in the adoption of pedagogical approaches and that they should be addressed at individual, departmental and institutional levels. © 2017 Johnson.","Online music pedagogy; Online teaching","","","","","","","","Adileh M., Teaching music as a university elective course through e-learning, Australian Journal of Music Education, 1, pp. 71-79, (2012); Akyol Z., Garrison D.R., The development of a community of inquiry over time in an online course: Understanding the progression and integration of social, cognitive and teaching presence, Journal of Asynchronous Learning Networks, 12, 34, pp. 3-22, (2008); Anderson T., Rourke L., Garrison D.R., Archer W., Assessing teaching presence in a computer conferencing context, Journal of Asynchronous Learning Networks, 5, 2, pp. 1-17, (2001); Bandura A., Self-referent thought: A developmental analysis of self-efficacy, Social Cognitive Development: Frontiers and Possible Futures, pp. 200-239, (1981); Biasutti M., Assessing a collaborative online environment for music composition, Journal of Educational Technology and Society, 18, 3, pp. 49-63, (2015); Bowen W.G., Chingos M.M., Lack K.A., Nygren T.I., Online learning in higher education: Randomized trial compares hybrid learning to traditional course, Education Next, 13, 2, pp. 58-64, (2013); Bowman J., Online Learning in Music: Foundations, Frameworks, and Practices, (2014); Brandstrom S., Wiklund C., Lundstrom E., Developing distance music education in Arctic Scandinavia: Electric guitar teaching and master classes, Music Education Research, 14, 4, pp. 448-456, (2012); Campbell P.S., Hebert D.G., World beat’, Multicultural Perspectives in Music Education, 2, pp. 115-125, (2010); Coffman D.D., Adult education, The New Handbook of Research on Music Teaching and Learning, pp. 199-209, (2002); Creswell J.W., Educational Research: Planning, Conducting, and Evaluating Quantitative and Qualitative Research, (2012); Dewey J., How We Think, (1910); Draper P., Music two-point-zero: Music, technology and digital independence, Journal of Music, Technology and Education, 1, 23, pp. 137-152, (2008); Dye K.G., Applied Music in an Online Environment Using Desktop Videoconferencing, (2007); Eakes K.W., A Comparison of a Sociocultural and Chronological Approach to Music Appreciation in Face-To-Face and Online Instructional Formats, (2009); Fredrickson W.E., Music majors’ attitudes toward private lesson teaching after graduation: A replication and extension, Journal of Research in Music Education, 55, 4, pp. 326-343, (2007); Fredrickson W.E., Brittin R.V., Undergraduate music performance majors’ attitudes toward private lesson teaching after graduation: A replication, Southern Music Education Journal, 4, 1, pp. 14-29, (2009); Fredrickson W.E., Moore C., Gavin R., Attitudes of select music performance faculty toward students teaching private lessons after graduation: A USA pilot study, International Journal of Music Education, 31, 3, pp. 331-345, (2013); Garrison D.R., E-Learning in the 21St Century: A Framework for Research and Practice, (2011); Green L., Hear, Listen, Play! How to Free Your students’ Aural, Improvisation, and Performance Skills, (2014); Groulx T.J., Hernly P., Online master’s degrees in music education: The growing pains of a tool to reach a larger community, Update: Applications of Research in Music Education, 28, 2, pp. 60-70, (2010); Hammond J., Davis B., The Creative Use of Music Technology to Develop and Enhance Critical Listening Skills in Music, (2005); Harasim L., Learning Theory and Online Technologies, (2017); Henderson M., Selwyn N., Aston R., What works and why? Student perceptions of “useful” digital technology in university teaching and learning, Studies in Higher Education, 42, 8, pp. 1567-1579, (2017); Herrington J., Reeves T.C., Oliver R., Authentic learning environments, Handbook of Research on Educational Communications and Technology, pp. 401-412, (2014); Ito M., Gutierrez K., Livingstone S., Penuel B., Rhodes J., Salen K., Schor J., Sefton-Green J., Watkins S.C., Connected Learning: An Agenda for Research and Design, (2013); Johnson C., Developing a Teaching Framework for Online Music Courses, (2016); Johnson C., Undergraduate online music course offerings rising exponentially: A research study, Paper Presented at the 10Th International Conference for Research in Music Education, (2017); Johnson C., Altowairiki N., Developing teaching presence in online learning through shared stakeholder responsibility, Handbook of Research on Innovative Pedagogies and Technologies for Online Learning in Higher Education, pp. 151-177, (2017); Johnson C., Lamothe V., Shared experiences in effective faculty support for learning to teach post-secondary music in the online environment, Paper Presented at the 10Th International Conference for Research in Music Education, (2017); Jonassen D.H., Designing constructivist learning environments, Instructional-Design Theories and Models: A New Paradigm of Instructional Theory, 2, pp. 215-241, (1999); Jonassen D.H., First principles of learning, Learning, Problem Solving, and Mindtools: Essays in Honor of David H. Jonassen, pp. 287-297, (2013); Jonassen D., Davidson M., Collins M., Campbell J., Haag B.B., Constructivism and computer-mediated communication in distance education, American Journal of Distance Education, 9, 2, pp. 7-26, (1995); Jones P.M., Music education and the knowledge economy: Developing creativity, strengthening communities, Arts Education Policy Review, 106, 4, pp. 5-12, (2005); Keast D.A., A constructivist application for online learning in music, Research and Issues in Music Education, 7, 1, pp. 1-9, (2009); King A., Technology as a vehicle (Tool and practice) for developing diverse creativities, Activating Diverse Musical Creativities: Teaching and Learning in Higher Music Education, pp. 203-222, (2016); King A., Himonides E., Music, Technology, and Education: Critical Perspectives, (2016); King A., Prior H., Waddington C., The study of the effectiveness and impact of online learning for instrumental tuition in rural communities, Paper Presented at the 10Th International Conference for Research in Music Education, (2017); Koehler M.J., Mishra P., What happens when teachers design educational technology? The development of technological pedagogical content knowledge, Journal of Educational Computing Research, 32, 2, pp. 131-152, (2005); Laurillard D., Teaching as a Design Science: Building Pedagogical Patterns for Learning and Technology, (2012); Lincoln Y.S., Guba E.G., Naturalistic Inquiry, (1985); Lock J., Johnson C., Triangulating assessment of online collaborative learning, Quarterly Review of Distance Education, 16, 4, pp. 61-70, (2015); Macdonald J., Poniatowska B., Designing the professional development of staff for teaching online: An OU (UK) case study, Distance Education, 32, 1, pp. 119-134, (2011); Means B., Toyama Y., Murphy R., Bakia M., Jones K., Evaluation of Evidence-Based Practices in Online Learning: A Meta-Analysis and Review of Online Learning Studies, (2010); Meyer A., Rose D.H., Gordon D., Universal Design for Learning: Theory and Practice, (2014); Miles M.B., Huberman A.M., Saldana J., Qualitative Data Analysis: A Methods Sourcebook, (2014); Mills J., Conservatoire students as instrumental teachers, Bulletin of the Council for Research in Music Education, 161-2, pp. 145-153, (2004); Mishra P., Koehler M.J., Technological pedagogical content knowledge: A framework for teacher knowledge, Teachers College Record, 108, 6, pp. 1017-1054, (2006); O'Callaghan F.V., Neumann D.L., Jones L., Creed P.A., The use of lecture recordings in higher education: A review of institutional, student, and lecturer issues, Education and Information Technologies, 22, 1, pp. 399-415, (2017); Palloff R.M., Pratt K., The Excellent Online Instructor: Strategies for Professional Development, (2011); Piaget J., Piaget’s theory’, Carmichael’s Manual of Child Psychology, 1, pp. 703-732, (1970); Picciano A.G., Beyond student perceptions: Issues of interaction, presence, and performance in an online course, Journal of Asynchronous Learning Networks, 6, 1, pp. 21-40, (2002); Purves R., Technology and the educator, The Oxford Handbook of Music Education, 2, pp. 457-475, (2012); Rees F.J., Distance learning and collaboration in music education, The New Handbook of Research on Music Teaching and Learning, pp. 257-273, (2002); Reimer B., A Philosophy of Music Education: Advancing the Vision, (2003); Ruthmann S.A., Hebert D.G., Music learning and new media in virtual and online environments, The Oxford Handbook of Music Education, 2, pp. 567-583, (2012); Salavuo M., Open and informal online communities as forums of collaborative musical activities and learning, British Journal of Music Education, 23, 3, pp. 253-271, (2006); Saldana J., The Coding Manual for Qualitative Researchers, (2013); Scott S., A constructivist view of music education: Perspectives for deep learning, General Music Today, 19, 2, pp. 17-21, (2006); Small C., Musicking: The Meanings of Performing and Listening, (1998); Tallent-Runnels M.K., Thomas J.A., Lan W.Y., Cooper S., Ahern T.C., Shaw S.M., Liu X., Teaching courses online: A review of the research, Review of Educational Research, 76, 1, pp. 93-135, (2006); Vygotsky L.S., Mind in Society: The Development of Higher Psychological Processes, (1978); Waldron J., User-generated content, YouTube and participatory culture on the Web: Music learning and teaching in two contrasting online communities, Music Education Research, 15, 3, pp. 257-274, (2013); Webster P.R., Computer-based technology and music teaching and learning: 2000–2005, International Handbook of Research in Arts Education, pp. 1311-1328, (2007); Yin R.K., Case Study Research: Design and Methods, (2014)","C. Johnson; University of Melbourne, Australia; email: carol.johnson@unimelb.edu.au","","UCL Institute of Education","","","","","","14748460","","","","English","Lond. Rev. Educ.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85042645878"
"Whyte D.; Didkovsky N.; Hutzler S.","Whyte, David (7006358302); Didkovsky, Nick (6602072400); Hutzler, Stefan (55939212000)","7006358302; 6602072400; 55939212000","Zero Waste: Mapping the Evolution of the Iterative Sight-Reading of a Piano Score","2018","Music Theory Spectrum","40","2","","302","313","11","4","10.1093/mts/mty019","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85057210503&doi=10.1093%2fmts%2fmty019&partnerID=40&md5=4a44d286643f52176561b6b8bddbafa9","Trinity College Dublin, Ireland; Fred Frith Guitar Quartet, Ireland; School of Physics, Trinity College Dublin, Ireland","Whyte D., Trinity College Dublin, Ireland; Didkovsky N., Fred Frith Guitar Quartet, Ireland; Hutzler S., School of Physics, Trinity College Dublin, Ireland","We present a numerical analysis of several performances of Zero Waste, a musical piece that results from the interaction of a pianist with a computerized notation and transcription system. Initially, two algorithmically produced measures of music are presented in staff notation for sight-reading. Software then transcribes these measures as played by the performer and displays them again for another round of sight-reading. This iterative process yields complex performances over the piece's duration. Some performances led to a convergence toward somewhat simplified musical patterns, while others exhibited continuous change. Our analysis tracks this evolution through measuring the degree of variation between two consecutive iterations. The resulting graphs present new visualizations that support existing hypotheses about this iterative process of sight-reading and performing and point to new questions regarding automated transcription. © The Author(s) 2018.","measures of music similarity; real-time scoring; sight-reading; visualization of musical performance","","","","","","","","Barrett G.D., Winter M., LiveScore: Real-time notation in the music of Harris Wulfson, Contemporary Music Review, 29, 1, pp. 55-62, (2010); Collins N., Roomtone Variations, (2013); Cooper M., New York City Budget: The deal; Bloomberg and council agree on budget to close big deficit, New York Times, (2002); Dannenberg R.B., Nitely News, (1994); Dannenberg R.B., Extending music notation through programming, Contemporary Music Review, 13, 2, pp. 63-76, (1996); Dannenberg R.B., Email to Nick Didkovsky, (2016); Didkovsky N., Burk P.L., Java music specification language, an introduction and overview, Proceedings of the International Computer Music Conference 2001, pp. 123-126, (2001); Didkovsky N., Java music specification language, v103 update, Proceedings of the International Computer Music Conference, pp. 742-745, (2004); Doornbusch P., A Chronology / History of Electronic and Computer Music and Related Events 1900-2015, (2015); Freeman J., Extreme sight reading, mediated expression, and audience participation: Real-time music notation in live performance, Computer Music Journal, 32, 3, pp. 25-41, (2008); Lemstrom K., Pienimaki A., On comparing edit distance and geometric frameworks in content-based retrieval of symbolically encoded polyphonic music, Musicae Scientiae, 11, 1, pp. 135-152, (2007); Lubiw A., Tanur L., Pattern matching in polyphonic music as a weighted geometric translation problem, Proceedings of the 5th International Symposium on Music Information Retrieval, pp. 289-296, (2004); Polansky L., Morphological metrics, Journal of New Music Research, 25, 4, pp. 289-368, (1996); Repetto D., Hutzler S., Oscillator-Everything in Motion, (2013); Shafer S., Performance practice of real-time notation, Proceedings of Second International Conference on Technologies for Music Notation and Representation, TENOR 2016, (2016); Typke R., Veltkamp R.C., Wiering F., Searching notated polyphonic music using transportation distances, Proceedings of the 12th Annual ACM International Conference on Multimedia, pp. 128-135, (2004); Votava P., Berger E., The heart chamber orchestra-an audio-visual real-time performance for chamber orchestra based on heartbeats, EContact!, 14, 2, (2012); Wiering F., Typke R., Veltkamp R.C., Transportation distances and their application in music-notation retrieval. Music query: Methods, strategies, and user studies, Computing in Musicology, 13, pp. 113-128, (2004)","","","Oxford University Press","","","","","","01956167","","","","English","Music Theory Spectr.","Article","Final","","Scopus","2-s2.0-85057210503"
"Mok A.O.","Mok, Annie O. (56059575900)","56059575900","‘I can follow’: self-directed informal learning strategies adopted by choristers in an adult amateur choir","2020","Music Education Research","","","","421","431","10","2","10.1080/14613808.2020.1796951","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85088320364&doi=10.1080%2f14613808.2020.1796951&partnerID=40&md5=fd223018203b30c435b476faf9cb447e","","","The qualitative study revealed how 15 choristers from an adult amateur choir with different musical experience supplemented their weekly formal choir rehearsals with self-directed informal learning strategies to learn the choral concert repertoires in Hong Kong. Semi-structured individual interviews were used to obtain data for the study. The data were processed and analysed using an adaptation of grounded theory in three steps: inductive coding and categorising; constant comparisons, and integration. The results of the analysis showed that each informant used between 3 and 6 strategies, including the aural strategies of following others and purposive listening, marking the score with sol-fa names or sight-reading, using a keyboard, technology, and some practice strategies, such as listening to a recording repeatedly in order to memorise a song. The self-directed informal mode of learning made it possible for the choristers to take ownership of and the initiative in their learning, and to learn at a pace that suited their individual needs and personal style. © 2020, © 2020 Informa UK Limited, trading as Taylor & Francis Group.","adult amateur choir; aural strategies; Informal music learning; self-directed informal learning","","","","","","","","Abrahams F., Rafaniello A., Vodicka J., Westawski D., Wilson J., Going Green: The Application of Informal Music Learning Strategies in High School Choral Ensemble, The Oxford Handbook of Choral Pedagogy, pp. 65-86, (2017); Avery S., Adult Community Choruses: A Lifespan Perspectives, The Oxford Handbook of Choral Pedagogy, pp. 345-362, (2017); Brashier R., ‘Just Keep Going, Stay Together, and Sing OUT.’ Learning Byzantine Music in an Informal and Situated Community of Practice, Action, Criticism & Theory for Music Education, 15, 3, pp. 67-85, (2016); Cole M., Context and Culture in Music Education: Lessons from Last Century, Australian Journal of Music Education, 23, 3, pp. 59-72, (2015); Dunbar-Hall P., Balinese Gamelan: Continual Innovation, Community Engagement, and Links to Spirituality as Drivers for Sustainability, (2016); Einarsdottir S.L., ‘Leaders,’ ‘Followers’ and Collective Group Support in Learning ‘Art Music’ in an Amateur Composer-oriented Bach Choir, British Journal of Music Education, 31, 3, pp. 281-296, (2014); Finnegan R., The Hidden Musicians: Music-making in an English Town, (2007); Folkestad G., Formal and Informal Learning Situations or Practices vs Formal and Informal Ways of Learning, British Journal of Music Education, 23, 2, pp. 135-145, (2006); Glaser B.G., Strauss A.L., The Discovery of Grounded Theory: Strategies for Qualitative Research, (1967); Green L., How Popular Musicians Learn: A Way Ahead for Music Education, (2002); Green L., The Music Curriculum as Lived Experience: Children’s ‘Natural’ Music Learning Processes, Music Educators’ Journal, 91, 4, pp. 27-32, (2005); Green L., Hear, Listen, Play! How to Free Your Student’s Aural, Improvisation and Performance Skills, (2014); Hallam S., Creech A., McQueen H., Pupils’ Perceptions of Informal Learning in School Music Lessons, Music Education Research, 20, 2, pp. 213-230, (2018); Hughes J.C., Hurty J., A Life of Song: Considerations for the Collegiate-based Town and Gown Choir, Choral Journal, 57, 7, pp. 51-59, (2017); Kullenberg T., Pramling N., Learning and Knowing Songs: A Study of Children as Music Teachers, Instructional Science, 44, 1, pp. 1-23, (2016); Lonie D., Dickens L., Becoming Musicians: Situating Young People’s Experiences of Musical Learning Between Formal, Informal and Non-formal Spheres, Cultural Geographies, 23, 1, pp. 87-101, (2016); Mak P., European Forum for Music Education and Training (EFMET): Project Research, (2006); McPherson G., Gabrielsson A., From Sound to Sign, The Science & Psychology of Music Performance: Creative Strategies for Teaching and Learning, pp. 99-113, (2002); Mok O.N.A., Diasporic Chinese Xianshi Musicians: Impact of Enculturation and Learning on Values Relating to Music and Music-making, International Journal of Education & the Arts, 12, 1, pp. 1-13, (2011); Mok O.N.A., From Homeland to Hong Kong: The Dual Musical Experience and Identity of Diasporic Filipino Women, Learning, Teaching, and Musical Identity: Voices Across Cultures, pp. 47-59, (2011); Mok A.O., East Meets West: Learning-practices and Attitudes Towards Music-making of Popular Musicians, British Journal of Music Education, 31, 2, pp. 179-194, (2014); Odam G., The Sounding Symbol: Music Education in Action, (1995); O'Flynn J., Performance, Transmission, and Identity among Ireland’s New Generation of Traditional Musicians, Learning, Teaching, and Musical Identity: Voices Across Cultures, pp. 252-266, (2011); O'Neill S.A., Mind the Gap: Transforming Music Engagement Through Learner-centred Informal Music Learning, The Recorder: Journal of the Ontario Music Educators’ Association, 56, 2, pp. 18-22, (2014); O'Toole J., Beckett D., Educational Research: Creative Thinking and Doing, (2013); Peeters J., Backer F.D., Buffel T., Kindekens A., Struyven K., Zhu C., Lombaerts K., Adult Learners’ Informal Learning Experiences in Formal Education Setting, Journal of Adult Development, 21, 3, pp. 181-192, (2014); Philpott C., Music Learning and Musical Development, Learning to Teach Music in the Secondary School: A Companion to School Experience, pp. 28-41, (2007); Pitts S., Valuing Musical Participation, (2005); Rice T., Traditional and Modern Methods of Learning and Teaching Music in Bulgaria, Research Studies in Music Education, 7, 1, pp. 1-12, (1996); Schmidt-Jones C., Open Ends and Means: Inquiry as a Link between Formal Music Concepts and Informal Music Learning, International Journal of Music Education, 35, 4, pp. 621-630, (2017); Schugurensky D., (2000); Strauss A.L., Corbin J., Basics of Qualitative Research: Techniques and Procedures for Developing Grounded Theory, (1998); Swanwick K., Teaching Music Musically, (1999); Waldron J., User-generated Content, YouTube, and Participatory Culture on the Web: Music Learning and Teaching in Two Contrasting Online Communities, Music Education Research, 15, 3, pp. 257-274, (2013); Waldron J., YouTube, Fanvids, Forums, Vlogs and Blogs: Informal Music Learning in Convergent on and Offline Music Community, The International Journal of Music Education, 31, 1, pp. 91-105, (2013); Waldron J., An Alternative Model of Music Learning and ‘Last Night’s Fun’: Participatory Music Making in/as Participatory Culture in Irish Traditional Music, Action, Criticism, and Theory for Music Education, 15, 3, pp. 86-112, (2016); Waldron J., Mantie R., Partti H., Tobias E., A Brave New World: Theory to Practice in Participatory Culture and Music Learning and Teaching, Music Education Research, 20, 3, pp. 289-304, (2018); Wiggins J., Teaching for Musical Understanding, (2015); Wright R., The Fourth Sociology and Music Education: Towards a Sociology of Integration, Action, Criticism, and Theory for Music Education, 13, 1, pp. 12-39, (2014)","A.O. Mok; email: aonmok@gmail.com","","Routledge","","","","","","14613808","","","","English","Music Educ. Res.","Article","Final","","Scopus","2-s2.0-85088320364"
"Kirkova-Naskova A.","Kirkova-Naskova, Anastazija (56674696000)","56674696000","SECOND LANGUAGE PRONUNCIATION: A SUMMARY OF TEACHING TECHNIQUES; [Izgovorjava v tujem jeziku: pregled tehnik poučevanja]","2019","Journal for Foreign Languages","11","1","","119","136","17","6","10.4312/vestnik.11.119-136","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85137882751&doi=10.4312%2fvestnik.11.119-136&partnerID=40&md5=b8939cee9520716ad2f5077b0bab6dfd","Ss. Cyril and Methodius University, Skopje, North Macedonia","Kirkova-Naskova A., Ss. Cyril and Methodius University, Skopje, North Macedonia","The aim of the paper is to give a critical summary of the traditional and more alternative techniques and activities for pronunciation practice recommended in the literature. In the past few decades the theoretical approaches to teaching pronunciation have changed considerably, from giving a strong focus on the accurate production of individual speech sounds to shifting the focus onto the greater communicative relevance of connected speech and intelligibility. Approaching L2 pronunciation teaching is not an easy task, and it needs to be systematically dealt with. The paper discusses several decisions teachers need to make when choosing activities for pronunciation practice: selecting the type of phonological structure to practice, deciding on the speech mode, determining the structural level of practice, focusing on a particular type of instruction, establishing the degree of control of the structure that is practiced, and choosing which cognitive skill to enhance while practicing. With regard to the various techniques for teaching pronunciation, the analysis shows they have adapted accordingly in line with the different trends. Hence, while traditional activities such as automatic repetition, ear-training and explicit phonetic instruction are still considered effective, additional priority is given to activities for raising phonological awareness, communicative activities and techniques that adopt an interdisciplinary approach. © 2019, University of Ljubljana Press. All rights reserved.","communicative activities; ear-training; phonetic instruction; phonological awareness; sound repetition","","","","","","","","BAKER Ann, Tree or Three? An Elementary Pronunciation Course, (2006); BAKER Ann, Ship or Sheep? An Intermediate Pronunciation Course, (2006); BOWEN J. Donald, Contextualizing pronunciation practice, A TEFL Anthology: Selected Articles from the English Teaching Forum 1973-78, pp. 63-69, (1980); BROWN H. Douglas, Principles of Language Learning and Teaching, (1987); BYRNE Donn, Teaching Oral English, (1997); (2019); CATFORD John Cunnison, A Practical Introduction to Phonetics, (2001); CAULDWELL Richard, Phonology for Listening: Teaching the Stream of Speech, (2013); CELCE-MURCIA Marianne, BRINTON DonnaM., GOODWIN JanetM., Teaching Pronunciation: A Reference for Teachers of English to Speakers of Other Languages, (2007); Collins Online Dictionary, (2019); DALTON Christiane, SEIDLHOFER Barbara, Pronunciation, (2001); DERWING Tracey M., MUNRO Murray J., Second language accent and pronunciation teaching: A research-based approach, TESOL Quarterly, 39, 3, pp. 379-397, (2005); FLEGE James Emil, Assessing constraints on second-language segmental production and perception, Phonetics and Phonology in Language Comprehension and Production: Differences and Similarities, pp. 319-355, (2003); FRASER Helen, Teaching Pronunciation: A Handbook for Teachers and Trainers, (2001); GARCIA LECUMBERRI Maria Luisa, MAIDMENT John A., English Transcription Course, (2000); GILBERT Judy B., Clear speech: Pronunciation and Listening Comprehension in North American English, (2012); GOODWIN Janet, Teaching Pronunciation, Teaching English as a Second or Foreign Language, pp. 117-137, (2001); HANCOCK Mark, English Pronunciation in Use: Intermediate, (2005); HANCOCK Mark, Pronunciation Games, (2010); HANCOCK Mark, PronPack 1: Pronunciation Workouts, (2017); HANCOCK Mark, PronPack 2: Pronunciation Puzzles, (2017); HANCOCK Mark, PronPack 3: Pronunciation Pairworks, (2017); HANCOCK Mark, PronPack 4: Pronunciation Poems, (2017); HENDERSON Alice, FROST Dan, TERGUJEFF Elina, KAUTZSCH Alexander, MURPHY Deirdre, English pronunciation teaching in Europe survey: Selected results, Research in Language, 10, pp. 5-27, (2012); HEWINGS Martin, Pronunciation Tasks: A Course for Pre-intermediate Students (Student's Book), (1993); HEWINGS Martin, English Pronunciation in Use: Advanced, (2007); HEWINGS Martin, Pronunciation Practice Activities: A Resource Book for Teaching English Pronunciation, (2011); JENKINS Jennifer, The Phonology of English as an International Language, (2000); KASHRU Braj Bihari, Standards, Codification and Sociolinguistic Realism: The English Language in the outer circle, English in the World, pp. 11-30, (1985); KELLY Gerald, How to Teach Pronunciation, (2003); KENWORTHY Joanne, Teaching English Pronunciation, (1990); KIRKOVA-NASKOVA Anastazija, TERGUJEFF Elina, KAUTZSCH Alexander, MURPHY Deirdre, Teachers' views on their professional training and assessment practices: Selected results from the English Pronunciation Teaching in Europe Survey, Pronunciation and Assessment: Proceedings of the 4th Annual Pronunciation in Second Language Learning and Teaching Conference, pp. 29-42, (2013); LAROY Clement, Pronunciation, (1995); LEVIS John M., Changing contexts and shifting paradigms in pronunciation teaching, TESOL Quarterly, 25, 3, pp. 369-377, (2005); LEWIS Michael, Jimmie HILL, Practical Techniques for Language Teaching, (1999); Longman Dictionary of Contemporary English, (2019); MACCARTHY P. A. D., English Pronunciation, (1967); (2019); MANKOWSKA Anna, NOWACKA Marta, KLOCZOWSKA Magdalena, How Much Wood Would a Woodchuck Chuck?, English Pronunciation Practice Book, (2009); MARKS Jonathan, BOWEN Tim, The Book of Pronunciation: Proposals for a Practical Pedagogy, (2012); MORLEY Joan, The pronunciation component in teaching English to speakers of other languages, TESOL Quarterly, 25, 3, pp. 310-349, (1991); MORTIMER Colin, Elements of Pronunciation: Intensive Practice for Intermediate and More Advanced Students, (1995); MUNRO Murray J., DERWING Tracey M., Foreign accent, comprehensibility and intelligibility in the speech of second language learners, Language Learning, 45, pp. 73-97, (1995); MUNRO Murray J., DERWING Tracey M., The effects of speaking rate on listener evaluations of native and foreign-accented speech, Language Learning, 48, 2, pp. 159-182, (1998); MUNRO Murray J., DERWING Tracey M., Foreign accent, comprehensibility and intelligibility in the speech of second language learners, Phonological Issues in Language Learning, pp. 285-310, (1999); NILSEN Don L. F., Pronunciation Contrasts in English, (2010); NIXON Caroline, TOMLINSON Michael, Primary Pronunciation Box: Pronunciation Games and Activities for Younger Learners, (2009); Oxford Learner's Dictionaries, (2019); PENNINGTON Martha C., RICHARDS Jack C., Pronunciation revisited, TESOL Quarterly, 20, 2, pp. 207-225, (1986); PENNINGTON Martha C., ROGERSON-REVELL Pamela, English Pronunciation Teaching and Research: Contemporary Perspectives, (2019); REID Eva, Teaching English pronunciation to different age groups, Jazykovedné, literárnovedné a didaktické kolokvium XXXIXI: zborník vedeckých prác a vedeckých štúdií, pp. 19-30, (2016); ROGERSON-REVELL Pamela, English Phonology and Pronunciation Teaching, (2011); SAITO Kazuya, Effects of instruction on L2 pronunciation development: A synthesis of 15 quasi-experimental intervention studies, TESOL Quarterly, 4, 4, pp. 842-854, (2012); TENCH Paul, Transcribing the Sounds of English, (2011); THOMSON Ron I., DERWING Tracey M., The effectiveness of L2 pronunciation instruction: A narrative review, Applied Linguistics, 36, 3, pp. 326-344, (2015); TRIM John, English Pronunciation Illustrated, (2001); UNDERHILL Adrian, Sound Foundations: Learning and Teaching Pronunciation, (2005); VAUGHAN-REES Michael, Test Your Pronunciation, (2003); WALKER Robin, Teaching the Pronunciation of English as a Lingua Franca, (2010); WELLS John C., Phonetic transcrption and analysis, Encyclopedia of Language and Linguistics, 9, pp. 386-396, (2006); WREMBEL Magdalena, Innovative approaches to the teaching of practical phonetics, Proceedings of the PTLC 2001, pp. 63-66, (2001)","A. Kirkova-Naskova; Ss. Cyril and Methodius University, Skopje, North Macedonia; email: akirkova@flf.ukim.edu.mk","","University of Ljubljana Press","","","","","","18558453","","","","English","J. Foreign. Lang.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85137882751"
"Susić B.B.","Susić, Blaženka Bačlija (57189001968)","57189001968","Music education for every child-ideal or reality?","2017","Journal of Elementary Education","10","1","","85","98","13","3","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85088108623&partnerID=40&md5=b0fdd218aef49c623b55ccb28846380b","University of Zagreb, Faculty of Teacher Education, Croatia","Susić B.B., University of Zagreb, Faculty of Teacher Education, Croatia","Contemporary pedagogical, psychological and sociological research highlights the need to make music education available to every child. Starting from the fundamental point of view according to which music affects the development of the child's whole personality, this idea has been around since the 17th century. Various educators in the late nineteenth and early twentieth century emphasized the importance of music education for every child. Through a historical and theoretical overview of this idea, this paper examine the potential for its realization in contemporary educational practice. The Venezuelan music education program El Sistema, which promotes the humanistic idea of changing society through classical music education, stands out as a unique example of good practice. As a form of music education which particularly promotes the idea of music being available to every child, the conception of Functional Music Pedagogy by the Croatian music pedagogue Elly Basic (1908-1998) is also discussed. Considering the status of music in American educational policy, it indicates a significant change, in which music has been recognized as an educational priority for the first time in the history of education and has become a basic academic subject in the American federal education policy plan, as well as unprecedentedly incorporated in Federal law. © 2017 University of Maribor Press. All rights reserved.","American educational policy; El Sistema; Every child; Functional Music Pedagogy; Music education","","","","","","","","Arts and Cultural Education at School in Europe, (2009); Barret J., A Review of Music Education at a Crossroads: Realizing the Goal of Music for All, (2009); Basic E., Das Schöpferische im Kinde, Prädispozition - Entwicklungsmöglicchkeiten -Fehler der Erwachsenen, (1968); Basic E., Muzikalna potka u likovnom izražavanju spontanog djeteta, Dijete i kreativnost, pp. 161-209, (1987); Baumann P.J., In search of signature pedagogies for teacher education: The critical case of Kodály-inspired music teacher education, (2010); Begbie J., Music, Modernity and God. Essays in Listening, (2013); Brooke Bagley K., The Kodály Method: Standardizing Hungarian Music Education, Fulbright Student Conference Papers, pp. 103-117, (2009); Catteral S.J., Waldorf L., Chicago Arts Partnerships in Education Summary Evaluation, Champions of Change: The impact of the arts on learning, pp. 53-57, (1999); Chernin M., A Practical Application of an Eighteenth-Century Aesthetic: The Development of Pestalozzian Education, College Music Symposium, 26, (1986); Choksy L., The Kodály Method: Comprehensive Music Education from Infant to Adult, (1974); Choksy L., Abramson R.M., Gillespie A. E., Woods D., York F., Teaching Music in the Twenty-first Century, (2001); Dahlhaus C., Glazba 19. stoljeća, (2007); Edwards C., Gandini L., Forman G., Hundred Languages of Children: The Reggio Emilia Approach to Early Childhood Education, (1993); (1965); (2015); Fayer I., Lohstoter F.P., The Miracle of Venezuela, Leica Fotografie International Special Edition, 2, (2013); Frazee J., Artiful-Playful-Mindful: A New Orff-Schulwerk Curriculum or Music Making and Music Thinking, (2012); Glenn K., The Child's Bill of Rights in Music, Music Educators Journal, 78, 8, pp. 4-6, (1992); Gokturk Cary D., Kodaly and Orff: A comparison of two approaches in early music education, Zonguldak Karaelmas University Journal of Social Sciences, 7, 15, pp. 179-194, (2012); Govias J. A., The Five Fundamentals of El Sistema, Canadian Music Educator, 53, 1, pp. 21-23, (2011); Gudjons H., Pedagogija - temeljna znanja, (1994); Hargreaves D.J., North A. C., Musical Development and Learning: The International Perspective, (2001); Jakopovic S., Pokret radne škole u Hrvatskoj, (1984); Juntunen M.L., Embodiment in Dalcroze Eurhythmics, Doktorska disertacija, (2004); Juntunen M.L., Westerlund H., The legacy of music education methods in teacher education: The metanarrative of Dalcroze Eurhythmics as a case, Research Studies in Music Education, 33, 1, pp. 47-58, (2011); Kazic S., Solfeggio: Historija i praksa, (2013); Kosta T., Desnica R., Utjecaj važnijih europskih glazbenih pedagoga na razvoj nastave glazbe u Hrvatskoj i Sloveniji u drugoj polovici 20. stoljeća, Magistra Iadertina, 8, 1, pp. 27-35, (2013); Laun R., Freinet - 50 (Fünfzig) Jahre danach: Dokumente und Berichte aus drei französischen Grundschulklassen, (1982); Letica M., Vjerujem svakom djetetu, (2014); Glazbeno uciliste Elly Basic Lui A., Orchestrating Communities: An Investigation of E l Sistema and its Global Influences, (2012); Lyman A., Let There Be Music - Part Two. The Music Curriculum in the Waldorf School, Grades Five through Eight, Renewal: A journal for Waldorf education, 18, 2, pp. 18-22, (2009); Madden J. A., Zoltán Kodály and Carl Orff: Implications for Program Development in Elementary Instrumental Music Education, Dissertation Abstracts International, (1984); Magdalenic M., Solfeggio na osnovu narodnog muzičkog izričaja, (1961); Majno M., From the model of El sistema in Venezuela to current applicationas: Learaning and integration through collective music education, Annals of the New York Academy of Sciences, 1252, pp. 56-64, (2012); Manasteriotti V., Zbornik pjesama i igara za djecu, (1988); Montessori M., The Secret of Childhood, (1979); Nastavni plan i program za osnovnu školu, (2006); (2015); Ngai S., Painting over the Arts: How the No Child Left Behind Act Fails to Provide Children with a High-Quality Education, Seattle Journal for Social Justice, 4, 2, pp. 657-691, (2006); No Child Left Behind, Elementary and Secondary Education Act (ESEA), (2001); Oelkers J., Jean-Jacques Rousseau (Bloomsbury Library of Educational Thought), (2014); Perak Lovricevic N., Glazbeno učilište Elly Bašić 1965, (2005); Rojko P., Metodika nastave glazbe teorijsko-tematski aspekti, (2012); Roth-Cerina M., Utjecaj pokreta za odgoj u prirodi na razvoj paviljonske škole, Prostor: Znanstveni časopis za arhitekturu i urbanizam, 19, 1, pp. 60-73, (2011); Shklar J., Men and Citizens. A Study of Rousseau's Social Theory, (1969); The Second World Conference on Arts Education, (2010); The UN Convention on the Rights of the Child (2010), (2010); Westerlund H., Juntunen M.L., Music and knowledge in bodily experience, Praxial Music Education: Reflections and dialogues, pp. 112-122, (2005); Yelin J., Movement That Fits: Dalcroze Eurhythmics and the Suzuki Method, (1990); York F. A., Cultural Iidentity and the Kodály Pphilosophy, Teacher of Teachers: Essays in honour of Lois Choksy, pp. 107-125, (1998); Zrilic S., Dječje umjetničko (su)djelovanje u dječjem vrtiću, Dijete i estetski izričaji : Zbornik radova s Medunarodnoga znanstvenog skupa Dijete i estetski izričaji, pp. 19-27, (2014); Zarnic B., Odgoj i prirodni razvoj, Školski vjesnik: Časopis za pedagoška i školska pitanja, 50, 1, pp. 15-25, (2001)","B.B. Susić; University of Zagreb, Faculty of Teacher Education, Croatia; email: blazenka.baclijasusic@ufzg.hr","","University of Maribor Press","","","","","","18554431","","","","English","J. Elem. Educ.","Article","Final","","Scopus","2-s2.0-85088108623"
"Springer D.G.","Springer, D. Gregory (56374712500)","56374712500","Teaching popular music: Investigating music educators' perceptions and preparation","2016","International Journal of Music Education","34","4","","403","415","12","32","10.1177/0255761415619068","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84996508773&doi=10.1177%2f0255761415619068&partnerID=40&md5=1728b552f551817e3512bfcce82cf417","School of Music, University of South Carolina, 813 Assembly Street, Columbia, 29208, SC, United States","Springer D.G., School of Music, University of South Carolina, 813 Assembly Street, Columbia, 29208, SC, United States","The purpose of this study was to investigate in-service music teachers' perceptions of popular music in the classroom and to examine their own preparation to teach popular music. A sample of music teachers, drawn from two regional chapters of the American Orff-Schulwerk Association, completed a researcher-designed survey instrument. Results suggest that these teachers perceived popular music to be an effective instructional tool in the music classroom, although their responses suggest that they perceived it to be appropriate for older students and in certain classroom settings only. In addition, the sample reported a lack of training in popular music pedagogy and responded that they generally felt unprepared to teach popular music. Among three types of preparation, they provided significantly higher preparation ratings for informal experiences, followed by performance-oriented experiences and formal educational experiences. Implications for music educators and music teacher educators are discussed. © The Author(s) 2015.","in-service teachers; informal learning; Orff Schulwerk; popular music; preservice teacher preparation; vernacular musicianship","","","","","","","","Allsup R.E., Popular music and classical musicians: Strategies and perspectives, Music Educators Journal, 97, 3, pp. 30-34, (2011); Bowman W.D., Rodriguez C.X., Pop"" goes ...? Taking popular music seriously, Bridging the Gap: Popular Music and Music Education, pp. 29-50, (2004); Brewer W.D., Rickels D.A., Demographics and faculty time allocation of music education professors in the United States, Journal of Music Teacher Education, 22, pp. 63-74, (2012); Cope P., Informal learning of musical instruments: The importance of social contexts, Music Education Research, 4, pp. 93-104, (2002); Davis S.G., Blair D.V., Popular music in American teacher education: A glimpse into a secondary methods course, International Journal of Music Education, 29, pp. 124-140, (2011); Dunbar-Hall P., De Quadros A., World music, creativity and Orff-Schulwerk methodology, Many Seeds, Different Flowers: The Music Education Legacy of Carl Orff, pp. 58-67, (2000); Dunbar-Hall P., Spruce G., Designing a teaching model for popular music, Aspects of Teaching Secondary Music, pp. 173-181, (2002); Dunbar-Hall P., Wemyss K., The effects of the study of popular music on music education, International Journal of Music Education, 36, pp. 23-34, (2000); Emmons S.E., Rodriguez C.X., Preparing teachers for popular music processes and practices, Bridging the Gap: Popular Music and Music Education, pp. 159-174, (2004); Fowler C.B., The case against rock: A reply, Music Educators Journal, 57, 1, pp. 38-42, (1970); Frazee J., Discovering Orff, (1987); Frith S., Frith S., Straw W., Street J., Pop music, The Cambridge Companion to Pop and Rock, pp. 93-108, (2001); Georgii-Hemming E., Westvall M., Music education - A personal matter? Examining the current discourses of music education in Sweden, British Journal of Music Education, 27, pp. 21-33, (2010); Gracyk T., Rodriguez C.X., Popular music: The very idea of listening to it, Bridging the Gap: Popular Music and Music Education, pp. 51-70, (2004); Green L., Music, Informal Learning and the School: A New Classroom Pedagogy, (2008); Hamm C., Horn D., Tagg P., Some thoughts on the measurement of popularity in music, Popular Music Perspectives, pp. 3-15, (1982); Hebert D.G., Campbell P.S., Rock music in American schools: Positions and practices since the 1960s, International Journal of Music Education, 36, pp. 14-22, (2000); Jaffurs S.E., The impact of informal music learning practices in the classroom, or how i learned how to teach from a garage band, International Journal of Music Education, 22, pp. 189-200, (2004); Kruse A.J., Preservice music teachers' experiences with and attitudes toward music genres, Journal of Music Teacher Education, 24, pp. 11-23, (2015); Leung C.C., Hung C.C., Leung C.C., Yip L.C.R., Imada T., The enjoyment of popular music as a valuable experience in music learning, Music Education Policy and Implementation: International Perspectives, pp. 182-194, (2008); MacCluskey T., Peaceful coexistence between pop and the classics, Music Educators Journal, 65, 8, pp. 54-57, (1979); Mantie R., A comparison of ""popular music pedagogy"" discourses, Journal of Research in Music Education, 61, pp. 334-352, (2013); Mark M.L., Youth music: Is it right for schools?, Quarterly Journal of Music Teaching and Learning, 5, 2, pp. 76-82, (1994); O'Brien J.P., A plea for pop, Music Educators Journal, 68, 7, pp. 44-53, (1982); Odam G., Rodriguez C.X., Music education in the Aquarian age: A transatlantic perspective (or ""how do you make horses thirsty?""), Bridging the Gap: Popular Music and Music Education, pp. 127-139, (2004); Rodriguez C.X., Rodriguez C.X., Bringing it all back home: The case for popular music in the schools, Bridging the Gap: Popular Music and Music Education, pp. 3-9, (2004); Siegel S., Nonparametric Statistics for the Behavioral Sciences, (1956); Sogin D.W., Wang C.C., Music activity reports by music teachers with varying training in Orff Schulwerk, International Journal of Music Education, 26, pp. 269-277, (2008); Springer D.G., Gooding L.F., Preservice music teachers' attitudes toward popular music in the music classroom, Update: Applications of Research in Music Education, 32, pp. 25-33, (2013); Vakeva L., Teaching popular music in Finland: What's up, what's ahead?, International Journal of Music Education, 24, pp. 126-131, (2006); Wang J.-C., Humphreys J.T., Multicultural and popular music content in an American music teacher education program, International Journal of Music Education, 27, pp. 19-36, (2009); Wolford D.K., Rock's questionable role in the school curriculum, Idaho Music Notes, 11, 3, pp. 15-16, (1970); Woody R.H., Willing and able: Equipping music educators to teach with popular music, Orff Echo, 43, 4, pp. 14-17, (2011); Woody R.H., Lehmann A.C., Student musicians' ear-playing ability as a function of vernacular music experiences, Journal of Research in Music Education, 58, pp. 101-115, (2010)","D.G. Springer; School of Music, University of South Carolina, Columbia, 813 Assembly Street, 29208, United States; email: gspringer@mozart.sc.edu","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-84996508773"
"Zhukov K.","Zhukov, Katie (26036568600)","26036568600","Physiological evidence of stress during woodwind sight-reading","2019","Music and Science","2","","","","","","1","10.1177/2059204319840730","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85093673581&doi=10.1177%2f2059204319840730&partnerID=40&md5=0ab29617bd833645304004e42a8fa8ff","School of Music, University of Queensland, QLD, Australia","Zhukov K., School of Music, University of Queensland, QLD, Australia","Music performance anxiety (MPA) research has investigated solo performance, using self-reports and questionnaires to measure the efficacy of interventions to reduce MPA. Studies examining physical symptoms of MPA have measured heart rate and muscle tension of players. This pilot study examined MPA’s effects during music sight-reading (SR) by measuring physiological responses and SR accuracy amongst undergraduate woodwind students. The results demonstrate increased arousal as testing materials became more challenging and SR accuracy decreased. Implications for future research and practice include the need to incorporate MPA interventions into SR training and gather physiological evidence to demonstrate the efficacy of therapeutic programmes for management of MPA. © The Author(s) 2019.","Electrodermal activity; heart rate; music performance anxiety; music sight-reading; physiological evidence","","","","","","","","Abel J.L., Larkin K.T., Anticipation of performance among musicians: Physiological arousal, confidence, and state anxiety, Psychology of Music, 18, pp. 171-182, (1990); Araujo L., Wasely D., Perkins R., Atkins L., Redding E., Ginsborg J., Williamon A., Fit to perform: An investigation of higher education music students’ perceptions, attitudes, and behaviors toward health, Frontiers of Psychology, 8, pp. 1-19, (2017); Biasutti M., Concina E., The role of coping strategy and experience in predicting music performance anxiety, Musicae Scientiae, 18, pp. 189-202, (2014); Britsch L., Investigating performance-related problems of young musicians, Medical Problems of Performing Artists, 20, pp. 40-47, (2005); Chanwimalueang T., Aufegger L., Adjei T., Wasley D., Cruder C., Mandic D.P., Stage call: Cardiovascular reactivity to audition stress in musicians, PLoS One, 12, (2017); Fehm L., Schmidt K., Performance anxiety in gifted adolescent musicians, Journal of Anxiety Disorders, 20, pp. 98-109, (2006); Guven E., Levels of music performance anxiety and test anxiety of Turkish prospective music teachers in piano exams, International Journal of Music Education, 35, pp. 154-164, (2017); Kenny D.T., The role of negative emotions in performance anxiety, Handbook of music and emotion: Theory, research, applications, pp. 425-451, (2010); Kenny D.T., The psychology of music performance anxiety, (2011); Kenny D.T., Driscoll T., Ackermann B., Psychological well-being in professional orchestral musicians in Australia: A descriptive population study, Psychology of Music, 42, pp. 210-232, (2014); Kim Y., The effect of improvisation-assisted desensitization, and music-assisted progressive muscle relaxation and imagery on reducing pianists’ music performance anxiety, Journal of Music Therapy, 45, pp. 165-191, (2008); Kokotsaki D., Davidson J.W., Investigating musical performance anxiety among music college singing students: A quantitative analysis, Music Education Research, 5, pp. 45-59, (2003); LeBlanc A., Jin Y.C., Obert M., Siivola C., Effect of audience on music performance anxiety, Journal of Research in Music Education, 45, pp. 480-496, (1997); Lilley J.L., Oberle C.D., Thompson J.G., Effects of music and grade consequences on test anxiety and performance, Psychomusicology: Music, Mind, and Brain, 24, pp. 184-190, (2014); Michalski Y., Skills and behaviours important for effective piano teaching: A survey of the piano pedagogy components of current undergraduate music degree in Australian tertiary institutions, (2008); Patson T., Teaching stage fright? Implications for music educators, British Journal of Music Education, 31, pp. 85-98, (2014); Osborne M.S., Kenny D.T., Holsomback R., Assessment of music performance anxiety in late childhood: A validation study of the Music Performance Anxiety Inventory for Adolescents (MPAI-A), International Journal of Stress Management, 12, pp. 312-324, (2005); Rumsey H.E., Aggarwal S., Hobson E.M., Park J., Pidcoe P., Anxiety’s effect on muscle activation and fatigue in trumpet players: A pilot study, Medical Problems of Performing Artists, 30, pp. 203-210, (2015); Ryan C., Gender differences in children’s experience of musical performance anxiety, Psychology of Music, 32, pp. 89-103, (2004); Studer R., Danuser B., Hildebrandt H., Arial M., Gomez P., Hyperventilation complaints in music performance anxiety among classical music students, Journal of Psychosomatic Research, 70, pp. 557-564, (2011); Watkins J.G., Farnum S.E., The Watkins-Farnum performance scale: A standardized achievement test for all band instruments, (1954); Wilson G.D., Performance anxiety, The social psychology of music, pp. 229-245, (1997); Wilson G.D., Roland D., Performance anxiety, The science and psychology of music performance, pp. 47-61, (2002); Yoshie M., Kudo K., Murakoshi T., Ohtsuki T., Music performance anxiety in skilled pianists: Effects of social-evaluative performance situation on subjective, autonomic, and electromyographic reactions, Experimental Brain Research, 199, pp. 117-126, (2009); Zhukov K., Exploring advanced piano students’ approaches to sight-reading, International Journal of Music Education: Practice, 32, pp. 487-498, (2014); Zhukov K., Experiential (informal/non-formal) practice does not improve sight-reading skills, Musicae Scientiae, 21, pp. 418-429, (2017); Zhukov K., Viney L., Riddle G., Teniswood-Harvey A., Fujimura K., Improving sight-reading skills in advanced pianists: A hybrid approach, Psychology of Music, 44, pp. 155-167, (2016)","K. Zhukov; School of Music, University of Queensland, Australia; email: k.zhukov@uq.edu.au","","SAGE Publications Ltd","","","","","","20592043","","","","English","Music. Sci.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85093673581"
"Sampaio M.A.; Santiago P.F.","Sampaio, Marcelo Almeida (57211477374); Santiago, Patrícia Furst (57211469409)","57211477374; 57211469409","Exploring pedagogical strategies for piano sight-reading; [Explorando as estratégias pedagógicas para a leitura à primeira vista ao piano]","2020","Per Musi","2020","40","e204008","","","","0","10.35699/2317-6377.2020.19816","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85108682383&doi=10.35699%2f2317-6377.2020.19816&partnerID=40&md5=9e45dc9a092a5110493accdc0a176765","Universidade Federal de Minas Gerais, Brazil","Sampaio M.A., Universidade Federal de Minas Gerais, Brazil; Santiago P.F., Universidade Federal de Minas Gerais, Brazil","In a piano sight-reading (SR) experiment, 27 undergraduate students had their SR measured. It tested the hypothesis that transposition (control group) would be a pedagogical intervention better than rhythmic training and the use of four-handed repertoire (two experimental groups). The individual errors were collected from three tests in three difficulty levels (27 students x 3 tests x 3 levels), generating a total of 243 observations. Although students improved their performance by 30%, none of the pedagogical interventions had any significant effect (p=0.96). The results were: A) practicing reading in the bass clef, the rhythmic aspects more than the melodic ones, and the left hand more than the right one, brings more benefits to the piano SR performance; b) isolated SR strategies has little effect on students development; c) using a hybrid curriculum matrix with three or more significant predictors seems to be the most appropriate way to develop a SR competency. © 2020, Universidade Federal de Minas Gerais. All rights reserved.","Experiment; Generalized linear models; Pedagogical strategies; Piano sight-reading","","","","","","","","Halsband Ulrike, Ferdinand Binkofski, Camp Max, The Role of the Perception of Rhythmic Grouping in Musical Performance: Evidence from Motor-Skill Development in Piano Playing, Music Perception: An Interdisciplinary Journal, 11, pp. 265-288, (1994); Lehmann Andreas C., Anders Ericsson K., Jack, Taylor, Performance without Preparation: Structure and Acquisition of Expert Sight-Reading and Accompanying Performance, Psychomusicology: A Journal of Research in Music Cognition, 15, pp. 1-29, (1996); Mishra Jennifer, Rhythmic and Melodic Sight-Reading Interventions: Two Meta-Analyses, Psychology of Music, 44, 5, pp. 1082-1094, (2015); Sampaio Marcelo Almeida, As Estratégias Pedagógicas Para a Leitura à Primeira Vista Ao Piano, (2017); Piano Specimen Sight-Reading Tests: ABRSM Grade 1, 1, 8, (2008); Piano Specimen Sight-Reading Tests: ABRSM Grade 2, 2, 8, (2008); Piano Specimen Sight-Reading Tests: ABRSM Grade 3, 3, 8, (2008); Watkins Alice Jan, The Effect of the Use of a Recorded Soloist as an Aid to the Teaching of Sight-Reading Accompaniments at the Piano, (1984); Watkins Alice, Hughes Marie Adele, The Effect of an Accompanying Situation on the Improvement of Students’ Sight-Reading Skills, Psychology of Music, 14, pp. 97-110, (1986); Zhukov Katie, Evaluating New Approaches to Teaching of Sight-Reading Skills to Advanced Pianists, Music Education Research, 16, pp. 70-87, (2014); Zhukov Katie, Exploring Advanced Piano Students’ Approaches to Sight-Reading, International Journal of Music Education, 32, November, pp. 487-498, (2014); Zhukov Katie, Viney Liam, Riddle Glenn, Teniswood-Harvey Arabella, Fujimura Kenji, Improving Sight-Reading Skills in Advanced Pianists: A Hybrid Approach, Psychology of Music, 44, 2, pp. 155-167, (2016)","","","Universidade Federal de Minas Gerais","","","","","","15177599","","","","English","Per Musi","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85108682383"
"Marković V.; Pamer A.Ć.","Marković, Vedrana (57523909400); Pamer, Andrea Ćoso (57212277161)","57523909400; 57212277161","Role and importance of klapa singing for the development of harmonic ear in Solfeggio class","2018","Revista de Etnografie si Folclor","1-2","","","149","162","13","0","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85076377384&partnerID=40&md5=f74dd5240d915c1acbba6c5caa8bbf20","","","In the framework of the project Identity Elements in the Montenegrin Music as a Basis for Development of Multiculturalism and Interculturalism1 we focus on, among other things, implementation of appropriate contents from the Montenegrin music heritage in a contemporary solfeggio class. Klapa singing, as multipart a cappella singing which is characteristic of the Bay of Kotor and Montenegrin Littoral, attracted our attention. Having in mind that klapa singing in the Bay of Kotor was mostly influenced by klapa singing of neighboring Croatia, we identified this type of traditional singing as an element that can significantly affect the affirmation of multiculturalism and development of intercultural dialogue. This work will show the manner in which klapa singing can contribute to development of the harmonic ear in the framework of a solfeggio class and which methodical procedures the teacher can apply by using klapa music as didactic material. © 2018 Royal College of Physicians. All rights reserved.","A cappella singing; Montenegrin music heritage; Music school","","","","","","","","Coso A., Markovic V., Klapsko pjevanje u Boki Kotorskoj - Od tradicije do suvremene interpretacije, Tonovi, 65, pp. 123-128, (2015); Hinek I., Razvoj harmonijskoga sluha u nastavi tzv. Teorijskih glazbenih disciplina (solfeggia i harmonije), Tonovi, 48, pp. 23-56, (2006); Lucic F., Elementarna Teorija Glazbe I Pjevanja Za Srednje I Glazbene Škole [Elementary Music and Singing Theory for Secondary and Music Schools], (1940); Matorkic Ivanovic B., Četvoroglasno pevanje u nastavi solfeđa, Zbornik Radova XI Pedagoškog Foruma, pp. 77-86, (2009); Marjanovic Krstic Z., Vokalna Muzička Tradicija Boke Kotorske [Vocal Music Tradition of Boka Kotorska], (1998); Marjanovic Z., Primorac J., Lirica Br.1, Klapske Obrade Narodnih Pjesama Iz Boke Po Zapisima Ludvika Kube Iz 1907. G. [Lirica No.1, Klapa Interpretation of Folk Songs from Boka by Ludvik Kuba's Notes from 1907], (2013); Magdalenic M., Jednoglasni I Dvoglasni Solfeggio Na Osnovu Narodnog Muzičkog Izraza Za Općeobrazovne I Muzičke Škole (I I II) [One-Part and Two-Part Solfeggio Based on Folk Music Expression for General Education and Music Schools (I and II)], (1975); Olujic A., Razvoj Harmonskog Sluha [The Development of Harmonic Ear], (1990); Primorac J., Marjanovic Z., Pjesme Dalmatske Iz Boke Ludvika Kube (1907.G.) [Ludvik Kuba's Dalmatian Songs from Boka Kotorska (1907)], (2015); Radiceva D., Uvod U Metodiku Nastave Solfeđa [Introduction to the Methodology of Teaching Solfeggio], (1997); Radiceva D., Metodika Komplementarne Nastave Solfeđa I Teorije Muzike [Methodology of Complementary Solfeggio Teaching and Theory of Music], (2000); Rojko P., Metodika Nastave Glazbe, Teorijsko - Tematski Aspekti [Methodology of Music Teaching, Theoretical-Thematic Aspects], (1996); Rojko P., Solfeggio kao učenje glazbenog jezika, Tonovi, 33, pp. 14-31, (1999); Stipisic L., Mojih Prvih 100 Pjesama Za Dječje Klape I Školske Zborove [My First 100 Songs for Children's Klapas and School Gatherings], (2006); Vasiljevic Z., Metodika Muzičke Pismenosti [Methodology of Music Literacy], (2000)","","","Editura Academiei Romane","","","","","","00348198","","","","English","Rev. Etnografie Folclor","Article","Final","","Scopus","2-s2.0-85076377384"
"Bell A.P.; Stelter R.; Ahenda K.; Bahhadi J.","Bell, Adam Patrick (56424849400); Stelter, Ryan (57215290751); Ahenda, Kathleen (58632198400); Bahhadi, Joseph (57455470600)","56424849400; 57215290751; 58632198400; 57455470600","CanRock classroom: Two pre-service teachers’ experiences of a popular music pedagogy course in Canada","2019","Journal of Popular Music Education","3","3","","451","468","17","4","10.1386/jpme_00006_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85091139299&doi=10.1386%2fjpme_00006_1&partnerID=40&md5=f9f2cea3a83af472d807cfa86c9c1487","School of Creative and Performing Arts at the University of Calgary, 2500 University Dr NW, Calgary, T2N1N4, AB, Canada","Bell A.P., School of Creative and Performing Arts at the University of Calgary, 2500 University Dr NW, Calgary, T2N1N4, AB, Canada; Stelter R., School of Creative and Performing Arts at the University of Calgary, 2500 University Dr NW, Calgary, T2N1N4, AB, Canada; Ahenda K., School of Creative and Performing Arts at the University of Calgary, 2500 University Dr NW, Calgary, T2N1N4, AB, Canada; Bahhadi J., School of Creative and Performing Arts at the University of Calgary, 2500 University Dr NW, Calgary, T2N1N4, AB, Canada","Research on popular music pedagogy tends to centre on teaching and learning practices related to school-aged students; less research has focused on the training of pre-service teachers. We present the perspectives of two pre-service teachers on their experiences taking the first iteration of a popular music pedagogy course at a university in Canada as part of their music education studies. The examination we present is limited to one site and two pre-service teachers’ perspectives, but focuses on some important themes including group dynamics, songwriting, integrating technology and learning popular music instruments. We begin by survey-ing some recent related literature on popular music pedagogy before outlining our purpose and method. Then, we detail the underpinning ‘informal learning’ ethos of the course and provide a course description. Finally, we present our findings on the two pre-service teachers’ experiences with the course and conclude with a brief discussion that contextualizes these results with related literature. © 2019 Intellect Ltd Article. English language.","Canada; music technology; popular music education; popular music pedagogy; pre-service teachers; songwriting","","","","","","","","Allsup Randall E., Creating an educational framework for popular music in public schools: Anticipating the second-wave, Visions of Research in Music Education, 12, (2008); Auvinen Thomas, A new breed of home studio producer? Agency and the idea “tracker” in contemporary home studio music production, Journal on the Art of Record Production, 11, (2017); Benedict Cathy, Spaces of rupture: Wondering, wandering, remixing, Action, Criticism, and Theory for Music Education, 16, 1, pp. 79-94, (2017); Blumberg Phyllis, Maximizing learning through course alignment and experience with different types of knowledge, Innovative Higher Education, 34, 2, pp. 93-103, (2009); Butler Mark J., Playing with Something That Runs: Technology, Improvisation, and Composition in DJ and Laptop Performance, (2014); Byo James L., “Modern band” as school music: A case study, International Journal of Music Education, 36, 2, pp. 259-269, (2018); Cope Peter, Informal learning of musical instruments: The importance of social context, Music Education Research, 4, 1, pp. 93-104, (2002); Costes-Onishi Pamela, Negotiating the boundaries between the formal and informal: An experienced teacher’s reflective adaptations of informal learning in a keyboard class for at-risk students, British Journal of Music Education, 33, 3, pp. 309-326, (2016); Davis Sharon G., Blair Deborah V., Popular music in American teacher education: A glimpse into a secondary methods course, International Journal of Music Education, 29, 2, pp. 124-140, (2011); Denzin Norman K., Interpretive Interactionism, (2001); Dole Sharon, Bloom Lisa, Kowalske Kristy, Transforming peda-gogy: Changing perspectives from teacher-centered to learner-centered, The Interdisciplinary Journal of Problem-Based Learning, 10, 1, pp. 45-60, (2016); Dyndahl Petter, Karlsen Sidsel, Nielsen Siw Graabraek, Skarberg Odd, The academisation of popular music in higher music education: The case of Norway, Music Education Research, 19, 4, pp. 438-454, (2017); Finney John, Music education as identity project in a world of electro-nic desires, Music Education with Digital Technology, pp. 9-20, (2007); Finney John, Philpott Chris, Informal learning and meta-peda-gogy in initial teacher education in England, British Journal of Music Education, 27, 1, pp. 7-19, (2010); Folkestad Goran, Formal and informal learning situations or practices vs. formal and informal ways of learning, British Journal of Music Education, 23, 2, pp. 135-145, (2006); Fullan Michael, Langworthy Maria, Towards a New End: New Pedagogies for Deep Learning, (2013); Galletta Anne, Mastering the Semi-Structured Interview and Beyond, (2013); Green Lucy, How Popular Musicians Learn: A Way ahead for Music Education, (2002); Hallam Susan, Creech Andrea, McQueen Hilary, What impact does teaching music informally in the classroom have on teachers, and their pedagogy?, Music Education Research, 19, 1, pp. 42-59, (2017); Hallam Susan, Creech Andrea, McQueen Hilary, Teachers’ perceptions of the impact on students of the musical futures approach?, Music Education Research, 19, 3, pp. 263-275, (2017); Hallam Susan, Creech Andrea, McQueen Hilary, Can the adoption of informal approaches to learning music in school music lessons promote musical progression?, British Journal of Music Education, 34, 2, pp. 127-151, (2017); Hallam Susan, Creech Andrea, McQueen Hilary, Pupil’s perceptions of informal learning in school music lessons, Music Education Research, 20, 2, pp. 213-230, (2018); Jeanneret Neryl, Musical futures in Victoria, Australian Journal of Music Education, 2, pp. 148-164, (2010); Kastner Julie D., Exploring informal music learning in a professional development community of music teachers, Bulletin of the Council for Research in Music Education, 202, pp. 71-89, (2014); Katz Mark, Groove Music: The Art and Culture of the Hip-Hop DJ, (2012); Kvale Steiner, InterViews: Learning the Craft of Qualitative Research Interviewing, (2009); Mok Annie O., Informal learning: A lived experience in a university musicianship class, British Journal of Music Education, 34, 2, pp. 169-188, (2017); Narita Flavia Motoyama, Informal learning in action: The domains of music teaching and their pedagogic modes, Music Education Research, 19, 1, pp. 29-41, (2017); O'Neill Susan, Bespflug Kevin, Musical futures comes to Canada: Engaging students in real-world music learning, Canadian Music Educator, 53, 2, pp. 25-27, (2011); Rose Tricia, Black Noise: Rap Music and Black Culture in Contemporary America, (1994); Schloss Joseph G., Making Beats: The Art of Sample-Based Hip-Hop, (2014); Seabrook John, The Song Machine: Inside the Hit Factory, (2015); Sloboda John. 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K., Community music and praxialism, Praxial Music Education: Reflections and Dialogues, pp. 308-328, (2005); Warner Timothy, Pop Music – Technology and Creativity: Trevor Horn and the Digital Revolution, (2003); Weimer Maryellen, Learner-Centered Teaching Five Key Changes to Practice, (2002); Westerlund Heidi, Garage rock band: A future model for developing musical expertise?, International Journal of Music Education, 24, 2, pp. 119-125, (2006); Williams David A., Considering both curriculum and pedagogy, Promising Practices in 21st Century Music Teacher Education, pp. 25-39, (2014); Willingham Lee, From the mouths of babes: What young children can show us about teaching and learning music, Listen to Their Voices: Research and Practice in Early Childhood Music, pp. 87-100, (2007); Younker Betty Anne, Wright Ruth, Linton Leslie, Beynon Carol, Tuning into the future: Sharing initial insights about the 2012 musical futures pilot project in Ontario, Canadian Music Educator, 53, 4, pp. 14-18, (2012)","","","Intellect Ltd.","","","","","","23976721","","","","English","J. Pop. Music. Educ.","Article","Final","","Scopus","2-s2.0-85091139299"
"Simones L.L.","Simones, Lilian Lima (56454312300)","56454312300","Beyond expectations in music performance modules in higher education: rethinking instrumental and vocal music pedagogy for the twenty-first century","2017","Music Education Research","19","3","","252","262","10","16","10.1080/14613808.2015.1122750","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84949752897&doi=10.1080%2f14613808.2015.1122750&partnerID=40&md5=c48037d7abf53ab0137050b79ff8d057","Sonic Arts Research Centre, Queen's University, Belfast, United Kingdom","Simones L.L., Sonic Arts Research Centre, Queen's University, Belfast, United Kingdom","Music performance in the higher educational context is shaped by a reciprocal chain of interactions between students, part-time tutors and full-time teaching staff, each with specific expectations about the teaching and learning process. Such expectations can provide valuable insights not only for designing and implementing meaningful educational strategies but also for defining higher education (HE) institutions’ specific mission, inside and outside departmental boundaries. Drawing on an empirical investigation about the dynamics of the expectations of the above stakeholders regarding the integration of instrumental/vocal tuition into the HE learning environment, this article discusses the need for developing teaching excellence in instrumental and vocal tuition across the UK, arguing that HE environments have a crucial role to play in such process. © 2015 Informa UK Limited, trading as Taylor & Francis Group.","expectations; instrumental and vocal teacher professional accreditation; Instrumental music teaching; music higher education; vocal teaching","","","","","","Higher Education Academy, (DCE 605); Higher Education Academy; Ulster University, UU","This work was supported by a grant from the Higher Education Academy (HEA), Northern Ireland Enhancement Fund [DCE 605] administered by the University of Ulster.","Bandura A., Social Learning Theory, (1977); Bennett D., Academia and the Real World: Developing Realistic Notions of Career in the Performing Arts, Arts and Humanities in Higher Education, 8, 3, pp. 309-327, (2009); Bergee M.J., Faculty Interjudge Reliability of Music Performance Evaluation, Journal of Research in Music Education, 51, 2, pp. 137-150, (2003); Bourdieu P., Homo Academicus, (1988); Brennan J., King R., Lebeau Y., The Role of Universities in the Transformation of Societies. An International Research Project, (2004); Burland K., Pitts S., Becoming a Musician: A Longitudinal Study Investigating the Career Transitions of Undergraduate Music Students, Arts and Humanities in Higher Education, 6, 3, pp. 289-324, (2007); Burwell K., On Musicians and Singers. An Investigation of Different Approaches taken by Vocal and Instrumental Teachers in Higher Education, Music Education Research, 8, 3, pp. 331-347, (2006); Carey G., Grant C., Teacher and Student Perspectives on One-to-One Pedagogy: Practices and Possibilities, British Journal of Music Education, 32, 1, pp. 1-18, (2014); Carey G., Grant C., McWilliam E., Taylor P., One-to-One Pedagogy: Developing a Protocol for Illuminating the Nature of Teaching in the Conservatoire, International Journal of Music Education, 31, 2, pp. 148-159, (2013); Chong S., Wong I., Lang Q.C., Pre-Service Teachers’ Beliefs, Attitudes and Expectations: A Review of the Literature, Educational Management, 38, 6, pp. 650-653, (2005); Daniel R., Daniel L., Enhancing the Transition from Study to Work: Reflections on the Value and Impact of Internships in the Creative and Performing Arts, Arts and Humanities in Higher Education, 12, 2-3, pp. 138-153, (2013); Dunkin M., The Induction of Academic Staff to a University: Processes and Products, Higher Education, 20, 1, pp. 47-66, (1990); Gaunt H., One-to-One Tuition in a Conservatoire: The Perceptions of Instrumental and Vocal Teachers, Psychology of Music, 36, 2, pp. 215-245, (2008); Hallam S., Music Psychology in Education, (2006); Hallam S., Rodgers L., Creech A., Survey of Local Authority Music Services 2005: DFES Research Report RR700, (2005); Howe M., Sloboda J., Young Musicians’ Accounts of Significant influences in their Early Lifes, British Journal of Music Education, 8, 1, pp. 53-63, (1991); Johansen G., Music Education from the Perspective of System Theory, Sociology and Music Education, pp. 51-62, (2010); Jorgensen H., Student Learning in Higher Instrumental Education: Who is Responsible?, British Journal of Music Education, 17, 1, pp. 67-77, (2000); Jorgensen H., Instrumental Performance Expertise and Amount of Practice among Instrumental Students in a Conservatoire, Music Education Research, 4, 1, pp. 105-119, (2002); Kennell R., Systematic Research in Studio Instruction in Music, The New Handbook of Research on Music Teaching and Learning, pp. 243-256, (2002); Kostka M., Practice Expectations and Attitudes: A Survey of College-Level Music Teachers and Students, Journal of Research in Music Education, 50, 4, pp. 145-154, (2002); Lamont A., Musical Identities and the School Environment, Musical Identities, pp. 41-59, (2002); Le Guin E., Boccherini's Body: An Essay in Carnal Musicology, (2006); Leman M., Music, Gesture and the Formation of Embodied Meaning, Musical Gestures, Sound, Movement and Meaning, pp. 126-153, (2010); Madsen C., A 30-Year Follow-Up Study of Actual Applied Music Versus Estimated Practice, Journal of Research in Music Education, 52, 1, pp. 77-88, (2004); McCune V., Final Year Biosciences Students’ Willingness to Engage: Teaching-Learning Environments, Authentic Learning Experiences and Identities, Studies in Higher Education, 34, 3, pp. 347-361, (2009); McDonald R., Kreutz G., Mitchell L., What is Music, Health and Wellbeing and Why is It Important?, Music, Health and Wellbeing, pp. 3-11, (2012); McPherson G., Davidson J., Playing an Instrument, The Child as Musician: A Handbook of Musical Development, pp. 331-351, (2006); Mills J., Performing and Teaching: The Beliefs and Experience of Music Students as Instrumental Teachers, Psychology of Music, 54, 3, pp. 372-390, (2006); Mills J., Instrumental Teaching, (2007); O'Bryan J., Habits of the Mind, Hand and Heart: Approaches to Classical Singing Training, Teaching Singing in the 21st Century, pp. 21-34, (2014); Parkes K.A., Recent Research in Applied Studio Instruction: Characteristics of the Applied Setting, Journal of Research in Music Performance, 1, 1, (2009); Parkes K.A., Recent Research in Applied Studio Instruction III–Assessment and Evaluation, Journal of Research in Music Performance, 1, 3, (2011); Parncutt R., Can Researchers Help Artists? Music Performance Research for Music Students, Music Performance Research, 1, 1, pp. 1-25, (2007); Piaget J., Origins of Intelligence in the Child, (1936); Pitts S., Would you Credit it? Navigating the Transitions Between Curricular and Extra-Curricular Learning in University Music Departments, Arts and Humanities in Higher Education, 12, 2-3, pp. 194-203, (2013); Instrumental and Vocal Teacher Education: European Perspectives., (2010); Ritterman J., Learning What is to Perform: A Key to Peer Learning for Musicians, Peer Learning in Music, pp. 28-38, (2000); Simones L., The Dynamics of Expectations in Music Performance Modules in Higher Education: Changing Attitudes among Students, Part-Time Tutors and Fulltime Staff, Enhancing Learning and Teaching in Higher Education in Northern Ireland, pp. 24-32, (2012); Simones L., Rodger M., Schroeder F., Communicating Musical Knowledge through Gesture: Piano Teachers’ Gestural Behaviours across Different Levels of Student Proficiency, Psychology of Music, 43, 5, pp. 723-735, (2015); Simones L., Schroeder F., Rodger M., Categorisations of Physical Gesture in Piano Teaching: A Preliminary Enquiry, Psychology of Music, 43, 1, pp. 103-121, (2015); Venn E., Music Performance Tuition in Higher Education: Student Expectations, (2010); Vygotsky L., Thought and Language, (1986); Wenger E., Communities of Practice: Learning, Meaning and Identity, (1998)","L.L. Simones; Sonic Arts Research Centre, Queen's University, Belfast, United Kingdom; email: lsimones01@qub.ac.uk","","Routledge","","","","","","14613808","","","","English","Music Educ. Res.","Article","Final","","Scopus","2-s2.0-84949752897"
"Wollenberg R.S.","Wollenberg, Rebecca Scharbach (57192131733)","57192131733","The dangers of reading as we know it: Sight reading as a source of heresy in early rabbinic traditions","2017","Journal of the American Academy of Religion","85","3","","709","745","36","14","10.1093/jaarel/lfw073","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85049210315&doi=10.1093%2fjaarel%2flfw073&partnerID=40&md5=39e0c8c982ad0b34f8d2626580eac850","Frankel Center for Judaic Studies, University of Michigan, 202 S Thayer Street, Ann Arbor, 48104, MI, United States","Wollenberg R.S., Frankel Center for Judaic Studies, University of Michigan, 202 S Thayer Street, Ann Arbor, 48104, MI, United States","[No abstract available]","","","","","","","","","Aberbach M., Jewish Education and History: Continuity, Crisis and Change, (2009); Albeck C., Yalon C., The Six Orders of the Mishnah, (1988); Alexander E.S., Transmitting Mishnah: The Shaping Influence of Oral Tradition, (2006); Alexander P., Homer, prophet of all' and 'Moses our teacher': Late antique exegesis of the homeric epics and the torah of moses, The use of Sacred Books in the Ancient World, pp. 127-142, (1998); 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Elman Y., Orality and the redaction of the babylonian talmud, Oral Tradition, 14, 1, pp. 52-99, (1999); Elman Y., Gershoni I., Introduction, Transmitting Jewish Tradition: Orality, pp. 1-26, (2000); Engelke M., A Problem of Presence: Beyond Scripture in an African Church, (2007); Evans C.F., The new testament in the making, The Cambridge History of the Bible, pp. 232-284, (1970); Evans C.F., Jewish scripture and the literacy of jesus, From Biblical Criticism to Biblical Faith: Essays in Honor of Lee Martin McDonald, pp. 41-54, (2007); Fagan G.G., Bathing in Public in the Roman World, (2002); Feintuch Y., Uncovering covert links between halacha and aggadah in the babylonian talmud: The talmudic discussion of the yom kippur afflictions, Association for Jewish Studies Review, 40, 1, pp. 17-32, (2016); Foley J.M., Indigenous poems, colonialist texts, Orality, pp. 9-36, (2004); Fraade S., Rabbinic views on the practice of targum, and multilingualism in the jewish galilee of the third-sixth centuries, The Galilee in Late Antiquity, pp. 253-285, (1992); 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Kugel, pp. 139-173, (2014); Narasimhan R., Characterizing Literacy: A Study of Western and Indian Literacy Experiences, (2004); Nelson K., The Art of Reciting the Qur'an, (2001); Nelson W.D., Oral orthography, early rabbinic oral and written transmission of parallel midrashic traditions, Association for Jewish Studies Review, 29, 1, pp. 1-32, (2005); Niditch S., Oral World and Written Word: Ancient Israelite Literature, (1996); Osborne L., From Text to Sound to Perception: Modes and Relationships of Meaning in the Recited Qur'an, (2014); Perrot C., Reading of the bible in the ancient synagogue, Mikra: Text, Translation, Reading, and Interpretation of the Hebrew Bible in Ancient Judaism and Early Christianity, pp. 137-157, (1988); Rajkhowa B.B., Oral tradition of the ramayana in North East India, Critical Perspectives on the Ramayana, pp. 131-147, (2001); Saenger P., Books of hours and the reading habits of the later middle ages, The Culture of Print: Power and Uses of Print in Early Modern Europe, (2000); Safrai S., Education and the study of the torah, The Jewish People in the First Century: Historical Geography, Political History, Social, Cultural and Religious Life and Institutions, pp. 945-970, (1974); Schaefer P., Studien zur Geschichte und Theologie des Rabbinischen Judentums, (1978); Schniedewind W.M., How the Bible Became a Book: The Textualization of Ancient Israel, (2005); Schopen G., Notes on the cult of the book in mahayana, Figments and Fragments of Mahayana Buddhism in India: More Collected Papers, pp. 25-62, (2005); Schwartz S., Gamliel in aphrodite's bath, The Talmud Yerushalmi and Graeco-Roman Culture, pp. 202-217, (1998); Shandler J., Jews, God and Videotape: Religion and Media in America, (2009); Sirat C., Orality/Literacy, languages and alphabets: Examples from jewish culture, Writing Development: An Interdisciplinary View, pp. 101-116, (1997); Smith T.H., Conjuring Culture: Biblical Formations of Black America, (1994); Sommers B.D., Revelation & Authority, (2015); Sperber D., The City in Roman Palestine, (1998); Stock B., The Implications of Literacy: Written Language and Models of Interpretation in the Eleventh and Twelfth Centuries, (1993); Stoekl Ben-Ezra D., Reading ritual with genette: Paratextual and metatextual aspects of the bible in ritual performances, On the Fringe of Commentary: Metatextuality in Ancient Near Eastern and Ancient Mediterranean Cultures, pp. 195-217, (2014); Stolow J., Orthodox by Design: Judaism, Print Culture, and the Art Scroll Revolution, (2010); Strack H.L., Stemberger G., Introduction to Talmud and Midrash, (1996); Stroumsa G., La Fin du Sacrifice: Mutations Religieuses de l'Antiquité Tardive, (2005); Stroumsa G., The scriptural movement of late antiquity and christian monasticism, Journal of Early Christian Studies, 16, 1, pp. 61-77, (2008); Sugirtharajah R.S., The Bible and the Third World: PreColonial, Colonial, and Postcolonial Encounters, (2001); Sussman Y., Talmud Yerushalmi, (2001); Sussman Y., Literally 'Oral torah': The power in the serif on the yud, Meqere Talmud, 3, pp. 190-209, (2005); Swartz M., The Signifying Creator: Nontextual Sources of Meaning in Ancient Judaism, (2014); Taylor M.C., Empowering the sacred: The function of the sanskrit text in a contemporary exposition of the bhagavatapurana, Literacy and Performance in the Ancient World: Orality and Literacy in the Ancient World, pp. 129-150, (2011); Thomas R., Writing, reading, public and private 'Literacies': Functional literacy and democratic literacy in Greek, Ancient Literacies: The Culture of Reading in Greece and Rome, pp. 13-45, (2009); Too Y.L., The Idea of the Library in the Ancient World, (2010); Toorawa S.M., Ibn Abi Tahir Tayfur and Arabic Writerly Culture: A Ninth Century Bookman in Baghdad, (2004); Tshehla M.S., Translation and the vernacular bible in the debate between my 'Traditional' and academic worldviews, Orality, Literacy, and Colonialism in South Africa, pp. 171-187, (2004); Visotzky B., Prolegomenon to the study of jewish christianities in rabbinic literature, Association for Jewish Studies Review, 14, 1, pp. 47-70, (1989); Wollenberg R.S., The People of the Book Without the Book: Classical Rabbinic Ambivalence Towards Biblical Text After the Rise of Christianity, (2015); Woolf G., Literacy or literacies in Rome?, Ancient Literacies: The Culture of Reading in Greece and Rome, pp. 46-68, (2009); Worthington M., Principles of Akkadian Textual Criticism, (2012); Yegul F., Baths and Bathing in Classical Antiquity, (1992); Zellentin H.M., Rabbinic Parodies of Jewish and Christian Literature, (2011); Zuckermandel M.S., Tosephta, Based on the Erfurt and Vienna Codices, With Parallels and Variants, (1970)","R.S. Wollenberg; Frankel Center for Judaic Studies, University of Michigan, Ann Arbor, 202 S Thayer Street, 48104, United States; email: rwollenb@umich.edu","","Oxford University Press","","","","","","00027189","","","","English","J. Am. Acad. Relig.","Article","Final","","Scopus","2-s2.0-85049210315"
"Soysal F.; Yürümez E.","Soysal, Fikri (57220206096); Yürümez, Erkan (57220205734)","57220206096; 57220205734","Methodological education of unmetered folk songs; [Metodolojik uzun hava eğitimi]","2020","Rast Müzikoloji Dergisi","8","1","","2366","2372","6","1","10.12975/pp2366-2372","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85097281218&doi=10.12975%2fpp2366-2372&partnerID=40&md5=8648cd1227ae2f5d57e5de9c79b28b6a","Tokat Gaziosmanpaşa University, State Conservatory, Taşlıçiftlik yerleşkesi, Tokat, Turkey; R.T. Ministry of National Education, Tokat, Turkey","Soysal F., Tokat Gaziosmanpaşa University, State Conservatory, Taşlıçiftlik yerleşkesi, Tokat, Turkey; Yürümez E., R.T. Ministry of National Education, Tokat, Turkey","One of the issues waiting to be developed methodologically in our music, which is a separate science with its maqam and methods, is the education of unmetered folk songs. Nowadays, there is still no methodological thought developed to teach unmetered folk songs. Therefore, each thought about this need is important. Methodological education of unmetered folk songs has been developed according to enthusiasts with musical literacy. Methodological education of unmetered folk songs consists of the headings of the recognition of rhythmic patterns, rhythmic reading, education of hearing, solfege, pleasant singing study, and in-depth text interpretation. Rhythmic recognition will provide the education of getting the information required for the transition to rhythmic reading, rhythmic reading, and solfege. It is aimed to systematize the education of unmetered folk songs in Turkish folk music and to provide it with a methodological order. Thus, methodological education of unmetered folk songs is considered to make a significant contribution to the field of Turkish folk music in music schools. © 2020, Fikri Soysal. All rights reserved.","Folk song; Methodological education; Turkish music; Unmetered folk song; Uzun hava","","","","","","","","Bartok B., Küçük Asya’dan Türk Halk Musikisi, (1991); Hossu M., Geleneksel Türk Halk Müziği Nazariyatı, (1997); Ozbek M., Türk Halk Müziği El Kitabı 1, (1998); Sarisozen M., Türk Halk Musikisi Usulleri, (1962); Soysal F., Metodolojik Muğam Eğitimi, Rast Muğamı Berdaşt Şubesi, (2012); Senel S., Türk Halk Musikisinde “Uzun Hava” Tanımları ve Bu Tanımlar Etrafında Ortaya Çıkan Problemler. IV, Milletlerarası Türk Halk Kültürü Kongresi Bildirileri, III, pp. 287-309, (1992); Yurumez E., Basılmamış Yüksek Lisans Tezi, (2019)","F. Soysal; Tokat Gaziosmanpaşa University, State Conservatory, Taşlıçiftlik yerleşkesi, Tokat, Turkey; email: fikrisoysall@gmail.com; E. Yürümez; R.T. Ministry of National Education, Tokat, Turkey; email: erkan.21.1985@gmail.com","","Fikri Soysal","","","","","","21477361","","","","English","Rast Müzikoloji Dergisi","Article","Final","","Scopus","2-s2.0-85097281218"
"Ng H.H.","Ng, Hoon Hong (57201292360)","57201292360","Enabling Popular Music Teaching in the Secondary Classroom-Singapore Teachers' Perspectives","2018","British Journal of Music Education","35","3","","301","319","18","13","10.1017/S0265051717000274","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85044197034&doi=10.1017%2fS0265051717000274&partnerID=40&md5=5010fafd0882ff083e6c3f87bca9a33f","National Institute of Education, Nanyang Technological University, 1 Nanyang Walk, 637616, Singapore","Ng H.H., National Institute of Education, Nanyang Technological University, 1 Nanyang Walk, 637616, Singapore","The pervasiveness of popular music and its associated practices in current youth cultures brings into question the relevance and effectiveness of more traditional music pedagogies, and propels a search for a more current and engaging music pedagogy informed by popular music practices. With this as the basis, this study seeks to explore factors that may enable the success and effectiveness of popular music programmes in public schools through the lenses of three Singapore secondary school teachers as they conducted their popular music lessons over seven to ten weeks. In the process, the study also describes how these teachers pragmatically negotiated the execution of these programmes within Singapore's unique educational context. The findings may serve to inform music teachers and school leaders keen to establish similar programmes as a matter of on-going dialogue. © 2018 Cambridge University Press.","","","","","","","National Institute of Education, Nanyang Technological University; Office of Education Research, (OER 17/12 ED)","This article draws resources from an education research grant awarded by the Office of Education Research (OER 17/12 ED), the National Institute of Education, Nanyang Technological University, Singapore.","Burnard P., Younker B.A., Mapping pathways: Fostering creativity in composition, Music Education Research, 4, 2, pp. 245-261, (2002); Burnard P., Younker B.A., Problem-solving and creativity: Insights from student's individual composing pathways, International Journal of Music Education, 22, 1, pp. 59-76, (2004); Chua S.L., Koh B.K., Students' Views on their Appreciation for Art and Music, Proceedings of the International Conference on Redesigning Pedagogy: Culture, Knowledge and Understanding, Singapore, (2007); Creswell J.W., Qualitative Inquiry and Research Design: Choosing among Five Traditions, (1998); Csikszentmihalyi M., Flow: The Psychology of Optimal Performance, (1990); D'Amore A., Musical Futures: An Approach to Teaching and Learning, (2006); Dairianathan E., Lum C.H., Vedic metal: Issues of local practice, popular music and education, CDIME10: Tenth International Conference on Cultural Diversity in Music Education, Sydney, 11-13 January 2010, pp. 32-38, (2010); Dimitriadis G., Performing Identity/Performing Culture: Hip Hop As Text, Pedagogy, and Lived Practice, (2009); Dunbar-Hall P., Wemyss K., The effects of the study of popular music on music education, International Journal of Music Education, 36, 1, pp. 23-34, (2000); Emerson R.M., Fretz R.I., Shaw L.L., Writing Ethnographic Fieldnotes, (1995); Folkestad G., Formal and informal learning situations or practices vs formal and informal ways of learning, British Journal of Music Education, 23, 2, pp. 135-145, (2006); Green L., How Popular Musicians Learn:AWay Ahead for Music Education, (2002); Green L., What can music educators learn from popular musicians?, Bridging the Gap: Popular Music and Education, pp. 224-241, (2004); Green L., Music, InformalLearning AndtheSchool:ANewClassroom Pedagogy, (2008); Ho W.C., Music education curriculum and social change: A study of popular music in secondary schools in Beijing, China, Music Education Research, 16, 3, pp. 267-289, (2014); Jorgensen E.R., Transforming Music Education, (2003); Assessment Competencies, (2009); General Music Programme: Primary/Secondary, (2015); Rodriguez C., Informal learning in music: Emerging roles of teachers and students, Action, Criticism, and Theory for Music Education, 8, 2, pp. 35-45, (2009); Teo T., Relationship of selected listener variables and musical preference of young students in Singapore, Music Education Research, 7, 3, pp. 349-362, (2005); Webster P., Creative thinking in music: Advancing a model, Creativity and Music Education, pp. 16-34, (2002); Wenger E., Communities of Practice: Learning, Meaning, and Identity, (1998); Wong E., AStudyofStudentand Teacher Attitudes Toward MusicEducationin SingaporeSecondary Schools, (1999)","H.H. Ng; National Institute of Education, Nanyang Technological University, 1 Nanyang Walk, 637616, Singapore; email: hoonhong.ng@nie.edu.sg","","Cambridge University Press","","","","","","02650517","","","","English","Br. J. Music Educ.","Article","Final","","Scopus","2-s2.0-85044197034"
"Howie W.; Martin D.; Kim S.; Kamekawa T.; King R.","Howie, Will (56890956800); Martin, Denis (57193096096); Kim, Sungyoung (22938030800); Kamekawa, Toru (37079258300); King, Richard (57211593369)","56890956800; 57193096096; 22938030800; 37079258300; 57211593369","Effect of audio production experience, musical training, and age on listener performance in 3D audio evaluation","2019","AES: Journal of the Audio Engineering Society","67","10","","782","794","12","11","10.17743/jaes.2019.0031","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85074210136&doi=10.17743%2fjaes.2019.0031&partnerID=40&md5=d116c6e930c0c536fd83f570bab27d04","CBC/Radio-Canada, Vancouver, Canada; Graduate Program in Sound Recording, McGill University, Montréal, QC, Canada; College of Engineering Technology, Rochester Institute of Technology, Rochester, NY, United States; Department of Musical Creativity and the Environment, Tokyo University of the Arts, Tokyo, Japan","Howie W., CBC/Radio-Canada, Vancouver, Canada; Martin D., Graduate Program in Sound Recording, McGill University, Montréal, QC, Canada; Kim S., College of Engineering Technology, Rochester Institute of Technology, Rochester, NY, United States; Kamekawa T., Department of Musical Creativity and the Environment, Tokyo University of the Arts, Tokyo, Japan; King R., Graduate Program in Sound Recording, McGill University, Montréal, QC, Canada","A study was undertaken to determine the effect of audio production experience, musical training and technical ear training, age, and previous experience listening to 3D music recordings on listener performance within the context of 3D audio evaluation. Subjects ranging from highly experienced to naïve listeners evaluated an excerpt of orchestral music captured by three different 3D music recording techniques. By combining the results with those of a previous study, it was found that both audio production experience and musical training are significant predictors of listener performance and that listener performance increases with age until 36 years. © 2019 Audio Engineering Society. All rights reserved.","","Audio recordings; 3D audio; Music recording; Audio acoustics","","","","","McGill University, McGill; Centre for Interdisciplinary Research in Music Media and Technology, CIRMMT; Social Sciences and Humanities Research Council of Canada, SSHRC; Japan Society for the Promotion of Science, JSPS, (L18521); Kyoto University","Funding text 1: This research was supported by the Social Sciences and Humanities Research Council, The Centre for Interdisciplinary Research in Music Media and Technology, and McGill University. Thanks to Misaki Hasuo, Dr. Atsushi Marui, Dr. Hidetaka Imamura, and Dr. Daigo Shima.; Funding text 2: Sungyoung Kim received a B.S. degree from Sogang University, Korea, and a Master of Music and Ph.D. from McGill University, Canada. He joined the Electrical, Computer, and Telecommunication Engineering Department of Rochester Institute of Technology (RIT) as an assistant professor in 2012 (associate professor from 2018). His research interests are rendering and perceptual evaluation of spatial audio, digital preservation of aural heritage, and auditory training for hearing rehabilitation. In 2019 Dr. Kim received the Japan Society for the Promotion of Science (JSPS)’s International Fellowship for Research in Japan (L18521) becoming a visiting scholar in the Department of Architecture and Architectural Engineering, Kyoto University (Japan), from Dec. 2018 to Aug. 2019. He holds two international patents (granted), US8320590B2 (2012) and US9351074B2 (2016), on spatial sound rendering, and wrote Chapter 7, “Height Channels,” in The Immersive Sound: The Art and Science of Binaural and Multi-Channel Audio (Focal Press), edited by P. Geluso and A. Roginska. • Richard King is an Associate Professor at the Schulich School of Music of McGill University in Montreal, Canada. He is a multiple Grammy award winning recording engineer and member of the Centre for Interdisciplinary Research in Music, Media, and Technology (CIRMMT). His research interests include immersive/3D recording and reproduction and the process of music mixing. His book Recording Orchestra and Other Classical Music Ensembles is available on Routhledge/ Focal Press in the “AES presents” publication series.","Bech S., Zacharov N., Perceptual Audio Evaluation—Theory, Method and Application, (2006); Toole F., Subjective measurements of loudspeaker sound quality and listener performance, J. Audio Eng. Soc., 33, pp. 2-32, (1985); Bech S., Selection and training of subjects for listening tests on sound-reproducing equipment, J. Audio Eng. Soc., 40, pp. 590-610, (1992); Olive S., Differences in Performance and Preference of Trained versus Untrained Listeners in Loudspeaker Tests: A case study, J. Audio Eng. Soc., 51, pp. 806-825, (2003); Olive S., A method for training listeners and selecting program material for listening tests, 97th Convention of the Audio Engineering Society, (1997); Gabrielsson A., Sjogren H., Perceived sound quality of sound-reproducing systems, J. Acoust. Soc. Amer., 65, pp. 1019-1033, (1979); Killian M.C., Tillman T.M., Evaluation of high fidelity hearing AiDS, J. Speech Hear. Res., 25, pp. 15-25, (1982); Methods for the Subjective Assessment of Small Impairments in Audio Systems including Multichannel Sound Systems, (2015); Schinkel-Bielefeld N., Et al., Audio quality evaluation by experienced and inexperienced listeners, Proc. Mtgs. Acoust., 19, (2013); Corey J., Audio Production and Critical Listening: Technical Ear Training, (2017); Quesnel R., Timbral ear trainer: Adaptive, interactive training of listening skills for evaluation of timbre differences, 100th Convention of the Audio Engineering Society, (1994); Kassier R., Et al., Training versus Practice in Spatial Audio Attribute Evaluation Tasks, 122nd Convention of the Audio Engineering Society, (2007); Olive S., Some new evidence that teenagers and college students may prefer accurate sound reproduction, 132nd Convention of the Audio Engineering Societyt, (2012); Francombe J., Et al., Evaluation of spatial audio reproduction methods (Part 2): Analysis of listener preference, J. Audio Eng. Soc., 65, pp. 212-225, (2017); Rumsey F., Et al., Relationships between experienced listener ratings of multichannel audio quality and naïve listener preferences, J. Acoust. Soc. Amer., 117, pp. 3832-3840, (2005); Howie W., King R., Martin D., Listener discrimination between common speaker-based 3D audio reproduction formats, J. Audio Eng. Soc., 65, pp. 796-805, (2017); Hamasaki K., Et al., Effectiveness for height information for reproducing presence and reality in multichannel audio system, 120th Convention of the Audio Engineering Society, (2006); Shim H., Et al., Perceptual evaluation of spatial audio quality, 129th Convention of the Audio Engineering Society, (2010); Oode S., Et al., Dimensional loudspeaker arrangement for creating sound envelopment, IEICE Technical Report, (2012); Lee H., Gribben C., Effect of vertical microphone array spacing for a 3D microphone array, J. Audio Eng. Soc., 62, pp. 870-884, (2014); Howie W., Et al., Subjective and objective evaluation of 9cH three-dimensional acoustic music recording techniques, AES International Conference: Spatial Reproduction – Aesthetics and Science, (2018); Howie W., Et al., Subjective evaluation of orchestral music recording techniques for three-dimensional audio, 142nd Convention of the Audio Engineering Society, (2017); Hamasaki K., van Baelen W., Natural sound recording of an orchestra with three-dimensional sound, 138th Convention of the Audio Engineering Society, (2015); Martin B., Et al., Subjective graphical representation of microphone arrays for vertical imaging and three-dimensional capture of acoustic instruments, part I, 141st Convention of the Audio Engineering Society, (2016); Kim S., Et al., A cross-cultural comparison of salient perceptual characteristics of height channels for a virtual auditory environment, Virtual Reality, 19, pp. 149-160, (2015); Kim S., Et al., Reproducing virtually elevated sound via a conventional home-theater audio system, J. 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Soc., 62, pp. 337-344, (2014); Howie W., Capturing Orchestral Music for Three-Dimensional Audio Playback, (2018); Kim S., Howie W., Martin D., Comparison of salient percepts associated with three sound-field capturing methods, ICSV25, Hiroshima, (2018); Advanced Sound System for Programme Production, (2018); Hamasaki K., Hiyama K., Development of a 22.2 multichannel sound system, Broadcast Technology, 25, pp. 9-13, (2006); Howie W., Et al., A three-dimensional orchestral music recording technique, optimized for 22.2 multichannel sound, 141st Convention of the Audio Engineering Society, (2016); Hamasaki K., Et al., Advanced multichannel audio systems with superior impressions of presence and reality, 116th Convention of the Audio Engineering Society, (2004); Meyer J., Elko G., A highly scalable spherical microphone array based on an orthonormal decomposition of the soundfield, IEEE International Conference on Audio Speech and Signal Processing (ICASSP), (2002); Berg J., Rumsey F., Verification and correlation of attributes used for describing the spatial quality of reproduced sound, AES 19th International Conference: Surround Sound—Techniques, Technology, and Perception, (2001); Zacharov N., Et al., Next generation audio system assessment using the multiple stimulus ideal profile method, The 8th International Conference on Quality of Multimedia Experience, (2016); Rumsey F., Spatial quality evaluation for reproduced sound: Terminology, meaning, and a scene-based paradigm, J. Audio Eng. Soc., 50, pp. 651-666, (2002); Borwick J., Loudspeaker and Headphone Handbook, (2001); R: A Language and Environment for Statistical Computing, (2016); Furnival G.M., Wilson R.W., Regressions by leaps and bounds, Technometrics, 16, 4, pp. 499-511, (1974); Fortenbaugh F.C., Et al., Sustained attention across the life span in a sample of 10,000: Dissociating ability and strategy, Psychological Science, 26, 9, pp. 1497-1510, (2015); Robinson D.W., Sutton G.J., Age effect in hearing—a comparative analysis of published threshold data, Audiology, 18, 4, pp. 320-334, (1979); Roffler S., Butler R., Factors that influence the localization of sound in the vertical plane, J. Acoust. Soc. Amer., 43, 6, pp. 1255-1259, (1968); Butler R., Humanski R., Localization of sound in the vertical plane with and without high frequency spectral cues, Percept. Psychophys., 51, 2, pp. 182-186, (1992)","","","Audio Engineering Society","","","","","","15494950","","JAEAF","","English","AES J Audio Eng Soc","Article","Final","","Scopus","2-s2.0-85074210136"
"Cara M.A.","Cara, Michel A. (57191845205)","57191845205","Anticipation awareness and visual monitoring in reading contemporary music","2018","Musicae Scientiae","22","3","","322","343","21","11","10.1177/1029864916687601","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85049677957&doi=10.1177%2f1029864916687601&partnerID=40&md5=6e8e2e8e9cc57546d88a0101526c1738","Pontifical Catholic University of Valparaíso, Chile","Cara M.A., Pontifical Catholic University of Valparaíso, Chile","This study examines anticipation and related eye movement measures during music reading with 22 pianists performing four successive executions of an excerpt of Ligeti’s Etude No. 4 “Fanfares”. The pianists were allowed to practice for two minutes between each trial and were divided into two skill groups based on their tempo and accuracy scores. Visual monitoring was assessed by measuring the number and duration of glances at the keyboard (GAK). This assessment led us to introduce a new eye movement measure, the awareness span. The nature of the music reading process was examined by applying a reading span test and a spatial memory test. The results showed that practice and musical structure had a strong effect on performance, eye movement and mixed (eye–hand span and awareness span) measures. Compared to the less expert group, we noted that the expert pianists played faster, with fewer substitutions, larger eye–hand and awareness spans, and fewer and shorter GAK. Across the trials, the pianists were able to adapt the location of GAK within bars and use GAK to create imaginary borders; this is consistent with the findings of Sloboda (1974, 1977), who demonstrated experts’ capacity to adapt their eye–hand span to musical structure. More skilled pianists mobilize their anticipation capabilities more efficiently, underlining a link between the visuospatial sketchpad (Baddeley, 1990) and the music reading anticipation process. © The Author(s) 2017.","eye movements; eye–hand span; music reading; sight-reading; visual monitoring of motor movements; working memory","","","","","","Comisión Nacional de Investigación Científica y Tecnológica, CONICYT, (72100347)","This research was supported in part by grants from the National Commission for Scientific and Technological Research (CONICYT) under Grant 72100347.","Anguera J.A., Reuter-Lorenz P.A., Willingham D.T., Seidler R.D., Contributions of spatial working memory to visuomotor learning, Journal of Cognitive Neuroscience, 22, 9, pp. 1917-1930, (2010); Apel W., Harvard dictionary of music, (1970); Baccino T., La lecture électronique, (2004); Baccino T., Colombi T., L’analyse des mouvements des yeux sur le web [Analysis of eye movements on the web], Les interactions homme-système: Perspectives et recherches psycho-ergonomiques, pp. 127-148, (2001); Baddeley A.D., Working memory, (1986); Baddeley A.D., Human memory: Theory and practice, (1990); Baddeley A.D., Working memory: Looking back and looking forward, Nature Reviews Neuroscience, 4, pp. 829-839, (2003); Baddeley A., Working memory: Theories, models, and controversies, Annual Review of Psychology, 63, 1, pp. 1-29, (2012); Banton L.J., The role of visual and auditory feedback during the sight-reading of music, Psychology of Music, 23, 1, pp. 3-6, (1995); Berch D.B., Krikorian R., Huha E.M., The Corsi block-tapping task: Methodological and theoretical implication, Brain and Cognition, 38, 3, pp. 317-338, (1998); Bigand E., Lalitte P., Lerdahl L., Boucheix J.-M., Gerard Y., Pozzo T., Looking into the eyes of a conductor performing Lerdahl’s “Time after Time, Musicæ Scientiæ, 14, pp. 275-294, (2010); Brunetti R., Del Gatto C., Delogu F., eCorsi: Implementation and testing of the Corsi block-tapping task for digital tablets, Frontiers in Psychology, 5, 939, pp. 1-9, (2014); Burman D., Booth J., Music rehearsal increases the perceptual span for notation, Music Perception, 26, 4, pp. 303-320, (2009); Chaffin R., Imreh G., Lemieux A.F., Chen C., Seeing the big picture”: Piano practice as expert problem solving, Music Perception, 20, 4, pp. 465-490, (2003); Corsi P.M., Human memory and the medial temporal region of the brain, (1972); Cowan N., Attention and memory: An integrated framework, (1995); Daneman M., Carpenter P., Individual differences in working memory and reading, Journal of Verbal Learning and Verbal Behavior, 19, 4, pp. 450-466, (1980); Desmette D., Hupet M., Schelstraete M.-A., Van der Linden M., Adaptation en langue française du Reading Span Test de Daneman et Carpenter (1980) [French adaption of Daneman and Carpenter’s (1980) Reading Span Test], L’année Psychologique, 95, 3, pp. 459-482, (1995); Drai-Zerbib V., Baccino T., L’expertise dans la Lecture Musicale: integration intermodale [Expertise in music reading: Intermodal integration], L’Année psychologique, 105, pp. 387-422, (2005); Drai-Zerbib V., Baccino T., Bigand E., Sightreading expertise: Cross-modality integration investigated using eye-tracking, Psychology of Music, 40, 2, pp. 216-235, (2012); Drake C., Lechavalier B., Platel H., Eustache F., Ecouter et jouer la musique: une fenêtre sur les processus d’organisation temporelle. 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A study of newspaper and net paper reading, The mind’s eye: Cognitive and applied aspects of eye movement research, pp. 657-670, (2003); Holmqvist K., Nystrom M., Andersson R., Dewhurst R., Jarodzka H., Van de Weijer J., Eye tracking: A comprehensive guide to methods and measures, (2011); Janata P., Grafton S.T., Swinging in the brain: Shared neural substrates for behaviors related to sequencing and music, Nature Neuroscience, 6, 7, pp. 682-687, (2003); Kane M.J., Hambrick D.Z., Tuholski S.W., Wilhelm O., Payne T.W., Engle R.W., The generality of working memory capacity: A latent variable approach to verbal and visuospatial memory span and reasoning, Journal of Experimental Psychology: General, 133, 2, pp. 189-217, (2004); Kinsler V., Carpenter R.H., Saccadic eye movements while reading music, Vision Research, 35, 10, pp. 1447-1458, (1995); Kopiez R., Lee J.I., Towards a general model of skills involved in sight reading music, Music Education Research, 10, 1, pp. 41-62, (2008); Kopiez R., Weihs C., Ligges U., Lee J.I., Classification of high and low achievers in a music sight-reading task, Psychology of Music, 34, 1, pp. 5-26, (2006); Kornicke L.E., An exploratory study of individual difference variables in piano sight-reading achievement, (1992); Lannert V., Ullman M., Factors in the reading of piano music, The American Journal of Psychology, 58, 1, pp. 91-99, (1945); Lee J.I., The role of working memory and short-term memory in sight reading, pp. 121-126, (2003); Legrand-Lestremau S., Postal V., Charles A., La vitesse de frappe est-elle liée au processus d’anticipation? [Does typing speed depend on the process of anticipation?], Le travail humain, 1, 69, pp. 67-92, (2006); Lehmann A.C., Ericsson K.A., Performance without preparation: Structure and acquisition of expert sight-reading and accompanying performance, Psychomusicology, 15, 1-2, pp. 1-29, (1996); Lehmann A.C., Kopiez R., The Oxford handbook of music psychology, pp. 344-351, (2009); Meinz E.J., Hambrick D.Z., Deliberate practice is necessary but not sufficient to explain individual differences in piano sight-reading skill: The role of working memory capacity, Psychological Science, 21, 7, pp. 914-919, (2010); Miller G.A., The magic number seven, plus or minus two: Some limits on our capacity for processing information, Psychological Review, 63, 2, pp. 81-97, (1956); Milner B., Interhemispheric differences in the localization of psychological processes in man, British Medical Bulletin, 27, 3, pp. 272-277, (1971); Mishra J., Factors related to sight-reading accuracy: A meta-analysis, Journal of Research in Music Education, 61, 4, pp. 452-465, (2014); 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Ronkainen S., Kuusi T., The keyboard as a part of visual, auditory, and kinesthetic processing in sight-reading at the piano, pp. 453-458, (2009); Rosemann S., Altenmuller E., Fahle M., The art of sight-reading: Influence of practice, playing tempo, complexity and cognitive skills on the eye–hand span in pianists, Psychology of Music, 44, 4, pp. 658-673, (2015); Rosenbaum D.A., Human motor control, (1991); Rosenbaum D.A., Cohen R.G., Jax S.A., Weiss D.J., van der Wel R., The problem of serial order in behavior: Lashley’s legacy, Human Movement Science, 26, pp. 525-554, (2007); Sergent J., Zuck E., Terriah S., MacDonald B., Distributed neural network underlying musical sight-reading and keyboard performance, Science, 257, pp. 106-109, (1992); Servant I., Baccino T., Lire Beethoven: une étude exploratoire des mouvements des yeux [Reading Beethoven: An exploratory study of eye movement], Musicæ Scientiæ, 3, 1, pp. 67-94, (1999); Shaffer L.H., Performances of Chopin, Bach, and Bartók: Studies in motor programming, Cognitive Psychology, 13, 3, pp. 326-376, (1981); Shipstead Z., Redick T.S., Engle R.W., Is working memory training effective?, Psychological Bulletin, 138, 4, pp. 628-654, (2012); Siegler R.S., Crowley K., The microgenetic method: A direct means for studying cognitive development, American Psychologist, 46, 6, pp. 606-620, (1991); Sloboda J.A., The eye–hand span: An approach to the study of sight reading, Psychology of Music, 2, 2, pp. 4-10, (1974); Sloboda J.A., Phrase units as determinants of visual processing in music reading, British Journal of Psychology, 68, pp. 117-124, (1977); Sloboda J.A., Experimental studies of music reading: A review, Music Perception, 2, 2, pp. 222-236, (1984); Sloboda J.A., L’esprit musicien: la psychologie cognitive de la musique (The musical mind: The cognitive psychology of music), (1985); Stewart L., Henson R., Kampe K., Walsh V., Turner R., Frith U., Brain changes after learning to read and play music, NeuroImage, 20, 1, pp. 71-83, (2003); Waters A.J., Underwood G., Findlay J., Studying expertise in music reading: Use of a pattern matching paradigm, Perception and Psychophysics, 59, 4, pp. 477-488, (1997); Weaver H.A., A survey of visual processes in reading differently constructed musical selections, Psychological Monographs, 55, 1, pp. 1-30, (1943); Williamon A., Valentine E., Valentine J., Shifting the focus of attention between levels of musical structure, European Journal of Cognitive Psychology, 14, 4, pp. 493-520, (2002); Wolf T., A cognitive model of musical sight-reading, Journal of Psycholinguistic Research, 5, 2, pp. 143-171, (1976); Wurtz P., Mueri R., Wiesendanger M., Sight-reading of violinists: Eye movements anticipate the musical flow, Experimental Brain Research, 194, 3, pp. 445-450, (2009)","M.A. Cara; IMUS, Pontifical Catholic University of Valparaíso, Valparaíso, Pilcomayo 478, Cerro Concepción, Chile; email: michel.cara@pucv.cl","","SAGE Publications Ltd","","","","","","10298649","","","","English","Musicae Scientiae","Article","Final","","Scopus","2-s2.0-85049677957"
"Bakan M.B.","Bakan, Michael B. (35200516100)","35200516100","The moral of the story: Making ethnomusicology matter in the twenty-first century","2017","Journal of World Popular Music","4","2","","265","279","14","2","10.1558/jwpm.35120","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85037342126&doi=10.1558%2fjwpm.35120&partnerID=40&md5=075d094b177b00c3c7c788ae8a6973d7","College of Music, Florida State University, Tallahassee, 32306-1180, FL, United States","Bakan M.B., College of Music, Florida State University, Tallahassee, 32306-1180, FL, United States","How can we make ethnomusicology truly matter and, more specifically, how can we at once build upon and transform its traditions in order to make it a more relevant, impactful, and humane discipline? These are the central questions addressed in this article, which was originally presented as the keynote lecture at the British Forum for Ethnomusicology's (BFE) annual conference in 2017. The work is organized in four sections. The first deals with world music pedagogy, the second with the music and culture of Balinese gamelan beleganjur, the third with the author's collaborations with funk music legend George Clinton, and the fourth with his research on the ethnomusicology of autism. ""Tradition today"", the conference theme of BFE 2017, provides the conceptual groundwork for this wide-ranging exploration, which is further unified by Bakan's choice of topics and issues deriving from his principal areas of research, teaching, and musical activity. The examples set forth are used to advocate for more engaged, activist, and representational (as opposed to representational) approaches in ethnomusicology. © Equinox Publishing Ltd 2017.","Autism; Ethnomusicology definitions; Gamelan; George Clinton and Parliament/Funkadelic; Jewish music; Re-presentation vs. representation; Tradition; World music pedagogy","","","","","","","","Bakan M.B., ""Balinese Kreasi Beleganjur: An Ethnography of Musical Experience"", (1993); Bakan M.B., Music of Death and New Creation: Experiences in the World of Balinese Gamelan Beleganjur, (1999); Bakan M.B., World Music: Traditions and Transformations, (2007); Bakan M.B., World Music: Traditions and Transformations, (2012); Bakan M.B., Don't Go Changing to Try and Please Me': Combating Essentialism through Ethnography in the Ethnomusicology of Autism, Ethnomusicology, 59, 1, pp. 116-144, (2015); Bakan M.B., Speaking for Ourselves: Conversations on Life, Music, and Autism; Clinton G., Greenman B., Brothas Be, Yo like George, Ain't That Funkin' Kinda Hard on You?, (2014); Scholem G., Major Trends in Jewish Mysticism, (1995); Making Change: Music, Meaning, and Autism, (2017); Weir I.E., Rainbow Concert of World Music-George Clinton, Danny Bedrosian & Omnimusica-"" Funkentelechy"", (2017); Weir I.E., Rainbow Concert of World Music with George Clinton & Danny Bedrosian-FSU Balinese Gamelan Ensemble, (2017)","M.B. Bakan; College of Music, Florida State University, Tallahassee, 32306-1180, United States; email: michaelbakan@gmail.com","","Equinox Publishing Ltd","","","","","","20524900","","","","English","J. World Popular Music","Article","Final","","Scopus","2-s2.0-85037342126"
"Yoo H.","Yoo, Hyesoo (57061553300)","57061553300","Multicultural Choral Music Pedagogy Based on the Facets Model","2017","Music Educators Journal","104","1","","34","39","5","12","10.1177/0027432117708602","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85060090463&doi=10.1177%2f0027432117708602&partnerID=40&md5=16c80bb27aab41bc4e713f9be9bda35e","Virginia Polytechnic Institute and State University, Blacksburg, United States","Yoo H., Virginia Polytechnic Institute and State University, Blacksburg, United States","Multicultural choral music has distinct characteristics in that indigenous folk elements are frequently incorporated into a Western European tonal system. Because of this, multicultural choral music is often taught using Western styles (e.g., bel canto) rather than through traditional singing techniques from their cultures of origin. One of the most important purposes of teaching multicultural music is to increase understanding of and acceptance toward different cultures and enrich musical experiences. This article details eight instructional strategies to help students learn multicultural choral music from alternative perspectives that enrich their musical skills, cultural understandings, and performances of multicultural music. © 2017 National Association for Music Education.","choir; choral; culture; Facets Model; multicultural music; strategies; traditional; vocal music","","","","","","","","","H. Yoo; Virginia Polytechnic Institute and State University, Blacksburg, United States; email: HaeS2000@vt.edu","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85060090463"
"Centanni T.M.; Anchan D.M.; Beard M.; Brooks R.; Thompson L.A.; Petrill S.A.","Centanni, Tracy M. (55780561300); Anchan, D.M. (57210316638); Beard, Maggie (57164437500); Brooks, Renee (57212454978); Thompson, Lee A. (7403729523); Petrill, Stephen A. (7004295289)","55780561300; 57210316638; 57164437500; 57212454978; 7403729523; 7004295289","Genetic and Environmental Influences on Decoding Skills – Implications for Music and Reading","2019","Frontiers in Psychology","10","","2604","","","","1","10.3389/fpsyg.2019.02604","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85076699167&doi=10.3389%2ffpsyg.2019.02604&partnerID=40&md5=b6b5afa7d01286bb256a4be1561979d3","Department of Psychology, Texas Christian University, Fort Worth, TX, United States; The University of Alabama, Tuscaloosa, AL, United States; The Ohio State University, Columbus, OH, United States; Case Western Reserve University, Cleveland, OH, United States","Centanni T.M., Department of Psychology, Texas Christian University, Fort Worth, TX, United States; Anchan D.M., The University of Alabama, Tuscaloosa, AL, United States; Beard M., The Ohio State University, Columbus, OH, United States; Brooks R., The Ohio State University, Columbus, OH, United States; Thompson L.A., Case Western Reserve University, Cleveland, OH, United States; Petrill S.A., The Ohio State University, Columbus, OH, United States","Music education is associated with increased speech perception abilities and anecdotal evidence suggests musical training is also beneficial for performance in a variety of academic areas. In spite of this positive association, very little empirical evidence exists to support this claim except for a few studies linking musical training to improvements in verbal tasks. We evaluated the relationships between specific aspects of musical training/ability and scores on a series of standardized reading assessments in a sample of twins. There was a significant and positive relationship between self-reported sight-reading ability for sheet music and performance on passage comprehension – a standardized reading measure that relies on decoding and working memory. This effect was specific to sight reading ability, as other musical variables, such as number of years of practice or music theory, were not related to performance on this reading measure. Surprisingly, the verbal working memory ability we tested did not mediate this relationship. To determine whether there is a genetic component to these skills, we compared these relationships in pairs of monozygotic twins compared to dizygotic twins. Interestingly, intraclass correlations (ICCs) for sight reading and passage comprehension were both higher in monozygotic twins compared to dizygotic twins, though this effect was larger for passage comprehension than for sight reading. These results together suggest a familial and potentially partially shared inherited mechanism for success in both musical sight-reading ability and passage comprehension. © Copyright © 2019 Centanni, Anchan, Beard, Brooks, Thompson and Petrill.","decoding; education; genetics; music; passage comprehension; reading","","","","","","NIH/NCRR, (UL1-RR025755); Center for Clinical and Translational Science, Ohio State University, CCTS, OSU","This work was funded by The Ohio State University Center for Clinical and Translational Science grant support (Clinical and Translational Science Award, NIH/NCRR Grant Number UL1-RR025755). Open Access Funds provided by the TCU Library. Study data were collected and managed using REDCap electronic data capture tools hosted at The Ohio State University (Harris et al., 2009). 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U.S.A, 1060, pp. 219-230, (2005); Siegel L.S., Ryan E.B., The development of working memory in normally achieving and subtypes of learning disabled children, Child Dev, 60, pp. 973-980, (1989); Strait D.L., Hornickel J., Kraus N., Subcortical processing of speech regularities underlies reading and music aptitude in children, Behav. Brain Funct, 7, 44, (2011); Torgesen J.K., Rashotte C.A., Wagner R.K., TOWRE: Test of word reading efficiency, (1999); Trainor L.J., Shahin A.J., Roberts L.E., Understanding the benefits of musical training, Ann. N. Y. Acad. Sci. U.S.A, 1169, pp. 133-142, (2009); Truitt F.E., Clifton C., Pollatsek A., Rayner K., The perceptual span and the eye-hand span in sight reading music, Visual Cogn, 4, pp. 143-161, (1997); Whitehead B.J., The Effect of Music-Intensive Intervention on Mathematics Scores of Middle and High School Students, (2001); Willcutt E.G., Petrill S.A., Wu S., Boada R., DeFries J.C., Olson R.K., Et al., Comorbidity between reading disability and math disability: Concurrent psychopathology, functional impairment, and neuropsychological functioning, J. Learn. Disabil, 46, pp. 500-516, (2013); Woodcock R.W., Woodcock Reading Mastery Tests-Revised (WRMT-R/NU), (1998)","T.M. Centanni; Department of Psychology, Texas Christian University, Fort Worth, United States; email: tmcentanni@gmail.com","","Frontiers Media S.A.","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85076699167"
"Russell C.R.","Russell, Christine R. (55438336900)","55438336900","Effects of Pitch and Rhythm Priming Tasks on Accuracy and Fluency During Sight-Reading","2019","Journal of Research in Music Education","67","3","","252","269","17","4","10.1177/0022429419851112","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85067854627&doi=10.1177%2f0022429419851112&partnerID=40&md5=bc24175c0e1cbaaee1ea342b7f274572","The University of Akron, Akron, OH, United States","Russell C.R., The University of Akron, Akron, OH, United States","The purpose of this study was to investigate the effects of pitch and rhythm priming tasks on sight-reading accuracy and fluency. High school wind instrumentalists (N = 182) were assigned to one of four experimental groups: pre-/posttest rhythm, pre-/posttest pitch, posttest-only rhythm, or posttest-only pitch. Participants sight-read selected stimulus exercises from the Watkins-Farnum Performance Scale and completed two priming treatments and a control condition as part of a repeated-measures design. A three-way repeated-measures MANOVA, with rhythm accuracy, pitch accuracy, and fluency accuracy as dependent measures, revealed a significant main effect due to priming condition. Rhythm accuracy scores were significantly lower after both perceptual and conceptual priming than after a control condition. No significant differences in pitch accuracy or fluency existed based on priming condition. No significant differences were found in rhythm, pitch, or fluency accuracy based on treatment condition (pitch or rhythm) or exposure condition (pre-/posttest or post only). Two-way repeated-measures MANOVAs revealed significant main effects based on time. Pitch accuracy and fluency each significantly improved between pre- and posttest and from the first to third study tasks. Results suggest that performing rhythm alone or pitch alone requires different cognitive processes than does performing both together. © National Association for Music Education 2019.","fluency; pitch accuracy; priming; rhythm accuracy; sight-reading","","","","","","","","Alexander M.L., Henry M., The development of a string sight-reading pitch skill hierarchy, Journal of Research in Music Education, 60, pp. 201-216, (2012); Alexander M.L., Henry M.L., The effect of pitch and rhythm difficulty on high school string sight-reading performance, String Research Journal, 6, pp. 71-83, (2015); Bainbridge J.V., Lewandowsky S., Kirsner K., Context effects in repetition priming are sense effects, Memory and Cognition, 21, pp. 619-626, (1993); Bebeau M.J., Effects of traditional and simplified methods of rhythm-reading instruction, Journal of Research in Music Education, 30, pp. 107-119, (1982); Boyle J.D., Rhythm sight reading: The key to music sight reading, Instrumentalist, 24, 2, pp. 42-43, (1969); 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Drake C., Palmer C., Skill acquisition in music performance: Relations between planning and temporal control, Cognition, 74, pp. 1-32, (2000); Duke R.A., Simmons A.L., Cash C.D., It’s not how much; it’s how: Characteristics of practice behavior and retention of performance skills, Journal of Research in Music Education, 56, pp. 310-321, (2009); Elliot C.A., The identification and classification of instrumental performance sight-reading errors, Journal of Band Research, 18, 1, pp. 36-42, (1982); Elliot C.A., The relationships among instrumental sight-reading ability and seven selected predictor variables, Journal of Research in Music Education, 30, pp. 5-14, (1982); Fuchs L.S., Fuchs D., Hosp M.K., Jenkins J.R., Oral reading fluency as an indicator of reading competence: A theoretical, empirical, and historical analysis, Scientific Studies of Reading, 5, pp. 239-250, (2001); Goolsby T.W., Profiles of processing: Eye movements during sightreading, Music Perception: An Interdisciplinary Journal, 12, pp. 97-123, (1994); Gromko J.E., Predictors of music sight-reading ability in high school wind players, Journal of Research in Music Education, 52, pp. 6-15, (2004); Grutzmacher P.A., The effect of tonal pattern training on the aural perception, reading recognition, and melodic sight-reading achievement of first-year instrumental students, Journal of Research in Music Education, 35, pp. 171-181, (1987); Gudmundsdottir H.R., Pitch error analysis of young piano students’ music reading performances, International Journal of Music Education, 28, pp. 61-70, (2010); Hahn L., Music reading and language reading: Correlations in processes and instruction, Bulletin of the Council for Research in Music Education, 93, pp. 41-48, (1987); Hanberry M., Effects of practice strategies, metronome use, meter, hand, and musical function on dual-staved piano performance accuracy and practice time usage of undergraduate non-keyboard music majors, (2004); Hayward C.M., Gromko J.E., Relationships among music sight-reading and technical proficiency, spatial visualization, and aural discrimination, Journal of Research in Music Education, 57, pp. 26-36, (2009); Henry M., The development of a vocal sight-reading inventory, Bulletin of the Council for Research in Music Education, 150, pp. 21-35, (2001); Henry M., A comparison of testing formats for vocal sight-reading, Texas Music Education Research, (2003); Henry M., The use of targeted pitch skills for sight-singing instruction in the choral rehearsal, Journal of Research in Music Education, 52, pp. 206-217, (2004); Henry M., The effect of pitch and rhythm difficulty on vocal sight-reading performance, Journal of Research in Music Education, 59, pp. 72-84, (2011); Henry M., The effect of key on vocal sight-reading achievement, Texas Music Education Research, (2013); Henry M., Demorest S., Individual sight-singing achievement in successful choral ensembles, Update: Applications of Research in Music Education, 13, 1, pp. 4-8, (1994); Hodges D.A., The acquisition of music reading skills, pp. 466-471, (1992); Hodges D.A., Nolker D.B., The acquisition of music reading skills, MENC handbook of research on music learning: Volume 2. Applications, pp. 61-91, (2011); Jungers M., Performance priming in music, Music Perception: An Interdisciplinary Journal, 24, pp. 395-399, (2007); Keller P.E., Attentional resource allocation in musical ensemble performance, Psychology of Music, 29, pp. 20-38, (2001); Kopiez R., Lee J.I., Towards a dynamic model of skills involved in sight reading music, Music Education Research, 8, pp. 97-120, (2006); Kostka M.J., The effects of error-detection practice on keyboard sight-reading achievement of undergraduate music majors, Journal of Research in Music Education, 48, pp. 114-122, (2000); Lambrecht B., Sightreading, a year-long approach, Instrumentalist, 62, 6, pp. 32-37, (2008); Lee H.Y., Wang Y.S., Visual processing of music notation: A study of event-related potentials, Perceptual and Motor Skills, 112, pp. 525-535, (2011); Lehmann A.C., Ericsson K.A., Sight-reading ability of expert pianists in the context of piano accompanying, Psychomusicology, 12, pp. 182-195, (1993); Lomax R.G., Hahs-Vaughn D.L., Statistical concepts: A second course, (2012); MacKnight C.B., Music reading ability of beginning wind instrumentalists after melodic instruction, Journal of Research in Music Education, 23, pp. 23-34, (1975); Marmel F., Tillmann B., Tonal priming beyond tonics, Music Perception: An Interdisciplinary Journal, 26, pp. 211-221, (2009); Martens S., Wolters G., Interference in implicit memory caused by processing of interpolated material, American Journal of Psychology, 115, pp. 169-185, (2002); McPherson G.E., Factors and abilities influencing sightreading skill in music, Journal of Research in Music Education, 42, pp. 217-231, (1994); Meinz E.J., Hambrick D.Z., Deliberate practice is necessary but not sufficient to explain individual differences in piano sight-reading skill: The role of working memory capacity, Psychological Science, 21, pp. 914-919, (2010); Mishra J., Improving sightreading accuracy: A meta-analysis, Psychology of Music, 42, pp. 131-156, (2014); Neuhaus C., Knӧsche T.R., Processing of pitch and time sequences in music, Neuroscience Letters, 441, pp. 11-15, (2008); Paas F.G.W.C., van Merrienboer J.J.G., Instructional control of cognitive load in the training of complex cognitive tasks, Educational Psychology Review, 6, pp. 351-371, (1994); Palmer M., Relative effectiveness of two approaches to rhythm reading for fourth-grade students, Journal of Research in Music Education, 24, pp. 110-118, (1976); Pierce M.A., The effects of learning procedure, tempo, and performance condition on transfer of rhythm skills in instrumental music, Journal of Research in Music Education, 40, pp. 295-305, (1992); Pike P.D., Carter R., Employing cognitive chunking techniques to enhance sight-reading performance of undergraduate group-piano students, International Journal of Music Education, 28, pp. 231-246, (2010); Poulin-Charronnat B., Bigand E., Madurell F., The influence of voice leading on harmonic priming, Music Perception: An Interdisciplinary Journal, 22, pp. 613-627, (2005); Price H.E., Blanton F., Parrish R.T., Effects of two instructional methods on high school band students’ sight-reading proficiency, music performance, and attitude, Update: Applications of Research in Music Education, 17, 1, pp. 14-20, (1998); Random sequence generator, (2015); Reifinger J.L., The acquisition of sight-singing skills in second-grade general music: Effects of using solfège and of relating tonal patterns to songs, Journal of Research in Music Education, 60, pp. 26-42, (2012); Salzberg R.S., Wang C.C., A comparison of prompts to aid rhythmic sight-reading of string students, Psychology of Music, 17, pp. 123-131, (1989); Schacter D.L., Buckner R.L., Priming and the brain, Neuron, 20, pp. 185-195, (1998); Schӧn D., Besson M., Processing pitch and duration in music reading: A RT-ERP study, Neuropsychologia, 40, pp. 868-878, (2002); The Oxford Dictionary of Music; Slowiaczek L.M., Hamburger M., Prelexical facilitation and lexical interference in auditory word recognition, Journal of Experimental Psychology: Learning, Memory, and Cognition, 18, pp. 1239-1250, (1992); Tulving E., Schacter D.L., Priming and human memory systems, Science, 247, pp. 301-306, (1990); Waters A.J., Townsend E., Underwood G., Expertise in music sight reading: A study of pianists, British Journal of Psychology, 89, pp. 123-149, (1998); Watkins J.G., Farnum S.E., The Watkins-Farnum Performance Scale, (1954); Wiggs C.L., Martin A., Properties and mechanisms of perceptual priming, Current Opinion in Neurobiology, 8, pp. 227-233, (1998)","C.R. Russell; The University of Akron, Akron, United States; email: crussell@uakron.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-85067854627"
"Anthony B.; Thompson P.; Auvinen T.","Anthony, Brendan (57201467300); Thompson, Paul (56420582400); Auvinen, Tuomas (58631710700)","57201467300; 56420582400; 58631710700","Learning the ‘tracker’ process: A case study into popular music pedagogy","2020","Journal of Popular Music Education","4","2","","211","235","24","5","10.1386/jpme_00026_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85163005371&doi=10.1386%2fjpme_00026_1&partnerID=40&md5=38481740595d7672509711954a9c62cb","Queensland Conservatorium of Music, Griffith University, South Bank Campus, 140 Grey St, South Brisbane, 410, QLD, Australia; Leeds Beckett University, Caedmon 221, Headingley Campus, Leeds, LS6 3QS, United Kingdom; University of Turku, Finland","Anthony B., Queensland Conservatorium of Music, Griffith University, South Bank Campus, 140 Grey St, South Brisbane, 410, QLD, Australia; Thompson P., Leeds Beckett University, Caedmon 221, Headingley Campus, Leeds, LS6 3QS, United Kingdom; Auvinen T., University of Turku, Finland","The ‘tracker’ production process is a modern form of music production agency where top-line songwriters work with music programmers called ‘trackers’, primarily within the confines of the digital audio workstation. In this case, produc-tion, songwriting and performance often happen concurrently, and collaboration involves the synthesis of ideas, musical negotiations and expertise in using digital and online technologies. In providing popular music production learning activities that translate to professional contexts, higher education institutions face a number of challenges, particularly where much of the collaboration is undertaken online. This article reports on a cohort of Bachelor of Popular Music students who undertook a tracker process module. Students’ perceptions of ‘engagement’ and ‘learning’ were captured via an assessment item and survey, and a themed analysis indicated that the pedagogy promoted the use of diverse social skills, was highly collaborative, relied both on specialist and non-specialist knowledge, and involved the use of digital and online communications. © 2020 Intellect Ltd Article.","online music production; popular music pedagogy; popular music production; record production; top-line songwriting; tracker producer","","","","","","","","Anthony Brendan, Creative conceptualisation: Nurturing creative practice through the popular music pedagogy of live recording produc-tion, International Association for the Study of Popular Music, 5, 1, pp. 139-156, (2015); Anthony Brendan, Mixing as a performance: Educating tertiary students in the art of playing audio equipment whilst mixing popular music, Journal of Music Technology and Education, 11, 1, pp. 103-122, (2018); Anthony Brendan, Lefford Nyssim, The producer’s vision: A study into the multi-faceted conceptions of the popular music recording aesthetic, Journal of the International Association for the Study of Popular Music; Auvinen Tuomas, A new breed of home studio producer: Agency and cultural space in contemporary home studio music production, Etnomusikologian vuosikirja, 28, pp. 1-33, (2016); Auvinen Tuomas, A new breed of home studio producer? Agency and the idea “tracker” in contemporary home studio music production, Journal on the Art of Record Production, 11, (2017); Barell John, Problem-Based Learning: An Inquiry Approach, (2007); Bell Adam, Of trackers and top-liners: Learning producing and producing learning, The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices, pp. 171-185, (2019); Bennett Joe, Collaborative songwriting: The ontology of negotia-ted creativity in popular music studio practice, Journal on the Art of Record Production, 5, (2011); Voss Brett, Creativities in popular songwriting curricula: Teaching or learning?, Activating Diverse Musical Creativities: Teaching and Learning in Higher Music Education, pp. 37-57, (2015); Bennett Joe, Towards a framework for creativity in popular music degrees, The Routledge Research Companion to Popular Music Education, pp. 285-297, (2017); Bennett Joe, Songwriting, digital audio workstations, and the Internet, The Oxford Handbook of Creative Process in Music, pp. 1-30, (2018); Bryman Alan, Social Research Methods, (2008); Burgess Richard, Producer compensation: Challenges and options in the new music business, Journal on the Art of Record Production, 3, (2008); Bennett Joe, The History of Music Production, (2014); Cohen Louis, Manion Lawrence, Morrison Keith, Research Methods in Education, (2000); Cremata Radio, Facilitation in popular music education, Journal of Popular Music Education, 1, 1, pp. 63-82, (2017); Creswell John, Educational Research: Planning, Conducting, and Evaluating Quantitative and Qualitative Research, (2005); Csikszentmihalyi Mihaly, Creativity: The Psychology of Discovery and Invention, (1996); Davis Robert, Parker Steven, Thompson Paul, Preparing the music technology toolbox: Addressing the education-industry dilemma, Journal of Music, Technology & Education, 7, 3, pp. 313-323, (2014); Draper Paul, Students doing the driving: How undergraduates use ICT to enhance reflective practice, peer review and collaborative learning, 2007 National Conference of NACTMUS, (2007); Folkestad Goran, Formal and informal learning situations or practices vs formal and informal ways of learning, British Journal of Music Education, 23, 2, pp. 135-145, (2006); Graham Robin, Practical Synthesis for Electronic Music, (1979); Green Lucy, How Popular Musicians Learn: A Way Ahead for Music Education, (2002); Green Lucy, Popular music education in and for itself, and for “other” music: Current research in the classroom, International Journal of Music Education, 24, 2, pp. 101-118, (2006); Hepworth-Sawyer Russ, Golding Craig, What Is Music Production? A Producer’s Guide: The Role, the People, the Process, (2010); Hiltunen Riikka, Luovia valintoja rajoitetussa tilassa”, Popkappaleen tekeminen ryhmätyönä Biisilinna 2015 – leirillä, Etnomusikologian vuosi-kirja, 28, pp. 1-31, (2016); Howlett Mike, Fixing the volatile studio: Studio vocal performance techniques, Proceedings of the 3rd Art of Record Production Conference, pp. 1-3, (2007); Howlett Mike, The record producer as nexus: Creative inspiration, technology and the recording industry, (2009); Hugill Andrew, The Digital Musician, (2012); King Andrew, Studio pedagogy: Perspectives from record produ-cers, Music, Technology, and Education: Critical Perspectives, pp. 45-66, (2016); Kolb David, Experiential Learning: Experience as the Source of Learning and Development, (1984); Koszolko Martin, The giver: A case study of the impact of remote music collaboration software on music production process, International Association for the Study of Popular Music, 7, 2, pp. 32-40, (2017); Lave Jean, Wenger Etienne, Situated Learning: Legitimate Peripheral Participation, (1991); Lebler Don, Student-as-master? Reflections on a learning innovation in popular music pedagogy, International Journal of Music Education, 25, 3, pp. 205-221, (2007); Lebler Don, Popular music pedagogy: Peer learning in practice, Music Education Research, 10, 2, pp. 193-213, (2008); Lebler Don, Weston Donna, Staying in sync: Keeping popular music pedagogy relevant to an evolving music industry, Journal of the International Association for the Study of Popular Music, 5, 1, pp. 124-138, (2015); Macedo Fredrico, Teaching creative music technology in higher educa-tion: A phenomenological approach, Journal of Music, Technology and Education, 6, 2–3, pp. 207-219, (2013); McIntyre Philip, Learning to be songwriters: Creativity, the systems model and domain acquisition, Sounds and Selves: Selected Proceedings from the 2005 IASPM Australia/New Zealand Conference, pp. 46-57, (2007); Moorefield Virgil, The Producer as Composer: Shaping the Sounds of Popular Music, (2005); Moylan William, The Art of Recording: Understanding and Crafting the Mix, (2002); Salavuo Miikka, Open and informal online communities as forums of collaborative musical activities and learning, British Journal of Music Education, 23, 3, pp. 253-271, (2006); Savin-Baden Maggi, Wilkie Kay, Problem-Based Learning Online, (2006); Sawyer Keith, Creativity and Development, (2003); Seabrook John, The Song Machine: Inside the Hit Factory, (2015); Senior Mike, Mixing Secrets for the Small Studio, (2011); Shulman Lee, Signature pedagogies in the professions, Daedalus, 134, 3, pp. 52-59, (2005); Small Christopher, Musicking: The Meaning of Performing and Listening, (1998); Strange Allen, Electronic Music: Systems, Techniques, and Controls, (1972); Theberge Paul, The project ahead: Some thoughts on developing a popular music curriculum, Canadian University Music Review, 21, 1, pp. 28-39, (2000); Theberge Paul, The end of the world as we know it: The changing role of the studio in the age of the Internet, The Art of Record Production: An Introductory Reader for a New Academic Field, pp. 77-90, (2012); Thompson Paul, An empirical study into the learning practices and enculturation of DJs, turntablists, hip hop and dance music producers, Journal of Music, Technology and Education, 5, 1, pp. 43-58, (2012); Thompson Paul, Creativity in the Recording Studio: Alternative Takes, (2019); Thompson Paul, Harding Philip, Service models in popular music production education, 13th Art of Record Production Conference, (2018); Thompson Pal, McIntyre Phillip, Rethinking creative practice in record production and studio recording education: Addressing the field, Journal on the Art of Record Production, 8, (2013); Voss Brett, Information on demand in the recording studio: Building the case for teaching music technology with an interactive agenda, Australian Journal of Music Education, 50, 2, pp. 24-38, (2016); Voss Brett, The design principles of on-demand learning: A design-based research study of educative provisioning in popular music production, (2018); Waldron Janice, An alternative model of music learning and “Last Night’s Fun”: Participatory music making in/as participatory culture in Irish traditional music, Action, Criticism, and Theory for Music Education, 15, 3, pp. 86-112, (2016); Waldron Janice, Mantie Roger, Partti Heidi, Evan Evan, A brave new world: Theory to practice in participatory culture and music learning and teaching, Music Education Research, 20, 3, pp. 289-304, (2018); Wong Hei Ting, Popular music education in Hong Kong: A case study of the Baron School of Music, The Routledge Research Companion to Popular Music Education, pp. 100-113, (2017); Zak Albin, The Poetics of Rock: Cutting Tracks, Making Records, (2001)","","","Intellect Ltd.","","","","","","23976721","","","","English","J. Pop. Music. Educ.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-85163005371"
"Zhukov K.","Zhukov, Katie (26036568600)","26036568600","Experiential (informal/non-formal) practice does not improve sight-reading skills","2017","Musicae Scientiae","21","4","","418","429","11","8","10.1177/1029864916684193","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85033787093&doi=10.1177%2f1029864916684193&partnerID=40&md5=cf7f00d7e4f0170c1fdf5bbcb51b0ea1","University of Queensland, Australia","Zhukov K., University of Queensland, Australia","This study investigates whether experiential (informal/non-formal) sight-reading practice has an impact on sight-reading skills of classical university-level pianists. Data collected from 80 self-report practice diaries of students participating in trials of new sight-reading pedagogies were analysed to evaluate the effect of experiential sight-reading practice on improvement in sight-reading performance, focusing on the overall duration of sight-reading activities accumulated over the 10-week period and different patterns across this time. Data were subjected to bivariate regressions and bivariate correlations analyses. Results showed that improvement in sight-reading performance on three out of the four key indicators (beat adjustment, extra notes and missing notes) could not be predicted by participants’ overall hours of experiential practice. Yet the total number of hours engaged in sight-reading practice did predict an improvement in participant RMS accuracy (average timing errors for each correct note played). Findings also revealed no consistent pattern of practice across the 10 weeks that was associated with any of the four performance indicators. Implications for education include the need to embrace multi-faceted approaches to sight-reading training by focusing on skills contributing to expert sight-reading and their development, individually and in combinations. Rhythm and pitch training, development of pattern recognition and prediction skills, and collaborative playing activities have the potential to enhance sight-reading skills of music undergraduates and have positive flow-on effects for their preparation for 21st century music careers. © 2016, © The Author(s) 2016.","collaborative playing; diaries; pitch and rhythm processing; practice; sight-reading; skills for music careers","","","","","","","","Bartleet B.-L., Bennett D., Bridgstock R., Draper P., Harrison S., Schippers H., Preparing for portfolio careers in Australian music: Setting a research agenda, Australian Journal of Music Education, 1, pp. 32-41, (2012); Betts S.L., Cassidy J.W., Development of harmonisation and sight-reading skills among university class piano students, Journal of Research in Music Education, 48, 2, pp. 151-161, (2000); Brodsky W., Henik A., Rubinstein B.-S., Zorman M., Auditory imagery from musical notation in expert musicians, Perception and Psychophysics, 65, 4, pp. 602-612, (2003); Burnard P., Leadership creativities and leadership development in higher music education, Developing creativities in higher music education: International perspectives and practices, pp. 213-222, (2014); Connolly C., Williamon A., Mental skills training, Musical excellence: Strategies and techniques to enhance performance, pp. 221-245, (2004); D'Anselmo A., Giuliani F., Marzoli D., Tommasi L., Brancucci A., Perceptual and motor laterality effects in pianists during sight-reading, Neuropsychologia, 71, pp. 119-125, (2015); Drai-Zerbib V., Baccino T., Bigand E., Sight-reading expertise: Cross-modality integration investigated using eye tracking, Psychology of Music, 40, 2, pp. 216-235, (2012); Ericsson K.A., The acquisition of expert performance: An introduction to some of the issues, The road to excellence, pp. 1-50, (1996); Ericsson K.A., Kintsch W., Long-term working memory, Psychological Review, 102, 2, pp. 211-245, (1995); Farley A.L.P., The relationship between musicians’ internal pulse and rhythmic sight-reading, (2014); Fine P., Berry A., Rosner B., The effect of pattern recognition and tonal predictability on sight-singing ability, Psychology of Music, 34, 4, pp. 431-447, (2006); Fine P., Goldemberg R., Wise K., Bravo A., Performing musicians’ understanding of the terms “mental practice” and “score analysis, Psychomusicology: Music, Mind, and Brain, 25, 1, pp. 69-82, (2015); Gaunt H., One-to-one tuition in a conservatoire: The perceptions of instrumental and vocal students, Psychology of Music, 38, 2, pp. 178-208, (2010); Green L., Musical “learning styles” and “learning strategies” in the instrumental lessons: Some emergent findings from a pilot study, Psychology of Music, 40, 1, pp. 42-65, (2012); Gudmundsdottir H.R., Advances in music-reading research, Music Education Research, 12, 4, pp. 331-338, (2010); Gunter T.C., Schmidt B.-H., Besson M., Let’s face the music: A behavioral and electrophysiological exploration of score reading, Psychophysiology, 40, pp. 742-751, (2003); Hallam S., Approaches to instrumental music practice of experts and novices: Implications for education, Does practice make perfect? Current theory and research on instrumental practice, pp. 89-107, (1997); Hallam S., Rinta T., Varvarigou M., Creech A., Papageorgi I., Gomes T., Lanipekun J., The development of practising strategies in young people, Psychology of Music, 40, 5, pp. 652-680, (2012); Hambrick D.Z., Altmann E.M., Oswald F.L., Meinz E.J., Gobet F., Facing facts about deliberate practice, Frontiers in Psychology, 5, (2014); Hodges D.A., Nolker D.B., The acquisition of music reading skills, MENC handbook of research on music learning, 2, pp. 61-91, (2011); Jerde T.A., Childs S.K., Handy S.T., Nagode J.C., Pardo J.V., Dissociable systems of working memory for rhythm and melody, NeuroImage, 57, pp. 1572-1579, (2011); Jorgensen H., Strategies for individual practice, Music excellence: Strategies and techniques to enhance performance, pp. 85-103, (2004); Kopiez R., Lee J.I., Towards a dynamic model of skills involved in sight-reading music, Music Education Research, 8, 1, pp. 97-120, (2006); Kopiez R., Lee J.I., Towards a general model of skills involved in sight-reading music, Music Education Research, 10, 1, pp. 41-62, (2008); Kopiez R., Weih C., Ligges U., Lee J.I., Classification of low and high-achievers in music sight-reading task, Psychology of Music, 34, 1, pp. 5-26, (2006); Lehmann A.C., Ericsson K.A., Performance without preparation: Structure and acquisition of expert sight-reading and accompanying performance, Psychomusicology, 15, pp. 1-29, (1996); Lehmann A.C., Kopiez R., Sight-reading, The Oxford handbook of music psychology, pp. 547-557, (2015); McPherson G., From child to musician: Skill development during the beginning stages of learning an instrument, Psychology of Music, 33, 1, pp. 5-35, (2005); McPherson G.E., Williamon A., Building gifts into musical talents, The child as a musician: A handbook of musical development, pp. 340-360, (2016); Meinz E.J., Hambrick D.Z., Deliberate practice is necessary but not sufficient to explain individual differences in piano sight-reading skill: The role of working memory capacity, Psychological Science, 21, 7, pp. 914-919, (2010); Mishra J., Factors related to sight-reading accuracy: A meta-analysis, Journal of Research in Music Education, 61, 4, pp. 452-465, (2014); Mishra J., Improving sight-reading accuracy: A meta-analysis, Psychology of Music, 42, 2, pp. 131-156, (2014); Mishra J., Rhythmic and melodic sight-reading interventions: Two meta-analyses, Psychology of Music, 44, 5, pp. 1082-1094, (2016); Nutley S.B., Darki F., Klingberg T., Music practice is associated with development of working memory during childhood and adolescence, Frontiers in Human Neuroscience, 7, (2014); Platz F., Kopiez R., Lehmann A.C., Wolf A., The influence of deliberate practice on musical achievement: A meta-analysis, Frontiers in Psychology, 5, 646, pp. 1-13, (2014); Rosemann S., Altenmuller E., Fahle M., The art of sight-reading: Influence of practice, playing tempo, complexity and cognitive skills on the eye-hand span in pianists, Psychology of Music, 44, 4, pp. 658-673, (2016); Simoens V.L., Tervaniemi M., Auditory short-term memory activation during score-reading, PLoS One, 8, 1, (2013); Sloboda J.A., Davidson J.W., Howe M.J.A., Moore D.G., The role of practice in the development of performing musicians, British Journal of Psychology, 87, pp. 287-309, (1996); Smith K.H., The effect of computer-assisted instruction and field-independence on development of sight-reading skills of middle school instrumental students, International Journal of Music Education, 27, 1, pp. 59-68, (2009); Tabachnick B.G., Fidell L.S., Using multivariate statistics, (2013); Thompson S., Lehmann A.C., Strategies for sight-reading and improvising music, Musical excellence, pp. 143-159, (2004); Thompson W.B., Music sight-reading skills in flute players, Journal of General Psychology, 114, 4, pp. 345-352, (1987); Varvarigou M., Play it by ear” – teachers’ responses to ear-playing tasks during one-to-one instrumental lessons, Music Education Research, 16, 4, pp. 471-484, (2014); Waters A.J., Townsend E., Underwood G., Expertise in musical sight-reading: A study of pianists, British Journal of Psychology, 89, pp. 123-149, (1998); Waters A.J., Underwood G., Findlay J.M., Studying expertise in music reading: Use of a pattern-matching paradigm, Perception and Psychophysics, 59, 4, pp. 477-488, (1997); Wristen B., Cognition and motor execution in piano sight-reading: A review of literature, Update: Applications of Research in Music Education, 24, pp. 44-56, (2005); Wurtz P., Mueri R.M., Wiesendanger M., Sight-reading of violinists: Eye movements anticipate the musical flow, Experimental Brain Research, 194, pp. 445-450, (2009); Zhukov K., Good sight-readers: Born or bred?, (2006); Zhukov K., Effective practicing: A research perspective, Australian Journal of Music Education, 1, pp. 3-12, (2009); Zhukov K., Evaluating new approaches to teaching of sight-reading skills to advanced pianists, Music Education Research, 16, 1, pp. 70-87, (2014); Zhukov K., Building successful music careers: A case study of five Australian classical pianists. Proceedings of the International Society for Music Education (ISME), (2016); Zhukov K., Viney L., Riddle G., Teniswood-Harvey A., Fujimura K., Improving sight-reading skills in advanced pianists: A hybrid approach, Psychology of Music, 44, 2, pp. 155-167, (2016)","K. Zhukov; School of Music, Faculty of Humanities and Social Sciences, Brisbane, Level 4 Zelman Cowen Building, 4072, Australia; email: k.zhukov@uq.edu.au","","SAGE Publications Ltd","","","","","","10298649","","","","English","Musicae Scientiae","Article","Final","","Scopus","2-s2.0-85033787093"
"Zhang P.; Sui X.","Zhang, Peiwei (57200001956); Sui, Xin (57200005451)","57200001956; 57200005451","Application of Digital Music Technology in Music Pedagogy","2017","International Journal of Emerging Technologies in Learning","12","12","","4","13","9","13","10.3991/ijet.v12i12.7966","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85099877866&doi=10.3991%2fijet.v12i12.7966&partnerID=40&md5=36431638db76a9dc40a7dc3d373b53c5","Northeast Agricultural University, Harbin, China; Heilongjiang Vocational Vocational College of Art, Harbin, China","Zhang P., Northeast Agricultural University, Harbin, China; Sui X., Heilongjiang Vocational Vocational College of Art, Harbin, China","This paper expounds the concept and current development of digital music technology in modern times by exploration and analysis around the music technology, in order to better develop music pedagogy. In allusion to the contemporary music pedagogy, a new instruction idea is proposed by analyzing the digital music technologies such as MIDI, digital audio and other new music carriers, namely, an instruction model which integrates the digital music technology and the traditional teaching mode and means in the music classroom of middle school. In order to validate the availability of digital music technology, this paper also contemplates the current development of digital music industry and demonstrates the importance of digital music in modern music pedagogy by drilling down the digital music characteristics. In the end, it is concluded that the digital music technology introduced in music classroom instruction of middle schools contributes to cultivating students' music learning capacity. © 2017. International Journal of Emerging Technologies in Learning. All rights reserved.","digital audio; digital music technology; MIDI; music pedagogy","Engineering education; Students; Classroom instruction; Contemporary musics; Digital audio; Learning capacity; Middle school; Music carrier; Music technologies; Teaching modes; Audio acoustics","","","","","","","Ferguson J. R., Brown A. R., Fostering a post-digital avant-garde: research-led teaching of music technology, Organised Sound, 21, 2, pp. 127-137, (2016); Stuart W., Secondary school teachersâ approaches to teaching composition using digital technology, British Journal of Music Education, 33, 3, pp. 283-295, (2016); Walzer D. A., Software-based scoring and sound design: an introductory guide for music technology instruction, Music Educators Journal, 103, 1, pp. 19-26, (2016); Zanden O., Thorgersen C. F., Teaching for learning or teaching for documentation? music teachers' perspectives on a swedish curriculum reform, British Journal of Music Education, 32, 1, pp. 37-50, (2015); Patston T., Waters L., Positive instruction in music studios: introducing a new model for teaching studio music in schools based upon positive psychology, Psychology of well-being, 5, 1, (2015); Bjontegaard B. J., A combination of one-to-one teaching and small group teaching in higher music education in norway—a good model for teaching?, British Journal of Music Education, 32, 1, pp. 23-36, (2015); Miranda M. L., Robbins J., Stauffer S. L., Seeing and hearing music teaching and learning: transforming classroom observations through ethnography and portraiture, Research Studies in Music Education, 28, 1, pp. 3-21, (2015); Krause A. E., North A. C., Music listening in everyday life: devices, selection methods, and digital technology, Psychology of Music, 44, 1, pp. 155-170, (2016); Soeiro F. C., Santos M., Alves J., Network-based innovation: the case for mobile gaming and digital music, European Business Review, 28, 2, pp. 155-175, (2016); Magaudda P., When materiality 'bites back': digital music consumption practices in the age of dematerialization, Journal of Consumer Culture, 11, 1, pp. 15-36, (2016)","P. Zhang; Northeast Agricultural University, Harbin, China; email: peiweizhang@neau.edu.cn","","Kassel University Press GmbH","","","","","","18688799","","","","English","Int. J. Emerg. Technol. Learn.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85099877866"
"Aycan K.","Aycan, Kivanc (57193205826)","57193205826","Using bona adaptation to improve accent defects as a voice training method; [Bona uyarlamalarının vurgu kusurlarının düzeltilmesi amacıyla bir ses eğitimi yöntemi olarak kullanımı]","2017","Egitim Arastirmalari - Eurasian Journal of Educational Research","2017","69","","113","134","21","3","10.14689/ejer.2017.69.7","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85021731381&doi=10.14689%2fejer.2017.69.7&partnerID=40&md5=a86b6aa1880aead2d003c2270a9200c0","Erciyes University, Turkey","Aycan K., Erciyes University, Turkey","Purpose: In this research, it is observed that if solfeggio syllables, consonants, and vowels are spoken properly, voice intensity (accent), duration, pitch (high pitch-low pitch) and intonation (the ability to carry a musical voice) related to proper pitch level. In this study, it is observed that rhythmic structures do not form without pronouncing the syllables in solfeggio, and, therefore, a voice training system based on bona exercises has been developed. Research Methods: This research is an action research because it deals with the methods of designing individual lessons. This study examines the vocal exercises that adapted bona (rhythmic articulation exercises) and was performed during the lesson; therefore, it is an action research and is subjective. Findings: Bona exercises have an important place in solfeggio training. Solmization syllables have been used especially in bona and solfeggio exercises since they ease solfeggio. Eventually, all of the participants agreed that bona as an individual voice lesson method is helpful to understanding solfeggio principles. Implications for Research and Practice: The question of how PVT classes can be of use in solfeggio classes has never been answered. It is deduced from this study that the correct intonation or tone can be obtained by pronouncing the solmization syllables with the principle of correct voice production, using the intensity of the consonants, which affects the intensity, duration, and pitch of the voice. Within this scope, PVT exercises can play a huge role in musical training programs. Otherwise, it will not be of benefit other than drawing attention to the beauty of one’s voice. The usage of breathing and bona exercises with solmization syllables during the Personal Voice Training course was useful. Students have found that reading the notes according to their intensities and doing breathing exercises contributes considerably to pronouncing the consonants and finding the tone. © 2017 Ani Publishing Ltd. All rights reserved.","Bona; Intonation; MAXQDA; Voice Training","","","","","","","","Aktuze I., Ansiklopedik Muzik Sozlugu: Muzigi Anlamak [Encyclopedic Music Dictionary: Understanding Music, 102, (2003); Aycan K., Ses Egitimi Yontemlerinin Turkce Konusma Egitimindeki Vurgu Kusurlarinin Duzeltilmesine Etkisi[The Effects of Vocal Tranining Methods on İmprovement of Accent Defects İn Speech Education, (2012); Bona P., Metodo Completo per La Divisione Bona, (1997); Concone G., Fifty Lessons for High and Medium Voice, (2014); Celak I., San ve koro egitimi programlarinda kullanilan solfej metotlari ve repertuarindaki olculer konusunda bir saptama ve model onerisi, Ankara University, Journal of Faculty of Educational Sciences, 44, 1, pp. 131-145, (2011); Kilic M.A., Ses terapisi olarak vurgu yontemi, Turkiye Klinikleri J E.N.T. Special Topics, 6, 2, (2013); Muziksel İsitme, okuma ve yazma-10, Guzel Sanatlar Ve Spor Liseleri Muzik Alani, (2012); Metin E., Ogretmen Yetistiren Egitim Fakultelerinde Bireysel Ses Egitimi Dersi Iceriginin Incelenmesi [Investigation of Individual Voice Training Course Contents in Teacher Training Faculties, (2005); Mimaroglu I., Muzik Tarihi [Music History], (1995); Ozaltunoglu O., Solfej Ogretim Yontemleri [Solfa Teaching Methods], (2003); Ozdemir G., Muziksel Okuma (Solfej) Performans Testi Tasarimi [Musical Reading (Solfege) Performance Test Design, (2012); Ozmentes G., Dalcroze Eurhythmics Ogretiminin Muziksel Beceriler, Muzik Dersine İliskin Tutumlar Ve Muzik Yetenegine Iliskin Ozguven Uzerindeki Etkileri [The Effects of Dalcroze Eurhythmics Instruction on Musical Abilities, Attitudes Towards Music Lessons and Self-Confidence about Musical Skills], (2005); Sabol J.W., Lee L., Stemple J.C., The value of vocal function exercises in the practice regimen of singers, Journal of Voice, 9, 1, pp. 27-36, (1995); Simsek G., San Icin Piyano Eslikli Album [Piano Accompaniment Album for Professional Singers], (2007); Toreyin A.M., Ses Egitimi Temel Kavramlar- Ilkeler- Yontemler. [Voice Training Basic Concepts-Principles-Methods], (2008); Yazan I.E., Konservatuvar Sarkicilik Lisans Programlarinda Solfej Egitiminde İzlenen Kaynak Ve Yontemlerin Analizi. [Analysis of Sources and Methods in Solfege Training in Conservatory Singing Undergraduate Programs, (2007)","","","Ani Publishing","","","","","","1302597X","","","","English","Egitim Arastirmalari Eurasian J. Educ. Res.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85021731381"
"Susić B.B.","Susić, Blaženka Bačlija (57189001968)","57189001968","The relation between pedagogical approaches in music education and students' performance anxiety; [Razmerje med pedagoškimi pristopi v glasbeni vzgoji in učenčevo tremo pri nastopanju]","2018","Journal of Elementary Education","11","2","","143","157","14","2","10.18690/rei.11.2.143-157.2018","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85103993549&doi=10.18690%2frei.11.2.143-157.2018&partnerID=40&md5=a1577562e38ed2e27a72264774d4b818","University of Zagreb, Faculty of Teacher Education, Savska 77, Zagreb, 10 000, Croatia","Susić B.B., University of Zagreb, Faculty of Teacher Education, Savska 77, Zagreb, 10 000, Croatia","Performance anxiety is a significant problem in general education, as well as in music education. Therefore, the purpose of this study is to determine whether the Functional Music Pedagogy (FMP) approach has a significant effect on music performance anxiety in children. The neglect of improvisation as a basic methodological tool in FMP instrumental practice could explain why the main effect of school type was not significant in this sample. The lack of Music Performance Anxiety differences between students who have learned music through distinct pedagogical approaches can be interpreted as a result of the physiological and psychological developmental changes that arise on entering puberty as a consequence of hormonal changes and increased emotions during early adolescence. © 2018 Avtor(ji).","Elly Bašić; Functional music pedagogy; Music education; Music performance anxiety; Music school with standard program","","","","","","","","Diagnostic and Statistical Manual of Mental Disorders, (2000); Baclija Susic B., Akcijsko istraživanje improvizacije u individualnoj nastavi klavira, Tonovi: časopis glazbenih i plesnih pedagoga, 60, 2, pp. 25-58, (2012); Beck A. T., Cognitive therapy: Past, present, and future, Cognitive and Constructive Psychotherapies: Theory, research, and practice, pp. 29-40, (1995); Beck A. T., Emery G., Greenberg R., Anxiety Disorders and Phobias: A common perspective, (1985); Barlow D., Unravelling the mysteries of anxiety and its disorders from the perspective of emotion theory, American Psychologist, 55, pp. 1247-1263, (2000); Barlow D. H., Anxiety and Its Disorders: The nature and treatment of anxiety and panic, (2002); Boucher H., Ryan C. A., Performance stress and the very young musician, Journal of Research in Music Education, 58, 4, pp. 329-345, (2011); Brugues A. O., Music performance anxiety-part 1. A review of its epidemiology, Medical Problems of Performing Artists, 26, 2, pp. 102-105, (2011); Dempsey E., Music Performance Anxiety in Children and Teenagers: Effects of Perfectionism, Self- Efficacy, and Gender, (2015); Fehm L., Schmidt K., Performance anxiety in gifted adolescent musicians, Journal of Anxiety Disorders, 20, 1, pp. 98-109, (2006); Frost R., Marten P., Lahart C., Rosenblate R., The dimensions of perfectionism, Cognitive Therapy and Research, 14, 5, pp. 449-468, (1990); Habe K., Krzic V., Doživljanje izvajalske anksioznosti učencev glasbene šole v zgodnjem mladostništvu, Glasbeno-pedagoški zbornik, 26, pp. 33-39, (2017); Hendricks K. S., Smith T. D., Stanuch J., Creating safe spaces for music learning, Music Educators Journal, 101, 1, pp. 35-40, (2014); Jampolsky G., Ljubav je život bez straha, (2010); Jeffers S. J., Osjeti strah, a ipak to učini, (2014); Kenny D., The Psychology of Music Performance Anxiety, (2011); Kenny D. T., Osborne M. S., Music performance anxiety: New insights from young musicians, Advances in Cognitive Psychology, 2, 2-3, pp. 103-112, (2006); Lehmann A. C., Sloboda J. A., Woody R. H., Psychology for Musicians: Understanding and acquiring the skills, (2007); Lehmann A. C., Kristensen F., Persons in the Shadow"" brought to light: Parents, teachers, and mentors - how guidance works in the acquisition of musical skills, Talent Development & Excellence, 6, 1, pp. 57-70, (2014); Leuchtenburg W., Franklin D. Roosevelt and the New Deal, 1932-1940, (1963); Maslow A. H., The Farther Reaches of Human Nature, (1976); Nagel J. J., An examination of commitment to careers in music: Implications for alienation from vocational choice, Dissertation Abstracts International, 42, 5-A, pp. 1154-1155, (1987); Osborne M. S., Kenny D. T., Development and validation of a music performance anxiety inventory for gifted adolescent musicians, Journal of Anxiety Disorders, 19, 7, pp. 725-751, (2005); Osborne M. S., Kenny D. T., The role of sensitizing experiences in music performance anxiety in adolescent musicians, Psychology of Music, 36, 4, pp. 447-462, (2008); Papageorgi I., Creech A., Welch G., Perceived performance anxiety in advanced musicians specializing in different musical genres, Psychology of Music, 41, 1, pp. 18-41, (2011); Papalia D. E., Wendkos Olds S., Duskin Feldman R., Otrokov svet, (2003); Perak Lovricevic N., Glazbeno učilište Elly Bašić 1965-2005, (2005); Pruett K., First patrons: Parenting the musician, 21st Annual Symposium on the Medical Problems of Musicians and Dancers, (2003); Renzulli J. S., What is this thing called giftedness, and how do we develop it? A twenty-five year perspective, Journal for the Education of the Gifted, 23, 1, pp. 3-54, (1999); Renzulli J. S., Reis S. M., The Schoolwide Enrichment Model: A how-to guide for educational excellence, (1997); Rost D. H., Schermer F. J., Strategien der Prüfungsangstverarbeitung, Zeitschrift für Differentielle und Diagnostische Psychologie, 7, 3, pp. 127-139, (1986); Ryan C., Exploring musical performance anxiety in children, Medical Problems of Performing Artists, 13, pp. 83-88, (1998); Ryan C. A., A study of the differential responses of male and female children to musical performance anxiety, Dissertation Abstracts International Section, 63, (2003); Ryan C., Gender differences in children's experience of musical performance anxiety, Psychology of Music, 32, pp. 89-103, (2004); Ryan C., Experience of musical performance anxiety in elementary school children, International Journal of Stress Management, 12, 4, pp. 331-342, (2005); Salmon P., A psychological perspective on musical performance anxiety: a review of the literature, Medical Problems of Performing Artists, 5, pp. 2-11, (1990); Schlenker B, Leary M. R., Audiences' reactions to self-enhancing- self-denigrating, and accurate self-presentations, Journal of Experimental Social Psychology, 18, pp. 89-104, (1982); Simon J. A., Martens R., Children's anxiety in sport and non-sport evaluative activities, Journal of Sport Psychology, 1, 2, pp. 160-169, (1979); Sternberg R. J., Creative Thinking in the Classroom, Scandinavian Journal of Educational Research, 47, 3, pp. 325-339, (2003); Studer R., Danusera B., Hildebrandt H., Arial M., Gomez P., Hyperventilation complaints in music performance anxiety among classical music students, Journal of Psychosomatic Research, 70, 6, pp. 557-564, (2011); Williams D., Performance anxiety and the fight or flight syndrome, Journal of Literature and Art Studies, 2, 5, pp. 551-558, (2012); Wilson G. D., Psychology for performing artists: Butterflies and bouquets, (2002); Zarza-Alzugaray F. J., Orejudo S., Casanova O., Aparicio-Moreno L., Music Performance Anxiety in adolescence and early adulthood: Its relation with the age of onset inmusical training, Psychology of Music, 46, 1, pp. 18-32, (2018); Zatz S., Chassin L., Cognitions of test-anxious children under naturalistic test-taking conditions, Journal of Consulting and Clinical Psychology, 53, 3, pp. 393-401, (1985)","B.B. Susić; University of Zagreb, Faculty of Teacher Education, Zagreb, Savska 77, 10 000, Croatia; email: blazenkabs@gmail.com","","University of Maribor Press","","","","","","18554431","","","","English","J. Elem. Educ.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85103993549"
"Wolfs Z.G.; Boshuizen H.P.A.; van Strien J.L.H.","Wolfs, Zyxcban G. (57201189494); Boshuizen, Henny P. A. (7005542766); van Strien, Johan L. H. (55978931700)","57201189494; 7005542766; 55978931700","The role of positional knowledge and tonal approaches in cellists’ sight-reading","2020","Musicae Scientiae","24","1","","3","20","17","5","10.1177/1029864918762269","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85043697648&doi=10.1177%2f1029864918762269&partnerID=40&md5=ac5a84633c6fdba7eeed7698f068761e","Open University of the Netherlands, Welten Institute, Netherlands; Turku University, Finland; Utrecht University, Open University of the Netherlands, Welten Institute, Netherlands","Wolfs Z.G., Open University of the Netherlands, Welten Institute, Netherlands; Boshuizen H.P.A., Open University of the Netherlands, Welten Institute, Netherlands, Turku University, Finland; van Strien J.L.H., Utrecht University, Open University of the Netherlands, Welten Institute, Netherlands","Sight-reading is an important skill for amateur and professional musicians. Several factors seem to play a role in sight-reading skills, such as expertise level, ear training, mental speed and improvisation skills. If we are right in supposing that these factors cannot easily be generalized for all musicians, one of the reasons for this must surely lie in the fact that different musical instruments set different technical requirements for the player. The purpose of this study was to investigate which factors help cello students have better sight-reading abilities. Amateur cello students (N = 79) were tested for position knowledge, use of tonal and positional approaches and actual sight-reading ability, and their sight-reading performance was measured by counting pitch and fluency errors they made in short pieces of varying complexity. This study used a partly correlational (use of tonal/positional approaches, technical level, experience, and position knowledge) and a partly experimental repeated-measures design (key complexity). The findings suggest that position knowledge shows a very strong negative correlation with the number of sight-reading errors and a weak correlation with pauses. Use of positional approaches shows no significantly stronger correlation with the number of sight-reading errors than the use of tonal approaches. In addition, it appears that an increase in the key complexity leads to more sight-reading errors and more pauses. Finally, the position knowledge and technical level of participants explain 83% of the variation in the total pitch errors. Experience and use of tonal approaches explain 40% of the variation in the number of short pauses. © The Author(s) 2018.","fluency error; music instruments; music performance; musical skills; pitch error; Rasch analysis; sight-reading","","","","","","","","Alexander M.L., Henry M.L., The development of a string sight-reading pitch skill hierarchy, Journal of Research in Music Education, 60, 2, pp. 201-216, (2012); Bond T.G., Fox C.M., Applying the Rasch model: Fundamental measurement in the human sciences, (2007); Brodsky W., Kessler Y., Rubinstein B., Ginsborg J., Henik A., The mental representation of music notation: Notational audiation, Journal of Experimental Psychology: Human Perception and Performance, 34, 2, pp. 427-445, (2008); Clarke E., Parncutt R., Raekallio M., Sloboda J., Talking fingers: An interview study of pianists’ views on fingering, Musicae Scientiae, 1, 1, pp. 87-107, (1997); Dotzauer J.J.F., Klingenberg J.C., Violoncell-Schule, 2, (1934); Dowling W.J., Psychology and music: The understanding of melody and rhythm, (2014); Drai-Zerbib V., Baccino T., Bigand E., Sight-reading expertise: Cross-modality integration investigated using eye tracking, Psychology of Music, 40, 2, pp. 216-235, (2011); Ericsson K.A., Krampe R.T., Tesch-Romer C., The role of deliberate practice in the acquisition of expert performance, Psychological Review, 100, 3, pp. 363-406, (1993); Fine P., Berry A., Rosner B., The effect of pattern recognition and tonal predictability on sight-singing ability, Psychology of Music, 34, 4, pp. 431-447, (2006); Gromko J.E., Predictors of music sight-reading ability in high school wind players, Journal of Research in Music Education, 52, 1, pp. 6-15, (2004); Gudmundsdottir H.R., Advances in music-reading research, Music Education Research, 12, 4, pp. 331-338, (2010); Henry M., The development of an individual vocal sight-reading inventory, (1999); Henry M., The development of a vocal sight-reading inventory, Bulletin of the Council for Research in Music Education, 150, pp. 21-35, (2001); Karpinski G.S., Aural skills acquisition: The development of listening, reading, and performing skills in college-level musicians, (2000); Kenny D.A., Statistics for the social and behavioral sciences, (1987); Kopiez R., Galley N., Lee J.I., The advantage of a decreasing right-hand superiority: The influence of laterality on a selected musical skill (sight reading achievement), Neuropsychologia, 44, 7, pp. 1079-1087, (2006); Kopiez R., Lee J.I., Towards a general model of skills involved in sight reading music, Music Education Research, 10, 1, pp. 41-62, (2008); Mishra J., Factors related to sight-reading accuracy: A meta-analysis, Journal of Research in Music Education, 61, 4, pp. 452-465, (2014); Mishra J., Rhythmic and melodic sight reading interventions: Two meta-analyses, Psychology of Music, 44, 5, pp. 1082-1094, (2016); Palmer C., Music performance, Annual Review of Psychology, 48, pp. 115-138, (1997); Schumann R., Musikalische Haus - und Lebensregeln [Advice to young musicians], Im eigenen Wort, pp. 400-414, (1967); Schumann R., Advices to young musicians. Musikalische Haus- und Lebens-Regeln; Seashore C., The psychology of music talent, (1919); Sloboda J.A., The psychology of music reading, Psychology of Music, 6, pp. 3-20, (1978); Soper D.S., A-priori sample size calculator for multiple regression [Software], (2017); Thompson S., Lehmann A., Strategies for sight-reading and improvising music, Musical excellence: Strategies and techniques to enhance performance, pp. 143-159, (2004); Wolf T., A cognitive model of musical sight-reading, Journal of Psycholinguistical Research, 5, pp. 72-143, (1976); Wolfs Z.G., Zichtlezen bij cellisten. Welke factoren en strategieën leiden tot betere resultaten? (Sight-reading by cellist: Which factors and strategies lead to better results?), (2016); Woody R.H., Playing by ear foundation or frill?, Music Educators Journal, 99, 2, pp. 82-88, (2012); Wristen B., Cognition and motor execution in piano sight-reading: A review of literature, Update: Applications of Research in Music Education, 24, pp. 44-56, (2005); Wurtz P., Mueri R.M., Wiesendanger M., Sight-reading of violinists: Eye movements anticipate the musical flow, Experimental Brain Research, 194, 3, pp. 445-450, (2009); Zdzinski Z.F., Barnes G.V., Development and validation of a string performance rating scale, Journal of Research in Music Education, 50, 3, pp. 245-255, (2002); Zhukov K., Exploring advanced piano students’ approaches to sight-reading, International Journal of Music Education, 32, 4, pp. 487-498, (2014)","Z.G. Wolfs; Open University of the Netherlands, Welten Institute, Netherlands; email: z.wolfs@gmail.com","","SAGE Publications Ltd","","","","","","10298649","","","","English","Musicae Scientiae","Article","Final","All Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-85043697648"
"De Graaff D.L.E.; Schubert E.","De Graaff, Deborah L.E. (36623595700); Schubert, Emery (7101676553)","36623595700; 7101676553","Pitch error coding the sight read, practice, and performance of an elite oboist: Developing a protocol based on the serial distance hypothesis, implication-realization model, and schema theory","2016","Music Perception","34","2","","132","151","19","1","10.1525/MP.2016.34.2.132","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85007190505&doi=10.1525%2fMP.2016.34.2.132&partnerID=40&md5=79fb829d925048249aeb77bc1dcd1c0f","University of Sydney, Sydney Conservatorium of Music, Sydney, 2000, NSW, Australia; Empirical Musicology Laboratory, School of the Arts and Media, University of New South Wales, Sydney, 2052, NSW, Australia","De Graaff D.L.E., University of Sydney, Sydney Conservatorium of Music, Sydney, 2000, NSW, Australia; Schubert E., Empirical Musicology Laboratory, School of the Arts and Media, University of New South Wales, Sydney, 2052, NSW, Australia","This paper presents a developing pitch error Coding Protocol for assessing the accuracy of a musician's performance. The protocol organized performance errors into any of three main categories, each based on an established cognitive theory of music memory and processing: (1) the Serial Distance Hypothesis (SDH); (2) the Implication Realization (I-R) model; and (3) the mental organizing principle of the Schema Theory (SCH). An elite oboist formed the basis of a detailed case study where his sight reading, practice, and performance of a challenging excerpt of music were examined. These data were used to: 1) investigate the protocol; 2) ask whether any protocol components could explain errors better than others; 3) and show where improvements after practice occurred. The results revealed that the SDH accounted for the majority of pitch errors, these originated in a three-note proximity of the target and some SDH errors overlapped with the I-R category errors. Although final counts for SDH and I-R are similar, SDH uniquely identified errors more frequently than the I-R. Future research and development of the protocol might look at combinations of pieces and performer to determine whether SDH may be a dominant source of error. © 2016 By the Regents of the University of California All Rights Reserved.","Error analysis; Instrumental music performance; Performance analysis; Practice; Score reading","","","","","","","","Aldwell E., Schachter C., Harmony and Voice Leading (2nd Ed.), (1989); Bharucha J., Music cognition and perceptual facilitation: A connectionist framework, Music Perception, 5, pp. 1-30, (1987); Bharucha J., Expectation as an implicit process, Music Perception, 25, pp. 477-478, (2008); Boltz M.G., Time judgments of musical endings: Effects of expectancies on the ""filled interval effect., Perception and Psychophysics, 46, pp. 409-418, (1989); Boltz M.G., Time estimation and attentional perspective, Perception and Psychophysics, 49, pp. 422-433, (1991); Boltz M.G., Effects of event structure on retrospective duration judgments, Perception and Psychophysics, 57, pp. 1080-1096, (1995); 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Hallam S., Rinta T., Varvarigou M., Creech A., Papgeorgi I., Gomes T., Lanipekun J., The development of practising strategies in young people, Psychology of Music, 40, pp. 652-680, (2012); Heijink H., Desain P., Honing H., Windsor L., Make me a match: An evaluation of different approaches to score-performance matching, Computer Music Journal, 24, 1, pp. 43-56, (2000); Henderson M., Glass bury documents No.1 [Recorded by Deborah de Graaff], Ulpirra: Australian Contemporary Music for Clarinet [CD], (2000); Huron D., Tone and voice: A derivation of the rules of voice-leading from the perceptual principles, Music Perception, 19, pp. 1-64, (2001); Keller P.E., Attentional resource allocation in musical ensemble performance, Psychology of Music, 29, pp. 20-38, (2001); Kentner L., Piano, (1976); Lehmann A.C., Gruber H., Music, The Cambridge Handbook of Expertise and Expert Performance, pp. 457-470, (2006); McPherson G.E., Hallam S., Musical potential, The Oxford Handbook of Music Psychology, pp. 255-264, (2012); 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Reason J., Human Error, (1990); Renwick J.M., Because i Love Playing My Instrument: Young Musicians' Internalised Motivation and Self-regulated Practising Behaviour, (2008); Renwick J.M., McPherson G.E., McCormick J., Motivational influences on childrens self-regulated learning and musical performance achievement, Proceedings of the Seventh International Conference on Music Perception and Cognition (CD-ROM), (2002); Schellenberg E.G., Expectancy in melody: Tests of the implication-realization model, Cognition, 58, pp. 75-125, (1996); Schellenberg E.G., Simplifying the implicationrealization model of melodic expectancy, Music Perception, 14, pp. 295-318, (1997); Shaffer L.H., Intention and performance, Psychological Review, 83, 5, pp. 375-393, (1976); Sloboda J.A., The eye-hand span: An approach to the study of sight reading, Psychology of Music, 2, 2, pp. 4-10, (1974); Stevens C.J., Tardieu J., Dunbar-Hall P., Best C.T., Tillmann B., Expectations in culturally unfamiliar music: Influences of proximal and distal cues and timbral characteristics, Frontiers in Psychology, 4, (2013)","D.L.E. De Graaff; University of Sydney, Sydney Conservatorium of Music, Sydney, 2000, Australia; email: deborah@sydneyedu.au","","University of California Press","","","","","","07307829","","","","English","Music Percept.","Article","Final","","Scopus","2-s2.0-85007190505"
"Schiavio A.; Van Der Schyff D.","Schiavio, Andrea (55582317300); Van Der Schyff, Dylan (55308042600)","55582317300; 55308042600","4e music pedagogy and the principles of self-organization","2018","Behavioral Sciences","8","8","72","","","","55","10.3390/bs8080072","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85058714744&doi=10.3390%2fbs8080072&partnerID=40&md5=f5ccfc8cf0fda7148b77f32029f54552","Centre for Systematic Musicology, University of Graz, Graz, 8010, Austria; Department of Music, University of Sheffield, Sheffield, S3 7RD, United Kingdom; Faculty of Music, Oxford University, Oxford, OX1 1DB, United Kingdom","Schiavio A., Centre for Systematic Musicology, University of Graz, Graz, 8010, Austria, Department of Music, University of Sheffield, Sheffield, S3 7RD, United Kingdom; Van Der Schyff D., Faculty of Music, Oxford University, Oxford, OX1 1DB, United Kingdom","Recent approaches in the cognitive and psychological sciences conceive of mind as an Embodied, Embedded, Extended, and Enactive (or 4E) phenomenon. While this has stimulated important discussions and debates across a vast array of disciplines, its principles, applications, and explanatory power have not yet been properly addressed in the domain of musical development. Accordingly, it remains unclear how the cognitive processes involved in the acquisition of musical skills might be understood through the lenses of this approach, and what this might offer for practical areas like music education. To begin filling this gap, the present contribution aims to explore central aspects of music pedagogy through the lenses of 4E cognitive science. By discussing cross-disciplinary research in music, pedagogy, psychology, and philosophy of mind, we will provide novel insights that may help inspire a richer understanding of what musical learning entails. In doing so, we will develop conceptual bridges between the notion of ‘autopoiesis’ (the property of continuous self-regeneration that characterizes living systems) and the emergent dynamics contributing to the flourishing of one’s musical life. This will reveal important continuities between a number of new teaching approaches and principles of self-organization. In conclusion, we will briefly consider how these conceptual tools align with recent work in interactive cognition and collective music pedagogy, promoting the close collaboration of musicians, pedagogues, and cognitive scientists. © 2018 by the authors. Licensee MDPI, Basel, Switzerland.","4E cognition; Interaction theory; Music pedagogy; Music psychology; Self-organization","","","","","","Social Sciences and Humanities Research Council of Canada, SSHRC; Austrian Science Fund, FWF, (M 2148)","Funding text 1: Funding: A.S. is supported by a Lise Meitner Postdoctoral Fellowship granted by the Austrian Science Fund (FWF): project number M2148. D.v.d.S. is supported by a postdoctoral fellowship granted by the Social Sciences and Humanities Research Council of Canada.; Funding text 2: A.S. is supported by a Lise Meitner Postdoctoral Fellowship granted by the Austrian Science Fund (FWF): project number M2148. D.v.d.S. is supported by a postdoctoral fellowship granted by the Social Sciences and Humanities Research Council of Canada.","Block N., Readings in Philosophy of Psychology, (1980); Van Gulick R., Functionalism as a theory of mind, Philos. Res. Arch., 8, pp. 185-204, (1982); Rey G., Contemporary Philosophy of Mind, (1997); Shoemaker S., Some varieties of functionalism, Philos. Top., 12, pp. 83-118, (1981); Polger T., Natural Minds, (2004); Rowlands M., The New Science of The Mind: From Extended Mind to Embodied Phenomenology, (2010); Menary R.A., Introduction to the special issue on 4E cognition, Phenomenol. Cogn. 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Sci., 1, pp. 367-383, (2002); Biasutti M., Teaching improvisation through processes. Applications in music education and implications for general education, Front. Psychol., 8, (2017); Borgo D., Free jazz in the classroom: An ecological approach to music education, JAZZ Perspect, 1, pp. 61-88, (2007); Beegle A., A classroom-based study of small-group planned improvisation with fifth-grade children, J. Res. Music Educ., 58, pp. 219-239, (2010); Burnard P., Musical Creativities in Practice, (2012); Sawyer R.K., Group creativity: Musical performance and collaboration, Psychol. Music, 34, pp. 148-165, (2006); Sawyer R.K., Structure and Improvisation in Creative Teaching, (2011); Schiavio A., Timmers R., Motor and audiovisual learning consolidate auditory memory of tonally ambiguous melodies, Music Percept, 34, pp. 21-32, (2016); Schiavio A., Van Der Schyff D., Kruse-Weber S., Timmers R., When the sound becomes the goal. 4E cognition and teleomusicality in early infancy, Front. Psychol., 8, (2017); Schiavio A., Van Der Schyff D., Gande A., Kruse-Weber S., Negotiating individuality and collectivity in community music. A qualitative case study, Psychol. Music, 29, pp. 95-102, (2018); Gande A., Kruse-Weber S., Addressing new challenges for a community music project in the context of higher music education. A conceptual framework, Lond. Rev. Educ., 15, pp. 372-387, (2017); Bradley D., Good for what, good for whom? Decolonizing music education philosophies, The Handbook of Philosophy in Music Education, pp. 409-433, (2012); O'Neill S.A., Mind the gap: Transforming music engagement through learner-centered informal music learning, Rec. J. Ont. Music Educ. Assoc., 56, pp. 18-22, (2014); Schiavio A., Van Der Schyff D., Beyond musical qualia. Reflecting on the concept of experience, Psychomusicol. Music Mind Brain, 26, pp. 366-378, (2016); Schiavio A., Altenmuller E., Exploring music-based rehabilitation for Parkinsonism through embodied cognitive science, Front. Neurol., 6, (2015); Schiavio A., Hoffding S., Playing together without communicating? A pre-reflective and enactive account of joint musical performance, Music. Sci., 19, pp. 366-388, (2015); Schiavio A., Menin D., Matyja J., Music in the flesh. Embodied simulation in musical understanding, Psychomusicol. Music Mind Brain, 24, pp. 340-343, (2015); Van Der Schyff D., Schiavio A., Walton A., Velardo V., Chemero A., Musical creativity and the embodied mind: Exploring the possibilities of 4E cognition and dynamical systems theory, Music Sci, (2018); Silverman M., Virtue ethics, care ethics, and “the good life of teaching, Action Crit. Theory Music Educ., 11, pp. 96-122, (2012); Gallagher S., The practice of mind: Theory, simulation, or primary interaction?, J. Conscious. Stud., 8, pp. 83-107, (2001); Gallagher S., Varga S., Social constraints on the direct perception of emotions and intentions, Topoi, 33, pp. 185-199, (2013); Krueger J., Direct social perception, The Oxford Handbook of 4E Cognition, (2016); Ratcliffe M., Empathy without simulation, Imagination and Social Perspectives: Approaches from Phenomenology and Psychopathology, (2017); Zahavi D., Michael J., Beyond mirroring: 4E perspectives on empathy, The Oxford Handbook of 4E Cognition, (2016); Schiavio A., De Jaegher H., Participatory sense-making in joint musical practices, The Routledge Companion to Embodied Music Interaction, pp. 31-39, (2017); Van Der Schyff D., Krueger J., Musical empathy, from simulation to 4E interaction, Music, Sound, & Mind; Van Der Schyff D., Schiavio A., Evolutionary musicology meets embodied cognition: Biocultural coevolution and the enactive origins of human musicality, Front. Neurosci., 11, (2017); Walton A., Richardson M.J., Chemero A., Self-organization and semiosis in jazz improvisation, Int. J. Signs Semiot. Syst., 3, pp. 12-25, (2014); Walton A., Richardson M.J., Langland-Hassan P., Chemero A., Improvisation and the self-organization of multiple musical bodies, Front. Psychol., 6, (2015); Schiavio A., Van Der Schyff D., Cespedes-Guevara J., Reybrouck M., Enacting musical emotions. Sense-making, dynamic systems, and the embodied mind, Phenomenol. Cogn. Sci., 16, pp. 785-809, (2017); Van Der Schyff D., Refining the model for emotion research: A 4E perspective, Constr. Found., 12, pp. 227-229, (2017); Van Der Schyff D., Schiavio A., The future of musical emotions, Front. Psychol., 8, (2017); Linson A., Clarke E., Distributed cognition, ecological theory, and group improvisation, Distributed Creativity: Collaboration and Improvisation in Contemporary Music, (2017)","A. Schiavio; Centre for Systematic Musicology, University of Graz, Graz, 8010, Austria; email: andrea.schiavio@uni-graz.at","","MDPI Multidisciplinary Digital Publishing Institute","","","","","","2076328X","","","","English","Behavioral Sciences","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-85058714744"
"Yalçin G.; İDe A.","Yalçin, Gökhan (57189499951); İDe, Abdulkadir (58149970800)","57189499951; 58149970800","Two Solfege Books in Professional Music Education in the Ottoman Period: Solfej and Talim-i Kirâat-i Musiki; [Osmanlı Dönemi Mesleki Müzik Eğitiminde İki Solfej Kitabı: Solfej ve Talim-i Kırâat-ı Musiki]","2019","Turkiyat Mecmuasi","29","2","","645","662","17","1","10.26650/iuturkiyat.651192","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85150501139&doi=10.26650%2fiuturkiyat.651192&partnerID=40&md5=5d8a151f07654ecb39f89fe602fb3463","Harran Üniversitesi, Eğitim Fakültesi, Güzel Sanatlar Eğitimi Bölümü, Müzik Eğitimi Anabilim Dalı, Şanlıurfa, Turkey; Kırıkkale Üniversitesi, Sosyal Bilimler Enstitüsü, Müzik Bölümü, Kırıkkale, Turkey","Yalçin G., Harran Üniversitesi, Eğitim Fakültesi, Güzel Sanatlar Eğitimi Bölümü, Müzik Eğitimi Anabilim Dalı, Şanlıurfa, Turkey; İDe A., Kırıkkale Üniversitesi, Sosyal Bilimler Enstitüsü, Müzik Bölümü, Kırıkkale, Turkey","During the Ottoman period in the time of Mahmud II (1826), the education of Western music started to be given formally alongside Turkish music by doing away with the janissary band, through the establishment of the military band, Muzıka-i Hümâyun and by the commissioning of the Italian composer Giuseppe Donizetti . Donizetti trained many students until his death in 1856. After that another Italian composer, Callisto Guatelli, was commissioned by Abdulhamid II until his death in 1899. The Spanish composer D'Arenda helped Guatelli in Muzıka-yı Hümâyun and replaced him later.Turkish students have published many books or translations of Western music theory and solfege education. One of the first and most important works among these publications is ""Solfej Yahud Nazariyat-ı Musiki (Solfege or Music Theory) (1888/1889)"" by the flautist Mustafa Safvet [Atabinen] Bey, who is an educator of the Muzıka-i Hümâyun (The Imperial Band of the Ottoman Empire) and the other is ""Kütübhane-i Musikiden Talim-i Kıraat-ı Musiki (Teaching and Reading of Music From Library of Music) (1899/1900)"" by theviolinist Mehmed Zati [Arca] Bey, who is also an educator of the Muzıka-i Hümâyun. These works are the first printed Turkish solfege books of the Ottoman period. The aim of this study is firstly to examine the extant terms used by converting these two books from old letters to new letters and then to investigate the usability of the solfege samples included in the books in today's professional music education and to bring them into today's solfege education. The titles of the works which were prepared for practice are determined as follows: ""ta'lîmler"", ""temrîn"", ""kırâat"", ""vazifeler"", ""tenbîhler"", ""mülâhâzat"", ""meşk"" and ""imlâ"". These titles are determined according to the purposes of consolidating, performing, printing and evaluating the theoretical knowledge. Moreover, in this book, twenty five ""two voice solfege"" examples are also included. Some of these solfeges are vocal works. Turkish music works are used for teaching syncopated rhythms which occur frequently in the book. Moreover it can be said that two voice solfege examples are also crucial in terms of polyphonic hearing. It is seen that the books Solfej Yahud Nazariyat-ı Musiki and Kütübhâne-i Musikiden Talim-i Kırâat-ı Musiki play an important part in comprising the terminology of Turkish Western music. © 2019 The Author(s).","Mehmed Zati Arca; Musika-i Hümâyun; Mustafa Safvet Atabinen; Solfege; Talim-i kıraat-ı musiki","","","","","","","","Antep Esin, Osman Zeki Üngör ve Mûsikî İnkılâbı. Mimar Sinan Güzel Sanatlar Üniversitesi Sosyal Bilimler Enstitüsü, (2009); Danhauser Adolphe, Baran Ilhan, Temel Müzik Kuralları, (1988); Develioglu Ferit, Osmanlıca-Türkçe Ansiklopedik Lugat, (2012); Fenmen Mithat, Piyanistin Kitabı, (1947); Gazimihal Mahmut Ragip, Musıki Sözlüğü, (1961); Gazimihal Mahmut Ragip, Türk Askeri Mızıkaları Tarihi, (1955); Ozgur Ulku, Aydogan Salih, Müziksel İşitme Okuma Eğitimi ve Kuram, (2015); Oztuna Yilmaz, Türk Musikisi Akademik Klasik Türk San’at Musikisi’nin Ansiklopedik Sözlüğü Cilt I-II, (2006); Safvet Mustafa, Solfej yahud Nazariyat-ı Musiki, (1888); Sun Muammer, Solfej 1, (2014); Yener Faruk, Musiki Lugatı I-Garp Musikisi, 1, (1944); Zati Mehmed, Kütübhâne-i Musikiden Talim-i Kırâat-ı Musiki, (1897)","G. Yalçin; Harran Üniversitesi, Eğitim Fakültesi, Güzel Sanatlar Eğitimi Bölümü, Müzik Eğitimi Anabilim Dalı, Şanlıurfa, Turkey; email: gyalcin@hotmail.com","","Istanbul Universitesi","","","","","","00857432","","","","English","Turkiyat. Mecm.","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85150501139"
"Wolf A.; Kopiez R.","Wolf, Anna (55847547900); Kopiez, Reinhard (15923451000)","55847547900; 15923451000","Development and Validation of the Musical Ear Training Assessment (META)","2018","Journal of Research in Music Education","66","1","","53","70","17","13","10.1177/0022429418754845","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85041554764&doi=10.1177%2f0022429418754845&partnerID=40&md5=fe549546edf144c6247a3ad93201c4fe","Hanover Music Lab, Hanover University of Music, Drama and Media, Hamburg, Germany; Institute for Systematic Musicology, Universität Hamburg, Hamburg, Germany","Wolf A., Hanover Music Lab, Hanover University of Music, Drama and Media, Hamburg, Germany, Institute for Systematic Musicology, Universität Hamburg, Hamburg, Germany; Kopiez R., Hanover Music Lab, Hanover University of Music, Drama and Media, Hamburg, Germany","In the following study, we have developed an assessment instrument for the practice-dependent skill of analytical hearing following a strict test theoretical validation, resulting in the Musical Ear Training Assessment (META). By means of three pilot studies, a developmental study, and a validation study, we verified a one-dimensional test model using item response theory identifying the best 53 items to measure a person’s ear training and analytical hearing skill. For better application, two test versions with 10 and 25 items have been compiled (META-10 and META-25). Aside from psychometric test development, it was possible to investigate a variety of moderator variables assumed to influence ear training skill. The participants’ main instrument did not influence the META score, nor did whether participants had learned some method of solmization. However, the most played genre (d = 0.20) and, unforeseen by us, the participants’ gender (d = 0.23; males outperforming females) had significant impacts on the test score. This test instrument enables empirical research into the relevance of ear training for general musical skills, intervention studies on skill acquisition, and standardized assessment for advanced music students and musicians. © 2018, © National Association for Music Education 2018.","achievement test; ear training; item response theory; musical skills; Rasch model","","","","","","","","Abell N., Springer D.W., Kamata A., Developing and validating rapid assessment instruments, (2009); Standards for educational and psychological testing, (2011); Andersen E., A goodness of fit for the Rasch model, Psychometrika, 38, pp. 123-140, (1973); Bentley A., Musical ability in children and its measurement, (1966); Bentley A., Measurement and development of musical abilities, Journal of Research in Music Education, 17, pp. 41-46, (1969); Bigand E., Poulin-Charronnat B., Are we “experienced listeners”? A review of the musical capacities that do not depend on formal musical training, Cognition, 100, 1, pp. 100-130, (2006); Bozdogan H., Model selection and Akaike’s information criterion (AIC): The general theory and its analytical extensions, Psychometrika, 52, 3, pp. 345-370, (1987); Colwell R., MAT: Music achievement tests 1 and 2: Interpretive manual, (1969); Colwell R., MAT: Music achievement tests 3 and 4: Interpretive manual, (1970); Colwell R., Silver Burdett Music, competency tests: Teacher’s guide, (1979); Cook N., The perception of large-scale tonal closure, Music Perception, 5, 2, pp. 197-205, (1987); De Ayala R.J., Theory and practice of item response theory, (2009); Dooley K., Deutsch D., Absolute pitch correlates with high performance on interval naming tasks, The Journal of the Acoustical Society of America, 130, 6, pp. 4097-4104, (2011); Ellis P.D., The essential guide to effect sizes: Statistical power, meta-analysis, and the interpretation of research results, (2010); Ericsson K.A., The influence of experience and deliberate practice on the development of superior expert performance, The Cambridge handbook of expertise and expert performance, pp. 683-704, (2006); Fine C., Delusions of gender, (2010); Fischer G.H., Molenaar I.W., Rasch models: Foundations, recent developments, and applications, (1995); Galton F., The history of twins as a criterion of the relative powers of nature and nurture, Royal Anthropological Institute of Great Britain and Ireland Journal, 6, pp. 391-406, (1876); Berufsethische Richtlinien, (2016); Glas C.A.W., Verhelst N.D., Testing the Rasch model, Rasch models: Foundations, recent developments, and applications, pp. 69-95, (1995); Gordon E.E., Iowa tests of music literacy: Manual, (1970); Gordon E.E., The nature, description, measurement, and evaluation of music aptitudes, (1986); Gordon E.E., Manual for the advanced measures of music audiation, (1989); Gregory R.J., Psychological testing: History, principles, and applications, (2015); Hallam S., Bautista A., Processes of instrumental learning: The development of musical expertise, The Oxford handbook of music education, 1, pp. 658-676, (2012); Hallam S., Prince V., Conceptions of musical ability, Research Studies in Music Education, 20, pp. 2-22, (2003); Harrison C.S., Asmus E.P., Serpe R.T., Effects of musical aptitude, academic ability, music experience, and motivation on aural skills, Journal of Research in Music Education, 42, pp. 131-144, (1994); Karma K., Musical aptitude definition and measure validation: Ecological validity can endanger the construct validity of musical aptitude tests, Psychomusicology, 19, pp. 79-90, (2007); Karno M., Konecni V.J., The effects of structural interventions in the first movement of Mozart’s symphony in G minor K. 550 on aesthetic preference, Music Perception, 10, pp. 63-72, (1992); Karpinski G.S., Aural skills acquisition. The development of listening, reading, and performing skills in college-level musicians, (2000); Kiefer T., Robitzsch A., Wu M., Package “TAM, (2016); Koller I., Alexandrowicz R., Hatzinger R., Das Rasch Modell in der Praxis. Eine Einführung im eRm, (2012); Koller I., Hatzinger R., Nonparametric tests for the Rasch model: Explanation, development, and application of quasi-exact tests for small samples, InterStat, (2013); Koller I., Maier M.J., Hatzinger R., An empirical power analysis of quasi-exact tests for the Rasch model: Measurement invariance in small samples, Methodology, 11, 2, pp. 45-54, (2015); Kopiez R., Platz F., The role of listening expertise, attention, and musical style in the perception of clash of keys, Music Perception, 26, pp. 321-334, (2009); Law L.N.C., Zentner M., Assessing musical abilities objectively: Construction and validation of the profile of music perception skills, PLOS ONE, 7, (2012); Lehmann A.C., Using admission assessments to predict final grades in a college music program, Journal of Research in Music Education, 62, pp. 245-258, (2014); Lehmann A.C., Hempel C., Zur Erforschung von Lernmöglichkeiten im Fach Gehörbildung. Eine explorative Studie unter Berücksichtigung des Einsatzes von Computern im Gehörbildungsunterricht, Musikpsychologie, 9, pp. 82-96, (1992); Linacre J.M., What do infit and outfit mean-square and standardized mean?, Rasch Measurement Transactions, 16, 2, (2002); Lippa R.A., Gender, nature, and nurture, (2005); Mair P., Hatzinger R., CML based estimation of extended Rasch models with the eRm package in R, Psychology Science, 49, 1, pp. 26-43, (2007); Mair P., Hatzinger R., Extended Rasch modeling: The eRm package for the application of IRT models in R, Journal of Statistical Software, 20, 9, (2007); Mair P., Hatzinger R., Maier M., Rusch T., Package “eRm, (2016); McFadden D., What do sex, twins, spotted hyenas, ADHD, and sexual orientation have in common?, Perspectives on Psychological Science, 3, 4, pp. 309-323, (2008); McPherson G.E., Five aspects of musical performance and their correlates, Bulletin of the Council for Research in Music Education, 127, pp. 115-121, (1995); McPherson G.E., Bailey M., Sinclair K.E., Path analysis of a theoretical model to describe the relationship among five types of musical performance, Journal of Research in Music Education, 45, pp. 103-129, (1997); McPherson G.E., Gabrielsson A., From sound to sign, The science and psychology of music performance: Creative strategies for teaching and learning, pp. 99-116, (2002); Mishra J., Factors related to sight-reading accuracy: A meta-analysis, Journal of Research in Music Education, 61, pp. 452-465, (2014); Morley A.P., Narayanan M., Mines R., Molokhia A., Baxter S., Craig G., Craig I., AVPR1A and SLC6A4 polymorphisms in choral singers and non-musicians: A gene association study, PLOS ONE, 7, (2012); Mullensiefen D., Gingras B., Musil J., Stewart L., The musicality of non-musicians: An index for assessing musical sophistication in the general population, PLOS ONE, 9, 2, (2014); Mullensiefen D., Harrison P., Caprini F., Fancourt A., Investigating the importance of self-theories of intelligence and musicality for students’ academic and musical achievement, Frontiers in Psychology, 6, (2015); Ollen J.E., A criterion-related validity test of selected indicators of musical sophistication using expert ratings, (2006); Palmer C.M., Instrumental jazz improvisation development characteristics of novice, intermediate, and advanced improvisers, Journal of Research in Music Education, 64, pp. 360-378, (2016); Pan J., Thompson R., Quasi-Monte Carlo estimation in generalized linear mixed models, Computational Statistics & Data Analysis, 51, pp. 5765-5775, (2007); Paney A.S., The effect of directing attention on melodic dictation testing, Psychology of Music, 44, pp. 15-24, (2016); Papageorgi I., Creech A., Haddon E., Morton F., De Bezenac C., Himonides E., Welch G., Perceptions and predictions of expertise in advanced musical learners, Psychology of Music, 38, pp. 31-66, (2010); Platz F., Kopiez R., Lehmann A.C., Wolf A., The influence of deliberate practice on musical achievement: A meta-analysis, Frontiers in Psychology, 5, (2014); Ponocny I., Nonparametric goodness-of-fit tests for the Rasch model, Psychometrika, 66, 3, pp. 437-459, (2001); Pulli K., Karma K., Norio R., Sistonen P., Goring H., Jarvela I., Genome-wide linkage scan for loci of musical aptitude in Finnish families: Evidence for a major locus at 4q22, Journal of Medical Genetics, 45, 7, pp. 451-456, (2008); R: A language and environment for statistical computing, (2016); Rammsayer T.H., Troche S.J., On sex-related differences in auditory and visual sensory functioning, Archives of Sexual Behavior, 41, 3, pp. 583-590, (2012); Rasch G., Probabilistic models for some intelligence and attainment tests, (1960); Reips U.-D., Standards for Internet-based experimenting, Experimental Psychology, 49, 4, pp. 243-256, (2002); Reips U.-D., Using the Internet to collect data, APA Handbook of Research Methods in Psychology: Vol. 2. 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The prognostic validity of entrance exams at universities of music, Musicae Scientiae, 18, pp. 232-248, (2014); Woody R.H., Lehmann A.C., Student musicians’ ear-playing ability as a function of vernacular music experiences, Journal of Research in Music Education, 58, pp. 101-115, (2010); Wright C.R., Aural and the university music undergraduate, (2016); Zaltz Y., Roth D.A.E., Gover H., Liran S., Kishon-Rabin L., The effect of gender on a frequency discrimination task in children, Journal of Basic and Clinical Physiology and Pharmacology, 25, 3, pp. 293-299, (2014)","A. Wolf; Institute for Systematic Musicology, Universität Hamburg, Hamburg, Neue Rabenstr. 13, 20354, Germany; email: anna.wolf@uni-hamburg.de","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-85041554764"
"Lu C.-I.; Greenwald M.L.; Lin Y.-Y.; Bowyer S.M.","Lu, Ching-I (57189038329); Greenwald, Margaret L. (35452307400); Lin, Yung-Yang (26660515300); Bowyer, Susan M. (7101691033)","57189038329; 35452307400; 26660515300; 7101691033","Reading musical notation versus English letters: Mapping brain activation with MEG","2019","Psychology of Music","47","2","","255","269","14","3","10.1177/0305735617744886","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85062301004&doi=10.1177%2f0305735617744886&partnerID=40&md5=96dc6418792af5759c2eb0cebb2694ea","Department of Communication Sciences and Disorders, Wayne State University, United States; Department of Neurology, Wayne State University, United States; Institutes of Brain Science, Physiology, and Clinical Medicine, National Yang-Ming University, Taipei, Taiwan; Laboratory of Neurophysiology, Integrated Brain Research Laboratory, Section of Cerebrovascular Diseases, and Neurological Institute, Taipei Veterans General Hospital, Taipei, Taiwan; Department of Neurology, Henry Ford Health System, United States; Department of Physics, Oakland University, United States","Lu C.-I., Department of Communication Sciences and Disorders, Wayne State University, United States; Greenwald M.L., Department of Communication Sciences and Disorders, Wayne State University, United States, Department of Neurology, Wayne State University, United States; Lin Y.-Y., Institutes of Brain Science, Physiology, and Clinical Medicine, National Yang-Ming University, Taipei, Taiwan, Laboratory of Neurophysiology, Integrated Brain Research Laboratory, Section of Cerebrovascular Diseases, and Neurological Institute, Taipei Veterans General Hospital, Taipei, Taiwan; Bowyer S.M., Department of Neurology, Wayne State University, United States, Department of Neurology, Henry Ford Health System, United States, Department of Physics, Oakland University, United States","Temporal and spatial analyses of brain function with magnetoencephalography (MEG) are seldom reported in studies of musical sight-reading. We used MEG to compare the timing and localization of brain regions active during print-to-sound translation of musical notation versus English letters. MEG recordings were made on 22 professional musicians during print-to-sound tasks involving low versus high cognitive load. The MEG data were analyzed using MR-FOCUSS, a current density imaging technique. A laterality index was calculated to determine which hemisphere had more neural activation during these music and language reading tasks, and showed brain activation more lateralized to the language dominant (left) hemisphere in these right-handed musicians. Both note and letter reading tasks required translation to phonological codes and activated left hemisphere language areas. Also, the superior parietal cortex was a region of interest bilaterally. The high temporal resolution of MEG, coupled with its spatial resolution, proved sensitive to differences in cognitive load in reading both letters and musical notes. MEG will be useful in future studies of how brain structure or function may change as a result of learning music. © The Author(s) 2017.","hemispheric processing; magnetoencephalography (MEG); musical notation; professional musicians; sight-reading","","","","","","","","Bowyer S.M., Moran J.E., Mason K.M., Constantinou J.E., Smith B.J., Barkley G.L., Tepley N., MEG localization of language-specific cortex utilizing MR-FOCUSS, Neurology, 62, 12, pp. 2247-2255, (2004); Bowyer S.M., Moran J.E., Weiland B.J., Mason K.M., Greenwald M.L., Smith B.J., Tepley N., Language laterality determined by MEG mapping with MR-FOCUSS, Epilepsy & Behavior, 6, pp. 235-241, (2005); Douglas K.M., Bilkey D.K., Amusia is associated with deficits in spatial processing, Nature Neuroscience, 10, 7, pp. 810-812, (2007); Folstein M.F., Folstein S.E., McHugh P.R., Mini-Mental State: A practical method for grading the cognitive state of patients for the clinician, Journal of Psychiatric Research, 12, 3, pp. 189-198, (1975); Goodale M.A., Milner A.D., Separate visual pathway for perception and action, Trends in Neurosciences, 15, pp. 20-25, (1992); Kalakoski V., Effect of skill level on recall of visually presented patterns of musical notes, Scandinavian Journal of Psychology, 48, pp. 87-96, (2007); Mishkin M., Ungerleider L.G., Contribution of striate inputs to the visuospatial functions of parieto-preoccipital cortex in monkeys, Behavioral Brain Research, 6, pp. 57-77, (1982); Mongelli V., Dehaene S., Vinckier F., Peretz I., Bartolomeo P., Cohen L., Music and words in the visual cortex: The impact of musical expertise, Cortex, 86, pp. 260-274, (2016); Moran J., Bowyer S., Tepley N., Multi-resolution FOCUSS: a source imaging technique applied to MEG data, Brain Topography, 18, pp. 1-17, (2005); Oldfield R.C., The assessment and analysis of handedness: The Edinburgh inventory, Neuropsychologia, 9, 1, pp. 97-113, (1971); Salmelin R., Clinical neurophysiology of language: The MEG approach, Clinical Neurophysiology, 118, pp. 237-254, (2007); Schon D., Anton J.L., Roth M., Besson M., An fMRI study of music sight-reading, NeuroReport, 13, 17, pp. 2285-2289, (2002); Sergent J., Zuck E., Terriah S., MacDonald B., Distributed neural network underlying musical sight-reading and keyboard performance, Science, 257, 5066, pp. 106-109, (1992); Shaw G., Keeping Mozart in mind, (2000); Stewart L., A neurocognitive approach to music reading, Annals of the New York Academy of Sciences, 1060, pp. 377-386, (2005); Stewart L., Henson R., Kampe K., Walsh V., Turner R., Frith U., Brain changes after learning to read and play music, NeuroImage, 20, pp. 71-83, (2003); Stewart L., Walsh V., Frith U., Reading music modifies spatial mapping in pianists, Perception & Psychophysics, 66, 2, pp. 183-195, (2004); Waters A.J., Underwood G., Findlay J.M., Studying expertise in music reading: Use of a pattern-matching paradigm, Perception & Psychophysics, 59, 4, pp. 477-488, (1997); Wechsler D., Wechsler Adult Intelligence Scale, (1997); Wong Y.K., Peng C., Fratus K.N., Woodman G.F., Gauthier I., Perceptual expertise and top-down expectation of musical notation engages the primary visual cortex, Journal of Cognitive Neuroscience, 26, 8, pp. 1629-1643, (2014)","C.-I. Lu; Department of Communication Sciences and Disorders, Wayne State University, United States; email: chingilu@gmail.com","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-85062301004"
"Zummer T.","Zummer, Thomas (55550036200)","55550036200","Remarks on certain affinities and differences between aesthetic and scientific practices; [Observaciones sobre ciertas afinidades y diferencias entre prácticas estéticas y científicas]","2020","Artnodes","2020","25","","","","","1","10.7238/a.v0i25.3326","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85078918535&doi=10.7238%2fa.v0i25.3326&partnerID=40&md5=8c7bcffc42a6da4f75902b937ce7dcd3","Central Connecticut State University, Regular Faculty in Philosophy, European Graduate School, Saas-Fee, Switzerland","Zummer T., Central Connecticut State University, Regular Faculty in Philosophy, European Graduate School, Saas-Fee, Switzerland","In 1969 Werner Heisenberg presented a paper at a symposium initiated by the Karajan Foundation in Salzburg. The theme of this symposium was the ‘significance of modern scientific knowledge—in medicine, physiology, and physics—for art, music, pedagogy and aesthetic practice.’ Heisenberg’s paper was titled «The Tendency to Abstraction in Modern Art and Science.»1. Heisenberg dissembled, preferring to avoid an approach from a technical point of view, in favour of a consideration of principle, or of a «philosophy of culture», in order to ask whether certain tendencies in modern art, at times strange or incomprehensible, might have some parallel in the form of similar phenomena in modern science. Heisenberg was not concerned with specific forms or techniques of contemporary aesthetic or scientific practice, but with what he described as their «overall shape». It is an interesting position, not because it afforded Heisenberg a necessarily new or privileged insight, but because unlike most discussions of the relations between art and science it did not proceed in a hegemonic manner wherein one discipline annexes and establishes sovereignty over another. In Heisenberg’s query scientific procedures did not circumscribe or annex art (as mere illustration, exemplar or ornament) and aesthetic practices did not circumscribe and annex scientific data (as argument, justification, evidence or authority). Neither was he overly concerned with an equanimity or symmetry in the relationships of these various disciplines; he was interested in certain affinities, the possibility of common grounds, in science and art as they are practised. …the step towards greater generality is always itself a step into abstraction—or more precisely, into the next highest level of abstraction; for the most general unites the wealth of diverse individual things or processes under a unitary point of view, which means at the same time that it disregards other features considered to be unimportant. In other words, it abstracts from them.2 It is in this context that I will situate my remarks on certain affinities and differences between scientific and aesthetic practices, by considering the possibility of their common ground in terms of abstraction, technics, and capture, (i.e., what it is that is purported to be captured, secured or preserved, in order to be represented). © 2020, Universitat Oberta de Catalunya. All rights reserved.","Abstraction; Aesthetic practices; Capture; Scientific practices; Technics","","","","","","","","Thorntonparrot L.P., Binocular Series, Digital Video/Installa-Tion, (2010); Thornton L., Zebra [Binocular Series, Digital Video/Installation] (2010–ongoing) Photo Credit; Thornton L., Flamingo [Binocular Series, Digital Video/Installa-Tion] (2010–ongoing) Photo Cred; Thornton L., Blue Bird [Binocular Series, Digital Video/Installa-Tion] (2010–ongoing) Photo Credit; Vermuelen A., Biomodd LBA2 Project (2009) Mixed Media, Sensors, Botanicals; Vermuelen A., Biomodd-Tu-Delft Evolving Asteroid Starships Project (2007–2011; Ongoing); Chin M., Field R., Mixed Media, Remediation of Toxic Waste Site Photo Credit, (1991); Jeremajenko N., Feral Robotic Dog Pack Release Event [Detail] (2005) Robotics; Jeremajenko N., Weeping Trees: The Hard Way, (2011)","T. Zummer; Central Connecticut State University, Regular Faculty in Philosophy, European Graduate School, Saas-Fee, Switzerland; email: tomzummer967@gmail.com","","Universitat Oberta de Catalunya","","","","","","16955951","","","","English","Artnodes","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-85078918535"
"Bylica K.; Butler A.; Wright R.","Bylica, Kelly (57216821529); Butler, Alison (56050895900); Wright, Ruth (37662461800)","57216821529; 56050895900; 37662461800","Transgressive or just unexpected? Heteroglossic gender performance and informal popular music learning","2019","Journal of Popular Music Education","3","3","","379","398","19","2","10.1386/jpme_00002_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85098207234&doi=10.1386%2fjpme_00002_1&partnerID=40&md5=36eea876f929d7931a4fcfa63d624a68","Don Wright Faculty of Music, Western University, Talbot College, 1151 Richmond St, London, N6A 3K7, ON, Canada; Talbot College, Western University, 1151 Richmond St, London, N6A 3K7, ON, Canada","Bylica K., Don Wright Faculty of Music, Western University, Talbot College, 1151 Richmond St, London, N6A 3K7, ON, Canada; Butler A., Talbot College, Western University, 1151 Richmond St, London, N6A 3K7, ON, Canada; Wright R., Don Wright Faculty of Music, Western University, Talbot College, 1151 Richmond St, London, N6A 3K7, ON, Canada","This article explores the tensions between ‘doing gender’ and ‘doing popular music’ within the context of informal popular music learning for one group of girls of age 12–14 in a Southwestern Ontario elementary school. Using the transposition of Bakhtin’s concepts of monoglossia and heteroglossia to the performance of gender, the authors explore how members of Group G, an all-girl popular music band, perform heteroglossic gender behaviours, even while main-taining and presenting an outwardly monoglossic performance of gender in other respects. Furthermore, we explore how aspects of the girls’ behaviours vacillated between traditional gendered discourses and traditional discourses of popular music. Finally, findings suggest that the girls of Group G may not have been deliberately transgressive in their performances of gender but that they may have produced heteroglossic gender performances as part of a process of exploring their own identities. We conclude by considering the informal popular music classroom as a space that may be conducive or constricting towards the possibilities of heteroglossic gender performances and the need for a broadening of pedagogies of popular music that take into consideration both gender and power as it relates to gender. © 2019 Intellect Ltd Article. English language.","all-female musicking; conceptualization of gender; gender discourse; heteroglossia; monoglossia; popular music pedagogy","","","","","","","","Abramo Joseph, Gender differences in the popular music compositions of high school students, Music Education Research International, 5, pp. 1-11, (2011); Abramo Joseph, Gender differences of popular music production in secondary school, Journal of Research in Music Education, 59, 1, pp. 21-43, (2011); Acker Sandra, Chairing and caring: Gendered dimensions of leadership in academe, Gender and Education, 24, 4, pp. 411-428, (2012); Armstrong Victoria, Theorizing gender and musical composition in the computerized classroom, Women: A Cultural Review, 12, 1, pp. 35-43, (2001); Bakhtin Mikhail, The Dialogic Imagination: Four Essays, (1981); Barrett Janet, Case study in music education, The Oxford Handbook of Qualitative Research in American Music Education, pp. 114-132, (2014); Bayton Mavis, Women and the electric guitar, Sexing the Groove, pp. 37-49, (1998); Benenson Joyce, Del Bianco Rejeanne, Philippoussis Maria, Apostoleris Nicholas, Girls’ expression of their own perspectives in the presence of varying numbers of boys, International Journal of Behavioural Development, 21, pp. 389-405, (1997); Bjorck Cecilia, Volume, voice, volition: Claiming gendered space in popular music soundscapes, Finnish Journal of Music Education, 12, 2, pp. 8-21, (2009); Bjorck Cecilia, Claiming Space: Discourses on Gender, Popular Music, and Social Change, (2011); Bjorck Cecilia, Freedom, constraint, or both? Readings on popular music and gender, Action, Criticism and Theory for Music Education, 10, 2, pp. 8-31, (2011); Bjorck Cecilia, A music room of one’s own: Discursive constructions of girls-only spaces for learning popular music, Girlhood Studies, 6, 2, pp. 11-29, (2013); Butler Judith, Gender Trouble: Feminism and the Subversion of Identity, (1990); Butler Judith, Undoing Gender, (2004); Clawson Mary Ann, When women play the bass: Instrument specia-lization and gender interpretation in alternative rock music, Gender & Society, 13, 2, pp. 193-210, (1999); Cobbett Mary Christina, Beauties”, “geeks” and “men-john”: The possibilities and costs of girls’ performances of gender in Antiguan schools, Gender and Education, 25, 3, pp. 251-266, (2012); Cohen Louis, Manion Lawrence, Morrison Keith, Research Methods in Education, (2017); Connell John, Gibson Chris, Sound Tracks: Popular Music, Identity and Place, (2003); Ferm Almqvist Cecilia, Becoming a guitar playing woman – The risk of unequal gender role conservation in non-formal ensemble music education,  Century Music Education: Informal Learning and Non-formal Teaching Approaches in School and Community Contexts, (2017); Francis Becky, Power Plays: Primary School Children’s Construction of Gender, Power and Adult Work, (1998); Francis Becky, Re/theorizing gender: Female masculinity and male femininity in the classroom?, Gender and Education, 22, 5, pp. 477-490, (2010); Francis Becky, Gender monoglossia, gender heteroglossia: The potential of Bakhtin’s work for re-conceptualising gender, Journal of Gender Studies, 21, 1, pp. 1-15, (2012); Francis Becky, Burke Penny, Read Barbara, The submergence and re-emergence of gender in undergraduate accounts of university expe-rience, Gender and Education, 26, 1, pp. 1-17, (2014); Fuller Kay, Gendered educational leadership: Beneath the monoglos-sic façade, Gender and Education, 26, 4, pp. 321-337, (2014); Gill Rosalind, Scharff Christina, New Femininities: Postfeminism, Neoliberalism, and Subjectivity, (2011); Green Lucy, Music, Gender, and Education, (1997); Green Lucy, Exposing the gendered discourse of music education, Feminism and Psychology, 12, 2, pp. 137-144, (2002); Green Lucy, How Popular Musicians Learn: A Way Ahead for Music Education, (2002); Jaffurs Sheri, The impact of informal music learning practices in the classroom, or how I learned how to teach from a garage band, International Journal of Music Education, 22, 3, pp. 189-200, (2004); Leonard Marion, Gender in the Music Industry: Rock, Discourse and Girl Power, (2007); Lewis Judith, Musical voices from the margins: Popular music as a site of critical negotiation in an urban elementary classroom, (2016); Linton Leslie, Interpretive reproduction and informal music learning in the grade one classroom, (2014); Linton Leslie, When are you going to start teaching us?” Primary music education and informal learning: Expectations and outcomes,  Century Music Education: Informal Learning and Non-Formal Teaching Approaches in School and Community Contexts, (2016); Matsunobu Koji, Bresler Liora, Qualitative research in music education: Concepts, goals, and characteristics, The Oxford Handbook of Qualitative Research in American Music Education, pp. 21-39, (2014); McRobbie Angela, Feminism and the socialist tradition…undone?: A response to recent work by Judith Butler, Cultural Studies, 18, 4, pp. 503-522, (2004); Meltzer Marisa, Girl Power: The Nineties Revolution in Music, (2010); Nally Claire, Smith Angela, Twenty-First Century Feminism: Forming and Performing Femininity, (2015); Patterson Jack, Chatto Grace, Napes James, Marshall Nicole, Rather Be, (2014); Pegley Kip, Like horses to water: Reconsidering gender and technology within music education discourses, Women and Music: A Journal of Gender and Culture, 10, pp. 60-70, (2006); Reay Diane, “Spice girls”, “nice girls”, “girlies”, and “tomboys”: Gender discourses, girls’ cultures and femininities in the primary clas-sroom, Gender and Education, 13, 2, pp. 153-166, (2001); Saldana Johnny, The Coding Manual for Qualitative Researchers, (2009); Tobias Evan, Solo, multitrack, mute? Producing and performing (gender) in a popular music classroom, Visions of Research in Music Education, 25, pp. 1-28, (2014); Warwick Jacqueline, Adrian Allison, Voicing Girlhood in Popular Music: Performance, Authority, Authenticity, (2016); Whiteley Sheila, Sexing the Groove: Popular Music and Gender, (2000); Wright Ruth, Musical futures: A new approach to music education, Canadian Music Educator, 53, 2, pp. 19-21, (2011); Wright Ruth, Debunking the myths of musical futures, The Recorder, 56, 2, pp. 14-17, (2014); Wright Ruth, Younker Betty Anne, Beynon Carol, Hutchinson Jennifer, Beynon Sherry, Davidson Brooke, Duarte Nancy, Tuning into the future: Sharing initial insights about the 2012 musical futures pilot project in Ontario, Canadian Music Educator, 53, 4, pp. 14-18, (2012)","","","Intellect Ltd.","","","","","","23976721","","","","English","J. Pop. Music. Educ.","Article","Final","","Scopus","2-s2.0-85098207234"
"Alexander M.L.; Henry M.L.","Alexander, Michael L. (55252316500); Henry, Michele L. (26121259200)","55252316500; 26121259200","The Development of a Detaché Rhythm Hierarchy for String Sight-Reading","2014","String Research Journal","5","1","","73","86","13","1","10.1177/194849921400500005","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85071284357&doi=10.1177%2f194849921400500005&partnerID=40&md5=03fcd6ec5549df7ff54981d4b4251a05","School of Music, Baylor University, United States","Alexander M.L., School of Music, Baylor University, United States; Henry M.L., School of Music, Baylor University, United States","The purpose of this study was to determine the rhythm sight-reading ability of high school string players, establish a hierarchy for detaché rhythm skills in string sight-reading, and discover any effects of key or bow direction. Twenty-six rhythm skills, grouped into seven categories were embedded into four 8-measure melodies, which appeared in three different keys and with occasional designated bowings. Participants (N = 82) obtained a mean score of 19.1 (73%), with success rates ranging from 20% to 94% for individual rhythm skills. While significant differences were found between skills appearing in the major keys of D and E-flat, no significant differences were found by bow direction. Future researchers may explore whether these rhythm skills hold their relative difficulty level with less accomplished players, investigate the effects of various bowing practices, and identify any effects of anxiety levels for sight-reading when the consequences of performance quality varies. © 2014 American String Teachers Association.","bow direction; rhythm reading; rhythm skills; Sight-reading; string instruments","","","","","","","","Alexander M., Henry M., The development of a string sight-reading pitch skill hierarchy, Journal of Research in Music Education, 60, pp. 201-216, (2012); Boyle J., The effect of prescribed rhythmical movements on the ability to read music at sight, Journal of Research in Music Education, 18, pp. 307-318, (1970); Boyle J., Lucas K., The effect of context on sightsinging, Bulletin of the Council for Research in Music Education, 106, pp. 1-9, (1990); Ciepluch G., Sightreading achievement in instrumental music performance, learning gifts and academic achievement: A correlation study, (1988); Demorest S., Improving sight-singing performance in the choral ensemble: The effect of individual testing, Journal of Research in Music Education, 46, pp. 182-192, (1998); Demorest S., May W., Sight-singing instruction in the choral ensemble: Factors related to individual performance, Journal of Research in Music Education, 43, pp. 156-167, (1995); Elliott C.A., The relationships among instrumental sight-reading ability and seven selected predictor variables, Journal of Research in Music Education, 30, pp. 5-14, (1982); Farnum S.E., The Farnum string scale, (1969); Ferrin C.E., Music reading calisthenics: The effect of a consistent regimen of sightreading and the effect of educational kinesiology upon the music sightreading skills of high school music students, (2004); Goolsby T.W., Profiles of processing: eye movements during sight-reading, Music Perception: An Interdisciplinary Journal, 12, 1, pp. 97-123, (1994); Gregory T.B., The effect of rhythmic notation variables on sight reading errors, Journal of Research in Music Education, 20, pp. 462-468, (1972); Gromko J.E., Predictors of music sight-reading ability in high school wind players, Journal of Research in Music Education, 52, pp. 6-15, (2004); Henry M., The development of an individual vocal sight-reading inventory, Bulletin of the Council for Research in Music Education, 150, pp. 21-35, (2001); Henry M., The development of a rhythm hierarchy for vocal sight-reading, (2009); Henry M., The effect of pitch and rhythm difficulty on vocal sight-reading performance, Journal of Research in Music Education, 59, pp. 72-84, (2011); Henry M., Demorest S., Individual sight-singing achievement in successful choral ensembles, UPDATE: Applications of Research in Music Education, 13, pp. 4-8, (1994); Killian J., The relationship between sightsinging accuracy and error detection in junior high singers, Journal of Research in Music Education, 39, pp. 216-224, (1991); Killian J.N., Henry M.L., A comparison of successful and unsuccessful strategies in individual sight-singing preparation and performance, Journal of Research in Music Education, 53, pp. 51-65, (2005); Lehmann A., McArthur V., Parncutt R., McPherson G., Sight-reading, The science & psychology of music performance: Creative strategies for teaching and learning, (2002); MacKnight C., Music reading ability of beginning wind instrumentalists after melodic instruction, Journal of Research in Music Education, 23, pp. 23-34, (1975); Mann R.G., The use of Kodaly instruction to develop the sight-reading skills of undergraduate flute students. (Doctoral dissertation, Arizona State University), Dissertation Abstracts International, 52, (1991); McPherson G.E., Factors and abilities influencing sightreading skills in music, Journal of Research in Music Education, 42, pp. 217-231, (1994); McPherson G.E., Bailey M., Sinclair K.E., Path analysis of a theoretical model to describe the relationship among five types of musical performance, Journal of Research in Music Education, 45, pp. 103-129, (1997); Smith D.J., An investigation of the effects of varying temporal settings on eye movements while sight-reading trumpet music and while reading language aloud. (Doctoral dissertation, Pennsylvania State University, 1988), Dissertation Abstracts International, 50, (1989); Stenger S., The effect of mnemonic devices on a mathematical method of rhythm reading instruction, (1997); Stivers J.D., A reliability and validity study of the Watkins-Farnum Performance Scale, (1973); Thompson W.B., Sources of individual differences in music sight-reading skill, (1985); Thomson A.G., An analysis of difficulties in sight reading music for violin and clarinet, (1953); Townsend B.G., Relationships between sight-reading ability of college freshmen wind instrumentalists and wind instrumentalists and music experience, band experience, and music aptitude. (Doctoral dissertation, Pennsylvania State University), Dissertation Abstracts International, 52, (1992); Van Nuys K., Weaver H.E., Memory span and visual pauses in reading rhythms and melodies, Psychological Monographs. (Part I), 55, pp. 33-50, (1943); Walker R., Colwell R., Auditory perception and musical behavior, Handbook of Research on Music Teaching and Learning, pp. 344-359, (1992); Watkins J., Farnum S., The Watkins-Farnum performance scale, (1962); Wheeler M.R., A comparative analysis of melodic and rhythmic music reading skills of percussion and wind instrument students in selected North Carolina schools. (Doctoral dissertation, University of North Carolina at Greensboro), Dissertation Abstracts International, 53, (1993)","M.L. Alexander; School of Music, Baylor University, United States; email: Michael_L_Alexander@baylor.edu","","SAGE Publications Ltd","","","","","","19484992","","","","English","String Res.  J.","Article","Final","","Scopus","2-s2.0-85071284357"
"Pike P.D.","Pike, Pamela D. (36462969600)","36462969600","An Exploration of the Effect of Cognitive and Collaborative Strategies on Keyboard Skills of Music Education Students","2014","Journal of Music Teacher Education","23","2","","79","91","12","3","10.1177/1057083713487214","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84898923767&doi=10.1177%2f1057083713487214&partnerID=40&md5=7a95883f3134191e1842d2a509155502","Louisiana State University, Baton Rouge, LA, United States","Pike P.D., Louisiana State University, Baton Rouge, LA, United States","In the United States, all music education majors at the tertiary level who graduate from institutions accredited by the National Association of Schools of Music must demonstrate piano proficiency. Yet many practicing music educators report that they do not use the piano while teaching due to a lack of perceived competence. Peer collaboration and cognitive strategies have been demonstrated to be effective when learning. Typically, piano skills are taught in group piano laboratories, where collaborative work could be incorporated. This study explored development of sight-reading and harmonization skills among students (N = 12) during the final semester of group piano, by employing cognitive strategies and collaborative learning. In this small study, students engaged in collaborative learning improved test scores. Additionally, they displayed improvement in self-efficacy, problem solving, and deliberate practice and demonstrated persistence in completing piano assignments. © National Association for Music Education 2013.","cognitive learning strategies; collaborative learning; group piano; piano proficiency","","","","","","","","Anderson J.R., Cognitive Psychology and Its Implications, (2009); Anderson R., From paper keyboards to MIDI: A brief look at group piano through the 20th century, Piano Pedagogy Forum, 9, 2, (2006); Baker D.F., Campbell C.M., When is there strength in numbers? A study of undergraduate task groups, College Teaching, 53, pp. 14-19, (2005); Boud D., Lee A., Peer learning"" as pedagogic discourse for research education, Studies in Higher Education, 30, pp. 501-516, (2005); Christensen L., A survey of the importance of functional piano skills as reported by band, choral, orchestral, orchestra, and general music teachers (Doctoral dissertation, University of Oklahoma City), Dissertation Abstracts International, 61, 5, (2000); Clarke E.F., Generative Processes in Music, pp. 1-26, (1988); Cohen E., Designing Groupwork: Strategies for the Homogenous Classroom, (1994); Creswell J.W., Qualitative Inquiry and Research Design: Choosing among Five Traditions, (1998); Ericsson K.A., Kintsch W., Long-term working memory, Psychological Review, 102, pp. 211-245, (1995); Fisher C., Teaching Piano in Groups, (2010); Gijbels S., van de, Watering G., Dochy F., van den Bossche P., New learning environments and constructivism: The students' perspective, Instructional Science, 34, pp. 213-226, (2006); Hmelo-Silver C.E., Chernobilsky E., Jordan R., Understanding collaborative learning processes in new learning environments, Instructional Science, 36, pp. 409-430, (2008); Hunter M., Mastery Teaching, (2004); Jacobson J.M., Professional Piano Teaching, (2006); Johnson D.W., Johnson R.T., Holubec E.J., The New Circles of Learning: Cooperation in the Classroom and School, (1994); Kalyuga S., Renkl A., Paas F., Facilitating flexible problem solving: A cognitive load perspective, Educational Psychology Review, 22, pp. 175-186, (2010); Kim C., Nurturing students through group lessons, American Music Teacher, 54, pp. 28-31, (2004); Kirschner F., Paas F., Kirschner P.A., A cognitive load approach to collaborative learning: United brains for complex tasks, Educational Psychology Review, 21, pp. 31-42, (2009); Lancaster E.L., Renfrow K., Alfred's Group Piano for Adults, Book 2, (1996); Lancaster E.L., Renfrow K., Alfred's Group Piano for Adults, Book 2, (2008); Lebler D., Popular music pedagogy: Peer learning in practice, Music Education Research, 10, pp. 193-213, (2008); Lizzio A., Wilson K., Action research in higher education: An investigation of its potential to develop professional capability, Studies in Higher Education, 29, pp. 469-488, (2004); Luce D.W., Collaborative learning in music education: A review of the literature, Update: Applications of Research in Music Education, 19, 2, pp. 20-25, (2001); Mayer R.E., The Psychology of Abilities, Competencies, and Expertise, pp. 263-273, (2003); McWhirter J.L., A Survey of Secondary Choral Educators regarding Piano Skills Utilized in the Classroom and Piano Skills Expectations of Student Teaching Interns, (2005); Miller G.A., The magical number seven, plus or minus two: Some limits on our capacity for processing information, Psychological Review, 63, pp. 81-97, (1956); NASM Handbook for University and Colleges 2012-13, (2013); Pike P.D., (2011); Pike P.D., Raiber M., (2008); Presseisen B.Z., Enhancing Thinking through Cooperative Learning, pp. 1-6, (1992); Rubin L., Hebert C., Model for active learning: Collaborative peer teaching, College Teaching, 46, pp. 26-30, (1998); Saab N., van Joolingen W.R., van Hout-Wolters B.H.A.M., Supporting communication in a collaborative discovery learning environment: The effect of instruction, Instructional Science, 35, pp. 73-98, (2007); Simon H.A., How big is a chunk?, Science, 183, pp. 482-488, (1974); Sousa D.A., How the Brain Learns, (2006); Stake R.E., Qualitative case studies, The Sage Handbook of Qualitative Research, pp. 443-466, (2005); Stein B.S., Bransford J.D., Constraints on effective elaboration: Effects of precision and subject generation, Journal of Verbal Learning and Verbal Behaviors, 18, pp. 769-777, (1979); Tollefson M.J., Rethinking the college piano proficiency, Piano Pedagogy Forum, 4, 2, (2001); Uszler M., American piano methods, The Well-Tempered Keyboard Teacher, pp. 339-354, (2000); Zull J.E., The Art of Changing the Brain, (2002)","P. D. Pike; Louisiana State University, School of Music, Baton Rouge, LA 70803, 102 New Music Building, United States; email: pdpike@lsu.edu","","SAGE Publications Inc.","","","","","","10570837","","","","English","J. Music Teach. Educ.","Article","Final","","Scopus","2-s2.0-84898923767"
"Woody R.H.","Woody, Robert H. (56275043200)","56275043200","Playing by Ear: Foundation or Frill?","2012","Music Educators Journal","99","2","","82","88","6","33","10.1177/0027432112459199","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84910015126&doi=10.1177%2f0027432112459199&partnerID=40&md5=a91e42f30b26a40b299222cf20475f44","","","Many people divide musicians into two types: those who can read music and those who play by ear. Formal music education tends to place great emphasis on producing musically literate performers but devotes much less attention to teaching students to make music without notation. Some would suggest that playing by ear is a specialized skill that is useful only to jazz and popular musicians. There are, however, many reasons to reconsider this position. Around the world, aural transmission of music and ear-based performance are the norm. Music pedagogues have described ear playing as a necessary developmental precursor to becoming a truly fluent music reader. Research supports the idea that playing by ear is a foundational skill that contributes to other aspects of musicianship, including improvising, sight-reading, and performing from memory. Ear playing has even been shown to be a contributor to skilled performance of rehearsed music, the traditional mainstay of school music. Ear-driven activities can involve student musicians in composing and arranging, musical collaboration with peers, and lifelong individual artistic expression. © 2012 National Association for Music Education.","audiation; aural skill; by-ear playing; improvisation; inner hearing; music-making; performance; psychology of music learning","","","","","","","","","R.H. Woody; email: rwoody2@unl.edu","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-84910015126"
"Miyazaki K.; Makomaska S.; Rakowski A.","Miyazaki, Kenichi (16552997900); Makomaska, Sylwia (23571054600); Rakowski, Andrzej (6701406109)","16552997900; 23571054600; 6701406109","Prevalence of absolute pitch: A comparison between Japanese and Polish music students","2012","Journal of the Acoustical Society of America","132","5","","3484","3493","9","33","10.1121/1.4756956","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84869105378&doi=10.1121%2f1.4756956&partnerID=40&md5=e92c76dac6db7144c5b1a348990067cb","Department of Psychology, Niigata University, Niigata 950-2181, Japan; Institute of Musicology, University of Warsaw, Warsaw 00-927, Poland; Fryderyk Chopin University of Music, Warsaw 00-368, Poland","Miyazaki K., Department of Psychology, Niigata University, Niigata 950-2181, Japan; Makomaska S., Institute of Musicology, University of Warsaw, Warsaw 00-927, Poland; Rakowski A., Fryderyk Chopin University of Music, Warsaw 00-368, Poland","Comparable large-scale surveys including an on-site pitch-naming test were conducted with music students in Japan and Poland to obtain more convincing estimates of the prevalence of absolute pitch (AP) and examine how musical experience relates to AP. Participants with accurate AP (95 correct identification) accounted for 30 of the Japanese music students, but only 7 of the Polish music students. This difference in the performance of pitch naming was related to the difference in musical experience. Participants with AP had begun music training at an earlier age (6 years or earlier), and the average year of commencement of musical training was more than 2 years earlier for the Japanese music students than for the Polish students. The percentage of participants who had received early piano lessons was 94 for the Japanese musically trained students but was 72 for the Polish music students. Approximately one-third of the Japanese musically trained students had attended the Yamaha Music School, where lessons on piano or electric organ were given to preschool children in parallel with fixed-do solfège singing training. Such early music instruction was not as common in Poland. The relationship of AP with early music training is discussed. © 2012 Acoustical Society of America.","","Acoustic Stimulation; Adolescent; Adult; Age Factors; Analysis of Variance; Audiometry; Child; Child, Preschool; Discrimination (Psychology); Humans; Japan; Middle Aged; Music; Pitch Discrimination; Poland; Recognition (Psychology); Students; Young Adult; Acoustics; Physics; Absolute pitch; Electric organs; Pitch naming; adolescent; adult; age; analysis of variance; article; audiometry; auditory stimulation; child; comparative study; hearing; human; Japan; middle aged; multicenter study; music; perceptive discrimination; Poland; preschool child; psychological aspect; recognition; student; Students","","","","","Japan Society for the Promotion of Science, JSPS, (24500323)"," This research was supported by Grant-in-Aid for Scientific Research (C) (No. 21500256) from the Japan Society for the Promotion of Science to K.M. and by Research Grant No. N105 028 31/3210 from the Ministry of Science and Higher Education (Poland) to A.R. ","Athos E.A., Levinson B., Kistler A., Zemansky J., Bostrom A., Freimer N., Gitschier J., Dichotomy and perceptual distortions in absolute pitch ability, Proc. Natl. Acad. Sci. U.S.A., 104, pp. 14795-14800, (2007); Bachem A., Various types of absolute pitch, J. Acoust. Soc. Am., 9, pp. 146-151, (1937); Bachem A., The genesis of absolute pitch, J. Acoust. Soc. Am., 11, pp. 434-439, (1940); Bachem A., Absolute pitch, J. Acoust. Soc. Am., 27, pp. 1180-1185, (1955); Baharloo S., Johnston P.A., Service S.K., Gitschier J., Freimer N.B., Absolute pitch: An approach for identification of genetic and nongenetic components, Am. J. Hum. Genet., 62, pp. 224-231, (1998); Bermudez P., Zatorre R.J., A distribution of absolute pitch ability as revealed by computerized testing, Music Percept., 27, pp. 89-101, (2009); Deutsch D., The enigma of absolute pitch, Acoustics Today, 2, pp. 11-19, (2006); Deutsch D., Dooley K., Henthorn T., Head B., Absolute pitch among students in an American music conservatory: Association with tone language fluency, J. Acoust. Soc. Am., 125, pp. 2399-2403, (2009); Deutsch D., Henthorn T., Marvin E., Xu H.-S., Absolute pitch among American and Chinese conservatory students: Prevalence differences, and evidence for a speech-related critical period, J. Acoust. Soc. Am., 119, pp. 719-722, (2006); Gregersen P.K., Kowalsky E., Kohn N., Marvin E.W., Absolute pitch: Prevalence, ethnic variation, and estimation of the genetic component, Am. J. Hum. Genet., 65, pp. 911-913, (1999); Gregersen P.K., Kowalsky E., Kohn N., Marvin E.W., Early childhood music education and predisposition to absolute pitch: Teasing apart genes and environment, Am. J. Med. Genet., 98, pp. 280-282, (2000); Henthorn T., Deutsch D., Ethnicity versus early environment: Comment on Early childhood music education and predisposition to absolute pitch: Teasing apart genes and environment, Am. J. Med. Genet., 143, pp. 102-103, (2007); Hirayama T., A Study of Japanese Accent, pp. 3-30, (1957); Hyman L.M., How (not) to do phonological typology: The case of pitch-Accent, Lang. Sci., 31, pp. 213-238, (2009); Kindaichi H., Akinaga K., Shinmeikai Dictionary of Japanese Accent, pp. 16-28, (2010); Lee C.-Y., Lee Y.-F., Shr C.-L., Perception of musical and lexical tones by Taiwanese-speaking musicians, J. Acoust. Soc. Am., 130, pp. 526-535, (2011); Levitin D.J., Zatorre R.J., On the nature of early music training and absolute pitch: A reply to Brown, Sachs, Cammuso, and Folstein, Music Percept., 21, pp. 105-110, (2003); Miyazaki K., Musical pitch identification by absolute pitch possessors, Percept. Psychophys., 44, pp. 501-512, (1988); Miyazaki K., The speed of musical pitch identification by absolute pitch possessors, Music Percept., 8, pp. 177-188, (1990); Miyazaki K., Absolute pitch and its implications for music, Arch. Acoust., 32, pp. 529-540, (2007); Miyazaki K., Ogawa Y., Learning absolute pitch by children: A cross-sectional study, Music Percept., 24, pp. 63-78, (2006); Profita J., Bidder T.G., Perfect pitch, Am. J. Med. Genet., 29, pp. 763-771, (1988); Revesz G., Einführung in Die Musikpsychologie (Introduction to the Psychology of Music), (1946); Schellenberg E., Trehub S.E., Is there an Asian advantage for pitch memory?, Music Percept., 25, pp. 241-252, (2008); Sergeant D., Experimental investigation of absolute pitch, J. Res. Music Educ., 17, pp. 135-143, (1969); Takeuchi A.H., Hulse S.H., Absolute-pitch judgments of black- and white-key pitches, Music Percept., 9, pp. 27-46, (1991); Takeuchi A.H., Hulse S.H., Absolute pitch, Psychol. Bull., 113, pp. 345-361, (1993); Vance T.J., An Introduction to Japanese Phonology, (1987); Ward W.D., Absolute pitch, The Psychology of Music, pp. 265-298, (1999); Wellek A., Das absolute Gehör und seine typen (Absolute pitch and its types, Z. Angew. Psychol. Charakterkunde-Beih., 83, pp. 1-368, (1938); Wilson S.J., Lusher D., Martin C.L., Rayner G., McLachlan N., Intersecting factors lead to absolute pitch acquisition that is maintained in a fixed do' environment, Music Percept., 29, pp. 285-296, (2012)","K. Miyazaki; Department of Psychology, Niigata University, Niigata 950-2181, Japan; email: miyazaki@human.niigata-u.ac.jp","","","","","","","","00014966","","JASMA","23145628","English","J. Acoust. Soc. Am.","Article","Final","","Scopus","2-s2.0-84869105378"
"Freeman J.; Van Troyer A.","Freeman, Jason (7403529502); Van Troyer, Akito (38661907000)","7403529502; 38661907000","Collaborative textual improvisation in a laptop ensemble","2011","Computer Music Journal","35","2","","8","21","13","30","10.1162/COMJ_a_00053","https://www.scopus.com/inward/record.uri?eid=2-s2.0-79957623883&doi=10.1162%2fCOMJ_a_00053&partnerID=40&md5=531c4e7058bfe48066e148d42ca47820","School of Music, Georgia Institute of Technology, Atlanta, GA 30332-0456, 840 McMillan Street, United States; MIT Media Lab, Opera of the Future, Cambridge, MS 02142, 75 Ames Street, United States","Freeman J., School of Music, Georgia Institute of Technology, Atlanta, GA 30332-0456, 840 McMillan Street, United States; Van Troyer A., MIT Media Lab, Opera of the Future, Cambridge, MS 02142, 75 Ames Street, United States","A new textual performance environment for laptop ensemble named LOLC (Laptop Orchestra Live Coding) was designed to focus on ensemble-based collaboration. The design and implementation of LOLC was influenced by existing models for collaborative text-based laptop performance, by approaches to collaborative improvisation in other types of ensembles, and by collaborative composition systems. The LOLC software proved robust in rehearsal and performance. Additionally, LOLC was easy to learn; ensemble members were able to comfortably perform with LOLC at the end of a two-hour introductory session. In rehearsal, the ensemble experimented with a variety of approaches to organizing their performance. Along with the slowly evolving musical texture, a slow pace of collaboration was noted that seems inherent to LOLC. LOLC musicians can manipulate musical score fragments in addition to audio files, and those fragments are displayed in real time to sight-reading musicians with whom each laptop musician is paired.","","Audio acoustics; Audio files; Composition systems; Ensemble members; Musical score; Real time; Laptop computers","","","","","National Science Foundation, NSF, (0855758)","","Allen S., Teaching large ensemble music improvisation, Radical Pedagogy, 4, 1, (2002); Berliner P., Thinking in Jazz: The Infinite Art of Improvisation, (1994); Blackwell A., Collins N., The programming language as a musical instrument, Proceedings of Psychology of Programming Interest Group, pp. 120-130, (2005); Brown A., Sorensen A., Interacting with generative music through livecoding, Contemporary Music Review, 28, 1, pp. 17-29, (2009); Brown C., Bischoff J., Indigenous to the Net: Early Network Music Bands in the San Francisco Bay Area, (2002); Burk P., JSyn -A real-time synthesis API for java, Proceedings of the International Computer Music Conference, pp. 252-255, (1998); SubEthaEdit., (2010); Collins N., Et al., Live coding in laptop performance, Organised Sound, 8, 3, pp. 321-330, (2003); Dannenberg R., Et al., The carnegie mellon laptop orchestra, Proceedings of the International Computer Music Conference, pp. 340-343, (2007); Didkovsky N., Burk P., Java music specification language, an introduction and overview, Proceedings of the International Computer Music Conference, pp. 123-126, (2001); Frankel J., The Wiki Collaborative Composition Project, (2008); Freeman J., Extreme sight-reading, mediated expression, and audience participation: Real-time music notation in live performance, Computer Music Journal, 32, 3, pp. 25-41, (2008); Freeman J., Colella A., Tools for real-time notation, Contemporary Music Review, 29, 1, pp. 101-113, (2010); Google Docs., (2010); Gottlieb L., Images technology, and music: The ballets suédois and les mari és de la tour eiffel, The Musical Quarterly, 88, 4, pp. 523-555, (2005); Hodson R., Interaction, Improvisation, and Interplay in Jazz, (2007); Hudson S., Flannery F., Ananian C., CUP, (2010); Klein G., Jflex User's Manual, (1999); Lewis G., Virtual Concerto, (2004); Magnusson T., The ixiQuarks: Merging code and GUI in one creative space, Proceedings of the International Computer Music Conference, 2, pp. 332-339, (2007); Magnusson T., ixi lang: A SuperCollider parasite for live coding, Proceedings of the 2010 SuperCollider Symposium, (2010); McCartney J., Rethinking the computer music language: SuperCollider, Computer Music Journal, 26, 4, pp. 61-68, (2002); McLean A., Et al., Visualisation of live code, Proceedings of Electronic Visualisation and the Arts 2010, (2010); McLean A., Wiggins G., Words, movement and timbre, Proceedings of the 9th International Conference of New Interfaces for Musical Expression, (2009); Monson I., Saying Something: Jazz Improvisation and Interaction, (1996); Nardi B.A., Whittaker S., Bradner E., Interaction and outeraction: Instant messaging in action, Proceedings of the ACM Conference on Computer Supported Cooperative Work, pp. 79-88, (2000); Nilson C., Live coding practice, Proceedings of the 7th International Conference on New Interfaces for Musical Expression, pp. 112-117, (2007); Rebelo P., Renaud A., The frequencyliator - distributing structures for networked laptop improvisation, Proceedings of the 2006 International Conference on New Interfaces for Musical Expression, pp. 53-56, (2006); Rohrhuber J., Networked Programming, (2010); Rohrhuber J., De Campo A., Wieser R., Algorithms today: Notes on language design for just in time programming, Proceedings of the International Computer Music Conference, (2005); Rohrhuber J., Et al., Purloined letters and distributed persons, Music in the Global Village, (2007); Ruthmann A., Et al., Teaching computational thinking through musical live coding in scratch, Proceedings of the 41st ACM Technical Symposium on Computer Science Education, pp. 351-355, (2010); Salazar S., Wang G., Cook P., miniAudicle and chuck shell: New interfaces for chuck development and performance, Proceedings of the International Computer Music Conference, pp. 63-66, (2006); Smallwood S., Et al., Composing for laptop orchestra, Computer Music Journal, 32, 1, pp. 9-25, (2008); Sorensen A., A distributed memory for networked livecoding performance, Proceedings of the International Computer Music Conference, pp. 530-533, (2010); Sorensen A., Brown A., Aa-cell in practice: An approach to musical live coding, Proceedings of the International Computer Music Conference, pp. 292-299, (2007); Spiegel L., Manipulations of musical patterns, Proceedings of the Symposium on Small Computers and the Arts, pp. 19-22, (1981); Trueman D., The Telephone Game: Oil/Water/Ether, (2008); Walshe J., Meanwhile, Back at the Ranch, (2005); Wang G., Cook P., ChucK: A concurrent, onthe-fly audio programming language, Proceedings of the International Computer Music Conference, pp. 219-226, (2003); Wang G., Et al., CoAudicle: A collaborative audio programming space, Proceedings of the International Computer Music Conference, pp. 331-334, (2005); Yew J., Social performances: Understanding the motivations for online participatory behavior, Proceedings of the ACM 2009 International Conference on Supporting Group Work, pp. 397-398, (2009); Zorn J., John Zorn's Cobra: Live at the Knitting Factory, (1995)","J. Freeman; School of Music, Georgia Institute of Technology, Atlanta, GA 30332-0456, 840 McMillan Street, United States; email: jason.freeman@gatech.edu","","","","","","","","15315169","","CMUJD","","English","Comput Music J","Article","Final","","Scopus","2-s2.0-79957623883"
"Karpf J.","Karpf, Juanita (14522652500)","14522652500","For their musical uplift: Emma Azalia Hackley and voice culture in African American communities","2011","International Journal of Community Music","4","3","","237","256","19","4","10.1386/ijcm.4.3.237_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84923067086&doi=10.1386%2fijcm.4.3.237_1&partnerID=40&md5=22464f6fd6cdd18cbc21ca30c72be65b","Case Western Reserve University, United States","Karpf J., Case Western Reserve University, United States","The noted African American soprano Emma Azalia Hackley (1867–1922) abandoned her concert career in the early twentieth century and began travelling throughout the United States, organizing community choruses and promoting community music making. She spent the remainder of her life engaged in what she called ‘musical social uplift’, which entailed teaching voice culture to hundreds of thousands of African Americans. To accomplish her goals, she formulated a unique pedagogy especially suited to black citizens in times of racism and segregation. Because of her commitment to music education and community activism, she became famous as the ‘National Vocal Teacher’ of African Americans. © 2011 Intellect Ltd.","African American music; community music; Emma Azalia; Hackley; music pedagogy; musical social uplift; voice culture","","","","","","","","Alridge Derrick P., The Educational Thought of W.E.B. Du Bois: An Intellectual History, (2008); Anderson Marian, My Lord, What a Morning, (1956); Arsenault Raymond, The Sound of Freedom: Marian Anderson, the Lincoln Memorial, and the Concert that Awakened America, (2009); Interest aroused for folk song festival: Over two hundred voices being trained by Madame Hackley for the event, Baltimore Afro-American Ledger, (1917); Gazette Berkeley Daily, Negro folk song festival planned, Berkeley Daily Gazette, (1920); The stage, Indianapolis Freeman, (1909); Brevard Lisa Pertillar, A Biography of E. Azalia Hackley (1867–1922), African-American Singer and Social Activist, (2001); Brooks Tim, Lost Sounds: Blacks and the Birth of the Recording Industry, 1890–1919, (2004); Campbell Gladys B., The vocal teacher of ten Thousand, Half-Century Magazine, 1, 2, (1916); Lecture-musicale by Madame E. Azalia Hackley at the Atlanta Baptist College, Chicago Broad Ax, (1911); Madame E. Azalia Hackley completely captivated the music loving Afro-Americans in Chicago, Chicago Broad Ax, (1911); Defender Chicago, Eminent violinist hears high school boys in folk lore, Chicago Defender, (1916); Defender Chicago, National musicians meet in New York, Chicago Defender, (1920); Music and art, The Crisis, 8, 4, (1914); Harry Barnhart, the Billy Sunday of music, Current Opinion, 62, 6, pp. 404-405, (1917); Davenport M. Marguerite, Azalia: The Life of Madame E. Azalia Hackley, (1947); Davidson Basil, African Kingdoms, (1971); Dett Robert Nathaniel, From bell stand to throne room: A remarkable autobiographical interview with the eminently successful American Negro composer, Etude, 52, pp. 78-80, (1934); Diton Carl Rossini, Letter to W.E.B. Du Bois, 15 December, (1922); Du Bois W. E. B., The Philadelphia Negro: A Social Study, (1899); Du Bois W. E. B., Souls of Black Folk, (1903); Du Bois W. E. B., The talented tenth, The Negro Problem: A Series of Articles by Representative Negroes of Today, contributions by Booker T. Washington, W.E. Burghhardt Du Bois, Paul Laurence Dunbar, Charles W. Chestnutt, and others, pp. 33-75, (1903); Du Bois W. E. B., Music and art, The Crisis, 10, 3, (1915); Du Bois W. E. B., Letter to Carl Rossini Diton, 19 December, (1922); Du Bois W. E. B., The horizon, The Crisis, 25, 6, (1923); Dykema Peter W., The spread of the community music idea, Annals of the American Academy of Political and Social Science, 67, pp. 218-223, (1916); Dykema Peter W., Music in community life, Music Supervisors’ Journal, 20, 4, pp. 34-35, (1934); Floyd Samuel A., Black Music in the Harlem Renaissance, (1990); Gaines Kevin Kelly, Uplifting the Race: Black Leadership, Culture and Politics in the Twentieth Century, (1996); Gatewood Willard B., Aristocrats of Color: The Black Elite, 1880–1920, (1990); George Maude Roberts, News of the music world, Chicago Defender, (1928); Gereluk Dianne, Education and Community, (2006); Gonzalez Lisa Sanchez, Modernism and Boricua literature: A reconsideration of Arturo Schomburg and William Carlos Williams, American Literary History, 13, 2, pp. 242-264, (2001); Grant Jacquelyn, Faithful resistance risking it all: From expedience to radical obedience, My Soul Is Witness: African-American Women’s Spirituality, pp. 204-208, (1994); Hackley Emma Azalia, The foreign scholarship, Documentary: Negro Music and Musicians, (1908); Hackley Emma Azalia, A Guide in Voice Culture, (1909); Hackley Emma Azalia, Being a somebody by Madame E. Azalia Hackley, Chicago Broad Ax, (1911); Hackley Emma Azalia, The foundation of voice building, Chicago Broad Ax, (1911); Hackley Emma Azalia, Through Cuba with Madame Hackley, Chicago Defender, (1912); Hackley Emma Azalia, Hints to young colored artists: Demonstration in voice culture (No. 1), New York Age, (1914); Hackley Emma Azalia, Hints to young colored artists: Demonstration in voice culture (No. 2), New York Age, (1914); Hackley Emma Azalia, Lesson IV in voice culture given in colored schools, season 1913–1914, Madame E. Azalia Hackley’s The Colored Girl Beautiful, pp. 107-122, (1914); Hackley Emma Azalia, Hints to young colored artists: Reducing the ego (No. 2), New York Age, (1915); Hackley Emma Azalia, The musical progress of the race during the last year, Indianapolis Freeman, (1915); Hackley Emma Azalia, The Colored Girl Beautiful, (1916); Hackley Emma Azalia, Letter to W.E.B. Du Bois, 20 July, (1916); Hackley Emma Azalia, Letter to George Foster Peabody, 4 August, (1918); Hackley Emma Azalia, The itinerant community work of Madame E. Azalia Hackley, The Negro Musician, 1, (1921); Holt Nora Douglas, Musicians to meet in Detroit, New York Amsterdam News, (1946); Indianapolis Freeman, (1909); Freeman Indianapolis, She says the Negro is a natural singer: Mrs. Hackley explains requisites necessary to become a singer, Indianapolis Freeman, (1911); Serious purpose is revealed in work of colored singers, Musical America, 26, (1917); Johns Altona Trent, The E. Azalia Hackley Memorial Collection of Negro music, dance, and drama, Letter to Ellistine Perkins Lewis, (1975); Jordan William G., The Damnable Dilemma”: African-American accommodation and protest during World War I, Journal of American History, 81, 4, pp. 1565-1572, (1995); Karpf Juanita, E. Azalia Hackley, Notable Black American Women, pp. 429-434, (1992); Karpf Juanita, Get the pageant habit: E. Azalia Hackley’s festivals and pageants during the World War I years, 1914–1918, Popular Music and Society, 35, (2012); Keiler Allan, Marian Anderson: A Singer’s Journey, (2000); Krehbiel Henry Edward, Afro-American Folk-Songs: A Study in Racial and National Music, (1913); Langston Tony, Theatrical review, Chicago Defender, (1916); Langston Tony, Race loses service of Mme. Hackley, Chicago Defender, (1922); Levine W. Lawrence, Black Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom, (1977); Lewis Cary B., Current news of Chicago: The Hackley recital to be greatest ever, Indianapolis Freeman, (1911); Lewis Ellistine P., The E. Azalia Hackley memorial collection of Negro music, dance, and drama, (1978); Lumsden Joy, Henry L. Phillips, (2007); Marshall M. M., Emma A. Hackley, Homespun Heroines and other Women of Distinction, pp. 231-236, (1926); McGinty Doris Evans, The Washington conservatory of music and school of expression, The Black Perspective in Music, 7, 1, pp. 57-73, (1979); McGinty Doris Evans, A Documentary History of the National Association of Negro Musicians, (2004); McKeen Gayle, Whose rights? Whose responsibilities? Self-help in African-American thought, Polity, 34, 4, pp. 409-432, (2002); Moore Jacqueline M., Booker T. Washington, W.E.B. Du Bois and the Struggle for Racial Uplift, (2003); Musical notes, The Negro Music Journal, 2, 14, (1903); Mme. Hackley to give recital, Pittsburgh Post-Gazette, (1912); Community Music: A Practical Guide for the Conduct of Community Music Activities, (1926); Russell Sylvester, Madame Hackley triumphs at orchestra hall in a song and lecture recital, Indianapolis Freeman, (1911); Schenbeck Lawrence, Music, gender and “Uplift”in the Chicago Defender, The Musical Quarterly, 81, 3, pp. 344-370, (1997); Schmalenberger Sarah, Shaping uplift through music, Black Music Research Journal, 28, 2, pp. 57-83, (2008); Schomburg Arturo Alfonso, The Negro digs up his past, Survey Graphic of Harlem, pp. 670-672, (1925); Silverman Marissa D., Community music? Reflections on the concept, International Journal of Community Music, (2006); Small Christopher, Musicking: The Meanings of Performing and Listening, (1998); Small Christopher, Music of the Common Tongue: Survival and Celebration in African American Music, (1998); Workman Southern, Southern Workman, 42, 1, (1913); Workman Southern, Southern Workman, 42, 2, (1913); Workman Southern, Southern Workman, 42, 9, (1913); Workman Southern, Southern Workman, 42, 10, (1913); Spencer Jon Michael, The New Negroes and Their Music: The Success of the Harlem Renaissance, (1997); Mme. Hackley, singer, dies in Detroit, (1922); Taylor Frederick Jerome, In retrospect: Black musicians in The Philadelphia Tribune, 1912–20, The Black Perspective in Music, 18, 1–2, pp. 127-140, (1990); Thompson Eloise Bibb, Madam Hackley in Los Angeles; friend to poor, Chicago Defender, (1915); Thompson R. W., Mme. Hackley wins new laurels, Indianapolis Freeman, (1916); Trotter James Monroe, Music and Some Highly Musical People, (1880); Warren Francis H., Michigan Manual of Freedmen’s Progress, (1915); Washington D.C. Bee, Madame Hackley doing good for the people, (1912); Washington D.C. Bee, Return of Madame E. Azalia Hackley to the capital city, (1913); Washington D.C. Bee, Washington[’s] first folksong festival, (1916); White Lucien H., Music notes, New York Age, (1916); White Lucien H., Mme. E.A. Hackley gives some comments on Negro music, New York Age, (1920); White Lucien H., Mme. Hackley is dead after months of illness, New York Age, (1922); Searchlight Wichita, Negro natural singers, Wichita Searchlight, (1910)","J. Karpf; Case Western Reserve University, United States; email: jxk178@case.edu","","Intellect Ltd.","","","","","","17526299","","","","English","Int. J. Community Music","Article","Final","","Scopus","2-s2.0-84923067086"
"Elgersma K.","Elgersma, Kristin (55479977300)","55479977300","First year teacher of first year teachers: A reflection on teacher training in the field of piano pedagogy","2012","International Journal of Music Education","30","4","","409","424","15","5","10.1177/0255761412462970","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84869032348&doi=10.1177%2f0255761412462970&partnerID=40&md5=c5236d37e625fd16e03cc5399147506d","University of Idaho, Moscow, ID, United States","Elgersma K., University of Idaho, Moscow, ID, United States","While there is a great deal of scholarly inquiry focusing on student teaching experiences in the field of classroom education, there are few resources devoted to student teaching in the context of the applied music lesson. In this article, a teacher educator in the field of piano pedagogy uses self-study to combine reflection on personal experience with academic research. This results in recommendations for best practices in developing successful applied music student teaching experiences, as well as in models to aid in evaluation of this teaching. The conclusions of this self-study not only aid applied music teacher educators in developing an artistic, effective pedagogy of applied music instruction, but also expand the limited academic writing about student teaching in the piano pedagogy curriculum. © The Author(s) 2012.","applied music pedagogy; music education; piano pedagogy; piano teaching; student teaching; teacher educator","","","","","","","","Bosits M., Piano Pedagogy: Preparation Guidelines for Student Teaching, (1983); Brand M., Voodoo and the applied music studio, Quarterly Journal of Music Teaching and Learning, 3, 2, pp. 3-4, (1992); Bunton D., Stimpson P., Lopez-Real F., University tutors' practicum observation notes: Format and content, Mentoring and Tutoring, 10, 3, pp. 232-252, (2002); The development of piano teachers' knowledge: Three case studies from Brazil, Visions of Research in Music Education, 13, (2009); Charoenwongse C., Undergraduate Piano Pedagogy Course Offerings in Thai Universities, (1999); Chiang J., An Investigation of the Status of Piano Teacher Training in Taiwan from the Perspective of Undergraduate Piano Pedagogy Course Offerings, (2009); Richard Chronister; Crowe A., Whitlock T., The education of teacher educators: A self-study of the professional development of two doctoral students in teacher education, Meeting of the American Educational Research Association, (1999); Cuenca A., In Loco Paedagogus: The pedagogy of a novice university supervisor, Studying Teacher Education, 6, 1, pp. 29-43, (2010); Dewey J., How We Think, (1933); Dimova Y., Loughran J., Developing a big picture understanding of reflection inpedagogical practice, Reflective Practice, 10, 2, pp. 205-217, (2009); Duke R.A., Simmons A.L., The nature of expertise: Narrative descriptions of 19 common elements observed in the lessons of three renowned artist-teachers, Bulletin of the Council for Research in Music Education, 170, pp. 7-19, (2006); Elgersma K., Arts Education in the Piano Performance and Pedagogy Curriculum, (2008); Feldman A., Enhancing the practice of physics teachers: Mechanisms for the generation and sharing of knowledge and understanding in collaborative action research, Journal of Research in Science Teaching, 33, pp. 513-540, (1996); Fredrickson W.E., Music majors' attitudes toward private lesson teaching after graduation: A replication and extension, Journal of Research in Music Education, 55, pp. 326-343, (2007); Fredrickson W.E., Perceptions of college-level music performance majors teaching applied music lessons to young students, International Journal of Music Education, 25, 1, pp. 72-80, (2007); Gray M.E., Teacher or Performer: Role Identification among Piano Majors, (1998); Guilfoyle K., Hamilton M.L., Pinnegar S., Placier M., Teachers Who Teach Teachers: Reflections on Teacher Education, pp. 35-55, (1995); Johnson V.L., A Survey of Undergraduate Piano Pedagogy Core Course Content, (2003); Kitchen J., Looking backward, moving forward: Understanding my narrative as a teacher educator, Studying Teacher Education, 1, pp. 17-30, (2005); Korthagen F., Loughran J., Russell T., Developing fundamental principles for teacher education programs and practices, Teaching and Teacher Education, 22, 8, pp. 1020-1041, (2006); Lortie D.C., Schoolteacher: A Sociological Study, (1975); Loughran J., Effective reflective practice: In search of meaning in learning about teaching, Journal of Teacher Education, 53, 1, pp. 33-43, (2002); Loughran J., Teacher Professional Development in Changing Conditions, pp. 27-41, (2005); Lyman J.P., Administration Aspects of Intern Teaching in Piano Pedagogy Courses, (1991); Madsen C.K., Standley J.M., Byo J.L., Cassidy J.W., Assessment of effective teaching by instrumental music student teachers and experts, Update: Applications of Research in Music Education, 10, 20, pp. 20-24, (1992); Milliman A., A Survey of Graduate Piano Pedagogy Core Course Offerings, (1992); Mills J., Conservatoire students as instrumental teachers, Bulletin of the Council for Research in Music Education, 161-162, pp. 145-153, (2004); Munby H., Russell T., The authority of experience in learning to teach: Messages from a physics methods class, Journal of Teacher Education, 45, 2, pp. 86-95, (1994); Nicol C., Teaching about Teaching: Purpose, Passion and Pedagogy in Teacher Education, pp. 95-117, (1997); Northfield J., Gunstone R., Teaching about Teaching: Purpose, Passion and Pedagogy in Teacher Education, pp. 48-56, (1997); Russell T., Reconceptualizing Teaching Practice: Self-study in Teacher Education, pp. 6-7, (1998); Sadler D.R., Formative assessment and the design of instructional systems, Instructional Science, 18, 2, pp. 119-144, (1989); Sadler R., Formative assessment: Revisiting the territory, Assessment in Education, 5, 1, pp. 77-85, (1998); Sadler D., Interpretations of criteria-based assessment and grading in higher education, Assessment and Evaluation in Higher Education, 30, 2, pp. 175-194, (2005); Schon D.A., The Reflective Practitioner: How Professionals Think in Action, (1983); Schon D.A., Educating the Reflective Practitioner: Toward A New Design for Teaching and Learning in the Professions, (1987); Schon D.A., The Reflective Turn: Case Studies in and on Educational Practice, (1992); Tang S.Y.F., Chow A.W.K., Communicating feedback in teaching practice supervision in a learning-oriented field experience assessment framework, Teaching and Teacher Education, 23, pp. 1066-1085, (2007); Whitehead J., The Growth of Educational Knowledge: Creating Your Own Living Educational Theories, (1993); Wiggins J., Authentic practice and process in music teacher education, Music Educators Journal, 93, 3, pp. 36-42, (2007); Wolfersberger M.M., A Study and Analysis of Selected Aspects of the Piano Teaching Profession, (1986)","K. Elgersma; University of Idaho, Moscow, ID, United States; email: kelgersma@uidaho.edu","","","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-84869032348"
"Forbes B.E.; Skinner C.H.; Black M.P.; Yaw J.; Booher J.; Delisle J.","Forbes, Bethany E. (56176643900); Skinner, Christopher H. (7201765085); Black, Michelle P. (55955446800); Yaw, Jared (36728728200); Booher, Joshua (36727003000); Delisle, Jean (55816906700)","56176643900; 7201765085; 55955446800; 36728728200; 36727003000; 55816906700","Learning rates and known-to-unknown flash-card ratios: Comparing effectiveness while holding instructional time constant","2013","Journal of Applied Behavior Analysis","46","4","","832","837","5","21","10.1002/jaba.74","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84889669035&doi=10.1002%2fjaba.74&partnerID=40&md5=1f0d4a26baa81b39273e56cf451fa735","University of Tennessee EPC, BEC 518, Knoxville, TN 37996, United States; Cherokee Health Systems, United States; Newport Grammar School, United States","Forbes B.E., University of Tennessee EPC, BEC 518, Knoxville, TN 37996, United States; Skinner C.H., University of Tennessee EPC, BEC 518, Knoxville, TN 37996, United States; Black M.P., University of Tennessee EPC, BEC 518, Knoxville, TN 37996, United States; Yaw J., University of Tennessee EPC, BEC 518, Knoxville, TN 37996, United States; Booher J., Cherokee Health Systems, United States; Delisle J., Newport Grammar School, United States","Using alternating treatments designs, we compared learning rates across 2 computer-based flash-card interventions (3 min each): a traditional drill intervention with 15 unknown words and an interspersal intervention with 12 known words and 3 unknown words. Each student acquired more words under the traditional drill intervention. Discussion focuses on the need to account for instructional time when learning procedures are evaluated and compared. © Society for the Experimental Analysis of Behavior.","computer-based instruction; interspersal procedures; sight reading; traditional drill","Audiovisual Aids; Child; Computer-Assisted Instruction; Discrimination Learning; Education of Intellectually Disabled; Humans; Learning Disorders; Male; Practice (Psychology); Reading; Retention (Psychology); Teaching; Time Factors; computer-based instruction; interspersal procedures; sight reading; traditional drill; article; audiovisual aid; child; clinical trial; comparative study; computer-based instruction; discrimination learning; education of intellectually disabled; human; interspersal procedures; learning; learning disorder; long term memory; male; methodology; psychological aspect; reading; sight reading; teaching; time; traditional drill","","","","","","","Bramlett R., Cates G.L., Savina E., Lauinger B., Assessing effectiveness and efficiency of academic interventions in school psychology journals: 1995-2005, Psychology in the Schools, 47, pp. 114-125, (2010); Browder D.M., Lalli J.S., Review of research on sight word instruction, Research in Developmental Disabilities, 12, pp. 203-228, (1991); Burns M.K., Empirical analysis of drill ratio research: Refining the instructional level for drill tasks, Remedial and Special Education, 25, pp. 167-175, (2004); Burns M.K., Zaslofsky A.F., Kanive R., Parker D.C., Meta-analysis of incremental rehearsal using phi coefficients to compared single-case and group designs, Journal of Behavioral Education, 21, pp. 185-202, (2012); Carnine D.W., Effects of two teacher presentation rates on off-task behavior, answering correctly, and participation, Journal of Applied Behavior Analysis, 9, pp. 199-206, (1976); Cates G.L., Skinner C.H., Watson T.W., Meadows T.J., Weaver A., Jackson B., Instructional effectiveness and instructional efficiency as considerations for data-based decision making: An evaluation of interspersing procedures, School Psychology Review, 32, pp. 601-616, (2003); Hawkins J., Skinner C.H., Oliver R., The effects of task demands and additive interspersal ratios on fifth-grade students' mathematics accuracy, School Psychology Review, 34, pp. 543-555, (2005); Hopkins M.B., Hilton A.N., Skinner C.H., Implementation guidelines: How to design a computer-based sight-word reading system using Microsoft PowerPoint, Journal of Evidence-Based Practices in the Schools, 12, pp. 219-222, (2011); Horner R.H., Day H.M., Sprague J.R., O'Brien M., Heathfield L.T., Interspersed requests: A nonaversive procedure for reducing aggression and self-injury during instruction, Journal of Applied Behavior Analysis, 24, pp. 265-278, (1991); Joseph L.M., Nist L.M., Comparing the effects of unknown-known ratios on word reading learning versus learning rates, Journal of Behavioral Education, 15, pp. 69-79, (2006); Kodak T., Fisher W.W., Clements A., Bouxsein K.J., Effects of computer-assisted instruction on correct responding and procedural integrity during early intensive behavioral intervention, Research in Autism Spectrum Disorders, 5, pp. 640-647, (2011); Kupzyk S., Daly III E.J., Andersen M.N., A comparison of two flash-card methods for improving sight-word reading, Journal of Applied Behavior Analysis, 44, pp. 781-792, (2011); McLaughlin T.F., Mabee W.S., Reiter S.M., Byram B., An analysis and replication of the add-a-word spelling program with mildly handicapped middle school students, Journal of Behavioral Education, 1, pp. 413-426, (1991); Nist L., Joseph L.M., Effectiveness and efficiency of flashcard drill instructional methods on urban first-graders' word recognition, acquisition, maintenance and generalization, School Psychology Review, 37, pp. 294-308, (2008); Scott Foresman Reading Street, (2008); Sindelar P.T., Rosenburg M.S., Wilson R.J., An adapted alternating treatments design for instructional research, Education and Treatment of Children, 8, pp. 67-76, (1985); Skinner C.H., Theoretical and applied implications of precisely measuring learning rates, School Psychology Review, 37, pp. 309-314, (2008); Skinner C.H., Applied comparative effectiveness researchers must measure learning rates: A commentary on efficiency articles, Psychology in the Schools, 47, pp. 166-172, (2010); Skinner C.H., Belfiore P.J., Mace H.W., Williams S., Johns G.A., Altering response topography to increase response efficiency and learning rates, School Psychology Quarterly, 12, pp. 54-64, (1997); Skinner C.H., Belfiore P.B., Watson T.S., Assessing the relative effects of interventions in students with mild disabilities: Assessing instructional time, Journal of Psychoeducational Assessment, 20, pp. 345-356, (2002)","B.E. Forbes; University of Tennessee EPC, BEC 518, Knoxville, TN 37996, United States; email: bbowli10@utk.edu","","","","","","","","19383703","","","24114395","English","J. Appl. Behav. Anal.","Article","Final","","Scopus","2-s2.0-84889669035"
"Penttinen M.; Huovinen E.; Ylitalo A.-K.","Penttinen, Marjaana (41262191500); Huovinen, Erkki (26033181800); Ylitalo, Anna-Kaisa (55763739300)","41262191500; 26033181800; 55763739300","Reading ahead: Adult music students' eye movements in temporally controlled performances of a children's song","2015","International Journal of Music Education","33","1","","36","50","14","35","10.1177/0255761413515813","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84922770768&doi=10.1177%2f0255761413515813&partnerID=40&md5=eb4aa4982d80b9f280fdf676866e6f12","Department of Teacher Education, Centre for Learning Research, University of Turku, Turku, FI-20014, Finland; University of Minnesota, United States; University of Jyväskylä, Finland","Penttinen M., Department of Teacher Education, Centre for Learning Research, University of Turku, Turku, FI-20014, Finland; Huovinen E., University of Minnesota, United States; Ylitalo A.-K., University of Jyväskylä, Finland","In the present study, education majors minoring in music education (n = 24) and music performance majors (n =14) read and performed the original version and melodically altered versions of a simple melody in a given tempo. Eye movements during music reading and piano performances were recorded. Errorless trials were analyzed to explore the adjustments of visual processing in successful performances. The temporal length of the eye-hand span (time between gaze and the performed note) was typically around one second or less. A measure of gaze activity indicated that performers generally inspected two quarter-note areas between two metrical beat onsets. The performance majors operated with shorter fixation durations and applied larger eye-hand spans as well as greater gaze activity than education majors. The latter two measures were generally affected by unexpected melodic alterations and simple rhythmic patterns. The study manifests both the flexibility and limitations of the mechanisms of visual processing in temporally controlled music reading, addressing some of the everyday conceptions about sight-reading by means of systematic research. © The Author(s) 2014.","Eye movements; eye-hand span; music reading; sight-reading; temporal control","","","","","","Academy of Finland, (128892)","This research was funded by the Academy of Finland (project number 128892) for the first author and the Finnish Doctoral Programme in Stochastics and Statistics (FDPSS) for the third author. ","Burman D.D., Booth J.R., Music rehearsal increases the perceptual span for notation, Music Perception: An Interdisciplinary Journal, 26, pp. 303-320, (2009); Drake C., Palmer C., Skill acquisition in music performance: Relations between planning and temporal control, Cognition, 74, pp. 1-32, (2000); Furneaux S., Land M.F., The effects of skill on the eye-hand span during musical sight-reading, Proceedings of the Royal Society of London, Series B, 266, pp. 2435-2440, (1999); Gilman E., Underwood G., Restricting the field of view to investigate the perceptual span of pianists, Visual Cognition, 10, pp. 201-232, (2003); Goolsby T.W., Eye movement in music reading: Effects of reading ability, notational complexity, and encounters, Music Perception, 12, pp. 77-96, (1994); Goolsby T.W., Profiles of processing: Eye movements during sightreading, Music Perception, 12, pp. 96-123, (1994); Gudmundsdottir H.R., Advances in music reading research, Music Education Research, 12, pp. 331-338, (2010); Gudmundsdottir H.R., Pitch error analysis of young piano students' music reading performances, International Journal of Music Education, 28, pp. 61-70, (2010); Haikio T., Bertram R., Hyona J., Niemi P., Development of the letter identity span in reading: Evidence from the eye movement moving window paradigm, Journal of Experimental Child Psychology, 102, pp. 167-181, (2009); Kinsler V., Carpenter R.H.S., Saccadic eye movements while reading music, Vision Research, 35, pp. 1447-1458, (1995); Lehmann A.C., Kopiez R., The Oxford Handbook of Music Psychology, pp. 344-351, (2009); Madell J., Hebert S., Eye movements and music reading: Where do we look next?, Music Perception: An Interdisciplinary Journal, 26, pp. 157-170, (2008); McConkie G.W., Zola D., Grimes J., Kerr P.W., Bryant R.B., Wolff P.M., Vision and Visual Dyslexia, pp. 251-262, (1991); Penttinen M., Huovinen E., The effects of melodic grouping and meter on eye movements during simple sight-reading tasks, Proceedings of the 7th Triennial Conference of European Society for the Cognitive Sciences of Music (ESCOM 2009); Penttinen M., Huovinen E., The early development of sight-reading skills in adulthood: A study of eye movements, Journal of Research in Music Education, 59, pp. 196-220, (2011); Pike P.D., Carter R., Employing cognitive chunking techniques to enhance sight-reading performances of undergraduate group-piano students, International Journal of Music Education, 28, pp. 231-246, (2010); Polanka M., Research note: Factors affecting eye movements during the reading of short melodies, Psychology of Music, 23, pp. 177-183, (1995); Rayner K., Eye movements in reading and information processing: 20 years of research, Psychological Bulletin, 124, pp. 372-422, (1998); Truitt F.E., Clifton C., Pollatsek A., Rayner K., The perceptual span and the eye-hand span in sight-reading music, Visual Cognition, 4, pp. 143-161, (1997); Waters A., Underwood G., Eye movements in a simple music reading task: A study of experts and novice musicians, Psychology of Music, 26, pp. 46-60, (1998); Wurtz P., Mueri R.M., Wiesendanger M., Sight-reading of violinists: Eye movements anticipate the musical flow, Experimental Brain Research, 194, pp. 445-450, (2009)","M. Penttinen; Department of Teacher Education, Centre for Learning Research, University of Turku, Turku, FI-20014, Finland; email: mapent@utu.fi","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-84922770768"
"Musco A.M.","Musco, Ann Marie (54420837600)","54420837600","Beyond “Line by Line”: Strategies for Performance and Learning Transfer","2011","Music Educators Journal","98","1","","59","67","8","2","10.1177/0027432111415689","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85051244461&doi=10.1177%2f0027432111415689&partnerID=40&md5=9427087c9b9d55b890cd8e38515b9a3c","","","A variety of excellent method books aim to help student musicians develop skills in music reading and instrumental technique, but sometimes the best approach is not simply to move ahead line by line through the book. Rather, teachers will find it beneficial to consider apposite strategies to be used before, during, and after rehearsing a line so that skills and knowledge are mastered, retained, and applied in performances of subsequent lines in the book as well as other repertoire. This article proposes a sequence of instruction to enable good sight-reading, facilitate fluent performance, and promote transfer of learning. The sequence involves five steps: (1) Prepare: through sound-before-sight instruction, students develop instrumental skills and aural readiness for the task at hand. (2) Present: the teacher introduces the notated musical symbol in a memorable, meaningful way. (3) Practice: an array of rehearsal strategies are used to develop accurate, confident performances. (4) Persist: through creative repetition, performance skills are solidified. (5) Proceed: by advancing to a related line in the book, students are challenged to transfer learned skills and concepts. The instructional sequencing and rehearsal strategies suggested in this article were influenced by Edwin Gordon and Madeline Hunter as well as by research in motor skills learning. The five-step model and presented strategies are also relevant to learning ensemble literature. © 2011 MENC: The National Association for Music Education.","band; learning; method; middle school; practice; rehearsal; transfer","","","","","","","","","A.M. Musco; email: muscoam@troup.org","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85051244461"
"Platz F.; Kopiez R.; Lehmann A.C.; Wolf A.","Platz, Friedrich (26423261600); Kopiez, Reinhard (15923451000); Lehmann, Andreas C. (16039930300); Wolf, Anna (55847547900)","26423261600; 15923451000; 16039930300; 55847547900","The influence of deliberate practice on musical achievement: A meta-analysis","2014","Frontiers in Psychology","5","JUN","646","","","","80","10.3389/fpsyg.2014.00646","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84904563727&doi=10.3389%2ffpsyg.2014.00646&partnerID=40&md5=72ef489d1e9c1a8ef629fe41086aa113","University of Music and Performing Arts, Stuttgart, Germany; Hanover Music Lab, Hanover University of Music, Drama and Media, Hanover, Germany; University of Music, Würzburg, Germany","Platz F., University of Music and Performing Arts, Stuttgart, Germany; Kopiez R., Hanover Music Lab, Hanover University of Music, Drama and Media, Hanover, Germany; Lehmann A.C., University of Music, Würzburg, Germany; Wolf A., Hanover Music Lab, Hanover University of Music, Drama and Media, Hanover, Germany","Deliberate practice (DP) is a task-specific structured training activity that plays a key role in understanding skill acquisition and explaining individual differences in expert performance. Relevant activities that qualify as DP have to be identified in every domain. For example, for training in classical music, solitary practice is a typical training activity during skill acquisition. To date, no meta-analysis on the quantifiable effect size of deliberate practice on attained performance in music has been conducted. Yet the identification of a quantifiable effect size could be relevant for the current discussion on the role of various factors on individual difference in musical achievement. Furthermore, a research synthesis might enable new computational approaches to musical development. Here we present the first meta-analysis on the role of deliberate practice in the domain of musical performance. A final sample size of 13 studies (total N = 788) was carefully extracted to satisfy the following criteria: reported durations of task-specific accumulated practice as predictor variables and objectively assessed musical achievement as the target variable. We identified an aggregated effect size of rc = 0.61; 95% CI [0.54, 0.67] for the relationship between task-relevant practice (which by definition includes DP) and musical achievement. Our results corroborate the central role of long-term (deliberate) practice for explaining expert performance in music. © 2014 Platz, Kopiez, Lehmann and Wolf.","Deliberate practice; Expert performance; Meta-analysis; Music; Sight-reading","","","","","","","","Bengtsson S.L., Nagy Z., Skare S., Forsman L., Forssberg H., Ullen F., Extensive piano practicing has regionally specific effects on white matter development, Nat. Neurosci, 8, pp. 1148-1150, (2005); Bergee M.J., Faculty interjudge reliability of music performance evaluation, J. Res. Music Educ, 51, pp. 137-150, (2003); Booth A., Papaioannou D., Sutton A., Systematic Approaches to a Successful Literature Review, (2012); Borenstein M., Comprehensive Meta-Analysis (2.0) [Computer software], (2010); Brandler S., Rammsayer T.H., Differences in mental abilities between musicians and non-musicians. Psychol, Music 31, 123-138, (2003); Campitelli G., Gobet F., Deliberate practice: necessary but not sufficient, Curr. Dir. Psychol. Sci., 20, (2011); Chabris C.F., (1999); Cohen J., Statistical Power Analysis for the Behavioral Sciences, (1988); Cohn L.D., Becker B.J., How meta-analysis increases statistical power, Psychol. Methods 8, 243-253., (2003); Cooper H., Hedges L.V., Valentine J.C., The Handbook of Research Synthesis and Meta-Analysis, (2009); Deeks J.J., Higgins J.P.T., Altman D.G., Analysing data and undertaking meta-analyses, Cochrane Handbook for Systematic Reviews of Interventions, pp. 243-296, (2008); Detterman D.K., Acquiring expertise: ability, practice, and other influences [Special issue], Intelligence, 45, pp. 1-123, (2014); Egger M., Smith G.D., Schneider M., Minder C., Bias in meta-analysis detected by a simple, graphical test, Br. Med. J., 315, (1997); Ellis P.D., The Essential Guide to Effect Sizes: Statistical Power, Meta-Analysis, and the Interpretation of Research Results, (2010); Ericsson K.A., The Road to Excellence: the Acquisition of Expert Performance in the Arts and Sciences, Sports and Games, (1996); Ericsson K.A., The influence of experience and deliberate practice on the development of superior expert performance, The Cambridge Handbook of Expertise and Expert Performance, pp. 683-703, (2006); Ericsson K.A., (2014); Ericsson K.A., Krampe R.T., Tesch-Romer C., The role of deliberate practice in the acquisition of expert performance, Psychol. Rev., 100, (1993); Ericsson K.A., Lehmann A.C., Expertise, Encyclopedia of Creativity, pp. 695-707, (1999); Ericsson K.A., Smith J., Prospects and limits in the empirical study of expertise: an introduction, Toward a General Theory of Expertise: Prospects and Limits, pp. 1-38, (1991); Gruber H., Lehmann A.C., Entwicklung von Expertise und Hochleistung in Musik und Sport [The development of expertise and superior performance in music and sports], Angewandte Entwicklungspsychologie (Enzyklopädie der Psychologie, Vol. C/V/7), pp. 497-519, (2008); Gruber H., Renkl A., Schneider W., 26, pp. 53-70, (1994); Gulliksen H., Theory of Mental Tests, (1950); Hallam S., The predictors of achievement and dropout in instrumental tuition, Psychol. Music 26, 116-132., (1998); Hambrick D.Z., Meinz E.J., Limits on the predictive power of domain-specific experience and knowledge in skilled performance, Curr. Dir. Psychol. 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Music 40, 357-384., (2012); Kopiez R., Lee J.I., Towards a dynamic model of skills involved in sight reading music, Music Educ. Res., 8, pp. 97-120, (2006); Kopiez R., Lee J.I., Towards a general model of skills involved in sight reading music, Music Educ. Res., 10, pp. 41-62, (2008); Kornicke L.E., An Exploratory Study of Individual Difference Variables in Piano Sight-Reading Achievement, (1992); Krampe R.T., Charness N., Aging and expertise, Cambridge Handbook of Expertise and Expert Performance, pp. 723-742, (2006); Krampe R.T., Ericsson K.A., Maintaining excellence: deliberate practice and elite performance in young and older pianists, J. Exp. Psychol. 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Sci., 4, pp. 397-403, (2000); Tuffiash M., Predicting Individual Differences in Piano Sight-Reading Skill: Practice, Performance, and Instruction, (2002); Ullen F., Forsman L., Blom O., Karabanov A., Madison G., Intelligence and variability in a simple timing task share neural substrates in the prefrontal white matter, J. Neurosci., 28, pp. 4238-4243, (2008); Vandervert L.R., Working memory, the cognitive functions of the cerebellum and the child prodigy, International Handbook on Giftedness, pp. 295-316, (2009); Winner E., The rage to master: the decisive role of talent in the visual arts, The Road to Excellence: the Acquisition of Expert Performance in the Arts and Sciences, Sports and Games, pp. 271-301, (1996); Ziegler A., Research on giftedness in the 21st century, International Handbook on Giftedness, pp. 1509-1524, (2009)","R. Kopiez; Hanover University of Music, Drama and Media, 30175 Hanover, Emmichplatz 1, Germany; email: reinhard.kopiez@hmtm-hannover.de","","Frontiers Research Foundation","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-84904563727"
"Scheid M.","Scheid, Manfred (55549975400)","55549975400","Music education–privately, personally and professionally The school subject of Music, digital media and tools","2014","Education Inquiry","5","2","23255","","","","5","10.3402/edui.v5.23255","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84982922194&doi=10.3402%2fedui.v5.23255&partnerID=40&md5=0d864ba10d9b472f91b1bf89062cfced","Department of Creative Studies, Umeå University, Sweden","Scheid M., Department of Creative Studies, Umeå University, Sweden","This article is about the way in which and to what extent digital media and tools are used in the teaching of music in Sweden. Through interviews and observations, teachers’ and pupils’ experiences and expectations of digital media and tools are presented. The investigation considers eight municipal schools with pupils in the ninth form. The article adopts a media ecological perspective, which implies that media create new social and communicative structures for constructions of knowledge and identity. The results show that music is expanding both quantitatively as the supply increases, and qualitatively since it is being integrated with mobile images to a great extent. Teachers choose material from the Internet and create their own digital teaching materials. Pupils choose music and artists based on personal preferences. Stage performances are important and are imitating those of professionals to an increasing degree. Use of the Internet broadens and deepens music abilities and knowledge, but the focus is still on playing in rock and pop ensembles. © 2014, © 2014 Manfred Scheid.","digital media; digital tools; music pedagogy; performativity; teaching music","","","","","","","","Becker P., Skapande bild och musik–med datorstöd [Creating Art and Music - with Computer], (1993); Berglund L.-A., Datorn i Musikundervisning. Projekt Ljudplatsen [The Computor in Music Education. Project Soundscapes], (1992); Biasutti M., The student experience of a collaborative e-learning university module, Computers & Education, 57, pp. 1865-1875, (2011); Burnard P., Creativity and technology: critical agents of change in the work and lives of music teachers, Music Education with Digital Technology, pp. 196-206, (2007); Buzan T., Buzan B., Boken om Mindmaps [Mindmaps], (1994); Drotner K., Medier och kultur [Media and culture], (1996); Drotner K., At skabe sig selv. 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Hybrid arts education practices, (2013); Holstein J., Gubrium J., The active interview, Qualitative Research. Theory, Method and Practice, pp. 140-161, (2006); Hugardt A., Datorn i Musikundervisningen. DIMU-projektet. Datorstödd musik på mellanstadiet i Värmskog i Värmland [The computer in music education. The Dimu project. Computer aided music in middle school in Värmskog in Värmland], (1992); Kugg A., Datorn i Musikundervisningen. DIMU-projektet. Slutrapport över Projektet [The computer in music education. The DIMU-project. Final report on project], (1992); Kvale S., Den kvalitativa forskningsintervjun [Qualitative research], (1997); Kvarnhall V., YouTube som musikalisk erfarenhet [YouTube as a musical experience], (2011); Läroplaner för det obligatoriska skolväsendet och de frivilliga skolformerna Lpo 94, Lpf 94, Fritzes kundservice, (1994); Lundberg D., Malm K., Ronstrom O., Musik, Medier, Mångkultur [Music, media, multiculturalism], (2000); Mac an Ghaill M., Beyond the white norm: the use of qualitative methods in the study of black youths' schooling in England, Qualitative Studies in Education, 2, pp. 175-189, (1989); McLuhan M., Media, [Media], (1999); Meyrowitz J., No sense of place: the impact of electronic media on social behavior, (1985); Nijs L., Coussement P., Moens B., Amelynck D., Lesaffre M., Leman M., Interacting with the Music Paint Machine: relating the concepts of flow experience and presence, Interacting with Computers, 24, pp. 237-250, (2012); Nijs L., Moens B., Lesaffre M., Leman M., The Music Paint Machine: stimulating self-monitoring through the generation of creative visual output using a technology-enhanced learning tool, Journal of New Music Research, 41, 1, pp. 79-101, (2012); Nilsson B., “I can always make another one!”–young musicians creating music with digital tools, Musicianship in the 21st Century. Issues, Trends & Possibilities, (2003); Partii H., Learning from cosmopolitan digital musicians. Identity, musicianship, and changing values in (in)formal music communities, (2012); Sakai W., Cultural transformations and general music education. Reflective social networking and the music computer, (2013); Scheid M., Musiken, skolan och livsprojektet. Ämnet musik som en del iu ngdomars identitetsskapande [Music in school and the life project. Music in upper secondary school as part of young people's identity construction], (2009); Scheid M., Egologo - identitet och musik, Perspektiv på populärmusik och skola [Perspectives on popular music and school], (2011); Scheid M., Strandberg T., Music education and identity in a new media landscape. A report on a work in progress, Teaching and Learning Processes, (2012); Scheid M., Strandberg T., Schools permeable walls and media cultures: an example of new prerequisites for music education in Sweden, European Perspectives on Music Education. New Media in the Classroom Vol. 1, pp. 237-255, (2012); Seddon F., Biasutti M., Participant approaches to and reflections on learning to play a 12-bar blues in an asynchronous e-learning environment, International Journal of Music Education, 27, pp. 189-203, (2009); Kp 2000. Musik. Ämnets syfte och roll i utbildningen. Grundskolan. [Music. Aim of the subject and its role in education], (2000); Läroplan för grundskolan, förskoleklassen och fritidshemmet 2011, (2011); Strate L., On the binding biases of time, (2011); Vetenskapsradet, Forskningsetiska principer inom humanistisk–samhällvetenskaplig forskning [Research ethical principles in Arts-scientific research], (2012); Wheeldon J., Faubert J., Framing experience: concept maps, mind maps, and data collection in qualitative research, International Journal of Qualitative Methods, 8, pp. 68-83, (2009); Wheeldon J., Fraser S., Is a picture worth a thousand words? using mind maps to facilitate participants recall in qualitative research, The Qualitative Report, 16, pp. 509-522, (2011); Whiting M., Sines D., Mind maps: establishing ‘trustworthiness’ in qualitative research, Nurse Researcher, 20, pp. 21-27, (2012); Vakeva L., Garage band or GarageBand®? Remixing musical futures, British Journal of Music Education, 27, pp. 59-70, (2010); Ziehe T., Kultur analyser; Ungdom, utbildning, modernitet. [Cultural analysis: youth, education, modernity], (1994)","M. Scheid; Lektor Pedagogiskt arbete, Inst. Estetiska ämnen, Musik, Umeå universitet, Umeå, 901 87, Sweden; email: manfred.scheid@umu.se","","Routledge","","","","","","20004508","","","","English","Educ.  Inq.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-84982922194"
"Riggs A.L.","Riggs, Andrea L. (55026071800)","55026071800","The Effect of Choral Director Succession on Adjudicated Concert and Sight-Reading Ratings","2011","Journal of Music Teacher Education","21","1","","39","50","11","0","10.1177/1057083710393109","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84857465389&doi=10.1177%2f1057083710393109&partnerID=40&md5=706743560b5ec3878b21fbc8503d4070","Burnett Junior High, Wylie, TX 75098, 516 Hilltop Lane, United States; Burnett Junior High, Wylie, TX, United States","Riggs A.L., Burnett Junior High, Wylie, TX 75098, 516 Hilltop Lane, United States, Burnett Junior High, Wylie, TX, United States","This study was undertaken to explore if the type of director succession (new director chosen within or outside of the school) influenced the number of superior ratings in adjudicated choral festivals. The author identified the schools meeting the selection criteria, analyzing director changes in 48 schools with 2,824 different choirs across 20 years. A significant number of concert ratings declined with a new director; however, no significant differences in sight-reading scores were in evidence. In Year 2 for the new director, a significant number of rating changes occurred resulting in significantly higher ratings for concert and sight-reading. Results are discussed in terms of implications for teacher preparation, for practicing choral educators completing transitions, and for future research. © MENC: The National Association for Music Education 2011.","attrition; choral; contest; director succession; director turnover; festival ratings","","","","","","","","Allen M.P., Panian S., Lotz R.E., Managerial succession and organizational performance: A recalcitrant problem revisited, Administrative Science Quarterly, 24, pp. 167-180, (1979); Bergee M.J., Journal of Research in Music Education, pp. 244-256, (2006); Bergee M.J., Westfall C.F., Journal of Research in Music Education, pp. 358-374, (2005); Eitzen D.S., Yetman N.R., Managerial changes and organizational effectiveness, Administrative Science Quarterly, 17, pp. 110-116, (1972); Gamson W.A., Scotch N., Scapegoating in baseball, American Journal of Sociology, 70, pp. 69-72, (1964); Grusky O., Administrative succession in formal organizations, Social Forces, 39, pp. 105-115, (1960); Grusky O., Corporate size, bureaucratization and managerial succession, American Journal of Sociology, 67, pp. 261-269, (1961); Grusky O., Managerial succession and organizational effectiveness, American Journal of Sociology, 69, pp. 21-31, (1963); Grusky O., Reply to Scapegoating in baseball, American Journal of Sociology, 70, pp. 72-76, (1964); Hamann D., Mills C., Bell J., Daugherty E., Koozer R., Classroom environment as related to contest ratings among high school performing ensembles, Journal of Research in Music Education, 38, pp. 215-224, (1990); Hart A.W., Leader succession and socialization: A synthesis, Review of Educational Research, 61, pp. 451-474, (1991); Hart K., From an administrator's perspective: Practical survivor skills for music educators, Music Educators Journal, 90, 2, pp. 41-45, (2003); Hunt A., Advice for new instrumental music teachers, Music Educators Journal, 75, 8, pp. 39-41, (1989); Killian J.N., Effects of music selection on contest ratings: Year three of a continuing study, Texas Music Education Research, (2000); Lieberson S., O'Connor J.F., Leadership and organizational performance: A study of large corporations, American Journal of Sociology, 73, pp. 117-130, (1972); Madsen C., Moore R., Experimental Research in Music: Workbook in Design and Statistical Tests, (1978); Miskel C., Cosgrove D., Leader succession in school settings, Review of Educational Research, 55, pp. 87-105, (1985); Pfeffer J., Davis-Blake A., Administrative succession and organizational performance: How administrator experience mediates the succession effect, Academy of Management Journal, 29, pp. 72-83, (1986); Rivkin S., Hanushek E., Kain J., Teachers, schools, and academic achievement, Econometrica, 73, pp. 417-458, (2005)","A. L. Riggs; Burnett Junior High, Wylie, TX 75098, 516 Hilltop Lane, United States; email: andrea.riggs@hotmail.com","","","","","","","","19450079","","","","English","J. Music Teach. Educ.","Article","Final","","Scopus","2-s2.0-84857465389"
"da Rocha V.C.; Boggio P.S.","da Rocha, Viviane Cristina (55877138000); Boggio, Paulo Sérgio (10340985700)","55877138000; 10340985700","A neuroscientific perspective on music; [A música por uma óptica neurocientífica]","2013","Per Musi","27","","","132","140","8","12","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84885223274&partnerID=40&md5=298dd6a3db247cc4ef1683e5ec39c57d","Universidade Presbiteriana Mackenzie, São Paulo, SP, Brazil","da Rocha V.C., Universidade Presbiteriana Mackenzie, São Paulo, SP, Brazil; Boggio P.S., Universidade Presbiteriana Mackenzie, São Paulo, SP, Brazil","The field of neuroscience has brought several contributions to numerous different areas, in order to achieve a better understanding of the human brain function. The study of music and how it affects people's brains has been studied in conjunction with many other areas, such as music perception, movement, memory, language and music evoked emotions. Also, many articles have been pointing out to music as a rehabilitation tool in different neurological alterations, such as aphasia, autism and dyslexia. This article presents a review of representative studies published in the last decade about neuroscience and music, especially on the areas quoted above. In conclusion, one can perceive the possibilities of contributions from neuroscience to the field of music itself, as well as music pedagogy, music performance and music therapy.","Emotion and music; Language and music; Neuroscience of music; Rehabilitation and music","","","","","","","","Amodio D.M., Bartholow B.D., Event-related potential methods in social cognition, Cognitive Methods In Social Psychology, pp. 303-339, (2011); Besson M., Faita F., An event-related potential (ERP) study of musical expectancy: Comparison of musicians with nonmusicians, Journal of Experimental Psychology: Human Perception and Performance, 21, pp. 1278-1296, (1995); Baumann S., Koeneke S., Meyer M., Lutz K., Jancke L., A network for sensory-motor integration: What happens in the auditory cortex during piano playing without acoustic feedback?, Annals of the New York Academy of Science, 1060, pp. 186-188, (2005); Blood A., Zatorre R.J., Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion, PNAS, 98, pp. 11818-11823, (2001); Braun A., McArdle J., Jones J., Nechaev V., Zalewski C., Brewer C., Drayna D., Tune deafness: Processing melodic errors outside of conscious awareness as reflected by components of the auditory ERP, PLoS ONE, 3, (2008); Chen J.L., Penhume V.B., Zatorre R.J., Moving on time: Brain network for auditory-motor synchronization is modulated by rhythm complexity and musical training, Journal of Cognitive Neuroscience, 20, (2008); Duncan C.C., Barry R.J., Connolly J.F., Fischer C., Michie P.T., Naatanen R., Polich J., Reinvang I., Van Petten C., Event-related potentials in clinical research: Guidelines for eliciting, recording, and quantifying mismatch negativity, P300, and N400, Clinical Neurophysiology, 120, pp. 1883-1908, (2009); Drapeau J., Gosselin N., Gagnon L., Peretz I., Lorrain D., Emotional recognition from face, voice, and music in dementia of the Alzheimer type, Annals of the New York Academy of Science, 1169, pp. 342-354, (2009); Ekman P., Friesen W., O'Sullivan M., Diacoyanni-Tarlatzis I., Krause R., Pitcairn T., Scherer K., Chan A., Heider K., Lecompte W.A., Ricci-Bitti P., Tomita M., Universals and cultural differences in the judgments of facial expressions of emotion, Journal of Personality and Social Psychology, 53, pp. 712-717, (1987); Elbert T., Pantev C., Wienbruch C., Rockstroh B., Taub E., Increased cortical representation of the fingers of the left hand in string players, Science, 270, pp. 305-307, (1995); Grout D.J., Palisca C.V., História Da Música Ocidental, (2007); Hebert S., Racette A., Gagnon L., Peretz I., Revisiting the dissociation between singing and speaking in expressive aphasia, Brain, 126, pp. 1838-1850, (2003); Hyde K.L., Lerch J., Norton A., Forgeard M., Winner E., Evans A.C., Schlaug G., The effects of musical training on structural brain development, Annals of the New York Academy of Sciences, 1169, pp. 182-186, (2009); Juslin P.N., Laukka P., Communication of emotions in vocal expression and music performance: Different channels, same code, Psychological Bulletin, 129, pp. 770-814, (2003); Khateb A., Pegna A.J., Landis T., Mouthon M.S., Annoni J., On the origin of the N400 effects: An ERP waveform and source localization analysis in three matching tasks, Brain Topography, 23, pp. 311-320, (2010); Koelsch S., Towards a neural basis of music-evoked emotions, Trends In Cognitive Sciences, 14, pp. 131-137, (2010); Koelsch S., Kasper E., Sammler D., Schulze K., Gunter T., Friederici A.D., Music, language and meaning: Brain signatures of semantic processing, Nature Neuroscience, 7, pp. 302-307, (2004); Kutas M., Hillyard S.A., Reading senseless sentences: Brain potentials reflect semantic incongruity, Science, 207, (1980); Lahav A., Saltzman E., Schlaug G., Action representation of sound: Audiomotor recognition network while listening to newly acquired actions, Journal of Neuroscience, 27, pp. 308-314, (2007); Levitin D.J., A Música No Seu Cérebro: A Ciência De Uma Obsessão Humana, (2010); Levitin D.J., The World In Six Songs, (2008); Levitin D.J., Tirovolas A.K., Current advances in the cognitive neuroscience of music, Annals of the New York Academy of Sciences, 1156, pp. 211-231, (2009); Luck S.J., An Introduction to The Event-related Potential Technique, (2005); Menon V., Levitin D.J., The rewards of music listening: Response and physiological connectivity of the mesolimbic system, NeuroImage, 28, pp. 175-184, (2005); Mithen S., The Singing Neanderthals. the Origins of Music, Language, Mind and Body, (2006); Mithen S., The Music Instinct. The evolutionary basis of musicality, Annals of the New York Academy of Sciences, 1169, pp. 3-12, (2009); Molnar-Szackacs I., Overy K., Music and mirror neurons: From motion to e'motion, Social Cognitive and Affective Neuroscience, 1, pp. 234-241, (2006); Overy K., Dyslexia and music. From timing deficits to musical intervention, Annals of the New York Academy of Sciences, 999, pp. 497-505, (2003); Overy K., Molnar-Szackacs I., Being together in time: Musical experience and the mirror neuron system, Music Perception, 26, pp. 489-504, (2009); Patel A.D., Music, Language and The Brain, (2008); Patel A.D., Peretz I., Tramo M., Labreque R., Processing prosodic and musical patterns: A neuropsychological investigation, Brain and Language, 61, pp. 123-144, (1998); Peretz I., Zatorre R.J., Brain Organization for music processing, Annual Review of Psychology, 56, pp. 89-114, (2004); Peretz I., Gosselin N., Belin P., Zatorre R.J., Plailly J., Tillmenn B., Musical lexical networks. The cortical organization of music recognition, Annals of the New York Academy of Sciences, 1169, pp. 256-265, (2009); Pfeuty M., Peretz I., Abnormal pitch-time interference in congenital amusia: Evidence from an implicit test, Attention, Perception, & Psychophysics, 72, pp. 763-774, (2010); Racette A., Bard C., Peretz I., Making non-fluent aphasics speak: Sing along!, Brain, 129, pp. 2571-2584, (2006); Rizzolatti G., Craighero L., The mirror-neuron system, Annual Review of Neuroscience, 27, pp. 169-192, (2004); Scherer K.R., Expression of emotion in voice and music, Journal of Voice, 9, pp. 239-251, (1995); Schlaug G., Jancke L., Huang Y., Staigeri J.F., Steinmetz H., Increased corpus callosum size in musicians, Neuropsychologia, 33, pp. 1047-1055, (1995); Schlaug G., Forgeard M., Zhu L., Norton A., Norton A., Winner E., Training-induced neuroplasticity in young children, Annals of the New York Academy of Sciences, 1169, pp. 205-208, (2009); Schlaug G., Marchina S., Norton A., Tracts of patients with cronic Broca's aphasia undergoing intense Intonationbased Speech Therapy, Annals of the New York Academy of Sciences, 1169, pp. 385-394, (2009); Schulkind M.D., Is memory for music special?, Annals of the New York Academy of Sciences, 1169, pp. 216-224, (2009); Su Q., Wang F., Study the Effect of Background Music on Cognitive Memory, Applied Mechanics and Materials, 37-38, pp. 1368-1371, (2010); Tervaniemi M., Musicians - Same or Different?, Annals of the New York Academy of Sciences, 1169, pp. 151-156, (2009); Thaut M.H., McIntosh K.W., McIntosh G.C., Hoemberg V., Auditory rhythmicity enhances movement and speech motor control in patients with Parkinson's disease, Functional Neurology, 16, pp. 163-172, (2001); Trainor L.J., Shahin A.J., Roberts L.E., Understanding the benefits of musical training. Effects on oscillatory brain activity, Annals of the New York Academy of Sciences, 1169, pp. 133-142, (2009); Vogt S., Buccino G., Wohlschlager A.M., Canessa N., Shah N.J., Zilles K., Eickhoff S.B., Freund H.J., Rizzolatti G., Fink G.R., Prefrontal involvement in imitation learning of hand actions: Effects of practice and expertise, NeuroImage, 37, pp. 1371-1383, (2007); Wan C.Y., Ruber T., Hohmann A., Schlaug G., The therapeutic effects of singing in neurological disorders, Music Perception, 27, pp. 287-295, (2010); Zatorre R.J., Belin P., Penhume V.B., Structure and function of auditory cortex: Music and speech, Trends In Cognitive Sciences, 6, pp. 37-46, (2002); Zatorre R.J., Chen J.L., Penhume V.B., When the brain plays music: Auditory-motor interactions in music perception and production, Nature Neuroscience, 8, pp. 547-558, (2007); Weinstein J., Koenig P., Gunawardena D., McMillan C., Bonner M., Grossman M., Preserved Musical Semantic Memory in Semantic Dementia, Archives of Neurology, 68, pp. 248-250, (2011)","","","Universidade Federal de Minas Gerais","","","","","","15177599","","","","English","Per Musi","Article","Final","","Scopus","2-s2.0-84885223274"
"Zhukov K.; Viney L.; Riddle G.; Teniswood-Harvey A.; Fujimura K.","Zhukov, Katie (26036568600); Viney, Liam (56516535500); Riddle, Glenn (57103223500); Teniswood-Harvey, Arabella (36992516000); Fujimura, Kenji (57102823900)","26036568600; 56516535500; 57103223500; 36992516000; 57102823900","Improving sight-reading skills in advanced pianists: A hybrid approach","2016","Psychology of Music","44","2","","155","167","12","17","10.1177/0305735614550229","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84957557207&doi=10.1177%2f0305735614550229&partnerID=40&md5=fcc10ade3565063c60b14ecd688724bc","School of Music, University of Queensland, Brisbane, 4072, QLD, Australia; University of Melbourne, Australia; University of Tasmania, Australia; Monash University, Australia","Zhukov K., School of Music, University of Queensland, Brisbane, 4072, QLD, Australia; Viney L., School of Music, University of Queensland, Brisbane, 4072, QLD, Australia; Riddle G., University of Melbourne, Australia; Teniswood-Harvey A., University of Tasmania, Australia; Fujimura K., Monash University, Australia","This article evaluates a new curriculum for training of sight-reading skills in advanced pianists that combined three teaching strategies proven effective in an earlier study. The course was developed collaboratively and trialed in two implementations. Twenty-five participants were pre- and post-tested and their playing analysed using custom-made software. Mixed-model ANCOVAs were used to analyse performance data against the results from the individual training programs. The findings show that the students using the hybrid program improved significantly in their sight-reading skills in all four categories measured, surpassing progress made in the individual programs. Implications for future research include application of such a hybrid approach to the training of younger pianists and to sight-reading on other instruments. © The Author(s) 2014.","higher education; piano teaching; sight-reading skills","","","","","","","","Alexander M.L., Henry M.L., The development of a string sight-reading pitch skill hierarchy, Journal of Research in Music Education, 60, 2, pp. 201-216, (2012); Banton L.J., The role of visual and auditory feedback during the sight-reading of music, Psychology of Music, 23, pp. 3-16, (1995); Betts S.L., Cassidy J.W., Development of harmonization and sight-reading skills among university class piano students, Journal of Research in Music Education, 48, 2, pp. 151-161, (2000); Drai-Zerbib V., Baccino T., Bigand E., Sight-reading expertise: Cross-modality integration investigated using eye tracking, Psychology of Music, 40, 2, pp. 216-235, (2012); Fourie E., The processing of music notation: Some implications for piano sight-reading, Journal of Musical Arts in Africa, 1, 1, pp. 1-23, (2004); Hodges D.A., Colwell R., The acquisition of music reading skills, Handbook of Research on Music Teaching and Learning, pp. 466-471, (1992); Hodges D.A., Nolker D.B., Colwell R., Webster P.R., The acquisition of music reading skills, MENC Handbook of Research on Music Learning, 2, pp. 61-91, (2011); Goolsby T.W., Profiles of processing: Eye movements during sight-reading, Music Perception, 12, 1, pp. 97-123, (1994); Gudmundsdottir H.R., Advances in music-reading research, Music Education Research, 12, 4, pp. 331-338, (2010); Kopiez R., Lee J.I., Towards a dynamic model of skills involved in sight- reading music, Music Education Research, 8, 1, pp. 97-120, (2006); Kopiez R., Lee J.I., Towards a general model of skills involved in sight-reading music, Music Education Research, 10, 1, pp. 41-62, (2008); Kostka M.J., The effects of error-detection practice on keyboard sight-reading achievement of undergraduate music majors, Journal of Research in Music Education, 48, 2, pp. 114-122, (2000); Lehmann A.C., Ericsson K.A., Sight-reading ability of expert pianists in the context of piano accompanying, Psychomusicology, 12, pp. 122-136, (1993); Lehmann A.C., Ericsson K.A., Performance without preparation: Structure and acquisition of expert sight-reading and accompanying performance, Psychomusicology, 15, pp. 1-29, (1996); Lehmann A.C., Kopiez R., Hallam S., Cross I., Thaut M., Sight-reading, The Oxford Handbook of Music Psychology, pp. 334-351, (2011); Lehmann A.C., Sloboda J.A., Woody R.H., Psychology for Musicians, (2007); McPherson G.E., Factors and abilities influencing sightreading skill in music, Journal of Research in Music Education, 42, 3, pp. 217-231, (1994); Penttinen M., Huovinen E., The early development of sight-reading skills in adulthood: A study of eye movements, Journal of Research in Music Education, 59, 2, pp. 196-220, (2011); Pike P.D., Carter R., Employing cognitive chunking techniques to enhance sight-reading performance of undergraduate group-piano students, International Journal of Music Education, 28, 3, pp. 231-246, (2010); Reifinger J.L., The acquisition of sight-singing skills in Second Grade general music: Effects of using solfège and relating tonal patterns of songs, Journal of Research in Music Education, 60, 1, pp. 26-42, (2012); Sloboda J.A., Experimental studies of music reading: A review, Music Perception, 2, pp. 222-236, (1984); Smith K.H., The effect of computer-assisted instruction and field independence on the development of rhythm sight-reading skills of middle school instrumental students, International Journal of Music Education, 27, 1, pp. 59-68, (2009); Thompson S., Lehmann A.C., Williamon A., Strategies for sight-reading and improvising music, Musical Excellence, pp. 143-159, (2004); Truitt F.E., Clifton C., Pollatsek A., Rayner K., The perceptual span and the eye-hand span in sight-reading of music, Visual Cognition, 4, 2, pp. 134-161, (1997); Wollner C., Halfpenny E., Ho S., Kurosawa K., The effects of distracted inner hearing on sight-reading, Psychology of Music, 31, 4, pp. 377-389, (2003); Wristen B., Cognition and motor execution in piano sight-reading: A review of literature, Update: Applications of Research in Music Education, 24, pp. 44-56, (2005); Zhukov K., Good Sight-readers: Born or Bred?, (2006); Zhukov K., Evaluating new approaches to teaching of sight-reading skills to advanced pianists, Music Education Research, 16, 1, pp. 70-87, (2014)","K. Zhukov; School of Music, University of Queensland, Brisbane, 4072, Australia; email: k.zhukov@uq.edu.au","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-84957557207"
"Drai-Zerbib V.; Baccino T.; Bigand E.","Drai-Zerbib, Véronique (8983377900); Baccino, Thierry (6506451570); Bigand, Emmanuel (7004338526)","8983377900; 6506451570; 7004338526","Sight-reading expertise: Cross-modality integration investigated using eye tracking","2012","Psychology of Music","40","2","","216","235","19","50","10.1177/0305735610394710","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84878142234&doi=10.1177%2f0305735610394710&partnerID=40&md5=a89faea2c96dfb8cc5d235bce07a3f06","Département de Psychologie, Université de Nice Sophia Antipolis, LUTIN, France; Université de Paris VIII, LUTIN, Cité des Sciences et de l'Industrie de la Villette, France; Université de Bourgogne, France","Drai-Zerbib V., Département de Psychologie, Université de Nice Sophia Antipolis, LUTIN, France; Baccino T., Université de Paris VIII, LUTIN, Cité des Sciences et de l'Industrie de la Villette, France; Bigand E., Université de Bourgogne, France","It is often said that experienced musicians are capable of hearing what they read (and vice versa). This suggests that they are able to process and to integrate multimodal information. The present study investigates this issue with an eye-tracking technique. Two groups of musicians chosen on the basis of their level of expertise (experts, non-experts) had to read excerpts of poorly-known classical piano music and play them on a keyboard. The experiment was run in two consecutive phases during which each excerpt was (1) read without playing and (2) sight-read (read and played). In half the conditions, the participants heard the music before the reading phases. The excerpts contained suggested fingering of variable difficulty (difficult, easy, or no fingering). Analyses of first-pass fixation duration, second-pass fixation duration, probability of re-fixation, and playing mistakes validated the hypothesized modal independence of information among expert musicians as compared to non-experts. The results are discussed in terms of the processing cues and retrieval structures postulated by Ericsson and Kintsch (1995) in their model of expert memory. © The Author(s) 2011.","Cross-modality; Expertise; Eye movements; Psychology of music; Sight-reading","","","","","","","","Aiello R., Playing the piano by heart, from behavior to cognition, Annals of the New York Academy of Science, 930, pp. 389-393, (2001); Baccino T., Oculométrie cognitive [cognitive eye tracking], Dictionnaire des Sciences Cognitives [Dictionary of Cognitive Science], pp. 100-101, (2002); Baumann S., Koeneke S., Schmidt C.F., Meyer M., Lutz K., Jancke L., A network for audio-motor coordination in skilled pianists and non-musicians, Brain Research, 1161, pp. 65-78, (2007); Brodsky W., Henik A., Rubinstein B.-S., Zorman M., Auditory imagery from musical notation in expert musicians, Perception & Psychophysics, 65, 4, pp. 602-612, (2003); Brodsky W., Kessler Y., Rubinstein B., Ginsborg J., Henik A., The mental representation of music notation: Notational audiation, Journal of Experimental Psychology: Human Perception and Performance, 34, 2, pp. 427-445, (2008); Chace K.H., Rayner K., Well A.D., Eye movements and phonological parafoveal preview: Effects of reading skill, Canadian Journal of Experimental Psychology, 59, 3, pp. 209-217, (2005); Chaffin R., Learning Clair de Lune: Retrieval practice and expert memorization, Music Perception, 42, 4, pp. 377-393, (2006); Chaffin R., Imreh G., Pulling teeth and torture, Musical Memory and Problem Solving. 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Conseils Aux Jeunes Musiciens, (2009); Shams L., Kamitani Y., Shimojo S., What you see is what you hear, Nature, 408, (2000); Shimojo S., Shams L., Sensory modalities are not separate modalities: Plasticity and interactions, Current Opinion in Neurobiology, 11, 4, pp. 505-509, (2001); Sloboda J.A., The eye-hand span: An approach to the study of sight-reading, Psychology of Music, 2, 2, pp. 4-10, (1974); Sloboda J.A., Experimental studies of music reading: A review, Music Perception, 2, 2, pp. 222-236, (1984); Sloboda J.A., Clarke E.F., Parncutt R., Raekallio M., Determinants of finger choice in piano sight-reading, Journal of Experimental Psychology: Human Perception and Performance, 24, 1, pp. 185-203, (1998); Stewart L., Henson R., Kampe K., Walsh V., Turner R., Frith U., Brain changes after learning to read and play music, NeuroImage, 20, 1, pp. 71-83, (2003); Thompson V.A., Paivio A., Memory for pictures and sounds: Independence of auditory and visual codes, Canadian Journal of Experimental Psychology, 48, 3, pp. 380-396, (1994); Tinker M.A., The study of eye movements in reading, Psychological Bulletin, 43, 2, pp. 93-120, (1946); Truitt F.E., Clifton C., Pollatsek A., Rayner K., The perceptual span and eye-hand span in sight reading music, Visual Cognition, 4, 2, pp. 143-161, (1997); Waters A.J., Townsend E., Underwood G., Expertise in musical sight reading: A study of pianists, British Journal of Psychology, 89, pp. 123-149, (1998); Waters A.J., Underwood G., Findlay J.M., Studying expertise in music reading: Use of a pattern-matching paradigm, Perception & Psychophysics, 59, 4, pp. 477-488, (1997); Weaver H.E., A survey of visual processes in reading differently constructed musical selections, Psychological Monographs, 55, pp. 1-30, (1943); Williamon A., Egner T., Memory structures for encoding and retrieving a piece of music: Aan ERP investigation, Cognitive Brain Research, 22, 1, pp. 36-44, (2004); Williamon A., Valentine E., The role of retrieval structures in memorizing music, Cognitive Psychology, 44, 1, pp. 1-32, (2002); Wollner C., Halfpenny E., Ho S., Kurosawa K., The effects of distracted inner hearing on sight-reading, Psychology of Music, 31, 4, pp. 377-389, (2003); Yumoto M., Matsuda M., Itoh K., Uno A., Karino S., Saitoh O., Et al., Auditory imagery mismatch negativity elicited in musicians, Neuroreport: For Rapid Communication of Neuroscience Research, 16, 11, pp. 1175-1178, (2005); Zatorre R.J., Chen J.L., Penhune V.B., When the brain plays music: Auditory-motor interactions in music perception and production, Nature Reviews Neuroscience, 8, pp. 547-558, (2007)","","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-84878142234"
"Swart I.","Swart, Inette (55826148600)","55826148600","New developments in neuroscience can benefit the learning and performance of music","2016","Muziki","13","1","","113","136","23","1","10.1080/18125980.2016.1182386","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85045031169&doi=10.1080%2f18125980.2016.1182386&partnerID=40&md5=08c580f2f6c9d84061a10b0303c65953","North-West University, Musical Arts in South Africa: Resources and Applications (MASARA), South Africa","Swart I., North-West University, Musical Arts in South Africa: Resources and Applications (MASARA), South Africa","As advancements in neuroscience increasingly illuminate the traditional understanding of the human mind, many of the new insights are also of relevance to musicians as well as to music pedagogy. Especially the greater understanding of how intersubjective processes are integral to the development of the right brain has shown how, according to the neuropsychoanalyst Allan Schore, rightbrain models can bridge the fields of psychiatry, music and trauma. Following a short introduction, the article discusses the development of ego boundaries and their relevance to young aspiring musicians as well as the close relation to self-esteem. This is followed by a short explanation of the psychodynamic processes underlying interpersonal interaction and relation. Right-brain function in development and trauma is discussed and its links to music are highlighted; the issue of fear and learned helplessness in musicians is also considered briefly. A discussion on the impact of fear on musicians’ memory follows. The paper concludes by showing that, while brain pathology can be associated with creativity, creative processes in and of themselves are not pathological. Throughout, special reference is made to aspects that have particular relevance to previously disadvantaged music learners. © The University of South Africa Press.","Creativity; Emotion; Implicit self; Intersubjectivity; Music pedagogy; Neuroscience; Previously disadvantaged; Relational unconscious; Right-brain development","","","","","","","","Abraham A., Editorial: Madness and creativity -yes, no or maybe?, Frontiers in Psychology, 6, 1055, (2015); Altenmuller E., Schlaug G., Apollo’s gift: New aspects of neurologic music therapy, Music, Neurology, and Neuroscience: Evolution, the Musical Brain, Medical Conditions, and Therapies, pp. 237-252, (2015); Amaducci L., Grassi E., Boller F., Maurice Ravel and right-hemisphere musical creativity: Influence of disease on his last musical works?, European Journal of Neurology, 9, pp. 75-82, (2002); Diagnostic and Statistical Manual of Mental Disorders, (2013); Ashoori A., Jankovic J., Mozart’s movements and behaviour: A case of Tourette’s Syndrome?, Journal of Neurology, Neurosurgery and Psychiatry, 78, pp. 1171-1175, (2007); Bandettini P.A., What’s new in neuroimaging methods?, Annals of the New York Academy of Sciences, 1156, pp. 260-293, (2009); Bazner H., Hennerici M., From sensibility to madness in nineteenth-century Romanticism -Neurosyphilis in German-speaking composers, Neurology of Music, pp. 315-334, (2010); Crosby J.F., Sons and Fathers: Challenges to Paternal Authority. New York: Routledge, (2014); White Paper for Social Welfare, (1996); Eysenck H.J., Creativity as a product of intelligence and personality, International Handbook of Personality and Intelligence, pp. 231-247, (1995); Federn P., Ego Psychology and the Psychoses, (1952); Federn P., The awakening of the ego in dreams, Ego Psychology and the Psychoses, pp. 90-96, (1952); Federn P., Mental hygiene of the ego in schizophrenia, Ego Psychology and the Psychoses, pp. 184-206, (1952); Federn P., Ego psychological aspect of schizophrenia, Ego Psychology and the Psychoses, pp. 210-226, (1952); Freud S., The neuro-psychoses of defence, The Standard Edition of the Complete Psychological Works of Sigmund Freud, pp. 41-61, (1962); Gabrielsson A., Strong Experiences with Music: Music is Much More than Just Music. Trans. R. Bradbury, (2011); Gartner H., Minnerop M., Pieperhoff P., Schleicher A., Zilles K., Altenmuller E., Amunts K., Brain morphometry shows effects of long-term musical practice in middle-aged keyboard players’, Frontiers in Psychology, 4, 636, (2013); Giovacchini P.L., Some aspects of the ego-ideal of a creative scientist, Psychoanalytical Quarterly, 34, pp. 79-101, (1965); Giovacchini P.L., Characterological factors and the creative personality, Journal of the American Psychoanalytic Association, 19, pp. 524-542, (1971); Giovacchini P.L., Creativity, adolescence and inevitable failure, Adolescent Psychiatry, 9, pp. 35-60, (1981); Giovacchini P.L., The creative person as maverick, Journal of the American Academy of Psychoanalysis, 19, 2, pp. 174-188, (1991); Gomez L., An Introduction to Object Relations, (1997); Gordon R.M., Handling transference and countertransference issues with the difficult patient, Pennsylvania Psychologist Quarterly, 1, pp. 20-24, (1997); Grocke D., A case study in the Bonny Method of Guided Imagery and Music (BMGIM), Case Study Designs in Music Therapy, pp. 97-118, (2005); Gunderson J.G., Choi-Kain L., Personality Disorders, (2012); Hamilton M.G., Self and Others: Object Relations Theory in Practice, (1990); Harris N.-E., Derek Amato Becomes Musical Genius after Brain Injury: What is Acquired Savant Syndrome?, (2013); Hebb D.O., The Organization of Behavior, (1949); Hildesheimer W., (1982); Huguelet P., Perroud N., Wolfgang Amadeus Mozart’s psychopathology in light of thecurrent conceptualization of psychiatric disorders’, Psychiatry, 68, 2, (2005); Jensen E., Teaching with the Brain in Mind, (1998); Katz G., The Play within The Play: The Enacted Dimension of Psychoanalytic Process, (2014); Klein M., Contributions to Psychoanalysis, 1921–1945, (1948); Lamont A., Musical identities and the school environment, Musical Identities, pp. 41-59, (2002); Ledoux J., Synaptic Self. How Our Brains Become Who We Are, (2002); Levitin D.J., This is Your Brain on Music: Understanding a Human Obsession, (2006); Levitin D.J., The Organized Mind: Thinking Straight in the Age of Information Overload, (2014); Project of the Decade of the Brain (1990–1999), (2000); Mai F.M., Diagnosing Genius: The Life and Death of Beethoven, (2007); Martin R., Beethoven’s hair, An Extraordinary Historical Odyssey and a Scientific Mystery Solved, (2000); Miller A., The Drama of The Gifted Child: The Search for The True Self, (1997); Miller M., Das Wahre Drama Des Begabten Kindes: Die Tragödie Alice Millers: Wie verdrängte Kriegstraumata in Der Familie Wirken, (2013); Montello L., Essential Musical Intelligence. Using Music as Your Path to Healing, Creativity, and Radiant Wellness, (2002); Olson I.R., Plotzker A., Ezzyat Y., The enigmatic temporal pole: A review of findings on social and emotional processing, Brain. a Journal of Neurology, 130, 7, pp. 1718-1731, (2007); Palombo D.J., McKinnon M.C., McIntosh A.R., Anderson A.K., Todd R.M., Levine B., The neural correlates of memory for a life-threatening event: An fMRI study of passengers from flight AT236, Clinical Psychological Science, (2015); Perry B.D., Memories of fear. How the brain stores and retrieves physiologic states, feelings, behaviours and thoughts from traumatic events’, Splintered Reflections: Images of the Body in Trauma, pp. 3-28, (1999); Pruneau L., Personal Communication, (2013); Rajmohan V., Mohandas E., Mirror neuron system’, Indian Journal of Psychiatry, 49, 1, pp. 66-69, (2007); Rizzolatti G., Craighero L., The mirror-neuron system, Annual Review of Neuroscience, 27, pp. 169-192, (2004); Rosen P., Rubinstein remembered: Legendary visions, BMG Classics [DVD Video Documentary], (2004); Sacks O., Musicophilia: Tales of Music and the Brain, (2008); Sandor G., On Piano Playing: Motion, Sound and Expression, (1981); Scaer R.C., The Trauma Spectrum: Hidden Wounds and Human Resiliency, (2005); Schlaug G., Musicians and music making as a model for the study of brain plasticity, Progress in Brain Research, 217, pp. 37-55, (2015); Schlaug G.L., Huang Y., Staiger J.F., Steinmetz H., Increased corpus callosum size in musicians, Neuropsychologia, 33, 8, pp. 1047-1055, (1995); Schore A.N., Affect Regulation and the Repair of the Self, (2003); Schore A.N., The Science of the Art of Psychotherapy, (2012); Schore A.N., Personal Email Communication, (2015); Schore J.R., Schore A.N., Regulation theory and affect regulation psychotherapy: A clinical primer, Smith College Studies in Social Work, 84, 2-3, pp. 178-195, (2014); Siegel D.J., The Mindful Therapist. a clinician’s Guide to Mindsight and Neural Integration, (2010); Siegel D.J., The Developing Mind: How Relationships and the Brain Interact to Shape Who We Are, (2012); Stein A., Psychoanalysis and music’, Textbook of Psychoanalysis, pp. 551-565, (2012); Stein A., Music and trauma in Polanski’s The Pianist (2002), Psychoanalytic Inquiry, 27, 4, pp. 440-454, (2007); Sutton J.P., Music, Music Therapy and Trauma: International Perspectives, (2002); Swart I., The Influence of Trauma on Musicians, (2010); Swart I., Overcoming adversity. Trauma in the lives of music performers and composers, Psychology of Music, 42, 3, pp. 386-402, (2014); Swart I., Ego boundaries and self-esteem: Two elusive facets of the psyche of performing musicians, Psychology of Music, (2015); Taylor J.B., My stroke of insight, A Brain scientist’s Personal Journey, (2008); Tondo L., Interview with John Bowlby, M. D, Clinical Neuropsychiatry, 8, pp. 159-171, (2011); Treffert D.A., The savant syndrome. An extraordinary condition: A synopsis: Past, present, future, Philosophical Transactions of the Royal Society B: Biological Sciences, 364, pp. 1351-1357, (2009); Veenhoven Guidarian L., Creative application: A way to include music composition and improvisation in the general music curriculum’, The Musical Experience: Rethinking Music Teaching and Learning, pp. 183-204, (2014); Welbel J., Personal Communication, (2009); Wohlitz H., Personal Communication, (2013); Wolf P., Creativity and chronic disease: Ludwig von Beethoven (1770–1829), Western Journal of Medicine, 175, 5, (2001)","I. Swart; North-West University, Musical Arts in South Africa: Resources and Applications (MASARA), South Africa; email: inette2@yahoo.com","","Routledge","","","","","","18125980","","","","English","Muziki","Article","Final","","Scopus","2-s2.0-85045031169"
"Page-Shipp R.; Van Niekerk C.","Page-Shipp, Roy (56146794800); Van Niekerk, Caroline (37096336400)","56146794800; 37096336400","A superannuated physicist's attempts to master music theory: Resolving cognitive conflicts and a paradigm clash","2014","International Journal of Music Education","32","2","","159","170","11","5","10.1177/0255761413503930","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84899708185&doi=10.1177%2f0255761413503930&partnerID=40&md5=e4ab02958728d7596fc3800815399026","University of Pretoria, Pretoria 0081, 3 Manor Ridge, 60 Carol Avenue, Lynnwood Manor, South Africa","Page-Shipp R., University of Pretoria, Pretoria 0081, 3 Manor Ridge, 60 Carol Avenue, Lynnwood Manor, South Africa; Van Niekerk C., University of Pretoria, Pretoria 0081, 3 Manor Ridge, 60 Carol Avenue, Lynnwood Manor, South Africa","A sexagenarian retired physicist (the first author) set out, with the assistance of members of a university music department, to acquire some insight into Western music theory. For a lifelong singer and seasoned autodidact, this appeared to be a not too formidable challenge, yet he experienced significant difficulty in penetrating the music theory paradigm. He discovered an entry point in the layout of black and white keys on the keyboard, which presented a ""mental model"" amenable to his physicist's mindset. The experience could prove valuable in further exploration of the use of the keyboard layout in teaching music theory to students of all ages with little or no exposure to the piano or other keyboard instruments. The process also suggests new perspectives of familiar learning challenges for mature candidates. © The Author(s) 2013.","keyboard layout; mature learners; mental models; music theory; sight-reading","","","","","","","","Raising An Amazing Musician: You, Your Child and Music, (2009); Anderson J.R., Cognitive Psychology and Its Implications, pp. 157-162, (2005); Armstrong S.J., Fukami C.V., The SAGE Handbook of Management Learning, Education and Development, (2009); Bernstein L., Young People's Concerts, (1958); Blood B., Dolmetsch Online, (2011); Edwards R., Hodges D.A., Neurosciences in Musical Pedagogy, pp. 1-12, (2007); Elliott D., Music Matters: A New Philosophy of Music Education, (1995); Gobet F., Lane P., Croker S., Cheng P., Jones G., Oliver I., Pine J., Chunking mechanisms in human learning, Trends in Cognitive Sciences, 39, 6, pp. 243-246, (2001); Iritani T., Learning to play music in later adulthood: A personal perspective focusing on the piano, Psychomusicology: A Journal of Research in Music Cognition, 18, 12, pp. 132-141, (2002); Le Roux W., Mine Ventilation Notes for Beginners, (1972); Neuroplasticity, (2011); Merriam S.B., Cafferella R.S., Baumgartner L.M., Learning in Adulthood: A Comprehensive Guide, (2007); Nussbaum B., Schiefer A., Dr Taddy Blecher. A South African social entrepreneur turns a new economic vision into practice, Merchants of Vision, 19, 1, pp. 1-9, (2005); Scholes P., The Oxford Companion to Music, (1955); Snowden D., Complex acts of knowing: Paradox and descriptive self-awareness, Journal of Knowledge Management, 6, 2, pp. 2-25, (2002); Sveiby K.-E., The New Organizational Wealth: Managing and Measuring Knowledge-based Assets, (1997); Walker D., Lambert L., The Constructivist Reader, pp. 17-19, (1995)","R. Page-Shipp; University of Pretoria, Pretoria 0081, 3 Manor Ridge, 60 Carol Avenue, Lynnwood Manor, South Africa; email: roy@pageshipp.co.za","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-84899708185"
"Allsup R.E.; Shieh E.","Allsup, Randall Everett (26038347300); Shieh, Eric (57196358848)","26038347300; 57196358848","Social Justice and Music Education: The Call for a Public Pedagogy","2012","Music Educators Journal","98","4","","47","51","4","63","10.1177/0027432112442969","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84883116568&doi=10.1177%2f0027432112442969&partnerID=40&md5=d27992e92e2d48ec3ef5ae1a30fcd777","","","At the heart of teaching others is the moral imperative to care. Social justice education begins with adopting a disposition to perceive and then act against indecencies and injustices. Teachers are public figures entrusted by a democratic society to act in the best interests of the children in their care. Music educators must embrace this social contract by “going public” or “coming out”—reaching beyond incomplete musical engagements and into larger and more intertwined social, artistic, and political domains. The authors refer to this stance as a public music pedagogy. © 2012 National Association for Music Education.","advocacy; education; justice; professional development; public","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-84883116568"
"Dobrota S.; Ercegovac I.R.","Dobrota, Snježana (54784412600); Ercegovac, Ina Reić (39861241700)","54784412600; 39861241700","The relationship between music preferences of different mode and tempo and personality traits-implications for music pedagogy","2015","Music Education Research","17","2","","234","247","13","28","10.1080/14613808.2014.933790","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84926974253&doi=10.1080%2f14613808.2014.933790&partnerID=40&md5=bf2c760e3658ad401a3869e501403b86","Department of Teacher's Education, Faculty of Philosophy, University of Split, Nikole Tesle 12, Split, 21000, Croatia; Department of Teacher's Education, Faculty of Philosophy, University of Split, Put iza nove bolnice 10c, Split, Croatia","Dobrota S., Department of Teacher's Education, Faculty of Philosophy, University of Split, Nikole Tesle 12, Split, 21000, Croatia; Ercegovac I.R., Department of Teacher's Education, Faculty of Philosophy, University of Split, Put iza nove bolnice 10c, Split, Croatia","The aim of this research was to examine the relationship between music preferences of different mode and tempo and personality traits. The survey included 323 students who had to fill out the following tests: questionnaire of music preferences, scale of optimism and pessimism and International Personality Item Pool for measuring Big Five personality traits. Results showed that female in comparison to male students reported a higher degree of music preferences, regardless of tempo and mode, while the male and female showed a higher degree of preference for musical fragments in the fast tempo and major key. Results of hierarchical regression analysis showed that emotional stability and optimism were significant predictors of preferences for music in fast tempo and major key, while openness to experiences, introversion and gender were significant predictors of preferences for the slow tempo and music in minor key. The authors suggest the importance of applying these results in creating the curriculum of music teaching. © 2014 Taylor & Francis.","mode; music pedagogy; musical preferences; personality traits; tempo","","","","","","","","Cattell R.B., Anderson J.C., The measurement of personality and behavior disorders by the I.P.A.T. Music preference test, Journal of Applied Psychology, 37, 6, pp. 446-454, (1953); Cattell R.B., Saunders D.R., Musical preference and personality diagnosis: I.A. Factorization of one hundred and twenty cases, Journal of Social Psychology, 39, 1, pp. 3-24, (1954); Chamorro-Premuzic T., Furnham A., Personality and music: Can traits explain how people use music in everyday life?, British Journal of Psychology, 98, 2, pp. 175-185, (2007); Chang E.C., D'Zurilla T.J., Maydeu-Olivares A., Assessing the dimensionality of optimism and pessimism using a multimeasure approach, Cognitive Therapy and Research, 18, 2, pp. 143-160, (1994); Costa P.T., McCrae R.R., The NEO Personality Inventory Manual, (1985); Crowther R., Durkin K., Sex- and age-related differences in the musical behaviour, interests, and attitudes towards music of 232 secondary school students, Educational Studies, 8, 2, pp. 131-139, (1982); Dalla Bella S., Peretz I., Rousseau L., Gosselin N., A developmental study of the affective value of tempo and mode in music, Cognition, 80, pp. 1-10, (2001); Dobrota S., Reic Ercegovac I., Adolescent's musical preferences with regard to some socio-demographic variables, Odgojne Znanosti, 18, 2, pp. 381-398, (2009); Dollinger S.J., Personality and music preference: Extraversion and excitement seeking or openness to experience?, Psychology of Music, 21, 1, pp. 73-77, (1993); Droe K., Music preference and music education: A review of literature, Applications of Research in Music Education, 24, 2, pp. 23-32, (2006); Finnas L., How can musical preferences Be modified?, Bulletin of the Council for Research in Music Education, 102, pp. 1-58, (1989); Fung C.V., Musicians' and nonmusicians' preferences for world musics: Relation to musical characteristics and familiarity, Journal of Research in Music Education, 44, 1, pp. 60-83, (1996); Gagnon L., Peretz I., Mode and tempo relative contributions to 'Happy-sad judgements' in equitone melodies, Cognition and Emotion, 17, 1, pp. 25-40, (2003); Getz L., Marks S., Roy M., The influence of stress, optimism, and music training on music uses and preferences, Psychology of Music, 42, 1, pp. 71-85, (2014); Goldberg L.R., International Personality Item Pool: A Scientific Collaboratory for the Development of Advanced Measures of Personality Traits and Other Individual Differences, (2001); Hargreaves D.J., Miell D.E., MacDonald R.A.R., How Do people communicate using music?, Musical Communication, pp. 1-25, (2005); Hunter P.G., Schellenberg E.G., Schimmack U., Mixed affective responses to music with conflicting cues, Cognition and Emotion, 22, 2, pp. 327-352, (2008); Husain G., Thompson W.F., Schellenberg E.G., Effects of musical tempo and mode on arousal, mood, and spatial abilities, Music Perception, 20, 2, pp. 151-171, (2002); Juslin P.N., Sloboda J.A., Music and Emotion: Theory and Research, (2010); Kastner M.P., Crowder R., Perception of the Major/Minor distinction: IV. Emotional connotation in young children, Music Perception, 8, 2, pp. 189-202, (1990); Kopacz M., Personality and music preferences: The influence of personality traits on preferences regarding musical elements, Journal of Music Therapy, 42, 3, pp. 216-239, (2005); Ladinig O., Schellenberg E.G., Liking unfamiliar music: Effects of felt emotion and individual differences, Psychology of Aesthetics, Creativity, and the Arts, 6, 2, pp. 146-154, (2012); Langmeyer A., Guglhor-Rudan A., Tarnai C., What Do music preferences reveal about personality: A cross-cultural replication using self-ratings and ratings of music samples, Journal of Individual Differences, 33, 2, pp. 119-130, (2012); Leblanc A., Effects of style, tempo and performing medium on Children's music preference, Journal of Research in Music Education, 29, 2, pp. 143-156, (1981); Leblanc A., An interactive theory of music preference, Journal of Music Therapy, 19, 1, pp. 28-45, (1982); Leblanc A., Colman J., McCrary J., Sherrill C., Malin S., Tempo preferences of different age music listeners, Journal of Research in Music Education, 36, 3, pp. 156-168, (1988); Leblanc A., Cote R., Effects of tempo and performing medium on Children's music preference, Journal of Research in Music Education, 31, 1, pp. 57-66, (1983); Leblanc A., McCrary J., Effects of tempo on Children's music preference, Journal of Research in Music Education, 31, 1, pp. 283-294, (1983); McCown W., Keiser R., Mulhearn S., Williamson D., The role of personality and gender in preference for exaggerated bass in music, Personality and Individual Differences, 23, 4, pp. 543-547, (1997); McCrea R.R., John O.P., An introduction to the five-factor model and its applications, Journal of Personality, 60, 2, pp. 175-215, (1992); Pearson J.L., Dollinger S.J., Music preference correlates of jungian types, Personality and Individual Differences, 36, 5, pp. 1005-1008, (2003); Penezic Z., Skala optimizma i pesimizma (O-P skala) [Scale of Optimism and Pessimism (O-P Scale)], U Zbirka Psihologijskih Skala i Upitnika [Collection of Psychological Instruments], pp. 15-17, (2002); Popovic A., Licnost i Glazbene Preferencije. Diplomski Rad [Personality and Music Preference. Master Thesis], (2006); Prince W.F., A paradigm for research on music listening, Journal of Music Education, 20, 4, pp. 445-455, (1972); Reic Ercegovac I., Dobrota S., Povezanost izmed{stroke}u glazbenih preferencija, socidemografskih znacajki i osobina licnosti iz petfaktorskog modela [The relationship between musical preferences, sociodemographic characteristics and Big Five personality traits], Psihologijske Teme, 20, 1, pp. 47-66, (2011); Rentfrow P.J., Gosling S.D., Message in a ballad: The role of music preferences in interpersonal perception, Psychological Science, 17, 3, pp. 236-242, (2006); Rentfrow P.J., Gosling S.D., The content and validity of stereotypes about fans of 14 music genres, Psychology of Music, 35, 2, pp. 306-326, (2007); Rentfrow P.J., Gosling S.D., The Do Re Mi's of everyday life: The structure and personality correlates of music preferences, Journal of Personality and Social Psychology, 84, 6, pp. 1236-1256, (2003); Scheier M.F., Carver C.S., Effects of optimism on psychological and physical well-being: Theoretical overview and empirical update, Cognitive Therapy and Research, 16, 2, pp. 201-228, (1992); Schellenberg E.G., Krysciak A., Campbell R.J., Perceiving emotion in melody: Effects of pitch and rhythm, Music Perception, 18, pp. 155-172, (2000); Schwartz K.D., Fouts G.T., Music preferences, personality style, and developmental issues of adolescents, Journal of Youth and Adolescence, 32, 3, pp. 205-213, (2003); Sloboda J.A., Exploring the Musical Mind: Cognition, Emotion, Ability, Function, (2005); Swann W.B., Rentfrow P.J., Guinn J.S., Self-verification: The search for coherence, Handbook of Self and Identity, pp. 367-383, (2002); Teo T., Relationship of selected musical characterstics and music preference, Visions of Research in Music Education, 3, pp. 38-51, (2003); Thompson W.F., Schellenberg E.G., Husain G., Arousal, mood, and the mozart effect, Psychological Science, 12, 3, pp. 248-251, (2001); Van Der-Zwaag M., Westerink J., Van Der-Broek E., Emotional and psychophysiological responses to tempo, mode and percussiveness, Musicae Scientiae, 15, 2, pp. 250-269, (2011); Weaver J.B., Exploring the links between personality and media preferences, Personality and Individual Differences, 12, 12, pp. 1293-1299, (1991); Zillman D., Gan S., Musical taste in adolescence, The Social Psychology of Music, pp. 161-188, (1997)","","","Routledge","","","","","","14613808","","","","English","Music Educ. Res.","Article","Final","","Scopus","2-s2.0-84926974253"
"Reifinger J.L.","Reifinger, James L. (35185379600)","35185379600","The acquisition of sight-singing skills in second-grade general music: Effects of using solfège and of relating tonal patterns to songs","2012","Journal of Research in Music Education","60","1","","26","42","16","6","10.1177/0022429411435683","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84858650319&doi=10.1177%2f0022429411435683&partnerID=40&md5=2f2577cedd74b58718575b487c8b8790","University of Houston, 120 School of Music Building, Houston, TX 77204, United States","Reifinger J.L., University of Houston, 120 School of Music Building, Houston, TX 77204, United States","This study was designed to examine two aspects of sight-singing instruction: (1) solfège syllables versus the syllable loo for singing patterns and (2) the use of related songs (songs that began with tonal patterns being studied) as compared with unrelated songs. Second-grade students (N = 193) enrolled in general music classes participated in 25 minutes of sight-singing instruction for 16 sessions. In each session a new four-note pattern and song were introduced, and previously learned patterns were reviewed. Four levels of instructional treatment were examined as the independent variable: (1) related songs/solfège, (2) related songs/loo, (3) unrelated songs/solfège, and (4) unrelated songs/loo. Pitch and contour accuracy of familiar and unfamiliar patterns were examined as dependent variables on sight-singing pre-, post-, and retention tests. Results indicated significant pre-to posttest improvement in sight-singing skills. Most post-to retention test differences were nonsignificant, indicating skill retention. Sight-singing skills transferred to unfamiliar patterns. Treatment effectiveness differed by pattern familiarity. Solfège with familiar patterns and a neutral syllable (loo) with unfamiliar patterns resulted in significantly greater contour accuracy. Relating patterns to songs had no significant effect on achievement. © 2012 National Association for Music Education.","elementary; sight-singing; singing; solfège; tonal patterns","","","","","","","","Cooper N.A., Selected Factors Related to Children's Singing Accuracy, (1992); Crowder R.G., Serafine M.L., Repp B., Physical interaction and association by contiguity in memory for the words and melodies of songs, Memory & Cognition, 18, pp. 469-476, (1990); Davidson L., McKernon P., Gardner H., The acquisition of song: A developmental approach, Documentary Report of the Ann Arbor Symposium: Applications for Psychology to the Teaching and Learning of Music, pp. 310-315, (1981); Dodson T.A., Developing music reading skills: Research implications, Update: The Applications of Research in Music Education, 1, 4, pp. 3-6, (1983); Elliott C.A., The music-reading dilemma, Music Educators Journal, 68, pp. 29-34, (1982); Feierabend J.M., Saunders T.C., Holahan J.M., Getnick P.E., Song recognition among preschool-age children: An investigation of words and music, Journal of Research in Music Education, 46, pp. 351-359, (1998); Fine P., Berry A., Rosner B., The effect of pattern recognition and tonal predictability on sight-singing ability, Psychology of Music, 34, pp. 431-447, (2006); Flowers P.J., Dunne-Sousa D., Pitch-pattern accuracy, tonality, and vocal range in preschool children's singing, Journal of Research in Music Education, 38, pp. 102-114, (1990); Gault B., Effects of pedagogical approach, presence/absence of text, and developmental music aptitude on the song performance accuracy of kindergarten and first-grade students, Bulletin of the Council for Research in Music Education, 152, pp. 54-63, (2002); Ginsborg J., Sloboda J.A., Singers' recall for the words and melody of a new, unaccompanied song, Psychology of Music, 35, pp. 421-440, (2007); Goetze M., Factors Affecting Accuracy in Children's Singing, (1985); Harvey H., Garwood J., Palencia M., Vocal matching of pitch intervals: Learning and transfer effects, Psychology of Music, 15, pp. 90-106, (1987); Hert S., Peretz I., Are text and tune of familiar songs separable by brain damage?, Brain & Cognition, 46, pp. 169-175, (2001); Klemish J.J., A comparative study of two methods of teaching music reading to firstgrade children, Journal of Research in Music Education, 18, pp. 355-364, (1970); Marshall I.I.H.D., Effects of Song Presentation Method on Pitch Accuracy of Third-grade Children, (2002); Martin B.A., Effects of hand signs, syllables, and letters on first graders' acquisition of tonal skills, Journal of Research in Music Education, 3, pp. 161-170, (1991); National Standards for Arts Education, (1994); Mishra J., Fine P., A Musical Stroop Test to Explore Melody and Text Integration of Songs, (2010); Morrongiello B.A., Ross C.L., Children's memory for new songs: Integration or independent storage of words and tunes?, Journal of Experimental Child Psychology, 50, pp. 25-38, (1990); The First National Assessment of Musical Performance, (1974); Music 1971-79: Results from the Second National Music Assessment, (1981); Peretz I., Radeau M., Arguin M., Two-way interactions between music and language: Evidence from priming recognition of tune and lyrics in familiar songs, Memory & Cognition, 32, pp. 142-152, (2004); Persky H., Sandene B., Askew J., NAEP 1997 Arts Report Card, (1998); Petzold R.G., The perception of music symbols in music reading by normal children and by children gifted musically, Journal of Experimental Education, 28, pp. 271-319, (1960); Phillips K.H., Teaching Kids to Sing, (1996); Racette A., Peretz I., Learning lyrics: To sing or not to sing?, Memory & Cognition, 35, pp. 242-253, (2007); Reifinger J.L., An analysis of tonal patterns used for sight-singing instruction in second-grade general music class, Journal of Research in Music Education, 57, pp. 203-216, (2009); Salomon G., Perkins D.N., Rocky roads to transfer: Rethinking mechanisms of a neglected phenomenon, Educational Psychologist, 24, 2, pp. 113-142, (1989); Schellenberg E.G., Does exposure to music have beneficial side effects?, The Cognitive Neuroscience of Music, pp. 430-448, (2003); Serafine M.L., Crowder R.G., Repp B.H., Integration of melody and text in memory for songs, Cognition, 16, pp. 285-303, (1984); Serafine M.L., Davidson J., Crowder R.G., Repp B.H., On the nature of melodytext integration in memory for songs, Journal of Memory and Language, 25, pp. 123-135, (1986); Smith J.D., Kemler Nelson D.G., Grohskopf L.A., Appleton T., What child is this? What interval was that? Familiar tunes and music perception in novice listeners, Cognition, 52, pp. 23-54, (1994); Tatem F.L., Effects of Selected Timbres, Tasks, Grade Level, and Gender on Vocal Pitch Matching Accuracy of Kindergarten Through Third-grade Children, (1990); Walker R., Auditory-visual perception and musical behavior, Handbook of Research on Music Teaching and Learning, pp. 344-359, (1992); Wallace W.T., Memory for music: Effect of melody on recall of text, Journal of Experimental Psychology: Learning, Memory, and Cognition, 20, pp. 1471-1485, (1994); Yarbrough C., Forum, Journal of Research in Music Education, 52, pp. 4-5, (2004)","J.L. Reifinger; University of Houston, 120 School of Music Building, Houston, TX 77204, United States; email: reifinger@alumni.iu.edu","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84858650319"
"Ferm Thorgersen C.; Johansen G.; Juntunen M.-L.","Ferm Thorgersen, Cecilia (56737249300); Johansen, Geir (23088716300); Juntunen, Marja-Leena (41261760600)","56737249300; 23088716300; 41261760600","Music teacher educators' visions of music teacher preparation in Finland, Norway and Sweden","2016","International Journal of Music Education","34","1","","49","63","14","23","10.1177/0255761415584300","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84958230966&doi=10.1177%2f0255761415584300&partnerID=40&md5=0df54f8bf5e9ba449de3c2c739c62189","Luleå University of Technology, Sweden; Norwegian Academy of Music, Norway; University of the Arts Helsinki, Finland","Ferm Thorgersen C., Luleå University of Technology, Sweden; Johansen G., Norwegian Academy of Music, Norway; Juntunen M.-L., University of the Arts Helsinki, Finland","In this study we investigated the visions of 12 music teacher educators who teach pedagogical courses called instrumental pedagogy and classroom music pedagogy in three music academies in Finland, Norway and Sweden. The data were collected through individual, semi-structured qualitative interviews. Drawing on Hammerness' concept of teachers' vision we concentrated on the educators' visions of good music pedagogy teaching, an ideal graduate, and visions of their subject as a whole, as well as how those visions can be extended to denote some characteristics of the teaching traditions at play. The results indicated that visions were personal and not necessarily consistent between educators or across institutions. Rather, they were strongly related to, steered, and limited by established teaching traditions. We suggest that vision might constitute a functional concept in music teacher educators' reflections on their work and that clear programme visions should be formulated in music teacher education institutions through collective collegial efforts. © International Society for Music Education: ISME.","Higher education; instrumental pedagogy; music teacher education; teacher's vision","","","","","","","","Barnett R., Learning for an unknown future, Higher Education Research & Development, 23, pp. 247-260, (2004); Barnett R., Knowing and becoming in the higher education curriculum, Studies in Higher Education, 34, pp. 429-440, (2009); Barth F., Balinese Worlds, (1993); Bates V.C., Preparing rural music teachers: Reflecting on ""shared vision, Journal of Music Teacher Education, 20, pp. 89-98, (2011); Blix H., Presentation Av en Pilotundersøkelse - Instrumentalelevers Utvikling Av Musikalisk Literacy, (2009); Bransford J., Derry S., Berliner D., Hammerness K., Beckett K.L., Darling-Hammond L., Bransford J., Theories of learning and their role in teaching, Preparing Teachers for A Changing World, pp. 40-87, (2005); Cochran-Smith M., Lytle S.L., Relationships of knowledge and practice: Teacher learning in communities, Review of Research in Education, 24, pp. 249-306, (1999); Darling-Hammond L., Powerful Teacher Education: Lessons from Exemplary Programs, (2006); Darling-Hammond L., Bransford J., Preparing Teachers for A Changing World: What Teachers Should Learn and Be Able to Do, (2005); Draves T.J., Koops L.H., Peer Mentoring: Key to New Music Teacher Educator Success, Journal of Music Teacher Education, 20, 2, pp. 67-77, (2011); Feiman-Nemser S., From preparation to practice: Designing a continuum to strengthen and sustain teaching, Teachers College Records, 103, pp. 1013-1055, (2001); Ferm Thorgersen C., Aesthetic communication in higher composing education: Dimensions of awareness, Nordic Research in Music Education, 10, pp. 167-184, (2008); Ferm Thorgersen C., Johansen G., Juntunen M.-L., Mapping the Teaching of Musikdidaktik - Addressing the Possibilities and Challenges of Meetings between the Instrumental and School Music Traditions in Music Teacher Education, (2010); Gaunt H., One-to-one tuition in a conservatoire: The perceptions of instrumental and vocal students, Psychology of Music, 38, pp. 178-208, (2009); Graabraek Nielsen S., Musical practice in the conservatoires: Strategies advanced students use in self-regulated learning, Research in and for Higher Music Education: Festschrift for Harald Jørgensen, pp. 87-99, (2002); Graabraek Nielsen S., Forskningsbasert undervisning i høyere musikkutdanning - Begrunnelser, utfordringer og egenart [Research based teaching in higher music education - Grounds, challenges and characteristics], Nordic Research in Music Education: Yearbook 10, pp. 27-38, (2008); Graabraek Nielsen S., Westby I.A., Broske Danielsen B.A., Johansen G., The professional development of music teachers, Educating Music Teachers in the New Millennium: Multiculturalism, Professionalism and Music Teacher Education in the Contemporary Society. A Report from A Research and Development Project, pp. 141-154, (2012); Grossman P.L., Smagorinsky P., Valencia S., Appropriating tools for teaching English: A theoretical framework for research on learning to teach, American Journal of Education, 108, 1, pp. 1-29, (1999); Hammerness K., Seeing Through Teachers' Eyes: Professional Ideals and Classroom Practices, (2006); Hammerness K., The Relationship between Teacher Education Program Visions and Teacher's Visions: An Examination of Three Programs. Manuscript Submitted for Publication, (2009); Hammerness K., Examining features of teacher education in Norway, Scandinavian Journal of Educational Research, 57, pp. 400-419, (2012); Hammerness K., Darling-Hammond L., Bransford J., Berliner D., Cochran-Smith M., McDonald M., Zeichner K., Darling-Hammond L., Bransford J., How teachers learn and develop, Preparing Teachers for A Changing World: What Teachers Should Learn and Be Able to Do, pp. 358-389, (2005); Handal G., Lauvas P., Veiledning Og Praktisk Yrkesteori, (2000); Hanken I.M., Nerland M., Lindgren M., Frisk A., Henningsson I., Oberg J., Apprenticeship in transition?, Musik Och Kunskapsbildning: En Festskrift Till Bengt Olsson, pp. 129-136, (2011); Harre R., Personal Being: A Theory for Individual Psychology, (1983); Hennessy S., Constraints and Affordances in Primary Music Teacher Education in England, (2007); Holgersson P.-H., Musikalisk Kunskapsutveckling i Högre Musikutbildning - En Kulturpsykologisk Studie i Hur Musikerstudenter Förhåller Sig Till Kunskap i Enskild Instrumentalundervisning, (2011); Ilomaki L., Search of Musicianship: A Practitioner-research Project on Pianists' Aural-skills Education, (2011); Jacobs J.N., Constructing a model for the effective mentoring of music educators, Journal of Music Teacher Education, 17, 2, pp. 60-68, (2008); Johansen G., Broske Danielsen B.A., Educating Music Teachers in the New Millennium, (2012); Johansen G., Ferm C., Relations of quality and competence: Some reflections on Juntunen's article in this number, Finnish Journal of Music Education, 10, 1-2, pp. 65-81, (2007); Jorgensen H., Research into Higher Music Education: An Overview from A Quality Improvement Perspective, (2009); Kamsvag G., Tredje Time Tirsdag: Musikk. en Pedagogisk-antropologisk Studie Av Musikkaktivitet Og Sosial Organisasjon i Ungdomsskolen, (2011); Kertz-Welzel A., Didaktik of music: A German concept and its comparison to American music pedagogy, International Journal of Music Education, 22, 3, pp. 277-286, (2004); Kingsbury H., Music, Talent and Performance: A Conservatory Cultural System, (1988); Kvale S., Brinkmann S., InterViews: Learning the Craft of Qualitative Research Interviewing, (2009); McPherson G.E., Welch G.F., Oxford Handbook of Music Education i, (2012); Mills J., Conservatoire students' perceptions of the characteristics of effective instrumental and vocal tuition, Bulletin of the Council for Research in Music Education, 153/154, pp. 78-82, (2002); Nerland M., Instrumentalundervisning Som Kulturell Praksis: En Diskursorientert Studie Av Hovedinstrumentundervisning i Høyere Musikkutdanning, (2003); Nielsen F.V., Musiklæreruddannelse i Danmark: Faglighed Og Professionalisering, (2008); Nielsen F.V., Bresler L., Music (and arts) education from the point of view of Didaktik and Bildung, International Handbook of Research in Arts Education, pp. 265-286, (2007); Nielsen K.N., Musical Apprenticeship: Learning at the Academy of Music As Socially Situated, (2002); Patton M.Q., Qualitative Evaluation and Research Methods, (2002); Perkins R., The Construction of 'Learning Cultures': An Ethnographically-informed Case Study of A UK Conservatoire, (2011); Quinton S., Smallbone T., Feeding forward: Using feedback to promote student reflection and learning - A teaching model, Innovations in Education and Teaching International, 47, 1, pp. 125-135, (2010); Shulman L., Knowledge and teaching: Foundations of the new reform, Harvard Educational Review, 57, pp. 1-22, (1987); Shulman L., Hammerness K., Foreword, Seeing Through Teachers' Eyes: Professional Ideals and Classroom Practices, (2006); Shulman L.S., Shulman J., How and what teachers learn: A shifting perspective, Journal of Curriculum Studies, 26, 2, pp. 257-271, (2004); Southcott J., Joseph D., Engaging, exploring, and experiencing multicultural music in Australian music teacher education: The changing landscape of multicultural music education, Journal of Music Teacher Education, 20, 1, pp. 8-26, (2010); Unkari-Virtanen L., Moniääninen Musiikinhistoria: Heuristinen Tutkimus Musiikinhistorian Opiskelusta Ja Opettamisesta, (2009); Webster P.R., Odena O., Towards pedagogies of revision: Guiding a student's music composition, Musical Creativity: Insights from Music Education Research, pp. 93-112, (2012); Weller J., Educating professional musicians in a global context, Proceedings of the 19th International Seminar of the Commission for the Education of the Professional Musician (CEPROM). International Association for Music Education, (2012); Wilcox S., Upitis R., Colwell R., Richardson C., Strengthening the teaching of music educators in higher education, The New Handbook of Research on Music Teaching and Learning, pp. 840-854, (2002); Wing L., Barrett J.R., Colwell R., Richardson C., Section six: Teacher education, The New Handbook of Research on Music Teaching and Learning, pp. 757-903, (2002); Zanden O., Samtal Om Samspel: Kvalitetsuppfattningar i Musiklärares Dialoger Om Ensemblespel På Gymnasiet, (2010)","","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","All Open Access; Hybrid Gold Open Access","Scopus","2-s2.0-84958230966"
"Dalby B.","Dalby, Bruce (57189401187)","57189401187","Teaching Movable Du: Guidelines for Developing Enrhythmic Reading Skills","2015","Music Educators Journal","101","3","","91","99","8","1","10.1177/0027432114565008","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85091693674&doi=10.1177%2f0027432114565008&partnerID=40&md5=c6522f73e2f84e1549df9982af139d15","","","Reading music notation with fluency is a complex skill requiring well-founded instruction by the music teacher and diligent practice on the part of the learner. The task is complicated by the fact that there are multiple ways to notate a given rhythm. Beginning music students typically have their first encounter with enrhythmic notation when they learn to play in “cut time,” or alla breve, but there are many other types of enrhythmic notation that must be mastered. This article discusses the challenges involved in teaching enrhythmic skills and suggests guidelines for making instruction more effective. © 2015 National Association for Music Education.","enrhythmic reading; movable du; notation; rhythm; solfège; teaching","","","","","","","","","B. Dalby; email: dalby@unm.edu","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85091693674"
"Manaris B.; Stevens B.; Brown A.R.","Manaris, Bill (6602079213); Stevens, Blake (54959325100); Brown, Andrew R. (56994064300)","6602079213; 54959325100; 56994064300","JythonMusic: An environment for teaching algorithmic music composition, dynamic coding and musical performativity","2016","Journal of Music, Technology and Education","9","1","","33","56","23","32","10.1386/jmte.9.1.33_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84973375276&doi=10.1386%2fjmte.9.1.33_1&partnerID=40&md5=a0b3480c3274ca06250732278f440cd8","Computer Science Department, College of Charleston, 66 George Street, Charleston, 29424, SC, United States; Department of Music, College of Charleston, 66 George Street, Charleston, 29424, SC, United States; Griffith University, 226 Grey Street, 4101, QLD, Australia","Manaris B., Computer Science Department, College of Charleston, 66 George Street, Charleston, 29424, SC, United States; Stevens B., Department of Music, College of Charleston, 66 George Street, Charleston, 29424, SC, United States; Brown A.R., Griffith University, 226 Grey Street, 4101, QLD, Australia","The practice of coding music live challenges computing conventions with regard to developmental agility. The computational representation of music likewise challenges musicians to articulate their practice in new ways. In this article we describe the development, teaching and use of the JythonMusic environment designed to meet these challenges head on. JythonMusic, written in Python, is an open source project for music making and creative programming activities intended for musicians and programmers, of all levels and backgrounds. JythonMusic supports algorithmic music composition, dynamic coding and musical performativity including live coding. This article examines the functionality of JythonMusic for composition and performance projects in the context of university courses that combine computer science and music. The advantages of this medium for music and programming instruction are demonstrated through several projects and a live coding case study, leading to a series of observations and proposals concerning the advantages of coding in music pedagogy. © 2016 Intellect Ltd Article. English language.","Computing; Education; Live coding; Music; Performance; Programming; Python","","","","","","Andrew Sorensen; Rene Wooller, Tim Opie, Andrew Troedson and Adam Kirby; US National Science Foundation, (DUE-1044861, DUE-1323605, IIS-0736480, IIS-0849499); National Science Foundation, NSF, (1323605); International Business Machines Corporation, IBM; Google; Eidgenössische Technische Hochschule Zürich, ETH","The following individuals have contributed to JythonMusic code development, API design and review, and testing: Dana Hughes, David Johnson, Christopher Benson, Mallory Rourk, Seth Stoudenmier and Kenneth Hanson. The JEM editor is developed and maintained by Tobias Kohn, ETH Zurich, Switzerland. The jMusic library and materials have been co-developed by Andrew Sorensen, Rene Wooller, Tim Opie, Andrew Troedson and Adam Kirby. The jSyn environment is developed and maintained by Phil Burk. Yiorgos Vassilandonakis co-developed and co-taught the HONS 381 course. JythonMusic includes code that has been partially supported by the US National Science Foundation (DUE-1323605, DUE-1044861, IIS-0736480, IIS-0849499 and andIIS-1049554). Additional support has been provided by Google and IBM.","Assayag G., Feichtinger H.G., Rodrigues J.F., Mathematics and Music, (2002); Bamberger J., The Development of Musical Intelligence I: Strategies for Representing Simple Rhythms: Logo Memo 1, (1975); Blackwell A., Collins N., The programming language as a musical instrument, Proceedings of Psychology of Programming Interest Group (PPIG05), pp. 120-130, (2005); Brown A.R., Making Music with Java: An Introduction to Computer Music, Java Programming, and the Jmusic Library, (2005); Brown A.R., Dillon S., Networked Improvisational Musical Environments: Learning through online collaborative music making, Music Education with Digital Technology, pp. 96-106, (2007); Collins N., McLean A., Rohrhuber J., Live Coding in Laptop Performance, Organised Sound, 8, 3, pp. 321-330, (2003); Cook A., ‘Interview, (2011); de Campo A., Republic: Collaborative live coding 2003-2013, Collaboration and Learning through Live Coding (Dagstuhl Report 13382), pp. 152-153, (2013); Freeman J., Magerko B., McKlin T., Reilly M., Permar J., Summers C., Fruchter E., Engaging underrepresented groups in high school introductory computing through computational remixing with EarSketch, Proceedings of ACM SIGCSE Technical Symposium on Computer Science Education (SIGCSE 2014), pp. 85-90, (2014); Guzdial M., 21st century literacy includes computing for everyone, Tedxgeorgiatech Video, (2012); Guzdial M., Ericson B., Introduction to Computing and Programming with Java: A Multimedia Approach, (2006); Guzdial M., Ericson B., Introduction to Computing and Programming in Python, (2012); Hallam S., The power of music: Its impact on the intellectual, social and personal development of children and young people, International Journal of Music Education, 28, 3, pp. 269-289, (2010); Manaris B., Dropping CS Enrollments: Or the emperors new clothes?’, ACM Inroads, 39, 4, pp. 6-10, (2007); Manaris B., Brown A.R., Making Music with Computers: Creative Programming in Python, (2014); Manaris B., Roos P., Krehbiel D., Zalonis T., Armstrong J.R., Zipfs law, power laws and music aesthetics, Music Data Mining, Chapman & Hall/Crc Textbooks in Computing, pp. 169-216, (2011); McConnell J.J., Burhans D.T., The evolution of CS1 textbooks, Proceedings of 32Nd ASEE/IEEE Frontiers in Education Conference, pp. T4G1-T4G6, (2002); Mudd T., Developing transferable skills through engagement with higher education laptop ensembles, Journal of Music, Technology & Education, 5, 1, pp. 29-41, (2012); Otondo F., Using spatial sound as an interdisciplinary teaching tool, Journal of Music, Technology & Education, 6, 2, pp. 179-190, (2013); Riley T., In C, Score and Performing Directions, (1989); Schellenberg E.G., Music lessons enhance IQ, Psychological Science, 15, 8, pp. 511-514, (2004); Shaffer D.W., Resnick M., Thick authenticity: New media and authentic learning, Journal of Interactive Learning Research, 10, 2, pp. 195-215, (1999); Shneiderman B., Plaisant C., Designing the User Interface: Strategies for Effective Human-Computer Interaction, (2004); Sorensen A., Impromptu: An interactive programming environment for composition and performance, Proceedings of the Australasian Computer Music Conference 2005, pp. 149-153, (2005); Sorensen A., The Many Faces of a Temporal Recursion, (2013); Sorensen A., Gardner H., Programming with time: Cyberphysical programming with Impromptu, Proceedings of the ACM International Conference on Object Oriented Programming Systems Languages and Applications, pp. 822-834, (2010); Trueman D., Why a laptop orchestra?, Organised Sound, 12, 2, pp. 171-179, (2007); Trueman D., Cook P., Smallwood S., Wang G., PLOrk: The Princeton laptop orchestra, year 1, Proceedings of the International Computer Music Conference, pp. 443-450, (2006); Vegso J., Continued drop in CS Bachelors degree production and enrollments as the number of new majors stabilizes, Computing Research News, 19, (2007); Wang G., Cook P.R., ChucK: A concurrent, on-the-fly, audio programming language, Proceedings of International Computer Music Conference, pp. 219-226, (2003); Wang G., Trueman D., Smallwood S., Cook P.R., The laptop orchestra as classroom, Computer Music Journal, 32, 1, pp. 26-37, (2008); Xenakis I., Formalized Music: Thought and Mathematics in Composition, (1971); Zelle J., Python as a first language, Proceedings 13Th Annual Midwest Computer Conference (MCC’99), (1999)","B. Manaris; Computer Science Department, College of Charleston, Charleston, 66 George Street, 29424, United States; email: manarisb@cofc.edu","","Intellect Ltd.","","","","","","17527066","","","","English","J. Music Technol. Educ.","Article","Final","","Scopus","2-s2.0-84973375276"
"Ng C.-H.C.; Hartwig K.","Ng, Chi-Hung Clarence (8875165200); Hartwig, Kay (54784217900)","8875165200; 54784217900","Teachers' perceptions of declining participation in school music","2011","Research Studies in Music Education","33","2","","123","142","19","14","10.1177/1321103X11423598","https://www.scopus.com/inward/record.uri?eid=2-s2.0-83755183792&doi=10.1177%2f1321103X11423598&partnerID=40&md5=80a1cc3438f08054de06ea10bd76f414","School of Education and Professional Studies, Griffith University, Mt Gravatt Campus, Mt Gravatt, QLD 4111, 176 Messines Ridge Road, Australia","Ng C.-H.C., School of Education and Professional Studies, Griffith University, Mt Gravatt Campus, Mt Gravatt, QLD 4111, 176 Messines Ridge Road, Australia; Hartwig K., School of Education and Professional Studies, Griffith University, Mt Gravatt Campus, Mt Gravatt, QLD 4111, 176 Messines Ridge Road, Australia","Low enrolment and high attrition rates are pressing issues facing school music in Australia. Based on a sociocognitive perspective, the current study explored music teachers' perceptions of the extent of, reasons for, and factors influencing continuing enrolment in music. The findings showed that both classroom and instrumental music teachers perceived a general decline in student enrolment in music in high school. However, instrumental teachers perceived that relatively higher percentages of students tended to continue with instrumental music. Music teachers ranked the importance of various cognitive and social factors relevant to students' continuing and discontinuing participation in music learning in school. Regression analyses showed that parental support and a quality music programme were significant factors predicting teachers' perceptions of student persistence levels in instrumental and classroom music respectively. The paper ends with a discussion on the development of reformative music pedagogy. © SEMPRE 2011.","drop out; motivation; music education; participation; persistence; teachers' perceptions","","","","","","","","Alwin D.F., Krosnick J.A., The measurement of values in surveys: A comparison of ratings and rankings, Public Opinion Quarterly, 49, 4, pp. 535-552, (1985); Austin J., Renwick J., McPherson G.E., The Child As Musician: A Handbook on Musical Development, pp. 213-238, (2006); Babbie E.R., Survey Research Methods, (1990); Babo G.D., The relationship between instrumental music participation and standardized assessment achievement of middle school students, Research Studies in Music Education, 22, pp. 14-27, (2004); Barrett M.S., Smigiel H.M., Children's perspectives of participation in music youth art settings: Meaning, value and participation, Research Studies in Music Education, 28, pp. 39-50, (2007); Biddle B.J., Anderson D.S., Handbook of Research on Teaching, pp. 328-375, (1986); Bray D., An examination of GCSE music uptake rates, British Journal of Music Education, 17, 1, pp. 79-89, (2000); Cook C., Health F., Thompson R., A meta-analysis of response rates in web- or internet-based surveys, Educational & Psychological Measurement, 60, 6, pp. 821-836, (2000); Costa-Giomi E., Flowers P.J., Sasaki W., Piano lessons of beginning students who persist or drop out: Teacher behaviour, student behaviour, and lesson progress, Journal of Research in Music Education, 53, 3, pp. 234-247, (2005); Covington M.V., Goal theory, motivation and school achievement: An integrative review, Annual Review of Psychology, 51, pp. 171-200, (2000); Dai D.Y., Schader R.M., Decisions regarding music training: Parental beliefs and values, Gifted Child Quarterly, 46, pp. 135-144, (2002); Davidson J.W., Self and desire: A preliminary exploration of why students start and continue with music learning, Research Studies in Music Education, 12, pp. 30-37, (1999); Dillman D.A., The design and administration of mail surveys, Annual Review of Sociology, 17, pp. 225-249, (1991); Dweck C.S., Leggett E.L., A social-cognitive approach to motivation and personality, Psychological Review, 95, pp. 256-273, (1988); Fitzpatrick K.R., The effect of instrumental music participation and socioeconomic status on Ohio fourth-, sixth-, and ninth-grade proficiency test performance, Journal of Research in Music Education, 54, pp. 73-84, (2006); Fuchs V.R., Sox H.C., Physicians' views of the relative importance of thirty medical innovations, Health Affairs, 20, 5, pp. 30-42, (2001); Gouzouasis P., Henrey J., Belliveau G., Turning points: A transitional story of grade seven music students' participation in high school band programmes, Music Education Research, 10, 1, pp. 75-90, (2008); Goyder J., Nonresponse effects on relationships between variables, Public Opinion Quarterly, 40, pp. 360-369, (1985); Hallam S., Predictors of achievement and drop out in instrumental tuition, Psychology of Music, 26, 2, pp. 116-132, (1998); Hallam S., Musical motivation: Towards a model synthesizing the research, Music Education Research, 4, 2, pp. 225-244, (2002); 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Moore D.G., Burland K., Davidson J.W., The social context of music success: A developmental account, British Journal of Psychology, 94, pp. 529-549, (2003); O'Neill S.A., Flow theory and development of music performance skills, Bulletin of the Council for Research in Music Education, 2, pp. 129-134, (1999); O'Neill S.A., Boulton M.J., Boys' and girls' preferences for music instruments: A function of gender, Psychology of Music, 24, pp. 171-183, (1996); Pascoe R., Leong S., MacCallum J., MacKinlay E., Marsh K., Smith B., Winterton A., National Review of School Music Education: Augmenting the Diminished, (2005); Pitts S.E., Lessons in learning: Learning, teaching and motivation at a music summer school, Music Education Research, 6, 1, pp. 81-95, (2004); Richards H., Durrant C., To sing or not to sing: A study on the development of 'non-singers' in choral activity, Research Studies in Music Education, 20, pp. 78-89, (2003); Russell-Bowie D., Where is music education in our primary schools?, Research Studies in Music Education, 1, pp. 40-51, (1993); Schmidt C.P., Relations among motivation, performance achievement, and music experience variables in secondary instrumental music students, Journal of Research in Music Education, 53, 2, pp. 134-147, (2005); Schunk D.H., Self-efficacy and academic motivation, Educational Psychologist, 26, 34, pp. 207-237, (1991); Shavelson R.J., Stern P., Research on teachers' pedagogical thoughts, judgements, decisions and behaviour, Review of Educational Research, 51, 4, pp. 455-498, (1981); Sichivitsa V.O., The influence of parents, teachers, peers and other factors on students' motivation in music, Research Studies in Music Education, 29, pp. 55-68, (2007); Stevens R., Trends in School Music Education Provision in Australia, (2003); Wigfield A., Eccles J.S., Rodriguez D., The development of children's motivation in school contexts, Review of Research in Education, 23, pp. 73-118, (1998); Zdzinski S.F., Parental involvement, selected student attributes, and learning outcomes in instrumental music, Journal of Research in Music Education, 44, 1, pp. 34-48, (1996)","C.-H.C. Ng; School of Education and Professional Studies, Griffith University, Mt Gravatt Campus, Mt Gravatt, QLD 4111, 176 Messines Ridge Road, Australia; email: clarence.ng@griffith.edu.au","","","","","","","","18345530","","","","English","Res. Stud. Music Educ.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-83755183792"
"D'Anselmo A.; Giuliani F.; Marzoli D.; Tommasi L.; Brancucci A.","D'Anselmo, Anita (57226817694); Giuliani, Felice (56698872100); Marzoli, Daniele (35332540100); Tommasi, Luca (7003288632); Brancucci, Alfredo (6602326908)","57226817694; 56698872100; 35332540100; 7003288632; 6602326908","Perceptual and motor laterality effects in pianists during music sight-reading","2015","Neuropsychologia","71","","","119","125","6","14","10.1016/j.neuropsychologia.2015.03.026","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84933033804&doi=10.1016%2fj.neuropsychologia.2015.03.026&partnerID=40&md5=2e954ded0c4c1890542ff6a87dbff238","DiSPUTer (Department of Psychological, Human, and Territory Sciences), G. d'Annunzio Univ. of Chieti and Pescara, Italy","D'Anselmo A., DiSPUTer (Department of Psychological, Human, and Territory Sciences), G. d'Annunzio Univ. of Chieti and Pescara, Italy; Giuliani F., DiSPUTer (Department of Psychological, Human, and Territory Sciences), G. d'Annunzio Univ. of Chieti and Pescara, Italy; Marzoli D., DiSPUTer (Department of Psychological, Human, and Territory Sciences), G. d'Annunzio Univ. of Chieti and Pescara, Italy; Tommasi L., DiSPUTer (Department of Psychological, Human, and Territory Sciences), G. d'Annunzio Univ. of Chieti and Pescara, Italy; Brancucci A., DiSPUTer (Department of Psychological, Human, and Territory Sciences), G. d'Annunzio Univ. of Chieti and Pescara, Italy","Forty-six right-handed pianists were tested in a music sight-reading task in which they had to perform on a keyboard. Stimuli were single notes or single triads (chords) presented tachistoscopically in the left or right visual field in form of musical notation or verbal labels. Left-hand, right-hand or two-hands performance was required. Results showed, besides the expected Simon effect producing faster responses for stimuli to be performed with the hand ipsilateral to the side of presentation, a complex pattern of laterality which depended primarily upon the requested motor output. A tendency in favor of the left hemisphere (right visual field, RVF) was observed, this asymmetry being significant only in the single-hand tasks. On the contrary, in the two-hands task an opposite asymmetry was observed with musical notation. Moreover, a strong unexpected role of the bass clef was observed, which penalized left hand performance in particular with LVF stimuli. This effect even overcame the Simon effect, suggesting the presence of a bias in favor of the left hemisphere in musical transposition. Results point to a variegated pattern of hemispheric asymmetries in music sight-reading which depend on both stimulus coding and motor output type (e.g. two- or single-hand performance). A RH asymmetry was observed during two-hands playing with musical notation. Conversely, playing with one hand seems more leftward lateralized. This pattern of asymmetry would reflect a LH ability in simple ""core"" music reading together with a RH ability in the coordination of simultaneous responses by the two hands. © 2015 Elsevier Ltd.","Hemispheric asymmetries; Laterality; Music perception; Music performance; Sensory-motor integration; Visual half-field stimulation","Adult; Communication; Female; Functional Laterality; Hand; Humans; Male; Music; Pattern Recognition, Visual; Psychomotor Performance; Reaction Time; Young Adult; adult; Article; brain asymmetry; controlled study; female; hemispheric dominance; human; human experiment; left hemisphere; male; music; response time; right hemisphere; sensorimotor integration; stimulus response; task performance; visual stimulation; visuomotor coordination; young adult; hand; interpersonal communication; music; pattern recognition; physiology; psychomotor performance; reaction time","","","","","","","Bangert D., Schubert E., Fabian D., A spiral model of musical decision-making, Front Psychol., 5, (2014); Bever T.G., Chiarello R.J., Cerebral dominance in musicians and nonmusicians, Science, 185, 4150, pp. 537-539, (1974); Behmer L.P., Jantzen K.J., Reading sheet music facilitates sensorimotor mu-desynchronization in musicians, Clin. 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Psychol., 4, (2013); Segalowitz S.J., Bebout L.J., Lederman S.J., Lateralization for reading musical chords: disentangling symbolic, analytic, and phonological aspects of reading, Brain Lang., 8, 3, pp. 315-323, (1979); Sergent J., Zuck E., Terriah S., MacDonald B., Distributed neural network underlying musical sight-reading and keyboard performance, Science, 257, 5066, pp. 106-109, (1992); Simon J.R., Wolf J.D., Choice reaction time as a function of angular stimulus-response correspondence and age, Ergonomics, 6, 1, pp. 99-105, (1963); Simoens V.L., Tervaniemi M., Auditory short-term memory activation during score reading, PLoS One, 8, 1, (2013); Sloboda J.A., Experimental studies of music reading: a review, Music Percept., pp. 222-236, (1984); Sluming V., Brooks J., Howard M., Downes J.J., Roberts N., Broca's area supports enhanced visuospatial cognition in orchestral musicians, J. Neurosci., 27, 14, pp. 3799-3806, (2007); Stewart L., A neurocognitive approach to music reading, Ann. N. Y. Acad. Sci., 1060, 1, pp. 377-386, (2005); Stewart L., Henson R., Kampe K., Walsh V., Turner R., Frith U., Brain changes after learning to read and play music, Neuroimage, 20, 1, pp. 71-83, (2003); Stewart L., Walsh V., Frith U., Reading music modifies spatial mapping in pianists, Percept. Psychophys., 66, 2, pp. 183-195, (2004); Stewart L., Verdonschot R.G., Nasralla P., Lanipekun J., Action-perception coupling in pianists: learned mappings or spatial musical association of response codes (SMARC) effect?, Q. J. Exp. Psychol. (Hove), 66, 1, pp. 37-50, (2013); Wong Y.K., Gauthier I., A multimodal neural network recruited by expertise with musical notation, J. Cognit. Neurosci., 22, 4, pp. 695-713, (2010)","","","Elsevier Ltd","","","","","","00283932","","NUPSA","25817847","English","Neuropsychologia","Article","Final","","Scopus","2-s2.0-84933033804"
"Dobrota S.; Reić Ercegovac I.","Dobrota, Snježana (54784412600); Reić Ercegovac, Ina (39861241700)","54784412600; 39861241700","Students' musical preferences: The role of music education, characteristics of music and personality traits; [Glazbene preferencije studenata: Uloga glazbenog obrazovanja, karakteristika glazbe i značajki osobnosti]","2014","Croatian Journal of Education","16","2","","363","384","21","9","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84904410648&partnerID=40&md5=9cdaad493c46c729b26e742b415dd00b","University of Split, 21 000 Split, Sinjska 2, Croatia","Dobrota S., University of Split, 21 000 Split, Sinjska 2, Croatia; Reić Ercegovac I., University of Split, 21 000 Split, Sinjska 2, Croatia","The aim of this research was to examine the relationship between music education and musical preferences for different tempo and tonality and to explore what personality traits of the Big five-factor model contribute to the explanation of individual differences in musical preferences. The survey included 202 female and male students of the University of Split who were selected on the basis of their music education. Music compact disc containing 16 musical excerpts, Questionnaire for testing musical preference and Questionnaire for personality traits were used. The results confirmed the significant effects of music education and music characteristics on the musical preferences. Participants with the highest degree of music education enjoy all musical examples alike, regardless of musical characteristics, while other participants reported a significantly higher degree of liking the music in major key and fast tempo. Music education was a significant predictor in explaining musical preferences for major key music in fast tempo, while openness to experience was significant in predicting preferences for the minor music in slow tempo.","Big five-factor model; Music pedagogy; Tempo; Tonality","","","","","","","","Abeles H.F., Chung J.W., Response to Music, Handbook of Music Psychology, pp. 285-342, (1996); Balkwill L.L., Thompson W.F., A cross-cultural investigation of the perception of emotion in music: Psychophysical and cultural cues, Music Perception, 17, 1, pp. 43-64, (1999); Berg J., Wingstedt J., Perceived Properties of Parameterised Music for Interactive Applications, Journal of Systemics, Cybernetics and Informatics, 4, 2, pp. 65-71, (2006); Buchholz C., Babbitt A., VanNess K., Hoover B., Urecki C., Bankert M., Cognitive ability and the complexity of music: Complex systems seeking complex stimuli, Eighty first annual meeting of the Eastern Psychological Association, (2010); Cattel R.B., Anderson J.C., The measurement of personality and behavior disorders by the I.P.A.T. Musical preference Test, Journal of Applied Psychology, 37, 6, pp. 446-454, (1953); Costa Jr. P.T., McCrae R.R., The NEO Personality Inventory manual, (1985); Dobrota S., Ercegovac I.R., Glazbene preferencije mladih s obzirom na neke sociodemografske varijable, Odgojne znanosti, 11, 2, pp. 129-146, (2009); Dobrota S., Ercegovac I.R., Odnos emocionalne kompetentnosti i prepoznavanja emocija u glazbi, Društvena istraživanja. Časopis za opća društvena pitanja, 21, 4, pp. 969-988, (2012); Dollinger S.J., Research note: Personality and musical preference: Extraversion and excitement seeking or openness to experience?, Psychology of Music, 21, 1, pp. 73-77, (1993); Finnas L., How can musical preferences be modified?, Bulletin of the Council for Research in Music Education, 102, pp. 1-58, (1989); Fung C.V., Musicians' and nonmusicians' preferences for world musics: Relation to musical characteristics and familiarity, Journal of Research in Music Education, 44, 1, pp. 60-83, (1996); Gagnon L., Peretz I., Mode and tempo relative contributions to ""happy-sad"" judgements in equitone melodies, Cognition and Emotion, 17, 1, pp. 25-40, (2003); Goldberg L.R., International personality item pool: A scientific collaboratory for the development of advanced measures of personality traits and other individual differences/online/, (2001); Greer R.D., Dorow L.G., Hanser S., Music discrimination training and the selection behavior of nursery and primary level children, Bulletin of the Council for Research in Music Education, 35, pp. 30-43, (1973); 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Ercegovac I.R., Dobrota S., Povezanost izmed{stroke}u glazbenih preferencija, socidemografskih značajki i osobina ličnosti iz petfaktorskog modela, Psihologijske teme, 20, 1, pp. 47-66, (2011); Rentfrow P.J., Gosling S.D., The do re mi's of everyday life: The structure and personality correlates of musical preferences, Journal of Personality and Social Psychology, 84, 6, pp. 1236-1256, (2003); Rentfrow P.J., Gosling S.D., Message in a ballad: The role of musical preferences in interpersonal perception, Psychological Science, 17, 3, pp. 236-242, (2006); Rentfrow P.J., Gosling S.D., The content and validity of stereotypes about fans of 14 music genres, Psychology of Music, 35, 2, pp. 306-326, (2007); Schwartz K.D., Fouts G.T., Musical preferences, personality style, and developmental issues of adolescents, Journal of Youth and Adolescence, 32, 3, pp. 205-213, (2003); Shehan P.K., The effect of the television series music, on music listening preferences and achievement of elementary general music students, Contributions to Music Education, 7, pp. 51-62, (1979); Teo T., Relationship of selected musical characteristics and musical preference, Visions of Research in Music Education, (2003); Thompson W.F., Schellenberg E.G., Husain G., Arousal, mood, and the Mozart Effect, Psychological Science, 12, pp. 248-251, (2001); Vink A., Music and emotion. Living apart together: A relationship between music psychology and music therapy, Nordic Journal of Music Therapy, 10, pp. 144-158, (2001); Walker E.L., Psychological Complexity and Preference: A Hedgehog Theory of Behavior, (1980)","","","FACTEACHEREDUCATION","","","","","","18485189","","","","English","Croat. J. Educ.","Article","Final","","Scopus","2-s2.0-84904410648"
"Lasauskiene J.","Lasauskiene, Jolanta (55601708800)","55601708800","Bachelor project as a final assessment of study outcomes; [Projektas kaip studijų rezultatų baigiamasis vertinimas]","2013","Pedagogika","109","","","86","92","6","3","10.15823/p.2013.1837","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84878301192&doi=10.15823%2fp.2013.1837&partnerID=40&md5=a2c55466b39f7b696186d2635e889037","","","Study projects are an important part of university studies. They are involved not only for estimating separate study subjects but also for estimating an overall study quality, final study outcomes. The article examines final projects of music pedagogy which are prepared at Lithuanian University of Educational Sciences: peculiarities, educational importance and possibilities to strengthen practical training of future music teachers, by developing project and research activities competencies at university. The abilities of development are being presented in the context of study quality, final study outcomes. The aim of the research. To analyze music pedagogy projects defended in Lithuanian University of Educational Sciences and to determine the peculiarities of achieved project and research activity competencies (study outcomes). Methods of the research. Analysis of scientific sources, document analysis, expert method, content analysis. Results. Conclusions of the results reveal that competencies of project and research activities most often are only partially achieved by a music pedagogy students. The level of achievement of these competencies-study outcomes-is not the same: the easiest activities for bachelor's students are to plan and organize independently the investigations of professional activities, to implement education projects; whereas, the most difficult ones are to formulate a research problem, to analyze and interpret research data, to prepare research report. The worst acquired abilities of project activities (study outcomes) are: to determine relevant problems of music education, to validate a project under the appropriate methods, to formulate a scientific report. Within research activities (study outcomes) group the graduates find most difficult tasks, such as: to choose a particular research strategy, to select or compose research instruments, to describe properly results of data analysis, research conclusions and recommendations. The research reveals essential factors, which caused the difficulties in preparing (writing) Bachelor's projects (paper) on music pedagogy: the lack of various literacy and research skills. These competencies (study outcomes) ought to be improved both individually and during the modules of university studies, which particularly focusing on research skills and action research (projects).","Action research; Bachelor project of music pedagogy; Competencies; Quality of studies; Study outcomes","","","","","","","","Adomaitiene J., Zubrickiene I., Tereseviciene M., Profesinis mokytoju{ogonek} ir dėstytoju{ogonek} tobulėjimas, atliekant veiklos tyrimus, Profesinis Rengimas: Tyrimai Ir Realijos, 15, pp. 10-22, (2008); Barkauskaite M., Martisauskiene E., Cesnaviciene J., Edukologiniai Tyrimai Ir Dabarties Iššūkiu{ogonek} Kaita, 11, pp. 10-17, (2006); Bitinas B., Edukologinis Tyrimas: Sistema Ir Procesas, (2006); Bubnys R., Zydziunaite V., Reflektyvusis mokymas(is) aukštosios mokyklos edukacinėje aplinkoje: Dėstytoju{ogonek} mokymo patirtys, Mokslo studija, (2012); Bulajeva T., Žiniu{ogonek} Ir Kompetenciju{ogonek} Vertinimas: Kaip Susikurti Studentu{ogonek} Pasiekimu{ogonek} Vertinimo Metodika{ogonek}, (2007); Cibulskaite N., Matematikos Bakalauro Darbas Aukštojo Mokslo Kokybės Gerinimo Požiūriu, 1-2, pp. 8-17, (2009); (2005); Daciulyte R., Būsimu{ogonek}ju{ogonek} technologijos mokytoju{ogonek} savarankiškumo skatinimas dirbant projektu{ogonek} metodu, Pedagogika, 70, pp. 44-49, (2004); Dohn H., Wagner K.D., Strategies and Methods of Teaching in Contemporary Higher education with reference to Project work, Innovations In Education and Training International, 36, pp. 285-294, (1999); Juodaityte A., Studentu{ogonek} interaktyvaus mokymo(si) didaktinio modeliavimo technologija, Pedagogika, 65, pp. 90-97, (2003); Lasauskiene J., Bakalauro Projekto Rengimo Rekomendacijos. Metodinė Priemonė Muzikos Pedagogikos Bakalauro Studiju{ogonek} Programos Studentams, (2011); Lasauskiene J., Muzikos Mokytojo Veikla Ir Kompetencijos, Mokslo Studija, (2010); Lasauskiene J., Muzikiniu{ogonek} Edukaciniu{ogonek} Projektu{ogonek} Rengimas Ir I{ogonek}gyvendinimas, Mokymo Metodinė Priemonė, pp. 42-78; Lasauskiene J., Grigiene Z., Barisas K., Tavoras K., Būsimu{ogonek}ju{ogonek} muzikos mokytoju{ogonek} projektinės veiklos ypatumai, Pedagogika, 88, pp. 63-69, (2007); Lasauskiene J., Būsimu{ogonek}ju{ogonek} muzikos mokytoju{ogonek} dalykinės kompetencijos plėtojimas taikant projektu{ogonek} metoda{ogonek}, Pedagogika, 81, pp. 63-69, (2006); Pukelis K., Ability, Competency, Learning/Study Outcome, Qualification and Competence: Theoretical Dimension, The Quality of Higher Education, 6, pp. 12-35, (2009); Pukelis K., Lauzackas R., Developing Study Programme Curriculum based on Study Outcomes, In: Innovation, Change and Sustainability In Syrian Higher Education, pp. 160-165, (2008); Pukelis K., Pileicikiene N., Kai kuriu{ogonek} Lietuvos universitetu{ogonek} ir kolegiju{ogonek} studiju{ogonek} programu{ogonek} kokybės ypatumai: Studiju{ogonek} rezultatu{ogonek} paradigma, Aukštojo Mokslo Kokybė, 3, pp. 20-44, (2006); Sauleniene S., Išlyginamu{ogonek}ju{ogonek} Dailės Pedagogikos Studiju{ogonek} Baigiamu{ogonek}ju{ogonek} Darbu{ogonek} Rengimo Projekto Metodu Analizė. Iš: Konferencijos Pranešimu{ogonek} Medžiaga, (2005); Slusniene D., Plungiene I., Baigiamojo vertinimo organizavimo patirtis Klaipėdos kolegijoje, Tarptautinė Konferencija ""Besimokančios Visuomenės Iššūkiai Pedagogu{ogonek} Rengimui"": Straipsniu{ogonek} Ir Pranešimu{ogonek} Rinkinys, pp. 117-128, (2007); (2011); Tavoras V., Būsimu{ogonek} muzikos mokytoju{ogonek} meninės individualybės raiškos skatinimas taikant projektu{ogonek} metoda{ogonek}, Pedagogika, 103, pp. 74-80, (2011); Tereseviciene M., Adomaitiene J., Projektai Mokymo(si) Procese: Mokomoji Knyga, (2000)","","","Vytautas Magnus University","","","","","","13920340","","","","English","Pedagogika","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-84878301192"
"Kovalev D.A.; Khussainova G.A.; Balagazova S.T.; Zhankulb T.","Kovalev, Dmitry A. (57190532143); Khussainova, Gulzada A. (57190528450); Balagazova, Svetlana T. (57190528964); Zhankulb, Tamarasar (57190747316)","57190532143; 57190528450; 57190528964; 57190747316","Formation of various competencies in the process of training the future music teachers at the present stage","2016","International Journal of Environmental and Science Education","11","11","","4175","4183","8","4","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84982958324&partnerID=40&md5=48db119e619800b77b48dfd9d14a73a9","Music Education Department, Kazakh National University of Arts, Astana, Kazakhstan; Music Education and Choreography Department, Abai Kazakh National Pedagogical University, Almaty, Kazakhstan; Pedagogy and Psychology Department, Abai Kazakh National Pedagogical University, Almaty, Kazakhstan","Kovalev D.A., Music Education Department, Kazakh National University of Arts, Astana, Kazakhstan; Khussainova G.A., Music Education Department, Kazakh National University of Arts, Astana, Kazakhstan; Balagazova S.T., Music Education and Choreography Department, Abai Kazakh National Pedagogical University, Almaty, Kazakhstan; Zhankulb T., Pedagogy and Psychology Department, Abai Kazakh National Pedagogical University, Almaty, Kazakhstan","The article is devoted to professional training of future music teachers. Based on the analysis of domestic and foreign studies, the authors proved the importance of studying this problem and focusing on different pedagogical aspects. The study of this topic in general shows that the process of training the future music teachers has its own characteristics associated with the development of professional culture in the future music teachers, the development of their motivation for this profession. More specifically, the study focuses on the development of theoretical models describing development of music performance competence in the future music teachers. The effectiveness of professional development of the future music teachers depends on professional competence, determined by a continuous musical and pedagogical education. The experimental study focuses on specific features of undergraduate training of the future music teachers, as well as on the analysis of their problems in terms of their cultural identity and the development of student self-esteem. The paper also provides analysis of professional competence development strategies through archival documents in the teachers’ portfolio. © 2016 Kovalev et al.","Music acquisition; Music education; Music pedagogy; Music skills; Professional competencies; Teacher training","","","","","","","","Conway C., The Experiences of First-Year Music Teachers: A Literature Review, Applications of Research in Music Education, 33, 2, pp. 65-72, (2015); Dyganova E., Yavgildina Z., Organization a Culture of Self-Education of Music Teachers, International Education Studies, 8, 6, pp. 95-103, (2015); Fitzpatrick K., Cultural Diversity and the Formation of Identity: Our Role as Music Teachers, Music Educators Journal, 98, 4, pp. 53-59, (2012); Kertz-Welzel A., Music Education in the Twenty-First Century: A Cross-Cultural Comparison of German and American Music Education towards a New Concept of International Dialogue, Music Education Research, 10, 4, pp. 439-449, (2008); Lance D., Teacher Evaluation: Archiving Teaching Effectiveness Nielsen, Music Educators Journal, 101, 1, pp. 63-69, (2014); Laor L., Evaluating Graduate Education and Transcending Biases in Music Teachers’ Professional Development, Journal of Education and Training Studies, 3, 1, pp. 56-63, (2015); Legette R., McCord D., Pre-Service Music Teachers Perceptions of Teaching and Teacher Training Legette, Contributions to Music Education, 40, 1, pp. 163-176, (2015); Legette R., Perceptions of Early-Career School Music Teachers Regarding Their Preservice Preparation, Applications of Research in Music Education, 32, 1, pp. 12-17, (2013); Sarah H., Ronald G., Assessment in Music Education: Relationships between Classroom Practice and Professional Publication Topics, Research and Issues in Music Education, 11, 1, pp. 1-14, (2013); Shively J., Constructivism in Music Education, Arts Education Policy Review, 116, 3, pp. 128-136, (2015); Susan H., Applying Research in Motivation and Learning to Music Education: What the Experts Say Cogdill, Applications of Research in Music Education, 33, 2, pp. 49-57, (2015); Suzanne L., Perspective Consciousness and Cultural Relevancy: Partnership Considerations for the Re-Conceptualization of Music Teacher Preparation Burton, Arts Education Policy Review, 112, 3, pp. 122-129, (2011); Twyman J., Redding S., Personal Competencies, Personalized Learning: Reflection on Instruction, Direct Access, (2015); Zaffini E., Supporting Music Teacher Mentors, Music Educators Journal, 102, 1, pp. 69-74, (2015); Vasilyeva N., Development of music performance competence as a factor of professional training of the future music teachers in the context of pedagogical college, Problems of History, Philology and Culture, 17, pp. 171-176, (2006); Kashapova L., Khaibullina R., Development of professional culture in the future music teachers in the instrumental and performance training, Modern Problems of Science and Education, 5, pp. 26-42, (2015); Teplov B.M., Psychology of individual differences, Selected Works, 2, pp. 211-223, (1985); Tutolmin A., Theoretical and methodological bases of studying the problem of professional and creative competence, Bulletin of the University of the Russian Academy of Education, 4, pp. 51-56, (2008); Khaibullina R., The model of professional culture development in the bachelors of music education in the process of instrumental training, European Social Science Journal, 4, pp. 188-196, (2011); Kholodnaya M., Intelligence as a Form of Mental Experience. Intelligence Psychology: Paradoxes of Research. St, (2002); Yakovlev V., The theoretical model of music performance competence of the future music teachers. Research notes, Online Journal of the Kursk State University, 2, 14, pp. 89-96, (2010)","D.A. Kovalev; Music Education Department, Kazakh National University of Arts, Astana, Kazakhstan; email: kovalev-67@mail.ru","","IJESE","","","","","","13063065","","","","English","Int. J. Environ. Sci. Educ.","Article","Final","","Scopus","2-s2.0-84982958324"
"Wilkins A.J.; Kiff I.E.","Wilkins, Arnold Jonathan (7101620795); Kiff, Isabel Emily (56925292500)","7101620795; 56925292500","On the clarity of the musical stave","2015","Psychology of Music","43","6","","870","880","10","4","10.1177/0305735614546124","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84945307955&doi=10.1177%2f0305735614546124&partnerID=40&md5=6b883076fb78ecbe24c87f3b44065b8e","University of Essex, Wivenhoe Park, Colchester, CO4 3SQ, United Kingdom","Wilkins A.J., University of Essex, Wivenhoe Park, Colchester, CO4 3SQ, United Kingdom; Kiff I.E., University of Essex, Wivenhoe Park, Colchester, CO4 3SQ, United Kingdom","The staves of 63 scores of popular keyboard music from 50 publishers were measured. The staves had similar height but lines that varied in thickness from 0.1 mm to 0.45 mm. Evidence from visual psychophysics suggests that when the stave has thick lines, perceptual distortions are likely to affect the clarity of the score adversely. Students were asked to sight-read scores comprising random notes (""chromatic"") or random notes in the key of G. The scores had staves with lines that were 0.1 mm or 0.4 mm thick (current typographic practice). Twice as many errors were made when the staves had thick lines, although the scores were then read more slowly. Scores in the key of G were read more accurately than the ""chromatic"" scores, but those with thick lines were read with as many errors as ""chromatic"" scores with thin lines. There was a tendency for individuals with susceptibility to pattern glare to read the scores with thick lines relatively slowly. The findings suggest that perceptual distortions can impair sight-reading of music manuscript because of the pattern from the lines of the stave; using thinner lines can increase both sight reading accuracy and speed. © Society for Education, Music, and Psychology Research.","eye movements; individual differences; instrumental learning and teaching; live performance; neuroscience; perception; performance","","","","","","","","Apel W., The Notation of Polyphonic Music, 900-1600, (1942); Beauchamp L., The ""building Blocks"" of Reading: Suggestions for Developing Sight Reading Skills in Beginning Level College Piano Classes, 2, 2, (1999); Brewster D., On the undulations excited in the retina by the action of luminous points and lines, The London and Edinburgh Philosophical Magazine and Journal of Science, 1, 3, pp. 169-174, (1832); Chronicle E., Wilkins A.J., Gratings that induce perceptual distortions mask superimposed targets, Perception, 25, 6, pp. 661-668, (1996); Drasdo N., The neural representation of visual space, Nature (Lond), 266, pp. 554-556, (1977); Hardy D., Teaching Sight-reading at the Piano: Methodology and Significance, Piano Pedagogy Forum, 1, 2, (1998); Huang J., Zong X., Wilkins A., Jenkins B., Bozoki A., Cao Y., FMRI evidence that precision ophthalmic tints reduce cortical hyperactivation in migraine, Cephalalgia, 31, 8, pp. 925-936, (2011); Wilkins A.J., Visual Stress, (1995); Wilkins A.J., Reading Through Colour, (2003); Wilkins A.J., Evans B.J.W., Pattern Glare Test, (2001); Wilkins A.J., Nimmo-Smith M.I., Tait A., McManus C., Della Sala S., Tilley A., Scott S., A neurological basis for visual discomfort, Brain, 107, pp. 989-1017, (1984)","A.J. Wilkins; University of Essex, Colchester, Wivenhoe Park, CO4 3SQ, United Kingdom; email: arnold@essex.ac.uk","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-84945307955"
"Vikárius L.","Vikárius, László (26037838900)","26037838900","Bartók's Bulgarian Dances and the order of things","2012","Studia Musicologica","53","1-3","","53","68","15","0","10.1556/SMus.53.2012.1-3.5","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84881088396&doi=10.1556%2fSMus.53.2012.1-3.5&partnerID=40&md5=b59da1181f2669e8dd8eb3f1620e6e24","Hungarian Academy of Sciences Bartók Archives, Institute of Musicology Research, Centre for the Humanities, H-1014 Budapest, Táncsics Mihály u. 7, Hungary","Vikárius L., Hungarian Academy of Sciences Bartók Archives, Institute of Musicology Research, Centre for the Humanities, H-1014 Budapest, Táncsics Mihály u. 7, Hungary","Bartók's ""Six Dances in Bulgarian Rhythm,"" the only formally self-contained set within the Mikrokosmos, is the crowning series of pieces in this huge compendium of the composer's later piano music. Since Bartók recorded all six of them in 1940, they are ideal for an investigation of performance issues. The recordings from the Mikrokosmos, although relatively late, are fortunately close to the composition of most of the pieces, which makes these recordings all the more ""authentic."" The essay, however, focuses on the concept of the series as a series revisiting the compositional manuscripts, discussing the evolution of the individual pieces and the emergence of the idea of the set (first intended to comprise only five pieces) and Bulgarian rhythm as a pedagogical issue within the series. The ""Six Dances"" also bear a somewhat enigmatic dedication to the British pianist of Jewish descent, Harriet Cohen, obviously not an accidental choice. The dedication might be considered with what Bartók said in an interview in 1940 about the ""hibridity"" of national musical types in his ""Bulgarian"" pieces as well as with his article ""Race Purity in Music"" (1942) in mind. The significance of order and ordering in Bartók's creative work, a hitherto little discussed common central element in the various fields of his activity, collecting, performing and composing, are also discussed.","Béla Bartók; Bulgarian rhythm; Harriet Cohen; Mikrokosmos; music pedagogy","","","","","","","","","","","","","","","","","15882888","","","","English","Stud. Musicol.","Article","Final","","Scopus","2-s2.0-84881088396"
"Abramo J.M.","Abramo, Joseph Michael (37048392400)","37048392400","Gender differences of popular music production in secondary schools","2011","Journal of Research in Music Education","59","1","","21","43","22","64","10.1177/0022429410396095","https://www.scopus.com/inward/record.uri?eid=2-s2.0-79952952227&doi=10.1177%2f0022429410396095&partnerID=40&md5=e6df55387a6188aafa4a662a3ccf9d9c","Hartwick College-Music, Oneonta, NY 13820, 1 Hartwick Drive, United States","Abramo J.M., Hartwick College-Music, Oneonta, NY 13820, 1 Hartwick Drive, United States","In this case study, the author inv estigated how students' gender affected their participation in a secondary popular music class in which participants wrote and performed original music. Three same-gendered rock groups and two mixed-gendered rock groups were observ ed. Would students of different genders rehearse and compose differently? How would same-gendered processes compare to mixed-gendered processes? Research suggests that girls learn differently from boys and that gender-as distinct from sex-is formed in social env ironments. In research on popular music education, howev er, the participation of girls has been under-documented and under-theorized. This study found that boys and girls rehearsed and composed differently: Whereas the boys combined musical gestures and nonv erbal communication into a seamless sonic process, the girls separated talk and musical production. In the mixed-gendered groups, tensions arose because participants used different learning styles that members of the opposite gender misunderstood. Broadening popular music pedagogies to incorporate different practices is suggested. © 2011 MENC: The National Association for Music Education.","gender; informal pedagogy; popular music; social constructionism","","","","","","","","Abeles H., Are musical instrument gender associations changing?, Journal of Research in Music Education, 57, pp. 127-139, (2009); Abeles H., Porter S.Y., The sex-stereotyping of musical instruments, Journal of Research in Music Education, 26, pp. 65-75, (1978); Abril C., Gault B., The state of music in secondary schools, Journal of Research in Music Education, 56, pp. 68-81, (2008); Allsup R.E., Mutual learning and democratic action in instrumental music education, Journal of Research in Music Education, 51, pp. 24-37, (2003); Armstrong V., Theorizing gender and musical composition in the computerized classroom, Women: A Cultural Review, 12, pp. 35-43, (2001); Atkinson P., Hammersley M., Ethnography and participant observation, Strategies of Qualitative Inquiry, pp. 110-136, (1998); Bayton M., Women and the electric guitar, Sexing the Groove, pp. 37-49, (1997); Benenson J.F., Del Bianco R., Philippoussis M., Apostoleris N.H., Girls' expression of their own perspectives in the presence of varying numbers of boys, International Journal of Behavioral Development, 21, pp. 389-405, (1997); Boespflug G., The pop music ensemble in music education, Bridging the Gap: Popular Music and Music Education, pp. 190-204, (2004); Butler J., Gender Trouble: Feminism and the Subversion of Identity, (1999); Byrne C., Sheridan M., The long and winding road: The story of rock music in Scottish schools, International Journal of Music Education, 36, pp. 46-57, (2000); Campbell P.S., Of garage bands and song-getting: The musical development of young rock musicians, Research Studies in Music Education, 4, pp. 12-20, (1995); Campbell P.S., Connell C., Beegle A., Adolescents' expressed meanings of music in and out of school, Journal of Research in Music Education, 55, pp. 220-236, (2007); Caputo V., Add technology and stir: Music, gender, and technology in today's music classrooms, Quarterly Journal of Music Teaching and Learning, 4-5, pp. 85-90, (1994); Cavitt M.E., A descriptive analysis of error correction in instrumental music rehearsals, Journal of Research in Music Education, 51, pp. 218-230, (2003); Clawson M.A., Not just the girl singer"": Women and voice in rock bands, Negotiating at the Margins: The Gendered Discourses of Power and Resistance, pp. 235-254, (1993); Clawson M.A., When women play the bass: Instrument specialization and gender interpretation in alternative rock music, Gender & Society, 13, pp. 193-210, (1999); Creswell J.W., Qualitative Inquiry and Research Design: Choosing among the Five Traditions, (1998); Crowther R., Durkin K., Sex- and age-related differences in the musical behaviour, interests and attitudes towards music of 232 secondary school students, Educational Studies, 20, pp. 13-18, (1982); Davis S.G., That thing you do!"": Compositional processes of a rock band, International Journal of Education & the Arts, 6, 16, (2005); Delzell J.K., Leppla D.A., Gender associations of musical instruments and preferences of fourth grade students for selected instruments, Journal of Research in Music Education, 40, pp. 93-103, (1992); DeNora T., Music in Everyday Life, (2000); Dibben N., Gender identity and music, Musical Identities, pp. 117-133, (2002); Dobbs T.L., Discourse in the band room: The role of talk in an instrumental music classroom, Diverse Methodologies in the Study of Music Teaching and Learning, pp. 137-160, (2008); Eder D., Fingerson L., Interviewing children and adolescents, Handbook of Interview Research: Context and Methods, pp. 181-202, (2001); Emerson R.M., Fretz R.I., Shaw L.L., Writing Ethnographic Fieldnotes, (1995); Fontana A., Frey J.H., The interview: From neutral stance to political involvement, The Sage Handbook of Qualitative Research, pp. 695-727, (2005); Geertz C., The Interpretation of Culture, (1973); Goolsby T.W., Time use in instrumental rehearsals: A comparison of experienced, novice, and student teachers, Journal of Research in Music Education, 44, pp. 286-303, (1996); Green L., Music, Gender, Education, (1997); Green L., How Popular Musicians Learn: A Way Ahead for Music Education, (2001); Green L., Music, Informal Learning and the School: A New Classroom Pedagogy, (2008); Hargreaves D.J., Marshall N.A., Developing identities in music education, Music Education Research, 5, pp. 263-273, (2003); Jaffurs S.E., The impact of informal music learning practices in the classroom, or how I learned how to teach from a garage band, The International Journal of Music Education, 22, pp. 189-200, (2004); Lamb R., Music trouble: Desire, discourse, education, Canadian University Music Review, 18, 1, pp. 85-98, (1997); Lebler D., Popular music pedagogy: Peer learning in practice, Music Education Research, 10, pp. 193-213, (2008); Maccoby E.E., The Two Sexes: Growing Up Apart, Coming Together, (1998); Maltz D.N., Borker R.A., A cultural approach to male-female miscommunication, Communication, Language, and Social Identity, pp. 417-434, (1982); Manfredo J., Effective time management in ensemble rehearsals, Music Educators Journal, 93, 2, pp. 42-46, (2006); Mark M.L., Contemporary Music Education, (1996); Maxwell J.A., Qualitative Research Design: An Interactive Approach, (2005); McClary S., Feminine Endings, (1991); McRobbie A., Feminism and Youth Culture, (2000); National Standards for Arts Education, (1994); Merriam A.P., The Anthropology of Music, (1964); Messner M., Boyhood, organized sports, and the construction of masculinities, Reconstructing Gender, pp. 57-73, (1997); Moisala P., Diamond B., Music and Gender, (2000); Mulac A., The gender-linked language effect: Do language differences really make a difference?, Sex Differences and Similarities in Communication, pp. 219-239, (2006); Nettl B., The Study of Ethnomusicology: Twenty-nine Issues and Concepts, (1983); North A.C., Hargreaves D.J., Music and adolescent identity, Music Education Research, 1, pp. 75-92, (1999); O'Neill S.A., Boulton M.J., Boys' and girls' preferences for musical instruments: A function of gender?, Psychology of Music, 24, pp. 171-183, (1996); Pollack W., Real Boys: Rescuing Ourselves from the Myths of Boyhood, (2000); Music: Programme of Study for Key Stage 3 and Attainment Target, (2007); Reason P., Three approaches to participatory inquiry, Strategies of Qualitative Inquiry, 2, pp. 261-291, (1998); Seifried S., Exploring the outcomes of rock and popular music instruction in high school guitar class: A case study, International Journal of Music Education, 24, pp. 126-131, (2006); Taylor Y., Intersections of class and sexuality in the classroom, Gender and Education, 18, pp. 447-452, (2006); Vakeva L., Teaching popular music in Finland: What's up, what's ahead?, International Journal of Music Education, 24, pp. 126-131, (2006); Wemyss K.L., Reciprocity and exchange: Popular music in Australian secondary schools, Bridging the Gap: Popular Music and Music Education, pp. 141-157, (2004); West C., Zimmerman D.H., Doing gender, Gender and Society, 1, pp. 125-151, (1987); Westerlund H., Garage rock bands: A future model for developing musical expertise?, International Journal of Music Education, 24, pp. 119-125, (2006); Whiteley S., Women and Popular Music: Sexuality, Identity and Subjectivity, (2000)","J. M. Abramo; Hartwick College-Music, Oneonta, NY 13820, 1 Hartwick Drive, United States; email: abramoj@hartwick.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-79952952227"
"Cavaco S.; Feinstein J.S.; Van Twillert H.; Tranel D.","Cavaco, Sara (6506957934); Feinstein, Justin S. (7005260924); Van Twillert, Henk (55513464400); Tranel, Daniel (7006151948)","6506957934; 7005260924; 55513464400; 7006151948","Musical memory in a patient with severe anterograde amnesia","2012","Journal of Clinical and Experimental Neuropsychology","34","10","","1089","1100","11","20","10.1080/13803395.2012.728568","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84870691272&doi=10.1080%2f13803395.2012.728568&partnerID=40&md5=28d9c191ebb7aa747b49c86f88d42cf3","Division of Behavioral Neurology and Cognitive Neuroscience, University of Iowa, Iowa City, IA, United States; Laboratory of Neurobiology of Human Behavior, Centro Hospitalar Do Porto, Porto, Portugal; Unidade Multidisciplinar de Investigao Biomédica, Porto, Portugal; Escola Superior de Msica e das Artes Do Espectáculo Do Porto, Portugal; Department of Psychology, University of Iowa, Iowa City, IA, United States","Cavaco S., Division of Behavioral Neurology and Cognitive Neuroscience, University of Iowa, Iowa City, IA, United States, Laboratory of Neurobiology of Human Behavior, Centro Hospitalar Do Porto, Porto, Portugal, Unidade Multidisciplinar de Investigao Biomédica, Porto, Portugal; Feinstein J.S., Division of Behavioral Neurology and Cognitive Neuroscience, University of Iowa, Iowa City, IA, United States, Department of Psychology, University of Iowa, Iowa City, IA, United States; Van Twillert H., Escola Superior de Msica e das Artes Do Espectáculo Do Porto, Portugal; Tranel D., Division of Behavioral Neurology and Cognitive Neuroscience, University of Iowa, Iowa City, IA, United States, Department of Psychology, University of Iowa, Iowa City, IA, United States","The ability to play a musical instrument represents a unique procedural skill that can be remarkably resilient to disruptions in declarative memory. For example, musicians with severe anterograde amnesia have demonstrated preserved ability to play musical instruments. However, the question of whether amnesic musicians can learn how to play new musical material despite severe memory impairment has not been thoroughly investigated. We capitalized on a rare opportunity to address this question. Patient S.Z., an amateur musician (tenor saxophone), has extensive bilateral damage to his medial temporal lobes following herpes simplex encephalitis, resulting in a severe anterograde amnesia. We tested S.Z.'s capacity to learn new unfamiliar songs by sight-reading following three months of biweekly practices. Performances were recorded and were then evaluated by a professional saxophonist. S.Z. demonstrated significant improvement in his ability to read and play new music, despite his inability to recognize any of the songs at a declarative level. The results suggest that it is possible to learn certain aspects of new music without the assistance of declarative memory. © 2012 Copyright Taylor and Francis Group, LLC.","Amnesia; Emotion; Memory; Music; Skill learning","Amnesia, Anterograde; Humans; Learning; Male; Middle Aged; Music; Neuropsychological Tests; Psychomotor Performance; Time Factors; anterograde amnesia; article; case report; human; learning; male; middle aged; music; neuropsychological test; pathophysiology; physiology; psychomotor performance; time","","","","","Kiwanis Foundation; National Institutes of Health, NIH; National Institute of Neurological Disorders and Stroke, NINDS, (P50NS019632)","Sara Cavaco and Justin S. Feinstein contributed equally. We are greatly indebted to S.Z. and his family for their unwavering support and continued commitment to brain research. We also would like to thank S.Z.’s caregivers and his orchestra for allowing us to observe. Nicolau Pinto Coelho, Mikiko Kanemitsu, Gilberto Bernardes, and Fernando Ramos provided important musical expertise, Kenneth Manzel contributed with the neuropsychological evaluation, and Steven W. Anderson provided invaluable comments on earlier versions of this manuscript. This research was supported by NIH P50 NS19632 and the Kiwanis Foundation.","Anderson S.W., Rizzo M., Skaar N., Stierman L., Cavaco S., Dawson J., Et al., Amnesia and driving, Journal of Clinical and Experimental Neuropsychology, 29, pp. 1-12, (2007); Baddeley A., Wilson B.A., When implicit learning fails: Amnesia and the problem of error elimination, Neuropsychologia, 32, pp. 53-68, (1994); Baird A., Samson S., Memory for music in Alzheimer's disease: Unforgettable?, Neuropsychological Review, 19, pp. 85-101, (2009); Baur B., Uttner I., Ilmberger J., Fesl G., Mai N., Music memory provides access to verbal knowledge in a patient with global amnesia, Neurocase, 6, pp. 415-421, (2000); Beatty W.W., Brumback R.A., Vonsattel J.P., Autopsy-proven Alzheimer disease in a patient with dementia who retained musical skill in life, Archives of Neurology, 54, (1997); Beatty W.W., Rogers C.L., Rogers R.L., English S., Testa J.A., Orbelo D.M., Ross D.E., Piano playing in Alzheimer's disease: Longitudinal study of a single case, Neurocase, 5, pp. 459-469, (1999); Beatty W.W., Winn P., Adams R.L., Allen E.W., Wilson D.A., Prince J.R., Et al., Preserved cognitive skills in dementia of the Alzheimer type, Archives of Neurology, 51, pp. 1040-1046, (1994); Beatty W.W., Zavadil K.D., Bailly R.C., Rixen G.J., Zavadil L.E., Farnham N., Et al., Preserved musical skill in a severely demented patient, International Journal of Clinical Neuropsychology, 10, pp. 158-164, (1988); Cavaco S., Anderson S.W., Allen J.S., Castro- Caldas A., Damasio H., The scope of preserved procedural memory in amnesia, Brain, 127, pp. 1853-1867, (2004); Cavaco S., Anderson S.W., Correia M., Magalhaes M., Pereira C., Tuna A., Damasio H., Task-specific contribution of the human striatum to perceptual-motor skill learning, Journal of Clinical and Experimental Neuropsychology, 33, pp. 51-62, (2011); Cohen N.J., Poldrack R.A., Eichenbaum H., Memory for items and memory for relations in the procedural/declarative memory framework, Memory, 5, pp. 131-178, (1997); Cohen N.J., Squire L.R., Preserved learning and retention of pattern analyzing skill in amnesia: Dissociation of knowing how and knowing that, Science, 210, pp. 207-209, (1980); Cowles A., Beatty W.W., Nixon S.J., Lutz L.J., Paulk J., Paulk K., Ross E.D., Musical skill in dementia: A violinist presumed to have Alzheimer's disease learns to play a new song, Neurocase, 9, pp. 493-503, (2003); Crystal H., Grober E., Masur D., Preservation of musical memory in Alzheimer's disease, Journal of Neurology, Neurosurgery, and Psychiatry, 52, pp. 1415-1416, (1989); Fornazzari L., Castle T., Nadkarni S., Ambrose M., Miranda D., Apanasiewicz N., Phillips F., Preservation of episodic musical memory in a pianist with Alzheimer disease, Neurology, 66, pp. 610-611, (2006); Furneaux S., Land M.F., The effects of skill on the eye-hand span during musical sight-reading, Proceedings of the Royal Society of London. 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Physiologie de hippocampe, Colloques Internationaux, 107, pp. 257-272, (1962); Parsons L.M., Sergent J., Hodges D.A., Fox P.T., The brain basis of piano performance, Neuropsychologia, 43, pp. 199-215, (2005); Sacks O., Musicophilia: Tales of Music and the Brain, (2008); Biography Henk Van Twillert, (2012); Schacter D.L., Amnesia observed: Remembering and forgetting in a natural environment, Journal of Abnormal Psychology, 92, pp. 236-242, (1983); Sergent J., Zuck E., Terriah S., MacDonald B., Distributed neural network underlying musical sight-reading and keyboard performance, Science, 257, pp. 106-109, (1992); Squire L.R., Memory systems of the brain: A brief and current perspective, Neurobiology of Learning and Memory, 82, pp. 171-177, (2004); Stewart L., Henson R., Kampe K., Walsh V., Turner R., Frith U., Brain changes after learning to read and play music, NeuroImage, 20, pp. 71-83, (2003); Tranel D., The Iowa-Benton school of neuropsychological assessment, Neuropsychological Assessment of Neuropsychiatric Disorders, pp. 66-83, (2009); Tranel D., Damasio A.R., Damasio H., Brandt J.P., Sensorimotor skill learning in amnesia: Additional evidence for the neural basis of nondeclarative memory, Learning and Memory, 1, pp. 165-179, (1994); Wilson B.A., Baddeley A.D., Kapur N., Dense amnesia in a professional musician following herpes simplex virus encephalitis, Journal of Clinical and Experimental Neuropsychology, 17, pp. 668-681, (1995)","S. Cavaco; Centro Hospitalar Do Porto, Serviço de Neurologia, 4099-001 Porto, Largo Prof. Abel Salazar, Portugal; email: sara-cavaco@uiowa.edu","","","","","","","","1744411X","","JCENE","23036073","English","J. Clin. Exp. Neuropsychol.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-84870691272"
"Van Der Schyff D.","Van Der Schyff, Dylan (55308042600)","55308042600","Music as a manifestation of life: Exploring enactivism and the 'eastern perspective' for music education","2015","Frontiers in Psychology","6","MAR","345","","","","36","10.3389/fpsyg.2015.00345","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84926622025&doi=10.3389%2ffpsyg.2015.00345&partnerID=40&md5=73df494cc7bf9aac5bd81d10253a38a8","Faculty of Education, Simon Fraser University, Burnaby, BC, Canada","Van Der Schyff D., Faculty of Education, Simon Fraser University, Burnaby, BC, Canada","The enactive approach to cognition is developed in the context of music and music education. I discuss how this embodied point of view affords a relational and bio-cultural perspective on music that decentres the Western focus on language, symbol and representation as the fundamental arbiters of meaning. I then explore how this 'life-based' approach to cognition and meaning-making offers a welcome alternative to standard Western academic approaches to music education. More specifically, I consider how the enactive perspective may aid in developing deeper ecological understandings of the transformative, extended and interpenetrative nature of the embodied musical mind; and thus help (re)connect students and teachers to the lived experience of their own learning and teaching. Following this, I examine related concepts associated with Buddhist psychology in order to develop possibilities for a contemplative music pedagogy. To conclude, I consider how an enactive-contemplative perspective may help students and teachers awaken to the possibilities of music education as 'ontological education.' That is, through a deeper understanding of 'music as a manifestation of life' rediscover their primordial nature as autopoietic and world-making creatures and thus engage more deeply with musicality as a means of forming richer and more compassionate relationships with their peers, their communities and the 'natural' and cultural worlds they inhabit. © 2015 van der Schyff.","Buddhist psychology; Embodied music cognition; Enaction; Holistic music education; Life philosophy; Music and culture; Music and language; Music perception","","","","","","","","Adorno T., Negative Dialectics., (1973); Adorno T., Horkheimer M., Dialectic of Enlightenment., (2002); Bai H., Zen and the art of intrinsic perception: a case of haiku, Can. Rev. Art Edu., 28, pp. 1-24, (2001); Bai H., Learning from Zen arts: a lesson in intrinsic valuation, J. Can. Associ. Curricu. Stud., 1, pp. 1-14, (2003); Bai H., Peace with the earth: animism and contemplative ways, Cult. Stud. Sci. 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Toward a New Paradigm for Cognitive Science, pp. 1-31, (2010); Stewart J., Gapenne O., Di Paolo E.A., Enaction: Toward a New Paradigm for Cognitive Science., (2010); Streek J., Speech acts in interaction: a critique of searle, Discourse Process., 3, pp. 133-153, (1980); Sudnow D., Ways of the Hand: the Organization of Improvised Conduct., (1978); Sutton J., Distributed cognition: domains and dimensions, Pragmatics Cogn., 14, pp. 235-247, (2006); Suzuki D.T., Essays in Zen Buddhism: Third Series., (1970); Tachikawa M., An Introduction to the Hilosophy of Nagarjuna., (1997); Thompson E., Mind in Life: Biology, Phenomenology and the Sciences of Mind., (2007); Thomson I., Heidegger on ontological education, or: how we become what we are, Inquiry, 44, pp. 243-268, (2001); Tomasello M., The Cultural Origins of Human Cognition., (1999); Tomasello M., Origins of Human Communication., (2008); Trehub S.E., Nakata T., Emotion and Music in Infancy, Musicae Sci., 5, pp. 37-61, (2001); Trevarthen C., Origins of musical identity: Evidence from infancy for musical social awareness,, Musical Identities, pp. 21-38, (2002); Van Der Schyff D.B., Music, culture and the evolution of the human mind: looking beyond dichotomies., Hell. J. Music Edu. Cult., 4, (2013); Van Der Schyff D.B., Emotion, embodied mind and the therapeutic aspects of musical experience in everyday life, Approaches Music Ther. Spec. Music Edu., 5, pp. 50-58, (2013); Varela J., Principles of Biological Autonomy., (1979); Varela F., Thompson E., Rosch E., The Embodied Mind: Cognitive Science and Human Experience., (1993); Von Uexkull J., Theoretische Biologie., (1973); Wallin N.L., Merker B., Brown S., The Origins of Music., (2000); Willis P., Profane Culture., (1978)","","","Frontiers Research Foundation","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-84926622025"
"Gerber C.L.","Gerber, Casey L. (57214219363)","57214219363","The Rhythm Forms of Philip Cady Hayden","2016","Journal of Historical Research in Music Education","38","1","","45","71","26","0","10.1177/1536600616662572","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85136292466&doi=10.1177%2f1536600616662572&partnerID=40&md5=2c2fea44b8bb92477c258c0e549b1667","University of Oklahoma, Norman, OK, United States","Gerber C.L., University of Oklahoma, Norman, OK, United States","The purpose of the study was to examine the teaching methods of Philip C. Hayden (1854–1925), an influential music educator during the early part of the twentieth century. Hayden is known for organizing the April 1907 meeting of music supervisors in Keokuk, Iowa, to demonstrate his teaching method that resulted in the formation of the Music Supervisors National Conference. He based his teaching on the premise that students should be educated in ear training before they are exposed to eye training. For this reason, he proposed teaching melodic concepts through the use of rhythm forms. The rhythm forms were based on frequently occurring tonal patterns paired with rudimentary rhythms. The seven rhythm forms employed by Hayden were presented in a sequential manner and advanced from easier to more difficult as the students progressed through the grades. One fundamental idea in the study of the rhythm forms was the use of the beat as a unit. This differed from previously established methods that did not group rhythms into patterns as related to the beat. The tonal patterns paired with rhythm forms were taught through imitation, dictation, and improvisation. Only after the students had abundant experience with a specified rhythm form, using imitation, dictation, and creation, were they allowed to read them in printed music. Through the use of the rhythm forms, Hayden believed that, by the eighth grade, all students should develop understanding of all musical elements through reading and dictation. © The Author(s) 2016 Reprints and permissions: sagepub.com/journalsPermissions.nav.","curriculum; elementary; instructional methods; music education history; music literacy; music reading; twentieth century","","","","","","","","","C.L. Gerber; University of Oklahoma, Norman, 73019, United States; email: casey.gerber@ou.edu","","SAGE Publications Ltd","","","","","","15366006","","","","English","J. Hist. Res.  Music Educ.","Article","Final","","Scopus","2-s2.0-85136292466"
"Lasauskiene J.","Lasauskiene, Jolanta (55601708800)","55601708800","Competencies of music teacher in the European qualification Framework; [Muzikos mokytojo kompetencijos Europos kvalifikacijų sandaroje]","2011","Pedagogika","102","","","116","123","7","2","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84874072834&partnerID=40&md5=796589c896b6f89e9aa8d01405c9db7c","Vilniaus pedagoginio universiteto, Muzikos katedra, Lithuania","Lasauskiene J., Vilniaus pedagoginio universiteto, Muzikos katedra, Lithuania","Discussing the structure of teacher's competencies, A Framework for Qualifications of the European Higher Education Area (EQF) singles out cognitive, functional, personal and ethic competencies. The basis of teacher's competencies in Lithuania consists of common cultural, professional, general and specific (subject) competencies. The Framework of European Qualifications links competence with individual's responsibility and autonomy and embrace a wider combination of competencies. Referring to music teacher training at university, there is no common document (standard of training music teachers of the 6th level qualification), which could provide for the knowledge, skills and abilities that have to be acquired to ensure successful activity of music teachers in general education schools. Defining the research problem it should be emphasised that while integrating into the structures of European Higher Education Area, music teachers should acquire such competencies that reflect common European principles for teacher competencies (Common European Principles for Teacher Competences and Qualifications, 2005). The analysis of higher education and professional activity interaction and methodology of competency research is of high importance and it aims to define spheres of music teacher activity and components of competency (study outcome). All this requires the necessity to address general requirements that are provided in the descriptor of competencies for a teacher of music. The Descriptor of Competencies for a Teacher of Music should enable future music teachers to better (self-) evaluate their possibilities to work as music teachers in general education schools. This Descriptor could serve as a general document establishing common goals of music pedagogy studies and consistently improving the content of music teacher training. The aim of the research was to reveal the content of music teacher's competencies and to design the descriptor of competencies for a teacher of music. Research methods: analysis of scientific sources, document analysis, modelling, comparison analysis, expert method.","Competency; Field of activity; Music teacher; Qualification; Study outcome","","","","","","","","A Framework For Qualifications For the European Higher Education Area, (2005); Aiškinamasis Kvalifikaciju{ogonek} Sistemos Terminu{ogonek} Žodynas, (2008); Barkauskaite M., Martisauskiene E., Cesnaviciene J., Edukologiniai tyrimai ir dabarties iššūkiu{ogonek} kaita, Profesinis Rengimas: Tyrimai Ir Realijos, 11, pp. 10-17, (2006); Bitinas B., Edukologinis Tyrimas: Sistema Ir Procesas, (2006); Common European Principles For Teacher Competences and Qualifications, (2005); Dublin Descriptors For Short Cycle, First Cycle, Second Cycle and Third Cycle Awards, (2004); Europos Sa{ogonek}jungos politika kuriant vieninga{ogonek} kvalifikaciju{ogonek} sistema{ogonek}, Kvalifikaciju{ogonek} Sistemu{ogonek} Kūrimo Metodologija Ir Patirtis, pp. 128-134; Lasauskiene J., Muzikos Mokytojo Veikla Ir Kompetencijos, (2010); Lauzackas R., Gedviliene G., Tutlys V., Juozaitiene D., Mokytoju{ogonek} kvalifikacijos tobulinimo poreikiai, Pedagogika, 89, pp. 29-44, (2008); Lauzackas R., Profesinio Rengimo Metodologija, (2005); Martisauskiene E., Pedagogo kompetenciju{ogonek} samprata ir modeliai, Pedagogo Kompetencijos, pp. 61-79, (2008); Mokymosi Visa{ogonek} G Yvenima{ogonek} Europos Kvalifikaciju{ogonek} Sandara, (2009); Mokytojo Profesijos Kompetencijos Aprašas, (2007); Pagrindinės Mokyklos Muzikos Mokytojo Rengimo Standartas; Projektas Nacionalinės kvalifikaciju{ogonek} sistemos sukūrimas, Lietuvos Nacionalinės Kvalifikaciju{ogonek} Sistemos Metmenys, (2007); Ability P.K., Competency, Learning/Study Outcome, Qualification and Competence: Theoretical Dimension, The Quality of Higher Education, 6, pp. 12-35, (2009); Realising the European Higher Education Area: Communiqué of the Conference of Ministers Responsible For Higher Education; Spudyte I., Vengris S., Misiunas M., Aukštojo mokslo kvalifikacijos nacionalinėje kvalifikaciju{ogonek} sa{ogonek}rangoje, Profesinis Rengimas: Tyrimai Ir Realijos, 12, pp. 22-35, (2006); Standarts For the Award of Qualified Teacher Status, (2005); The European Higher Education Area - Achieving the Goals, (2005); Tumeniene V., Janiunaite B., Pedagogo novacinės veiklos sampratos erdvė ir struktūra: Teoriniai aspektai, Socialiniai Mokslai, 1, 33, pp. 62-76, (2002)","","","Vytautas Magnus University","","","","","","13920340","","","","English","Pedagogika","Article","Final","","Scopus","2-s2.0-84874072834"
"Floyd E.G.; Haning M.A.","Floyd, Eva G (56818782500); Haning, Marshall A (56819118700)","56818782500; 56819118700","Sight-Singing Pedagogy: A Content Analysis of Choral Methods Textbooks","2015","Journal of Music Teacher Education","25","1","","11","22","11","9","10.1177/1057083714539767","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84940851864&doi=10.1177%2f1057083714539767&partnerID=40&md5=b55af8073e25a6917f9a3461396047c2","University of Cincinnati College-Conservatory of Music, Cincinnati, OH, United States; Case Western Reserve University, Cleveland, OH, United States","Floyd E.G., University of Cincinnati College-Conservatory of Music, Cincinnati, OH, United States; Haning M.A., Case Western Reserve University, Cleveland, OH, United States","The purpose of this study was to examine the sight-singing pedagogy content of choral methods textbooks, with the intent of determining what elements of sight-singing pedagogy are most commonly included in these resources. A content analysis was conducted to analyze information related to sight-singing pedagogy in 10 textbooks that are commonly used in undergraduate choral methods courses. Results of this content analysis indicated that although most choral methods textbooks contain some information about teaching sight-singing and music literacy skills, this information is often quite limited and does not include reference to helping students internally organize sound. In addition, information about concepts such as assessment and curriculum planning for sight-singing skills is included in only a small percentage of popular textbooks. Evaluation of these findings can help to illuminate the ways in which textbooks communicate the priorities and core values of a particular field of study, such as choral music education. © 2014, National Association for Music Education 2014.","choral methods; content analysis; pedagogy; sight-singing; textbooks","","","","","","","","Abrahams F., Examining the preservice practicum experience of undergraduate music education majors—exploring connections and dispositions through multiple perspectives: A critical grounded theory, Journal of Music Teacher Education, 19, 1, pp. 80-104, (2009); Asmus E., Music teaching and music literacy, Journal of Music Teacher Education, 13, 2, pp. 6-8, (2004); Branscome E., A historical analysis of textbook development in American music: Education and the impetus for the National Standards for Music Education, Arts Education Policy Review, 107, 2, pp. 13-19, (2005); Cleveland S., Developing inner hearing through the 12 skills areas, Kodaly Envoy, 33, 3, (2007); Collins C., Instrumental music education methods classes: Tools for our future, Triad, 74, 4, pp. 84-87, (2007); Demorest S., Building choral excellence, (2001); Dobszay L., The Kodály method and its musical basis, Studia Musicologica Academiae Scientiarum Hungaricae, 14, 1-4, pp. 15-33, (1972); Floyd E., Bradley K., Teaching strategies related to successful sight-singing in Kentucky choral ensembles, Update: Applications of Research in Music Education, 25, 1, pp. 70-81, (2006); Gordon E.E., Tonal syllables: A comparison of purposes and systems, Readings in music learning theory, pp. 66-71, (1989); Hamann D., Ebie B., Students’ perceptions of university method class preparation for teaching across music disciplines, Update: Applications of Research in Music Education, 27, 2, pp. 44-51, (2009); Hassan N.R., Becker J.D., Uncovering conceptual gaps in introductory IS textbooks, Journal of Informational Systems Education, 18, 2, pp. 169-182, (2007); Jones S.K., A quantitative content analysis of in-text citations in choral pedagogy books published between 1989-2009, International Journal of Research in Choral Singing, 4, 2, pp. 77-104, (2013); Kodaly Z., Who is a good musician?, The selected writing of Zoltán Kodály, pp. 185-200, (1974); Kuehne J., Sight-singing: Ten years of published research, Update: Applications of Research in Music Education, 29, 1, pp. 7-14, (2010); Martin D.W., Do you auralize?, Journal of the Acoustical Society of America, 24, 4, (1952); Mason E., Multicultural music represented in current elementary music textbooks: A comparative study of two published music series, Update: Applications of Research in Music Education, 28, 2, pp. 29-41, (2010); Myers G.C., Sight-singing instruction in the undergraduate choral ensembles of colleges and universities in the southern division of the American Choral Directors Association: Teacher preparation, pedagogical practices and assessed results, (2008); Nelson S., Creativity in U.S. music textbook series: 1912-1953, Journal of Historical Research in Music Education, 25, 2, pp. 128-141, (2004); Phillips K.H., Sight singing: Where have we been? Where are we going?, Choral Journal, 24, pp. 11-17, (1984); Propst T., The relationship between the undergraduate music methods class curriculum and the use of music in the classrooms of in-service elementary teachers, Journal of Research in Music Education, 51, 4, pp. 316-329, (2003); Rohwer D., Rohwer M., A content analysis of choral students’ participation perceptions: Implications for lifelong learning, International Journal of Community Music, 2, 2-3, pp. 255-262, (2009); Smith S.A., Sight singing in the high school choral rehearsal: Pedagogical practices, teacher attitudes and university preparation, (1998); Spurgeon D., Vocal pedagogy skills for the undergraduate choral conductor, Journal of Music Teacher Education, 13, 2, pp. 28-33, (2004); Tacka P., Houlahan M., Sound thinking, Vols. 1–2, (1995)","E.G. Floyd; Department of Music Education, University of Cincinnati College-Conservatory of Music, Cincinnati, 290 CCM Boulevard, Mary Emery Hall, 45221-0003, United States; email: eva.floyd@uc.edu","","SAGE Publications Inc.","","","","","","10570837","","","","English","J. Music Teach. Educ.","Article","Final","","Scopus","2-s2.0-84940851864"
"Shiobara M.","Shiobara, Mari (35997855600)","35997855600","Transferring community music into the classroom: Some issues concerning the pedagogy of Japanese traditional music","2011","International Journal of Community Music","4","1","","29","37","8","5","10.1386/ijcm.4.1.29_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84867306802&doi=10.1386%2fijcm.4.1.29_1&partnerID=40&md5=d43f94c6fbebd1c06d6079c0a23d079c","Kunitachi College of Music, Tokyo, Japan","Shiobara M., Kunitachi College of Music, Tokyo, Japan","Based on my personal experiences of learning nagauta as a case study, this article examines the process of learning traditional Japanese music. It raises attention to potential pedagogical issues when traditional music is introduced into school music classrooms, as was suggested in the 2008 Japanese Course of Study for Music. From my observation four points became clear: (1) traditional one-to-one and face-to-face teaching and learning situations are unfamiliar to school music teaching; (2) the historical and cultural background of this particular music may cause some obstacles to the students’ learning; (3) music teachers are not familiar with this genre and it is difficult to learn it in a short time because there are no written scores to rely on but for using them to remember what has been learned; and (4) its performance is based on individual presentation supported by a community of musicians of the same school joining in. With these issues in mind, the article concludes by presenting possible strategies on how and in what ways can the traditional Japanese music of nagauta be taught in the music classroom, by calling upon professional musicians from within the community. © Intellect Ltd 2011. Article. English language.","education; Japan; music pedagogy; secondary music; traditional music","","","","","","","","Hatanaka R., Obara K., Iinuma N., Urata K., Kurosawa Y., Ishigeta F., Kaga K., Chugakusei no Ongaku 2 · 3 Jo/Music for Secondary School Students: 2 and 3 Graders, (2010); Hughes D., Traditional Folk Song in Modern Japan, (2008); Malm W. P., Traditional Japanese Music and Musical Instruments, (2000); Miyoshi A., Ongaku no Okurimono: Chugaku Kigaku/Musical Gifts: Instrumental Music for Secondary Schools, (2010); Miyoshi A., Ongaku no Okurimono: Chugaku Ongaku 2 · 3 Ge/Musical Gifts: Secondary School Music for 2 and 3 Graders (2), (2010); The Course of Study for Lower Secondary Schools, (1998); The Course of Study for Lower Secondary Schools, (2008); Urata K., Obara K., Iinuma N., Kurosawa Y., Ishigeta F., Yoshizawa M., Chugakusei no Kigaku/Instrumental Music for Secondary School Students, (2010)","M. Shiobara; Kunitachi College of Music, Tokyo, Japan; email: shiobara.mari@kunitachi.ac.jp","","Intellect Ltd.","","","","","","17526299","","","","English","Int. J. Community Music","Article","Final","","Scopus","2-s2.0-84867306802"
"Mantie R.","Mantie, Roger (55354607300)","55354607300","A comparison of ""popular music pedagogy"" discourses","2013","Journal of Research in Music Education","61","3","","334","352","18","64","10.1177/0022429413497235","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84884625550&doi=10.1177%2f0022429413497235&partnerID=40&md5=d2357236cbf7c539f64f29b74808cb34","Music Education Department, School of Music, Boston University, Boston, MA 02215, 855 Commonwealth Ave., United States","Mantie R., Music Education Department, School of Music, Boston University, Boston, MA 02215, 855 Commonwealth Ave., United States","The purpose of this study was to interrogate discourses of ""popular music pedagogy"" in order to better understand music education practices generally and specifically those in the United States. Employing a conceptual framework based on the work of Jan Blommaert (2005), a content analysis was conducted on a sample of 81 articles related to popular music and music education according to the variables of journal and nationality. Results suggest that international differences in discourse existed. American-based authors focused on issues of legitimacy and quality (repertoire and teaching), whereas non-American-based authors focused on matters of utility and efficacy, with an emphasis on the quality of learning and pedagogical relationship. The lack of awareness (national and international) of discourse features and functions may be limiting the effectiveness of both communication and practice. © National Association for Music Education 2013.","Content analysis; Curriculum; Discourse; Instruction; Pedagogy; Popular music; Sociolinguistics","","","","","","","","Allsup R., Mutual learning and democratic action in instrumental music education, Journal of Research in Music Education, 51, pp. 24-37, (2003); Blommaert J., Discourse: A Critical Introduction, (2005); Bourdieu P., Distinction: A Social Critique of the Judgement of Taste, (1984); Campbell P.S., Groove Around the Globe: Folk Song, Pop Song, and World Music Pedagogy, (2011); Campbell P.S., Connell C., Beegle A., Adolescents' expressed meanings of music in and out of school, Journal of Research in Music Education, 55, pp. 220-236, (2007); Music Educators National Conference; Cutietta R., Popular music: An ongoing challenge, Music Educators Journal, 77, 8, pp. 26-29, (1991); Davis S., That Thing You Do!"" Compositional processes of a rock band, International Journal of Education and the Arts, 6, 16, (2005); Dunbar-Hall P., Wemyss K., The effects of the study of popular music on music education, International Journal of Music Education, 36, pp. 23-34, (2000); Evelein F., Pop and world music in Dutch music education: Two cases of authentic learning in music teacher education and secondary music education, International Journal of Music Education, 24, pp. 178-187, (2006); Fairclough N., Language and Globalization, (2006); Folkestad G., Here, there and everywhere: Music education research in a globalised world, Music Education Research, 7, pp. 279-287, (2005); Foucault M., The Archaeology of Knowledge, (1972); Foucault M., The Foucault Reader, pp. 101-120, (1984); Foucault M., The History of Sexuality: An Introduction, (1990); Foucault M., Discipline and Punish: The Birth of the Prison, (1995); Freire P., Pedagogy of the Oppressed, (2000); Fung C.V., Field-generated research agenda in music education: A qualitative study of music supervisors and music teachers, Bulletin of the Council for Research in Music Education, 180, pp. 75-86, (2009); Gass G., Present Tense: Rock and Roll and Culture, pp. 93-100, (1992); Georgii-Hemming E., Westvall M., Music education-A personal matter? Examining the current discourses of music education in Sweden, British Journal of Music Education, 27, pp. 21-33, (2010); Graham R., The function of music education in the growth of cultural openness in the USA, Music Education Research, 11, pp. 283-302, (2009); Green L., How Popular Musicians Learn: A Way Ahead for Music Education, (2001); Green L., Popular music education in and for itself, and for ""other"" music: Current research in the classroom, International Journal of Music Education, 24, pp. 101-118, (2006); Green L., Group cooperation, inclusion and disaffected pupils: Some responses to informal learning in the music classroom, Music Education Research, 10, pp. 177-192, (2008); Green L., Music, Informal Learning and the School: A New Classroom Pedagogy, (2008); Green L., Response, British Journal of Music Education, 27, pp. 89-93, (2010); Hamann D.L., Lucas K.V., Establishing journal eminence in music education research, Journal of Research in Music Education, 46, pp. 405-413, (1998); Hannan M., Contemporary music student expectations of musicianship training needs, International Journal of Music Education, 24, pp. 148-158, (2006); Hebert D.G., Campbell P.S., Rock music in American schools: Positions and practices since the 1960s, International Journal of Music Education, 36, pp. 14-22, (2000); Isbell D., Popular music and the public school music curriculum, Update: Applications of Research in Music Education, 26, 1, pp. 53-63, (2007); Jaffurs S., Developing musicality formal and informal practices, Action, Criticism, and Theory for Music Education, 3, 3, (2004); Jaffurs S., The impact of informal music learning practices in the classroom, or how i learned how to teach from a garage band, International Journal of Music Education, 22, pp. 189-200, (2004); Jones P., Preparing music teachers for change: Broadening instrument class offerings to foster lifewide and lifelong musicing, Visions of Research in Music Education, 12, pp. 1-15, (2008); Jorgensen E., The aims of music education: A preliminary excursion, Journal of Aesthetic Education, 36, 1, pp. 31-49, (2002); Jorgensen E., Western classical music and general education, Philosophy of Music Education Review, 11, pp. 130-140, (2003); Krikun A., Mixing Memphis soul into the community college curriculum stew, Journal of Popular Music Studies, 21, pp. 76-89, (2009); Krippendorff K., Content Analysis: An Introduction to Its Methodology, (1980); Krippendorff K., Bock M.A., The Content Analysis Reader, (2009); Lamont A., Hargreaves D.J., Marshall N.A., Tarrant M., Young people's music in and out of school, British Journal of Music Education, 20, pp. 229-241, (2003); Lebler D., Student-as-master? Reflections on a learning innovation in popular music pedagogy, International Journal of Music Education, 25, pp. 205-221, (2007); Lebler D., Burt-Perkins R., Carey G., What the students bring: Examining the attributes of commencing conservatoire students, International Journal of Music Education, 27, pp. 232-249, (2009); Lindgren M., Ericsson C., The rock band context as discursive governance in music education in Swedish schools, Action, Criticism, and Theory for Music Education, 9, 3, pp. 35-54, (2010); Martin J., Corpus-based Approaches to Metaphor and Metonymy, pp. 214-236, (2006); McCarthy C., Sound Identities: Popular Music and the Cultural Politics of Education, (1999); Newsom D., Rock's quarrel with tradition: Popular music's carnival comes to the classroom, Popular Music and Society, 22, 3, pp. 1-20, (1998); O'Flynn J., Vernacular music-making and education, International Journal of Music Education, 24, pp. 140-147, (2006); Odam G., Bridging the Gap: Popular Music and Music Education, pp. 127-140, (2004); Pitts S., International Handbook of Research in Arts Education, pp. 759-772, (2007); Rodriguez C.X., Bridging the Gap: Popular Music and Music Education, (2004); Rogers R., An Introduction to Critical Discourse Analysis in Education, (2004); Seifried S., Exploring the outcomes of rock and popular music instruction in high school guitar class: A case study, International Journal of Music Education, 24, pp. 168-177, (2006); Sims W.L., Jeffs K.C., Barrow L.H., Help wanted: Music education positions in higher education, 2007-2008, Journal of Music Teacher Education, 20, 1, pp. 66-76, (2010); Taylor S., Discourse As Data: A Guide for Analysis, pp. 5-48, (2001); Teachout D.J., McKoy C.L., The effect of teacher role development training on undergraduate music education majors: A preliminary study, Journal of Music Teacher Education, 20, 1, pp. 88-104, (2010); The Guide to Teaching with Popular Music, (2002); Van Dijk T.A., Handbook of Discourse Analysis, (1985); Vulliamy G., Explorations in the Politics of School Knowledge, pp. 19-34, (1976); Vulliamy G., Lee E., Pop, Rock and Ethnic Music in School, (1982); Walker R., Music Education: Cultural Values, Social Change and Innovation, (2007); Wang J.C., Humphreys J.T., Multicultural and popular music content in an American music teacher education program, International Journal of Music Education, 27, pp. 19-36, (2009); Wemyss K., Bridging the Gap: Popular Music and Music Education, pp. 141-157, (2004); Westerlund H., Garage rock bands: A future model for developing musical expertise?, International Journal of Music Education, 24, pp. 119-125, (2006); White A.M., The Role of Formal Music Education on Children's Growth in Informal Music Production, (2002); Winter N., The learning of popular music: A pedagogical model for music educators, International Journal of Music Education, 22, pp. 237-247, (2004); Woody R.H., Lehmann A.C., Student musicians' ear-playing ability as a function of vernacular music experiences, Journal of Research in Music Education, 58, pp. 101-115, (2010); Wright R., Kicking the habitus: Power, culture and pedagogy in the secondary school music curriculum, Music Education Research, 10, pp. 389-402, (2008)","R. Mantie; Music Education Department, School of Music, Boston University, Boston, MA 02215, 855 Commonwealth Ave., United States; email: rmantie@bu.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84884625550"
"Lu C.-I.; Greenwald M.","Lu, Ching-I (57189038329); Greenwald, Margaret (35452307400)","57189038329; 35452307400","Reading and working memory in adults with or without formal musical training: Musical and lexical tone","2016","Psychology of Music","44","3","","369","387","18","5","10.1177/0305735614568881","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84964800517&doi=10.1177%2f0305735614568881&partnerID=40&md5=d4eb6550a4e652c57309eec770a85fe5","Department of Communication Sciences and Disorders, Wayne State University, 207 Rackham Bldg, 60 Farnsworth Street, Detroit, 48202, MI, United States","Lu C.-I., Department of Communication Sciences and Disorders, Wayne State University, 207 Rackham Bldg, 60 Farnsworth Street, Detroit, 48202, MI, United States; Greenwald M., Department of Communication Sciences and Disorders, Wayne State University, 207 Rackham Bldg, 60 Farnsworth Street, Detroit, 48202, MI, United States","Studies of working memory for musical tone are seldom reported, and verbal working memory experiments have not focused on the tonal aspects of a language such as Mandarin Chinese. We examined the relationships among musical experience, tonal language processing, and working memory in adult reading of musical notation and Mandarin Chinese. We hypothesized that 30 adults with formal musical training trained in translating print to sound in sight-reading would have an advantage over 30 adults without formal musical training in converting print to lexical tone in reading a tonal language. Using n-back reading tasks, we found that the adults with formal musical training were better able to extract lexical tone information from print than the adults without formal musical training, or to maintain it in working memory. Even in a Mandarin homophone task, requiring phonological judgments of print, adults with formal musical training demonstrated superior performance. We discuss possible reasons why musical experience facilitates processing of phonology and lexical tone in reading tasks. © The Author(s) 2015.","lexical tone; musical notation; n -back paradigm; reading; sight-reading; working memory","","","","","","","","Baddeley A.D., Working memory: Looking back and looking forward, Nature Reviews Neuroscience, 4, 10, pp. 829-839, (2003); Baddeley A.D., Hitch G.J., Bower G.A., Working memory, Recent Advances in Learning and Motivation, 8, pp. 47-90, (1974); Beneventi H., Tonnessen F.E., Ersland L., Hugdahl K., Executive working memory processes in dysleixa: Behavioral and fMRI evidence, Scandinavian Journal of Psychology, 51, pp. 192-202, (2010); Berz W.L., Working memory in music: A theoretical model, Music Perception, 12, 3, pp. 353-364, (1995); Bialystok E., DePape A.M., Musical expertise, bilingualism, and executive functioning, Journal of Experimental Psychology: Human Perception and Performance, 35, 2, pp. 565-574, (2009); Bugos J.A., Perlstein W.M., McCrae C.S., Brophy T.S., Bedenbaugh P.H., Individualized piano instruction enhances executive functioning and working memory in older adults, Aging & Mental Health, 11, 4, pp. 464-471, (2007); Chase W.G., Simon H.A., Chase W.G., The mind's eye in chess, Visual Information Processing, pp. 215-281, (1973); Corrigall K.A., Schellenberg E.G., Misura N.M., Music training, cognition, and personality, Frontiers in Psychology, 4, pp. 222-231, (2013); Dege F., Kubicek C., Schwarzer G., Music lessons and intelligence: A relation mediated by executive functions, Music Perception, 29, 2, pp. 195-201, (2011); Delogu F., Lampis G., Belardinelli M.O., From melody to lexical tone: Musical ability enhances specific aspects of foreign language perception, European Journal of Cognitive Psychology, 22, 1, pp. 46-61, (2010); Folstein M.F., Folstein S.E., McHugh P.R., Mini-mental state: A practical method for grading the cognitive state of patients for the clinician, Journal of Psychiatric Research, 12, 3, pp. 189-198, (1975); Gudmundsdottir H.R., Pitch error analysis of young piano students' music reading performance, International Journal of Music Education, 28, 1, pp. 61-70, (2010); Hargreaves D.J., Aksentijevic A., Music, IQ, and executive function, British Journal of Psychology, 102, 3, pp. 306-308, (2011); Hedden T., Yoon C., Individual differences in executive processing predict susceptibility to interference in verbal working memory, Neuropsychology, 20, 5, pp. 511-528, (2006); Kim J.J., Kim M.S., Lee J.S., Lee D.S., Lee M.C., Kwon J.S., Dissociation of working memory processing associated with native and second language: PET investigation, NeuroImage, 15, 4, pp. 879-891, (2002); Kirk R.E., Experimental Design: Procedures for the Behavioral Sciences, (1995); Krumhansl C.K., Toiviainen P., Peretz I., Zatorre R., Tonal cognition, The Cognitive Neuroscience of Music, pp. 95-108, (2003); Lehman A.C., Book review of Component skills involved in sight reading music, Psychomusicology: A Journal of Research in Music Cognition, 19, 2, pp. 91-94, (2007); Leong C.K., Kao H.S.R., Leong C.K., Gao D.G., Segmental analysis and reading in Chinese, Cognitive Neuroscience Studies of the Chinese Language, 8, pp. 227-246, (2002); Li W.S., Ho C.S.H., Lexical tone awareness among Chinese children with developmental dyslexia, Journal of Child Language, 38, 4, pp. 793-808, (2011); Lin C.H., Wu C.H., Ting P.Y., Wang H.M., Frameworks for recognition of Mandarin syllables with tones using sub-syllabic units, Speech Communication, 18, 2, pp. 175-190, (1996); Miller P., Kupfermann A., The role of visual and phonological representations in the processing of written words by readers with diagnosed dyslexia: Evidence from a working memory task, Annual of Dyslexia, 59, pp. 12-33, (2009); Moreno S., Bialystok E., Barac R., Schellenberg E.G., Cepeda N.J., Chau T., Short-term music training enhances verbal intelligence and executive function, Psychological Science, 22, 11, pp. 1425-1433, (2011); Ockelford A., A music module in working memory? Evidence from the performance of a prodigious musical savant, Musicae Scientiae, Special Issue, pp. 5-36, (2007); Patel A.D., Patel A.D., Sound elements: Pitch and timbre, Music, Language, and the Brain, pp. 9-94, (2008); Salame P., Baddeley A.D., Effects of background music on phonological short-term memory, The Quarterly Journal of Experimental Psychology: Human Experimental Psychology, 41, 1 A, pp. 107-122, (1989); Schellenberg E.G., Examining the association between music lessons and intelligence, British Journal of Psychology, 102, 3, pp. 283-302, (2011); Schendel Z.A., The irrelevant sound effect: Similarity of content or similarity of process?, Dissertation Abstracts International Section B: The Science and Engineering, 67, 6 B, (2006); Schendel Z.A., Palmer C., Suppression effect on musical and verbal memory, Memory & Cognition, 35, 4, pp. 640-650, (2007); Schon D., Anton J.L., Roth M., Besson M., An fMRI study of music sight-reading, NeuroReport, 13, 17, pp. 2285-2289, (2002); Simmons M.R., The Central Executive and Working Memory: A Dual-task Investigation of the N-back Task, (2000); Siok W.T., Fletcher P., The role of phonological awareness and visual-orthographic skills in Chinese reading acquisition, Developmental Psychology, 37, 6, pp. 886-899, (2001); Sloboda J., Visual perception of musical notation: Registering pitch symbols in memory, The Quarterly Journal of Experimental Psychology, 28, 1, pp. 1-16, (1976); Stewart L., Walsh V., Frith U., Reading music modifies spatial mapping in pianists, Perception & Psychophysics, 66, 2, pp. 183-195, (2004); Stigler J.W., Mental abacus': The effect of abacus training on Chinese children's mental calculation, Cognitive Psychology, 16, 2, pp. 145-176, (1984); Tong Y., Francis A.L., Gandour J.T., Processing dependencies between segmental and suprasegmental features in Mandarin Chinese, Language and Cognitive Processes, 23, 5, pp. 689-708, (2007); Vallar G., Memory systems: The case of phonological short-term memory. A festschrift for cognitive neuropsychology, Cognitive Neuropsychology, 23, pp. 135-155, (2006); Wan C.Y., Schalug G., Music making as a toole for promoting brain plasticity across the life span, The Neuroscientist, 16, 5, pp. 566-577, (2010); Wechsler D., Wechsler Adult Intelligence Scale-Third Edition, (1997); Weekes B.S., Chen M.J., Gang Y.W., Anomia without dyslexia in Chinese, Neurocase, 3, pp. 51-60, (1997); Williamson V.J., Baddeley A.D., Hitch G.J., Musician's and nonmusicians' short-term memory for verbal and musical sequences: Comparing phonological similarity and pitch proximity, Memory & Cognition, 38, 2, pp. 163-175, (2010); Wong P.C.M., Soke E., Russo N.M., Dees T., Kraus N., Musical experience shapes human brainstem encoding of linguistic pitch patterns, Nature Neuroscience, 10, pp. 420-422, (2007); Zatorre R.J., Belin P., Penhune V.B., Structure and function of auditory cortex: Music and speech, Trends in Cognitive Sciences, 6, pp. 37-46, (2002)","C.-I. Lu; Department of Communication Sciences and Disorders, Wayne State University, 207 Rackham Bldg, Detroit, 60 Farnsworth Street, 48202, United States; email: chingilu@gmail.com","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-84964800517"
"Graham P.; Dezuanni M.; Arthurs A.; Hearn G.","Graham, Phil (7201373721); Dezuanni, Michael (50861187100); Arthurs, Andy (37094708800); Hearn, Greg (7005235361)","7201373721; 50861187100; 37094708800; 7005235361","A deweyan experience economy for higher education: The case of the Australian indie 100 music event","2015","Cultural Politics","11","1","","111","125","14","2","10.1215/17432197-2842457","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84928318794&doi=10.1215%2f17432197-2842457&partnerID=40&md5=3fbc30dbf4e9a8be47c2430e5de97f09","Queensland University of Technology, Australia; Queensland University of Technology’s Children and Youth Research Centre, Australia","Graham P., Queensland University of Technology, Australia; Dezuanni M., Queensland University of Technology’s Children and Youth Research Centre, Australia; Arthurs A., Queensland University of Technology, Australia; Hearn G., Queensland University of Technology, Australia","In this essay we argue that a Deweyan experience economy will best support the higher education (HE) sector in the future, and we draw a contrast between that economy and the sector’s current focus on informational concerns, as expressed by the recent rush to Massive Open Online Courses (MOOCs) and other mass online informational offerings. We base our argument on current developments in music education and music technology that we see as being preemptive of wider trends. We use examples from a three-year study of online and offline music pedagogies and outline a four-year experiment in developing a pedagogical experience economy to illustrate a theoretical position informed by John Dewey’s theory of experience, Pierre Bourdieu’s theory of habitus and capital, and recent work in economic geography on epistemic communities. We argue further that the future of the HE sector is local rather than global, experiential rather than informational, and that therefore a continued informational approach to the future of HE risks undermining the sector. © 2015 Duke University Press.","Experience economy; Higher education; Indie 100; John Dewey; Music","","","","","","","","Attali J., Noise: The Political Economy of Music, (1985); Prescience–1583, Historical Encyclopedia of Natural and Mathematical Sciences, 1, (2009); Bourdieu P., Outline of a Theory of Practice, Translated by Richard Nice, (1977); Bourdieu P., Wacquant L.J.D., An Invitation to Reflexive Sociology, (1992); Braman S., Defining Information: An Approach for Policy-makers, Telecommunications Policy, 13, 3, pp. 233-242, (1989); Cohendet P., Grandadam D., Simon L., Capdevila I., Epistemic Communities, Localization and the Dynamics of Knowledge Creation, Journal of Economic Geography, 14, pp. 929-954, (2014); Dennis M., The Impact of MOOCs on Higher Education, College and University, 88, 2, pp. 24-30, (2012); Depraz N., Varela F., Vermersch P., On Becoming Aware: A Pragmatics of Experiencing, (2003); Dewey J., Art as Experience, (1934); Dewey J., Experience and Education, (1938); Dewey J., Intelligence in the Modern World: John Dewey’s Philosophy, (1939); Ganshof F.L., Charlemagne, Speculum, 24, 4, pp. 520-528, (1949); Graham P., Monopoly, Monopsony, and the Value of Culture in a Knowledge Economy: An Axiology of Two Multimedia Resource Repositories, Libr@Ries: Changing Information Space and Practice, pp. 253-270, (2006); Graham P., Why the Music Business Matters, Music Forum: Journal of the Music Council of Australia, 18, 3, pp. 54-57, (2012); Halliday M.A.K., Introduction to Functional Grammar, (1994); Hearn G., Graham P., Rooney D., The Benefits of Not Managing Change and Not Communicating: Towards a Complex Systems View of Communication in Evolving Organisations, Australian Journal of Communication, 29, 3, pp. 59-70, (2002); Project I.M., Indie 100 2014, Implabs.Net/Indie1002014, (2014); Innis H., The Bias of Communication, (1951); Levy F., Murnane R.J., Dancing with Robots: Human Skills for Computerized Work, (2013); Luke A., Luke C., Graham P., Globalization, Corporatism, and Critical Language Education, International Multilingual Research Journal, 1, 1, pp. 1-13, (2007); Morris L.V., MOOCs, Emerging Technologies, and Quality, Innovative Higher Education, 38, pp. 251-252, (2013); Mosco V., Introduction: Information in the Pay-Per Society, The Political Economy of Information, pp. 3-27, (1988); Mumford L., Technics and Civilization, (1934); Ong W.J., Orality and Literacy: The Technologising of The Word, (1982); Pacey A., Meaning in Technology, (2001); Pine J.B., Gilmore J., The Experience Economy, (2011); Alliance P., Dynamic Spectrum Mapper V2 (DSM V2): Plugin Manual, (2014); Ratner M., Edward Snowden Isn’t the Only Truth Teller Who Deserves Clemency, (2014); Robbins L., An Essay on the Significance of Economic Science, (1935); Rowsell J., Improvising on Artistic Habitus: Sedimenting Identity into Art, Pierre Bourdieu and Literacy Education, (2008); Schiller D., How to Think about Information, The Political Economy of Information, pp. 27-44, (1988); Crystallizer: Granular Echo Synthesizer (Manual), (2014); Sunderland N., A-bit of 8-bit: Joe Ormsby, Music Forum: Journal of the Music Council of Australia, 20, 1, pp. 18-20, (2013); Sunderland N., Graham P., The Role of Academic Community in Higher Learning: Alternatives to a Drive-Thru Education, Proceedings of Third Pacific Rim Conference on the First Year in Higher Education, (1998); Tsuruoka D., Priceline Earnings Top; Stock Rises Despite Outlook, Investor’s Business Daily, (2014); Varela F., Thompson E., Rosch E., The Embodied Mind: Cognitive Science and Human Experience, (1992); Veblen T., The Higher Learning in America: A Memorandum on the Conduct of Universities by Business Men, (1918)","","","Duke University Press","","","","","","17432197","","","","English","Cult. Polit.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-84928318794"
"Dib N.E.; Sturmey P.","Dib, Nancy Ellen (16425184300); Sturmey, Peter (7005475431)","16425184300; 7005475431","Effects of general-case training, instructions, rehearsal, and feedback on the reduction of sight-reading errors by competent musicians","2011","Journal of Applied Behavior Analysis","44","3","","599","604","5","6","10.1901/jaba.2011.44-599","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84856177553&doi=10.1901%2fjaba.2011.44-599&partnerID=40&md5=2035cd6b605ee04e97e1db55bdcda01f","City University of New York Graduate Center, Queens College, United States","Dib N.E., City University of New York Graduate Center, Queens College, United States; Sturmey P., City University of New York Graduate Center, Queens College, United States","We used general-case training, instructions, rehearsal, and feedback to teach 3 advanced flute students to improve their sight-reading skills. Training resulted in systematic decreases in note errors, rhythm errors, repetitions, and hesitations for each participant. The procedures and outcomes were socially validated through subjective evaluation by the participants and music teachers not involved with the study. © 2011 Society for the Experimental Analysis of Behavior.","flute playing; general-case training; musical skills; sight reading; skills training","Adolescent; Feedback; Female; Humans; Learning; Male; Music; Nursing, Practical; Professional Competence; Reproducibility of Results; adolescent; article; feedback system; female; human; learning; male; music; nursing; physiology; professional competence; reproducibility","","","","","","","Dib N.E., Sturmey P., The effects of verbal instruction, modeling, rehearsal, and feedback on correct posture during flute playing, Behavior Modification, 31, pp. 382-388, (2007); Eisenstein S.R., A successive approximation procedure for learning music symbol names, Journal of Music Therapy, 13, pp. 173-179, (1976); Horner R.H., McDonald R.S., Comparison of single instance and general case instruction in teaching a generalized vocational skill, Journal of the Association for the Severely Handicapped, 8, pp. 7-20, (1982); Salzberg R.S., Salzberg C.L., Praise and corrective feedback in the remediation of incorrect left-hand positions of elementary string players, Journal of Research in Music Education, 29, pp. 125-133, (1981); Sprague J.R., Horner R.H., The effects of single instance, multiple instance, and general case training on generalized vending machine use by moderately and severely handicapped students, Journal of Applied Behavior Analysis, 17, pp. 273-278, (1984); Stokes T.F., Baer D.M., An implicit technology of generalization, Journal of Applied Behavior Analysis, 10, pp. 349-367, (1977); Wolpow R.I., The independent effects of contingent social and academic approval upon the musical on-task and performance behaviors of profoundly retarded adults, Journal of Music Therapy, 13, pp. 29-38, (1976)","N.E. Dib; Rhinebeck, NY 12572, 14 Stanford Court, United States; email: DibNancy@aol.com","","","","","","","","19383703","","","21941389","English","J. Appl. Behav. Anal.","Article","Final","All Open Access; Bronze Open Access; Green Open Access","Scopus","2-s2.0-84856177553"
"Thibeault M.D.","Thibeault, Matthew D. (36799084100)","36799084100","Understanding sheet music as a medium to expand pedagogic practice","2016","Journal of Music, Technology and Education","9","2","","209","222","13","2","10.1386/jmte.9.2.209_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84990841050&doi=10.1386%2fjmte.9.2.209_1&partnerID=40&md5=62b7ede78851d057e2358feda71879b0","University of Florida, United States","Thibeault M.D., University of Florida, United States","In the field of sound studies, a medium is the contingent network of recurring relations between people, practices, institutions and technologies. This article explores sheet music as a medium that can serve to expand the pedagogic practices typically pursued in music education. Understanding the medium of sheet music as a network also can encourage music educators to understand and critique how all practices are enmeshed in media. The theoretical perspective of expanded practices is then connected to two examples of classes exploring Beck’s sheet music project Song Reader: one, a class at Chicago’s Old Town School of Folk Music (OTSFM); and, two, a project the author undertook with a graduate music education course. Eight specific practices are presented through these two examples: one, to incorporate sheet music into new media practices; two, to connect a local community of musicians to an online community; three, to move sheet music beyond face to face concerts; four, to note how audiences now routinely produce content consumed by artists; five, to connect sheet music to amateur music-making; six, to reclaim popular music for participatory music-making; seven, to invite music educators to participate in the larger renaissance of amateurism; and, eight, for educators to join in the joy exemplified by Song Reader. © 2016 Intellect Ltd Article.","Beck Hansen; Music notation; Music pedagogy; New media; Sheet music; Sound studies","","","","","","","","Baym N.K., Fans or friends?: Seeing social media audiences as musicians do, Participations: Journal of Audience & Reception Studies, 9, 2, pp. 286-316, (2012); Beck, (2002); Pinch T., Bijsterveld K., Sound studies: New technologies and music, Social Studies of Science, 34, 5, pp. 635-648, (2004); Borgmann A., Technology and the Character of Contemporary Life: A Philosophical Inquiry, (1984); Byrne D., How Music Works, (2012); Cayari C., Using informal education through music video creation, General Music Today, 27, 3, pp. 17-22, (2014); Coleman M., Beck and Friends Perform “Song Reader, (2013); Costello E., Unfaithful Music & Disappearing Ink, (2015); Ferneyhough B., Superscriptio: Solo Piccolo, (1982); Gennet R., Why is Sheet Music Still Considered Necessary for Music Education?, (2015); Green L., Music, Informal Learning and the School: A New Classroom Pedagogy, Cornwall, (2008); Green L., Hear, Listen, Play!: How to free your Student’s Aural, Improvisation and Performance Skills, (2014); Jaques-Dalcroze E., Music and the child, Rhythm, Music, and Education (Trans, H. Rubenstein), pp. 47-59, (1972); Hansen B., Song Reader: Twenty New Songs by Beck, (2012); Hansen B., Song Reader: Twenty New Songs by Beck, pp. 1-4, (2012); Hansen B., Convergence Culture: Where Old and New Media Collide, (2006); Katz M., The amateur in the age of mechanical music, The Oxford Handbook of Sound Studies, pp. 459-479, (2012); Lee T.S., Music as a Birthright: Chicago’s Old Town School of Folk Music and Participatory Music Making in the Twenty-First Century, (2011); Miller K., Playing Along: Digital Games, Youtube, and Virtual Performance, (2012); Nettl B., The Study of Ethnomusicology: Thirty-One Issues and Concepts, (2005); Reimer B., Professional notes President Shuler’s guiding principles big steps in the right direction, Music Educators Journal, 97, 4, pp. 27-28, (2011); Smith B.D., Thibeault M.D., Jaworski N., Developing games that can create real heroes on real guitars: Using acoustic musical instruments and the human voice as controllers, Crystle Martin, Amanda Ochsner and Kurt Squire, pp. 269-274, (2012); Sousa J.P., The menace of mechanical music, Appleton’s Magazine, pp. 278-284, (1906); Sterne J., The Audible Past: Cultural Origins of Sound Reproduction, (2003); Thibeault M.D., From compliance to creative rights in music education: Rethinking intellectual property in the age of new media, Music Education Research, 14, 1, pp. 103-117, (2012); Thibeault M.D., Exploring the Old Town School of Folk Musics Beck Song Reader ensemble: An interview with Nathaniel Braddock, General Music Today, 27, 2, pp. 43-47, (2014); Thibeault M.D., Media as an invitation to rethink music education, General Music Today, 27, 3, pp. 36-39, (2014); Tobias E.S., Inter/trans/multi/cross/new media(Ting): Navigating an emerging landscape of digital media for music education, Music Education: Navigating the Future, pp. 91-121, (2015); Turino T., Music as Social Life: The Politics of Participation, (2008)","M.D. Thibeault; University of Florida, School of Music, 32611, United States; email: mthibeault@ufl.edu","","Intellect Ltd.","","","","","","17527066","","","","English","J. Music Technol. Educ.","Article","Final","","Scopus","2-s2.0-84990841050"
"Carey G.M.; Bridgstock R.; Taylor P.; McWilliam E.; Grant C.","Carey, Gemma Marian (32067526400); Bridgstock, Ruth (6508046104); Taylor, Peter (55459928500); McWilliam, Erica (6603542655); Grant, Catherine (44461480700)","32067526400; 6508046104; 55459928500; 6603542655; 44461480700","Characterising one-to-one conservatoire teaching: Some implications of a quantitative analysis","2013","Music Education Research","15","3","","357","368","11","35","10.1080/14613808.2013.824954","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84884639541&doi=10.1080%2f14613808.2013.824954&partnerID=40&md5=7c7854535ddee8fca9e199ac34c06862","Queensland Conservatorium Griffith University, South Brisbane, QLD, PO Box 3428, Australia; Queensland University of Technology, Brisbane, QLD, Australia","Carey G.M., Queensland Conservatorium Griffith University, South Brisbane, QLD, PO Box 3428, Australia; Bridgstock R., Queensland University of Technology, Brisbane, QLD, Australia; Taylor P., Queensland Conservatorium Griffith University, South Brisbane, QLD, PO Box 3428, Australia; McWilliam E., Queensland University of Technology, Brisbane, QLD, Australia; Grant C., Queensland Conservatorium Griffith University, South Brisbane, QLD, PO Box 3428, Australia","Despite the significant recent growth in research relating to instrumental, vocal and composition tuition in higher education, little is known about the diversity of approaches that characterise one-to-one teaching in the conservatoire, and what counts as optimal practice for educating twenty-first-century musicians. Through analysis of video-recorded one-to-one lessons that draws on a bottom up methodology for characterising pedagogical practices, this paper provides empirical evidence about the nature of one-to-one pedagogy in one Australian institution. The research aims (1) to enable a better understanding of current one-to-one conservatoire teaching and (2) to build and improve upon existing teaching practice using authentic insights gained through systematic investigation. The authors hope the research will lead to a better understanding of the diversity and efficacy of the pedagogical practice within the specific context in which the study was conducted, and beyond, to conservatoire pedagogy generally. © 2013 Copyright Taylor and Francis Group, LLC.","instrumental and vocal teaching; music pedagogy; one-to-one teaching; quantitative approach; teaching and learning; tertiary music education","","","","","","Australian Research Council Centre of Excellence in Creative Industries and Innovation; Queensland University of Technology, QUT","Ruth Bridgstock is a research fellow in the Creative Workforce Program of the Australian Research Council Centre of Excellence in Creative Industries and Innovation at Queensland University of Technology. She co-ordinates the Bachelor of Creative Industries core program, which aims to develop innovation and entrepreneurship capabilities in students of creative courses. Ruth’s work is concerned with describing the capabilities needed for successful careers in the creative industries, and developing higher education programs to build those capabilities.","Quality Assurance and Accreditation in Higher Music Education, (2010); Biggs J., Teaching for Quality Learning at University: What the Student Does, (2003); Biggs J.B., Constructive Alignment, (2008); Bridgstock R., Not a dirty word: Arts entrepreneurship and higher education, Arts and Humanities in Higher Education, (2012); Bridgstock R., Hearn G., A conceptual model of capability learning for the 21st century knowledge economy, Handbook on the Knowledge Economy, pp. 105-119, (2012); Burwell K., A degree of independence: Teachers' approaches to instrumental tuition in a university college, British Journal of Music Education, 22, 3, pp. 199-215, (2005); Carey G., New Understanding of 'Relevant' Keyboard Pedagogy in Tertiary Institutions, (2008); Carey G., Grant C., McWilliam E., Taylor P., One-to-one pedagogy: Developing a protocol for illuminating the nature of teaching in the conservatoire, International Journal of Music Education, 31, 2, pp. 148-159, (2013); Carey G., Lebler D., Gall S., Investigating the one-to-one teaching model in higher music education: Developing a collaborative model of inquiry, Scientia Paedagogica Experimentali: International Journal of Experimental Research in Education, 47, 2, pp. 175-198, (2012); Froehlich H., Thoughts on schools of music and colleges of education as places of 'rites and rituals': Consequences for research on practising, Research in and for Higher Music Education, pp. 149-165, (2002); Gaunt H., One-to-One tuition in a conservatoire: The perceptions of instrumental and vocal teachers, Psychology of Music, 36, 2, pp. 215-245, (2008); Gaunt H., One-to-one tuition in a conservatoire: The perceptions of instrumental and vocal students, Psychology of Music, 38, 2, pp. 178-208, (2009); Gaunt H., Creech A., Long M., Hallam S., Supporting conservatoire students towards professional integration: One-to-one tuition and the potential of mentoring, Music Education Research, 14, 1, pp. 25-43, (2012); Grant H., Dweck C.S., Clarifying achievement goals and their impact, Journal of Personality and Social Psychology, 85, 3, pp. 541-553, (2003); Harrison S., Submission to the review of higher education financing and policy, Review of Higher Education Financing and Policy-Submissions, (1997); Harrison S.D., Lifelong learning in music education: A brief examination, Doing, Thinking, Activity, Learning: Proceedings of the 12th Annual International Conference on Post-compulsory Education and Training 1, pp. 204-208, (2004); Jolliffe I., Principal Component Analysis, (2002); Kennell R., Teaching music one on one: A case study, Dialogue in Instrumental Music Education, 21, 1, pp. 69-81, (1997); Kirkul W.W., Nonverbal communication in one-to-one music performance instruction, Psychology of Music, 35, 2, pp. 327-352, (2007); Lennon M., Reed G., Instrumental and vocal teacher education: Competences, roles and curricula, Music Education Research, 14, 3, pp. 285-308, (2012); Lockett D.R., The scholar/performer: A new dimension in music research, The 8th Australasian Piano Pedagogy Conference, (2007); Merson F., Enraged students jam against anu school of music cuts, Limelight Magazine, (2012); Mills J., Conservatoire students' perceptions of the characteristics of effective instrumental and vocal tuition, Bulletin of the Council for Research in Music Education, 153-154, pp. 78-82, (2002); Nerland M., One-to-one teaching as cultural practice: Two case studies from an academy of music, Music Education Research, 9, 3, pp. 399-416, (2007); Perkins R., Learning cultures and the conservatoire: An ethnographically-informed case study, Music Education Research, 15, 2, pp. 196-213, (2013); Persson R.S., Concert musicians as teachers: On good intentions falling short, European Journal of High Ability, 5, 1, pp. 79-91, (1994); Persson R., Brilliant performers as teachers: A case study of commonsense teaching in a conservatoire setting, International Journal of Music Education, 28, 1, pp. 25-36, (1996); Presland C., Conservatoire student and instrumental professor: The student perspective on a complex relationship, British Journal of Music Education, 22, 3, pp. 237-248, (2005); Schmidit C.P.L., Individual differences in perception of applied music teaching feedback, Psychology of Music, 17, 2, pp. 110-122, (1989); Triantafyllaki A., Workplace landscapes' and the construction of performance teachers' identity: The case of advanced music training institutions in greece, British Journal of Music Education, 27, 2, pp. 185-201, (2010); Taylor P.G., BGS Tablet Pedagogical Practices Project: Final Report, (2011); Taylor P.G., Kwek D., Tan C., Short B., Coding of Classroom Pedagogical Practices: An International Comparison Seminar Presentation, (2012)","G.M. Carey; Queensland Conservatorium Griffith University, South Brisbane, QLD, PO Box 3428, Australia; email: g.carey@griffith.edu.au","","","","","","","","14699893","","","","English","Music Educ. Res.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-84884639541"
"Emond B.; Comeau G.","Emond, Bruno (6603289889); Comeau, Gilles (15623017600)","6603289889; 15623017600","Cognitive modelling of early music reading skill acquisition for piano: A comparison of the Middle-C and Intervallic methods","2013","Cognitive Systems Research","24","","","26","34","8","7","10.1016/j.cogsys.2012.12.007","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84873019386&doi=10.1016%2fj.cogsys.2012.12.007&partnerID=40&md5=ff7a5aaedb90e56a0fa6e868fd778b0f","National Research Council Canada, 1200 Montreal Rd., M50, Ottawa, K1A 0R6, ON, Canada; School of Music, University of Ottawa, 50 University, Ottawa, K1N 6N5, ON, Canada","Emond B., National Research Council Canada, 1200 Montreal Rd., M50, Ottawa, K1A 0R6, ON, Canada; Comeau G., School of Music, University of Ottawa, 50 University, Ottawa, K1N 6N5, ON, Canada","In the classical music tradition, knowing how to read music is an essential skill and is seen as a fundamental component to develop when learning to play the piano. This research's focus is to study the possible impact of two different teaching approaches to the acquisition of initial reading skills. By using cognitive modeling, we are hoping to observe through computer simulation the problem solving and decision-making tasks involved in decoding a simple musical score. Our model intends to capture a novice initial coordination of music reading and motor operations on a piano keyboard. As such, it does not aim at modelling advanced sight-reading skills. The paper introduces the Middle-C and Intervallic methods followed by a description of an ACT-R cognitive model and simulation results upon learning with each of the reading methods. Inspection of the simulation results reveals differences in terms of declarative memory and cognitive processing demands. In particular, the Intervallic method requires a larger number of declarative knowledge related to notes, and more execution planning than the Middle-C method. © 2013 Crown Copyright and Elsevier Inc","ACT-R; Computer simulation; Intervallic method; Middle-C method; Music reading","Computer simulation; Decision making; Musical instruments; Problem solving; ACT-R; C method; Cognitive processing; Declarative knowledge; Fundamental component; Intervallic method; Music reading; Teaching approaches; Article; cognition; computer simulation; controlled study; decision making; declarative memory; executive function; intermethod comparison; motor coordination; music reading; priority journal; problem solving; reading; Computer music","","","","","Social Sciences and Humanities Research Council of Canada, SSHRC","We would like to thank the Social Sciences and Humanities Research Council for their financial support.","Altenmuller E., Wiesendanger M., Kesselring J., Music, motor control and the brain, (2006); Anderson J.N., Effects of tape-recorded aural models on sight-reading and performance skills, Journal of Research in Music Education, 20, 1, pp. 23-30, (1981); Anderson J.R., Bothell D., Byrne M.D., Douglass S., Lebiere C., Qin Y., An integrated theory of the mind, Psychological Review, 11, 4, pp. 1036-1060, (2004); Berlin B., The A.B.C. of piano playing: An easy method for beginners, (1941); Berlin B., Konicek L., Precious C., The A.B.C. of piano playing: An easy method for beginners, (1983); Chikhaoui B., Pigot H., Beaudoin M., Pratte G., Bellefeuille P., Laudares F., (2009); Clark F., Goss L., Time to begin, (1955); Clark F., Goss L., The music tree: A plan for musical growth at the piano, (1973); Clark F., Goss L., Holland S., The music tree: A plan for musical growth at the piano, (2000); Comeau G., (2009); Comeau G., L'apprentissage de la lecture musicale, Revue de Recherche en éducation Musicale, 28, pp. 83-104, (2010); Comeau G., (2010); Dirkse S., (2009); Eaton J.L., (1978); Fourie E., The processing of music notation: Some implications for piano sight-reading, Journal of the Musical Arts in Africa, 1, pp. 1-23, (2004); Furneaux S., Land M.F., The effects of skill on the eye-hand span during musical sight-reading, Proceedings: Biological Sciences, 266, 1436, pp. 2435-2440, (1999); Galyen S.D., Sight-reading ability in wind and percussion students: A review of recent literature, UPDATE Application of Research in Music Education, 24, 1, pp. 57-70, (2005); Gilman E.R., (2000); Gudmundsdottir H.R., (2003); Hahn L.B., (1985); Hallam S., Cross I., Thaut M., The Oxford handbook of music psychology, (2009); Hodges D.A., The handbook of music psychology, (1996); Hodges D.A., The acquisition of music reading skills, Handbook of research in music teaching and learning, pp. 466-471, (1992); Hommel B., Musseler J., Aschersleben G., Prinz W., The theory of event coding (TEC): A framework for perception and action planning, Behavioral and Brain Sciences, 24, pp. 849-937, (2001); Jabusch H.C., Alpers H., Kopiez R., Vauth H., Altenmuller E., The influence of practice on the development of motor skills in pianists: A longitudinal study in a selected motor task, Human Movement Science, 28, pp. 74-84, (2009); Kinsler V., Carpenter R.H.S., Saccadic eye movements while reading music, Vision Research, 35, 1, pp. 51-65, (1995); Kopiez R., Lee J.I., Towards a general model of skills involved in sight reading music, Music Education Research, 10, 1, pp. 41-62, (2008); Lehmann A.C., Ericsson K.A., Sight-reading ability of expert pianists in the context of piano accompanying, Psychomusicology, 12, pp. 182-195, (1993); Lemay C., (2008); Levy K., L. M., (2001); Lomax E., (1990); Loomis G., Progressive music lessons: A course of instruction prepared for the use of public schools, (1875); Madell J., Hebert S., Eye movements and music reading: Where do we look next?, Music Perception, 26, 2, pp. 157-170, (2008); Mathews W., S. B., (1892); McPherson G.E., The child as musician. A handbook of musical development, (2006); McPherson G.E., Gabrielsson A., From sound to sign, The science & psychology of music performance: Creative strategies for teaching and learning, pp. 99-115, (2002); Palmer C., Time course of retrieval and movement preparation in music performance, Annals of the New York Academy of Sciences, 1060, pp. 360-367, (2005); Parncutt R., McPherson G.E., The science & psychology of music performance, (2002); Rogers G.L., Effect of colored rhythmic notation on music-reading skills of elementary students, Journal of Research in Music Education, 44, 1, pp. 15-25, (1996); Salis D.L., (1977); Salvucci D.D., Taatgen N.A., Threaded cognition: An integrated theory of concurrent multitasking, Psychological Review, 115, pp. 101-130, (2008); Schaum W., Cupp J., Keyboard teaching with greater success and satisfaction, (1985); Sloboda J., The psychology of music reading, Psychology of Music, 6, pp. 3-20, (1978); Sloboda J., The musical mind: The cognitive psychology of music, (1985); Sloboda J., Exploring the musical mind: Cognition, emotion, ability, function, (2005); Stewart L., Henson R., Kampe K., Walsh V., Turner R., Frith U., Brain changes after learning to read and play music, Neuroimage, 20, 1, pp. 71-83, (2003); Taatgen N.A., Van Rijn H., Anderson J., An integrated theory of prospective time interval estimation: The role of cognition, attention, and learning, Psychological Review, 114, 3, pp. 577-598, (2007); Thompson J., John Thompson's modern course for the piano, (1936); Thompson J., John Thompson's teaching little fingers to play, (1936); Udtaisuk D.B., (2005); Uszler M., Gordon S., Mach E., The well-tempered keyboard teacher, (1991); Uszler M., Gordon S., Smith S.M., The well-tempered keyboard teacher, (2000); Van Rijn H., Taatgen N.A., Timing of multiple overlapping intervals: How many clocks do we have?, Acta psychologica (Amst), 129, 3, pp. 365-375, (2008); Waters A.J., Townsend E., Underwood G., Expertise in musical sight reading: A study of pianists, British Journal of Psychology, 89, pp. 123-149, (1998); Williams J., Year by year at the piano: A progressive and modern beginner's book, (1924); Wolf T., A cognitive model of musical sight-reading, Journal of Psycholinguistic Research, 5, 2, pp. 143-171, (1976); Wollner C., Halfpenny E., Ho S., Kurosawa K., The effects of distracted inner hearing on sight-reading, Psychology of Music, 31, 4, pp. 377-389, (2003)","B. Emond; National Research Council Canada, Ottawa, 1200 Montreal Rd., M50, K1A 0R6, Canada; email: bruno.emond@nrc-cnrc.gc.ca","","Elsevier B.V.","","","","","","13890417","","CSROA","","English","Cogn. Sys. Res.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-84873019386"
"Kennedy K.","Kennedy, Kate (57198245212)","57198245212","Sight-reading Katherine Mansfield","2010","Landfall","","219","","115","119","4","2","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-77953573826&partnerID=40&md5=06c9cb9b6e4fed73172cb69c96efceef","","","[No abstract available]","","","","","","","","","Mansfield K., This is my world, Poems of Katherine Mansfield, (1988); At the bay, The Garden Party and Other Stories, (1922); Katherine Mansfield: Selected Stories, (2002); In the botanical gardens, Poems of Katherine Mansfield; At the Bay; All from 'at the bay, Selected Stories; Her first ball, The Garden Party and Other Stories, (1922); Miss Brill' the garden party and other stories, Selected Stories, (1922); Vignette-I look out through the window, Poems of Katherine Mansfield; Vignette-westminster cathedral, Poems of Katherine Mansfield; At the bay, Selected Stories; Vignette II, Poems; Vignette' through the autumn afternoon, Poems","","","","","","","","","00237930","","","","English","Landfall","Article","Final","","Scopus","2-s2.0-77953573826"
"Pellico L.H.; Fennie K.; Tillman S.; Duffy T.C.; Friedlaender L.; Graham G.","Pellico, Linda Honan (8582249000); Fennie, Kristopher (6507805513); Tillman, Stephanie (57201196816); Duffy, Thomas C. (55350691900); Friedlaender, Linda (6504640825); Graham, Gillian (55965922700)","8582249000; 6507805513; 57201196816; 55350691900; 6504640825; 55965922700","Artwork and music: Innovative approaches to physical assessment","2014","Arts and Health","6","2","","162","175","13","7","10.1080/17533015.2013.838592","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84940258988&doi=10.1080%2f17533015.2013.838592&partnerID=40&md5=a19913d70d11c6a08317f30659bdad0f","Department of Nursing, Yale University, New Haven, CT 06536, 100 Church Street South, United States; Department of Epidemiology, Florida International University, Miami, FL 33133, 11200 SW 8th Street, AHC2-587, United States; Department of Nursing, Yale University, Chicago, IL 60608, 1070 W 15th St Unit 153, United States; Department of Music, Yale University, New Haven, CT 06520-9048, P.O. Box 209048, United States; Yale Center for British Art, Yale University, New Haven, CT 06520, 1080 Chapel Street, P.O. Box 208280, United States","Pellico L.H., Department of Nursing, Yale University, New Haven, CT 06536, 100 Church Street South, United States; Fennie K., Department of Epidemiology, Florida International University, Miami, FL 33133, 11200 SW 8th Street, AHC2-587, United States; Tillman S., Department of Nursing, Yale University, Chicago, IL 60608, 1070 W 15th St Unit 153, United States; Duffy T.C., Department of Music, Yale University, New Haven, CT 06520-9048, P.O. Box 209048, United States; Friedlaender L., Yale Center for British Art, Yale University, New Haven, CT 06520, 1080 Chapel Street, P.O. Box 208280, United States; Graham G., Department of Nursing, Yale University, New Haven, CT 06536, 100 Church Street South, United States","Background: Observation and auditory skills are essential competencies for nursing practice. Research studies reveal that observational abilities are improved with visual training in an art museum and that the standing competence of auscultative skills is inadequate. This study details an innovative strategy to improve nursing students' observational and auscultative abilities. Methods: A pretest-posttest experimental design was used in which 77 students in an accelerated master's entry nursing program were randomized to either receive music auditory training and observation training in a museum and music hall or view a DVD of the music intervention and observation training in a classroom using handheld images and artwork display. Results: Students correctly identified approximately 68% of bowel sounds, 38% of lung sounds and 26% of heart sounds after this 2-h intervention, and significantly improved their observational abilities over time (p < 0.0001) on all measures with few exceptions. In addition, there were no differences between the groups over time for most measures, suggesting that the classroom experience is an effective pedagogy for improving observational skills. Conclusion: The activities of viewing works of art and aural training using music sharpen observational and reasoning skills of nursing students and auscultative interpretive abilities, and hold promise for medical education. © 2013 Taylor & Francis.","art; music pedagogy; nursing education","","","","","","","","Baid H., A critical review of auscultating bowel sounds, British Journal of Nursing, 18, pp. 1125-1129, (2009); Bannan N., Montgomery-Smith C., Singing for the brain': Reflections on the human capacity for music arising from a pilot study of group singing with Alzheimer's patients, The Journal of the Royal Society for the Promotion of Health, 128, pp. 73-78, (2008); Bardes C.L., Gillers D., Herman A.E., Learning to look: Developing clinical observational skills at an art museum, Medical Education, 35, pp. 1157-1161, (2001); Barrett M.J., Lacey C.S., Sekara A.E., Linden E.A., Gracely E.J., Mastering cardiac murmurs: The power of repetition, CHEST Journal, 126, pp. 470-475, (2004); Barry C.R., Brown K., Esker D., Denning M.D., Kruse R.L., Binder E.F., Nursing assessment of ill nursing home residents, Journal of Gerontological Nursing, 28, pp. 4-7, (2002); Benbassat J., Baumal R., Narrative review: Should teaching of the respiratory physical examination be restricted only to signs with proven reliability and validity?, Journal of General Internal Medicine, 25, pp. 865-872, (2010); Bernatzky G., Presch M., Anderson M., Panksepp J., Emotional foundations of music as a non-pharmacological pain management tool in modern medicine, Neuroscience & Biobehavioral Reviews, 35, pp. 1989-1999, (2011); Bisno A.L., Acute rheumatic fever: Forgotten but not gone, The New England Journal of Medicine, 316, pp. 476-478, (1987); Bradt J., Dileo C., Grocke D., Magill L., Music interventions for improving psychological and physical outcomes in cancer patients, Cochrane Database of Systematic Reviews, (2011); Ceresa C.C., Johnston I.D., Auscultation in the diagnosis of respiratory disease in the 21st century, Postgraduate Medical Journal, 84, pp. 393-394, (2008); Clarkson K.A., Cassidy K., Eskes G.A., Singing soothes: Music concerts for the management of agitation in older adults with dementia, Canadian Journal of Geriatrics, 10, pp. 80-87, (2007); Cooke M., Chaboyer W., Schluter P., Hiratos M., The effect of music on preoperative anxiety in day surgery, Journal of Advanced Nursing, 52, pp. 47-55, (2005); De Niet G., Tiemens B., Lendemeijer B., Hutschemaekers G., Music-assisted relaxation to improve sleep quality: Meta-analysis, Journal of Advanced Nursing, 65, pp. 1356-1364, (2009); Dolev J.C., Friedlaender L.K., Braverman I.M., Use of fine art to enhance visual diagnostic skills, Journal of the American Medical Association, 286, pp. 1020-1021, (2001); Duff B., Gardiner G., Barnes M., The impact of surgical ward nurses practicing respiratory assessment on positive patient outcomes, Australian Journal of Advanced Nursing, 24, pp. 52-56, (2007); Economidou E., Klimi A., Vivilaki V.G., Lykeridou K., Does music reduce postoperative pain? A review, Health Science Journal, 6, pp. 365-377, (2012); Evans H.M., Medicine and music: Three relations considered, Journal of Medical Humanities, 28, pp. 135-148, (2007); Ewing B., Hayden-Miles M., Narrative pedagogy and art interpretation, Journal of Nursing Education, 50, pp. 211-215, (2011); Frei J., Alvarez S.E., Alexander M.B., Ways of seeing: Using the visual arts in nursing education, Journal of Nursing Education, 49, pp. 672-676, (2010); Gade J., Kruse P., Andersen O.T., Pedersen S.B., Boesby S., Physicians' abdominal auscultation. A multi-rater agreement study, Scandinavian Journal of Gastroenterology, 33, pp. 773-777, (1998); Howie J.G., Porter A.M., Heaney D.J., Hopton J.L., Long to short consultation ratio: A proxy measure of quality of care for general practice, British Journal of General Practice, 41, pp. 48-54, (1991); Jepson J., Whitley S., Subbe C.P., Grundy L., Where do AMU nurses perceive their educational needs? Results of the 20:10 project, Acute Medicine, 11, pp. 18-22, (2012); Katagiri J., The effect of background music and song texts on the emotional understanding of children with autism, Journal of Music Therapy, 46, pp. 15-31, (2009); Kim J., Wigram T., Gold C., Emotional, motivational and interpersonal responsiveness of children with autism in improvisational music therapy, Autism, 13, pp. 389-409, (2009); Kopelman L.M., De Ville K.A., Rembrandt's anatomy lesson as a metaphor for education, Current Surgery, 60, pp. 150-151, (2003); Kraman S.S., Transmission of lung sounds through light clothing, Respiration, 75, pp. 85-88, (2008); Lamont C., How useful are bowel sounds?, Emergency Medicine Journal, 28, (2011); Leuppi J.D., Dieterle T., Koch G., Martina B., Tamm M., Perruchoud A.P., Leimenstoll B.M., Diagnostic value of lung auscultation in an emergency room setting, Swiss Medical Weekly, 135, pp. 520-524, (2005); Madsen D., Sebolt T., Cullen L., Folkedahl B., Mueller T., Richardson C., Titler M., Listening to bowel sounds: An evidence-based practice project: Nurses find that a traditional practice isn't the best indicator of returning gastrointestinal motility in patients who've undergone abdominal surgery, American Journal of Nursing, 105, pp. 40-49, (2005); Mangione S., The teaching of cardiac auscultation during internal medicine and family medicine training - A nationwide comparison, Academic Medicine, 73, (1998); Mangione S., Cardiac auscultatory skills of physicians-in-training: A comparison of three english-speaking countries, The American Journal of Medicine, 110, pp. 210-216, (2001); Mangione S., Nieman L.Z., Pulmonary auscultatory skills during training in internal medicine and family practice, American Journal of Respiratory & Critical Care Medicine, 159, pp. 1119-1124, (1999); Mangione S., Nieman L.Z., Gracely E., Kaye D., The teaching and practice of cardiac auscultation during internal medicine and cardiology training. A nationwide survey, Annals of Internal Medicine, 119, pp. 47-54, (1993); Mangione S., Nieman L.Z., Gracely E.J., Comparison of computer-based learning and seminar teaching of pulmonary auscultation to first-year medical students, Academic Medicine: Journal of the Association of American Medical Colleges, 67, (1992); Mansen T., Haak S., Evaluation of health assessment skills using a computer videodisk interactive program, Journal of Nursing Education, 35, pp. 382-384, (1996); Martinez G., Guarda E., Baeza R., Garayar B., Chamorro G., Casanegra P., Enseñanza de auscultación cardiaca a estudiantes y residentes de medicina mediante el uso de un simulador de ruidos cardiacos, Revista Espanola De Cardiologia, 65, pp. 1135-1136, (2012); Na H.J., Yang S., Effects of listening to music on auditory hallucination and psychiatric symptoms in people with schizophrenia, Journal of Korean Academy of Nursing, 39, pp. 62-71, (2009); Pacchetti C., Mancini F., Aglieri R., Fundaro C., Martignoni E., Nappi G., Active music therapy in Parkinson's disease: An integrative method for motor and emotional rehabilitation, Psychosomatic Medicine, 62, pp. 386-393, (2000); Pellico L.H., Duffy T.C., Fennie K.P., Swan K.A., Looking is not seeing and listening is not hearing: Effect of an intervention to enhance auditory skills of graduate-entry nursing students, Nursing Education Perspectives, 33, pp. 234-239, (2012); Pellico L.H., Friedlaender L., Fennie K.P., Looking is not seeing: Using art to improve observational skills, Journal of Nursing Education, 48, pp. 648-653, (2009); Rees G., The ethical imperative of medical humanities, Journal of Medical Humanities, 31, pp. 267-277, (2010); Reid S., Music as a metaphor for the medical consultation, South African Family Practice, 50, pp. 62-64, (2008); Rubin E., Rubin M., Thoracic diseases, (1961); Sacks O., Musicophilia: Tales of music and the brain, (2007); Saeed S., Body R., Auscultating to diagnose pneumonia, Emergency Medicine Journal, 24, pp. 294-295, (2007); Secrest J.A., Norwood B.R., duMont P.M., Physical assessment skills: A descriptive study of what is taught and what is practiced, Journal of Professional Nursing, 21, pp. 114-118, (2005); Sestini P., Renzoni E., Rossi M., Beltrami V., Vagliasindi M., Multimedia presentation of lung sounds as a learning aid for medical students, European Respiratory Journal, 8, pp. 783-788, (1995); Shankar P.R., Piryani R.M., Upadhyay-Dhungel K., Student feedback on the use of paintings in Sparshanam, the medical humanities module at KIST Medical College, Nepal, BMC Medical Education, 11, pp. 1-17, (2011); Stern D.T., Mangrulkar R.S., Gruppen L.D., Lang A.L., Grum C.M., Judge R.D., Using a multimedia tool to improve cardiac auscultation knowledge and skills, Journal of General Internal Medicine, 16, pp. 763-769, (2001); Takeda M., Tanaka T., Okochi M., Kazui H., Non-pharmacological intervention for dementia patients, Psychiatry & Clinical Neurosciences, 66, 1, pp. 1-7, (2012); Terry P.C., Karageorghis C.I., Saha A.M., D'Auria S., Effects of synchronous music on treadmill running among elite triathletes, Journal of Science & Medicine in Sport, 15, pp. 52-57, (2012); van Roessel P., Shafer A., Music, medicine, and the art of listening, Journal for Learning through the Arts, 2, 1, pp. 1-13, (2006); Vukanovic-Criley J.M., Boker J.R., Criley S.R., Rajagopalan S., Criley J.M., Using virtual patients to improve cardiac examination competency in medical students, Clinical Cardiology, 31, pp. 334-339, (2008); Ward J.J., Wattier B.A., Technology for enhancing chest auscultation in clinical simulation, Respiratory Care, 56, pp. 834-845, (2011); Williams B., Boyle M., O'Meara P., Can undergraduate paramedic students accurately identify lung sounds?, Emergency Medicine Journal, 26, pp. 580-582, (2009); Yen K., Karpas A., Pinkerton H.J., Gorelick M.H., Interexaminer reliability in physical examination of pediatric patients with abdominal pain, Archives of Pediatrics & Adolescent Medicine, 159, pp. 373-376, (2005); Zare M., Ebrahimi A.A., Birashk B., The effects of music therapy on reducing agitation in patients with Alzheimer's disease, a pre-post study, International Journal of Geriatric Psychiatry, 25, pp. 1309-1310, (2010)","L. H. Pellico; Department of Nursing, Yale University, New Haven, CT 06536, 100 Church Street South, United States; email: linda.pellico@yale.edu","","Routledge","","","","","","17533015","","","","English","Arts Health","Article","Final","","Scopus","2-s2.0-84940258988"
"Hash P.M.","Hash, Phillip M. (26034045600)","26034045600","An analysis of the ratings and interrater reliability of high school band contests","2012","Journal of Research in Music Education","60","1","","81","100","19","26","10.1177/0022429411434932","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84858677287&doi=10.1177%2f0022429411434932&partnerID=40&md5=5b85533f1d05f4a490da2993fd67ac09","Calvin College, Grand Rapids, MI 49546, 3201 Burton SE, United States","Hash P.M., Calvin College, Grand Rapids, MI 49546, 3201 Burton SE, United States","The purpose of this study was to examine procedures for analyzing ratings of large-group festivals and provide data with which to compare results from similar events. Data consisted of ratings from senior division concert band contests sponsored by the South Carolina Band Directors Association from 2008 to 2010. Three concert-performance and two sight-reading judges evaluated each band to determine a final rating. Research questions examined (a) frequency distributions of ratings; (b) interrater reliability as measured by Spearman correlation of individual judges' ratings, internal consistency (α), and two forms of interrater agreement (IRA); and (c) differences in mean ratings among individual adjudicators, contest sites, years, and classifications. The average final rating for all bands (N = 353) was 1.73, with 86.7% (n = 306) earning a I/Superior or II/Excellent. Interrater correlation, IRA, and internal consistency were higher for sight-reading versus concert performance. Each of these measures rose above the.80 benchmark for good reliability, except interrater correlation and average pairwise IRA in the concert portion of the contest. Data indicated significant differences in 8 out of 18 judging panels, in contest sites in 2010, and among ensemble classifications. In this study, the author demonstrated an effective procedure for analyzing ratings of large-group festivals and identified implications for improving these events. © 2012 National Association for Music Education.","assessment; band; contests; festivals; interrater reliability","","","","","","","","Adler S.A., Clark R., How It's Done: An Invitation to Social Research, (2008); Baker V., The Effect of Repertoire Selection on University Interscholastic League Choral Concert Ratings. Texas Music Education Research, (2004); Barnes G.V., McCashin R., Practices and procedures in state adjudicated orchestra festivals, Update: Applications of Research in Music Education, 23, 2, pp. 34-41, (2005); Batey A.L., Take the terror out of adjudication, Teaching Music, 10, 3, pp. 40-46, (2002); Bergee M.J., Faculty interjudge reliability of music performance evaluation, Journal of Research in Music Education, 51, pp. 137-150, (2003); Bergee M.J., Performer, rater, occasion, and sequence as sources of variability in music performance assessment, Journal of Research in Music Education, 55, pp. 344-358, (2007); Bergee M.J., McWhirter J.L., Selected influences on solo and small-ensemble festival ratings: Replication and extension, Journal of Research in Music Education, 53, pp. 177-190, (2005); Bergee M.J., Platt M.C., Influence of selected variables on solo and small-ensemble festival ratings, Journal of Research in Music Education, 51, pp. 342-353, (2003); Bergee M.J., Westfall C.R., Stability of a model explaining selected extramusical influences on solo and small-ensemble festival ratings, Journal of Research in Music Education, 53, pp. 358-374, (2005); Boeckman J., Grade inflation in band contest ratings: A trend study, Journal of Band Research, 38, 1, pp. 25-36, (2002); Boyle J.D., Program evaluation for secondary school music programs, NASSP Bulletin, 76, 544, pp. 63-68, (1992); Brakel T.D., Inter-judge reliability of the Indiana State School Music Association high school instrumental festival, Journal of Band Research, 42, 1, pp. 59-69, (2006); Brown J.D., Can we use the Spearman-Brown prophecy formula to defend low reliability?, Shiken: JALT Testing and Evaluation SIG Newsletter, 4, 3, pp. 4-7, (2001); Burnsed V., Hinkle D., King S., Performance evaluation reliability at selected concert festivals, Journal of Band Research, 21, 1, pp. 22-29, (1985); Carmines E.G., Zeller R.A., Reliability and Validity Assessment, (1979); Cassidy J.W., Sims W.L., Effects of special education labels on peers' and adults' evaluations of a handicapped youth choir, Journal of Research in Music Education, 39, pp. 23-34, (1991); Cavitt M.E., Effects of Expectations on Evaluators' Judgments of Music Performance, (1997); Cavitt M.E., Differential Expectation Effects As Factors in Evaluations and Feedback of Musical Performance. Texas Music Education Research, (2002); Ciorba C.R., Smith N.Y., Juries using a multidimensional assessment rubric measurement of instrumental and vocal undergraduate performance juries, Journal of Research in Music Education, 57, pp. 5-15, (2009); Conrad D., Judging the judges: Improving rater reliability at music contests, NFHS Music Association Journal, 20, 2, pp. 27-31, (2003); Elliott C.A., Race and gender as factors in judgments of musical performance, Bulletin of the Council for Research in Music Education, 127, pp. 50-55, (1995); Ellis M.C., An analysis of taped comments from a high school jazz band festival, Contributions to Music Education, 34, pp. 35-49, (2007); Fautley M., Assessment in Music Education, (2010); Fiske H.E., Judge-group differences in the rating of secondary school trumpet performances, Journal of Research in Music Education, 23, pp. 186-189, (1975); Fiske H.E., The Effect of A Training Procedure in Music Performance Evaluation on Judge Reliability, (1978); Fiske H.E., Judging musical performance: Method or madness?, Update: Applications of Research in Music Education, 1, 3, pp. 7-10, (1983); Flores R.G., Ginsburgh V.A., The Queen Elisabeth musical competition: How fair is the final ranking?, The Statistician, 45, pp. 97-104, (1996); Forbes G.W., Evaluative music festivals and contests-Are they fair?, Update: Applications of Research in Music Education, 12, 2, pp. 16-20, (1994); Freelon D., ReCal: Reliability Calculation for the Masses, (2009); Garman B.R., Boyle J.D., Decarbo N.J., Orchestra festival evaluations: Interjudge agreement and relationships between performance categories and final ratings, Research Perspectives in Music Education, 2, pp. 19-24, (1991); Hassel B.E., Hassel E.A., Race to the Top: Accelerating College and Career Readiness in States, (2009); Hunter D., Russ M., Peer assessment in performance studies, British Journal of Music Education, 13, pp. 67-78, (1996); 2009-2010 Music Rule Book, (2009); Killian J.N., Characteristics of Successful Choirs in A Contest Setting. Texas Music Education Research, pp. 39-43, (1998); Killian J., Music Selection of Successful Choirs at UIL and Non-UIL Contests, pp. 51-56, (1999); Killian J., Effect of music selection on contest ratings: Year three of a continuing study, Texas Music Education Research, (2000); King S.E., Burnsed V., A study of the reliability of adjudicator ratings at the 2005 Virginia band and orchestra directors association state marching band festivals, Journal of Band Research, 45, 1, pp. 27-32, (2009); Kinney D.W., Internal consistency of performance evaluations as a function of music expertise and excerpt familiarity, Journal of Research in Music Education, 56, pp. 322-337, (2009); Krippendorff K., Content Analysis: An Introduction to Its Methodology, (2004); Latimer M.E., Bergee M.J., Cohen M.L., Performance assessment rubric reliability and perceived pedagogical utility of a weighted music performance assessment rubric, Journal of Research in Music Education, 58, pp. 168-183, (2010); Lee K., Districts Cautious with State's ""race to the Top."" Illinois Statehouse News, (2009); McPherson G.E., Thompson W.F., Assessing music performance: Issues and influences, Research Studies in Music Education, 10, pp. 12-24, (1998); MENC: The National Association for Music Education; Moore J.E., National School Band Contests between 1926 and 1931, (1968); Morrison S.J., Price H.E., Geiger C.G., Cornacchio R.A., The effect of conductor expressivity on ensemble performance evaluation, Journal of Research in Music Education, 57, pp. 37-49, (2009); Festival Performance Guidelines, (2010); NAfME Position Statement on Teacher Evaluation, (2011); Norris C.E., Borst J.D., An examination of the reliabilities of two choral festival adjudication forms, Journal of Research in Music Education, 55, pp. 237-251, (2007); Orman E.K., Yarbrough C., Neill S., Whitaker J.A., Time usage of middle and high school band directors in sight-reading adjudication, Update: Applications of Research in Music Education, 25, 2, pp. 36-46, (2007); Phillips K.H., Exploring Research in Music Education and Music Therapy, (2008); Presley D., The Mentor Project; Price H.E., Chang E.C., Conductor and ensemble performance expressivity and state festival ratings, Journal of Research in Music Education, 53, pp. 66-77, (2005); Radocy R.E., Effects of authority figure biases on changing judgments of musical events, Journal of Research in Music Education, 24, pp. 119-128, (1976); Rickels D.A., A multivariate analysis of nonperformance variables as predictors of marching band contest results (Doctoral dissertation), Retrieved from Dissertations and Theses Database, (2009); Rohrer T.P., The debate on competition in music in the twentieth century, Update: Applications of Research in Music Education, 21, 1, pp. 38-47, (2002); Saunders T.C., Holahan J.M., Criteria-specific rating scales in the evaluation of high school instrumental performance, Journal of Research in Music Education, 45, pp. 259-272, (1997); Silver N.C., Dunlap W.P., Averaging correlation coefficients: Should Fischer's z transformation by used?, Journal of Applied Psychology, 72, pp. 146-148, (1987); Silvey B.A., The effects of band labels on evaluators' judgments of musical performance, Update: Applications of Research in Music Education, 28, 1, pp. 47-52, (2009); SCBDA Handbook Author. South Carolina Department of Education. (2010). Quick Facts: Education of South Carolina, (2009); Stamer R.A., Changes in choral student perceptions of the music contest experience, Update: Applications of Research in Music Education, 25, 1, pp. 46-55, (2006); Stemler S.E., A comparison of consensus, consistency, and measurement approaches to estimating interrater reliability, Practical Assessment, (2004); Sullivan T.M., Factors influencing participation of Arizona high school marching bands in regional and state festivals (Doctorial dissertation), Retrieved from Dissertations and Theses Database, (2003); Constitution and Contest Rules, (2010); Vanweelden K., McGee I.R., The influence of music style and conductor race on perceptions of ensemble and conductor performance, International Journal of Music Education, 25, pp. 7-17, (2007); Williams J., Who Would Have Guesses That the Race Would Look Like This?, (2009); Winter N., Music performance assessment: A study of the effects of training and experience on the criteria used by music examiners, International Journal of Music Education, 22, pp. 34-39, (1993); Yarbrough C., Orman E.K., Neill S., Time usage by choral directors prior to sightsinging adjudication, Update: Applications of Research in Music Education, 25, 1, pp. 27-35, (2007)","P.M. Hash; Calvin College, Grand Rapids, MI 49546, 3201 Burton SE, United States; email: pmh3@calvin.edu","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84858677287"
"Paney A.S.; Buonviri N.O.","Paney, Andrew S. (56112696900); Buonviri, Nathan O. (56112546500)","56112696900; 56112546500","Teaching melodic dictation in advanced placement music theory","2014","Journal of Research in Music Education","61","4","","396","414","18","21","10.1177/0022429413508411","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84898459965&doi=10.1177%2f0022429413508411&partnerID=40&md5=084b82371eb381ef20f467fc9eb472d7","University of Mississippi, 164 Music Building, University, MS 38677., United States; Temple University, Philadelphia, PA, United States","Paney A.S., University of Mississippi, 164 Music Building, University, MS 38677., United States; Buonviri N.O., Temple University, Philadelphia, PA, United States","This study approaches to teaching melodic dictation skills of Advanced Placement (AP) Music Theory were examined. Twelve high school teachers from four states were interviewed. Four themes emerged from the interview transcripts: cognitive frameworks, processing strategies, rhythm, and course design. Participants generally confirmed established understandings of aural skills pedagogy, particularly in areas of pattern instruction, connecting aural and written theory, connecting sight-singing and dictation, incorporating scale degree function, targeting melodic ""bookends,"" focusing on the big picture, sequencing curricula, and incorporating familiar melodies. Unique to the findings of this study were participants' positive attitudes toward a standardized test and their concern for the students' psychological barriers inherent in learning aural skills. A general indifference to rhythm counting systems and a common acknowledgment of students' difficulties with rhythmic notation also was found. Recommendations for further research include a large-scale survey of melodic dictation strategies taught by AP Music Theory teachers, empirical investigation of the efficacy of specific counting systems, comparison of students' reported dictation strategies and their success with dictation on the AP exam, and exploration of the influence of psychological fortitude on the dictation process. © 2013 National Association for Music Education.","aural skills pedagogy; melodic dictation; music theory","","","","","","","","Abeles H., Are musical instrument gender associations changing?, Journal of Research in Music Education, 57, pp. 127-139, (2009); Allsup R.E., Popular music and classical musicians: Strategies and perspectives, Music Educators Journal, 97, 3, pp. 30-34, (2011); Campbell P.S., Connell C., Beegle A., Adolescents' expressed meanings of music in and out of school, Journal of Research in Music Education, 55, pp. 220-236, (2007); Cizek G.J., The place of psychometricians' beliefs in educational reform: A rejoinder to Shepard, Educational Researcher, 22, 4, pp. 14-15, (1993); AP: Music Theory, (2011); Student Score Distributions, (2011); AP Course Ledger, (2012); AP Music Theory Exam, (2012); Finlay L., Debating phenomenological research methods, Phenomenology and Practice, 3, 1, pp. 6-25, (2009); Foulkes-Levy L., Tonal markers, melodic patterns, and musicianship training, Part I: Rhythm reduction, Journal of Music Theory Pedagogy, 11, pp. 1-24, (1997); Foulkes-Levy L., Tonal markers, melodic patterns, and musicianship training, Part II: Contour reduction, Journal of Music Theory Pedagogy, 12, pp. 1-24, (1998); Gordon E.E., Learning Sequences in Music: A Contemporary Music Learning Theory, (2007); Hoffman R., Pelto W., White J.W., Takadimi: A beat-oriented system of rhythm pedagogy, Journal of Music Theory Pedagogy, 10, pp. 7-30, (1996); Karpinski G.S., A model for music perception and its implications in melodic dictation, Journal of Music Theory Pedagogy, 4, 2, pp. 191-229, (1990); Karpinski G.S., Aural Skills Acquisition: The Development of Listening, Reading, and Performing Skills in College-level Musicians, (2000); Klonoski E., Improving dictation as an aural-skills instructional tool, Music Educators Journal, 93, 1, pp. 54-59, (2006); Lincoln Y.S., Guba E.G., Naturalistic Inquiry, (1985); MacLin J.P., The effect of task analysis on sequential patterns of music instruction, Journal of Research in Music Education, 41, pp. 48-56, (1993); Madsen C.K., Staum M.J., Discrimination and interference in the recall of melodic stimuli, Journal of Research in Music Education, 31, pp. 15-31, (1983); Margulis E.H., A model of melodic expectation, Music Perception, 22, pp. 663-714, (2005); McClung A.C., Sight-singing systems: Current practice and survey of all-state choristers, Update: Applications of Research in Music Education, 20, 1, pp. 3-8, (2001); Mikumo M., Motor encoding strategy for pitches of melodies, Music Perception, 12, pp. 175-197, (1994); Mintrop H., Sunderman G.L., Predictable failure of federal sanctions-driven accountability for school improvement - And why we may retain it anyway, Educational Researcher, 38, pp. 353-364, (2009); Moustakas C.E., Phenomenological Research Methods, (1994); National Association of Schools of Music Handbook 2011-2012, (2012); Oura Y., Constructing a representation of a melody: Transforming melodic segments into reduced pitch patterns operated on by modifiers, Music Perception, 9, pp. 251-265, (1991); Patton M.Q., Qualitative Research and Evaluation Methods, (2002); Pembrook R.G., The effect of vocalization on melodic memory conservation, Journal of Research in Music Education, 35, pp. 155-169, (1987); Povel D., Jansen E., Perceptual mechanisms in music processing, Music Perception, 19, pp. 169-198, (2001); Potter G., Identifying successful dictation strategies, Journal of Music Theory Pedagogy, 4, pp. 63-71, (1990); Rinck M., Denis M., The metrics of spatial distance traversed during mental imagery, Journal of Experimental Psychology: Learning, Memory, and Cognition, 30, pp. 1211-1218, (2004); Rogers M.R., Teaching Approaches in Music Theory: An Overview of Pedagogical Philosophies, (2004); Shepard L., Psychometricians' beliefs about learning, Educational Researcher, 20, 7, pp. 2-16, (1991); Suldo S.M., Riley K.N., Shaffer E.J., Academic correlates of children and adolescents' life satisfaction, School Psychology International, 27, pp. 567-582, (2006); Telesco P., Contextual ear training, Journal of Music Theory Pedagogy, 5, pp. 179-190, (1991); Thompson K.A., Thinking in sound: A qualitative study of metaphors for pitch perception, Journal of Music Theory Pedagogy, 18, pp. 81-108, (2004); Yarbrough C., Sequencing musical tasks: The teaching artistry of Robert Shaw, Update: Applications of Research in Music Education, 20, 1, pp. 3-8, (2002)","A.S. Paney; University of Mississippi, 164 Music Building, University, MS 38677., United States; email: apaney@olemiss.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84898459965"
"Rauduvaite A.","Rauduvaite, Asta (36712413000)","36712413000","The increasing effectiveness of musical education by popular music; [Muzikinio ugdymo stiprinimas populiariąja muzika]","2013","Pedagogika","110","","","87","95","8","2","10.15823/p.2013.1823","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84887648238&doi=10.15823%2fp.2013.1823&partnerID=40&md5=d04b906abdeabca02799f1c8ecf614a7","Lietuvos edukologijos universitetas, Lithuania","Rauduvaite A., Lietuvos edukologijos universitetas, Lithuania","The article investigates the opportunities of musical education effectiveness increase by fostering attitudes of moral values for young schoolchildren by integrating a popular music. The attitudes of moral values are based on the context of pedagogical thoughts and theories of psychological development; following the research results the relations and opportunities of improvement of schoolchildren musical activities and attitudes of moral values are being discussed. The importance of values in the process of education is obvious for most of the education policy-makers and practicians of different countries. The attitudes of values are a priority goal in strategic documents and respond new challenges for education, i.e. rapid changes of country's social and economical areas as well as growing opportunities for implementing educational innovations. Therefore, while raising educational goals, it is important to consider all the factors which could influence them, as well as maintain a schoolchild's relation with the perceived reality. In this context primary musical education with it's attractive forms of activities while integrating popular music, could contribute to the development for the integral educational process of a schoolchild's attitudes of moral values, competences, knowledge and perception. The relevance of the issue is young schoolchildren interest in popular music and controversial attitudes towards it's influence. Looking to modern personal and professional ambitions, considering the attractiveness of popular music, which corresponds the demands of schoolchildren, the problem of modern music pedagogy is young children's education of attitudes of moral values by actively integrating a popular music. The analysis of scientific literature reveals that popular music is a distinctive sociocultural factor, a source of internal force expression; therefore, it's involvement to the process of education could satisfy the demands of schoolchildren self-expression and self-education, stimulates it's value based importance. Thus, in the context of pedagogical thoughts and theories of psychological development, the effectiveness of musical education could be increased in the following way: an introductory teacher's speech, to familiarize schoolchildren with the perception of music composition / musical activity→an identification of music intonations, an experience of music→an outline of musical experience by telling a perceived personal meaning→modelling of virtual situation of moral content→decision making→evaluation→an appropriate perception and etc. These are the factors that positively enhance a schoolchild's maturity of musical and value based perception. The research results reveal that a method of personal meaning is accepted and efficient for education of attitudes of moral values by popular music of young schoolchildren. The application of the idea of personal meaningfulness for primary musical education, stimulates a child's reflections and perception of relation between spiritual feelings and thoughts. A method of personal meaning reveals not only an individuality of knowledge, but also a perceivers position, his axiological attitude.","Attitudes of moral values; Popular music; Value based education","","","","","","","","Aramaviciute V., Auklėjimas Ir Dvasinė Asmenybės Branda, (2005); Aramaviciute V., Martisauskiene E., Vertybiu{ogonek} ugdymas - pedagoginiu{ogonek} kompetenciju{ogonek} pamatas, Pedagogika, 84, pp. 33-37, (2006); Bakutyte R., Pradiniu{ogonek} Klasiu{ogonek} Mokiniu{ogonek} Humaniškumo Ugdymas, (2001); Balcytis E., Muzikinio Ugdymo Labirintais, (2012); Barkauskaite M., Suaugusiu{ogonek}ju{ogonek} Pedagogikos Gairės, (2006); Bitinas B., Hodegetika, (2004); Bitinas B., Ugdymo Filosofija, (2000); Boal-Palheiros G.M., Hargreaves D.J., Listening to music at home and at school, British Journal of Music Education, 18, 2, pp. 103-118, (2001); Butkiene G., Kepalaite A., Mokymasis Ir Asmenybės Brendimas, (1996); Campbell P.S., Unsafe suppositions? Cutting across cultures on questions of music's transmission, Music Education Research, 3, 2, pp. 215-226, (2001); Davidson L., Scripp L., Young children's musical representations: Windows on music cognition, Generative Processes In Music, pp. 195-230, (2000); Davis S.G., Blair D.V., Popular Music in American teacher education: A glimpse into a secondary methods course, International Journal of Music Education, 29, 2, pp. 124-140, (2011); Girdzijauskas A., Muzikos Klausymo Metodai, (2012); Green L., Popular music education in and for itself, and for ""other' music: Current research in the classroom, International Journal of Music Education, 24, 2, pp. 101-118, (2006); Joniliene M., Vaiko doriniu{ogonek} vaizdiniu{ogonek} ir juos lydinčiu{ogonek} išgyvenimu{ogonek} ypatumai, Pedagogika, 92, pp. 103-109, (2008); Martisauskiene E., Tavoras V., Mokytoju{ogonek} vertybinės orientacijos kaip ju{ogonek} meninės individualybės formavimosi veiksnys, Acta Paedagogica Vilnensia, 28, pp. 73-82, (2012); Navickiene L., Emocinio Imitavimo Metodas Muzikos Pamokoje, (2005); Piaget J., Vaiko Kalba Ir Ma{ogonek}stymas, (2002); Piliciauskas A., Muzikos Pažinimas. 2-oji Knyga. Stadijos, Rezultatai Ir Reikšmė, (1998); Rogers C.R., Freedom to Learn, (1969); Sakadolskiene E., Muzikos Kūrinys, Kaip Vaizdinys: Priemonė Muzikos Klausymuisi, (2012); Sprinthall N.A., Sprinthall R.C., Educational Psycholog Y, pp. 174-181, (1990); Swanwick K., Musical development Theories Revisited, Music Education Research, 3, 2, pp. 227-242, (2001); Velicka E., Garsu{ogonek} Ir Tylos Paslaptys, (1995); Vitkauskas R., Abramauskiene J., Barisas K., Kirliauskiene R., Tarnauskaite-Palubinskiene V., Bendrasis Muzikinis Ugdymas Lietuvoje, (2012)","","","Vytautas Magnus University","","","","","","13920340","","","","English","Pedagogika","Article","Final","All Open Access; Gold Open Access","Scopus","2-s2.0-84887648238"
"Carter C.E.; Grahn J.A.","Carter, Christine E. (57198467064); Grahn, Jessica A. (13407386100)","57198467064; 13407386100","Optimizing music learning: Exploring how blocked and interleaved practice schedules affect advanced performance","2016","Frontiers in Psychology","7","AUG","01251","","","","27","10.3389/fpsyg.2016.01251","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84988664154&doi=10.3389%2ffpsyg.2016.01251&partnerID=40&md5=ac2b317a094f0c2b5bc41d1ac809912e","School of Music, Memorial University of Newfoundland, St. John's, NL, Canada; Department of Psychology, Western University, London, ON, Canada","Carter C.E., School of Music, Memorial University of Newfoundland, St. John's, NL, Canada; Grahn J.A., Department of Psychology, Western University, London, ON, Canada","Repetition is the most commonly used practice strategy by musicians. Although blocks of repetition continue to be suggested in the pedagogical literature, work in the field of cognitive psychology suggests that repeated events receive less processing, thereby reducing the potential for long-term learning. Motor skill learning and sport psychology research offer an alternative. Instead of using a blocked practice schedule, with practice completed on one task before moving on to the next task, an interleaved schedule can be used, in which practice is frequently alternated between tasks. This frequent alternation involves more effortful processing, resulting in increased long-term learning. The finding that practicing in an interleaved schedule leads to better retention than practicing in a blocked schedule has been labeled the ""contextual interference effect."" While the effect has been observed across a wide variety of fields, few studies have researched this phenomenon in a music-learning context, despite the broad potential for application to music practice. This study compared the effects of blocked and interleaved practice schedules on advanced clarinet performance in an ecologically valid context. Ten clarinetists were given one concerto exposition and one technical excerpt to practice in a blocked schedule (12 min per piece) and a second concerto exposition and technical excerpt to practice in an interleaved schedule (3 min per piece, alternating until a total of 12 min of practice were completed on each piece). Participants sight-read the four pieces prior to practice and performed them at the end of practice and again one day later. The sight-reading and two performance run-throughs of each piece were recorded and given to three professional clarinetists to rate using a percentage scale. Overall, whenever there was a ratings difference between the conditions, pieces practiced in the interleaved schedule were rated better than those in the blocked schedule, although results varied across raters. Participant questionnaires also revealed that the interleaved practice schedule had positive effects on factors such as goal setting, focus, and mistake identification. Taken together, these results suggest that an interleaved practice schedule may be a more effective practice strategy than continuous repetition in a music-learning context. © 2016 Carter and Grahn.","Contextual interference effect; Learning; Performance; Practice; Training","","","","","","; ","","Barreiros J., Figueiredo T., Godinho M., The contextual interference effect in applied settings, Eur. Phy. Educ. Rev, 13, pp. 195-208, (2007); Barry N.H., The effects of practice strategies, individual differences in cognitive style, and gender upon technical accuracy and Musicality of Student Instrumental Performance, Psychol. Music, 20, pp. 112-123, (1992); Barry N.H., A qualitative study of applied music lessons and subsequent student practice sessions, Contrib. Music Educ, 34, pp. 51-65, (2007); Battig W.F., Facilitation and interference, Acquisition of Skill, pp. 215-244, (1966); Bjork R.A., Memory and metamemory considerations in the training of human beings, Metacognition: Knowing about Knowing, pp. 185-205, (1994); Bjork R.A., Assessing our own competence: heuristics and illusions, Attention and Performance XVII. Cognitive Regulation of Performance: Interaction of Theory and Application, pp. 435-459, (1999); Fischer S., Repetition, Strad, 115, pp. 288-289, (2004); Guadagnoli M.A., Holcomb W.R., Weber T.J., The relationship between contextual interference effects and performer expertise on the learning of a putting task, J. Hum. Mov. Stud, 37, pp. 19-36, (1999); Hadcock P., The Working Clarinetist: Master Classes with Peter Hadcock, (1999); Hall K.G., Domingues D.A., Cavazos R.R., Contextual interference effects with skilled baseball players, Percept. Mot. Skills, 78, pp. 835-841, (1994); Hoppmann R.A., Patrone N.A., A review of musculoskeletal problems in instrumental musicians, Semin. Arthritis Rheum, 19, pp. 117-126, (1989); Jacoby L.L., On interpreting the effects of repetition: solving a problem versus remembering a solution, J. Verbal Learning Verbal Behav, 17, pp. 649-667, (1978); Kornell N., Bjork R.A., Learning concepts and categories: is spacing the 'enemy of induction'?, Psychol. Sci, 19, pp. 585-592, (2008); Lee T.D., Simon D.A., Contextual interference, Skill Acquisition in Sport: Research, Theory, Practice, pp. 29-44, (2004); Lefevre J.-X., Metodo Per Clarinetto, (1967); Lowry R., Concepts and Applications of Inferential Statistics, (2013); Magill R.A., Hall K.G., A review of the contextual interference effect in motor skill acquisition, Hum. Mov. Sci, 9, pp. 241-289, (1990); Maslovat D., Chua R., Lee T.D., Franks I.M., Contextual interference: single task versus multi-task learning, Motor Control, 8, pp. 213-233, (2004); Porter J.M., Landin D., Hebert E.P., Baum B., The effects of three levels of contextual interference on performance outcomes and movement patterns in golf skills, Int. J. Sports Sci. Coach, 22, pp. 243-255, (2007); Porter J.M., Magill R.A., Systematically increasing contextual interference is beneficial for learning sport skills, J. Sports Sci, 28, pp. 1277-1285, (2010); Rohwer D., Polk J., Practice behaviors of eighth-grade instrumental musicians, J. Res. Music Educ, 54, pp. 350-362, (2006); Schmidt R.A., Bjork R.A., New conceptualizations of practice: common principles in three paradigms suggest new concepts for training, Psychol. Sci, 3, pp. 207-217, (1992); Shea C.H., Kohl R., Indermill C., Contextual interference: contributions of practice, Acta Psychol, 73, pp. 145-157, (1990); Shea J.B., Morgan R.L., Contextual interference effects on the acquisition, retention, and transfer of a motor skill, J. Exp. Psychol, 5, pp. 179-187, (1979); Smith P.J.K., Applying contextual interference to snowboarding skills, Percept. Mot. Skills, 95, pp. 999-1005, (2002); Stambaugh L.A., When repetition isn't the best practice strategy: examining differing levels of contextual interference during practice,, Proceedings of the International Symposium on Performance Science, pp. 567-572, (2009); Stambaugh L.A., Repetition and judgement of learning in wind instrument practice,, Proceedings of the International Symposium on Performance Science, pp. 431-436, (2011); Stambaugh L.A., When repetition isn't the best practice strategy: effects of blocked and random practice schedules, J. Res. Music Educ, 54, pp. 368-383, (2011); Stambaugh L.A., Demorest S.M., Effects of practice schedule on wind instrument performance: a preliminary application of a motor learning principle, Update Appl. Res. Music Educ, 28, pp. 20-28, (2010); Stamitz K., Konzert für Klarinettte und Orchester in Es-Dur (""Darmstädter Konzert""), (1956); Stamitz K., Konzert für Klarinettte und Orchester in F-Dur, (1970); Ste-Marie D.M., Clark S.E., Findlay L.C., Latimer A.E., High levels of contextual interference enhance handwriting skill acquisition, J. Mot. Behav, 36, pp. 115-126, (2004); Tatton T., Effective practice techniques, Am. String Teach, 47, pp. 57-61, (1997); Taylor K., Rohrer D., The effects of interleaved practice, Appl. Cogn. Psychol, 24, pp. 837-848, (2010); Thompson S., Williamon A., Evaluating evaluation: musical performance assessment as a research tool, Music Percept, 21, pp. 21-41, (2003); West J., Repetition, Repetition, Repetition, Int. Trumpet Guild J, 27, pp. 52-53, (2003); Williams J., Applied Sport Psychology: Personal Growth to Peak Performance, (2006); Wrisberg C.A., A field test of contextual variety during skill acquisition, J. Teach. Phys. Educ, 11, pp. 21-30, (1991)","C.E. Carter; School of Music, Memorial University of Newfoundland, St. John's, Canada; email: christinec@mun.ca","","Frontiers Research Foundation","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-84988664154"
"Pérez-Gil M.; Tejada J.; Morant R.; Pérez-González De Martos A.","Pérez-Gil, Manuel (57191475396); Tejada, Jesús (57194530988); Morant, Remigi (56038637300); Pérez-González De Martos, Alejandro (55535904600)","57191475396; 57194530988; 56038637300; 55535904600","Cantus: Construction and evaluation of a software solution for real-time vocal music training and musical intonation assessment","2016","Journal of Music, Technology and Education","9","2","","125","144","19","23","10.1386/jmte.9.2.125_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84990833522&doi=10.1386%2fjmte.9.2.125_1&partnerID=40&md5=a11afeb5a70f82796d3ee13a691609da","Departament de Didàctica de l’Expressió Musical, Universitat de València, Facultat de Magisteri, Avda, dels Tarongers, 4, València, 46022, Spain; Machine Learning and Language Processing Group, Universitat Politècnica de València, Edifici 1F (DSIC), Camí de Vera, s/n, València, 46022, Spain","Pérez-Gil M., Departament de Didàctica de l’Expressió Musical, Universitat de València, Facultat de Magisteri, Avda, dels Tarongers, 4, València, 46022, Spain; Tejada J., Departament de Didàctica de l’Expressió Musical, Universitat de València, Facultat de Magisteri, Avda, dels Tarongers, 4, València, 46022, Spain; Morant R., Departament de Didàctica de l’Expressió Musical, Universitat de València, Facultat de Magisteri, Avda, dels Tarongers, 4, València, 46022, Spain; Pérez-González De Martos A., Machine Learning and Language Processing Group, Universitat Politècnica de València, Edifici 1F (DSIC), Camí de Vera, s/n, València, 46022, Spain","The development of the ability to sing or play in tune is one of the most critical tasks in music training. In music education, melodic patterns are usually learned by imitative processes (modelling). Once modelled, pitch sounds are then associated to a representation according to a syllabic system such as the Guidonian system – or an arbitrary single syllable – or western graphic notation system symbols. From a didactic standpoint, few advances have been made in this area besides the use of audio-supported guides and existing software, which use a microphone to analyse the input and estimate the pitch or fundamental frequency of the given tone. However, these programmes lack the necessary analytical algorithm to provide the student with precise feedback on their execution; and also they do not provide adequate noise-robust solutions to minimize the student assessment error rate. The ongoing research discussed in this article focuses on Cantus, a new software solution expressly designed as an assessment and diagnosis tool for online training and assessment of vocal musical intonation at the initial stages of music education. Cantus software embodies the latest research on real-time analysis of audio stream, which permits the teacher to customize music training by means of recording patterns and embedding them into the programme. The study presented in this article includes the design, implementation and assessment of Cantus by music teachers. The pilot study for the software assessment includes a sample of 21 music teachers working at thirteen music schools in Valencia, Spain. These teachers worked with the software at their own pace for a week in order to evaluate it. Subsequently, a two-part questionnaire was filled in with (1) questions related to demographics, professional experience and the use of ITC; and (2) questions related to the software’s technical and didactic aspects. The question-naire also included three open questions related to Cantus, namely advantages, issues and suggestions. The results show an excellent reception by teachers, who consider this software as a highly adequate music training tool at the initial stages of music education. © 2016 Intellect Ltd Article.","Music education; Music technology; Musical intonation; Sight-singing; Software design; Voice recognition","","","","","","","","Anvari S., Trainor L., Woodside J., Levy B., Relations among musical skills, phonological processing and early reading ability in preschool children, Journal of Experimental Child Psychology, 83, 2, pp. 111-130, (2002); Bamberger J., The Mind behind the Musical Ear: How Children Develop Musical Intelligence, (1991); Bandura A., Social Foundations of Thought and Action: A Social Cognitive Theory, (1986); Bengtsson S., Ullen F., Dissociation between melodic and rhythmic processing during piano performance from musical scores, Neuroimage, 30, 1, pp. 272-284, (2006); Boyle J., Lucas K., The effect of context on sight singing, Bulletin of the Council for Research in Music Education, 106, pp. 1-9, (1990); Cassidy J., Effects of various sight-singing strategies on non-music majors’ pitch accuracy, Journal of Research in Music Education, 41, 4, pp. 293-302, (1993); Chevais M., L’ éducation musicale de l’enfance, Vol. 3: Méthode Active Et directe/‘Music Education in the Childhood, Vol. 3: Direct and Active method’, (1941); De Cheveigne A., Kawahara H., YIN, a fundamental frequency estimator for speech and music, The Journal of the Acoustical Society of America, 111, 4, pp. 1917-1930, (2002); Colvin R., Lyons C., Graphics for Learning: Proven Guidelines for Planning, Designing, and Evaluating Visuals in Training Materials, (2010); Colvin R., Mayer R., E-Learning and the Science of Instruction: Proven Guidelines for Consumers and Designers of Multimedia Learning, (2011); Daniel K., Kodály Approach, (1979); Daniels R., Relationships among selected factors and the sight-reading ability of high school mixed choirs, Journal of Research in Music Education, 34, 4, pp. 279-289, (1986); Demorest S., Factors influencing the pitch matching of junior high boys, Journal of Research in Music Education, 55, pp. 190-203, (2007); Demorest S., Biological and environmental factors in music cognition and lear-ning, MENC Handbook of Research on Music Learning, pp. 173-215, (2011); Fasanaro A., Spitaleri D., Valiani R., Grossi D., Dissociation in musical reading: A musician affected by alexia without agraphia, Music Perception, 7, 3, pp. 259-272, (1990); Fine P., Berry A., Rosner B., The effect of pattern recognition and tonal predictability on sight-singing ability, Psychology of Music, 34, 4, pp. 431-447, (2006); Galera M., Tejada J., Lectura musical y procesos cognitivos implicados’/’Music reading: Some of its cognitive processes, Revista Electrónica De LEEME, 29, pp. 56-82, (2012); Galera M., Tejada J., Trigo E., Music notation software as a means to facilitate the study of singing musical scores, Electronic Journal of Research in Educational Psychology, 11, 1, pp. 215-238, (2013); Galyen S., Sight-reading ability in wind and percussion students: A review of recent literature, Update Applications of Research in Music Education, 24, 1, pp. 57-70, (2005); Goolsby T., Eye movement in music reading: Effects of reading ability, notational complexity, and encounters, Music Perception, 12, 1, pp. 77-96, (1994); Gordon E., A Music Learning Theory for Newborn and Young Children, (2003); Green G., The effect of vocal modelling on pitch-matching accuracy of elementary school children, Journal of Research in Music Education, 38, 3, pp. 225-231, (1990); Gromko J., Predictors of music sight-reading ability in high school wind players, Journal of Research in Music Education, 52, 1, pp. 6-15, (2004); Hermanson L., An Investigation of the Effects of Timber on Simulta-Neous Vocal Pitch Acuity of Young Children, (1972); Hodges A., Nolker B., The acquisition of music reading skills, MENC Handbook of Research on Music Learning, pp. 61-91, (2011); Hoppe D., Sadakata M., Desain P., Development of real-time visual feedback assistance in singing training: A review, Journal of Computer Assisted Learning, 22, 4, pp. 308-316, (2006); Howard D., Welch G., Brereton J., Himonides E., Towards a novel real-time visual display for singing training, Proceedings of the Models and Analysis of Vocal Emissions for Biomedical Applications 3Rd International Workshop, pp. 179-182, (2003); Howard D.M., Williams J., Brereton J., Welch G.F., Himonides E., Howard A., Decosta M., A mirror for sound: Introduction and practical exploration of the WinSingad software for teaching singing, Abstracts of the 3Rd International Conference on the Physiology and Acoustics of Singing, PAS3, (2006); Howard D., Brereton J., Welch G., Himonides E., Decosta M., Williams J., Howard A., Are real-time displays of benefit in the singing studio? 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Music Technol. Educ.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-84990833522"
"Hash P.M.","Hash, Phillip M. (26034045600)","26034045600","An analysis of middle/high school band and orchestra festival ratings","2013","Journal of Band Research","49","1","","1","20","19","9","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84890062495&partnerID=40&md5=7905e550d293beffbb518c3440143099","Department of Music Education, Calvin College in Grand Rapids, MI, United States","Hash P.M., Department of Music Education, Calvin College in Grand Rapids, MI, United States","The purpose of this study was to compare festival ratings among multiple instrumental ensemble types (bands and orchestras), grade levels (middle school and high school), and classifications (1-6). Data included individual and final ratings from 144 judges (108 concert- performance, 36 sight-reading) at 36 contest sites sponsored by the Virginia Band and Orchestra Directors Association (VBODA) in 2010. Research questions examined the distribution, reliability, and group differences of ratings by ensemble type (band vs. orchestra), age level (middle school vs. high school), and classification (1-6). The average final rating was 1.58 (SD = .66) and 91.5% (n = 901) of ensembles (N= 985) earned either a I/Superior or II/Excellent out of five possible ratings. Data indicated a high level of interrater reliability regardless of contest site, ensemble type, age level, or classification. Although final ratings differed significantly by age (middle school bands vs. high school bands), ensemble type (middle school bands vs. middle school orchestras), and classification (lower vs. higher), these results were probably due to performance quality rather than adjudicator bias, since interrater reliability remained consistent regardless of these variables. Findings from this study suggested a number of opportunities for increasing participation and revising contest procedures in festivals sponsored by the VBODA and other organizations.","","","","","","","","","Adler S.A., Clark R., How It's Done: An Invitation to Social Research, (2008); Austin J.R., The effect of music contest format on self-concept, motivation, achievement, and attitude of elementary band students, Journal of Research in Music Education, 36, pp. 95-107, (1988); Baker V., The Effect of Repertoire Selection on University Interscholastic League Choral Concert Ratings, (2004); Barnes G.V., McCashin R., Practices and procedures in state adjudicated orchestra festivals, Update: Applications of Research in Music Education, 23, 2, pp. 34-41, (2005); Batey A.L., Take the terror out of adjudication, Teaching Music, 10, pp. 40-46, (2002); Bergee M.J., Faculty interjudge reliability of music performance evaluation, Journal of Research in Music Education, 51, pp. 137-150, (2003); Bergee M.J., Performer, rater, occasion, and sequence as sources of variability in music performance assessment, Journal of Research in Music Education, 55, pp. 344-358, (2007); Bergee M.J., McWhirter J.L., Selected influences on solo and small-ensemble festival ratings: Replication and extension, Journal of Research in Music Education, 53, pp. 177-190, (2005); Bergee M.J., Piatt M.C., Influence of selected variables on solo and small- ensemble festival ratings, Journal of Research in Music Education, 51, pp. 34-353, (2003); Bergee M.J., Westfall C.R., Stability of a model explaining selected extramusical influences on solo and small-ensemble festival ratings, Journal of Research in Music Education, 53, pp. 358-374, (2005); Boeckman J., Grade inflation in band contest ratings: A trend study, Journal of Band Research, 38, 1, pp. 25-36, (2002); Boyle J.D., Program evaluation for secondary school music programs, NASSP Bulletin, 76, 544, pp. 63-68, (1992); Brakel T.D., Inter-judge reliability of the indiana state school music association high school instrumental festival, Journal of Band Research, 42, 1, pp. 59-69, (2006); Burnsed V., Hinkle D., King S., Performance evaluation reliability at selected concert festivals, Journal of Band Research, 27, 1, pp. 22-29, (1985); Carmines E.G., Zeller R.A., Reliability and Validity Assessment, (1979); Cassidy J.W., Sims W.L., Effects of special education labels on peers' and adults' evaluations of a handicapped youth choir, Journal of Research in Music Education, 39, pp. 23-34, (1991); Cavitt M.E., Effects of Expectations on Evaluators' Judgments of Music Performance, (1997); Cavitt M.E., Differential Expectation Effects as Factors in Evaluations and Feedback of Musical Performance, (2002); Ciorba C.R., Smith N.Y., Juries using a multidimensional assessment rubric measurement of instrumental and vocal undergraduate performance juries, Journal of Research in Music Education, 57, pp. 5-15, (2009); Conrad D., Judging the judges: Improving rater reliability at music contests, NFHS Music Association Journal, 20, 2, pp. 27-31, (2003); Elliott C.A., Race and gender as factors in judgments of musical performance, Bulletin of the Council for Research in Music Education, 127, pp. 50-55, (1995); Ellis M.C., An analysis of taped comments from a high school jazz band festival, Contributions to Music Education, 34, pp. 35-49, (2007); Fiske H.E., Judge-group differences in the rating of secondary school trumpet performances, Journal of Research in Music Education, 23, pp. 186-189, (1975); Fiske H.E., Judging musical performance: Method or madness?, Update: Applications of Research in Music Education, 7, 3, pp. 7-10, (1983); Flores R.G., Ginsburgh V.A., The queen elisabeth musical competition: How fair is the final ranking?, The Statistician, 45, 1, pp. 97-104, (1996); Forbes G.W., Evaluative music festivals and contests-are they fair?, Update: Applications of Research in Music Education, 12, 2, pp. 16-20, (1994); Freelon D., ReCal: Reliability Calculation for the Masses [Online Calculator], (2009); Garman B.R., Boyle J.D., DeCarbo N.J., Orchestra festival evaluations: Interjudge agreement and relationships between performance categories and final ratings, Research Perspectives in Music Education, pp. 19-24, (1991); Hash P.M., Interrater reliability of high school band contest ratings in south carolina, Journal of Research in Music Education; Hunter D., Russ M., Peer assessment in performance studies, British Journal of Music Education, 13, pp. 67-78, (1996); Constitution & Bylaws, Adjudicator Rules, Comment Sheet Samples, (2010); Indiana Band Director Mentoring Project, (2011); Killian J.N., Characteristics of Successful Choirs in A Contest Setting, pp. 39-43, (1998); Killian J., Music Selection of Successful Choirs at UIL and Non-UIL Contests, pp. 51-56, (1999); Killian J., Effect of Music Selection on Contest Ratings: Year Three of A Continuing Study, (2000); King S.E., Burnsed V., A study of the reliability of adjudicator ratings at the 2005 virginia band and orchestra directors association state marching band festivals, Journal of Band Research, 45, 1, pp. 27-32, (2009); Kinney D.W., Internal consistency of performance evaluations as a function of music expertise and excerpt familiarity, Journal of Research in Music Education, 56, pp. 322-337, (2009); Kripendorff K., Content Analysis: An Introduction to Its Methodology, (2004); Latimer M.E., Bergee M.J., Cohen M.L., Performance assessment rubric reliability and perceived pedagogical utility of a weighted music performance assessment rubric, Journal of Research in Music Education, 58, pp. 168-183, (2010); Evaluating Teacher Effectiveness: Emerging Trends Reflected in the State Phase 1 Race to the Top Applications, (2010); McPherson G.E., Thompson W.F., Assessing music performance: Issues and influences, Research Studies in Music Education, 10, pp. 12-24, (1998); Morrison S.J., Price H.E., Geiger C.G., Coraacchio R.A., The effect of conductor expressivity on ensemble performance evaluation, Journal of Research in Music Education, 57, pp. 37-49, (2009); Concert Band Or Orchestra - Music Assessment Form; Norris C.E., Borst J.D., An examination of the reliabilities of two choral festival adjudication forms, Journal of Research in Music Education, 55, pp. 237-251, (2007); Orman E.K., Yarbrough C., Neill S., Whitaker J.A., Time usage of middle and high school band directors in sight-reading adjudication, Update: Applications of Research in Music Education, 25, 2, pp. 36-46, (2007); Phillips K.H., Exploring Research in Music Education and Music Therapy, (2008); Presley D., The Mentor Project; Price H.E., Chang E.C., Conductor and ensemble performance expressivity and state festival ratings, Journal of Research in Music Education, 53, pp. 66-77, (2005); Rickles D.A., A Multivariate Analysis of Nonperformance Variables as Predictors of Marching Band Contest Results, (2009); Rohrer T.P., The debate on competition in music in the twentieth century, Update: Applications of Research in Music Education, 27, 1, (2002); Silvey B.A., The effects of band labels on evaluators' judgments of musical performance, Update: Applications of Research in Music Education, 28, 1, pp. 47-52, (2009); Stamer R.A., Choral student perceptions of the music contest experience, Update: Application of Research in Music Education, 22, 2, pp. 5-12, (2004); Stamer R.A., Changes in choral student perceptions of the music contest experience, Update: Applications of Research in Music Education, 25, 1, pp. 46-55, (2006); Sullivan T.M., Factors Influencing Participation of Arizona High School Marching Bands in Regional and State Festivals, (2003); VanWeelden K., McGee I.R., The influence of music style and conductor race on perceptions of ensemble and conductor performance, International Journal of Music Education, 25, pp. 7-17, (2007); Winter N., Music performance assessment: A study of the effects of training and experience on the criteria used by music examiners, International Journal of Music Education, 22, pp. 34-39, (1993); Williams D.A., The elephant in the room, Music Educators Journal, 98, 1, pp. 51-57, (2011); Yarbrough C., Orman E.K., Neill S., Time usage by choral directors prior to sight- singing adjudication, Update: Applications of Research in Music Education, 25, 1, pp. 27-35, (2007)","","","","","","","","","00219207","","","","English","J. Band Res.","Article","Final","","Scopus","2-s2.0-84890062495"
"Meinz E.J.; Hambrick D.Z.","Meinz, Elizabeth J. (6602792826); Hambrick, David Z. (7004434399)","6602792826; 7004434399","Deliberate practice is necessary but not sufficient to explain individual differences in piano sight-reading skill: The role of working memory capacity","2010","Psychological Science","21","7","","914","919","5","162","10.1177/0956797610373933","https://www.scopus.com/inward/record.uri?eid=2-s2.0-77954829537&doi=10.1177%2f0956797610373933&partnerID=40&md5=47ef641647df82c3ad73844339416226","Department of Psychology, Southern Illinois University, Edwardsville, IL 62026-1121, Box 1121, United States; Michigan State University, United States","Meinz E.J., Department of Psychology, Southern Illinois University, Edwardsville, IL 62026-1121, Box 1121, United States; Hambrick D.Z., Michigan State University, United States","Deliberate practice-that is, engagement in activities specifically designed to improve performance in a domain-is strongly predictive of performance in domains such as music and sports. It has even been suggested that deliberate practice is sufficient to account for expert performance. Less clear is whether basic abilities, such as working memory capacity (WMC), add to the prediction of expert performance, above and beyond deliberate practice. In evaluating participants having a wide range of pianoplaying skill (novice to expert), we found that deliberate practice accounted for nearly half of the total variance in piano sightreading performance. However, there was an incremental positive effect of WMC, and there was no evidence that deliberate practice reduced this effect. Evidence indicates that WMC is highly general, stable, and heritable, and thus our results call into question the view that expert performance is solely a reflection of deliberate practice. © The Author(s) 2010.","Expertise; Individual differences; Music; Working memory","Adult; Female; Humans; Individuality; Male; Memory, Short-Term; Middle Aged; Music; Practice (Psychology); Psychomotor Performance; adult; article; female; human; individuality; learning; male; middle aged; music; physiology; psychological aspect; psychomotor performance; short term memory; music; physiology; psychology; psychomotor performance; short term memory","","","","","","","Berlin B., Markow A., Four Star Sight Reading and Ear Tests: Daily Exercises for Piano Students, (2002); Charness N., Tuffiash M., Krampe R.T., Reingold E., Vasyukova E., The role of deliberate practice in chess expertise, Applied Cognitive Psychology, 19, pp. 151-165, (2005); Cohen J., Statistical Power for the Behavioral Sciences, (1988); Engle R.W., Working memory capacity as executive attention, Current Directions in Psychological Science, 11, pp. 19-23, (2002); Ericsson K.A., Charness N., Expert performance: Its structure and acquisition, American Psychologist, 49, pp. 725-747, (1994); Ericsson K.A., Krampe R.T., Tesch-Romer C., The role of deliberate practice in the acquisition of expert performance, Psychological Review, 100, pp. 363-406, (1993); Ericsson K.A., Ward P., Capturing the naturally occurring superior performance of experts in the laboratory, Current Directions in Psychological Science, 16, pp. 346-350, (2007); Galton F., Hereditary Genius, (1869); Grabner R.H., Stern E., Neubauer A.C., Individual differences in chess expertise: A psychometric investigation, Acta Psychologica, 124, pp. 398-420, (2007); Hambrick D.Z., Engle R.W., Effects of domain knowledge, working memory capacity, and age on cognitive performance: An investigation of the knowledge-is-power hypothesis, Cognitive Psychology, 44, pp. 339-387, (2002); Hambrick D.Z., Oswald F.L., Does domain knowledge moderate involvement of working memory capacity in higher-level cognition? A test of three models, Journal of Memory and Language, 52, pp. 377-397, (2005); Howe M.J.A., Davidson J.W., Sloboda J.A., Innate talents: Reality or myth?, Behavioral & Brain Sciences, 21, pp. 399-442, (1998); Kane M.J., Hambrick D.Z., Tuholski S.W., Wilhelm O., Payne T.W., Engle R.W., The generality of working memory capacity: A latent-variable approach to verbal and visuospatial memory span and reasoning, Journal of Experimental Psychology: General, 133, pp. 189-217, (2004); Keith N., Ericsson K.A., A deliberate practice account of typing proficiency in everyday typists, Journal of Experimental Psychology: Applied, 13, pp. 135-145, (2007); Kopiez R., Lee J.I., Towards a dynamic model of skills involved in sight reading music, Music Education Research, 8, pp. 97-120, (2006); Kopiez R., Lee J.I., Towards a general model of skills involved in sight reading music, Music Education Research, 10, pp. 41-62, (2008); Krampe R.T., Ericsson K.A., Maintaining excellence: Deliberate practice and elite performance in younger and older pianists, Journal of Experimental Psychology: General, 125, pp. 331-359, (1996); Kremen W.S., Jacobsen K.C., Xian H., Eisen S.A., Eaves L.J., Tsuang M.T., Lyons M.J., Genetics of verbal working memory processes: A twin study of middle-aged men, Neuropsychology, 21, pp. 569-580, (2007); Lee Y., Lu M., Ko H., Effects of skill training on working memory capacity, Learning and Instruction, 17, pp. 336-344, (2007); Lehmann A.C., Ericsson K.A., Performance without preparation: Structure and acquisition of expert sight-reading and accompanying performance, Psychomusicology, 15, pp. 1-29, (1996); Polderman T.J.C., Stins J.F., Posthuma D., Gosso M.F., Verhulst F.C., Boomsma D.I., The phenotypic and genotypic relation between working memory speed and capacity, Intelligence, 34, pp. 549-560, (2006); Rayner K., Pollatsek A., Eye movements, the eye-hand span, and the perceptual span during sight-reading of music, Current Directions in Psychological Science, 6, pp. 49-53, (1997); Robbins T.W., Henderson E.J., Barker D.R., Bradley A.C., Fearneyhough C., Henson R., Et al., Working memory in chess, Memory & Cognition, 24, pp. 83-93, (1996); Roring R.W., Nandagopal K., Ericsson K.A., Can Parieto-Frontal Integration Theory be extended to account for individual differences in skilled and expert performance in everyday life?, Behavioral & Brain Sciences, 30, pp. 168-169, (2007); Ruthsatz J., Detterman D., Griscom W.S., Cirullo B.A., Becoming an expert in the musical domain: It takes more than just practice, Intelligence, 36, pp. 330-338, (2008); Salthouse T.A., Effects of age and skill in typing, Journal of Experimental Psychology: General, 13, pp. 345-371, (1984); Schellenberg E.G., Music lessons enhance IQ, Psychological Science, 15, pp. 511-514, (2004); Sloboda J.A., The eye-hand span: An approach to the study of sight reading, Psychology of Music, 2, pp. 4-10, (1974); Tuffiash M., Roring R.W., Ericsson K.A., Expert word play: Capturing and explaining reproducibly superior verbal task performance, Journal of Experimental Psychology: Applied, 13, pp. 124-134, (2007); Unsworth N., Heitz R.P., Schrock J.C., Engle R.W., An automated version of the operation span task, Behavior Research Methods, 37, pp. 498-505, (2005)","E. J. Meinz; Department of Psychology, Southern Illinois University, Edwardsville, IL 62026-1121, Box 1121, United States; email: emeinz@siue.edu","","","","","","","","14679280","","PSYSE","20534780","English","Psychol. Sci.","Article","Final","","Scopus","2-s2.0-77954829537"
"Reed D.; Reed B.S.","Reed, Darren (15060592400); Reed, B. Szczepek (25122027500)","15060592400; 25122027500","The emergence of learnables in music masterclasses","2014","Social Semiotics","24","4","","446","467","21","23","10.1080/10350330.2014.929391","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84904784073&doi=10.1080%2f10350330.2014.929391&partnerID=40&md5=5f90d2f137f2528e4f2cb4704a1c847f","Department of Sociology, University of York, York, United Kingdom; Department of Education, University of York, York, United Kingdom","Reed D., Department of Sociology, University of York, York, United Kingdom; Reed B.S., Department of Education, University of York, York, United Kingdom","In music masterclasses instruction is delivered in response to successive learners' performances, with masters having no recourse to lesson plans or other prepared materials. As a result, topics emerge discursively and spontaneously through interaction. In this paper we describe four ways in which masters develop matters for improvement (learnables). Masters may present learnables as being based on master expertise; on masters' direct displayed experience of the student's performance; on the elicited direct experience of the student-performer; or on the elicited direct experience of the audience. By using a conversation analytic approach, we detail the emergence of learnables in five recorded instances. © 2014 © 2014 Taylor & Francis.","conversation analysis; institutional interaction; music pedagogy","","","","","","University of York Pump Priming Fund","We would like to thank Live Music Now for their generosity in allowing us access to their masterclasses and the participants and organisers of those masterclasses for allowing us to record their sessions. We also gratefully acknowledge the support of the University of York Pump Priming Fund for this work. Finally we would like to thank the reviewers of the paper who made invaluable comments that greatly improved the analysis.","Ashmore M., Reed D., Innocence and Nostalgia in Conversation Analysis: The Dynamic Relations of Tape and Transcript, Forum Qualitative Sozialforschung/Forum: Qualitative Social Research, 1, 3, (2000); Blakemore D., So' as a Constraint on Relevance, Mental Representations: The Interface between Language and Reality, pp. 183-195, (1988); Bolden G.B., Implementing Incipient Actions: The Discourse Marker 'so' in English Conversation, Journal of Pragmatics, 41, pp. 974-998, (2009); Buttny R., Putting Prior Talk into Context: Reported Speech and the Reporting Context, Research on Language and Social Interaction, 31, pp. 45-58, (1998); Clift R., Indexing Stance: Reported Speech as an Interactional Evidential, Journal of Sociolinguistics, 10, pp. 569-595, (2006); De Stefani E., Gazin A.-D., Instructional Sequences in Driving Lessons. Mobile Participants and the Temporal and Sequential Organization of Actions, Journal of Pragmatics, 65, pp. 63-79, (2014); Goodwin C., The Interactive Construction of a Sentence in Natural Conversation, Everyday Language: Studies in Ethnomethodology, pp. 97-121, (1979); Goodwin C., Conversational Organization: Interaction between Speakers and Hearers, (1981); Haviland J.B., Musical Spaces, Embodied Interaction: Language and Body in the Material World, pp. 289-304, (2011); Heath C., Hindmarsh J., Luff P., Video in Qualitative Research: Analysing Social Interaction in Everyday Life, (2010); Hindmarsh J., Reynolds P., Dunne S., Exhibiting Understanding: The Body in Apprenticeship, Journal of Pragmatics, 43, pp. 489-503, (2011); Holt E., Reporting on Talk: The Use of Direct Reported Speech in Conversation, Research on Language and Social Interaction, 29, pp. 219-245, (1996); Holt E., Clift R., Reporting Talk: Reported Speech in Interaction, (2006); Keevallik L., Bodily Quoting in Dance Correction, Research on Language and Social Interaction, 43, pp. 401-426, (2010); Klewitz G., Couper-Kuhlen E., Quote-Unquote. The Role of Prosody in the Contextualization of Reported Speech Sequences, Pragmatics, 9, pp. 459-485, (1999); Koole T., Displays of Epistemic Access: Student Responses to Teacher Explanations, Research on Language and Social Interaction, 43, pp. 183-209, (2010); Koschmann T., Le Baron C., Learner Articulation as Interactional Achievement: Studying the Conversation of Gesture, Cognition and Instruction, 20, pp. 249-282, (2002); Koschmann T., Zemel A., Discovering the Learnable, (2011); Lerner G.H., Turn Design and the Organization of Participation in Instructional Activities, Discourse Processes, 19, pp. 111-131, (1995); Macbeth D., The Relevance of Repair for Classroom Correction, Language in Society, 33, pp. 703-736, (2004); Macbeth D., Understanding Understanding as an Instructional Matter, Journal of Pragmatics, 43, pp. 438-451, (2011); Maynard D.W., The News Delivery Sequence: Bad News and Good News in Conversational Interaction, Research on Language and Social Interaction, 30, 2, pp. 93-130, (1997); McHoul A., The Organization of Turns at Formal Talk in the Classroom, Language in Society, 7, pp. 183-213, (1978); McHoul A.W., The Organization of Repair in Classroom Talk, Language in Society, 19, pp. 349-377, (1990); Mondada L., The Embodied and Negotiated Production of Assessments in Instructed Actions, Research on Language and Social Interaction, 42, pp. 329-361, (2009); Mondada L., Understanding as an Embodied, Situated and Sequential Achievement in Interaction, Journal of Pragmatics, 43, pp. 542-552, (2011); Nishizaka A., What to Learn: The Embodied Structure of the Environment, Research on Language and Social Interaction, 39, pp. 119-154, (2006); Pomerantz A., Agreeing and Disagreeing with Assessments: Some Features of Preferred/Dispreferred Turn Shapes, Structures of Social Action, pp. 57-101, (1984); Sacks H., On Some Puns: With Some Intimations, Report of the 23rd Annual Roundtable Meeting of Linguistics and Language Studies, pp. 135-144, (1973); Sacks H., Schegloff E.A., Jefferson G., A Simplest Systematics for the Organization of Turn-taking for Conversation, Language, 50, pp. 696-735, (1974); Schegloff E.A., On an Actual Virtual Servo-mechanism for Guessing Bad News: A Single Case Conjecture, Social Problems, 35, pp. 442-457, (1988); Schegloff E.A., Sequence Organization in Interaction: A Primer in Conversation Analysis, (2007); Schiffrin D., Discourse Markers, (1987); Selting M., Auer P., Barden B., Bergmann J., Couper-Kuhlen E., Gunthner S., Quasthoff U., Meier C., Schlobinski P., Uhmann S., Gesprächsanalytisches Transkriptionssystem (GAT), Linguistische Berichte, 173, pp. 91-122, (1998); Streeck J., The Changing Meanings of Things: Found Objects and Inscriptions in Social Interaction, Embodied Interaction. Language and Body in the Material World, pp. 67-78, (2011); Szczepek R.B., Reed D., Haddon E., NOW or NOT NOW: Coordinating Restarts in the Pursuit of Learnables in Vocal Master Classes, Research on Language and Social Interaction, 46, pp. 22-46, (2013); Tolins J., Assessment and Direction through Nonlexical Vocalizations in Music Instruction, Research on Language and Social Interaction, 46, pp. 47-64, (2013); Weeks P.A.D., Error-Correction Techniques and Sequences in Instructional Settings: Toward a Comparative Framework, Human Studies, 8, pp. 195-233, (1985); Weeks P., A Rehearsal of a Beethoven Passage: An Analysis of Correction Talk, Research on Language and Social Interaction, 29, pp. 247-290, (1996); Zemel A., Koschmann T., Pursuing a Question: Reinitiating IRE Sequences as a Method of Instruction, Journal of Pragmatics, 43, pp. 475-488, (2011)","D. Reed; Department of Sociology, University of York, York, United Kingdom; email: darren.reed@york.ac.uk","","Routledge","","","","","","10350330","","","","English","Soc. Semiot","Article","Final","","Scopus","2-s2.0-84904784073"
"Huovinen E.; Tenkanen A.; Kuusinen V.-P.","Huovinen, Erkki (26033181800); Tenkanen, Atte (28268016000); Kuusinen, Vesa-Pekka (36998945600)","26033181800; 28268016000; 36998945600","Dramaturgical and music-theoretical approaches to improvisation pedagogy","2011","International Journal of Music Education","29","1","","82","100","18","11","10.1177/0255761410372761","https://www.scopus.com/inward/record.uri?eid=2-s2.0-79952098623&doi=10.1177%2f0255761410372761&partnerID=40&md5=2fe4e32701654d6fd8ca35b667f38a49","University of Minnesota, United States; University of Turku, Finland; Turku University of Applied Sciences, Finland","Huovinen E., University of Minnesota, United States; Tenkanen A., University of Turku, Finland; Kuusinen V.-P., Turku University of Applied Sciences, Finland","The aim of this article is to assess the relative merits of two approaches to teaching musical improvisation: a music-theoretical approach, focusing on chords and scales, and a 'dramaturgical' one, emphasizing questions of balance, variation and tension. Adult students of music pedagogy, with limited previous experience in improvisation, took part in an improvisation course during which they were given either music-theoretical or dramaturgically oriented instruction. The students' melodic improvisations over a chordal accompaniment from the beginning and the end of the course were subjected to evaluation by a panel of expert judges. The music-theoretical instructions led to a more significant change towards improvisation judged as 'dissonant' and 'independent of the chord changes', whereas dramaturgical instructions led to a more significant change towards 'rhythmically varied' playing.These and other results from the expert judgments are compared to the improvisers' self-evaluations as well as computational analyses of rhythmic entropy in the improvisations. © The Author(s) 2010.","improvisation; melody; music theory; pedagogical style; rhythm","","","","","","","","Baker D., David Baker's Jazz Improvisation: A Comprehensive Method for All Musicians, (1988); Brophy T.S., The melodic improvisations of children aged 6-12: A developmental perspective, Music Education Research, 4, pp. 73-92, (2002); Brophy T.S., A longitudinal study of selected characteristics of children's melodic improvisations, Journal of Research in Music Education, 53, pp. 120-133, (2005); Burnard P., Bodily intention in children's improvisation and composition, Psychology of Music, 27, pp. 159-174, (1999); Burnard P., How children ascribe meaning to improvisation and composition: Rethinking pedagogy in music education, Music Education Research, 2, pp. 7-23, (2000); Burnard P., Examining experiential differences between improvisation and composition in children's music making, British Journal of Music Education, 17, pp. 227-245, (2000); Burrows J., Musical archetypes and collective consciousness: Cognitive distribution and free improvisation, Critical Studies in Improvisation/Études Critiques en Improvisation, 1, 1, (2004); Chung B., Thurmond D., Improvisation at the Piano: A Systematic Approach for the Classically Trained Pianist, (2007); Crook H., How to Improvise: An Approach to Practicing Improvisation, (1991); Crook H., Ready, Aim, Improvise!, (1999); De Rosa R., Concepts for Improvisation. A Comprehensive Guide for Performing and Teaching, (1997); Ford C.C., Free collective improvisation in higher education, British Journal of Music Education, 12, pp. 103-112, (1995); Green B., Gallwey W.T., The Inner Game of Music, (1987); Hodgson J., Richards E., Improvisation, (1974); Huovinen E., Kuusinen V.-P., Soundscapes and verbal images as referents for music students' free improvisations, Musiikkikasvatus/The Finnish Journal of Music Education, 9, pp. 18-32, (2006); Johns M., Hymn Improvisation, (1987); Kaye R., The Classical Method: Piano Classical Improvisation and Compositional Theory and Harmony, (2006); Koutsoupidou T., Effects of different teaching styles on the development of musical creativity: Insights from interviews with music specialists, Musicae Scientiae, 12, pp. 311-335, (2008); Kratus J., A developmental approach to teaching music improvisation, International Journal of Music Education, 26, pp. 27-38, (1996); Levine M., The Jazz Theory Book, (1995); Liebman D., A Chromatic Approach to Jazz Harmony and Melody, (1991); Lortat-Jacob B., Improvisation: Le modèle et ses realisations, L'Improvisation Dans Les Musiques de Tradition Orale, pp. 45-59, (1987); May L.F., Factors and abilities influencing achievement in instrumental jazz improvisation, Journal of Research in Music Education, 51, pp. 245-258, (2003); McMillan R., To say something that was me': Developing a personal voice through improvisation, British Journal of Music Education, 16, pp. 263-273, (1999); Nachmanovitch S., Free Play: Improvisation in Life and Art, (1990); Nettl B., Thoughts on improvisation: A comparative approach, The Musical Quarterly, 60, pp. 1-19, (1974); Overduin J., Making Music: Improvisation for Organists, (1998); Pressing J., Cognitive processes in improvisation, Cognitive Processes in the Perception of Art, pp. 345-363, (1984); Rothenberg D., Sudden Music: Improvisation, Sound, Nature, (2002); Sarath E., Music Theory Through Improvisation: A New Approach to Musicianship Training, (2010); Sawyer K., Improvisation and teaching, Critical Studies in Improvisation/Études Critiques en Improvisation, 3, 2, (2008); Schlicht U., I feel my true colors began to show': Designing and teaching a course on improvisation, Critical Studies in Improvisation/Études Critiques en Improvisation, 3, 2, (2008); Spolin V., Improvisation for the Theater, (1999); Stefanuk M.V., Improvisation Step by Step: Improvising Classical Music on Piano, (2008); Stokes P.D., Creativity from Constraints. The Psychology of Breakthrough, (2006); Tafuri J., Processes and teaching strategies in musical improvisation with children, Musical Creativity: Multidisciplinary Research in Theory and Practice, pp. 134-157, (2006); Thomson S., The Pedagogical imperative of musical improvisation, Critical Studies in Improvisation/Études Critiques en Improvisation, 3, 2, (2008); Watson G.M., Improvisation as a Way of Life, (2005); Wehle G.F., Die Kunst der Improvisation. Die Technischen Grundlagen Zum Stilgerechten, Künstlerischen Improvisieren Nach Den Grundprinzipien des Klaviersatzes. I. Teil: Die Harmonielehre Im Klaviersatz [The Art of Improvisation. The Technical Foundations for Stylistically Appropriate and Artistic Improvisation According to the Basic Principles of Keyboard Composition., (1925); Wigram T., Improvisation: Methods and Techniques for Music Therapy Clinicians, Educators and Students, (2004); Zaporah R., Action Theater: The Improvisation of Presence, (1995)","E. Huovinen; Minneapolis, MN 55414, 80 Orlin Ave. SE, United States; email: huovinen@umn.edu","","","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-79952098623"
"Baker S.","Baker, Susanne (55779393200)","55779393200","Sight-reading for all students","2012","Clavier Companion","4","3","","36","39","3","0","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84879630160&partnerID=40&md5=182ea3b599b806b491421d76154112b9","Preparatory and Community Piano Program, Concordia University, Chicago, United States","Baker S., Preparatory and Community Piano Program, Concordia University, Chicago, United States","[No abstract available]","","","","","","","","","Darling E., A Piano Teacher's Legacy, pp. 13-14, (2005); Richman H., Super Sight-Reading Secrets, pp. 27-43, (1985)","","","","","","","","","10860819","","","","English","Clavier Companion","Article","Final","","Scopus","2-s2.0-84879630160"
"Thomsen K.M.","Thomsen, Kathy M. (58507245700)","58507245700","Hearing Is Believing: Dalcroze Solfège and Musical Understanding","2011","Music Educators Journal","98","2","","69","76","7","2","10.1177/0027432111425614","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85138236687&doi=10.1177%2f0027432111425614&partnerID=40&md5=88a97bf6683eb956e5fddc8e39a9856c","","","Dalcroze solfège engages the ear and the mind in chords, functional harmony, and key relationships, in addition to scales, intervals, and melodies. This article provides an overview of Dalcroze solfège by describing its methodology and by offering sample exercises for beginners as well as advanced students. © 2011 MENC: The National Association for Music Education.","Dalcroze; ear training; eurhythmics; harmony; improvisation; solfège; theory","","","","","","","","","K.M. Thomsen; email: kthomsen03@hamline.edu","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85138236687"
"Arya D.D.","Arya, Divya D. (58507015100)","58507015100","North Indian Classical Vocal Music for the Classroom","2015","Music Educators Journal","102","1","","83","89","6","1","10.1177/0027432115588596","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85165889884&doi=10.1177%2f0027432115588596&partnerID=40&md5=7657037d173780db1e5f143fcb641041","","","This article offers information that will allow music educators to incorporate North Indian classical vocal music into a multicultural music education curriculum. Obstacles to teaching North Indian classical vocal music are acknowledged, including lack of familiarity with the cultural/structural elements and challenges in teaching ear training and improvisation. Potential solutions to these challenges and practical lesson plans are provided. Classroom ideas include activities and projects to familiarize students with Indian culture and audiovisual performances to teach the structural elements. Lesson plans also encompass techniques used by traditional Indian teachers for ear training, such as aural imitation and improvisation, hand movements, and starting with simple improvisation and gradually progressing to greater complexity while setting guidelines. © 2015 National Association for Music Education.","Hindustani music; improvisation; India; multicultural; North Indian classical music; raga; tradition; vocal music","","","","","","","","","D.D. Arya; email: aryadivya04@gmail.com","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85165889884"
"Henderson D.","Henderson, Daniel (56642299200)","56642299200","Jazz harmony for kids: The capitol records children's albums of billy May, 1946-54","2014","Jazz Perspectives","8","2","","117","152","35","0","10.1080/17494060.2015.1039146","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84930277277&doi=10.1080%2f17494060.2015.1039146&partnerID=40&md5=3f2260b75d6f0661e20ed4f81dc3efab","","","This article tells the never-before-told story of the jazz ""ear training"" of the Baby Boomer generation. Millions of American children of the 1940s and 50s received a thorough education in modern jazz harmony from an unlikely source: popular children's records! It was ""The Golden Age of Kiddie Records,"" and the best-selling composer in the industry was jazz composer Billy May.With annotated musical examples drawn from the original manuscript scores and scripts in the BYU Capitol Records Manuscript Collection, this article shows how Billy May used the hallmark techniques of modern jazz harmony to tell captivating stories to children: Bugs Bunny will introduce us to quartal harmony (including ""So What"" voicings); Mickey Mouse and Donald Duck will introduce altered chords, upper-structure triads, quintal harmony, extensions beyond the 13th, and even octatonic harmony; and Robin Hood will join with other children's icons to introduce tri-tone substitutions, polytonality, modulation to distant key centers and more.Finally, this article will show how Billy May was composing creatively with the advanced harmonic concept that has come to be known as ""Coltrane Changes,"" and even composed a large portion of both the melody and harmony that came to be known as ""Giant Steps,"" in the 1940s - more than a dozen years before Coltrane caused a ""harmonic revolution"" in jazz by composing these exact same notes and chords. It was childhood ""ear training"" like no other. These discoveries will challenge our beliefs and update our knowledge about the historical development of jazz harmony. © 2015 © 2015 Taylor & Francis.","","","","","","","","","Webman H., Fischler A., The record year, The Billboard, 16, (1948); Goldmark D., Tunes for 'Toons: Music and the Hollywood Cartoon, (2005); Goldmark D., Taylor Y., The Cartoon Music Book, (2002); Goldmark D., Happy Harmonies: Music and the Hollywood Animated Cartoon, (2001); Marie Guzzo A., The Life and Music of Carl Stalling: From Toy Pianos to Dog Ears, (2002); Miller P., Bugs Bunny Rides Again: Classical Music in Carl Stalling's Cartoon Scores, (2006); Mirtle J., The Capitol Records Childrens' Series: 1944 to 1956: The Complete Discography, (2012); Muldavin P., The Complete Guide to Vintage Children's Records: Identification & Value Guide, (2007); Bonner D., Revolutionizing Children's Records: The Young People's Records and Children's Record Guild Series, 1946-1977, (2008); Ake D., Garrett C., Goldmark D., Jazz/Not Jazz: The Music and Its Boundaries, (2012); Deveaux S., Constructing the jazz tradition: Jazz historiography, Black American Literature Forum, 25, 3, pp. 525-560, (1991); Mirtle J., The Music of Billy May: A Discography, (1998); Howland J., Between the Muses and the Masses: Symphonic Jazz, 'Glorified' Entertainment, and the Rise of the American Musical Middlebrow, 1920-1944, (2002); Goldmark, Tunes for Toons, 102; Sandke R., Roads not taken: Jazz innovation anachronisms, Current Research in Jazz, 4; Lee H.B., Library in Provo; Mirtle J., The Music of Billy May; Blanc M., Bryan A.Q., Foray J., Billy May Orchestra, (1949); Morgan F., Barry D., Foray J., Lang H., Billy May Orchestra, (1949); Rathbone B., Blore E., Original Walt Disney Cast with the Billy May Orchestra, (1949); Wooten D.A., Cullinan B.E., Children's Literature in the Reading Program: An Invitation to Read, (2009); Stone J., Smollin M., The Monster at the End of This Book, (1971); Mirtle J., The Capitol Records Childrens' Series: 1944 to 1956: The Complete Discography, (2012); Albums K., Category, Billboard, (1947); McBoing G., Boing never made it into the children's charts, but Billboard ranked it #11 in its 1951 chart of children's records most preferred by disk jockeys, Billboard, (1951)","D. Henderson; email: henderson@fas.harvard.edu","","Routledge","","","","","","17494060","","","","English","Jazz Perspect.","Article","Final","","Scopus","2-s2.0-84930277277"
"Cleaver D.; Ballantyne J.","Cleaver, David (55796262200); Ballantyne, Julie (26034056100)","55796262200; 26034056100","Teachers' views of constructivist theory: A qualitative study illuminating relationships between epistemological understanding and music teaching practice","2014","International Journal of Music Education","32","2","","228","241","13","21","10.1177/0255761413508066","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84899748556&doi=10.1177%2f0255761413508066&partnerID=40&md5=68aab287d1fc0a50be7829c6a20951bb","University of Southern Queensland, Springfield Campus, Springfield, QLD 4300, PO Box 4196, Australia; University of Queensland, Australia","Cleaver D., University of Southern Queensland, Springfield Campus, Springfield, QLD 4300, PO Box 4196, Australia; Ballantyne J., University of Queensland, Australia","While constructivist theory is widely promoted in pre-service music teacher education, there has been a lack of research conducted to reveal the ways in which the theory is individually personalized, then subsumed, translated and adopted into in-service classroom teaching practice. To address this shortfall, this article explores some of the ways that music teachers individually apply their understanding of the philosophically generated ideas and the cognitive concepts and principles that are broadly regarded as ""constructivist. ""In seeking to contribute to professional dialogue and debate surrounding this matter, this study seeks to illuminate how a small sample of music teachers engages both theoretically and practically with constructivist views of learning. Using a qualitative approach, the researchers incorporated staged, informal interviews with invited teacher participants. Preliminary analyses of interview data were returned to the participants for review and further commentary. This process was designed to contribute to both the trustworthiness of representation and to enhance the transactional process between participants and researchers. The commentaries are designed to problematize issues, raise points for discussion and the article concludes with implications for practice in schools and universities. © The Author(s) 2013.","constructivism; music education; music pedagogy; pre-service music teaching","","","","","","Faculty of Education, University of Southern Queensland","This research was funded by a seed grant from the Faculty of Education, University of Southern Queensland.","Amos Hatch J., Doing Qualitative Research in Educational Settings, (2002); Barrett M., Stauffer S., Narrative Inquiry in Music Education: Troubling Certainty, pp. 1-4, (2009); Burnard P., White J., Creativity and performativity: Counterpoints in British and Australian education, British Educational Research Journal, 34, 5, pp. 667-682, (2008); Bowman W., Philosophical Perspectives on Music, (1998); Cleaver D., Narrative Inquiry in Music Education: Troubling Certainty, pp. 35-56, (2009); Crotty M., The Foundations of Social Research: Meaning and Perspective in the Research Process, (1998); Davies S., Musical Meaning and Expression, (1994); Denzin N., Lincoln Y., The Landscape of Qualitative Research: Theories and Issues, pp. 1-34, (1998); Fox R., Constructivism examined, Oxford Review of Education, 27, 1, pp. 23-35, (2001); Green L., How Popular Musicians Learn: A Way Ahead for Music Education, (2001); Golding C., Pragmatism, constructivism & Socratic objectivity: The pragmatist epistemic aim of philosophy for children, 36th Annual PESA Conference: Creativity, Enterprise and Policy; Horn I., Learner centredness: An analytical critique, South African Journal of Education, 29, pp. 511-525, (2009); Kincheloe J., Teachers As Researchers: Qualitative Inquiry As A Path to Empowerment, (1991); Mathews W., Constructivism in the classroom: Epistemology, history and empirical evidence, Teacher Education Quarterly, (2003); Polkinghorne D., Life History and Narrative, pp. 5-21, (1995); Prince M., Felder R., Inductive teaching and learning methods: Definitions, comparisons, and research bases, Journal of Engineering Education, 95, 2, pp. 123-138, (2006); Schwandt T., The Landscape of Qualitative Research: Theories and Issues, pp. 221-259, (1998); Seddon F., Questioning the Music Education Paradigm, pp. 212-227, (2004); Selley N., The Art of Constructivist Teaching in the Primary School: A Guide for Students and Teachers, (1999); Stake R., The Art of Case Study Research, (1995); Wiggins J., Teaching for Musical Understanding, (2009); Young M., Bringing Knowledge Back In: From Social Constructivism to Social Realism in the Sociology of Education, (2008)","D. Cleaver; University of Southern Queensland, Springfield Campus, Springfield, QLD 4300, PO Box 4196, Australia; email: david.cleaver@usq.edu.au","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-84899748556"
"Stakelum M.","Stakelum, Mary (35085674100)","35085674100","Boundaries and bridges: The influence of James Cooksey Culwick on the development of the teaching and learning of music in 19th-century Ireland","2014","International Journal of Music Education","32","4","","409","421","12","0","10.1177/0255761413515805","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84908894523&doi=10.1177%2f0255761413515805&partnerID=40&md5=e485c7ad256aea9ed51e5b937610ed44","University of Reading, Institute of Education, 4 Redlands Road, Reading, RG1 5EX, United Kingdom","Stakelum M., University of Reading, Institute of Education, 4 Redlands Road, Reading, RG1 5EX, United Kingdom","James Cooksey Culwick (1845-1907) was born in England. Trained as chorister and organist in Lichfield Cathedral, he moved to Ireland at 21 and remained there until his death in 1907. Although his reputation as scholar, musician and teacher was acknowledged widely during his lifetime - he received an honorary doctorate from University of Dublin (1893) - little has been documented about the contribution he made to music education. This article addresses this gap in the literature and argues that it was Culwick's singular achievement to pay attention to music pedagogy at secondary level, by recognizing that music could be seen as a serious career option for girls, and by providing a resource for teachers which could be used with pupils of all abilities. In addition, he considered Irish music as an art that had significance as music first, and Irish music second, and advocated a ""laudable tolerance"" for opposing views on matters of cultural identity to Ireland at the end of the 19th century. © 2014 The Author(s).","19th century; Examinations; Ireland; Second-level schooling","","","","","","","","An Claidheamh Soluis, 27, 4, (1899); The Oireachtas: Work for the branches, An Claidheamh Soluis, 24, 2, (1900); Balfour G., Educational Systems in Great Britain and Ireland, (1898); 68th Report of the Commissioners of National Education in Ireland, (1901); Boydell B., A History of Music at Christ Church Cathedral, Dublin, (2004); Bumpus J., Irish Church Composers and the Irish Cathedrals. Proceedings of the Musical Association for the Investigation and Discussion of Subjects Connected with the Art and Science of Music. Twenty-sixth Session, 1899-1900, (1900); Minutes of the Proceedings of the Commissioners of National Education at Their Special Meeting on Tuesday, the 31st January 1922, (1922); Coolahan J., Irish Education, History and Structure, (1981); Culwick J., The Study of Music and Its Place in General Education, (1882); Culwick J., The Rudiments of Music, An Introductory Textbook, with Musical Examples and Numerous Exercises, (1881); Culwick J., Artistic landmarks, Journal of the Royal Musical Association, 1471-6933, 19, 1, pp. 95-117, (1893); Culwick J., The Distinctive Characteristics of Ancient Irish Melody: The Scales. A Plea for Restoration and Preservation, Being A Lecture Read on Monday Evening 15th February 1897 before the National Literary Society, (1897); Day A.H., A Treatise on Harmony, (1845); Goodman P., The School and Home Song Book, (1886); Goodman P., The Irish Minstrel, (1907); Graves A.P., The Irish Song Book with Original Irish Airs, (1894); Hime M.C., Intermediate Schools in Ireland, (1879); Hullah J., Wilhem's Method of Teaching Singing, Adapted to English Use, (1841); Hyde D., A Literary History of Ireland from Earliest Times to the Present Day, (1967); Hyde D., The unpublished songs of Ireland, Language, Lore and Lyrics, (1986); Periodical Report no.3 of the Incorporated Society of Musicians. August 1909, (1909); Intermediate Education Act (Ireland). Answers and Solutions to the Examination Papers Issued at the First Examinations under the above Act Held in June and July 1882, (1882); Joyce P., Ancient Irish Music, (1873); MacFarren G., Rudiments of Harmony, with Progressive Exercises, (1860); McCarthy M., Passing It On. the Transmission of Music in Irish Culture, (1999); McElligott T.J., Education in Ireland, (1966); Moonan D., ""the Spirit of the Gaelic League, 500; Review of the study of music, and its place in general education by J. Culwick, Musical Times, (1882); Ouseley F., A Treatise on Harmony, (1868); Parker L., Robert Prescott Stewart (1825-1894): A Victorian Musician in Dublin, (2009); Prout E., Harmony, Its Theory and Practice, (1889); Rainbow B., Music in Educational Thought and Practice: A Survey from 800 BC, (1989); Ritter F., History of Music, from the Christian Era to the Present Time, (1876); Scholes P., The Mirror of music,1844-1944: A Century of Musical Life in Britain As Reflected in the Pages of the Musical Times, (1947); The School Music Review, (1901); The School Music Review, (1905); John Lacy F., Notes on Irish Music Published in Proceeding of the Musical Association for the Investigation and Discussion of Subjects Connected with the Art and Science of Music. Seventeenth Session, 1890-91, pp. 171-198, (1891); A Treatise on Harmony and the Classification of Chords; with Questions Ad Exercises for the Use of Students, (1878); White H., The Keeper's Recital: Music and Cultural History in Ireland 1770-1970, (1998)","","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-84908894523"
"Aiba E.; Matsui T.","Aiba, Eriko (21233337100); Matsui, Toshie (53878021100)","21233337100; 53878021100","Music memory following short-term practice and its relationship with the sight-reading abilities of professional pianists","2016","Frontiers in Psychology","7","MAY","645","","","","4","10.3389/fpsyg.2016.00645","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84974707606&doi=10.3389%2ffpsyg.2016.00645&partnerID=40&md5=e04bb8ee8346328b73e76da274379449","Graduate School of Informatics and Engineering, University of Electro-Communications, Tokyo, Japan; Graduate School of Systems Engineering, Wakayama University, Wakayama, Japan","Aiba E., Graduate School of Informatics and Engineering, University of Electro-Communications, Tokyo, Japan; Matsui T., Graduate School of Systems Engineering, Wakayama University, Wakayama, Japan","This study investigated the relationship between the ability to sight-read and the ability to memorize a score using a behavioral experiment. By measuring the amount of memorization following short-term practice, we examined whether better sight-readers not only estimate forthcoming notes but also memorize musical structures and phrases with more practice. Eleven pianists performed the music first by sight-reading. After a 20-minute practice, the participants were asked to perform from memory without any advance notice. The number of mistakes was used as an index of performance. There were no correlations in the numbers of mistakes between sight-reading and memory trial performance. Some pianists memorized almost the entire score, while others hardly remembered it despite demonstrating almost completely accurate performance just before memory trial performance. However, judging from the participants' responses to a questionnaire regarding their practice strategies, we found auditory memory was helpful for memorizing music following short-term practice. © 2016 Aiba and Matsui.","Auditory memory; Expertise; Individual differences; Mistakes; Musical score; Musical training","","","","","","Japan Society for the Promotion of Science, JSPS, (26590229)","","Aiello R., Playing the piano by heart, Ann. N. Y. Acad. Sci, 930, pp. 389-393, (2001); Aiello R., Williamon A., Memory, The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning, (2002); Drai-Zerbib V., Baccino T., Bigand E., Sight-reading expertise: cross-modality integration investigated using eye tracking, Psychol. Music, 40, pp. 216-235, (2012); Goolsby T.W., Profiles of processing: eye movements during sightreading, Music Percept, 12, pp. 97-123, (1994); Granados E., Goyescas, Spanish Dances and Other Works for Solo Piano, (2013); Gruson L.M., Rehearsal skill and musical competence: does practice make perfect, Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition, pp. 91-112, (1988); Hallam S., The development of memorisation strategies in musicians: implications for education, Br. J. Music Edu, 14, pp. 87-97, (1997); Lehmann A.C., Ericsson K.A., Performance without preparation: structure and acquisition of expert sight-reading and accompanying performance, Psychomusicology, 15, pp. 1-29, (1996); Lehmann A.C., McArthur V., Sight-Reading, The Science And Psychology Of Music Performance: Creative Strategies For Teaching And Learning, (2002); Matsui T., Aiba E., The relationship between a perceptual modality preference and performance strategies, Proceedings of 2015 Spring Meeting of the Japan Society for Music Perception and Cognition, pp. 73-77, (2015); Rosemann S., Altenmuller E., Fahle M., The art of sight-reading: influence of practice, playing tempo, complexity and cognitive skills on the eye-hand span in pianists, Psychol. Music, (2015); Sloboda J.A., The effect of item position on the likelihood of identification by inference in prose reading and music reading, Can. J. Psychol, 30, pp. 228-236, (1976); Sloboda J.A., Experimental studies of music reading: a review, Music Percept, 2, pp. 222-236, (1984); Smith S., Tarentelle Brillante, (1867); Waters A.J., Underwood G., Findlay J.M., Studying expertise in music reading: use of a pattern-matching paradigm, Percept. Psychophys, 59, pp. 477-488, (1997); Williamon A., Valentine E., The role of retrieval structures in memorizing music, Cogn. Psychol, 44, pp. 1-32, (2002); Rossian Piano Pieces 1, (1996)","E. Aiba; Graduate School of Informatics and Engineering, University of Electro-Communications, Tokyo, Japan; email: aiba.eriko@uec.ac.jp","","Frontiers Research Foundation","","","","","","16641078","","","","English","Front. Psychol.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-84974707606"
"Mishra J.","Mishra, Jennifer (26033908800)","26033908800","Factors related to sight-reading accuracy: A meta-analysis","2014","Journal of Research in Music Education","61","4","","452","465","13","31","10.1177/0022429413508585","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84898417141&doi=10.1177%2f0022429413508585&partnerID=40&md5=5f785a90e6459624311e169a85506c08","University of Missouri-St. Louis, 106 Music Building, St. Louis, MO 63121, United States","Mishra J., University of Missouri-St. Louis, 106 Music Building, St. Louis, MO 63121, United States","The purpose of this meta-analysis was to determine the extent of the overall relationship between previously tested variables and sight-reading. An exhaustive survey of the available research literature was conducted resulting in 92 research studies that reported correlations between sight-reading and another variable. Variables (n = 597) were grouped by construct (e.g., music aptitude, technical ability) and separate meta-analyses were conducted for each construct. Construct had a variable effect on sight-reading, with improvisational skills, ear-training ability, technical ability, and music knowledge correlating most closely with sight-reading, while attitude and personality were unrelated to sight-reading. Additionally, the study examined differences in effect size by type of publication (published study, unpublished thesis), the experience level of the sight-reader (elementary, secondary, college nonmusician, college musician), sight-reading mode (instrumental sight-reading, sight-singing), and type of sight-reading test. The few differences suggest future investigation of a developmental component to sight-reading is warranted. In general, music constructs that improve with practice correlated more strongly with sight-reading than did stable characteristics. These results support sight-reading being considered a music skill that improves with the musicality of the performer rather than a simple visuo-motor decoding process. © 2013 National Association for Music Education.","aural skills; ear training; meta-analysis; sight-reading; sight-singing","","","","","","","","Borenstein M., Hedges L.V., Introduction to Meta-analysis, (2009); Comprehensive Meta-Analysis (Version 2.2.057) Computer Software, (2010); Cooley J.C., A study of the relation between certain mental and personality traits and ratings of musical abilities, Journal of Research in Music Education, 9, pp. 108-117, (1961); Cooper H.M., Research Synthesis and Meta-analysis: A Step-by-step Approach, (2010); Daniels R.D., Relationships among selected factors and the sight-reading ability of high school mixed choirs, Journal of Research in Music Education, 34, pp. 279-289, (1986); Dean C.D., The Seashore Tests of Musical Talent in Teacher-education, (1936); Demorest S.M., May W.V., Sight-singing instruction in the choral ensemble: Factors related to individual performance, Journal of Research in Music Education, 43, pp. 156-167, (1995); Dennee P., Teacher Effects on Performance Achievement of Ninth-grade Choral Music Students, (1996); Elliott C.A., The relationship among instrumental sight-reading ability and seven selected predictor variables, Journal of Research in Music Education, 30, pp. 5-14, (1982); Gromko J.E., Predictors of music sight-reading ability in high school wind players, Journal of Research in Music Education, 52, pp. 6-15, (2004); Hammer H., An experimental study of the use of the tachistoscope in the teaching of melodic sight singing, Journal of Research in Music Education, 11, pp. 44-54, (1963); Harrison C.S., Asmus E.P., Serpe R.T., Effects of musical aptitude, academic ability, music experience, and motivation on aural skills, Journal of Research in Music Education, 42, pp. 131-144, (1994); Hodges D., Handbook of Research on Music Teaching and Learning, pp. 466-471, (1992); Kampfe J., Sedlmeier P., Renkewitz F., The impact of background music on adult listeners: A meta-analysis, Psychology of Music, 39, pp. 424-448, (2010); Luce J.R., Sight-reading and ear-playing abilities as related to instrumental music students, Journal of Research in Music Education, 13, pp. 101-109, (1965); Mann R.G., The Use of Kodaly Instruction to Develop the Sight Reading Skills of Undergraduate Flute Students, (1991); McPherson G.E., Bailey M., Sinclair K.E., Path analysis of a theoretical model to describe the relationship among five types of musical performance, Journal of Research in Music Education, 45, pp. 103-129, (1997); Mewes G.E., An Attempt to Determine the Association, if Any, between Crossed Dominance and Achievement Levels in Instrumental Music Reading, (1969); Mishra J., Improving sightreading accuracy: A meta-analysis, Psychology of Music, (2013); Pietschnig J., Voracek M., Formann A.K., Mozart effect-schmozart effect: A meta-analysis, Intelligence, 38, pp. 314-323, (2010); Read J.W., An Investigation of the Relationship of Selected Variables to Sight Singing Ability, (1968); Shake J.C., Devising A Test to Measure Some Areas of Difficulty in Reading Piano Music, (1957); Sloboda J.A., Experimental studies of music reading: A review, Music Perception, 2, pp. 222-236, (1984); Standley J.M., A meta-analysis on the effects of music as reinforcement for education/therapy objectives, Journal of Research in Music Education, 44, pp. 105-133, (1996); Standley J.M., Does music instruction help children learn to read? Evidence of a meta-analysis, Update: Applications of Research in Music Education, 27, 1, pp. 17-32, (2008); Thompson S., Lehmann A.C., Musical Excellence, pp. 143-159, (2004)","J. Mishra; University of Missouri-St. Louis, 106 Music Building, St. Louis, MO 63121, United States; email: mishraj@umsl.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84898417141"
"Pike P.D.; Shoemaker K.","Pike, Pamela D. (36462969600); Shoemaker, Kristin (55855465200)","36462969600; 55855465200","The effect of distance learning on acquisition of piano sight-reading skills","2013","Journal of Music, Technology and Education","6","2","","147","162","15","38","10.1386/jmte.6.2.147_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84884128568&doi=10.1386%2fjmte.6.2.147_1&partnerID=40&md5=d8e9f73c789182b7cb87a3740f732511","Louisiana State University, United States; MacPhail Center for Music, United States","Pike P.D., Louisiana State University, United States; Shoemaker K., MacPhail Center for Music, United States","The purpose of this research was to compare the acquisition of sight-reading skills between two groups of beginning piano students: the control group: students studying sight-reading through traditional face-to-face instruction (n=9); and, the experimental group: students studying sight-reading through live online video instruction (n=10). Online sessions employed digital pianos, Internet MIDI software, acoustic pianos and Skype video-conferencing technology. Analysis of the data revealed significant improvement in sight-reading scores as a result of the treatment, with no significant difference between the groups (t=1.17, df 10=1.81, p=0.05). The gain scores for the online group revealed less standard deviation and a higher mean increase (55.4 per cent) than the face-to-face group (33.7 per cent). Both groups benefited from improved rhythmic security and reported an increase in persistence, enthusiasm, motivation and confidence following treatments. Additional benefits of online delivery were identified suggesting that online sight-reading instruction may be a viable substitute for face-to-face sight-reading training or as a supplement to regular lessons. © 2013 Intellect Ltd Article.","Distance learning internet MIDI; Music sight-reading piano lessons; Skype lessons; Synchronous online music instruction","","","","","","","","Chronister R., Tentative, slow, and careful reading is not sightplaying, Keyboard Companion, 8, 1, pp. 11-12, (1997); Chronister R., Naming notes is not reading, A Piano Teacher's Legacy, pp. 147-156, (2005); Clark F., Fundamental subjects: Reading, Questions and Answers: Practical Advice For Piano Teachers, pp. 55-100, (1992); Dammers R.J., Utilizing Internet-based videoconferencing for instrumental music lessons, UPDATE: Applications of Research In Music Education, 28, 1, pp. 17-24, (2009); Drake C., Palmer C., Skills acquisition on music performance: Relations between planning and temporal control, Cognition, 74, 1, pp. 1-32, (2000); Dutton W.H., Blank G., Oxford Internet Survey 2011 Report: Next Generation Users - the Internet In Britain, (2011); Gilman E., Underwood G., Restricting the field of view to investigate the perceptual spans of pianists, Visual Cognition, 10, 2, pp. 201-232, (2003); Goolsby T.W., Eye movement in music reading: Effects of reading ability, notational complexity, and encounters, Music Perception, 12, 1, pp. 77-96, (1994); Goolsby T.W., Profiles of processing: Eye movement in music reading, Music Perception, 12, 1, pp. 97-123, (1994); Gromko J.E., Predictors of music sight-reading ability in high school wind players, Journal of Research In Music Education, 52, 1, pp. 6-15, (2004); Gudmundsdottir H., Pitch error analysis of young music students' music reading performances, International Journal of Music Education, 28, 1, pp. 61-70, (2010); Hardy D.B., Teaching sight-reading at the piano: Methodology and significance, Unpublished Masters Thesis, (1992); Johnson J., Distance Education: The Complete Guide to Design, Delivery, and Improvement, (2003); Kopiez R., Weihs C., Ligges U., Lee J.I., Classification of high and low achievers in a music sight-reading task, Psychology of Music, 34, 1, pp. 5-26, (2006); Lehmann A.C., Macarthur V.H., Sight-reading, The Science and Psychology of Music Performance: Creative Strategies For Teaching and Learning, pp. 135-150, (2002); Litterst G., Internet MIDI (Version 3.1), Computer Software, (2011); Marlais H., Olson K., Sight Reading and Rhythm Everyday, Book 1A and 1B, (2005); Mercer A., Social influences on learning in an online environment, Canadian Music Educator, 51, 2, pp. 54-55, (2009); Orman E.K., Whitaker J.A., Time usage during face-to-face and synchronous distance music lessons, American Journal of Distance Education, 24, 2, pp. 92-103, (2010); Pike P.D., Score perception and performance at the piano, Problems In Music Pedagogy, 8, 1, pp. 41-47, (2011); Pike P.D., Sight reading strategies for the beginning & intermediate piano student: A fresh look at a familiar topic, American Music Teacher, 61, 4, pp. 23-28, (2012); Pike P.D., Carter R., Employing cognitive chunking techniques to enhance sight-reading performance of undergraduate group-piano students, International Journal of Music Education, 28, 3, pp. 231-246, (2010); Russell T.L., The No Significant Difference Phenomenon: A Comparative Research Annotated Bibliography On Technology For Distance Education, (2001); Salavuo M., Social media as an opportunity for pedagogical change in music education, Journal of Music, Technology and Education, 1, 2-3, pp. 121-136, (2008); Shoemaker K., Mud huts, MIDI, and light bulb moments, Presentation At the National Conference On Keyboard Pedagogy, (2011); Sitzmann T., Kraiger K., Stewart D., Wisher R., The comparative effectiveness of Web-based and classroom instruction: A meta-analysis, Personnel Psychology, 59, 3, pp. 623-664, (2006); Twigg C., Improving learning and reducing costs: New models for online learning, Educause Quarterly, 38, 5, pp. 28-39, (2003); Udtaisuk D.B., A Theoretical Model of Piano Sightplaying Components, (2005); Waldron J., Exploring a virtual music community of practice: Informal music learning on the Internet, Journal of Music, Technology and Education, 2, 2-3, pp. 97-112, (2009); Waldron J., Conceptual frameworks, theoretical models and the role of YouTube: Investigating informal music learning and teaching in online music community, Journal of Music, Technology and Education, 4, 2-3, pp. 189-200, (2011); Waldron J., Veblen K., The medium is the message: Cyberspace, community, and music learning in the Irish traditional music virtual community, Journal of Music, Technology and Education, 1, 2-3, pp. 99-110, (2008); Webster P.R., The new music educator, Arts Education Policy Review, 100, 2, pp. 2-6, (1998); Webste P.R., Key research in music technology and music teaching and learning, Journal of Music, Technology and Education, 4, 2-3, pp. 115-130, (2011); Wolf T., A cognitive model of musical sight-reading, Journal of Psycholinguistic Research, 5, 2, pp. 143-171, (1975)","P. D. Pike; Louisiana State University, Baton Rouge, 102 New Music Building, United States; email: pdpike@lsu.edu","","","","","","","","17527074","","","","English","J. Music Technol. Educ.","Article","Final","","Scopus","2-s2.0-84884128568"
"Buonviri N.O.","Buonviri, Nathan O. (56112546500)","56112546500","Effects of a preparatory singing pattern on melodic dictation success","2015","Journal of Research in Music Education","63","1","","102","113","11","12","10.1177/0022429415570754","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84930709998&doi=10.1177%2f0022429415570754&partnerID=40&md5=8de96a06626cedb081e3465f0e7d1570","Boyer College of Music and Dance, Temple University, Philadelphia, 19122, PA, United States","Buonviri N.O., Boyer College of Music and Dance, Temple University, Philadelphia, 19122, PA, United States","The purpose of this study was to investigate effects of a preparatory contextual singing pattern on melodic dictation test scores. Forty-nine undergraduate music education majors took melodic dictations under three conditions. After hearing an orienting chord sequence, they (1) sang a preparatory solfége pattern in the key, meter, and tempo of the target dictations in the first condition; (2) prepared themselves silently during an equivalent time interval in the second condition; and (3) took the dictations immediately in the third condition. A repeated measures ANOVA and post hoc analysis revealed that participants scored significantly higher when they heard the dictation immediately following the chord sequence than when they sang the preparatory pattern first. Participants may have been distracted by the additional task of singing, interfering with their focus on the ensuing dictation. They reported a variety of preparatory strategies during the silent interval condition, suggesting that dictation students may benefit from learning multiple strategies and choosing what works best for them. Future research might investigate the relationship between strategies used during dictation and strategies used just prior to dictation. Implications for music educators include the need for careful decisions regarding when and how to combine musical tasks for student learning. © 2015 National Association for Music Education.","aural skills; melodic dictation; solfége","","","","","","","","Abril C., Flowers P., Attention, preference, and identity in music listening by middle school students of different linguistic backgrounds, Journal of Research in Music Education, 55, pp. 204-215, (2007); Berz W.L., Working memory in music: A theoretical model, Music Perception: An Interdisciplinary Journal, 12, pp. 353-364, (1995); Buonviri N.O., An exploration of undergraduate music majors' melodic dictation strategies, Update: Applications of Research in Music Education, 33, 1, pp. 21-30, (2014); Byo J.L., The effects of texture and number of parts on the ability of music majors to detect performance errors, Journal of Research in Music Education, 45, pp. 51-66, (1997); Cassidy J.W., Listening maps: Undergraduate students' ability to interpret various iconic representations, Update: Applications of Research in Music Education, 19, 2, pp. 15-19, (2001); AP Music Theory Exam, (2012); Sample Questions and Scoring Guidelines, (2012); Demorest S.M., Clements A., Factors influencing the pitch-matching of junior high boys, Journal of Research in Music Education, 55, pp. 190-203, (2007); Deutsch D., Music and the Brain, pp. 95-130, (1977); Duke R.A., Simmons A.L., The nature of expertise: Narrative descriptions of 19 common elements observed in the lessons of three renowned artist-teachers, Bulletin of the Council for Research in Music Education, 170, pp. 7-19, (2006); Flowers P., Patterns of attention in music listening, Bulletin of the Council for Research in Music Education, 148, pp. 48-59, (2001); Flowers P., O'Neill A.M., Self-reported distractions of middle school students in listening to music and prose, Journal of Research in Music Education, 53, pp. 308-321, (2005); Foulkes-Levy L., Tonal markers, melodic patterns, and musicianship training: Part I: Rhythm reduction, Journal of Music Theory Pedagogy, 11, pp. 1-24, (1997); Gromko J.E., Russell C., Relationships among young children's aural perception, listening condition, and accurate reading of graphic listening maps, Journal of Research in Music Education, 50, pp. 333-342, (2002); Henry M., The use of specific practice and performance strategies in sight-singing instruction, Update: Applications of Research in Music Education, 26, 1, pp. 11-16, (2008); Hodges D., Nolker B., MENC Handbook of Research on Music Learning, Volume II: Applications, pp. 61-91, (2011); Karpinski G., Aural Skills Acquisition, (2000); Killian J.N., The relationship between sightsinging accuracy and error detection in junior high singers, Journal of Research in Music Education, 39, pp. 216-224, (1991); Killian J.N., Henry M.L., A comparison of successful and unsuccessful strategies in individual sight-singing preparation and performance, Journal of Research in Music Education, 53, pp. 51-66, (2005); Klonoski E., Improving dictation as an aural-skills instructional tool, Music Educators Journal, 93, 1, pp. 54-59, (2006); Larson R.C., Relationships between melodic error detection, melodic dictation, and melodic sightsinging, Journal of Research in Music Education, 25, pp. 264-271, (1977); Livingston C., Ackman J., Changing trends in preparing students for college level theory, American Music Teacher, 53, 1, pp. 26-29, (2003); Madsen C.K., Geringer J., A focus of attention model for meaningful listening, Bulletin of the Council for Research in Music Education, 147, pp. 103-108, (2000); Madsen C.K., Staum M.J., Discrimination and interference in the recall of melodic stimuli, Journal of Research in Music Education, 31, pp. 15-31, (1983); Margulis E.H., A model of melodic expectation, Music Perception, 22, pp. 663-714, (2005); McClung A.C., Sight-singing systems: Current practice and survey of all-state choristers, Update: Applications of Research in Music Education, 20, 1, pp. 3-8, (2001); Mikumo M., Motor encoding strategy for pitches of melodies, Music Perception, 12, pp. 175-197, (1994); Morrison S.J., Trevino A.M., Sielert V., Jazz expertise and its relationship to pitch and rhythm placement among trumpet players, Bulletin of the Council for Research in Music Education, 175, pp. 31-41, (2008); National Association of Schools of Music Handbook 2011-2012, (2012); Norris C.E., The relationship between sight singing achievement and melodic dictation achievement, Contributions to Music Education, 30, 1, pp. 39-53, (2003); Oura Y., Constructing a representation of a melody: Transforming melodic segments into reduced pitch patterns operated on by modifiers, Music Perception, 9, pp. 251-265, (1991); Paney A.S., Buonviri N.O., Teaching melodic dictation in AP music theory, Journal of Research in Music Education, 61, pp. 396-414, (2013); Pembrook R.G., The effect of vocalization on melodic memory conservation, Journal of Research in Music Education, 35, pp. 155-169, (1987); Potter G., Identifying successful dictation strategies, Journal of Music Theory Pedagogy, 4, pp. 63-71, (1990); Povel D., Jansen E., Perceptual mechanisms in music processing, Music Perception, 19, 2, pp. 169-198, (2001); Rogers M.R., Teaching Approaches in Music Theory: An Overview of Pedagogical Philosophies, (2004); Schellenberg S., Moore R.S., The effect of tonal-rhythmic context on short- term memory of rhythmic and melodic sequences, Bulletin of the Council for Research in Music Education, 85, pp. 207-217, (1985); Sheldon D.A., Effects of contextual sight-singing and aural skills training on error detection abilities, Journal of Research in Music Education, 46, pp. 384-395, (1998); Thompson K.A., Thinking in sound: A qualitative study of metaphors for pitch perception, Journal of Music Theory Pedagogy, 18, pp. 81-107, (2004); Waggoner D.T., Effects of listening conditions, error types, and ensemble textures on error detection skills, Journal of Research in Music Education, 59, pp. 56-71, (2011); Yarbrough C., Orman E.K., Neill S., Time usage by choral directors prior to sight-singing adjudication, Update: Applications of Research in Music Education, 19, 2, pp. 15-19, (2007); Younker B.A., Smith W.H., Comparing and modeling musical thought processes of expert and novice composers, Bulletin of the Council for Research in Music Education, 128, pp. 25-36, (1996)","N.O. Buonviri; Boyer College of Music and Dance, Temple University, Philadelphia, 19122, United States; email: buonviri@temple.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84930709998"
"Penttinen M.; Huovinen E.","Penttinen, Marjaana (41262191500); Huovinen, Erkki (26033181800)","41262191500; 26033181800","The early development of sight-reading skills in adulthood: A study of eye movements","2011","Journal of Research in Music Education","59","2","","196","220","24","31","10.1177/0022429411405339","https://www.scopus.com/inward/record.uri?eid=2-s2.0-79959432338&doi=10.1177%2f0022429411405339&partnerID=40&md5=dec084249f58b191c2fffdf5911641a3","University of Turku, Department of Teacher Education, Centre for Learning Research, FI-20014 Turku, Finland; University of Minnesota, Minneapolis, MN, United States","Penttinen M., University of Turku, Department of Teacher Education, Centre for Learning Research, FI-20014 Turku, Finland; Huovinen E., University of Minnesota, Minneapolis, MN, United States","In this study the effects of skill development on the eye movements of beginning adult sight-readers were examined, focusing on changes in the allocation of visual attention within metrical units as well as in the processing of larger melodic intervals. The participants were future elementary school teachers, taking part in a 9-month-long music training period. During this period, 15 novice sight-readers' development was observed in three measurements, with 15 amateur musicians functioning as a comparison group. The novices' allocation of fixation time within metrical units gradually approached a pattern demonstrated by the amateurs in which increased sensitivity to metrical divisions was evinced by larger average fixation times on the latter halves of bars. Concerning larger melodic skips in otherwise stepwise melodic contexts, an analysis of fixation times suggested that the novices' visual processing of skips did not proceed in terms of note comparison across the skip but rather through a direct identification of the notational symbols involved. Skill development was seen, then, as increasing fluency of this identification process. These and similar findings may lead to a better understanding of the problems encountered by novice sight-readers and thus to advancements in the pedagogy of music reading. © 2011 MENC: The National Association for Music Education.","eye tracking; music reading; sight-reading; skill development","","","","","","Academy of Finland, (260008161)","The authors disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This research was supported by the Finnish Academy to the first author (project number 260008161). ","Burman D.D., Booth J.R., Music rehearsal increases the perceptual span for notation, Music Perception, 26, pp. 303-320, (2009); Chi M.T.H., The Cambridge Handbook of Expertise and Expert Performance, pp. 167-184, (2006); Ciepluch G., Sightreading Achievement in Instrumental Music Performance, Learning Gifts and Academic Achievement: A Correlation Study, (1988); Clifton C., Staub A., Rayner K., Eye Movement Research: A Window on Mind and Brain, pp. 341-372, (2007); Cole H., Sounds and Signs: Aspects of Musical Notation, (1974); Drake C., Palmer C., Skill acquisition in music performance: Relations between planning and temporal control, Cognition, 74, pp. 1-32, (2000); Elliott C.A., The relationships among instrumental sight-reading ability and seven selected predictor variables, Journal of Research in Music Education, 30, pp. 5-14, (1982); Furneaux S., Land M.F., The effects of skill on the eye-hand span during musical sight-reading, Proceedings of the Royal Society of London, Series B, 266, pp. 2435-2440, (1999); Galyen S.D., Sight-reading ability in wind and percussion students: A review of recent literature, Update: Applications of Research in Music Education, 24, pp. 57-70, (2005); Gilman E., Underwood G., Restricting the field of view to investigate the perceptual span of pianists, Visual Cognition, 10, pp. 201-232, (2003); Goolsby T.W., Eye movement in music reading: Effects of reading ability, notational complexity, and encounters, Music Perception, 12, pp. 77-96, (1994); Gromko J.E., Predictors of music sight-reading ability in high school wind players, Journal of Research in Music Education, 52, pp. 6-15, (2004); Hallam S., The development of expertise in young musicians: Strategy use, knowledge acquisition and individual diversity, Music Education Research, 3, pp. 7-23, (2001); Hayward C.M., Gromko J.E., Relationships among music sight-reading and technical proficiency, spatial visualization, and aural discrimination, Journal of Research in Music Education, 57, pp. 26-36, (2009); Hyona J., Lorch R.F., Rinck M., The Mind's Eye: Cognitive and Applied Aspects of Eye Movement Research, pp. 313-334, (2003); Kinsler V., Carpenter R.H.S., Saccadic eye movements while reading music, Vision Research, 35, pp. 1447-1458, (1995); Kopiez R., Lee J.I., Towards a general model of skills involved in sight-reading music, Music Education Research, 10, pp. 41-62, (2008); London J., Hearing in Time: Psychological Aspects of Musical Meter, (2004); MacKnight C.B., Music reading ability of beginning wind instrumentalists after melodic instruction, Journal of Research in Music Education, 23, pp. 23-34, (1975); Madell J., Hebert S., Eye movements and music reading: Where do we look next?, Music Perception, 26, pp. 157-170, (2008); McPherson G.E., Factors and abilities influencing sightreading skill in music, Journal of Research in Music Education, 42, pp. 217-231, (1994); Polanka M., Research note: Factors affecting eye movements during the reading of short melodies, Psychology of Music, 23, pp. 177-183, (1995); Rayner K., Eye movements in reading and information processing: 20 years of research, Psychological Bulletin, 124, pp. 372-422, (1998); Sloboda J.A., Visual perception of musical notation: Registering pitch symbols in memory, Quarterly Journal of Experimental Psychology, 28, pp. 1-16, (1976); Sloboda J.A., Experimental studies on music reading: A review, Music Perception, 2, pp. 222-236, (1984); Thompson W.B., Music sight-reading skill in flute players, Journal of General Psychology, 114, pp. 345-352, (1987); Truitt F.E., Clifton C., Pollatsek A., Rayner K., The perceptual span and the eye-hand span in sight-reading music, Visual Cognition, 4, pp. 143-161, (1997); Waters A.J., Townsend E., Underwood G., Expertise in musical sight-reading: A study of pianists, British Journal of Psychology, 89, pp. 123-149, (1998); Waters A., Underwood G., Eye movements in a simple music reading task: A study of experts and novice musicians, Psychology of Music, 26, pp. 46-60, (1998); Weaver H.E., A survey of visual processes in reading differently constructed musical selections, Psychological Monographs, 55, pp. 1-30, (1943); Wristen B., Cognition and motor execution in piano sight-reading: A review of literature, Update: Applications of Research in Music Education, 24, pp. 44-56, (2005); Wurtz P., Mueri R.M., Wiesendanger M., Sight-reading of violinists: Eye movements anticipate the musical flow, Experimental Brain Research, 194, pp. 445-450, (2009)","M. Penttinen; University of Turku, Department of Teacher Education, Centre for Learning Research, FI-20014 Turku, Finland; email: mapent@utu.fi","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-79959432338"
"Wang G.; Cook P.R.; Salazar S.","Wang, Ge (56144195500); Cook, Perry R. (57203105418); Salazar, Spencer (56321702800)","56144195500; 57203105418; 56321702800","ChucK: A Strongly Timed Computer Music Language","2015","Computer Music Journal","39","4","","10","29","19","42","10.1162/COMJ_a_00324","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84953303090&doi=10.1162%2fCOMJ_a_00324&partnerID=40&md5=01dc0d36e133fddfa3901e444fb88c89","Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, 660 Lomita Drive, Stanford, 94306, CA, United States; Department of Computer Science, Princeton University, 35 Olden Street, Princeton, 08540, NJ, United States","Wang G., Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, 660 Lomita Drive, Stanford, 94306, CA, United States; Cook P.R., Department of Computer Science, Princeton University, 35 Olden Street, Princeton, 08540, NJ, United States; Salazar S., Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, 660 Lomita Drive, Stanford, 94306, CA, United States","ChucK is a programming language designed for computer music. It aims to be expressive and straightforward to read and write with respect to time and concurrency, and to provide a platform for precise audio synthesis and analysis and for rapid experimentation in computer music. In particular, ChucK defines the notion of a strongly timed audio programming language, comprising a versatile time-based programming model that allows programmers to flexibly and precisely control the flow of time in code and use the keyword now as a time-aware control construct, and gives programmers the ability to use the timing mechanism to realize sample-accurate concurrent programming. Several case studies are presented that illustrate the workings, properties, and personality of the language. We also discuss applications of ChucK in laptop orchestras, computer music pedagogy, and mobile music instruments. Properties and affordances of the language and its future directions are outlined. © 2015 Massachusetts Institute of Technology.","","Audio acoustics; Chucks; Computational linguistics; Computer music; Computer programming languages; Concurrency control; Affordances; Audio synthesis; Case-studies; Concurrent programming; Control constructs; Mobile music; Programming models; Time based; Computer programming","","","","","","","Aaron S., Blackwell A.F., From sonic Pi to overtone: Creative musical experiences with domain-specific and functional languages, Proceedings of the ACM SIGPLAN Workshop on Functional Art, Music, Modeling, and Design, pp. 35-46, (2013); Anderson D., Kuivila R., Formula: A programming language for expressive computer music, IEEE Computer, 24, 7, pp. 12-21, (1991); Anderson T., Et al., Scheduler activations: Effective kernel support for the user-level management of parallelism, ACM Transactions on Computer Systems, 10, 1, pp. 53-79, (1992); Berry G., Gonthier G., The esterel synchronous programming language: Design, semantics, implementation, Science of Computer Programming, 19, 2, pp. 87-152, (1992); Brandt E., Temporal Type Constructors for Computer Music Programming, (2002); Bukvic I.I., Et al., Introducing L2Ork: Linux laptop orchestra, Proceedings of the International Conference on New Interfaces for Musical Expression, pp. 170-173, (2010); Burk P., Polansky L., Rosenboom D., HMSL (Hierarchical music specification language): A theoretical overview, Perspectives of New Music, 28, 2, pp. 136-178, (1990); Caspi P., Et al., LUSTRE: A declarative language for programming synchronous systems, Annual Symposium on Principles of Programming Languages, pp. 178-188, (1987); Collins N., Et al., Live coding in laptop performance, Organised Sound, 8, 3, pp. 321-330, (2003); Cook P.R., Scavone G., The synthesis toolkit (STK), Proceedings of the International Computer Music Conference, pp. 164-166, (1999); Dannenberg R., Machine tongues XIX: Nyquist, a language for composition and sound synthesis, Computer Music Journal, 21, 3, pp. 50-60, (1997); Dannenberg R., Et al., The carnegie mellon laptop orchestra, Proceedings of the International Computer Music Conference, 2, pp. 340-343, (2007); Fiebrink R., Real-Time Human Interaction with Supervised Learning Algorithms for Music Composition and Performance, (2011); Fiebrink R., Wang G., Cook P.R., Don't forget the laptop: Using native input capabilities for expressive control, Proceedings of the International Conference on New Interfaces for Musical Expression, pp. 164-167, (2007); Fiebrink R., Wang G., Cook P.R., Support for MIR prototyping and real-time applications of the ChucK programming language, Proceedings of the International Conference on Music Information Retrieval, pp. 153-158, (2008); Halbwachs N., Synchronous Programming of Reactive Systems, (1993); Hoare C.A.R., Communicating sequential processes, Communications of the ACM, 21, 8, pp. 666-677, (1978); Hudak P., Et al., Haskore music notation: An algebra of music, Journal of Functional Programming, 6, 3, pp. 465-483, (1996); Jaffe D., Smith J.O., Extensions of the karplus-strong plucked string algorithm, Computer Music Journal, 7, 2, pp. 56-69, (1983); Kapur A., Et al., The machine orchestra:An ensemble of human laptop performers and robotic musical instruments, Computer Music Journal, 35, 4, pp. 49-63, (2011); Kapur A., Et al., Programming for Musicians and Digital Artists: Making Music with ChucK, (2015); Karplus K., Strong A., Digital synthesis of plucked string and drum timbres, Computer Music Journal, 7, 2, pp. 43-55, (1983); Lansky P., CMIX, (1990); Le Guernic P., Et al., SIGNAL: A data flow oriented language for signal processing, IEEE Transactions on Acoustics, Speech and Signal Processing, 34, 2, pp. 362-374, (1985); Mathews M., The Technology of Computer Music, (1969); McCartney J., Rethinking the computer music programming language: Super collider, Computer Music Journal, 26, 4, pp. 61-68, (2002); Pope S.T., Machine tongues XV: Three packages for software sound synthesis, Computer Music Journal, 17, 2, pp. 23-54, (1993); Puckette M., Combining event and signal processing in the max graphical programming environment, Computer Music Journal, 15, 3, pp. 68-77, (1991); Puckette M., Pure data, Proceedings of the International Computer Music Conference, pp. 224-227, (1996); Roberts C., Et al., Gibber: Abstractions for creative multimedia programming, Proceedings of the ACM International Conference on Multimedia, pp. 67-76, (2013); Salazar S., Wang G., Chugens, chubgraphs, and chugins: 3 tiers for extending ChucK, Proceedings of the International Computer Music Conference, pp. 60-63, (2012); Salazar S., Wang G., Mini audicle for iPad: Touchscreen-based music software programming, Proceedings of the International Computer Music Conference, pp. 686-691, (2014); Salazar S., Wang G., Cook P.R., MiniAudicle and ChucK shell: New interfaces for ChucK development and performance, Proceedings of the International Computer Music Conference, pp. 64-66, (2006); Schottstaedt B., Machine tongues XVII: CLM: Music v meets common lisp, Computer Music Journal, 18, 2, pp. 3-37, (1994); Sipser M., Introduction to the Theory of Computation, (2005); Smallwood S., Et al., Composing for laptop orchestra, Computer Music Journal, 32, 1, pp. 9-25, (2008); Sorensen A., Impromptu: An interactive programming environment for composition and performance, Proceedings of the Australasian Computer Music Conference, pp. 149-153, (2005); Sorensen A., Gardner H., Programming with time: Cyber-physical programming with impromptu, Proceedings of the ACM International Conference on Object Oriented Programming Systems Languages and Applications, pp. 832-834, (2010); Steiglitz K., A Digital Signal Processing Primer: With Applications to Digital Audio and Computer Music, (1996); Touretzky D.S., LISP: A Gentle Introduction to Symbolic Computation, (1984); Trueman D., Why a laptop orchestra?, Organised Sound, 12, 2, pp. 171-179, (2007); Trueman D., Et al., PLOrk: Princeton laptop orchestra, year 1, Proceedings of the International Computer Music Conference, pp. 443-450, (2006); Turing A., On computer numbers, with an application to the entscheidungsproblem, Proceedings of the London Mathematical Society, 42, 1, pp. 230-265, (1937); Vercoe B., CSOUND: A Manual for the Audio Processing System and Supporting Programs, (1986); Wang G., The ChucK Audio Programming Language: A Strongly-Timed and On-the-Fly Environ/Mentality, (2008); Wang G., Ocarina: Designing the iPhone's magic flute, Computer Music Journal, 38, 2, pp. 8-21, (2014); Wang G., The DIY Orchestra of the Future, (2014); Wang G., Cook P.R., On-the-fly programming: Using code as an expressive musical instrument, Proceedings of the International Conference on New Interfaces for Musical Expression, pp. 153-160, (2004); Wang G., Cook P.R., Audicle: A context-sensitive, on-the-fly audio programming environ/mentality, Proceedings of the International Computer Music Conference, pp. 256-263, (2004); Wang G., Fiebrink R., Cook P.R., Combining analysis and synthesis in the ChucK programming language, Proceedings of the International Computer Music Conference, pp. 35-42, (2007); Wang G., Et al., The laptop orchestra as classroom, Computer Music Journal, 32, 1, pp. 26-37, (2008); Wang G., Et al., Stanford laptop orchestra (SLOrk), Proceedings of the International Computer Music Conference, pp. 505-508, (2009); Wright M., Freed A., Open sound control: A new protocol for communicating with sound synthesizers, Proceedings of the International Computer Music Conference, pp. 101-104, (1997)","","","MIT Press Journals","","","","","","01489267","","CMUJD","","English","Comput Music J","Article","Final","","Scopus","2-s2.0-84953303090"
"Odom S.L.","Odom, Selma Landen (57193175023)","57193175023","Signs of expression on Dalcroze's path from music to movement","2012","Kodikas/ Code","35","3-4","","303","312","9","0","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84904876286&partnerID=40&md5=21950d75dbfe2d76c716e46c09055f07","","","François Delsarte's ideas of expression inspired Swiss composer Émile Jaques-Dalcroze to emphasize the body and movement in his experimental music teaching beginning around 1900. Using piano improvisation to help people hear and respond to music physically, he transformed solfège lessons into group experiences of walking, breathing, singing, conducting, and gesturing. Dalcroze, like Delsarte, gained a reputation as a master teacher and innovator in music education. Dalcroze-based teaching continues to explore core practices of this heritage today.","","","","","","","","","Arnaud A., François del Sarte: Ses Découvertes en Esthétique, Sa Science, Sa Méthode, (1882); Berchtold A., Émile Jaques-Dalcroze et Son Temps, pp. 27-158, (1965); Bernhardt S., The Art of the Theatre, (1924); Brunet-Lecomte H., Jaques-Dalcroze: Sa Vie, Son Oeuvre, (1950); Cheney S., Isadora Duncan: The Art of the Dance, (1928); Dresdner A., La danse considérée comme art plastique, La Musique en Suisse, 2, 38, pp. 218-221, (1903); Duncan I., Der Tanz der Zukunft, pp. 54-63, (1903); Ellis K., Interpreting the Musical Past: Early Music in Nineteenth-century France, (2005); Giraudet A., Mimique, Physionomie et Gestes; Méthode Pratique, d'Après le Système de F. del Sarte, (1895); Goiter N., Erziehung zum und durch den Rhythmus: Die Methode Jaques-Dalcroze, Neue Musik-Zeitung, 28, 7, pp. 143-146, (1907); Goiter N., Rhythmus und Sprache, (1915); Got E., Journal de Edmond Got, Sociétaire de la Comédie- Française 1822-1901, (1910); Jaques-Dalcroze E., Gorter N., Six Chansons de Gestes: Études Callisthéniques: Mise en Scène de E. Jaques-Dalcroze et de Mlle Nina Gorter, (1904); Jaques-Dalcroze E., Gymnastique Rythmique, Vol. 1 of Méthode Jaques-Dalcroze: Pour le Développement de l'instinct Rythmique, du Sens Auditif et du Sentiment Tonal, (1906); Jaques-Dalcroze E., À la mémoire de Nina Gorter, Le Rythme, pp. 2-4, (1922); Jaques-Dalcroze E., Souvenirs, Notes et Critiques, (1942); Jaques-Dalcroze E., Notes Bariolées, (1948); Kreemer C., Meredith monk, Further Steps: Fifteen Choreographers on Modem Dance, pp. 250-265, (1987); Martin F., Émile Jaques-Dalcroze: L'Homme, le Compositeur, le Créateur de la Rythmique, (1965); Odom S.L., Wigman at hellerau, Ballet Review, 14, 2 SUMMER, pp. 41-53, (1986); Odom S.L., Mouvement du corps dans l'enseignement d'Émile Jaques-Dalcroze, La Danse, Art du XXème Siècle?, pp. 124-137, (1990); Odom S.L., Choreographing orpheus: Hellerau 1913 and warwick 1991, Dance Reconstructed Conference Proceedings, pp. 127-136, (1992); Odom S.L., Nijinsky à Hellerau, Écrits sur Nijinsky, pp. 67-77, (1992); Odom S.L., In search of the dalcroze history of hellerau, Hellerau 1992 Symposion, pp. 41-54, (1993); Odom S.L., Dalcroze eurhythmies as an oral tradition, La Memòria de la Dansa, pp. 31-38, (1995); Odom S.L., Dalcroze's dutch collaborators, Dance in the Netherlands 1600-2000. New Directions in Historical and Methodological Research, pp. 65-73, (1998); Odom S.L., Meeting suzanne perrottet, American Dalcroze Journal, 28, 3 SPRING, pp. 6-8, (2002); Odom S.L., Suzanne perrottet: Writing a teacher's life, American Dalcroze Journal, 29, 2 WINTER, pp. 4-6, (2003); Odom S.L., Looking back, moving forward"" and ""Dalcroze firsts, American Dalcroze Journal, 30, 1 FALL 2003, pp. 8-10, (2003); Odom S.L., Delsartean traces in dalcroze eurhythmies, Essays on François Delsarte, Special Issue of Mime Journal, pp. 136-151, (2004); Odom S.L., Travel and translation in the dance writings of beryl de zoete, Dance Research Journal, 38, 1-2 SUMMER, pp. 76-86, (2006); Porte A., François Delsarte: Une Anthologie, (1992); Ruyter N.L.C., Reformers and Visionaries: The Americanization of the Art of Dance, (1979); Ruyter N.L.C., The Cultivation of Body and Mind in Nineteenth-Century American Delsartism, (1999); Spector I., Rhythm and Life: The Work of Emile Jaques-Dalcroze, (1990); Stebbins G., Delsarte System of Expression, (1902); Storck K., E. Jaques-Dalcroze: Seine Stellung und Aufgabe in Unserer Zeit, (1912); Tchamkerten J., Émile Jaques-Dalcroze: Catalogue Thématique des Mélodies, Chansons, Chœurs et Rondes Enfantines, (2000); Volkonsky S.M., Vyrazitel'nyi Chelovek, Stsenicheskoe Vospitanie Zhesta. Po Delsarte-u. S Illyustratsiyami So Statui i Kartin Starinnykh Masterov, [Expressive Man. Teaching Gesture for the Stage. After Delsarte. with Translations from Statues and Pictures by Old Masters], (1913); De Weindel H., Une méthode d'enseignement rationnel de la musique, La Vie Illustrée, (1907); Wolkonski S.M., Meine Erinnerungen, Memoriam Hellerau. Dalcroze. Dohrn, pp. 7-31, (1960)","","","Narr Francke Attempto Verlag GmbH and Co.KG","","","","","","01710834","","","","English","Kodikas Code","Article","Final","","Scopus","2-s2.0-84904876286"
"Rauduvaite A.","Rauduvaite, Asta (36712413000)","36712413000","Developing school learners' moral value atitudes through a philosophical conception of integrating popular music; [Mokinių vertybinių nuostatų ugdymas filosofine samprata integruojant populiariąją muziką]","2012","Pedagogika","106","","","60","69","9","0","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84869208974&partnerID=40&md5=937a1ee2e90d2e3af0eda94068879b2a","Lietuvos edukologijos universitetas, Lithuania","Rauduvaite A., Lietuvos edukologijos universitetas, Lithuania","The present article is devoted to discussion on the philosophic specificity of a conception related to developing junior school age learners' moral value attitudes through integration of popular music: the significance of the conception is grounded in the context of different conceptual approaches to educational philosophy, and interrelations between school learner musical activities and development of moral value attitudes as well as possibilities of improvement in the field are discussed on the basis of the research performed. The issue of moral values transfuses all the other spheres of activity in the contemporary world, starting with pre-school education and finishing with lifelong learning. Moral value attitudes are named as priority goals in various strategic documents and reflect the newly emerged challenges to education, i.e., the rapid changing of our country's social and economic life as well as the expanding possibilities to implement educational innovations. The contemporary society treats pre-school education of children as a key priority sphere of educational policies. When accomplished successfully and in a quality way, this phase of education ensures disclosure of a personality and forms preconditions for further lifelong learning. Primary musical education presented in attractive forms of activity may help foster development of school learner moral value attitudes, abilities, knowledge and understanding as an integral process. Depending on the values that satisfy a person's needs, moral value attitudes gain development, and they are interpreted as an integral part of competences, as the inner relationship with moral values presupposes subordination of a person's all powers and allows giving sense to interrelationships, activities and future visions in the dimension of moral values. Meanwhile, the educational potential of a music teacher reaches even deeper - it allows direct promotion of school learners' musical value relationship with the reality they are familiar with, i.e., developing moral value attitudes through sensation of goodness, beauty and artistic activities. Nowadays, the profession of a music teacher relates to both global and local phenomena. Changes in miscellaneous musical culture challenge teachers of music to be able to orient themselves in the realm of changes, to be ready to work under the new conditions, to be flexible in making use of the disclosing new possibilities in the musical world, to help their learners orient under the contemporary changes in musical culture, to develop the learners' musical experiences, to promote emotional maturity through emotional relationships with music, and to presuppose the transferring abilities. The significance of the issue selected for the present research is conditioned by school learners' extreme interest in popular music and its impact that is estimated in contradictory ways. For more than two millennia, people have been returning to the issues of human existence. Significant issues of educational reality promote different ways of analysis related to possibilities of becoming a personality, estimation of human multilayer existence and multidimensional human education, as the quality of education predetermines the society's development and progress. A key issue of contemporary music pedagogy is development of junior school age learners' moral value attitudes through integration of popular music. Analysis of scientific literary sources allows stating that the conceptual approaches of educational philosophy analysing the reality of the educational process in different aspects underline educational tendencies, the conception of fostering moral values and the influence of music on development of child personality in their own ways and allow presuming that the content of musical education, in development of school learner moral value attitudes, is a historically changing phenomenon. Therefore, it is significant to analyse the content of musical education in the context of a changing society. Development of philosophical thinking and educational prospects are factors that orient a teacher towards creation of new ideas, taking into account his or her learners' musical interests, estimation and implementation of the goals set - to help learners orient in the contemporary change of musical culture, to develop moral value attitudes through use of popular music feeling experiences, and to provide the most general understanding on what is good, beautiful and true. The research performed allows stating that the method of personal sense is acceptable and efficient in developing junior school age learners' moral value attitudes through integration of popular music. Therefore, it is purposeful to direct musical activities in a lesson in the direction of emotional logical perception and to envisage possibilities of fostering school learners' spiritual values in the content of education.","Development of moral values; Moral value attitudes; Popular music","","","","","","","","Allsup R.E., Imagining possibilities in a global world: Music, learning and rapid change, Music Education Research, 6, 2, pp. 179-190, (2004); Andrijauskas A., Grožis ir menas: Estetikos ir meno filosofijos idėju{ogonek} istorija (Rytai-Vakarai)., (1995); Aramaviciute V., Auklėjimas ir dvasinė asmenybės branda., (2005); Aristotelis, Politika, (1997); Bakutyte R., Pradiniu{ogonek} klasiu{ogonek} mokiniu{ogonek} humaniškumo ugdymas, (2001); Baranova J., Istorijos filosofija, (2000); Barkauskaite M., Paaugliai: Sociopedagoginė dinamika, (2001); Baumann M.P., The Musical Performing Group: Musical Norms, Tradition, and Identity, The world of music, 31, 2, pp. 80-113, (1989); Bekonas F., Naujasis organonas, (2004); Bitinas B., Hodegetika, (2004); Bitinas B., Ugdymo filosofija, (2000); Bogdan D., Musical Spirituality: Reflections on Identity and the Ethics of Embodied Aesthetic Experience in / and the Academy, Journal of Aesthetic Education, 37, 2, pp. 80-98, (2003); Buber M., Dialogo principas I. Aš ir Tu., (1998); Davis S.G., Blair D.V., Popular Music in American teacher education: A glimpse into a secondary methods course, International Journal of music Education, 29, 2, pp. 124-140, (2011); Dewey J., Mano pedagoginis credo. Demokratija ir ugdymas, Filosofiniai ugdymo pagrindai., pp. 197-207, (1996); Gadamer H.-G., Grožio aktualumas. Menas kaip žaidimas, simbolis ir šventė, (1997); Gaizutis A., Kultūros vertybės ir erzacai, (1993); Gaizutis A., Vaikystė ir grožis, (1988); Giddens A., Modernybė ir asmens tapatumas, (2000); Girdzijauskiene R., Jaunesniojo mokyklinio amžiaus vaiku{ogonek} muzikiniai pasiekimai ir ju{ogonek} vertinimo problema, Pedagogika: Mokslo darbai, 94, pp. 64-70, (2009); Green L., Popular music education in and for itself, and for ""other' music: Current research in the classroom, International Journal of music Education, 24, 2, pp. 101-118, (2006); Heidegeris M., Apie humanizma{ogonek}, Gėrio kontūrai, pp. 224-260, (1989); Jaspersas K., Filosofijos i{ogonek}vadas., (1998); Joniliene M., Pedagogu{ogonek} ir tėvu{ogonek} nuostatu{ogonek} etnomuzikai svarba ikimokyklinio amžiaus vaiko doriniam ugdymui, Pedagogika: Mokslo darbai, 70, pp. 81-86, (2004); Kantas I., Apie pedagogika{ogonek}. Kaunas: Šviesa, 1990. Locke'as. Pama{ogonek}stymai apie auklėjima{ogonek}, Filosofiniai ugdymo pagrindai, pp. 103-107, (1996); Martisauskiene E., Paaugliu{ogonek} dvasingumas kaip pedagoginis reiškinys, Tragedijos gimimas, (1997); Ozmon H.A., Craver S.M., Filosofiniai ugdymo pagrindai, (1996); Piliciauskas A., Muzikos pažinimas, 2-oji knyga. Stadijos, rezultatai ir reikšmė, (1998); Valstybė, (2000); Portnoy J., The Philosopher and Music, (1954); Pradinio ir pagrindinio ugdymo bendrosios programos. Pradinio ugdymo bendroji programa, (2009); Sartras Z.-P., Egzistencializmas yra humanizmas, Filosofijos istorijos chrestomatija. XIX ir XX amžiu{ogonek} Vakaru{ogonek} Europos ir Amerikos filosofija., pp. 439-450, (1974); Savicka A., Asmens tapatybė permainu{ogonek} metu: Tarp lemties ir pasirinkimo, Kultūrologija, 11, pp. 77-94, (2004); Schopenhauer A., Parerga ir paralipomena, (2001); Swanwick K., Popular Music and the Teacher, (1968); Šiuolaikinės meninio ugdymo koncepcijos, (2000); Steineris R., Vaiko ugdymas dvasios mokslo požiūriu, (1998); Tomas A., Teologijos sa{ogonek}vadas, Filosofijos istorijos chrestomatija, pp. 408-440, (1980); Velicka E., Garsu{ogonek} ir tylos paslaptys: Muzika I-IV klasėje, (1995); Raštai., (1990)","","","Vytautas Magnus University","","","","","","13920340","","","","English","Pedagogika","Article","Final","","Scopus","2-s2.0-84869208974"
"Abramo J.M.","Abramo, Joseph Michael (37048392400)","37048392400","Queering informal pedagogy: Sexuality and popular music in school","2011","Music Education Research","13","4","","465","477","12","13","10.1080/14613808.2011.632084","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84857568902&doi=10.1080%2f14613808.2011.632084&partnerID=40&md5=e8789bb32d1d5a7736aa34ae3e8c56ea","Neag School of Education, University of Connecticut, Unit 2064C, Storrs, CT 06269-2064, 249 Glenbrook Road, United States","Abramo J.M., Neag School of Education, University of Connecticut, Unit 2064C, Storrs, CT 06269-2064, 249 Glenbrook Road, United States","This qualitative case study explores how students perceptions of sexual identity affect how they participate in popular music processes used in school. Seventeen high school students were invited to form five single-gendered and mixed-gendered rock bands. The data collected included fieldnotes and audio recordings of observed rehearsals and individual interviews. The data were coded and analyzed from a queer theory standpoint to provide interpretations of how participants constructed their sexual identity through musical production and reception. The findings suggest that the boys used popular music making to project a sexual identity, and that they refused to participate in musical acts-like singing in a high tessitura and writing lyrics-that they willingly performed in traditional music ensembles and genres. This questions whether the recent use of popular music pedagogies in formal settings effectively furthers traditional music education aims of educating about the elements of music. © 2011 Taylor and Francis Group, LLC.","informal pedagogy; masculinity; music education; popular music; queer theory","","","","","","","","Ashley M., How High Should Boys Sing?: Gender, Authenticity and Credibility in the Young Male Voice, (2009); Paul A., Hammersley M., Ethnography and participant observation, Strategies of Qualitative Inquiry, pp. 110-36, (1998); Bayton M., Women and the electric guitar, Sexing the Groove, pp. 37-49, (1997); Blom D., Beyond the cover version: Encouraging student performers to produce original interpretations of popular songs, InternationalJournal of Music Education, 24, 2, pp. 159-67, (2006); Brackett D., Interpreting Popular Music, (2000); Phillip B., Wood E., Thomas G.C., Queering the Pitch: The New Gay and Lesbian Musicology, (2006); Brown A.L., On Foucault, (2000); Butler J., Bodies That Matter, (1993); Butler J., Gender Trouble: Feminism and the Subversion of Identity, (1999); Campbell P.S., Of garage bands and song-getting: The musical development of young rock musicians, Research Studies in Music Education, 4, pp. 12-20, (1995); Christenson P.G., Peterson J.B., Genre and gender in the structure of music preferences, Communication Research, 15, 3, pp. 282-301, (1988); Connell R.W., Masculinities, (1995); Cook S.C., Tsou J.S., Cecilia Reclaimed: Feminist Perspectives on Gender and Music, (1994); Creswell J.W., Qualitative Inquiry and Research Design: Choosing among the Five Traditions, (1998); Davis S.G., That thing you do!:"" Compositional processes of a rock band, International Journal of Education and the Arts, 6, 16, (2005); Denora T., Music in Everyday Life, (2000); Denzin N.K., Interpretive Ethnography: Ethnographic Practices for the 21st Century, (1997); Dibben N., Gender identity and music, Musical Identities, pp. 117-33, (2002); Donna E., Fingerson L., Interviewing children and adolescents, Handbook of Interview Research: Context and Methods, pp. 181-202, (2001); Emerson R.M., Fretz R.I., Shaw L.L., Writing Ethnographic Fieldnotes, (1995); Frank G., Discophobia: Antigay prejudice and the 1979 backlash against disco, Journal of the History of Sexuality, 15, 2, pp. 276-306, (2007); Friend R.A., Choices, not closets: Heterosexism and homophobia in schools, Beyond Silenced Voices: Class, Race, and Gender in United States Schools, pp. 209-35, (1993); Green L., How Popular Musicians Learn: A Way Ahead for Music Education, (2002); Green L., Music, Informal Learning and the School: A New Classroom Pedagogy, (2008); Hubbs N., I will survive': Musical mappings of queer social space in a disco anthem, Popular Music, 26, 2, pp. 231-44, (2007); Jaffurs S.E., The impact of informal music learning practices in the classroom, or how i learned how to teach from a garage band, The International Journal of Music Education, 22, 3, pp. 189-200, (2004); Jane K., Fitzclarence L., Masculinity, violence and schooling: Challenging 'poisonous pedagogies, Gender and Education, 9, 1, pp. 117-33, (1997); Maxwell J.A., Qualitative Research Design: An Interactive Approach, (2005); McClary S., Feminine Endings, (1991); Pirkko M., Diamond B., Music and Gender, (2000); Reason P., Three approaches to participatory inquiry, Strategies of Qualitative Inquiry, 2, pp. 261-291, (1998); Seeger A., Catching up with the rest of the world: Music education and musical experience, World Musics and Music Education, pp. 103-16, (2002); Shuker R., Understand Popular Music, (2001); Tongson K., Tickle me emo: Lesbian balladeering, straight-boy emo, and the politics of affect, Queering the Popular Pitch, pp. 55-66, (2006); Whiteley S., Sexing the Groove: Popular Music and Gender, (1997); Whiteley S., Too Much Too Young: Popular Music, Age and Gender, (2005); Shelia W., Rycenga J., Queering the Popular Pitch, (2006); Yin R.K., Case Study Research: Design and Methods, (2003)","J.M. Abramo; Neag School of Education, University of Connecticut, Unit 2064C, Storrs, CT 06269-2064, 249 Glenbrook Road, United States; email: joseph.abramo@uconn.edu","","","","","","","","14699893","","","","English","Music Educ. Res.","Article","Final","","Scopus","2-s2.0-84857568902"
"Rosemann S.; Altenmüller E.; Fahle M.","Rosemann, Stephanie (57190015010); Altenmüller, Eckart (7004079354); Fahle, Manfred (24324586800)","57190015010; 7004079354; 24324586800","The art of sight-reading: Influence of practice, playing tempo, complexity and cognitive skills on the eye-hand span in pianists","2016","Psychology of Music","44","4","","658","673","15","31","10.1177/0305735615585398","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84976512502&doi=10.1177%2f0305735615585398&partnerID=40&md5=aabda577b6484601d5a534ed9b7ed2c3","Department of Human-Neurobiology, University of Bremen, Hochschulring 18, Bremen, D-28359, Germany; Institute for Music Physiology and Musicians' Medicine, Hanover University of Music, Drama, and Media, Germany","Rosemann S., Department of Human-Neurobiology, University of Bremen, Hochschulring 18, Bremen, D-28359, Germany; Altenmüller E., Institute for Music Physiology and Musicians' Medicine, Hanover University of Music, Drama, and Media, Germany; Fahle M., Department of Human-Neurobiology, University of Bremen, Hochschulring 18, Bremen, D-28359, Germany","Sight-reading is a skill required by musicians when they perform sheet music unknown to them. It demands sequential anticipatory eye fixation of notes immediately followed by motor execution. The distance between eye (fixation of a note) and hand position (tapping the corresponding key) is called eye-hand span (EHS). The aim of our study was to investigate the influence of practice, playing tempo and complexity of the music on the size of the EHS, as well as its relation to performance and cognitive skills (shape recognition, working memory, and mental speed). We used a sight-reading paradigm where nine pianists accompanied a pre-recorded flute voice, which also served as a time-keeper. After a practice phase, a second measurement of the EHS with same tempo and a third and fourth measurement with a different playing tempo followed. We found that the practice phase only slightly affected the EHS but that the EHS significantly changed according to playing tempo and complexity of the music. Furthermore the EHS correlated with quality of performance after practice and mental speed skills. Hence we conclude that the EHS seems to be characteristic for each musician, is developed over years of practice and is relatively independent of a short practice phase. © The Author(s) 2015.","cognition; complexity; eye movements; practice; sight-reading; tempo","","","","","","Studienstiftung des Deutschen Volkes","This research received no specific grant from any funding agency in the public, commercial, or not-for-profit sectors. The first author currently receives a PhD grant from the German National Academic Foundation (Studienstiftung des Deutschen Volkes).","Burman D.D., Booth J.R., Music rehearsal increases the perceptual span for notation, Music Perception: An Interdisciplinary Journal, 26, 4, pp. 303-320, (2009); Brickenkamp R., D2 Aufmerksamkeits- Belastungs-Test, 8, (1994); Della Sala S., Gray C., Baddeley A., Wilson L., Visual Pattern Test, (1997); Furneaux S., Land M.F., The effects of skill on the eye-hand span during musical sight-reading, Proceedings. Biological Sciences / the Royal Society, 266, 1436, pp. 2435-2440, (1999); Gilman E., Underwood G., Restricting the field of view to investigate the perceptual spans of pianists, Visual Cognition, 10, 2, pp. 201-232, (2003); Gruber H., Jansen P., Marienhagen J., Altenmuller E., Adaptations during the acquisition of expertise, Talent Development & Excellence, 2, 1, pp. 3-15, (2010); Horn W., L-P-S Leistungsprüfsystem, 2, (1983); Jancke L., Schlaug G., Steinmetz H., Hand skill asymmetry in professional musicians, Brain and Cognition, 34, 3, pp. 424-432, (1997); Jancke L., Shah N.J., Peters M., Cortical activations in primary and secondary motor areas for complex bimanual movements in professional pianists, Brain Research. Cognitive Brain Research, 10, 1-2, pp. 177-183, (2000); Kinsler V., Carpenter R.H., Saccadic eye movements while reading music, Vision Research, 35, 10, pp. 1447-1458, (1995); Kopiez R., Lee J.I., Towards a dynamic model of skills involved in sight reading music, Music Education Research, 8, 1, pp. 97-120, (2006); Kopiez R., Lee J.I., Towards a general model of skills involved in sight reading music, Music Education Research, 10, 1, pp. 41-62, (2008); Kopiez R., Weihs C., Ligges U., Lee J.I., Classification of high and low achievers in a music sight-reading task, Psychology of Music, 34, 1, (2006); Lee J.I., Kopiez R., Lehmann A., Wolther I., Wolf C., The role of working memory and short-term memory in sight reading, Proceedings of the 5th International Conference of the European Society for the Cognitive Sciences of Music (ESCOM), pp. 121-126, (2003); Lehmann A.C., Stoffer T.H., Oerter R., Vomblattspiel und Notenlesen - Visuelle Wahrnehmung und Augenbewegungen & Studien zu Gedächtnisprozessen beim Vomblattspiel, Allgemeine Musikpsychologie, pp. 883-890, (2005); Meinz E.J., Hambrick D.Z., Deliberate practice is necessary but not sufficient to explain individual differences in piano sight-reading skill: The role of working memory capacity, Psychological Science: A Journal of the American Psychological Society / APS, 21, 7, pp. 914-919, (2010); Penttinen M., Huovinen E., The early development of sight-reading skills in adulthood: A study of eye movements, Journal of Research in Music Education, 59, 2, pp. 196-220, (2011); Rayner K., Pollatsek A., Eye movements, the eye-hand span, and the perceptual span during sight-reading of music, Current Directions in Psychological Science, 6, 2, pp. 49-53, (1997); Reitan R.M., Wolfson D., The Halstead-Reitan Neuropsychological Test Battery, (1985); Sloboda J., The eye-hand span - An approach to the study of sight reading, Psychology of Music, 2, 2, pp. 4-10, (1974); Tewes U., HAWIE-R. Hamburg-Wechsler-Intelligenztest für Erwachsene, Revision 1991; Handbuch und Testanweisung, (1994); Truitt F.E., Clifton C., Pollatsek A., Rayner K., The perceptual span and the eye-hand span in sight reading music, Visual Cognition, 4, 2, pp. 143-161, (1997); Waters A.J., Townsend E., Underwood G., Expertise in musical sight reading: A study of pianists, British Journal of Psychology, 89, 1, pp. 123-149, (1998); Waters A.J., Underwood G., Findlay J.M., Studying expertise in music reading: Use of a pattern-matching paradigm, Perception & Psychophysics, 59, 4, pp. 477-488, (1997); Wolf T., A cognitive model of musical sight-reading, Journal of Psycholinguistic Research, 5, 2, pp. 143-171, (1976); Wurtz P., Mueri R.M., Wiesendanger M., Sight-reading of violinists: Eye movements anticipate the musical flow, Experimental Brain Research, 194, 3, pp. 445-450, (2009)","S. Rosemann; Department of Human-Neurobiology, University of Bremen, Bremen, Hochschulring 18, D-28359, Germany; email: strosemann@uni-bremen.de","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-84976512502"
"Warren R.A.; Curtis M.E.","Warren, Richard A. (7401712096); Curtis, Meagan E. (14019003800)","7401712096; 14019003800","The actual vs. predicted effects of intonation accuracy on vocal performance quality","2015","Music Perception","33","2","","135","146","11","7","10.1525/MP.2015.33.2.135","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84961753563&doi=10.1525%2fMP.2015.33.2.135&partnerID=40&md5=bc3df8b1e6e664be1a88f8bf5fe465a4","Purchase College, State University of New York, United States","Warren R.A., Purchase College, State University of New York, United States; Curtis M.E., Purchase College, State University of New York, United States","The belief that intonation accuracy is a key determinant of musical performance quality is ubiquitous in music pedagogy; nonetheless, empirical validation of this belief is lacking. We investigated the effects of intonation accuracy on perceived performance quality and assessed whether music professionals' beliefs about the importance of intonation are consistent with these effects. In Experiments 1 and 2, participants listened to vocal performances that were in tune, moderately out of tune, or severely out of tune. Only severe mistunings caused decreases in performance quality ratings for intonation insensitive listeners (those who performed poorly on a mistuning detection prescreening). However, both moderate and severe mistunings were detrimental to the ratings of intonation sensitive listeners. These results indicate that moderate mistunings exert a negative influence on the perceived quality of a performance only if the listener can explicitly detect the mistunings. If a listener cannot explicitly detect the mistunings, those mistunings do not implicitly exert a negative influence on the perception of the performance. In Experiment 3, music professionals heard samples of performances from Experiments 1 and 2 in each intonation condition and were asked to estimate the impact of the mistunings on listeners' ratings of performance quality. Their predictions were compared to the actual performance quality ratings obtained in Experiment 2. Music professionals overestimated the impact of moderate mistunings for both intonation sensitive and insensitive listeners, suggesting that music professionals may hold inaccurate beliefs about the importance of intonation accuracy in vocal performance. © 2015 BY THE REGENTS OF THE UNIVERSITY OF California ALL.","Intonation; Music perception; Performance quality; Singing; Vibrato","","","","","","","","Bechara A., Damasio H., Tranel D., Damasio A.R., Deciding advantageously before knowing the advantageous strategy, Science, 275, pp. 1293-1295, (1997); Bernsee S., On the Importance of Formants in Pitch Shifting, (2000); Geringer J.M., MacLeod R.B., Allen M.L., Perceived pitch of violin and cello vibrato tones among music majors, Journal of Research in Music Education, 57, pp. 351-363, (2010); Geringer J.M., Madsen C.K., Verbal and operant discrimination/preference for tone quality and intonation, Psychology of Music, 9, pp. 26-30, (1981); Geringer J.M., Madsen C.K., Musicians' ratings of good versus bad vocal and string performances, Journal of Research in Music Education, 46, pp. 522-534, (1998); Hailstone J.C., Omar R., Henley S.D., Frost C., Kenward M.G., Warren J.D., It's not what you play, it's how you play it: Timbre affects perception of emotion in music, Quarterly Journal of Experimental Psychology, 62, 11, pp. 2141-2155, (2009); Helmholtz H.F., Ellis A.J., The Sensations of Tone as a Physiological Basis for the Theory of Music, (1885); Hutchins S., Peretz I., A frog in your throat or in your ear? Searching for the causes of poor singing, Journal of Experimental Psychology: General, 141, pp. 76-97, (2012); Hutchins S., Roquet C., Peretz I., The vocal generosity effect: How bad can your singing be?, Music Perception, 30, pp. 147-159, (2012); Iwamiya S., Kosugi K., Kitamura O., Perceived principal pitch of vibrato tones, Journal of the Acoustical Society of Japan (E), 4, pp. 73-82, (1983); Loosen F., The effect of musical experience on the conception of accurate tuning, Music Perception, 12, pp. 291-306, (1995); Madsen C.K., Edmonson F.A., Madsen C.H., Modulated frequency discrimination in relationship to age and musical training, Journal of the Acoustical Society of America, 46, 6, pp. 1468-1472, (1969); Madsen C.K., Geringer J.M., Preference for trumpet tone quality vs intonation, Council for Research in Music Education Bulletin, 46, pp. 13-22, (1976); Madsen C.K., Geringer J.M., Discrimination between tone quality and intonation in unaccompanied flute/oboe duets, Journal of Research in Music Education, 29, pp. 305-313, (1981); Melara R.D., Marks L.E., Interaction among auditory dimensions: Timbre, pitch, and loudness, Perception and Psychophysics, 48, pp. 169-178, (1990); Moore B.C., Glasberg B.R., Peters R.V., Relative dominance of individual partials in determining the pitch of complex tones, Journal of the Acoustical Society of America, 77, pp. 1853-1860, (1985); Siegel J.A., Siegel W., Absolute identification of notes and intervals by musicians, Perception and Psychophysics, 21, pp. 143-152, (1977); Sundberg J., Pitch of synthetic sung vowels, Speech Transmission Laboratory-quarterly Progress and Status Report, 1, pp. 34-44, (1972); Sundberg J., Prame E., Iwarsson J., Replicability and accuracy of pitch patterns in professional singers, Department for Speech, Music, and Hearing - Quarterly Progress and Status Report, 36, 2-3, pp. 51-62, (1995); Thompson S., Williamon A., Evaluating evaluation: Musical performance assessment as a research tool, Music Perception, 21, pp. 21-41, (2003); Van Besouw R.M., Brereton J.S., Howard D.M., Range of tuning for tones with and without vibrato, Music Perception, 26, pp. 145-156, (2008); Vurma A., Mistuning in two-part singing, Logopedics Phoniatrics Vocology, 1, 1, pp. 24-33, (2010); Vurma A., Ross J., Production and perception of musical intervals, Music Perception, 23, pp. 331-344, (2006); Vurma A., Ross J., Timbre-induced pitch deviations of musical sounds, Journal of Interdisciplinary Music Studies, 1, 1, pp. 33-50, (2007); Ward W.D., Martin D.W., Psychophysical comparison of just tuning and equal temperament in sequences of individual tones, Journal of the Acoustical Society of America, 33, pp. 586-588, (1961); Warrier C.M., Zatorre R.J., Influence of tonal context and timbral variation on perception of pitch, Perception and Psychophysics, 64, pp. 198-207, (2002); Wong P.C.M., Skoe E., Russo N.M., Dees T., Kraus N., Musical experience shapes human brainstem encoding of linguistic pitch patterns, Nature Neuroscience, 10, 4, pp. 420-422, (2007); Zentner M.R., Kagan J., Infants' perception of consonance and dissonance in music, Infant Behavior and Development, 21, 3, pp. 483-492, (1998)","R.A. Warren; Columbia University, Hammer Health Sciences Center, New York, 701 West 168th Street, 10032, United States; email: raw2163@columbia.edu","","University of California Press","","","","","","07307829","","","","English","Music Percept.","Article","Final","","Scopus","2-s2.0-84961753563"
"Bugos J.; Mostafa W.","Bugos, Jennifer (16743725800); Mostafa, Wendy (51161554800)","16743725800; 51161554800","Musical training enhances information processing speed","2011","Bulletin of the Council for Research in Music Education","","187","","7","18","11","31","10.2307/41162320","https://www.scopus.com/inward/record.uri?eid=2-s2.0-80053103463&doi=10.2307%2f41162320&partnerID=40&md5=ffa14842fd944107361161279e34784d","University of South Florida, Tampa, FL, United States; East Carolina University, Greenville, NC, United States","Bugos J., University of South Florida, Tampa, FL, United States; Mostafa W., East Carolina University, Greenville, NC, United States","The purpose of this research is to examine the effects of music instruction on information processing speed. We examined music's role on information processing speed in musicians (N = 14) and non-musicians (N = 16) using standardized neuropsychological measures, the Paced Auditory Serial Addition Task (PASAT) and the Trail Making Test (TMT). Results of a One Way ANOVA indicate significantly (p < .05) enhanced performance by musicians compared to non-musicians on the PASAT and TMT (Part A and B). These results suggest that musical training has the capacity to enhance processing speed of auditory and visual content. Implications for music educators stemming from these findings include the need for inclusion of rhythmic sight-reading exercises and improvisational activities to reinforce processing speed. © 2011 Board of Trustees University of Illinois.","","","","","","","","","Bauman S., Koeneke S., Meyer M., Lutz K., Jancke L., A network for sensory-motor integration: What happens in the auditory cortex during piano playing without acoustic feedback?, Annals of the Academy of New York Sciences, 1060, pp. 186-188, (2005); Beck A.T., Brown G.K., Steer R.A., Manual for the Beck Depression Inventory-II, (1996); Bilharz T.D., Bruhn R.A., Olson J.E., The effect of early music training on child cognitive development, Journal of Applied Developmental Psychology, 20, pp. 615-636, (2000); Blair J.R., Spreen O., Predicting premorbid IQ: A revision of the National Adult Reading Test, The Chinical Neuropsychologist, 3, pp. 129-136, (1989); Brandt J., Spencer M., Folstein M., The Telephone Interview of Cognitive Status, Neuropsychiatry, Neuropsychology and Behavioral Neurology, 1, pp. 111-117, (1988); Brattico E., Tervaniemi M., Picton T.W., Effects of brief discrimination-training on the auditory N-1 wave, Neuroreport, 14, 18, pp. 2489-2492, (2003); Brochard R., Defour A., Despres O., Effect of musical expertise on visuospatial abilities: Evidence from reaction times and mental imagery, Brain and Cognition, 54, 2, pp. 103-109, (2004); Bull R., Johnston R.S., Children's Arithmetical Difficulties: Contributions from Processing Speed, Item Identification, and Short-Term Memory, Journal of Experimental Child Psychology, 65, pp. 1-24, (1997); Chan A.S., Ho Y.C., Cheung M.C., Musical training improves verbal memory, Nature, 396, (1998); Chronicle E.P., MacGregor N.A., Are PASAT scores related to mathematical ability, Neuropsychological Rehabilitation, 8, 3, pp. 273-282, (1998); Diehr M.C., Cherner M., Wolfson T.J., Miller S.W., Grant I., Heaton R.K., The 50 and 100-item short forms of the Paced Auditory Serial Addition Task (PASAT): Demographically corrected norms and comparisons with the full PASAT in normal and clinical samples, Journal of Clinical and Experimental Neuropsychology, 25, 4, pp. 571-585, (2003); Forn C., Barros-Loscertales A., Escudero J., Belloch V., Campos S., Parcet M.A., Avila C., Cortical organization during PASAT task in MS patients with preserved working memory functions, NeuroImage, 31, pp. 686-691, (2006); Gordon E.E., Manual for the Advanced Measures of Music Audiation, (1989); Gronwall D.M.A., Paced auditory serial-addition task: A measure of recovery from concussion, Perceptual and Motor Skills, 44, pp. 367-373, (1977); Gruhn W., Galley N., Kluth C., Do mental speed and music abilities interact?, Annals of the New York Academy of Sciences, 999, pp. 485-496, (2003); Ho Y.C., Cheung M.C., Chan A.S., Musical training improves verbal but not visual memory: Cross sectional and longitudinal explorations in children, Neuropsychology, 17, 3, pp. 439-450, (2003); Kail R., Developmental change in speed of processing during childhood and adolescence, Psychological Bulletin, 109, pp. 490-501, (1991); Kail R., Hall L.K., Processing speed, name speed, and reading, Developmental Psychology, 30, 6, pp. 949-954, (1994); Kail R., Salthouse T., Processing speed as a mental capacity, Acta Psychologica, 86, pp. 199-225, (1994); Kopiez R., Weihs C., Ligges U., Lee J., Classification of high and low achievers in a music sight-reading task, Psychology of Music, 34, 1, pp. 5-26, (2006); Lamb S.J., Gregory A.H., The relationship between music and reading in beginning readers, Educational Psychology, 13, pp. 19-27, (1993); Levitt T., Fugelsang J., Crossley M., Processing speed, attentional capacity, and age-related memory change, Experimental Aging Research, 32, 3, pp. 263-295, (2006); Lotze M., Scheler G., Tan H.R.M., Braun C., Birbaumer N., The musician's brain: Functional imaging of amateurs and professionals during performance and imagery, NeruoImage, 20, 3, pp. 1817-1829, (2003); Reitan R.M., Wolfson D., The Halstead-Reitan Neuropsychological Test Battery, (1985); Rindermann H., Neubauer A.C., Processing speed, intelligence, creativity, and school performance: Testing of causal hypotheses using structural equation models, Intelligence, 32, pp. 573-589, (2004); Royan J., Tombaugh T.N., Rees L., Francis M., The Adjusting-Paced Serial Addition Test (Adjusting-PSAT): Thresholds for speed of information processing as a function of stimulus modality and problem complexity, Archives of Clinical Neuropsychology, 19, pp. 131-143, (2004); Ruffolo L.F., Guilmette T.J., Willis G.W., Comparison of time and error rates on the trail making test among patients with head injuries, experimental malingerers, patients with suspect effort on testing, and normal controls, Clinical Neuropsychology, 14, 2, pp. 223-230, (2000); Salis D.L., The identification and assessment of cognitive variables associated with reading of advanced music at the piano, Dissertation Abstracts International-A, 28, 12, pp. 7239-7240, (1978); Salthouse T.A., The processing-speed theory of adult age differences in cognition, Psychological Review, 103, 3, pp. 403-428, (1996); Salthouse T.A., Aging and measures of processing speed, Biological Psychology, 54, pp. 35-54, (2000); Schellenberg G.E., Long-term positive associations between music lessons and IQ, Journal of Educational Psychology, 98, 2, pp. 457-468, (2006); Schmithorst V.J., Holland S.K., The effect of musical training on the neural correlates of math processing: A functional magnetic resonance imaging study in humans, Neuroscience Letters, 354, 3, pp. 193-196, (2004); Tombaugh T., Trail Making Test A and B: Normative data stratified by age and education, Archives of Clinical Neuropsychology, 19, pp. 203-214, (2004); Uttl B., North American Adult Reading Test: Age, norms, reliability, and validity, Journal of Clinical and Experimental Neuropsychology, 24, 8, pp. 1123-1137, (2002); Wolinsky F.D., Unverzagt F.W., Smith D.M., Jones R., Wright E., Tennstedt S.L., The ACTIVE cognitive training trial and health-related quality of life: Protection that lasts five years, Journal of Gerontology: A Biological Sciences & Medical Sciences, 61, 12, pp. 1324-1329, (2006)","","","University of Illinois at Urbana-Champaign","","","","","","00109894","","","","English","Bul. Counc. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-80053103463"
"Wolf A.; Kopiez R.","Wolf, Anna (55847547900); Kopiez, Reinhard (15923451000)","55847547900; 15923451000","Do grades reflect the development of excellence in music students? The prognostic validity of entrance exams at universities of music","2014","Musicae Scientiae","18","2","","232","248","16","5","10.1177/1029864914530394","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84900419770&doi=10.1177%2f1029864914530394&partnerID=40&md5=6d2ad16c009b0f3bbce80e2edd5da8a7","Hanover University of Music, Germany","Wolf A., Hanover University of Music, Germany; Kopiez R., Hanover University of Music, Germany","For successful admission to universities of music, prospective students have to pass entrance exams which assess the quality of their music-making and, in some instances, their abilities in music theory and aural training. However, only very little is known about the validity of such grades and the skill development of expectant professional musicians. For the first time, the present study analyzes the long-term development of grades of students in a bachelor degree program (N = 63) over a period of 3 years. As the grades were neither interval-scaled nor normally distributed, a logistic regression analysis was calculated to quantify the predictability of final grades in the main instrument and music theory based on the respective entrance exam grades. The prognostic validity was low for grades in both the main instrument and music theory/aural training (Nagelkerke R2 = .08 and .01). This result can be mainly attributed to two explanations: First, university grades are often inflated and subject to ceiling effects. Second, the curricula in music theory contain such variety that it is impossible to define what all students across the board learn. In order to better define expertise skill development in students, we suggest initiating regular competency-based assessments for professional musicians at a pre-collegiate and collegiate level. © The Author(s) 2014.","assessment; ear training; entrance exams; music theory; prognostic validity","","","","","","","","Music theory exams and Syllabus, (2012); Brodsky W., Henik A., Rubinstein B.-S., Zorman M., Auditory imagery from musical notation in expert musicians, Perception & Psychophysics, 65, 4, pp. 602-612, (2003); Advanced placement in music theory, Course description, (2012); Estrada Rodriguez L.A., Didaktik Und Curriculumentwicklung in Der Gehörbildung. Eine Vergleichende Untersuchung an Deutschen Lehrbüchern Zur Gehörbildung Aus Der Zeit 1889 Bis 1985, (2008); Fallows D., Theory, Oxford Companion to Music, (2011); Faul F., Erdfelder E., Buchner A., Lang A.-G., Statistical power analyses using G* Power 3.1: Tests for correlation and regression analyses, Behavior Research Methods, 41, 4, pp. 1149-1160, (2009); Bildung und Kultur. Prüfungen an Hochschulen [Education and culture. Examinations at universities], (2012); Fry C., Spencer P., Ear-training, Oxford Companion to Music, (2011); Prüfungen an Hochschulen im Prüfungsjahr 2010 [Grades at colleges and universities in the 2010 academic year], (2012); Gillespie J., Melodic dictation scoring methods: An exploratory study, Journal of Music Theory Pedagogy, 15, pp. 51-68, (2001); Hallam S., Instrumental Teaching: A Practical Guide to Better Teaching and Learning, (1998); Hallam S., The Child as Musician. A Handbook of Musical Development, pp. 93-110, (2006); Hallam S., Prince V., Conceptions of musical ability, Research Studies in Music Education, 20, 2, pp. 2-22, (2003); Harrison C.S., Predicting music theory grades: The relative efficiency of academic ability, music experience and musical aptitude, Journal of Research in Music Education, 38, 2, pp. 124-137, (1990); Hornke L.F., Die englische Fassung der DIN 33430, Grundwissen für die berufsbezogene Eignungsbeurteilung nach DIN 33430, (2005); Assessment Service Delivery-Procedures and Methods to Assess People in Work and Organizational Settings, (2011); Karpinski G.S., Aural Skills Acquisition: The Development of Listening, Reading, and Performing Skills in College-Level Musicians, (2000); Project description, (2009); Kopiez R., Lee J.I., Towards a dynamic model of skills involved in sight reading music, Music Education Research, 8, 1, pp. 97-120, (2006); Kopiez R., Lee J.I., Towards a general model of skills involved in sight reading music, Music Education Research, 10, 1, pp. 41-62, (2008); Kuhn C., Musiktheorie lehren. Zu einer Umfrage an den deutschen Musikhochschulen, Zeitschrift der Gesellschaft für Musiktheorie, 7, 2, (2010); Lehmann A.C., Predicting final grades for principal instrument, aural skills, and music theory in a college music program from admission assessments, Journal of Research in Music Education; Menke J., Brauchen wir einen Kanon in der Musiktheorie?, Zeitschrift der Gesellschaft für Musiktheorie, 7, 2, (2010); McPherson G.E., Five aspects of musical performance and their correlates, Bulletin of the Council for Research in Music Education, 127, pp. 115-121, (1995); McPherson G.E., Bailey M., Sinclair K.E., Path analysis of a theoretical model to describe the relationship among five types of musical performance, Journal of Research in Music Education, 45, 1, pp. 103-129, (1997); McPherson G.E., Gabrielsson A., The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning, pp. 99-115, (2002); NAEP Arts assessment, (2008); Papageorgi I., Creech A., Haddon E., Morton F., Lang F., Moosbrugger H., Et al., Perceptions and prediction of expertise in advanced musical learners, Psychology of Music, 38, 1, pp. 31-66, (2010); Leitbild der deutschen Musikhochschulen [General mission of German universities of music], (2009); Ruppert D., Statistics and Data Analysis for Financial Engineering, (2011); Wolf A., Kopiez R., Platz F., Der Status Quo der musiktheoretischen Zulassungsprüfung an Musikhochschulen: Eine testtheoretische Analyse, Beiträge empirischer Musikpädagogik, 3, 2, (2012)","A. Wolf; Hanover University of Music, Drama and Media, 30175 Hanover, Emmichplatz 1, Germany; email: anna.wolf@hmtm-hannover.de","","SAGE Publications Ltd","","","","","","10298649","","","","English","Musicae Scientiae","Article","Final","","Scopus","2-s2.0-84900419770"
"Alexander M.L.; Henry M.L.","Alexander, Michael L. (55252316500); Henry, Michele L. (26121259200)","55252316500; 26121259200","The development of a string sight-reading pitch skill hierarchy","2012","Journal of Research in Music Education","60","2","","201","216","15","10","10.1177/0022429412446375","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84862278468&doi=10.1177%2f0022429412446375&partnerID=40&md5=f0183a8bcf022e16e6989428998b3910","Baylor University, Waco, TX 76798, One Bear Place #97408, United States","Alexander M.L., Baylor University, Waco, TX 76798, One Bear Place #97408, United States; Henry M.L., Baylor University, Waco, TX 76798, One Bear Place #97408, United States","This study was designed to determine a pitch skill hierarchy for string sight-reading, to determine the effects of key on string sight-reading achievement, and to determine the validity of a tonal pattern system as a measurement of melodic sight-reading skill for string players. High school string students (n = 94) obtained a mean score of 27.28 out of 31 on a modified version of the Vocal Sight-Reading Inventory. Success rates ranging from.99 to.72 were established for 31 pitch skills, grouped into eight tonal categories. Significant differences were found between skills appearing in the keys of D and E, with 11 of 31 skills obtaining significantly differing results by key. A.95 correlation between note-by-note and skill-based scoring systems indicates that skill-based scoring is a valid measurement of string players' sight-reading of tonal pitch skills within a melodic context. Researchers should explore whether these pitch skills hold their relative difficulty level with less accomplished players and between instrument types, establish a hierarchy for rhythm skills, further investigate the effect of key, and identify anxiety levels for sight-reading when the consequences of performance quality vary. © 2012 National Association for Music Education.","pitch skills; sight-reading; string instruments","","","","","","","","Anderson J., Effects of tape-recorded aural models on sight-reading and performance skills, Journal of Research in Music Education, 29, pp. 23-30, (1981); Boyle J., The effect of prescribed rhythmical movements on the ability to read music at sight, Journal of Research in Music Education, 18, pp. 307-308, (1970); Boyle J., Lucas K., The effect of context on sightsinging, Bulletin of the Council for Research in Music Education, 106, pp. 1-9, (1990); National Standards for Arts Education: What Every Young American Should Know and Be Able to Do in the Arts, (1994); Davidson L., Scripp L., A developmental view of sightsinging, Journal of Music Theory Pedagogy, 2, pp. 10-23, (1988); Davidson L., Scripp L., Meyaard J., Sightsinging ability: A quantitative and qualitative point of view, Journal of Music Theory Pedagogy, 2, pp. 51-68, (1988); Delzell J.K., Rohwer D.A., Ballard D.E., Effects of melodic pattern difficulty and performance experience on ability to play by ear, Journal of Research in Music Education, 47, 1, pp. 53-63, (1999); Demorest S., Improving sight-singing performance in the choral ensemble: The effect of individual testing, Journal of Research in Music Education, 46, pp. 182-192, (1998); Demorest S., May W., Sight-singing instruction in the choral ensemble: Factors related to individual performance, Journal of Research in Music Education, 43, pp. 156-167, (1995); Elliott C.A., The relationships among instrumental sight-reading ability and seven selected predictor variables, Journal of Research in Music Education, 30, 1, pp. 5-14, (1982); Farnum S.E., The Farnum String Scale, (1969); Ferrin C.E., Music reading calisthenics: The effect of a consistent regimen of sightreading and the effect of educational kinesiology upon the music sightreading skills of high school music students, Dissertation Abstracts International, 56, (2004); Fine P., Berry A., Rosner B., The effect of pattern recognition and tonal predictability on sight-singing ability, Psychology of Music, 34, pp. 431-447, (2006); Gordon E., Learning Sequences in Music, (1997); Gregory T.B., The effect of rhythmic notation variables on sight reading errors, Journal of Research in Music Education, 20, pp. 462-468, (1972); Gromko J.E., Predictors of music sight-reading ability in high school wind players, Journal of Research in Music Education, 52, 1, pp. 6-15, (2004); Grutzmacher P.A., The effect of tonal pattern training on the aural perception, reading recognition, and melodic sight-reading achievement of first-year instrumental music students, Journal of Research in Music Education, 35, 3, pp. 171-181, (1987); Henry M., The development of an individual vocal sight-reading inventory, Dissertation Abstracts International, 60, (1999); Henry M., The development of a vocal sight-reading inventory, Bulletin of the Council for Research in Music Education, 150, pp. 21-35, (2001); Henry M., A comparison of testing formats for vocal sight reading, Texas Music Education Research, pp. 2-9, (2003); Henry M., The effect of pitch and rhythm difficulty on vocal sight-reading performance, Journal of Research in Music Education, 59, pp. 72-84, (2011); Henry M., Demorest S., Individual sight-singing achievement in successful choral ensembles, UPDATE: Applications of Research in Music Education, 13, pp. 4-8, (1994); Kazez D., Solfege drills, Journal of Music Theory Pedagogy, 6, pp. 19-34, (1992); Killian J., The relationship between sightsinging accuracy and error detection in junior high singers, Journal of Research in Music Education, 39, pp. 216-224, (1991); Killian J.N., Henry M.L., A comparison of successful and unsuccessful strategies in individual sight-singing preparation and performance, Journal of Research in Music Education, 53, pp. 51-65, (2005); MacKnight C., Music reading ability of beginning wind instrumentalists after melodic instruction, Journal of Research in Music Education, 23, 1, pp. 23-34, (1975); Mann R.G., The use of Kodaly instruction to develop the sight-reading skills of undergraduate flute students, Dissertation Abstracts International, 52, (1991); McPherson G.E., Factors and abilities influencing sightreading skills in music, Journal of Research in Music Education, 42, pp. 217-231, (1994); McPherson G.E., Bailey M., Sinclair K.E., Path analysis of a theoretical model to describe the relationship among five types of musical performance, Journal of Research in Music Education, 45, pp. 103-129, (1997); Nelson R., Sightsinging for children-too little, too late?, Journal of Church Music, 30, pp. 14-15, (1988); Scofield W., The construction and validation of a method for the measurement of the sight-singing abilities of high school and college students, Dissertation Abstracts International, 41, (1980); Scott T., The Construction of A Holistic, Criterion-referenced Sightsinging Test for High School Sopranos Based on the Voluntary National Standards for Music Education, (1996); Stenger S., The Effect of Mneumonic Devices on A Mathematical Method of Rhythm Reading Instruction, (1997); Stivers J.D., A Reliability and Validity Study of the Watkins-Farnum Performance Scale, (1973); Townsend B.G., Relationships between sight-reading ability of college freshmen wind instrumentalists and wind instrumentalists and music experience, band experience, and music aptitude (Doctoral dissertation, Pennsylvania State University), Dissertation Abstracts International, 52, (1992); Tucker D., Factors related to musical reading ability of senior high school students participating in choral groups (Doctoral dissertation, University of California, Berkeley), Dissertation Abstracts International, 31, (1969); Walker R., Handbook of Research on Music Teaching and Learning, pp. 344-348, (1992); Watkins J., Farnum S., The Watkins-Farnum Performance Scale, (1962); Wheeler M.R., A comparative analysis of melodic and rhythmic music reading skills of percussion and wind instrument students in selected North Carolina schools (Doctoral dissertation, University of North Carolina at Greensboro), Dissertation Abstracts International, 53, (1993)","M.L. Alexander; Baylor University, Waco, TX 76798, One Bear Place #97408, United States; email: michael_l_alexander@baylor.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84862278468"
"Hagen S.L.; Cremaschi A.; Himonides C.S.","Hagen, Sara L. (55629586000); Cremaschi, Alejandro (39763729000); Himonides, Cynthia Stephens (55631096900)","55629586000; 39763729000; 55631096900","Effects of extended practice with computerized eye guides for sight-reading in collegiate-level class piano","2012","Journal of Music, Technology and Education","5","3","","229","239","10","4","10.1386/jmte.5.3.229_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84875323751&doi=10.1386%2fjmte.5.3.229_1&partnerID=40&md5=b01244b1b8c08c330e23a51fbbe4b41d","Valley City State University, United States; University of Colorado-Boulder, United States; University of London, United Kingdom","Hagen S.L., Valley City State University, United States; Cremaschi A., University of Colorado-Boulder, United States; Himonides C.S., University of London, United Kingdom","Collegiate class piano courses demand sight-reading competencies and many pedagogical approaches exist, but there is relatively little information regarding the use of computerized settings for practice of this skill in environments that seek to guide the eye in learning to sight-read piano music. This study followed a series of examinations of computerized eye guides including the sweep, the highlighted measure, and the note-to-note guides in learning to sight-read. Four groups of randomly placed college-level class piano students (N=69) practiced sight-reading for six weeks, in fifteen-minute sessions, in one of four environments: Finale Performance Assessment (sweep) (n=20), Home Concert Xtreme (highlighted measure) (n=18), Flash animation (note-to-note highlight) (n=16), and a control group using paper and a metronome (n=15). All environments contained a metronomic click, but no additional sound reinforcement. Results indicated that all groups significantly improved, but no significant differences were found among the groups. Pedagogical implications are discussed along with suggestions for future research. © 2012 Intellect Ltd Article. English language.","Computer-aided music; Eye guide software; Group piano; Novice learners; Piano practice; Practice; Sight-reading; Technology","","","","","","","","Ajero M., The Effects of Computer-assisted Keyboard Technology and MIDI Accompaniments On Group Piano Students Performance Accuracy and Attitudes, (2007); Banton L., The role of visual and auditory feedback during the sightreading of music, Psychology of Music, 23, 1, pp. 3-16, (1995); Benson C., The effects of instructional media on group piano student performance and attitude, Journal of Technology In Music Learning, 1, 2, pp. 38-55, (2002); Betts S., Cassidy J., Development of harmonization and sightreading skills among university class piano students, Journal of Research In Music Education, 48, 2, pp. 151-161, (2000); Chang S., A Study of Eye Movement During Sight-reading of Selected Piano Compositions, (1993); Clifton J.V., Cognitive components in music reading and sight-reading performance, Dissertation Abstracts International, pp. 47-105, (1986); Drake C., Palmer C., Skill acquisition in music performance: Relations between planning and temporal control, Cognition, 74, 1, pp. 1-32, (2000); Gilman E., Underwood G., Restricting the field of view to investigate the perceptual spans of pianists, Visual Cognition, 10, 2, pp. 201-232, (2003); Goolsby T.W., Eye movement in music reading: Effects of reading ability, notational complexity, and encounters, Music Perception, 12, 1, pp. 77-96, (1994); Goolsby T.W., Profiles of processing: Eye movements during sight reading, Music Perception, 12, 1, pp. 97-123, (1994); Hagen S., The Effects of Computer-assisted Instruction and Cognitive Style On Sight Playing Among University Group Piano Students, (2001); Hagen S., Benson C., Cremaschi A., A comparison of the effectiveness of three different types of software eye-guides in the development of sight-playing skills in piano classes at the college level, Journal of Technology In Music Learning, 4, 1, pp. 44-54, (2007); Halsband U., Binkofski F., Camp M., The role of the perception of rhythmic grouping in musical performance: Evidence form motor-skill development in piano playing, Music Perception, 11, 3, pp. 265-288, (1994); Harrel R., Components of sight-reading, Clavier, 35, 2, pp. 25-27, (1996); Hayward C., Gromko J., Relationships among music sight-reading and technical proficiency, spatial visualization, and aural discrimination, Journal of Research In Music Education, 57, 1, pp. 26-36, (2009); Jacobson O.I., An analytical study of eye-movements in reading vocal and instrumental music, Journal of Musicology, 3, 1, pp. 3-32, (1941); Kopiez R., Galley N., Lee J.I., The advantage of a decreasing right-hand superiority: The influence of laterality on a selected musical skill (sight reading achievement), Neuropsychologia, 44, 7, pp. 1079-1087, (2006); Kopiez R., Lee J.I., Towards a general model of skills involved in sight reading music, Music Education Research, 10, 1, pp. 41-62, (2008); Kopiez R., Weihs C., Ligges U., Lee J., Classification of high and low achievers in a music sight-reading task, Psychology of Music, 34, 1, pp. 5-26, (2006); Lehmann A., McArthur V., Sight-reading, The Science and Psychology of Music Performance: Creative Strategies For Teaching and Learning, pp. 135-150, (2002); Madell J., Hebert S., Eye movements and music reading: Where do we look next?, Music Perception: An Interdisciplinary Journal, 26, 2, pp. 157-170, (2008); Meinz E.J., Hambrick D.Z., Deliberate practice is necessary but not sufficient to explain individual differences in piano sight-reading skill: The role of working memory capacity, Psychological Science, 21, 7, pp. 914-919, (2010); Peretz I., Barbai M., The role of contour and intervals in the recognition of melody parts: Evidence from cerebral asymmetries in musicians, Neuropsychologia, 30, 3, pp. 277-292, (1992); Penttinen M., Huovinen E., The early development of sightreading skills in adulthood: A study of eye movements, Journal of Research In Music Education, 59, 2, pp. 196-220, (2011); Picking R., Reading music from screens vs paper, Behaviour & Information Technology, 16, 2, pp. 72-78, (1997); Rayner K., Eye movements in reading and information processing: 20 years of research, Psychological Bulletin, 124, 3, pp. 372-422, (1998); Rayner K., Pollatsek A., Eye movements, the eye-hand span, and the perceptual span during sight-reading of music, Current Directions In Psychological Science, 6, 2, pp. 49-53, (1997); Ruszkowski J.M., The effects of the digital music stand on middle school instrumental music sight-reading, (2006); Sheldon D.A., Reese S., Grashel J., The effects of live accompaniment, intelligent digital accompaniment, and no accompaniment on musicians performance quality, Journal of Research In Music Education, 47, 3, pp. 251-265, (1999); Sloboda J.A., Clarke E.F., Parncutt R., Raekallio M., Determinants of finger choice in piano sight-reading, Journal of Experimental Psychology: Human Perception & Performance, 24, 1, pp. 185-203, (1998); Souter T., Eye Movement and Memory In the Sight Reading of Keyboard Music, (2001); Thompson S., Lehmann A., Strategies for sight-reading and improvising music, Musical Excellence: Strategies and Techniques to Enhance Performance, pp. 143-159, (2004); Tomczak L., The Evaluation of Two Self-instruction Learning Approaches Assessing Music Knowledge and Simple Music Keyboard Performance Skills, (1999); Truitt F., Clifton C., Pollatsek A., Rayner K., The perceptual span and eye-hand span in sight reading music, Visual Cognition, 4, 2, pp. 143-161, (1997); Udtaisuk D., A Theoretical Model of Piano Sight Playing Component, (2005); Wade J., Sight-Reading Exercises: Levels 1-8, (2002); Waters A.J., Underwood G., Findlay J.M., Studying expertise in music reading: Use of a pattern-matching paradigm, Perception and Psychophysics, 59, 4, pp. 477-488, (1997); Waters A., Underwood G., Eye movement in a simple music reading task: A study of expert and novice musicians, Psychology of Music, 26, 1, pp. 46-60, (1998); Watkins A., The Effect of the Use of a Recorded Soloist As An Aid to Be Teaching of Sight-reading Accompaniments At the Piano, (1984); Weaver H.E., A survey of visual processes in reading differently constructed musical selections, Psychological Monographs, 55, 1, pp. 1-30, (1943)","S. L. Hagen; College of Music, UCB 301, University of Colorado at Boulder, Boulder CO 80309, United States; email: alejandro.cremaschi@colorado.edu","","Intellect Ltd.","","","","","","17527066","","","","English","J. Music Technol. Educ.","Article","Final","","Scopus","2-s2.0-84875323751"
"Pike P.D.; Carter R.","Pike, Pamela D. (36462969600); Carter, Rebecca (7402936783)","36462969600; 7402936783","Employing cognitive chunking techniques to enhance sight-reading performance of undergraduate group-piano students","2010","International Journal of Music Education","28","3","","231","246","15","18","10.1177/0255761410373886","https://www.scopus.com/inward/record.uri?eid=2-s2.0-77956390767&doi=10.1177%2f0255761410373886&partnerID=40&md5=ed9db59cffd95c292564441ebbd2e4e3","Department of Piano Pedagogy, Louisiana State University, 102 New Music Building, Baton Rouge, LA 70803, United States","Pike P.D., Department of Piano Pedagogy, Louisiana State University, 102 New Music Building, Baton Rouge, LA 70803, United States; Carter R., Department of Piano Pedagogy, Louisiana State University, 102 New Music Building, Baton Rouge, LA 70803, United States","The purpose of this study was to compare the effect of cognitive chunking techniques among first-semester group-piano music majors. The ability to group discrete pieces of information into larger, more meaningful chunks is essential for efficient cognitive processing. Since reading keyboard music and playing the piano is a cognitively complex task, the ability to recognize patterns and execute the necessary motor skills is critical for proficiency in sight-playing. Three groups of beginning group-piano students (N = 43) worked on 12 sight-reading examples during six class sessions. A control group rehearsed the examples without benefit of rhythm or pitch drills. Two experimental groups drilled either rhythm or pitch patterns prior to practicing the sight-reading exercises. Following the treatment phase, all subjects were tested on three sightreading examples to determine whether rhythmic and pitch chunking drills impacted reading performance at the keyboard. Subjects were evaluated on rhythmic accuracy, pitch accuracy and continuity. There were significant improvements from pretest to posttest in several subcategories. The pitch experimental group improved significantly in pitch, rhythm and continuity accuracy. The rhythm experimental group improved in rhythm and continuity, while the control group improved only in pitch accuracy. Experimental subjects reported significant engagement in rhythm and pitch chunking even if lack of motor skills impaired the actual performance. © The Author(s) 2010.","cognitive chunking; keyboard skills; pitch; rhythm; sight-reading","","","","","","","","Baker N.E., The Effects of Peer Teaching on Undergraduate Music Majors' Achievement and Attitude Toward Sight-reading in the Group Piano Setting, (2008); Betts S.L., Cassidy J.W., Development of harmonization and sight-reading skills among university class piano students, Journal of Research in Music Education, 48, 2, pp. 151-161, (2000); Drake C., Palmer C., Skill acquisition in music performance: Relations between planning and temporal control, Cognition, 74, pp. 1-32, (2000); Gilman B., Underwood G., Restricting the field of view to investigate the perceptual span of pianists, Visual Cognition, 10, 2, pp. 201-232, (2003); Gobet F., Lane P.C.R., Croker S., Cheng P.C.-H., Jones G., Oliver I., Chunking mechanisms in human learning, TRENDS in Cognitive Sciences, 5, 6, pp. 236-243, (2001); Goolsby T.W., Eye movement in music reading: Effects of reading ability, notational complexity, and encounters, Music Perception, 12, 1, pp. 77-96, (1994); Gromko J.E., Predictors of music sight-reading ability in high school wind players, Journal of Research in Music Education, 52, 1, pp. 6-15, (2004); Gudmundsdottir H., Development of pitch reading skills in young piano students, International Conference of the International Society for Music Education, Bologna, Italy, (2008); Johnson G.W., Group Piano Instructional Priorities for Music Majors in Higher Education Settings in the United States, (1987); Kopiez R., Weihs C., Ligges U., Lee J.I., Classification of high and low achievers in a music sight-reading task, Psychology of Music, 34, pp. 5-26, (2006); Lancaster E.L., Renfrow K., Alfred's Group Piano for Adults, Book 1, (2004); Lancaster E.L., Renfrow K., Alfred's Group Piano for Adults, Book 1, Teacher's Edition, (2004); Lehmann A.C., McArthur V., Sight-reading, The Science & Psychology of Music Performance, pp. 135-150, (2002); National Association of Schools of Music Handbook 2009-2010, (2009); Udtaisuk D.B., A Theoretical Model of Piano Sightplaying Components, (2005); Watkins J.G., Farnum S.E., The Watkins-Farnum Performance Scale: A Standardized Achievement Test for All Band Instruments, (1962); Wolf T., A cognitive model of musical sight-reading, Journal of Psycholinguistic Research, 5, 2, pp. 143-171, (1975)","P. D. Pike; Department of Piano Pedagogy, Louisiana State University, 102 New Music Building, Baton Rouge, LA 70803, United States; email: pdpike@lsu.edu","","","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-77956390767"
"Wood B.K.","Wood, Brandon Keith (58507464300)","58507464300","South Indian Solkattu and Western Music Pedagogy: Creating New Rhythmic Perspectives","2013","Music Educators Journal","99","4","","63","67","4","0","10.1177/0027432113483839","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85165868438&doi=10.1177%2f0027432113483839&partnerID=40&md5=3802ef0c190f77944af46ffd8d9d1e97","","","Part of the classical music tradition of South India, solkattu reinforces the statement “If you can say it, you can play it.” This system of percussive syllables can help young musicians approach rhythm training in a way not usually available to students in Western countries. This article offers applications for a music curriculum. The approach can help students be more accurate in both their sense of rhythm and their rhythmic performance. © 2013 National Association for Music Education.","creativity; cross-cultural; curriculum; multicultural; performance; rhythm; solkattu; South India; syllable; tala; teacher education","","","","","","","","","B.K. Wood; email: kelliemwood@gmail.com","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85165868438"
"Mishra J.","Mishra, Jennifer (26033908800)","26033908800","Rhythmic and melodic sight reading interventions: Two meta-analyses","2016","Psychology of Music","44","5","","1082","1094","12","14","10.1177/0305735615610925","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84982161512&doi=10.1177%2f0305735615610925&partnerID=40&md5=dd786974073539716e610785a6f41ce0","Department of Music, University of Missouri-St. Louis, 106 Music Building, St. Louis, 63121, MO, United States","Mishra J., Department of Music, University of Missouri-St. Louis, 106 Music Building, St. Louis, 63121, MO, United States","The purpose of these meta-analyses was twofold: 1) to determine whether experimentally - tested sight reading interventions positively influenced rhythmic or melodic sight reading performance and if so; 2) to explore whether the interventions differentially affected rhythmic and melodic sight reading. Two meta-analyses were conducted; one comprised experimental research measuring rhythmic sight reading (46 studies; 68 individual analyses) and another comprised research measuring melodic sight reading (21 studies; 35 individual analyses). Analyses revealed small overall effect sizes (Rhythmic: d = '0.34, 95% CI ['0.50, -0.19]; Melodic: d = '0.35, 95% CI ['0.59, -0.12]). Moderator variables were used to examine how effect size was influenced by treatment type and other study-level design elements. Treatment type significantly influenced both rhythmic and melodic sight reading. For rhythm, treatments that focused on counting systems and included movement or rhythmic drill positively affected sight reading. Melodic results are preliminary due to the limited number of studies, but based on the information available, treatments using collaboration activities or instrumental training positively affected sight reading. Varying notation did not improve sight reading. The type of sight reading (rhythmic, melodic) significantly affected the effectiveness of some treatments. © The Author(s) 2015.","meta-analysis; rhythm reading; sight reading; solfege","","","","","","","","Adachi M., Takiuchi K., Shoda H., Cambouropoulos E., Tsougras C., Mavromatis P., Pastiadis K., Effects of Melodic Structure and Meter on the Sight-reading Performances of Beginners and Advanced Pianists, (2012); Allen D.H., The Effect of Mastery of Selected Music Theory and Ear Training Skills Presented in A Computer-assisted Format on the Sight Playing Performance of Second-year Band Students, (1987); Antholz J.R., The Effect of Accompaniment Types on Sightsinging Note Accuracy, (1993); Barlar N.E., The Effect of Sight-reading Instruction on the Language Reading Fluency and Music Sight-reading Ability of Middle School Band Students, (2010); Bent I.D., Hughes D.W., Provine R.C., Rastall R., Kilmer A., Hiley D., Chew G., Notation, Grove Music Online; Bengtsson S.L., Ullen F., Dissociation between melodic and rhythmic processing during piano performance from musical scores, Neuroimage, 30, pp. 272-284, (2006); Boyle J.D., The effect of prescribed rhythmical movements on the ability to read music at sight, Journal of Research in Music Education, 18, 4, pp. 307-318, (1970); Brucksch A.E., The Effect of Mental Rehearsal on Sight Reading by Beginning College Guitarists, (1991); Brust J.C.M., Music and language: Musical alexia and agraphia, Brain, 103, pp. 367-392, (1980); Byo J.L., Effects of barlines, pitch, and meter on musicians' rhythm reading performance, Journal of Band Research, 27, 2, pp. 34-44, (1992); Cappelletti M., Waley-Cohen H., Butterworth B., Kopelman M., A selective loss of the ability to read and to write music, Neurocase, 6, pp. 321-332, (2000); Comprehensive Meta-Analysis (Version 2.2.057) [Computer Software], (2010); Cooper H.M., Research Synthesis and Meta-analysis: A Step-by-step Approach, (2010); Earney M.E., The Effects of Aural Rhythmic Dictation on the Sight-reading Abilities of Seventh and Eighth Grade Band Students, (2008); Egbert J.B., The Effects of Systematic Rhythm Reading Instruction Versus Rote Rhythm Drill on the Pitch and Rhythm Sight-singing Performance of High School Choral Ensemble Members, (1990); Elliott C.A., The identification and classification of instrumental performance sight-reading errors, Journal of Band Research, 18, pp. 36-42, (1982); Henry M.L., The effect of pitch and rhythm difficulty on vocal sight-reading performance, Journal of Research in Music Education, 59, 1, pp. 72-84, (2011); Holland L.S., A Comparison of Two Variations of A Behavioral Model Approach for Teaching Pitch Reading at the Junior High Level: With Keyboard Training or Without Keyboard Training, (1985); Laing D.R., The Effect of Rhythm Pattern Instruction on the Sight-reading Achievement of Wind Instrumentalists, (2007); Littlehale J., Rhythm Reading and the Beginning Band Student: The Effectiveness of Two Rhythm Syllable Systems for Beginning Instrumentalists, (1991); London J., Rhythm, Grove Music Online; Massingale G.W., A Study to Determine the Effect of A Program of Rhythmic Training on the Ability to Perform Music at Sight, (1979); McPherson G.E., Factors and abilities influencing sight reading skill in music, Journal of Research in Music Education, 42, 3, pp. 217-231, (1994); Midorikawa A., Kawamura M., Kezuka M., Musical alexia for rhythm notation: A discrepancy between pitch and rhythm, Neurocase, 9, 3, pp. 232-238, (2003); Mishra J., Improving sightreading accuracy: A meta-analysis, Psychology of Music, 42, 2, pp. 131-156, (2014); Parker R.C., The Relative Effectiveness of the TAP System in Instruction in Sight Singing, An Experimental Study, (1979); Palmer M., Relative effectiveness of two approaches to rhythm reading for fourth-grade students, Journal of Research in Music Education, 24, 3, pp. 110-118, (1976); Paraskevopoulos E., Kuchenbuch A., Herholz S.C., Pantev C., Evidence for training-induced plasticity in multisensory brain structures: An MEG study, PLoS ONE, 7, 5, (2012); Pike P.D., Carter R., Employing cognitive chunking techniques to enhance sight-reading performance of undergraduate group-piano students, International Journal of Music Education, 28, 3, pp. 231-246, (2010); Sanderson I., An Objective Study of Reading Musical Notation, (1932); Schon D., Besson M., Processing pitch and duration in music reading: A RT-ERP study, Neuropsychologia, 40, 7, pp. 868-878, (2002); Searle J.W., An Investigation of Movement to Music and Rhythmic Pattern Reading Flash-slide Training in Fifth- And Sixth-grade Music Classes, (1985); Stegall J.C., The Influence of Isolated Rhythmic Training with A Selected Method of Study on the Ability to Sing Music at Sight, (1992); Thomson A., An Analysis of Difficulties in Sight Reading Music for Violin and Clarinet, (1953); Tucker G.L., The Influence of Isolated Rhythmic Drill on Growth in Sight Singing, (1969); Van Nuys K., Weaver H.E., Memory span and visual pauses in reading rhythms and melodies, Psychological Monographs, 55, 1, pp. 1-50, (1943)","J. Mishra; Department of Music, University of Missouri-St. Louis, 106 Music Building, St. Louis, 63121, United States; email: mishraj@umsl.edu","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-84982161512"
"Hickey M.","Hickey, Maud (26036378000)","26036378000","Learning from the experts: A study of free-improvisation pedagogues in university settings","2015","Journal of Research in Music Education","62","4","","425","445","20","49","10.1177/0022429414556319","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84919742916&doi=10.1177%2f0022429414556319&partnerID=40&md5=8bc2210f1fda015e36e7568e83595f04","Northwestern University, Bienen School of Music, 711 Elgin Rd., Evanston, 60209, IL, United States","Hickey M., Northwestern University, Bienen School of Music, 711 Elgin Rd., Evanston, 60209, IL, United States","There is a growing interest in alternative forms of pedagogy for students in K-12 settings. Free improvisation, a relatively new and unfamiliar genre, offers potential as an ensemble for teachers to provide in order to offer more egalitarian and creative music experiences for their students. The purpose of this multiple case study was to determine common elements of instruction among four university free-improvisation instructors in order to inform K-12 music education. Pauline Oliveros, Fred Frith, Ed Sarath, and David Ballou were interviewed and observed in order to find common elements among their teaching. Data collection included transcripts from interviews and field notes, recordings, course materials, and other documents, such as course syllabi, university catalogues, texts, and press material about the pedagogues. The common themes that emerged among the four pedagogues included an array of unique teaching exercises, facility with nontraditional vocabulary, the establishment of a safe and egalitarian teaching space, lack of evaluation, leader as guide, comfort with spontaneity, and pedagogue as performer/improviser. The conclusion offers ideas for implementing these ideas in K-12 and music teacher education. © 2014 National Association for Music Education.","creativity; improvisation; music pedagogy","","","","","","Northwestern University, NU","The author disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: The project was partially funded from funds received from the Northwestern University Alumni Association Excellence in Teaching Award. ","Agrell J., Improvisation Games for Classical Musicians: A Collection of Musical Games with Suggestions for Use, (2008); Agrell J., Improv Games for One: A Very Concise Collection of Musical Games for One Classical Musician, (2009); Allsup R.E., Mutual learning and democratic action in instrumental music education, Journal of Research in Music Education, 51, pp. 24-37, (2003); Allsup R.E., Of concert bands and garage bands: Creating democracy through popular music, Bridging the Gap: Popular Music and Music Education, pp. 204-223, (2004); Allsup R.E., Benedict C., The problems of band: An inquiry into the future of instrumental music education, Philosophy of Music Education Review, 16, pp. 156-173, (2008); Bailey D., Improvisation: Its Nature and Practice in Music (2nd Ed.), (1992); Borgo D., Free jazz in the classroom: An ecological approach to music education, Jazz Perspectives, 1, 1, pp. 61-88, (2007); Burnard P., Investigating children's meaning-making and the emergence of musical interaction in group improvisation, British Journal of Music Education, 19, pp. 157-172, (2002); Cutietta R., The musical elements: Who said they're right?, Music Educators Journal, 79, 9, pp. 48-53, (1993); Della Pietra C.J., Campbell P.S., An ethnography of improvisation training in a music methods course, Journal of Research in Music Education, 43, pp. 112-126, (1995); Duke R.A., Simmons A.L., The nature of expertise: Narrative descriptions of 19 common elements observed in the lessons of three renowned artist-teachers, Bulletin of the Council for Research in Music Education, 170, pp. 7-19, (2006); Flyvbjerg B., Case study, The Sage Handbook of Qualitative Research (4th Ed.), pp. 301-316, (2011); Folkestad G., Formal and informal learning situations or practices vs. Formal and informal ways of learning, British Journal of Music Education, 23, pp. 135-145, (2006); In Wikipedia, the Free Encyclopedia, (2012); Frith F., Teaching improvisation. Not teaching improvisation: What does an improvisation teacher do?, Dissonance: Swiss Music Journal for Research and Creation, 111, pp. 10-17, (2010); Green L., How Popular Musicians Learn: A Way Ahead for Music Education, (2002); Green L., Music, Informal Learning and the School: A New Classroom Pedagogy, (2008); Jaffurs S.E., The impact of informal music learning practices in the classroom, or how i learned how to teach from a garage band, International Journal of Music Education, 22, pp. 189-200, (2004); Jaffurs S.E., The intersection of informal and formal music learning practices, International Journal of Community Music, 4, 1, pp. 1-29, (2006); Kanellopoulos P., A children's conception and practice of musical improvisation, Psychology of Music, 27, pp. 175-191, (1999); Koutsoupidou T., Hargreaves D.J., An experimental study of the effects of improvisation on children's creative thinking in music, Psychology of Music, 37, pp. 251-278, (2009); Lange B.R., Teaching the ethics of free improvisation, Critical Studies in Improvisation, 7, 2, pp. 1-11, (2011); Lewandowski A., Who's the student and who's the teacher?, A Semester of Spontaneous Music Making at Julia Morgan School for Girls, (2010); Lewis G.E., Improvised music after 1950: Afrological and Eurological perspectives, The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, pp. 131-162, (2004); Lewis G.E., Improvisation and pedagogy: Background and focus of inquiry, Critical Studies in Improvisation, 3, 2, pp. 1-5, (2007); Monson I., Freedom Sounds: Civil Rights Call Out to Jazz and Africa, (2007); Moorhead G., Pond D., Music for Young Children, (1978); Moreira L., Carvalho S., Exploration and improvisation: The use of creative strategies in instrumental teaching, International Journal for Cross-Disciplinary Subjects in Education, 1, pp. 248-254, (2010); Nettl B., Thoughts on improvisation: A comparative approach, Musical Quarterly, 60, pp. 1-19, (1974); Pelz-Sherman M., A Framework for the Anlaysis of Performer Interactions in Western Improvised Contemporary Art Music (PhD Dissertation), (1998); Sansom M., Imaging music: Abstract expressionism and free improvisation, Leonardo Music Journal, 11, pp. 29-34, (2001); Sarath E., Music Theory Through Improvisation: A New Approach to Musicianship Training, (2009); Schlict U., i feel my true colors began to show"": Designing and teaching a course on free improvisation, Critical Studies in Improvisation, 3, 2, (2007); Small C., Musicking: The Meanings of Performing and Listening, (1998); Stenstrom H., Free Ensemble Improvisation (Doctoral Thesis), (2009); Stevens J., Search and Reflect: A Music Workshop Handbook, (2007); Thomson S., The pedagogical imperative of musical improvisation, Critical Studies in Improvisation, 3, 2, (2007); Waldron J., Exploring a virtual music community of practice: Informal music learning on the Internet, Journal of Music, Technology and Education, 2, 2-3, pp. 97-112, (2009); Webster P., Measure of Creative Thinking in Music (MCTM-II) Administrative Guidelines, (1994); Woodford P., Democracy and Music Education: Liberalism, Ethics, and the Politics of Practice, (2005); Wright R., Kanellopoulos P., Informal music learning, improvisation and teacher education, British Journal of Music Education, 27, pp. 71-87, (2010); Yin R.K., Case Study Research: Design and Methods (4th Ed.), (2009)","","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84919742916"
"Mengozzi S.","Mengozzi, Stefano (26034193400)","26034193400","The heptachordal basis of hexachordal theory: On the semiotics of musical notation in the Middle Ages","2013","Plainsong and Medieval Music","22","2","","169","194","25","1","10.1017/S0961137113000016","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84884491078&doi=10.1017%2fS0961137113000016&partnerID=40&md5=a3ea455ae91234ed8aa4e1ccab57e742","University of Michigan, Ann Arbor, United States","Mengozzi S., University of Michigan, Ann Arbor, United States","By all appearances, the advent of a full-fledged hexachordal system in the late thirteenth century marked the culmination of a radical reconceptualisation of diatonic space that had begun over two centuries earlier with Guido of Arezzo's introduction of the syllables ut re mi fa sol la as an aid to sight-singing. An early witness of the new diatonic configuration is Johannes de Garlandia's Introductio musicae planae (c.1275), which presents the three proprietates per b quadro, per natura and per b molle as a fundamental articulation of the gamut that is necessary for conveying the intervallic distances between the diatonic pitches. A contextual evaluation of the theory of the proprietates, however, indicates that the hexachordal parsing of the gamut was not meant to establish the major sixth as the regulative paradigm of diatonic space (i.e. as a normative scale), but was rather in line with the earlier understanding of the ut-la syllables as an optional aid for singing. The development of hexachordal theory was in fact an implicit confirmation of the heptachordal structure of the gamut that had been in place since around the year 1000 (and arguably earlier), when the cycle of seven A-G letters was first used to label the constituent pitches of the octave. Copyright © 2013 Cambridge University Press.","","","","","","","","","Berger K., The hand and the art of memory, Musica Disciplina, 35, pp. 87-120, (1981); Berger A.M.B., Medieval Music and the Art of Memory, pp. 85-110, (2005); Weiss S.F., The singing hand, Writing on Hands: Memory and Knowledge in Early Modern Europe, pp. 35-45, (2000); Weiss S.F., Disce manum tuam si vis bene discere cantum: Symbols of learning music in early modern Europe, Music in Art: International Journal for Music Iconography, 30, pp. 35-74, (2005); Van Waesberghe J.S., Musikerziehung: Lehre und Theorie der Musik im Mittelalter, Musikgeschichte in Bildern, 3, 3, pp. 133-145, (1969); Practica Musice Artis by Cesarino Ruini, (1977); Blackburn B.J., Properchant: English theory at home and abroad, with an excursus on amerus/aluredus and his tradition, Quomodo Cantabimus Canticum? Studies in Honor of Edward H. Roesner, pp. 81-98, (2008); Berger, The Hand and the Art of Memory, pp. 105-111; Ciconia J., Nova Musica and de Proportionibus, pp. 304-305, (1993); Vendrix P., The ciconian hexachord, Johannes Ciconia: Musicien de la Transition, pp. 181-218, (2003); Seay A., Nam si quis manus non habeat, ergo cantum discere non potest? Id credere stultum est, Johannes Gallicus, Ritus Canendi Vetustissimus et Novus, 2, (1981); Die sechs Töne setzen den siebenten voraus, Jacques Handschin, der Ton Charakter: Eine Einführung in Die Tonpsychologie, (1995); Crocker R., Hermann's major sixth, Journal of the American Musicological Society, 25, pp. 19-37, (1972); Bach J.S., I Discuss Some of These Studies in the Renaissance Reform of Music Theory, pp. 19-24; Pesce D., Guido D'Arezzo's Regule Rithmice, Prologus in Antiphonarium, and Epistola Ad Michahelem. A Critical Text and Translation, pp. 464-471, (1999); Atkinson C., The Critical Nexus: Tone-System, Mode, and Notation in Early Medieval Music, (2009); Affligemensis J., De Musica Cum Tonario, (1950); Babb W., Hucbald, Guido, and John on Music: Three Medieval Treatises, (1978); Page C., Towards: Music in the rise of Europe, The Musical Times, 136, pp. 127-134, (1995); The Renaissance Reform of Medieval Music Theory, pp. 44-46; Chartier Y., L'oeuvre Musicale D'Hucbald de Saint-Amand: Les Compositions et le Traité de Musique, (1995); De Nardo L.L., Et a medietate monochordi in antea eaedem sint litterae, quae sunt et in prima parte, Dialogus de Musica, (2007); Hicks A.J., Music, Myth, and Metaphysics: Harmony in Twelfth-Century Cosmology and Natural Philosophy, pp. 83-84, (2011); Santosuosso A.C., Letter Notation in the Middle Ages, (1999); Phillips N., Notationen und Notationslehren von Boethius bis zum 12. Jahrhundert. Die Lehre vom einstimmigen liturgischen Gesang, Geschichte der Musiktheorie, 4, pp. 549-623, (2000); Meyer C., Die Formalisierungen in Zeitalter der Scholastik, Die Tonartenlehre im Mittelalter, pp. 197-215; Meyer C., Musica Plana Johannis de Garlandia, (1998); Meyer, Musica Plana Johannis de Garlandia, pp. 129-131; Virtual segments: The hexachordal system in the late middle ages, The Journal of Musicology, 23, pp. 426-467, (2006); Tinctoris J., Theoretica O., Corpus Scriptorum de Musica, 22, 2, (1975); Seay A., The expositio manus of johannes tinctoris, Journal of Music Theory, 9, pp. 194-232, (1965); De affinitatibus vocum per quatuor modos, Pesce, Guido of Arezzo's Regule Rithmice, pp. 490-495; Pesce D., The Affinities and Medieval Transposition, (1987); Van Waesberghe J.S., Guidonis Aretini Micrologus, 130, (1955); De Diapason, pp. 217-223; Pesce, Guido of Arezzo's Regule Rithmice, pp. 490-491; Pesce D., Guido d'arezzo, ut queant laxis, and musical understanding, Music Education in the Middle Ages and the Renaissance, pp. 25-36, (2010); Bent M., Diatonic ficta, Early Music History, pp. 1-48, (1984); Cohen D., Notes, scales, and modes in the earlier middle ages, The Cambridge History of Western Music Theory, pp. 307-363, (2002); Pesce D., Theory and notation, The Cambridge Companion to Medieval Music, pp. 276-290, (2011); Billson C.J., The Aeneid of Virgil, 1, (1906); Wittman M., Vox Atque Sonus: Studien Zur Rezeption der Aristotelischen Schrift 'De Anima' und Ihre Bedeutung für Die Musiktheorie, (1987); Meyer, Prologus in Antiphonarium, pp. 96-97; Musica Plana Johannis de Garlandia; Van Waesberghe S., Musikerziehung, pp. 139-143; The Renaissance Reform; Andreini L., Analecta Cartusiana, 179, (2002); Herlinger J.W., The Lucidarium of Marchetto of Padua: A Critical Edition, Translation, and Commentary, pp. 538-539, (1985); Yudkin J., The influence of aristotle on french university music texts, Music Theory and Its Sources: Antiquity and the Middle Ages, pp. 173-189, (1990); Tanay D., Noting Music, Marking Culture: The Intellectual Context of Rhythmic Notation, 1250-1400, (1999)","S. Mengozzi; University of Michigan, Ann Arbor, United States; email: smeng@umich.edu","","","","","","","","09611371","","","","English","Plainsong Mediev. Music","Article","Final","","Scopus","2-s2.0-84884491078"
"Juchniewicz J.; Silverman M.J.","Juchniewicz, Jay (35205816700); Silverman, Michael J. (7403298964)","35205816700; 7403298964","The influences of progression type and distortion on the perception of terminal power chords","2013","Psychology of Music","41","1","","119","130","11","7","10.1177/0305735611422506","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84877913294&doi=10.1177%2f0305735611422506&partnerID=40&md5=4bca276897b513d4181e6f593e498669","School of Music, East Carolina University, Greenville, NC 27858, United States; University of Minnesota, United States","Juchniewicz J., School of Music, East Carolina University, Greenville, NC 27858, United States; Silverman M.J., University of Minnesota, United States","The purpose of this study was to investigate the tonal perception and restoration of thirds within power chords with the instruments and sounds idiosyncratic to the Western rock/pop genre. Four separate chord sequences were performed on electric guitar in four versions; as full chord and power chord versions as well as under both clean-tone and distortion effect versions. Undergraduate music majors (N = 50) listened to all 16 chord progressions and rated their perception of the tonality ('majorness' or 'minorness') in the terminal chord for each sequence, utilizing a 7-point semantic differential scale ranging from minor (1) to major (7) with a neutral indicator located in the middle (4). Participants had completed a mean 3.82 (SD = 0.66) semesters of ear training and 28 indicated they played the guitar. A three-way repeated measures ANOVA revealed significant differences between responses for chord sequences (1-4), as well as a significant interaction between chord sequences, distortion (clean versus distortion), and type of chords in the progression (whole chords versus power chords). Further analysis of data indicated that participants tended to perceive terminal power chords as major, especially when progressions were comprised of power chords and contained distortion. © The Author(s) 2011.","Distortion; Guitar; Musical perception; Power chords; Tonality","","","","","","","","Berger H.M., Death metal tonality and the act of listening, Popular Music, 18, pp. 161-178, (1999); Bharucha J.J., Stoeckig K., Reaction time and musical expectancy: Priming of chords, Journal of Experimental Psychology: Human Perception and Performance, 12, pp. 403-410, (1986); Bharucha J.J., Stoeckig K., Priming of chords: Spreading activation or overlapping frequency spectra?, Perception and Psychophysics, 41, pp. 519-524, (1987); Bigand E., Poulin-Charronnat B., Are we 'experienced listeners'? A review of the musical capacities that do not depend on formal musical training, Cognition, 100, pp. 100-130, (2006); Bobbitt R., Harmonic Technique in the Rock Idiom, (1976); Boyle J.D., Penticoff B., A study of elementary school children's perception of tonality, Contributions to Music Education, 16, pp. 67-76, (1989); Costa-Giomi E., Recognition of chord changes by 4- and 5-year old American and argentine children, Journal of Research in Music Education, 42, pp. 68-85, (1994); Cuddy L.L., On hearing pattern in melody, Psychology of Music, 10, pp. 3-10, (1982); Curtis M.E., Bharucha J.J., Memory and musical expectation for tones in musical context, Music Perception, 26, pp. 365-375, (2009); DeWitt L.A., Samuel A.G., The role of knowledge-based expectations in music perception: Evidence from musical restoration, Journal of Experimental Psychology: General, 119, pp. 123-144, (1990); Farnsworth P.R., The Social Psychology of Music, (1969); Gagnon L., Hebert S., Peretz I., Perceiving the tonal ending of tune excerpts: The roles of pre-existing representation and musical expertise, Canadian Journal of Experimental Psychology, 49, pp. 193-209, (1995); Hair H.I., The effect of training on the harmonic discrimination of first-grade children, Journal of Research in Music Education, 21, pp. 85-90, (1973); Halpern A.R., Martin J.S., Reed T.D., An ERP study of major-minor classification in melodies, Music Perception, 25, pp. 181-191, (2008); Holleran S., Jones M.R., Butler D., Perceiving implied harmony: The influence of melodic and harmonic context, Journal of Experimental Psychology: Learning, Memory, and Cognition, 21, pp. 737-753, (1995); Huron D., Sweet Anticipation: Music and the Psychology of Expectation, (2006); Jones M.R., Music as a stimulus for psychological motion. Part I. Some determinants of expectancies, Psychomusicology, 2, pp. 1-13, (1981); Jones M.R., Music as a stimulus for psychological motion. Part II. An expectancy model, Psychomusicology, 9, pp. 193-228, (1982); Juchniewicz J., The influence of physical movement on the perception of musical performance, Psychology of Music, 36, pp. 417-428, (2008); Juchniewicz J., The perception and restoration of tonality in power chords, Missouri Journal of Research in Music Education, 46, pp. 21-30, (2009); Krumhansl C.L., Cognitive Foundations of Musical Pitch, (2001); Krumhansl C.L., Bharucha J.J., Kessler E.J., Perceived harmonic structure of chords in three related musical keys, Journal of Experimental Psychology: Human Perception and Performance, 8, pp. 24-36, (1982); Krumhansl C.L., Keil F.C., Acquisition of the hierarchy of tonal functions in music, Memory and Cognition, 10, pp. 243-251, (1982); Krumhansl C.L., Kessler E.J., Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys, Psychological Review, 89, pp. 334-368, (1982); Krumhansl C.L., Shepard R.N., Quantification of the hierarchy of tonal functions within the diatonic context, Journal of Experimental Psychology: Human Perception and Performance, 5, pp. 579-594, (1979); McDonald C., Exploring modal subversions in alternative music, Popular Music, 19, pp. 355-363, (2000); Meyer L.B., Music, the Arts, and Ideas, (1967); Moore A., The so-called 'flattened-seventh' in rock, Popular Music, 14, pp. 185-201, (1995); Morrison S.J., Demorest S.M., Stambaugh L.A., Enculturation effects in music cognition: The role of age and music complexity, Journal of Research in Music Education, 56, pp. 118-129, (2008); Pittenger R.A., Affective and Perceptual Judgments of Major and Minor Musical Stimuli, (2002); Radocy R.E., Boyle J.D., Psychological Foundations of Musical Behavior, (2003); Sasaki T., Sound restoration and temporal localization of noise in speech and music sounds, Tohuku Psychologica Folia, 39, pp. 79-88, (1980); Schmuckler M.A., Boltz M.G., Harmonic and rhythmic influences on musical expectancy, Perception and Psychophysics, 56, pp. 313-325, (1994); Shepherd J., Popular music studies: Challenges to musicology, Stanford Humanities Review, 3, 2, pp. 17-36, (1993); Sloboda J., The Musical Mind: The Cognitive Psychology of Music, (1985); Steedman M.J., A generative grammar for jazz chord sequences, Music Perception, 2, pp. 52-77, (1984); Taylor J., Perception of tonality in short melodies, Journal of Research in Music Education, 24, pp. 197-208, (1976); Temperley D., What's key for key? The krumhansl-schmuckler key-finding algorithm reconsidered, Music Perception, 17, pp. 65-100, (1999); Temperley D., The melodic-harmonic 'divorce' in rock, Popular Music, 26, pp. 323-342, (2007); Temperley D., De Clercq T., A corpus analysis of rock harmony, Paper Presented at the Eleventh International Conference on Music Perception and Cognition, (2010); Tillmann B., Bharucha J.J., Bigand E., Implicit learning of tonality: A self-organizing approach, Psychological Review, 107, pp. 885-913, (2000); Trainor L.J., Trehub S.E., Key membership and implied harmony in western tonal music: Developmental perspectives, Perception and Psychophysics, 56, pp. 125-132, (1994); Walser R., Running with the Devil: Power, Gender, and Madness in Heavy Metal Music, (1993); Warren R.M., Perceptual restoration of obliterated sounds, Psychological Bulletin, 96, pp. 371-383, (1984); Warren R.M., Wrightson J.M., Puretz J., Illusory continuity of tonal and infratonal periodic sounds, Journal of the Acoustical Society of America, 84, pp. 1388-1342, (1988); Wassum S., Elementary school children's concept of tonality, Journal of Research in Music Education, 28, pp. 18-33, (1979); Winkler P., Towards a theory of popular harmony, Theory Only, 4, pp. 3-26, (1978); Wong P.C.M., Roy A.K., Margulis E.H., Bimusicalism: The implicit dual enculturation of cognitive and affective systems, Music Perception, 27, pp. 81-88, (2009); Woody R.H., Lehmann A.C., Student musicians' ear-playing ability as a function of vernacular music experiences, Journal of Research in Music Education, 58, pp. 101-115, (2010)","J. Juchniewicz; School of Music, East Carolina University, Greenville, NC 27858, United States; email: juchniewiczj@ecu.edu","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-84877913294"
"Hartogh T.","Hartogh, Theo (56189883300)","56189883300","Music geragogy, elemental music pedagogy and community music – didactic approaches for making music in old age","2016","International Journal of Community Music","9","1","","35","48","13","6","10.1386/ijcm.9.1.35_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84960387691&doi=10.1386%2fijcm.9.1.35_1&partnerID=40&md5=18f978d1c7d3a9e5783ae7ab0c97dee3","Universität Vechta, Driverstraße 22, Vechta, 49377, Germany","Hartogh T., Universität Vechta, Driverstraße 22, Vechta, 49377, Germany","Older people have shown a growing interest in cultural activities in recent years. In Germany, the disciplines Music Geragogy and Elementary Music Pedagogy have reacted to this trend and started to integrate the topic ‘Music making in old age’ into (further) education programmes. This article presents these initiatives and their links to Community Music. As for the future, the international discourse concerning these three approaches should produce important stimuli for the didactic and methodological fundamentals of the topic ‘Music making in old age’, in both theory and practice. © 2016 Intellect Ltd Article.","Older people community music music geragogy elementary music pedagogy dementia and music lifelong learning","","","","","","","","Altenmuller E., Es ist nie zu spät: Zur Neurobiologie des Musizierens im Alter, Musik-ein Leben lang! Grundlagen und Praxisbeispiele, pp. 35-40, (2008); Baird A., Samson S., Memory for music in Alzheimer's disease: Unforgettable?, Neuropsychology Review, 19, 1, pp. 85-101, (2009); Bannan N., Montgomery-Smith C., Singing for the brain"": Reflections on the human capacity for music arising from a pilot study of group singing with Alzheimer's patients, Journal of Social Health, 128, 2, pp. 73-78, (2008); Bergers H., Leben am Marktplatz. Das multikulturelle Seniorenzentrum Haus am Sandberg in Duisburg, Kulturräume. Das KUBIA-Magazin, 5, pp. 24-26, (2013); Berlin-Institut fur Bevolkerungsentwicklung, Die demografische Zukunft von Europa. Wie sich die Regionen verändern, (2008); Bischoff S., Projekt ""Musik kennt kein Alter-Qualitätssicherung in deutschen Musikvereinigungen vor dem Hintergrund des demografischen Wandels"" (2009-2010), (2010); Bisschop Boele E.H., Musicking in Groningen/Towards a Grounded Theory of the Uses and Functions of Music in a Modern Western Society, (2013); Bugos J., Community music as a cognitive training programme for successful ageing, International Journal of Community Music, 7, 3, pp. 319-331, (2014); Bundesministerium fur Familie, Senioren, Frauen und Jugend (BMFSFJ), Sechster Bericht zur Lage der älteren Generation in der Bundesrepublik Deutschland. ""Altersbilder in der Gesellschaft"", (2010); Coffman D., Common ground for Community Music and music education, International Journal of Community Music, 6, 3, pp. 273-280, (2013); Community Music Ireland, Music for all ages, (2015); Creech A., Hallam S., McQueen H., Varvarigou M., The Power of music in the lives of older adults, Research Studies in Music Education, 35, 1, pp. 83-98, (2013); Cuddy L.L., Duffin J., Music, memory, and Alzheimer's disease: Is music recognition spared in dementia, and how can it be assessed?, Medical Hypotheses, 64, 2, pp. 229-235, (2005); Dammann R., Gronemeyer R., Ist Altern eine Krankheit? Wie wir die gesellschaftlichen Herausforderungen der Demenz bewältigen, (2009); Deutscher Bundestag, Schlussbericht der Enquête-Kommission ""Kultur in Deutschland"", (2007); Deutscher Musikrat, Wiesbadener Erklärung. Musizieren 50+-im Alter mit Musik aktiv. 12 Forderungen an Politik und Gesellschaft, (2007); Deutsches Musikinformationszentrum, Instrumentales und vokales Musizieren 2005 und 2000, (2006); Deutsches Musikinformationszentrum, Schülerzahl und Altersverteilung an Musikschulen im VdM, (2014); Filthaut K., Seniorenorchester Hannover, (2007); Franke A., Positive Spirale: Das Martha-Stift orientiert sich konsequent an der ""Eden-Alternative"" und gewinnt den AltenpflegePreis 2014, Altenpflege, 39, 11, pp. 28-33, (2014); Franke A., Altenarbeit mit Sound und Sinn, Kulturräume. Das KUBIAMagazin, 8, pp. 28-30, (2015); Fricke A., Grenzenlos singen. Erfahrungen aus dem Projekt ""Polyphonie-Stimmen der kulturellen Vielfalt"" zur kulturellen Beteiligung von älteren Migranten aus dem Ruhrgebiet, Praxishandbuch Musizieren im Alter. Projekte und Initiativen, pp. 150-164, (2011); Gembris H., Musikalische Begabung und Talent in der Lebenszeitperspektive, Der musikalische Mensch. Evolution, Biologie und Pädagogik musikalischer Begabung, pp. 184-218, (2014); de Groote K., Fricke A., Kulturkompetenz 50+. Praxiswissen für die Kulturarbeit mit Älteren, (2010); Habermacher S., Seniorenorchester-die späte Lust am Musizieren. Gemeinsames Musizieren im Alter steigert Wohlbefinden und Lebensfreude, (2003); Hallam S., Creech A., Gaunt H., Pincas A., Varvarigou M., McQueen H., Music for Life: Promoting social engagement and well-being in older people through community supported participation in musical activities, (2011); Hallam S., Creech A., McQueen H., Varvarigou M., Gaunt H., The facilitator of community music-making with older learners: Characteristics, motivations and challenges, International Journal of Music Education, (2015); Hamann T.K., Musikkultur-Einfluss der Bevölkerungsentwicklung auf Publikum und Konzertwesen, Musik im Alter. Soziokulturelle Rahmenbedingungen und individuelle Möglichkeiten, pp. 195-211, (2008); Hartogh T., Musikgeragogik-ein bildungstheoretischer Entwurf. Musikalische Altenbildung im Schnittfeld von Musikpädagogik und Geragogik, (2005); Hartogh T., Singen mit Senioren, Forum Kirchenmusik, 61, 1, pp. 2-9, (2010); Hartogh T., Wickel H.H., Musik und Musikalität. Zu der Begrifflichkeit und den (sozial-)pädagogischen und therapeutischen Implikationen, Handbuch Musik in der Sozialen Arbeit, pp. 49-59, (2004); Hartogh T., Wickel H.H., Musizieren im Alter. Arbeitsfelder und Methoden, (2008); Hartogh T., Wickel H.H., Praxishandbuch Musizieren im Alter. Projekte und Initiativen, (2011); Hartogh T., Wickel H.H., Musikgeragogik-Grundlagen, Arbeitsfelder, Aus-und Weiterbildung, Diskussion Musikpädagogik, 62, pp. 4-7, (2014); Higgins L., Community Music: In Theory and Practice, (2012); Hoedt-Schmidt S., Aktives Musizieren mit der Veeh-Harfe. Ein musikgeragogisches Konzept für Menschen mit dementiellen Syndromen, (2010); Jakobi R., Das Kursana Domicil in Gütersloh-eine Pflegeeinrichtung mit musikgeragogischem Schwerpunkt, Praxishandbuch Musizieren im Alter. Projekte und Initiativen, pp. 290-295, (2011); Jones P.M., Preparing music teachers for change: Broadening instrument class offerings to foster lifewide and lifelong musicing, (2006); Karl U., Kulturelle Bildung und Kulturarbeit mit älteren und alten Menschen, Handbuch Soziale Arbeit und Alter, pp. 87-97, (2010); Kehrer E.-M., Klavierunterricht mit dementiell erkrankten Menschen. Ein instrumentalgeragogisches Konzept für Anfänger, (2013); Kertz-Welzel A., Internationalizing and localizing: Shaping community music in Germany, International Journal of Community Music, 6, 3, pp. 263-272, (2013); Kertz-Welzel A., Ein internationales Konzept erobert Deutschland. Community Music, Musikschule direkt. Supplement zu Üben & Musizieren, 2, pp. 10-12, (2014); Keuchel S., Wiesand A.J., Kulturbarometer 50+, (2008); Koch K., (Chor-)Singen im Alter aus Sänger-und Chorleiterperspektive, Kulturgeragogische Forschung-Ansätze und Projekte; Konig B., Komponieren für alte Stimmen, Praxishandbuch Musizieren im Alter. Projekte und Initiativen, pp. 309-320, (2011); Koopman C., Community music as music education: On the educational potential of community music, International Journal of Community Music, 25, 2, pp. 151-163, (2007); Koster D., Entwicklungschancen in alternden Gesellschaften durch Bildung: Trends und Perspektiven, Musik im Alter: Soziokulturelle Rahmenbedingungen und individuelle Möglichkeiten, pp. 31-51, (2008); Laes T., Empowering later adulthood music education: A case study of a rock band for third-age learners, International Journal of Music Education, 33, 1, pp. 51-65, (2015); Metzger B., Busch B., Elementares Musizieren mit älteren Menschen, Diskussion Musikpädagogik, 62, pp. 8-16, (2014); Hannover M.Z., Musik in Hainholz, (2007); Myers D., Bowles C., Dabback W., Music learning as a lifespan endeavor, Community Music Today, pp. 133-150, (2013); Nebauer F., Auf Flügeln der Musik. Konzertprogramme für Menschen mit Demenz. Projektdokumentation, (2013); Richter B., Die Stimme im Alter, Musik im Alter. Soziokulturelle Rahmenbedingungen und individuelle Möglichkeiten, pp. 131-138, (2008); Roulston K., Jutras P., Kim S.J., Adult perspectives of learning musical instruments, International Journal of Music Education, 33, 3, pp. 325-335, (2015); Sacks O., Musicophilia: Tales of Music and the Brain, (2008); Schnieders H., Neue Instrumente (und Methoden) für das Gruppenmusizieren mit Senioren, Praxishandbuch Musizieren im Alter. Projekte und Initiativen, pp. 208-221, (2011); Schroder H., Gilberg R., Weiterbildung Älterer im demografischen Wandel. Empirische Bestandsaufnahme und Prognose, (2005); Spahn C., Instrumentales Musizieren im Alter, Praxishandbuch Musizieren im Alter. Projekte und Initiative, pp. 14-21, (2011); Spiekermann R., Erwachsene im Instrumentalunterricht. Didaktische Impulse für ein Lernen in der Lebensspanne, (2009); Bundesamt S., Bevölkerung und Erwerbstätigkeit. Sterbetafel Deutschland, (2010); Stolze H., Die Kultivierung der älteren Stimme-eine Chance für mehr Lebensqualität im Alter, (2007); Strunk-Richter G., Auf Flügeln der Musik. Konzertprogramme für Menschen mit Demenz. Beobachtungsbericht, (2013); Weicherding R., Hip-Hop/Rap: Junge Musik für ältere Menschen, Praxishandbuch Musizieren im Alter. Projekte und Initiativen, pp. 223-228, (2011); Whitehouse P.J., George D.G., The Myth of Alzheimer's: What You Aren't Being Told About Today's Most Dreaded Diagnosis, (2008); Hartogh T., Music Geragogy, Elemental Music Pedagogy and Community Music-didactic approaches for making music in old age, International Journal of Community Music, 9, 1, pp. 35-48, (2016)","T. Hartogh; Universität Vechta, Vechta, Driverstraße 22, 49377, Germany; email: theo.hartogh@uni-vechta.de","","Intellect Ltd.","","","","","","17526299","","","","English","Int. J. Community Music","Article","Final","","Scopus","2-s2.0-84960387691"
"Zhukov K.","Zhukov, Katie (26036568600)","26036568600","Exploring advanced piano students' approaches to sight-reading","2014","International Journal of Music Education","32","4","","487","498","11","14","10.1177/0255761413517038","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84908867813&doi=10.1177%2f0255761413517038&partnerID=40&md5=3ee5d9723d64fe6c75c017812ab88b14","University of Queensland, 19 Haldane St., A-Graceville, 4075, QLD, Australia","Zhukov K., University of Queensland, 19 Haldane St., A-Graceville, 4075, QLD, Australia","The ability to read music fluently is fundamental for undergraduate music study yet the training of sight-reading is often neglected. This study compares approaches to sight-reading and accompanying by students with extensive sight-reading experience to those with limited experience, and evaluates the importance of this skill to advanced pianists and the type of strategies they use when sight-reading. Analysis of 74 survey-interviews highlights the importance of sight-reading, and indicates underdeveloped sight-reading skills and a substantial lack of experience in sight-reading and accompanying in advanced pianists. Significant differences in accompanying practice emerged between the groups with no/little and extensive sight-reading experience. The analysis of a number and the type of strategies used during sight-reading suggests individual approaches and distinct paths in the development of the skill. The findings emphasise the need for a new approach in the development of sight-reading curricula for higher education. © 2014 The Author(s).","Accompanying; Piano sight-reading; Sight-reading strategies; Survey-interviews","","","","","","","","Asmus E.P., Radocy R.E., MENC Handbook of Research Methods, pp. 95-175, (2006); Banton L.J., The role of visual and auditory feedback during the sight-reading of music, Psychology of Music, 23, pp. 3-16, (1995); Betts S.L., Cassidy J.W., Development of harmonization and sight-reading skills among university class piano students, Journal of Research in Music Education, 48, 2, pp. 151-161, (2000); Conrad F.G., Schober M.F., Handbook of Emergent Methods, pp. 173-188, (2008); Drai-Zerbib V., Baccino T., Bigand E., Sight-reading expertise: Cross-modality integration investigated using eye tracking, Psychology of Music, 40, 2, pp. 216-235, (2012); Fourie E., The processing of music notation: Some implications for piano sight-reading, Journal of the Musical Arts in Africa, 1, pp. 1-21, (2004); Gabrielsson A., The performance of music, The Psychology of Music, pp. 501-602, (1999); Goolsby T.W., Profiles of processing: Eye movements during sight-reading, Music Perception, 12, 1, pp. 97-123, (1994); Gromko J.E., Predictors of music sight-reading ability in high school wind players, Journal of Research in Music Education, 52, 1, pp. 6-15, (2004); Gudmundsdottir H.R., Advances in music-reading research, Music Education Research, 12, 4, pp. 331-338, (2010); Halsband U., Binkofski F., Camp M., The role of perception of rhythmic grouping in musical performance: Evidence from motor-skill development in piano playing, Music Perception, 11, 3, pp. 265-288, (1994); Hammersley M., Recent radical criticism of interview studies: Any implications for sociology of education?, British Journal of Sociology of Education, 24, 1, pp. 119-126, (2003); Hayward C.M., Gromko J.E., Relationships among music sight-reading and technical proficiency, special visualisation, and aural discrimination, Journal of Research in Music Education, 57, 1, pp. 26-36, (2009); Heiman G.W., Basic statistics for the behavioral sciences, Independence, (2011); Hodges D.A., Handbook of Research on Music Teaching and Learning, pp. 466-471, (1992); Hodges D.A., Nolker D.B., MENC Handbook of Research on Music Learning, pp. 61-91, (2011); Kopiez R., Lee J.I., Towards a dynamic model of skills involved in sight reading music, Music Education Research, 8, 1, pp. 97-120, (2006); Kopiez R., Lee J.I., Towards a general model of skills involved in sight-reading music, Music Education Research, 10, 1, pp. 41-62, (2008); Kornicke E., An exploratory study of individual difference variables in piano sight-reading achievement, The Quarterly Journal of Music Teaching and Learning, 6, 1, pp. 56-79, (1995); Kostka M.J., The effects of error-detection practice on keyboard sight-reading achievement of undergraduate music majors, Journal of Research in Music Education, 48, 2, pp. 114-122, (2000); Lehmann A.C., Ericsson K.A., Sight-reading ability of expert pianists in the context of piano accompanying, Psychomusicology, 12, pp. 122-136, (1993); Lehmann A.C., Ericsson K.A., Performance without preparation: Structure and acquisition of expert sight-reading and accompanying performance, Psychomusicology, 15, pp. 1-29, (1996); Lehmann A.C., Kopiez R., The Oxford Handbook of Music Psychology, pp. 344-351, (2009); Lehmann A.C., Sloboda A.J., Woody R.H., Psychology for Musicians: Understanding and Acquiring the Skills, (2007); McPherson G.E., Factors and abilities influencing sightreading skill in music, Journal of Research in Music Education, 42, 3, pp. 217-231, (1994); Meinz E.J., Hambrick D.Z., Deliberate practice is necessary but not sufficient to explain individual differences in piano sight-reading skill: The role of working memory capacity, Psychological Science, 21, 7, pp. 914-919, (2010); Palmer C., Music performance, Annual Review of Psychology, 48, pp. 115-138, (1997); Pike P.D., Carter R., Employing cognitive chunking techniques to enhance sight-reading performance of undergraduate group-piano students, International Journal of Music Education, 28, 3, pp. 231-246, (2010); Penttinen M., Huovinen, The early development of sight-reading skills in adulthood: A study of eye movements, Journal of Research in Music Education, 59, 2, pp. 196-220, (2011); Seidman I., Interviews As Qualitative Research: A Guide for Researchers in Education and the Social Sciences, (2006); Sloboda J.A., Experimental studies of music reading: A review, Music Perception, 2, pp. 222-236, (1984); Smith K.H., The effect of computer-assisted instruction and field independence on the development of rhythm sight-reading skills of middle school instrumental students, International Journal of Music Education, 27, 1, pp. 59-68, (2009); Stewart C.J., Cash W.B., Interviewing: Principles and Practice, (2006); Thompson S., Lehmann A.C., Musical Excellence, pp. 143-159, (2004); Truitt F.E., Clifton C., Pollatsek A., Rayner K., The perceptual span and the eye-hand span in sight-reading of music, Visual Cognition, 4, 2, pp. 134-161, (1997); Waters A.J., Townsend E., Underwood G., Expertise in musical sight reading: A study of pianists, British Journal of Psychology, 89, 1, pp. 123-149, (1998); Watkins A., Hughes M.A., The effect of an accompanying situation on the improvement of students' sight reading skills, Psychology of Music, 14, pp. 97-110, (1986); Willis G.B., Cognitive Interviewing, (2005); Wristen B., Cognition and motor execution in piano sight-reading: A review of literature, Update: Applications of Research in Music Education, 24, pp. 44-56, (2005); Zhukov K., Exploring the content of instrumental lessons and gender relations in Australian higher education, British Journal of Music Education, 25, 2, pp. 159-176, (2008); Zhukov K., Piano assessment in Australian higher education - Time for a change?, Proceedings from the International Society for Music Education (ISME) 18th International Seminar of the Commission for the Education of the Professional Musician (CEPROM)","","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-84908867813"
"Alexander M.L.; Henry M.L.","Alexander, Michael L. (55252316500); Henry, Michele L. (26121259200)","55252316500; 26121259200","The Effect of Pitch and Rhythm Difficulty on High School String Sight-Reading Performance","2015","String Research Journal","6","1","","71","85","14","4","10.1177/194849921500600005","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85067846731&doi=10.1177%2f194849921500600005&partnerID=40&md5=0153f1878ffb43c69ea878767004f9d0","School of Music, Baylor University, United States","Alexander M.L., School of Music, Baylor University, United States; Henry M.L., School of Music, Baylor University, United States","Reading music at sight is a complex skill, requiring the musician to perform pitch and rhythm simultaneously. Previous research has identified difficulty levels for pitch and rhythm skills for strings individually but not in combination. In this study, we sought to study possible relationships between pitch and rhythm tasks occurring concurrently. High school string players (N = 88) performed melodies with varying combinations of pitch and rhythm difficulty. Results indicated that pitch and rhythm skills retained their relative difficulty levels, regardless of the presence of other factors. Rhythmic success was related to pitch success. Rhythm accuracy without pitch success occurred least frequently. Pitch accuracy without rhythm success occurred most frequently. String players appeared to give priority to pitch over rhythm, performing pitch correctly at the expense of rhythmic accuracy. Implications for teaching include the necessity of emphasizing rhythmic continuity. Future research should explore the pitch and rhythm reading capabilities for other instrumentalists and string players with a vocal background, as well as exploring the ability to sight-read additional musical elements in conjunction with rhythm and pitch. © 2015 American String Teachers Association.","high school; pitch reading; private lessons; rhythm reading; sight reading; string students","","","","","","","","Alexander M., Henry M., The development of a string sight-reading pitch skill hierarchy, Journal of Research in Music Education, 60, pp. 201-216, (2012); Alexander M., Henry M., The development of a detache’ rhythm hierarchy for string sight-reading, Journal of String Research, 5, pp. 73-86, (2014); Boyle J., Lucas K., The effect of context on sightsinging, Bulletin of the Council for Research in Music Education, 106, pp. 1-9, (1990); Delzell J.K., Rohwer D.A., Ballard D.E., Effects of melodic pattern difficulty and performance experience on ability to play by ear, Journal of Research in Music Education, 47, pp. 53-63, (1999); Demorest S., Improving sight-singing performance in the choral ensemble: The effect of individual testing, Journal of Research in Music Education, 46, pp. 182-192, (1998); Demorest S., May W., Sight-singing instruction in the choral ensemble: Factors related to individual performance, Journal of Research in Music Education, 43, pp. 156-167, (1995); Fine P., Berry A., Rosner B., The effect of pattern recognition and tonal predictability on sight-singing ability, Psychology of Music, 34, pp. 431-447, (2006); Gall M.D., Borg W.R., Gall J.P., Educational research: An introduction, (1996); Gordon E., Learning sequences in music, (1997); Gromko J.E., Predictors of music sight-reading ability in high school wind players, Journal of Research in Music Education, 52, pp. 6-15, (2004); Grutzmacher P.A., The effect of tonal pattern training on the aural perception, reading recognition, and melodic sight-reading achievement of first-year instrumental music students, Journal of Research in Music Education, 35, pp. 171-181, (1987); Henry M., The development of an individual vocal sight-reading inventory, Bulletin of the Council for Research in Music Education, 150, pp. 21-35, (2001); Henry M., A comparison of testing formats for vocal sight reading, Texas Music Education Research, pp. 1-9, (2003); Henry M., The use of specific practice and performance strategies in sight-singing instruction, UPDATE: Applications of Research in Music Education, 26, 2, pp. 11-16, (2008); Henry M., The development of a rhythm hierarchy for vocal sight-reading, (2009); Henry M., The effect of pitch and rhythm difficulty on vocal sight-reading performance, Journal of Research in Music Education, 59, pp. 72-84, (2011); Henry M., Demorest S., Individual sight-singing achievement in successful choral ensembles, UPDATE: Applications of Research in Music Education, 13, pp. 4-8, (1994); Killian J., The relationship between sightsinging accuracy and error detection in junior high singers, Journal of Research in Music Education, 39, pp. 216-224, (1991); Killian J.N., Henry M.L., A comparison of successful and unsuccessful strategies in individual sight-singing preparation and performance, Journal of Research in Music Education, 53, pp. 51-65, (2005); Lehmann A., McArthur V., Parncutt R., McPherson G., Sight-reading, The science & psychology of music performance: Creative strategies for teaching and learning, pp. 135-165, (2002); MacKnight C., Music reading ability of beginning wind instrumentalists after melodic instruction, Journal of Research in Music Education, 23, pp. 23-34, (1975); McPherson G.E., Factors and abilities influencing sightreading skills in music, Journal of Research in Music Education, 42, pp. 217-231, (1994); McPherson G.E., Bailey M., Sinclair K.E., Path analysis of a theoretical model to describe the relationship among five types of musical performance, Journal of Research in Music Education, 45, pp. 103-129, (1997); Madsen C.K., Madsen C.H., Teaching/Discipline: A positive approach for educational development, (1998); Mishra J., Factors related to sight-reading accuracy: a meta-analysis, Journal of Research in Music Education, 61, pp. 452-465, (2014); Tucker D., Factors related to musical reading ability of senior high school students participating in choral groups, (1969)","M.L. Alexander; School of Music, Baylor University, United States; email: Michael_L_Alexander@baylor.edu","","SAGE Publications Ltd","","","","","","19484992","","","","English","String Res.  J.","Article","Final","","Scopus","2-s2.0-85067846731"
"Wright R.; Kanellopoulos P.","Wright, Ruth (37662461800); Kanellopoulos, Panagiotis (26036399700)","37662461800; 26036399700","Informal music learning, improvisation and teacher education","2010","British Journal of Music Education","27","1","","71","87","16","100","10.1017/S0265051709990210","https://www.scopus.com/inward/record.uri?eid=2-s2.0-79956095029&doi=10.1017%2fS0265051709990210&partnerID=40&md5=f8553516eee63c368ee39411f38097f2","Don Wright Faculty of Music, Talbot College, University of Western Ontario, London, ON N6A 3K7, Canada; Department of Early Childhood Education, School of the Humanities, University of Thessaly, Argonafton and Filellinon, 38221 Volos, Greece","Wright R., Don Wright Faculty of Music, Talbot College, University of Western Ontario, London, ON N6A 3K7, Canada; Kanellopoulos P., Department of Early Childhood Education, School of the Humanities, University of Thessaly, Argonafton and Filellinon, 38221 Volos, Greece","This paper1 explores firstly the sense in which improvisation might be conceived of as an informal music education process and, secondly, the effects of a course in free improvisation on student teachers' perceptions in relation to themselves as musicians, music as a school subject and children as musicians. The results of a study conducted in two Greek universities are presented. Using a narrative methodology, examples of data from the reflective diaries or learning journals which 91 trainee teachers kept as part of their participation in an improvisation module are presented and discussed. The argument is made that improvisation, as a particular type of informal music learning process, has an important role to play in fostering the qualities required of teachers to work with informal pedagogies in music education. Furthermore, we would suggest that such musical experiences might gradually lead to the development of a critical perspective on both music education theories and practices. Improvisation might emerge as a moment and a practice of rupture with linearity of progress, working against reification of knowledge and glorification of received information. The findings suggest that improvisation might offer a route for creating an intimate, powerful, evolving dialogue between students' identities as learners, their attitudes towards children and their creative potential, and the interrelationships of the notions of expressive technique and culture, thus becoming 'an act of transcendence' (Allsup, 1997, p. 81). We propose that the issue of connecting informal learning and improvisation might be resolved by regarding improvisation as an exemplary case of creating a communicative context where most representations/ conceptualisations/struggles to solve problems are left implicit. Such experiences for pupils and teachers alike might further extend the social and personal effectiveness of informal learning as music pedagogy. Copyright © 2010 Cambridge University Press.","","","","","","","","","Abrahams F., Critical pedagogy for music education: A best practice to prepare future music educators, Visions of Research in Music Education, 6, pp. 1-8, (2005); Allsup R.E., Creating an educational framework for popular music in public schools: Anticipating the second-wave', Visions of Research in Music Education (Special Edition - Beyond Lucy Green: Operationalizing Theories of Informal Music Learning), 12, pp. 1-12, (2008); Allsup R.E., Activating self-transformation through improvisation in instrumental music teaching, Philosophy of Music Education Review, 5, 2, pp. 80-85, (1997); Apple M.W., Making critical pedagogy strategic - on doing critical educational work in conservative times', in I. Gur Ze'ev (Ed.), Critical Theory and Critical Pedagogy Today: Toward a New Critical Language in Education, (2005); Bailey J., Doubleday V., Patterns of musical enculturation in Afghanistan, Music and Child Development: Proceedings of the 1987 Denver Conference, pp. 88-99, (1990); Benedict C., On the narrative of challenged assumptions, Research Studies in Music Education, 29, pp. 29-38, (2007); Biesta G., Why 'what works' won't work: Evidence-based practice and the democratic deficit of educational research, Educational Theory, 57, 1, pp. 1-22, (2007); Biesta G., Osberg D., Beyond re/presentation: A case for updating the epistemology of schooling, Interchange, 38, 1, pp. 15-29, (2007); Brown S.J., Collins A., Duguid P., Situated cognition and the culture of learning, Educational Researcher, 18, 1, pp. 32-42, (1989); Castoriadis C., Power politics autonomy, Cornelius Castoriadis - Philosophy, Politics, Autonomy: Essays in Political Philosophy, pp. 143-174, (1991); Castoriadis C., Phusis and autonomy, Cornelius Castoriadis - World in Fragments, pp. 331-341, (1997); Castoriadis C., Psyche and education, Cornelius Castoriadis - Figures of the Thinkable, pp. 165-187, (2007); Clandinin J.D., Handbook of Narrative Inquiry: Mapping a Methodology, (2007); Colley H., Hodkinson P., Malcolm J., Informality and Formality in Learning, (2003); Devine N., Irwin R., Autonomy, agency and education: He tangata, he tangata, he tangata, Postfoundationalist Themes in the Philosophy of Education: Festschrift for James D. Marshall, pp. 11-24, (2006); Eraut M., Non-formal learning and tacit knowledge in professional work, British Journal of Educational Psychology, 70, 1, pp. 113-136, (2000); Fitzsimons P., Neoliberalism and education: The autonomous chooser, Radical Pedagogy, 4, (2002); Folkestad G., Formal and informal learning situations or practices vs. formal and informal ways of learning, British Journal of Music Education, 23, 2, pp. 135-145, (2006); Ford C.C., Free collective improvisation in higher education, British Journal of Music Education, 12, 2, pp. 103-112, (1995); Freire P., Pedagogy of the Oppressed (1993 edn), (1970); Georgii-Hemming E., Hermeneutic knowledge: Dialogue between experiences, Research Studies in Music Education, 29, pp. 13-28, (2007); Giroux H., Theory and Resistance in Education: A Pedagogy for the Opposition, (1983); Giroux H., Rationality, reproduction, and resistance: Toward a critical theory of schooling, Current Perspectives in Social Theory, pp. 85-118, (1983); Giroux H., Teachers as intellectuals, Social Education, 49, 15, pp. 376-379, (1985); Giroux H., Literacy and the pedagogy of political empowerment, Educational Theory, 38, 1, pp. 61-75, (1988); Giroux H., Schrag speaks: Spinning the wheel of misfortune, Educational Theory, 38, 1, pp. 145-146, (1988); Giroux H., Hope and radical education, Journal of Education, 170, 2, pp. 91-101, (1988); Giroux H.A., Pedagogy and the Politics ofHope: Theory, Culture, and Schooling, (1997); Giroux H., Mclaren P., Between Borders: Pedagogy and Politics in Cultural Studies., (1994); Green L., How Popular Musicians Learn: A Way Ahead for Music Education, (2002); Green L., Music, Informal Learning and the School: A New Classroom Pedagogy, (2008); Green L., Response to panel: Beyond Lucy Green: Operationalizing theories of informal music learning panel presentation, Visions of Research in Music Education (Special Edition - Beyond Lucy Green: Operationalizing Theories of Informal Music Learning), 12, pp. 1-9, (2008); Greene M., Releasing the Imagination: Essays on Education, the Arts, and Social Change, (1995); Habermas J., The Theory of Communicative Action. Volume One: Reason and the Rationalization of Society, (1984); Hanks W.F., Introduction, Situated Learning: Legitimate Peripheral Participation, pp. 13-24, (1991); Lankshear C., Freedom and Education: Towards a Non-Rational Philosophy of Education, (1982); Lave J., Wenger E., Situated Learning: Legitimate Peripheral Participation, (1991); Levinson M., The Demands of Liberal Education, (1999); Marcuse H., One-Dimensional Man (2nd edn), (1991); Marshall J.D., Michel Foucault: Personal Autonomy and Education, (1996); McCarthy M., Narrative inquiry as a way of knowing in music education, Studies in Music Education, 29, pp. 3-12, (2007); McLaren P., Life in Schools: An Introduction to Critical Pedagogy in the Foundations of Education (5th edn), (2006); Nachmanovitch S., Free Play: Improvisation in Life and Art, (1990); Nettl B., Interlude: An ethnomusicological perspective, International Handbook of Research in Arts Education, pp. 829-834, (2007); Olssen M., Foucault, educational research and the issue of autonomy, Postfoundationalist Themes in the Philosophy of Education: Festchrift for James D. Marshall, pp. 57-79, (2006); Paynter J., Sound and Structure, (1992); Peters M.A., Education, creativity and the economy of passions: New forms of educational capitalism, Thesis Eleven, 96, pp. 40-63, (2009); Pongratz L., Critical theory and pedagogy: Theodor W. Adorno and Max Horkheimer's contemporary significance for a critical pedagogy, Critical Theories, Radical Pedagogies, and Global Conflicts, pp. 154-163, (2005); Prevost E., No Sound is Innocent: AMM and The Practice of Self-Invention. Meta-Musical Narratives. Essays, (1995); Ranciere J., The Politics of Aesthetics (trans. G. Rockhill), (2004); Ranciere J., Malaise dans l'esthètique, (2004); Reich R., Bridging Liberalism and Multiculturalism in American Education, (2002); Rice T., Music learnt but not taught: The Bulgarian case, Becoming Human through Music, pp. 115-122, (1985); Saladin M., Points of resistance and criticism in free improvisation: Remarks on a musical practice and some economic transformations, Noise and Capitalism, pp. 133-149, (2009); Sefton-Green J., Soep E., Creative media cultures: Making and learning beyond the school, International Handbook of Research in Arts Education, pp. 835-854, (2007); Stake R.E., The Art of Case Study Research, 1995; Van Manen M., Researching Lived Experience: Human Science for an Action Sensitive Pedagogy, (1990); Walduck J., Collaborative arts practice and identity: The role of leadership, The Reflective Conservatoire, pp. 301-331, (2005); Wolcott H.F., The Art of Fieldwork, (1995)","R. Wright; Don Wright Faculty of Music, Talbot College, University of Western Ontario, London, ON N6A 3K7, Canada; email: rwrigh6@uwo.ca","","","","","","","","14692104","","","","English","Br. J. Music Educ.","Article","Final","","Scopus","2-s2.0-79956095029"
"Juchniewicz J.","Juchniewicz, Jay (35205816700)","35205816700","An Examination of Social Intelligence Development in Preservice Music Teachers","2014","Journal of Music Teacher Education","23","2","","21","32","11","8","10.1177/1057083713475628","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84898886368&doi=10.1177%2f1057083713475628&partnerID=40&md5=5b0e0a58eeb33c3d754c0fe2db45d16f","East Carolina University, Greenville, NC, United States","Juchniewicz J., East Carolina University, Greenville, NC, United States","The purpose of this study was to determine if preservice music educators specifically develop social intelligence during their student teaching. Sixty-six undergraduate senior music education students were administered the Interpersonal Perception Task-15 immediately prior to and directly after the completion of their 15-week student teaching placements. Additionally, participants were asked to list the top three skills they felt they had developed and/or improved on the most during their student teaching. Results of a Wilcoxon Signed-Rank Test indicated no significant differences between the pre- and post-student teaching Interpersonal Perception Task-15 scores. From a total of 198 comments, 53% of skills developed and/or improved on the most during the student teaching were nonsocial skills and 47% were social skills. Additionally, 48.5% of the responses included Teaching Skills, 33.3% involved Personal Skills, and 18.2% were Musical Skills. Further breakdown of comments revealed the most frequently listed skills were ""Classroom management/Discipline,"" ""Lesson planning/Preparation,"" ""Pacing,"" ""Communication,"" and ""Ear training/Listening skills,"" in that order. © National Association for Music Education 2013.","social intelligence; student teaching; teacher characteristics","","","","","","","","Archer D., Costanzo M., The Interpersonal Perception Task (IPT), (1987); Archer D., Costanzo M., Akert R., Interpersonal Sensitivity: Theory and Measurement, pp. 163-184, (2001); Brand M., Research in music teacher effectiveness, Update: Applications of Research in Music Education, 3, 2, pp. 13-16, (1985); Briggs S.R., Cheek J.M., Buss A.H., An analysis of the self-monitoring scale, Journal of Personality and Social Psychology, 38, pp. 679-686, (1980); Conway C., Perceptions of beginning teachers, their mentors, and administrators regarding preservice music teacher preparation, Journal of Research in Music Education, 50, pp. 20-36, (2002); Costanzo M., Archer D., Interpreting the expressive behavior of others: The Interpersonal Perception Task, Journal of Nonverbal Behavior, 13, pp. 225-245, (1989); Costanzo M., Archer D., The Interpersonal Perception Task-15 (IPT-15), (1993); Costanzo M., Archer D., The Interpersonal Perception Task-15 (IPT-15): A Guide for Researchers and Teachers, (1994); Davis V.W., Beginning music education students' and student teachers' opinions of skills and behaviors important to successful music teaching, Contributions to Music Education, 33, pp. 27-40, (2006); Duke R.A., Measures of instructional effectiveness in music research, Bulletin of the Council for Research in Music Education, 143, pp. 1-49, (1999); Fuller F.F., Concerns of teachers: A developmental conceptualization, American Educational Research Journal, 6, pp. 207-226, (1969); Fuller F.F., A conceptual framework for a personalized teacher education program, Theory Into Practice, 13, pp. 112-122, (1974); Fuller F.F., Bown O., Teacher Education, Part II: The 74th Yearbook of the National Society for the Study of Education, pp. 25-52, (1975); Gardner H., Frames of Mind: Theory of Multiple Intelligences, (1983); Gardner H., Multiple Intelligences: The Theory in Practice, (1993); Goleman D., Social Intelligence, (2006); Goolsby T.W., Time use in instrumental rehearsals, Journal of Research in Music Education, 44, pp. 286-304, (1996); Grant J.W., Drafall L.E., Teacher effectiveness research: A review and comparison, Council for Research in Music Education Bulletin, 108, pp. 31-48, (1991); Hamann D.L., Preservice teachers' teaching effectiveness and social skill development, Southeastern Journal of Music Education, 7, pp. 1-12, (1995); Hamann D.L., Baker D.S., McAllister P.A., Bauer W.I., Factors affecting university music students' perceptions of lesson quality and teaching effectiveness, Journal of Research in Music Education, 48, pp. 102-113, (2000); Hamann D.L., Lineburgh N., Paul S., Teaching effectiveness and social skill development, Journal of Research in Music Education, 46, pp. 87-101, (1998); Juchniewicz J., The influence of social intelligence on effective music teaching, Journal of Research in Music Education, 53, pp. 276-293, (2010); Kelly S.N., Preservice music education student fears of the internship and initial inservice teaching experience, Contributions to Music Education, 27, pp. 41-50, (2000); Kurkel W.W., Nonverbal communication in one-to-one music performance instruction, Psychology of Music, 35, pp. 327-362, (2007); Madsen C.H., Madsen C.K., Teaching Discipline: A Positive Approach for Educational Development, (1998); Madsen C.K., Teacher intensity in relationship to music education, Bulletin of the Council for Research in Music Education, 104, pp. 38-46, (1990); Madsen C.K., Duke R.A., Selection and development of prospective music teachers, Journal of Music Teacher Education, 3, 1, pp. 5-11, (1993); Madsen C.K., Kaiser K., Pre-internship fears of student teaching, Update: Applications of Research in Music Education, 17, pp. 27-32, (1999); Madsen C.K., Kelly S.K., First remembrances of wanting to become a music teacher, Journal of Research in Music Education, 50, pp. 323-332, (2002); Madsen C.K., Standley J.M., Cassidy J.W., Demonstration and recognition of high and low contrasts in teacher intensity, Journal of Research in Music Education, 37, pp. 85-92, (1989); Napoles J., Bowers J., Differential effects of instructor feedback versus self-observation analysis on music education majors' increase of specific reinforcement in choral rehearsals, Bulletin of the Council for Research in Music Education, 183, pp. 39-47, (2010); Schmidt M., Defining ""good"" music teaching: Four student teachers' beliefs and practices, Bulletin of the Council for Research in Music Education, 138, pp. 19-46, (1998); Steele N.A., Three characteristics of effective teachers, Update: Applications of Research in Music Education, 28, 2, pp. 71-78, (2010); Sternberg R.J., Wagner R.K., Practical Intelligence: Nature and Origins of Competence in the Everyday World, (1986); Taebel D.K., Coker J.G., Teaching effectiveness in elementary classroom music: Relationships among competency measures, pupil product measures, and certain attribute variables, Journal of Research in Music Education, 48, pp. 250-264, (1980); Taylor B.P., The relative importance of various competencies needed by choral-general music teachers in elementary and secondary schools as rated by college supervisors, music supervisors, and choral-general music teachers (Doctoral dissertation, Indiana University), Dissertation Abstracts International: Section A. Humanities and Social Sciences, 41, 7, (1980); Teachout D.J., Preservice and experiences teachers' opinions of skills and behaviors important to successful music teaching, Journal of Research in Music Education, 45, pp. 41-50, (1997); Wink R.L., The relationship of self-concept and selected personality variables to achievement in music student teaching, Journal of Research in Music Education, 28, pp. 234-241, (1970); Yarbrough C., The effect of magnitude of conductor behavior on performance, attentiveness, and attitude of students in selected mixed choruses, Journal of Research in Music Education, 23, pp. 134-146, (1975); Yarbrough C., Price H.E., Sequential patterns of instruction in music, Journal of Research in Music Education, 37, pp. 179-187, (1989)","J. Juchniewicz; School of Music, East Carolina University, Greenville, NC 27858, United States; email: juchniewiczj@ecu.edu","","SAGE Publications Inc.","","","","","","10570837","","","","English","J. Music Teach. Educ.","Article","Final","","Scopus","2-s2.0-84898886368"
"Matsunobu K.","Matsunobu, Koji (54795738100)","54795738100","Instrument-making as music-making: An ethnographic study of shakuhachi students' learning experiences","2013","International Journal of Music Education","31","2","","190","201","11","12","10.1177/0255761413486858","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84879427298&doi=10.1177%2f0255761413486858&partnerID=40&md5=440682edf6960c11b8423b6c4520d4fa","Level 4, Zelman Cowen Building, University of Queensland, Brisbane, QLD 4072, Australia","Matsunobu K., Level 4, Zelman Cowen Building, University of Queensland, Brisbane, QLD 4072, Australia","Instrument-making is a powerful way to teach and learn music, especially world music. This case study looks at adult music learners whose engagement in music involves instrument-making and the long lasting practice of music. A case in point is Japanese and North American practitioners of Japanese bamboo flutes, especially the end-blown shakuhachi. Informants in this ethnographic study were involved in the organic process of harvesting bamboo, making instruments, and performing music on self-made instruments. Findings indicate that instrument-making contributed to the formation of attachment to the instruments, the development of place-based musical thinking, and the creation of an enriched music-learning environment. Through the examination of an existing model of sustainable musical engagement, this study proposes a world music pedagogy that begins with instrument-making. © 2013 The Author(s).","instrument-making; place-based/sustainable music education; self-made instruments; shakuhachi; world music pedagogy","","","","","","","","Akoschky J., Cotidiáfonos. Instrumentos Sonoros Realizados Con Objetos Cotidianos, (1988); Bensaya P., Instrumentos de Papel: Construcción y Consejos Para la Ejecución. Aplicación en El Aula, (1998); Coleman S.N., Creative experience through making musical instruments, Progressive Education, 4, 1, pp. 18-23, (1927); Coleman S.N., Creative Music in the Home: Music Stories, How to Make Instruments, How to Play Them, and Many Tunes to Play, (1928); Coleman S.N., Creative Music for Children: A Plan of Training Based on the Natural Evolution of Music, Including the Making and Playing of Instruments, Dancing, Singing, Poetry, (1931); Denyer F., The shakuhachi and contemporary music instrumentaium: A personal view, Contemporary Music Review, 8, 3, pp. 45-52, (1994); Dewey J., Art As Experience, (1980); Dube R., Songs of the Spirit: Attending to Aboriginal Students' Emotional and Spiritual Needs Through A Native American Flute Curriculum, (2008); Furiya M., Abiko H., Hashimoto M., Yamazaki J., Significance of making musical instruments in music education, Miyagi Kyoikudaigakukiyo, 42, pp. 89-100, (2007); Hildebrandt C., Zan B., Developing Constructivist Early Childhood Curriculum: Practical Principles and Activities, pp. 101-119, (2002); Malm W.P., Traditional Japanese Music and Musical Instruments, (2000); Matsunobu K., Sound Musicianship: Understanding the Crafts of Music, pp. 171-181, (2012); Reimer B., A Philosophy of Music Education: Advancing the Vision, (2003); Rohlen T.P., Le Tendre G.K., Teaching and Learning in Japan, pp. 369-376, (1998); Saitta C., El Luthier en El Aula. Guía de Fabricación 1-2, (1990); Takeshi K., A fundamental approach of teaching Japanese traditional music: A case study of basic shakuhachi teaching in Music, Bulletin of Tokyo Gakugei University. Arts and Sports Sciences, 60, pp. 11-30, (2008); Titon J.T., Worlds of Music: An Introduction to the Music of the World's Peoples, (2001); Trimillos R.D., Halau, hochschule, maystro, and ryu: Cultural approaches to music learning and teaching, International Journal of Music Education, 14, pp. 32-43, (1989); Turner J.B., Schiff R.S., Let's Make Music! Multicultural Songs and Activities: An Interactive Musical Trip Around the World: Sing and Play Songs from Around the World: Create Your Own Instruments from 10 Different Countries Using Recycled Materials, (1994); Upitis R., This Too Is Music, (1990); Volk T.M., Satis Coleman's ""creative music, Music Educators Journal, 82, 6, (1996)","K. Matsunobu; Level 4, Zelman Cowen Building, University of Queensland, Brisbane, QLD 4072, Australia; email: kmnobu@gmail.com","","","","","","","","1744795X","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-84879427298"
"Paksa K.","Paksa, Katalin (25122034300)","25122034300","Pentatony as a vehicle of identity in Hungarian music","2010","Acta Ethnographica Hungarica","55","1","","1","10","9","0","10.1556/AEthn.55.2010.1.1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-77953483672&doi=10.1556%2fAEthn.55.2010.1.1&partnerID=40&md5=edcab5ed386a27ea2f5b94580298de33","Institute for Musicology of the HAS, H-1014 Budapest, Táncsics Mihály u. 7, Hungary","Paksa K., Institute for Musicology of the HAS, H-1014 Budapest, Táncsics Mihály u. 7, Hungary","Owing to its strong emotional effect, music plays a great role in experiencing and expressing self-identity. In Hungary, 19 th century compilers of folksong collections consciously professed the national value of their work, while they were embarrassed by the tonality of genuine folksongs, having an aversion to pentatonic tunes. In the early 20 th century, it was exactly this tonal world that attracted Bartók and Kodály and helped them to develop their own compositional style and create sovereign Hungarian music in opposition to German romanticism. Pentatony recognized in folk music aroused their interest in researching eastern, prehistoric connections and also inspired them to carry on the stylistic interpretation of the Hungarian folk music stock. Kodály based his music pedagogical conception on the acquisition of the musical mother tongue, first of all pentatonic folksongs, which he meant as a remedy against the identity crisis of the society. The role of pentatony as a vehicle of identity has been verified by new achievements of ethnomusicology which has explored the importance of the five-tone scale in the history of Hungarian folk music more thoroughly. © 2010 Akadémiai Kiadó.","Composed music; Ethnomusicology; Folk music; Music pedagogy","Hungary; cultural geography; cultural identity; cultural influence; cultural tradition; identity construction; language; music","","","","","","","Bartalus I., Magyar Népdalok. Egyetemes Gyüjtemény VII. [Hungarian Folksongs. Universal Collection], (1896); Bartok B., A Magyar Népdal. [The Hungarian Folk Song], (1924); Bartok, Bartók Béla Összegyüjtött Írásai. [Collected Writings of Béla Bartók], (1981); Bartok B., Briefe An Stefi Geyer 1907-1908, (1979); Bartok B., The Hungarian Folk Song, (1981); Bela B., Zoltan K., Magyar Népdalok [Hungarian Folksongs], (1906); Janos B., Maria D., Imre O., Katalin P., Olga S., Kodály Népdalfeldolgozásainak Dallam- És Szövegforrásai [Sources of Melody and Text for Kodály's Folksong Arrangements], (1984); Corpus Musicae Corpus Musicae Popularis Hungaricae. A Magyar Népzene Tára V. Siratók - Collection of Hungarian Folk Music v Laments, (1966); Corpus Musicae Popularis Hungaricae. A Magyar Népzene Tára VI. Népdaltípusok 1. - Collection of Hungarian Folk Music VI Types of Folksongs 1, (1973); Corpus Musicae Popularis Hungaricae. A Magyar Népzene Tára VII. Népdaltípusok 2. - Collection of Hungarian Folk Music VII Types of Folksongs 2, (1987); Dobszay L., A Siratóstílus Dallamköre Zenetörté netünkben És Népzenénkben [the Melodic Circle of the Lament Style in Hungarian Music History and Folk Music], (1983); Járdányi Pál Összegyüjtött Írásai [Collected Writings of Pál Járdányi], (2000); Kodaly Z., A magyar népzene, A Magyarság Néprajza, (1937); Kodaly Z., Visszatekintés I-II. [In Restrospect], (1964); Kodaly Z., Folk Music of Hungary, (1971); Kodaly Z., The Selected Writings of ..., (1974); Koschuba W., Bevezetés Az Európai Etnológiába [Introduction to European Ethnology], (2004); Krohn I., Sammelbände der Internationalen Musikgesellschaft. III, (1901); Kusz V., Kodály hatása Járdányi Pál szellemére és zenei stílusára, Kodály Zoltán És Tanítványai., pp. 223-274, (2007); M. Bodon Pál 1907 Évi Csík Megyei Népzenegyüjtése [Pál M. Bodon's Folk Music Collection in Csík County in 1907], (2001); Olsvai I., A magyar népzene egyik fö rétegének rokonnépi kapcsolatai, Congressus Quartus Internationalis Fenno- Ugristarum, pp. 58-77; Paksa K., Magyar Népzenekutatás A 19. Században - Hungarian Folk Music Research in the Nineteenth Century, (1988); Paksa K., Magyar Népzenetörténet [A History of Hungarian Folk Music], (1999); Szabo F., Az I. Magyar Zenei Héten bemutatott müvek, Új Zenei Szemle, 2-12, (1951); Szabolcsi B., Osztyák hösdalok - Magyar siratók meló diái, Ethnographia, 44, pp. 71-75, (1933); Vargyas L., Ugor réteg a magyar népzenében, Zenetudományi Tanulmányok i, pp. 611-657, (1953); Vargyas L., Folk Music of the Hungarians, (2005); Vikar L., A Volga-kámai Fi Nnugorok És Törökök Dallamai [Finno-Ugrians and Turkic Melodies in the Volga-Kama Area], (1993); Vikar L., Finno-Ugrian and Turkic Melodies in the Volga-Kama Area. Selection from the Collection of László Vikár and Gábor Bereczki 1958-1979, (1996); Laszlo V., Gabor B., Cheremis Folksongs, (1971); Laszlo V., Gabor B., Chuvash Folksongs, (1979); Laszlo V., Gabor B., Votyak Folksongs, (1989); Laszlo V., Gabor B., Tatar Folksongs, (1999)","K. Paksa; Institute for Musicology of the HAS, H-1014 Budapest, Táncsics Mihály u. 7, Hungary; email: paksa@zti.hu","","","","","","","","15882586","","","","English","Acta Ethnogr. Hung.","Article","Final","","Scopus","2-s2.0-77953483672"
"Pulman M.","Pulman, Mark (36706594900)","36706594900","Popular music pedagogy: Band rehearsals at British universities","2014","International Journal of Music Education","32","3","","296","310","14","8","10.1177/0255761413491207","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84907320521&doi=10.1177%2f0255761413491207&partnerID=40&md5=d5ef28dc90e5df2934d9e97c9f9cb59c","University of Huddersfield, University Campus Barnsley, Barnsley S70 2YW, Church Street, United Kingdom","Pulman M., University of Huddersfield, University Campus Barnsley, Barnsley S70 2YW, Church Street, United Kingdom","There has been little published pedagogical research on popular music group rehearsing. This study explores the perceptions of tutors and student pop/rock bands about the rehearsals in which they were involved as a part of their university music course. The participants were 10 tutors and 16 bands from eight British tertiary institutions. Analysis of participants' interview responses suggested their perceptions could be grouped into three over-arching categories: operational mechanics of rehearsing; rehearsing activities; and group dynamics in the rehearsal. These categories, comprising a master list of 12 themes, are used to provide a basis for establishing 12 pedagogical guidelines for tutors involved in undergraduate pop/rock band rehearsal activities. Abstracted from the research are two illustrative pedagogical models, which are offered as suggestions for practice and further debate. © The Author(s) 2013.","bands; groupwork; informal learning; pedagogy; popular music; rehearsals","","","","","","United Kingdom Higher Education Academy","The project described in this article was funded by the United Kingdom Higher Education Academy. ","Alix C., Dobson E., Wilsmore R., Collaborative Art Practices in HE, (2011); Belbin M., Management Teams: Why They Succeed or Fail, (1981); Bennett H.S., On Becoming A Rock Musician, (1980); Berkaak O.A., Ruud E., (1994); Biggs J., Teaching for Quality Learning at University, (2003); Bruner J., Actual Minds, Possible Worlds, (1986); Bryan C., Clegg K., Innovative Assessment in Higher Education, (2006); Byrne C., Sheridan M., The Long and Winding Road: The story of rock music in Scottish schools, International Journal of Music Education, 36, pp. 46-57, (2000); Cohen L., Manion L., Morrison K., Research Methods in Education, (2000); Creech A., Papageorgi I., Potter J., Haddon E., Duffy C., Morton F., Investigating musical performance: Commonality and diversity amongst classical and non-classical musicians, Music Education Research, 10, 2, pp. 215-234, (2008); Daniel R., Exploring music instrument teaching and learning environments: Video analysis as a means of elucidating process and learning outcomes, Music Education Research, 8, 2, pp. 191-215, (2006); Davidson J., King E.C., Musical Excellence, pp. 105-122, (2004); Douglas T., Groupwork Practice, (1976); Exley K., Dennick R., Small Group Teaching, (2004); Feichas H., Bridging the gap: Informal learning practices as a pedagogy of integration, British Journal of Music Education, 27, 1, pp. 47-58, (2010); Folkestad G., Children Composing, pp. 97-134, (1998); Folkestad G., Formal and informal learning situations or practices vs formal and informal ways of learning, British Journal of Music Education, 23, 2, pp. 135-145, (2006); Ford L., Davidson J.W., An investigation of members' roles in wind quintets, Psychology of Music, 31, 1, pp. 53-74, (2003); Fornas J., Lindberg U., Sernhede O., Garageland: Rock, Youth and Modernity, (1995); Green L., (2002); Green L., Music, Informal Learning and the School: A New Classroom Pedagogy, (2008); Guba E., Lincoln Y., Handbook of Qualitative Research, pp. 105-117, (1994); Hartley P., Group Communication, (1997); Horn K., Rock music-making as a work model in community music workshops, British Journal of Music Education, 1, 2, pp. 111-135, (1984); Hunter D., Assessing collaborative learning, British Journal of Music Education, 23, 1, pp. 75-89, (2006); Jorgensen H., Does Practice Make Perfect? Current Theory and Research on Instrumental Music Practice, pp. 123-140, (1997); Jorgensen H., Student learning in higher instrumental education: Who is responsible?, British Journal of Music Education, 17, 1, pp. 67-77, (2000); King E.C., The roles of student musicians in quartet rehearsals, Psychology of Music, 34, 2, pp. 262-282, (2006); Kleiman P., To Collaborate or Not to Collaborate: That Is the Question?, (2004); Kokotsaki D., Hallam S., Higher education music students' perceptions of the benefits of participative music making, Music Education Research, 9, 1, pp. 93-109, (2007); Kokotsaki D., Hallam S., The perceived benefits of participative music making for non-music university students: A comparison with music students, Music Education Research, 13, 2, pp. 149-172, (2011); Lebler D., Student-as-master? Reflections on a learning innovation in popular music pedagogy, International Journal of Music Education, 25, 3, pp. 205-221, (2007); Lebler D., Popular music pedagogy: Peer-learning in practice, Music Education Research, 10, 2, pp. 193-213, (2008); Lindgren M., Ericsson C., The rock band context as discursive governance in music education in Swedish schools, Action, Criticism, and Theory for Music Education, 9, 3, pp. 35-54, (2010); Miell D., Littleton K., Musical collaboration outside school: Processes of negotiation in band rehearsals, International Journal of Educational Research, 47, 1, pp. 41-49, (2008); Polanyi M., The Tacit Dimension, (1966); Pulman M., Knowing Yourself Through Others: Peer Assessment in Popular Music Group Work, (2008); Pulman M., Seeing yourself as others see you: Developing personal attributes in the group rehearsal, British Journal of Music Education, 26, 2, pp. 117-135, (2009); Pulman M., Assessing personal attributes in the group rehearsal, Music Education Research, 12, 4, pp. 395-414, (2010); Race P., Tips for Lecturers, (1999); Rodriguez C., Informal learning in music: Emerging roles of teachers and students, Action, Criticism, and Theory for Music Education, 8, 2, pp. 35-45, (2009); Soderman J., Folkestad G., How hip-hop musicians learn: Strategies in informal creative music making, Music Education Research, 6, 3, pp. 313-326, (2004); Smith J.A., Harre R., Van Langenhove L., Rethinking Psychology, pp. 59-69, (1995); Smith J.A., Jarman M., Osborn M., Qualitative Health Psychology: Theories and Methods, pp. 218-240, (1999); Vygotsky L., Mind in Society, (1978); Watts M., Ebbutt D., More than the sum of the parts: Research methods in group interviewing, British Educational Research Journal, 13, 1, pp. 25-34, (1987); Westerlund H., Garage rock bands: A future model for developing musical expertise?, International Journal of Music Education, 24, 2, pp. 119-125, (2006); Young V.M., Colman A.M., Some psychological processes in string quartets, Psychology of Music, 7, pp. 12-16, (1979)","M. Pulman; University of Huddersfield, University Campus Barnsley, Barnsley S70 2YW, Church Street, United Kingdom; email: mark.a.pulman@gmail.com","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-84907320521"
"Kim S.","Kim, Sungyoung (22938030800)","22938030800","An assessment of individualized technical ear training for audio production","2015","Journal of the Acoustical Society of America","138","1","","EL110","EL113","3","8","10.1121/1.4922622","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84937774138&doi=10.1121%2f1.4922622&partnerID=40&md5=5f83a2a526b48766ef2474c3ec8ca84d","Electrical Computer, and Telecommunication Engineering Technology, Rochester Institute of Technology, 78 Lomb Memorial Drive, Rochester, 14618, NY, United States","Kim S., Electrical Computer, and Telecommunication Engineering Technology, Rochester Institute of Technology, 78 Lomb Memorial Drive, Rochester, 14618, NY, United States","An individualized technical ear training method is compared to a non-individualized method. The efficacy of the individualized method is assessed using a standardized test conducted before and after the training period. Participants who received individualized training improved better than the control group on the test. Results indicate the importance of individualized training for acquisition of spectrum-identification and spectrum-matching skills. Individualized training, therefore, should be implemented by default into technical ear training programs used in audio production industry and education. © 2015 Acoustical Society of America.","","Audiovisual Aids; Case-Control Studies; Education, Professional; Hearing; Humans; Sound; Teaching; Time Factors; Acoustics; Control groups; Production industries; Spectrum-matching; Standardized tests; Training methods; Training program; audiovisual aid; case control study; comparative study; hearing; human; physiology; procedures; sound; teaching; time factor; vocational education; Personnel training","","","","","","","Corey J., Audio Production and Critical Listening, (2010); Huron D., Parncutt R., An improved model of tonality perception incorporating pitch salience and echoic memory, Psychomusicol. Music Mind Brain, 12, 2, pp. 154-171, (1993); Iwamiya S., Nakajima Y., Ueda K., Kawahara K., Takada M., Technical listening training: Improvement of sound sensitivity for acoustic engineers and sound designers, Acoust. Sci. Technol., 24, 1, pp. 27-31, (2003); Kim S., Kaniwa T., Terasawa H., Yamada T., Makino S., Inter-subject differences in personalized technical ear training and the influence of an individually optimized training sequence, Acoust. Sci. Technol., 34, 6, pp. 424-431, (2013); Mikiewicz A., Timbre Solfege: A course in technical listening for sound engineers, J. Audio. Eng. Soc., 40, 7-8, pp. 621-625, (1992); Moulton D., The Golden Ears Audio Eartraining Program [Audio CD], (1992); Nishimura A., Auditory training system that uses TCP/IP networks and WWW browsers, J. Acoust. Soc. Jpn., 62, 3, pp. 208-213, (2003); Olive S.E., A New Listener Training Software Application, (2001); Quesnel R., Timbral Ear Trainer: Adaptive, Interactive Training of Listening Skills for Evaluation of Timbre, (1996)","","","Acoustical Society of America","","","","","","00014966","","JASMA","26233051","English","J. Acoust. Soc. Am.","Article","Final","","Scopus","2-s2.0-84937774138"
"Cha J.-W.","Cha, Jee-Weon (56682487900)","56682487900","The Takadimi system reconsidered: Its psychological foundations and some proposals for improvement","2015","Psychology of Music","43","4","","563","577","14","1","10.1177/0305735614528063","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84930995245&doi=10.1177%2f0305735614528063&partnerID=40&md5=ec8d7fe06aa8be4e9557aaf12c974131","Grinnell College, Department of Music, 1108 Park St, Grinnell, 50112, IA, United States","Cha J.-W., Grinnell College, Department of Music, 1108 Park St, Grinnell, 50112, IA, United States","The Takadimi system of rhythm pedagogy codified by Hoffman, Pelto, and White is supposedly an effective means to teach both dictation and reading. This article evaluates the potential of Takadimi as a method for rhythm dictation and rhythm reading, considering its strengths and weaknesses in light of psychology, music theory, and music theory pedagogy. Takadimi's main forte is that it is based on the psychologically and neurobiologically valid notion of the beat; most of Takadimi's shortcomings arise from its apathy towards implicit beats. After exploring the psychological reality of the implicit beat, this study considers how an awareness of the implicit beat can make the Takadimi system a more consistent and accurate rhythm solmization method than it currently is. © The Author(s) 2014.","Aural skills; Implicit beat; Rhythm perception; Rhythm solmization syllables; Sight reading; Takadimi","","","","","","","","Barnes R., Jones M.R., Expectancy, attention, and time, Cognitive Psychology, 41, pp. 254-311, (2000); Burger B., Saarikallio S., Luck G., Thompson M.R., Toiviainen P., Relationships between perceived emotions in music and music-induced movement, Music Perception: An Interdisciplinary Journal, 30, 5, pp. 517-533, (2013); Chen J.L., Penhune V.B., Zatorre R.J., Listening to musical rhythms recruits motor regions of the brain, Cerebral Cortex, 18, pp. 2844-2854, (2008); Chen J.L., Penhune V.B., Zatorre R.J., The role of auditory and premotor cortex in sensorimotor transformations, Annals of the New York Academy of Sciences, 1169, pp. 15-34, (2009); Darwin C., The Descent of Man, and Selection in Relation to Sex, (1871); Drake C., Jones M.R., Baruch C., The development of rhythmic attending in auditory sequences: Attunement, referent period, focal attending, Cognition, 77, 3, pp. 251-288, (2000); Ester D.P., Scheib J.W., Inks K.J., Takadimi: A rhythm system for all ages, Music Educators Journal, 93, 2, pp. 60-65, (2006); Fraisse P., Rhythm and tempo, The Psychology of Music, pp. 149-180, (1982); Gauldin R., Harmonic Practice in Tonal Music (2nd Ed.), (2004); Gordon E.E., Learning Sequences in Music, (1993); Gordon E.E., Taking a Reasonable and Honest Look at Tonal Solfege and Rhythm Solfege, (2009); Grahn J.A., The role of the basal ganglia in beat perception: Neuroimaging and neuropsychological investigations, Annals of the New York Academy of Sciences, 1169, pp. 35-45, (2009); Grahn J.A., McAuley J.D., Neural basis of individual differences in beat perception, NeuroImage, 47, pp. 1894-1903, (2009); Grahn J.A., Brett M., Rhythm and beat perception in motor areas of the brain, Journal of Cognitive Neuroscience, 19, pp. 893-906, (2007); Hoffman R., Learning Rhythm with the Takadimi System of Rhythm Solfege, (2009); Hoffman R., Pelto W., White J.W., Takadimi: A beat-oriented system of rhythm pedagogy, Journal of Music Theory Pedagogy, 10, pp. 7-30, (1996); Honing H., Structure and interpretation of rhythm in music, The Psychology of Music (3rd Ed.), pp. 369-404, (2012); Houlahan M., Tacka P., From Sound to Symbol: Fundamentals of Music (2nd Ed.), (2011); Jones M.R., McAuley J.D., Time judgments in global temporal contexts, Perception & Psychophysics, 67, 3, pp. 398-417, (2005); Karpinski G.S., Aural Skills Acquisition: The Development of Listening, Reading, and Performing Skills in College-level Musician, (2000); Kennedy M., The Oxford Dictionary of Music (2nd Ed.), (1994); Kramer J., The Time of Music: New Meanings, New Temporalities, New Listening Strategies, (1988); Lahav A., Saltzman E., Schlaug G., Action representation of sound: Audiomotor recognition network while listening to newly acquired actions, Journal of Neuroscience, 27, 2, pp. 308-314, (2007); Lester J., The Rhythms of Tonal Music, (1986); London J., Hearing in Time: Psychological Aspects of Musical Meter, (2004); McAuley J.D., Frater D., Janke K., Miller N.S., Detecting changes in timing: Evidence for two modes of listening, The Proceedings of the 9th International Conference on Music Perception and Cognition, pp. 566-573, (2006); McAuley J.D., Jones M.R., Modeling effects of rhythmic context on perceived duration: A comparison of interval and entrainment approaches to short-interval timing, Journal of Experimental Psychology: Human Perception and Performance, 29, 6, pp. 1102-1125, (2003); Miller G., Evolution of human music through sexual selection, The Origins of Music, pp. 329-360, (1999); Miller N.S., McAuley J.D., Tempo sensitivity in isochronous tone sequences: The multiple-look model revisited, Perception & Psychophysics, 67, 7, pp. 1150-1160, (2005); Parncutt R., A perceptual model of pulse salience and metrical accent in musical rhythms, Music Perception: An Interdisciplinary Journal, 11, 4, pp. 409-464, (1994); Sadie S., The New Grove Dictionary of Music and Musicians (2nd Ed.), 3, (2001); Sedlmeier P., Weigelt O., Walther E., Music is in the muscle: How embodied cognition may influence music preferences, Music Perception: An Interdisciplinary Journal, 28, 3, pp. 297-306, (2011); Tan S.-L., Pfordresher P., Harre R., Psychology of Music: From Sound to Significance, (2010); Thompson W.F., Music, Thought, and Feeling: Understanding the Psychology of Music, (2009)","J.-W. Cha; Grinnell College, Department of Music, Grinnell, 1108 Park St, 50112, United States; email: chajee@grinnell.edu","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-84930995245"
"Valtonen J.; Gregory E.; Landau B.; McCloskey M.","Valtonen, Jussi (36923353500); Gregory, Emma (36014996900); Landau, Barbara (7103035492); McCloskey, Michael (7005520078)","36923353500; 36014996900; 7103035492; 7005520078","New learning of music after bilateral medial temporal lobe damage: Evidence from an amnesic patient","2014","Frontiers in Human Neuroscience","8","SEP","694","","","","9","10.3389/fnhum.2014.00694","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84906910859&doi=10.3389%2ffnhum.2014.00694&partnerID=40&md5=7e803a61d8ec824490b98458ca3314f1","Institute of Behavioural Sciences, University of Helsinki, Helsinki, Finland; Department of Cognitive Science, Johns Hopkins University, Baltimore, MD, United States","Valtonen J., Institute of Behavioural Sciences, University of Helsinki, Helsinki, Finland; Gregory E., Department of Cognitive Science, Johns Hopkins University, Baltimore, MD, United States; Landau B., Department of Cognitive Science, Johns Hopkins University, Baltimore, MD, United States; McCloskey M., Department of Cognitive Science, Johns Hopkins University, Baltimore, MD, United States","Damage to the hippocampus impairs the ability to acquire new declarative memories, but not the ability to learn simple motor tasks. An unresolved question is whether hippocampal damage affects learning for music performance, which requires motor processes, but in a cognitively complex context. We studied learning of novel musical pieces by sight-reading in a newly identified amnesic, LSJ, who was a skilled amateur violist prior to contracting herpes simplex encephalitis. LSJ has suffered virtually complete destruction of the hippocampus bilaterally, as well as extensive damage to other medial temporal lobe structures and the left anterior temporal lobe. Because of LSJ's rare combination of musical training and near-complete hippocampal destruction, her case provides a unique opportunity to investigate the role of the hippocampus for complex motor learning processes specifically related to music performance. Three novel pieces of viola music were composed and closely matched for factors contributing to a piece's musical complexity. LSJ practiced playing two of the pieces, one in each of the two sessions during the same day. Relative to a third unpracticed control piece, LSJ showed significant pre- to post-training improvement for the two practiced pieces. Learning effects were observed both with detailed analyses of correctly played notes, and with subjective whole-piece performance evaluations by string instrument players. The learning effects were evident immediately after practice and 14 days later. The observed learning stands in sharp contrast to LSJ's complete lack of awareness that the same pieces were being presented repeatedly, and to the profound impairments she exhibits in other learning tasks. Although learning in simple motor tasks has been previously observed in amnesic patients, our results demonstrate that non-hippocampal structures can support complex learning of novel musical sequences for music performance. © 2014 Valtonen, Gregory, Landau and McCloskey.","Anterograde amnesia; Brain damage; Hippocampus; Learning; Memory; Music performance; Single-patient study","","","","","","","","Albouy G., King B.R., Maquet P., Doyon J., Hippocampus and striatum: Dynamics and interaction during acquisition and sleep-related motor sequence memory consolidation, Hippocampus, 23, pp. 985-1004, (2013); Albouy G., Sterpenich V., Vandewalle G., Darsaud A., Gais S., Rauchs G., Et al., Interaction between hippocampal and striatal systems predicts subsequent consolidation of motor sequence memory, PLoS ONE, 8, (2013); Albouy G., Sterpenich V., Balteau E., Vandewalle G., Desseilles M., Dang-Vu T., Et al., Both the hippocampus and striatum are involved in consolidation of motor sequence memory, Neuron, 58, pp. 261-272, (2008); Altenmuller E., Schneider S., Planning and performance, The Oxford Handbook of Music Psychology, pp. 332-343, (2009); Baur B., Uttner I., Ilmberger J., Fesl G., Mai N., Music memory provides access to verbal knowledge in a patient with global amnesia, Neurocase, 6, pp. 415-421, (2000); Beatty W.W., Rogers C.L., Rogers R.L., English S., Testa J.A., Orbelo D.M., Et al., Piano playing in Alzheimer's disease: Longitudinal study of a single case, Neurocase, 5, pp. 459-469, (1999); Bontempi B., Frankland P.W., The organization of recent and remote memories, Nat. 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Psychol, 56, pp. 89-114, (2005); Reber P.J., The neural basis of implicit learning and memory: A review of neuropsychological and neuroimaging research, Neuropsychologia, 51, pp. 2026-2042, (2013); Reber P.J., Squire L.R., Parallel brain systems for learning with and without awareness, Learn. Mem, 1, pp. 217-229, (1994); Reber P.J., Squire L.R., Encapsulation of implicit and explicit memory in sequence learning, J. Cogn. Neurosci, 10, pp. 248-263, (1998); Robertson E.M., The serial reaction time task: Implicit motor skill learning?, J. Neurosci, 27, pp. 10073-10075, (2007); Schapiro A.C., Gregory E., Landau B., McCloskey M., Turk-Browne N.B., The necessity of the medial temporal lobe for statistical learning, J. Cogn. Neurosci, 26, pp. 1736-1747, (2014); Schendan H., Searl M.M., Melrose R.J., Stern C., An fMRI study of the role of the medial temporal lobe in implicit and explicit sequence learning, Neuron, 37, pp. 1013-1025, (2003); Scoville W.B., Milner B., Loss of recent memory after bilateral hippocampal lesions, J. Neurol. Neurosurg. Psychiatr, 20, pp. 11-21, (1957); Simmons A.L., Distributed practice and procedural memory consolidation in musicians' skill learning, J. Res. Music Educ, 59, pp. 357-368, (2012); Sloboda J.A., Experimental studies of music reading: A review, Music Percept, 2, pp. 222-236, (1984); Sloboda J.A., The Musical Mind. 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Music Educ, 50, pp. 245-255, (2002)","J. Valtonen; Institute of Behavioural Sciences, University of Helsinki, Helsinki FI-00014, P.O. Box 9, Finland; email: jussi.valtonen@helsinki.fi","","Frontiers Research Foundation","","","","","","16625161","","","","English","Front. Human Neurosci.","Article","Final","All Open Access; Gold Open Access; Green Open Access","Scopus","2-s2.0-84906910859"
"Deane K.","Deane, Kathryn (55964035500)","55964035500","Community music and music pedagogy: Collaborations, intersections and new perspectives: A personal reflection","2013","International Journal of Community Music","6","3","","291","294","3","3","10.1386/ijcm.6.3.291_1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84890264419&doi=10.1386%2fijcm.6.3.291_1&partnerID=40&md5=bba41bcbb0d763ad7aafa38fc0037b13","Sound Sence, United Kingdom","Deane K., Sound Sence, United Kingdom","The lenses through which community music and music pedagogy can be viewed are many. A navigation through a symposium on community music and music pedagogy at Ludwig Maximillians University Munich in February 2013 can be provided by examining the purposes of the activities presented in various papers. This approach could address the concerns of a number of speakers about a lack of shared terminology and understanding, and reduce oppositionality sometimes present when we pit community music against music pedagogy. © 2013 Intellect Ltd Article.","Community music; Munich symposium; Music education; Music pedagogy; Personal development; Purposes","","","","","","","","Deane K., Artworks Navigator: Community Music Labs, 'Employing Community Musiciansan ArtWorks Navigator Artists Lab', (2013); Lowe T., 'Audit of Practice ""Arts In Participatory Settings""', (2011); Tambling P., Harland J., Orchestral Education Programmes: Intents and Purposes, (1998)","K. Deane; Sound Sence, Rattlesden, Bury St Edmunds, IP30 0SF, Riverside House, United Kingdom; email: kathryn.deane@soundsense.org","","","","","","","","17526302","","","","English","Int. J. Community Music","Article","Final","","Scopus","2-s2.0-84890264419"
"Henry M.L.","Henry, Michele L. (26121259200)","26121259200","The effect of pitch and rhythm difficulty on vocal sight-reading performance","2011","Journal of Research in Music Education","59","1","","72","84","12","15","10.1177/0022429410397199","https://www.scopus.com/inward/record.uri?eid=2-s2.0-79952954951&doi=10.1177%2f0022429410397199&partnerID=40&md5=e259d6a72220d0731d363c9a5da1d216","Baylor University, Waco, TX 76798, One Bear Place #97408, United States","Henry M.L., Baylor University, Waco, TX 76798, One Bear Place #97408, United States","Singing music at sight is a complex skill, requiring the singer to perform pitch and rhythm simultaneously. Previous research has identified difficulty levels for pitch and rhythm skills individually but not in combination. In this study, the author sought to determine the relationship between pitch and rhythm tasks occurring concurrently. High school singers (N = 252) sang melodies with varying combinations of pitch and rhythm difficulty. Results indicate that pitch and rhythm skills retained their relative difficulty levels, regardless of the presence of other factors. Rhythmic success was significantly related to pitch success. Rhythm accuracy without pitch success occurred least frequently. Pitch accuracy without rhythm success occurred most frequently. Singers appeared to give priority to pitch over rhythm, performing pitch correctly at the expense of rhythmic accuracy. Singers with instrument/piano experience and singers with piano experience only scored significantly higher than did those with no instrument/piano training (p <.05). Those with instrument and/or piano experience were more proficient at performing pitch and rhythm together than those without such experience. Implications for teachers include the necessity of emphasizing rhythmic continuity. Future research should explore the pitch and rhythm reading capabilities for instrumentalists, and singers' ability to sight-read additional musical elements. © 2011 MENC: The National Association for Music Education.","assessment; pitch difficulty; rhythm difficulty; sight-reading; sight-singing","","","","","","","","Boyle J., Lucas K., The effect of context on sightsinging, Bulletin of the Council for Research in Music Education, 106, pp. 1-9, (1990); Demorest S., Improving sight-singing performance in the choral ensemble: The effect of individual testing, Journal of Research in Music Education, 46, pp. 182-192, (1998); Demorest S., May W., Sight-singing instruction in the choral ensemble: Factors related to individual performance, Journal of Research in Music Education, 43, pp. 156-167, (1995); DeWitt P., All State Sight-Reading Exercises Set 1, (1998); Farnum S.E., Farnum String Scale: A Performance Scale for All String Instruments, (1969); Henry M., The development of a vocal sight-reading inventory, Bulletin of the Council for Research in Music Education, 150, pp. 21-35, (2001); Henry M., A comparison of testing formats for vocal sight reading, Texas Music Education Research, pp. 1-9, (2003); Henry M.L., The use of specific practice and performance strategies in sight-singing instruction, UPDATE-Applications of Research in Music Education, 26, 2, pp. 11-16, (2008); Henry M.L., Texas Music Educators Association Convention, San Antonio, TX, (2009); Henry M., Demorest S., Individual sight-singing achievement in successful choral ensembles, UPDATE-Applications of Research in Music Education, 13, pp. 4-8, (1994); Killian J., The relationship between sight-singing accuracy and error detection in junior high singers, Journal of Research in Music Education, 39, pp. 216-224, (1991); Killian J., Henry M., A comparison of successful and unsuccessful strategies in individual sight-singing preparation and performance, Journal of Research in Music Education, 53, pp. 51-65, (2005); Lucas K., Contextual condition and sightsinging achievement of middle school choral students, Journal of Research in Music Education, 42, pp. 203-216, (1994); Madsen C.K., Madsen C.H., Teaching/discipline: A Positive Approach for Educational Development, (1998); Tucker D., Factors related to musical reading ability of senior high school students participating in choral groups, Dissertation Abstracts International, 31, (1969); Watkins J., Farnum S., The Watkins-Farnum Performance Scale, (1962)","M. L. Henry; Baylor University, Waco, TX 76798, One Bear Place #97408, United States; email: Michele_Henry@baylor.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-79952954951"
"Mapaya M.G.","Mapaya, Madimabe Geoff (56184764700)","56184764700","University-based music training and current South African musical praxis: Notes and tones","2016","African Studies Quarterly","16","2","","47","66","19","2","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85009783234&partnerID=40&md5=b22f9ee3ce3eee1c1f9204f7f3e5883d","University of Venda, South Africa","Mapaya M.G., University of Venda, South Africa","Music pedagogy places a premium on written notation, sometimes to the detriment of orality. This, in the main, explains the disjuncture between South African university-based music education and music praxis obtaining within black communities. It is for this reason that most African students coming from an oral tradition background struggle to adjust quickly enough to make a success of their university study periods. Those who eventually succeed often are ""over-educated,"" thus ending up estranged from their musical communities; or ""mis-or over-educated"" for most of the local music industry career requirements. This paper aims to appraise the pros and cons of university-based music training in relation to South African musical praxis. It does so through engaging various contemporary qualitative research methodologies largely predicated on the grounded theory framework. Data was collected through interviews with individual black African musicians. The sampling procedure was purposive in that it sought to capture abstractions and explications from predetermined sets of musicians; university-educated on the one hand, and the ""self-taughts"" on the other. After inductive analysis of data, the study clarifies what seems to shape music skill acquisition in South Africa; scant regard for local music industries and community settings; and the impact of the sudden availability of a multiplicity of alternative sources information and avenues to acquire music knowledge and skills.","","","","","","","","","Agawu K., Representing African Music: Postcolonial Notes, Queries, Positions, (2003); Agawu K., Representing African Music, Critical Inquiry, 18, 2, pp. 245-266, (1992); Akrofi E., James F.E., The Colonial Influence on Music Education in Ghana and South Africa, Music and Identity: Transformation and Negotiation, (2007); Anderson L., Analytic Autoethnography, Journal of Contemporary Ethnography, 35, 4, pp. 373-395, (2006); Barron J., Lessons from the Bandstand: Using Jazz as a Model for a Constructivist Approach to Music Education, Music Educators Journal, 94, 2, pp. 18-21, (2007); Byrd D., Studying Music Is Difficult and Important: Challenges of Music Knowledge Representation-or: Writing Poetry about Music is Like Dancing about Architecture, (2009); Carver A.M., Unit Standards for African Musics in South Africa, (2002); Chang H., Autoethnography as Method: Developing Qualitative Inquiry, (2008); Chinen N., Jazz Is Alive and Well. In the Classroom, Anyway, The New York Times, (2007); Cohen V., Laor L., Struggling With Pluralism in Music Education: The Israeli Experience, Arts Education Policy Review, 98, 3, pp. 10-15, (1997); Cook N., Towards The Complete Musicologist?, (2005); DeLaBruere L., The Music of Senegal: A Way of Life in West Africa, Independent Study Project (ISP) Collection, (2007); Dobbins B., Jazz and Academia: Street Music in the Ivory Tower, Bulletin of the Council for Research in Music Education, 96, pp. 30-41, (1988); Report on Arts and Cultural Education at School in Europe, (2009); Eerola T., Et al., Perceived Complexity of Western and African Folk Melodies by Western and African Listeners, Psychology of Music, 34, 3, pp. 337-371, (2006); Ekwueme Lazarus E.N., Concepts of African Musical, Journal of Black Studies, 5, 1, pp. 35-64, (1974); Ekwueme Lazarus E.N., African-Music Retentions in the New World, The Black Perspective in Music, 2, 2, pp. 128-144, (1974); Ellis C., Arthur B., Autoethnography, Personal Narrative, Reflexivity: Researcher as Subject, The Handbook of Qualitative Research (2ND Edition), pp. 733-768, (2000); Colin E., Hawkins M., Good Rockin' Tonight: Sun Records and the Birth of Rock 'n' Roll, (1992); Fredericks S., The Use of Indigenous and Contemporary Music Pedagogies in South Africa, Journal of Artistic and Creative Education, 2, 2, pp. 127-149, (2008); Garofalo R., Popular Music and the Civil Rights Movement: Rockin' the Boat: Mass Music and Mass Movements, (1992); Gates J.T., Why Study Music?, Vision 2020: Music Educators Journal, 86, 5, pp. 21-66, (2000); Gatien G., Categories and Music Transmission, Action, Criticism, and Theory for Music Education, 8, 2, pp. 94-119, (2009); Gayle A., The Way of the New World: The Black Novel in America, (1975); Klickstein G., The Musician's Way: A Guide To Practice, Performance, And the Musician's Way: A Guide to Practice, Performance, and Wellness, (2009); Grupe G., Notating African Music: Issues and Concepts, The World of Music, 47, 2, pp. 87-103, (2005); Humphreys J.T., Applications of Science: The Age of Standardization and Efficiency in Music Education, The Bulletin of Historical Research in Music Education, 9, 1, pp. 1-22, (1988); Jorgensen E.R., Western Classical Music and General Education, Philosophy of Music Education Review, 11, 2, pp. 130-140, (2003); Jorgensen E.R., The Aims of Music Education: A Preliminary Excursion, Journal of Aesthetic Education, 36, 1, pp. 31-49, (2002); Kilomba G., Plantation Memories: Episodes of Everyday Racism, (2008); Koloane D., The Identity Question: Focus On Black South African Expression, Reading the Contemporary: African Art from Theory to the Marketplace, (1999); Kubik G., The African Matrix in Jazz Harmonic Practices, Black Music Journal, 25, 1, pp. 167-222, (2005); Louise Barriball K., While A., Collecting Data Using A Semi-Structured Interview: A Discussion Paper, Journal of Advanced Nursing, 19, 2, pp. 328-335, (1994); Mapaya M.G., The Study of Indigenous African Music and Lessons from Ordinary Language Philosophy, Mediterranean Journal of Social Sciences, 5, 20, pp. 2000-2014, (2014); Mapaya M.G., The Indigenous Music Learning Process: A Northern Sotho Perspective, Southern African Journal for Folklore Studies, 21, 1, pp. 65-76, (2011); Mapaya M.G., Music of Bahananwa: History, Soundscape and Aspects of Contemporary Transmission of Sehananwa Culture through Music, (2010); Mapaya M.G., Aspects of Contemporary Transmission of Northern Sotho Culture through Music: Its Perpetuation within and beyond the Region of gaMaleboho, Limpopo Province, South Africa, (2002); Mapaya M.G., Et al., The Anatomy of the South African Jazz Appreciation Societies, Journal of Social Sciences, 39, 1, pp. 59-65, (2014); Masolo D., Diversity in Philosophy, The Black Scholar, 43, 4, pp. 132-138, (2013); McCarthy M., Music Matters: A Philosophical Foundation for a Sociology of Music Education, Bulletin of the Council for Research in Music Education, 144, pp. 3-9, (2000); Mojapelo M., Beyond Memory: Recording the History, Moments and Memories of South African Music, (2008); Neil M.S., Creative Agency, Musical Autonomy, and Post-Raciality in Temple University's Jazz Studies Program, (2014); Nketia J.H.K., African Music and Western Praxis: A Review of Western Perspectives on African Musicology, Canadian Journal of African Studies, 20, 1, pp. 36-56, (1986); Oehrle E., Emerging Music Education Trends in Africa, International Journal of Music Education, 18, pp. 23-29, (1991); Peretz I., The Nature of Music from a Biological Perspective, Cognition, 100, 1, pp. 1-32, (2006); Piszczalski M., Galler B.A., Automatic Music Transcription, Computer Music Journal, 1, 4, pp. 24-31, (1977); Platt J., The Development of the ""Participant Observation' Method in Sociology: Origin Myth and History, Journal of the History of the Behavioural Sciences, 19, 4, pp. 379-393, (1983); Priest P., Playing By Ear: Its Nature and Application to Instrumental Learning, British Journal of Music Education, 6, 2, pp. 173-191, (1989); Primos K., Africa, Musical Development and the Learning: The International Perspective, (2001); Prior N., The Rise of the New Amateurs: Popular Music, Digital Technology and the Fate of Cultural Production, Handbook of Cultural Sociology, pp. 398-407, (2010); Prouty K., The History of Jazz Education: A Critical Reassessment, Journal of Historical Research in Music Education, 26, 2, pp. 79-100, (2005); Pyper B., Space, Place, Sound and Sociability: Situating South African Jazz Appreciation Societies, Situating Popular Musics: IASPM 16th International Conference Proceedings of the International Association for the Study of Popular Music, pp. 201-206, (2011); Reimer B., David Elliott's 'New' Philosophy of Music Education: Music for Performers Only, Bulletin of the Council for Research in Music Education, 128, pp. 59-89, (1996); Reinecke M.B., Towards a Justification for a Philosophy of Music Education: A Quodlibet for South Africa, (2007); Reitan I.E., Students' Attitudes to Aural Training in an Academy of Music, Nordic Research in Music Education, 11, pp. 207-220, (2009); Schumann A., The Beat That Beat Apartheid: The Role of Music in the Resistance against Apartheid in South Africa, Stichproben. Wiener Zeitschrift Für Kritische Afrikastudien, 14, pp. 17-39, (2008); Small C., Musicking-the Meanings of Performing and Listening. A Lecture, Music Education Research, 1, 1, pp. 9-22, (1999); Thorsen S.M., The Second Liberation Struggle, Swedish Journal of Musicology, 84, pp. 1-14, (2002); Vlahov D., Galea S., Urbanization, Urbanicity, and Health, Journal of Urban Health, 79, 1, pp. S1-S12, (2002); Ward B., People Get Ready': Music and the Civil Rights Movement of the 1950s and 1960s, History Now, (2006); Whyton T., Birth of the School: Discursive Methodologies in Jazz Education, Music Education Research, 8, 1, pp. 65-81, (2006); Wollner C., Halfpenny E., The Effects of Distracted Inner Hearing on Sight-Reading, Psychology of Music, 31, 4, pp. 377-389, (2003); Yamamoto M., Terao T., Takeshita Y., The Study for the Digital Teaching Materials Which Used 'Warabe-Uta' Into Music Education of Japan, Proceedings of Society for Information Technology & Teacher Education International Conference, (2012); Galane S., Personal Interview, Polokwane, South Africa, (2009); Jardemark R., Personal Interview, (1997); Koapeng M., Personal Interview, (2015); Khosa H., Personal Interview, (2015); Malatji P., Telephonic Interview, (2009); Malinga J., Personal Interview, (2014); Malinga J., Personal Interview, (2015); Mamphogoro D., Personal Interview, (2015); Muthaphuli K., Personal Interview, (2015); Nkuna L., Personal Interview, (2015); Phoshoko M., Telephonic Interview, (2014); Sechele M., Telephonic Interview, (2016); Selota S., Personal Interview, (2009); Selota S., Personal Interview, (2014)","","","University of Florida","","","","","","21522448","","","","English","Afr. Stud. Q.","Article","Final","","Scopus","2-s2.0-85009783234"
"Tobias E.S.","Tobias, Evan S. (55355291500)","55355291500","Composing, songwriting, and producing: Informing popular music pedagogy","2013","Research Studies in Music Education","35","2","","213","237","24","48","10.1177/1321103X13487466","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84890412008&doi=10.1177%2f1321103X13487466&partnerID=40&md5=2546431beefaa3eb123a5973bff6bf9b","Department of Music Education, Arizona State University, Herberger Institute for Design, Tempe, AZ 85287-0405, PO Box 870405, United States","Tobias E.S., Department of Music Education, Arizona State University, Herberger Institute for Design, Tempe, AZ 85287-0405, PO Box 870405, United States","In forwarding comprehensive popular music pedagogies, music educators might acknowledge and address expanded notions of composition in popular music that include processes of recording, engineering, mixing, and producing along with the technologies, techniques, and ways of being musical that encompass these processes. This article advances a perspective of popular music pedagogy that is situated in the role production plays in contemporary music-making. Drawing upon a single intrinsic case study focusing on secondary students' creation and production of popular music, as well as theoretical frameworks that highlight recording, mixing, and production processes, this article provides an expanded perspective of composition and songwriting within a popular music context and proposes related pedagogical considerations. Themes addressed include: developing a theoretical framework within music education that addresses the role of production in contemporary music-making, expanding notions of aural skills and music literacy appropriate for producing popular music, and incorporating production processes in music classrooms. © 2013 The Author(s).","aural skills; composition; popular music pedagogy; production; secondary music education; songwriting","","","","","","","","Abramo J.M., Gender differences of popular music production in secondary schools, Journal of Research in Music Education, 59, 1, pp. 21-43, (2011); Airy S., Parr J.M., MIDI, music and me: Students' perspectives on composing with MIDI, Music Education Research, 3, 1, pp. 41-49, (2001); Davis S.G., That thing you do!"": Compositional processes of a rock band, International Journal of Education and the Arts, 6, 16, (2005); Eno B., Audio Culture: Readings in Modern Music, pp. 127-130, (2008); Folkestad G., Hargreaves D., Lindstrom B., Compositional strategies in computer-based music-making, British Journal of Music Education, 15, 1, pp. 83-97, (1998); Gall M., Breeze N., Music composition lessons: The multimodal affordances of technology, Educational Review, 57, 4, pp. 415-433, (2005); Gall M., Breeze N., Music and eJay: An opportunity for creative collaborations in the classroom, International Journal of Educational Research, 47, pp. 27-40, (2008); Geertz C., The Interpretation of Cultures, (1973); Glaser B., Strauss A., Discovery of Grounded Theory, (1967); Gracyk T., Bridging the Gap: Popular Music and Music Education, pp. 51-70, (2004); Green L., How Popular Musicians Learn: A Way Ahead for Music Education, (2002); Green L., Music, Informal Learning and the School: A New Classroom Pedagogy, (2008); Hickey M., Musical Experience in Our Lives: Things We Learn and Meanings We Make, pp. 199-215, (2009); Izhaki R., Mixing Audio: Concepts, Practices and Tools, (2008); Jaffurs S., The impact of informal music learning practices in the classroom, or how i learned how to teach from a garage band, International Journal of Music Education, 22, 3, pp. 189-200, (2004); Kaschub M., Smith J., Minds on Music: Composition for Creative and Critical Thinking, (2009); King A., Collaborative learning in the music studio, Music Education Research, 10, 3, pp. 423-438, (2008); King A., Vickers P., Problem solving with learning technology in the music studio, Journal of Music, Technology, and Education, 1, 1, pp. 57-67, (2007); Meintjes L., Wired for Sound: Engineering and Technologies in Sonic Cultures, pp. 23-46, (2005); Mellor L., Creativity, originality, identity: Investigating computer-based composition in the secondary school, Music Education Research, 10, 4, pp. 451-472, (2008); Moore B., Why and How to Teach Music Composition, pp. 193-207, (2003); Moorefield V., The Producer As Composer: Shaping the Sounds of Popular Music, (2005); Porcello T., Wired for Sound: Engineering and Technologies in Sonic Cultures, pp. 103-117, (2005); Savage J., Information communication technologies as a tool for re-imagining music education in the 21st century, International Journal of Education and the Arts, 6, 2, (2005); Savage J., Working towards a theory for music technologies in the classroom: How pupils engage with and organize sounds with new technologies, British Journal of Music Education, 22, 2, pp. 167-180, (2005); Savage J., Challis M., Dunwich revisited: Collaborative composition and performance with new technologies, British Journal of Music Education, 18, 2, pp. 139-149, (2001); Schippers H., Facing the Music: Shaping Music Education from A Global Perspective, (2010); Seddon F.A., Collaborative computer-mediated music composition in cyberspace, British Journal of Music Education, 22, 3, pp. 273-283, (2006); Soderman J., Folkestad G., How hip-hop musicians learn: Strategies in informal creative music making, Music Education Research, 6, 3, pp. 313-326, (2004); Stauffer S.L., Composing with computers: Meg makes music, Bulletin of the Council for Research in Music Education, 150, pp. 1-20, (2001); Tankel J.D., The practice of recording music: Remixing as recoding, Journal of Communication, 40, 3, pp. 34-46, (1990); Theberge P., Any Sound You Can Imagine: Making Music/consuming Technology, (1997); Tobias E.S., Crossfading and Plugging In: Secondary Students' Engagement and Learning in A Songwriting and Technology Class, (2010); Tochon F.V., Video Research in the Learning Sciences, pp. 53-65, (2007); Vakeva L., The world well lost, found: Reality and authenticity in Green's ""new classroom pedagogy, Action, Criticism & Theory for Music Education, 8, 2, pp. 1-28, (2009); Webster P.R., International Handbook of Research in Arts Education, pp. 1311-1328, (2007); Wiggins J., International Handbook of Research in Arts Education, pp. 453-470, (2007); Zagorski-Thomas S., The musicology of record production, Twentieth-century Music, 4, 2, pp. 189-207, (2008); Zak A., The Poetics of Rock: Cutting Tracks, Making Records, (2001)","E.S. Tobias; Department of Music Education, Arizona State University, Herberger Institute for Design, Tempe, AZ 85287-0405, PO Box 870405, United States; email: evan.tobias@asu.edu","","","","","","","","18345530","","","","English","Res. Stud. Music Educ.","Article","Final","","Scopus","2-s2.0-84890412008"
"Zhukov K.","Zhukov, Katie (26036568600)","26036568600","Evaluating new approaches to teaching of sight-reading skills to advanced pianists","2014","Music Education Research","16","1","","70","87","17","13","10.1080/14613808.2013.819845","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84894099572&doi=10.1080%2f14613808.2013.819845&partnerID=40&md5=81404cb89671c3e7507af558db8933b8","School of Music, University of Queensland, St. Lucia QLD 4072, Australia","Zhukov K., School of Music, University of Queensland, St. Lucia QLD 4072, Australia","This paper evaluates three teaching approaches to improving sight-reading skills against a control in a large-scale study of advanced pianists. One hundred pianists in four equal groups participated in newly developed training programmes (accompanying, rhythm, musical style and control), with pre-and post-sight-reading tests analysed using custom-made software that provided four scores on accuracy: two on pitch and two on rhythm. Mixed-design ANCOVAs were used to analyse the performance data, showing improvement in one rhythm and one pitch variable for each of the training groups and progress in pitch for the control group. The results suggest that training does develop various aspects of sight-reading and that additional sight-reading activities enhance post-test performance. The curriculum combining all three teaching strategies is being currently trialled. Future research needs to focus on instruments other than piano to formulate generic approaches to teaching of sight-reading skills. © 2013 Taylor and Francis.","advanced pianists; experimental design; sight-reading; software for analysis of performance","","","","","","","","Banton L.J., The role of visual and auditory feedback during the sight-reading of music, Psychology of Music, 23, 1, pp. 3-16, (1995); Betts S.L., Cassidy J.W., Development of harmonisation and sight-reading skills among university class piano students, Journal of Research in Music Education, 48, 2, pp. 151-161, (2000); Drai-Zerbib V., Baccino T., Bigand E., Sight-reading expertise: Cross-modality integration investigated using eye tracking, Psychology of Music, 40, 2, pp. 216-235, (2012); Fourie E., The processing of music notation: Some implications for piano sightreading, Journal of Musical Arts in Africa, 1, 1, pp. 1-23, (2004); Gabrielsson A., The performance of music, The Psychology of Music, pp. 501-602, (1999); 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Waters A.J., Townsend E., Underwood G., Expertise in musical sight reading: A study of pianists, British Journal of Psychology, 89, 1, pp. 123-149, (1998); Wollner C., The effects of distracted inner hearing on sight-reading, Psychology of Music, 31, 4, pp. 377-389, (2003); Wristen B., Cognition and motor execution in piano sight-reading: A review of literature, Update: Applications of Research in Music Education, 24, 1, pp. 44-56, (2005); Zhukov K., Good sight-readers: Born or bred?, 7th Australasian Piano Pedagogy Conference, (2006); Zhukov K., Instrumental Music Teaching and Learning in Australia, (2009); Zhukov K., Exploring advanced piano students' approaches to sight-reading, International Journal of Music Education: Practice","K. Zhukov; School of Music, University of Queensland, St. Lucia QLD 4072, Australia; email: k.zhukov@uq.edu.au","","","","","","","","14699893","","","","English","Music Educ. Res.","Article","Final","","Scopus","2-s2.0-84894099572"
"Mishra J.","Mishra, Jennifer (26033908800)","26033908800","Improving sightreading accuracy: A meta-analysis","2014","Psychology of Music","42","2","","131","156","25","24","10.1177/0305735612463770","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84894220382&doi=10.1177%2f0305735612463770&partnerID=40&md5=9044e35c1009b963f39faa194b8d84fb","Department of Music, University of Missouri - St. Louis, St. Louis, MO 63121-4400, United States","Mishra J., Department of Music, University of Missouri - St. Louis, St. Louis, MO 63121-4400, United States","The purpose of this meta-analysis was to determine whether experimentally tested sightreading interventions positively influenced sightreading ability. A meta-analysis was conducted with 92 quasi-experimental research studies on sightreading (124 individual analyses) to determine the overall effect size of treatment and to examine how the effect size was influenced by treatment type, sightreading mode (sightreading/sightsinging), age and experience of sight reader, type of sightreading test, and other study design elements. The analysis revealed a small overall effect size for treatment (d = -0.18, 95% CI [-0.24, -0.11]). Of the moderator variables, only treatment-type was significant, with treatments categorized as ""Aural Training,"" ""Controlled Reading,"" ""Creative Activities,"" and ""Singing/Solfege"" significantly and positively affecting sightreading. There was a moderately strong within-group effect size (d = -0.48, 95% CI [-0.56, -0.40]), indicating that sightreading generally improved pre- to posttest for both control and treatment groups. © The Author(s) 2013.","aural skills; composition; controlled reading; improvisation; meta-analysis; sightreading; sightsinging; solfege","","","","","","","","Allen D.H., The Effect of Mastery of Selected Music Theory and Ear Training Skills Presented in A Computer-assisted Format on the Sight Playing Performance of Second-year Band Students, (1987); Anderson J.N., An Investigation of the Effect of Using Tape Recorded Aural Models for Home Practice on Selected Sight Reading and Performance Skills of Sixth Grade Clarinet Students, (1979); Antinone P.M., The Effect of Movable-do Versus Fixed-do Sight Reading Systems on Beginning Choral Students' Melodic Sight-reading Accuracy, (2000); Baer J.S., The Relationship of Multiple Intelligence Instruction to Sight Singing Achievement of Middle School Choral Students, (2010); Baker N.E., The Effects of Peer Teaching on Undergraduate Music Majors' Achievement and Attitude Toward Sight-reading in the Group Piano Setting, (2008); Barberb S., An Investigation of the Effects of Composition and Conducting Activities As Stated in the National Standards for Arts Education on the Acquisition of Note Reading Skills in Elementary String Students, (1998); Barlar N.E., The Effect of Sight-reading Instruction on the Language Reading Fluency and Music Sight-reading Ability of Middle School Band Students, (2010); Barnes J.W., An Experimental Study of Interval Drill As It Affects Sight Singing Skill, (1960); Beeler C.J., The Effects of Interval Prestudy and A Cue for Rhythmic Continuity on Piano Sight Reading Achievement of Group Piano Students, (1995); Bernhard H.C., The Effects of Tonal Training on the Melodic Ear Playing and Sight Reading Achievement of Beginning Wind Instrumentalists, (2003); Bloedel Beery C.D., The Effects of Structured Singing Instruction on Beginning Instrumental Students' Performance Achievement, (1996); Bogard D.M., An Exploratory Study of First Year Music Theory, Ear Training/sight Singing, and Piano Class, An Interrelated Approach, (1983); Bolden J.I., The Influence of Selected Factors on Growth in Sight Singing and Rhythmic Reading, (1967); Borenstein M., Hedges L.V., Introduction to Meta-Analysis, (2009); Boyle J.D., The effect of prescribed rhythmical movements on the ability to read music at sight, Journal of Research in Music Education, 18, 4, pp. 307-308, (1970); Bozone J.M., The Use of Sight Singing As A Prestudy Aid for the Improvement of the Sight Reading Skill of Second Semester Class Piano Students, (1986); Buchanan W., Comparison of Fixed and Movable Solfege in Teaching Sight Singing from Staff, (1946); Butzlaff R., Can Music be used to Teach Reading?, Journal of Aesthetic Education, 34, 3-4, pp. 167-178, (2000); Byo J.L., Effects of barlines, pitch, and meter on musicians' rhythm reading performance, Journal of Band Research, 27, 2, pp. 34-44, (1992); Card N.A., Applied Meta-analysis for Social Science Research, (2011); Case V.C., An Experimental Study Comparing Two Methods for Increasing Special Learner's Ability to Sight-sing, (1999); Cassidy J.W., Effects of various sight singing strategies on nonmusic majors' pitch accuracy, Journal of Research in Music Education, 41, 4, pp. 293-302, (1993); Chabris C.F., Prelude or Requiem for the ""mozart Effect""?, Nature, 400, pp. 826-827, (1999); Comprehensive Meta-Analysis (Version 2.2.057); Cooper H.M., Research Synthesis and Meta-Analysis: A Step-by-step Approach, (2010); Cutietta R., The effects of including systematized sight-singing drill in the middle school choral rehearsal, Contributions to Music Education, 7, pp. 12-20, (1979); Danfelt L.S., An Experimental Study of Sight Singing of Selected Groups of College Music Students, (1970); Davidson L., Scripp L., Handbook of Research on Music Teaching and Learning, pp. 392-413, (1992); Difronzo R.F., A Comparison of Tachistoscopic and Conventional Methods in Teaching Grade Three Music Sight-playing on A Melody Wind Instrument, (1966); Dunlap M.P., The Effects of Singing and Solmization Training on the Musical Achievement of Beginning Fifth-grade Instrumental Students, (1989); Durocher J.S., An Investigation of the Application of Kinesthetic Activities to A Solfege Based Sight-singing Program, (2006); Earney M.E., The Effects of Aural Rhythmic Dictation on the Sight-reading Abilities of Seventh and Eighth Grade Band Students, (2008); Egbert J.B., The Effects of Systematic Rhythm Reading Instruction Versus Rote Rhythm Drill on the Pitch and Rhythm Sight-singing Performance of High School Choral Ensemble Members, (1990); Ferrante J.D., An Investigation of the Effects of Regularly Employed Melodic Dictation Tasks on the Sight-singing Skills of High School Choral Students, (2010); Ferrin C.E., Music Reading Calisthenics: The Effect of A Consistent Regimen of Sightreading and the Effect of Educational Kinesiology Upon the Music Sightreading Skills of High School Music Students, (2003); Fincher B.J., The Effects of Playing the Melody by Rote during the Prestudy Procedure Upon Sight-reading Skill Development of Beginning Class Piano Students, (1983); Fine P., Rosner B., Berry A., The effect of pattern recognition and tonal predictability on sight-singing ability, Psychology of Music, 34, 4, pp. 431-447, (2006); Fjerstad C.D., A Comparison of Tachistoscopic and Metronomic Training for Developing Sight-reading of Harmonic Notation Within Class Piano Instruction, (1968); Furby V.J., The Effects of Learning Tonal Harmonic Function on the Sight-singing Skill of High School Students, (2003); Garcia R.O., An Evaluation of A Combined Violin-vocal Approach to Teaching Music Reading When Compared with An Essentially Vocal Approach, (1971); Gold C., Voracek M., Wigram T., Effects of music therapy for children and adolescents with psychopathology: A Meta-analysis, Journal of Child Psychology and Psychiatry, 45, 6, pp. 1054-1063, (2004); Goodwin M.A., The Effectiveness of ""pitch Master"" Compared to Traditional Classroom Methods in Teaching Sightsinging to College Music Students, (1990); Gordon E.E., Learning Sequences in Music: Skill, Content, and Patterns, (1993); Grande L.E., A Comparison of the Rote-to-note Approach and the Traditional Music Reading Approach in Teaching Beginning Instrumental Music, (1989); Gregory T.B., The effect of rhythmic notation variables on sight reading errors, Journal of Research in Music Education, 20, 4, pp. 462-468, (1972); Grutzmacher P.A., The effect of tonal pattern training on the aural perception, reading recognition, and melodic sight reading achievement of first year instrumental music students, Journal of Research in Music Education, 35, 3, pp. 171-181, (1987); Guderian L.V., Effects of Applied Music Composition and Improvisation Assignments on Sight-reading Ability, Learning in Music Theory and Quality in Soprano Recorder Playing, (2008); Hagen S.L., The Effects of Computer-assisted Instruction and Cognitive Style on Sight Playing among University Group Piano Students, (2001); Hammer H., An experimental study of the use of the tachistoscope in the teaching of melodic sight singing, Journal of Research in Music Education, 11, 1, pp. 44-54, (1963); Hargiss G., The Acquisition of Sight Singing Ability in Piano Classes, (1960); Haslinger B., Erhard P., Altenuller E., Schroeder U., Boecker H., Ceballos-Baumann A.O., Transmodal sensorimotor networks during action observation in professional pianists, Journal of Cognitive Neuroscience, 17, 2, pp. 282-293, (2005); Haston W.A., Comparison of A Visual and An Aural Approach to Beginning Wind Instrument Instruction, (2004); Helbling D.W., An Experimental Study of the Relative Effectiveness of ""whole"" and ""part"" Methods of Teaching Sight Singing, (1965); Henry M.L., The use of targeted pitch skills for sight-singing instruction in the choral rehearsal, Journal of Research in Music Education, 52, 3, pp. 206-217, (2004); Hetland L., Listening to music enhances spatial-temporal reasoning: Evidence for the ""mozart Effect, Journal of Aesthetic Education, 34, 3-4, pp. 105-148, (2000); Hillbrand E.K., Measuring Ability in Sight Singing, (1924); Hodges D., Handbook of Research on Music Teaching and Learning, pp. 466-471, (1992); Houston O.C., An Experimental Study of the Use of the Reading Accelerator in the Teaching of Keyboard Sight Reading, (1963); Hutton D., A comparative study of two methods of teaching sight singing in the fourth grade, Journal of Research in Music Education, 1, 2, pp. 119-126, (1953); Kampfe J., Sedlmeier P., Renkewitz F., The impact of background music on adult listeners: A meta-analysis, Psychology of Music, (2010); Kanable B., An experimental study comparing programmed instruction with classroom teaching of sight reading, Journal of Research in Music Education, 17, 2, pp. 217-226, (1969); Kopiez R., Lee J.I., Towards a general model of skills involved in sight reading music, Music Education Research, 10, 1, pp. 41-62, (2008); Kostka M.J., The effects of error-detection practice on keyboard sight-reading achievement of undergraduate music majors, Journal of Research in Music Education, 48, 2, pp. 114-122, (2000); Laing D.R., The Effect of Rhythm Pattern Instruction on the Sight-reading Achievement of Wind Instrumentalists, (2007); Larson D.D., The Effects of Chamber Music Experience on Music Performance Achievement, Motivation, and Attitudes among High School Band Students, (2010); Laverty J.M., The Development, Implementation, and Evaluation of A Sequentially Organized Instrumental Method of Sightreading, (1995); Leafblad W.J., The effect of the use of ""music Speed Reading"" on the sight-reading ability of senior and junior high school students, Missouri Journal of Research in Music Education, 5, pp. 23-36, (1984); Lehmann A.C., Ericsson K.A., Performance without preparation: Structure and acquisition of expert sight-reading and accompanying performance, Psychomusicology, 15, pp. 1-29, (1996); Lehmann A.C., McArthur V., The Science & Psychology of Music Performance: Creative Strategies for Teaching and Understanding, pp. 135-150, (2002); Lemons R.M., The Development and Trial of Microcomputer-assisted Techniques to Supplement Traditional Training in Musical Sight Reading, (1984); Lombard L., The Art Melodious: Observations of A Musician, (1897); Lucas K.V., Contextual condition and sight singing achievement of middle school choral students, Journal of Research in Music Education, 42, 3, pp. 203-216, (1994); Lueft L.R., The Effect of Keyboard Training on the Ability to Sightsing, (1974); Macknight C.B., The effects of tonal pattern training on the performance achievement of beginning wind instrumentalists, Research in the Psychology of Music, 10, pp. 53-76, (1975); Manzamares J., A Trial of the Controlled Reader As Applied to Music Reading, (1969); Mark M., Concise History of American Music Education, (2008); Massingale G.W., A Study to Determine the Effect of A Program of Rhythmic Training on the Ability to Perform Music at Sight, (1979); McBride J.M., The Effect of Sequentially Organized Sight-reading Pieces on the Sight-reading Achievement of Intermediate School Instrumental Music Students, (1993); McCarthy J., The effect of individualized instruction on the performance achievement of beginning instrumentalists, Bulletin of the Council for Research in Music Education, 38, pp. 1-12, (1974); McGarry R.J., A Teaching Experiment to Measure the Extent to Which Vocalization Contributes to the Development of Selected Instrumental Music Performance Skills: A Comparison of the Effectiveness of Two Teaching Techniques on Instrumental Music Performance Utilizing the Watkins-Farnum Performance Scale, (1967); Meyer E.H., The Relative Effectiveness of Vocal Instruction and Instrumental-vocal Instruction on Sight Singing Achievement of Elementary Education Majors, (1981); Micheletti L.H., An Assessment of the Vertical Method and the Ensemble Approach for Teaching Sight Reading to Secondary Class Piano Students, (1980); Montano D.R., The Effect of Improvisation in Given Rhythms on Rhythmic Accuracy in Sight Reading Achievement by College Elementary Group Piano Students, (1983); Morehouse L.S., An Examination of the Effectiveness of Supplementary Material on Music Reading for Beginning Instrumentalists, (1981); Morris S.B., Estimating effect sizes from pretest-posttest-control group designs, Organizational Research Methods, 11, 2, pp. 364-386, (2008); Musco A.M., Effects of learning melodies by ear on performance skills and student attitudes, Contributions to Music Education, 36, 2, pp. 79-95, (2009); O'Brien J.P., An Experimental Study of the Use of Shape Notes in Developing Sight Singing, (1969); Ozeas N.L., The Effect of the Use of Computer Assisted Drill Program on the Aural Skill Development of Students in Beginning Solfege, (1991); Parker R.C., The Relative Effectiveness of the TAP System in Instruction in Sight Singing, An Experimental Study, (1979); Parks J.K.E., The Effect of A Program of Portable Electronic Piano Keyboard Experience on the Acquisition of Sight-singing Skill in the Novice High School Chorus, (2005); Parrish R.T., Blaton F., Price H.E., Effects of two instructional methods on high school band students' sight-reading proficiency, music performance, and attitude, Update: Applications of Research in Music Education, 17, 1, pp. 14-20, (1998); Pietschnig J., Voracek M., Formann A.K., Mozart effect-schmozart effect: A meta-analysis, Intelligence, 38, pp. 314-323, (2010); Pike P.D., Carter R., Employing cognitive chunking techniques to enhance sight-reading performance of undergraduate group-piano students, International Journal of Music Education, 28, 3, pp. 231-246, (2010); Platte J.D., The Effects of A Microcomputer-assisted Instructional Program on the Ability of College Choral Ensemble Members to Sing Melodic Configurations at Sight, (1981); Potts S.D., Choral Sight-singing Instruction: An Aural-based Ensemble Method for Developing Individual Sight-reading Skills Compared to A Non-aural Based Sight-singing Method, (2009); Prasso N.M., An Examination of the Effect of Writing Melodies, Using A Computer-based Song-writing Program, on High School Students' Individual Learning of Sight-singing Skills, (1997); Puopolo V., The development and experimental application of self-instructional practice materials for beginning instrumentalists, Journal of Research in Music Education, 19, 3, pp. 342-349, (1971); Rath G.C., A Comparison of Three Approaches to Sight-reading Improvement for Wind Instrumentalists, (1985); Rea R., Music reading films, Journal of Research in Music Education, 2, 2, pp. 147-155, (1954); Robison W., The effectiveness of music composition as an aid to musical maturation in fifth grade beginning wind instrument students, Journal of Band Research, 11, pp. 12-17, (1974); Russell D.D., A Study of the Effect of Single Part and Vocal Score Formats As Used in Two High School Choirs, (1979); Schlacks W.F., The Effect of Vocalization Through An Interval Training Program Upon the Pitch Accuracy of High School Band Students, (1981); Searle J.W., An Investigation of Movement to Music and Rhythmic Pattern Reading Flash-slide Training in Fifth- And Sixth-grade Music Classes, (1985); Serafine M.L., Music As Cognition: The Development of Thought in Sound, (1988); Sinclair C.A., The Effect of Daily Sight Singing Exercises on the Sight Singing Ability of Middle School Choir Students, (1996); Sloboda J.A., Phrase units as determinants of visual processing in music reading, British Journal of Psychology, 68, 1, pp. 117-124, (1976); Sloboda J.A., The psychology of music reading, Psychology of Music, 6, 2, pp. 3-20, (1978); Sloboda J.A., Experimental studies of music reading: A review, Music Perception, 2, 2, pp. 222-236, (1984); Smith J.C., A Performance Test of Kanable's ""a Program for Self Instruction in Sight Singing"", (1968); Solomon M., Mozart: A Life, (2005); Sorel C., Diamond R.M., An Independent Learning Approach to Piano Sight Reading, (1968); Standley J.M., A meta-analysis on the effects of music as reinforcement for education/therapy objectives, Journal of Research in Music Education, 44, 2, pp. 105-133, (1996); Standley J.M., Does music instruction help children learn to read? Evidence of a meta-analysis, Update: Applications of Research in Music Education, 27, 1, pp. 17-32, (2008); Stegall J.C., The Influence of Isolated Rhythmic Training with A Selected Method of Study on the Ability to Sing Music at Sight, (1993); Stewart E.E., The Effect of Awareness and Practice of Phonemic Elements on Individual Sight-singing at the Junior High Level, (2007); Stokes C.F., An Experimental Study of Tachistoscopic Training in Reading Music, (1944); Thompson S., Lehmann A.C., Musical Excellence, pp. 143-159, (2004); Tuckerg L., The Influence of Isolated Rhythmic Drill on Growth in Sight Singing, (1969); Vaughn K., Music and mathematics: Modest support for the oft-claimed relationship, Journal of Aesthetic Education, 34, 3-4, pp. 149-166, (2000); Watkins A.J., The Effect of the Use of A Recorded Soloist As An Aid to the Teaching of Sight Reading Accompaniments at the Piano, (1984); Watkins J.G., Farnum S.E., The Watkins-Farnum Performance Scale, (1962); Webbe S., L'Amico Del Principiante: Being Twenty Eight Short Solfaing Exercises. for A Single Voice, with A Bass Accompanyment, Designed to Assist Young Singers in Learning to Sing at Sight, (1793); Whipple J., Music in intervention for children and adolescents with autism: A meta-analysis, Journal of Music Therapy, 41, 2, pp. 90-106, (2004); Whitman G.G., The Effects of Vocal Improvisation on Attitudes, Aural Identification Skills, Knowledge of Music Theory, and Pitch Accuracy in Sight-reading of High School Choral Singers, (2001); Wood C.H., An Experimental Study of Prompting in Music Reading, (1972); Wright T.O., A Study of the Tachistoscope in Teaching Rhythmic Sight-reading, (1982); Yang Y.J., The Effects of Solmization and Rhythmic Movement Training on Achievement of Beginning Group Piano Students at the Elementary Level, (1994)","J. Mishra; Department of Music, University of Missouri - St. Louis, St. Louis, MO 63121-4400, United States; email: mishraj@umsl.edu","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-84894220382"
"Salzberg R.S.; Wang C.C.","Salzberg, Rita S. (57166209800); Wang, Cecilia Chu (26034737400)","57166209800; 26034737400","A Comparison of Prompts to Aid Rhythmic Sight-Reading of String Students","1989","Psychology of Music","17","2","","123","131","8","7","10.1177/0305735689172003","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84965632086&doi=10.1177%2f0305735689172003&partnerID=40&md5=1343d541ca68db60dd1f8d27460f70fd","Alabama Symphony, Education Division, Birmingham, Alabama 35201, P.O. Box 2125, United States; University of Kentucky, Lexington, Kentucky, United States","Salzberg R.S., Alabama Symphony, Education Division, Birmingham, Alabama 35201, P.O. Box 2125, United States; Wang C.C., University of Kentucky, Lexington, Kentucky, United States","This study investigated the effectiveness of three prompts on rhythmic sight- reading ability. Forty-six string students of ages 8 to 16 individually sight- read rhythmic exercises under four conditions-counting out loud, foot tapping, counting and tapping simultaneously, and no prompt. Each subject was pre-tested in order to be placed at one of the five difficulty levels which matched his sight-reading ability. The scores were obtained by counting the number of beats accurately performed for each eight-measure exercise. A repeated-measures analysis of variance yielded a significant interaction effect at the 001 level between prompt conditions and ability levels. Counting out loud was the most effective prompt for the less experienced students. There were no significant differences in prompt conditions for the more advanced students. These results may suggest that prompts for rhythmic sight-reading may need to change as students' abilities increase. © 1989, Sage Publications. All rights reserved.","","","","","","","","","Anderson J.N., Effects of tape-recorded aural models on sight-reading and performance skills, Journal of Research in Music Education, 29, pp. 23-30, (1981); Bebeau M.J., Effects of traditional and simplified methods of rhythm-reading instruction, Journal of Research in Music Education, 30, pp. 107-119, (1982); Boyle J.D., The effect of prescribed rhythmical movements on the ability to read music at sight, Journal of Research in Music Education, 18, pp. 307-318, (1970); Elliott C.A., The relationships among instrumental sight-reading ability and seven selected predictor variables, Journal of Research in Music Education, 30, pp. 5-14, (1982); Gregory T.B., The effect of rhythmic notation variables on sight-reading errors, Journal of Research in Music Education, 20, pp. 462-468, (1972); Palmer M., Relative effectiveness of two approaches to rhythm reading for fourth-grade students, Journal of Research in Music Education, 24, pp. 110-118, (1976)","","","","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-84965632086"
"Demorest S.M.; May W.V.","Demorest, Steven M. (6507620011); May, William V. (57189172802)","6507620011; 57189172802","Sight-Singing Instruction in the Choral Ensemble: Factors Related to Individual Performance","1995","Journal of Research in Music Education","43","2","","156","167","11","20","10.2307/3345676","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84965656297&doi=10.2307%2f3345676&partnerID=40&md5=3802c0021852f29b9587f9f988164e89","School of Music, University of Washington, Seattle, 98195-3450, Box 353450, United States; College of Music, University of North Texas, Denton, TX 76203-6887, PO Box 13887, United States","Demorest S.M., School of Music, University of Washington, Seattle, 98195-3450, Box 353450, United States; May W.V., College of Music, University of North Texas, Denton, TX 76203-6887, PO Box 13887, United States","In this study, we examined individual sight-singing skills of choir members in relation to their private musical training, their choral experience, the difficulty of the melodic material, and the system used for group sight-singing instruction. The subjects (N=414) were drawn from both the first and second choirs of four Texas high schools. Two schools used the fixed-do system of sight-singing; the other two, the movable-do system. Subjects were randomly assigned to two melody conditions of varying difficulty. A multiple-regression analysis of musical background variables indicated that the number of years of school choir experience was the strongest predictor of individual success, followed by years of piano, instrumental, and vocal lessons, respectively. Scores for the more challenging Melody Condition B were significantly lower than those for Melody A. An analysis of covariance revealed that students in the movable-do groups scored significantly higher than did those in the fixed-do groups. However, this finding was tempered by the existence of other differences between the groups regarding private lessons, the consistency of method in the students' early solfege training, and the sight-singing assessment procedures used in each school district. © 1995, SAGE Publications. All rights reserved.","","","","","","","","","Bennett P., Tricks, masks, and camouflage: Is imitation passing for music reading?, Music Educators Journal, 71, 3, pp. 62-63, (1984); Boyle J.D., Lucas K.V., The effect of context on sight-singing, Bulletin of the Council for Research in Music Education, 106, pp. 1-9, (1990); Carey W., A survey of the sight reading ability of senior students in nine Kansas high schools, (1959); Colwell R., An investigation of musical achievement among vocal students, vocal-instrumental students, and instrumental students, Journal of Research in Music Education, 11, pp. 123-130, (1963); Daniels R.D., Relationships among selected factors and the sight-reading ability of high school mixed choirs, Journal of Research in Music Education, 34, pp. 279-289, (1986); Daniels R.D., Sight-reading instruction in the choral rehearsal, Update: Applications of Research in Music Education, 6, 2, pp. 22-24, (1988); Dwiggins R., Teaching sight-reading in the high school chorus, Update: Applications of Research in Music Education, 2, 2, pp. 8-11, (1984); Flom J., An investigation of growth in musical facts and concepts, in musical discrimination, and in vocal music performance proficiency as a result of senior high vocal music experiences (Doctoral dissertation, University of Minnesota, Minneapolis), Dissertation Abstracts International, 30, (1969); Hales B., A study of music reading programs in high school choruses in the Rocky Mountain states (Doctoral dissertation, University of Oregon, Eugene, 1961), Dissertation Abstracts International, 22, (1961); Henry M., Demorest S.M., Individual sight-singing achievement in successful choral ensembles: A preliminary study, Update: Applications of Research in Music Education, 13, 1, pp. 4-8, (1994); Johnson G.J.B., A descriptive study of the pitch-reading methods and the amount of time utilized to teach sight-singing by high school choral teachers in the north central region of the American Choral Directors Association, (1987); May J.A., A description of current practices in the teaching of choral melody reading in the high schools of Texas. (Doctoral dissertation, University of Houston, 1993), Dissertation Abstracts International, 54, (1993); May W.V., Elliott C.A., Relationships among ensemble participation, private instruction, and aural skill development, Journal of Research in Music Education, 28, pp. 155-161, (1980); Middleton J., Develop choral reading skills, Music Educators Journal, 68, 7, pp. 29-32, (1984); Munn V.C., A sequence of materials for developing sight-singing skills in high school choirs. (Doctoral dissertation, University of Oklahoma, Norman, 1990), Dissertation Abstracts International, 51, (1991); Ottman R.W., Music for sight singing, (1967); Szabo C.E., A profile often high school choral directors and their activities during one week.(Doctoral dissertation, Kent State University, Kent, OH, 1992), Dissertation Abstracts International, 53, (1993); Tucker D.W., Factors related to the music reading ability of senior high school students participating in choral groups, (1969)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84965656297"
"Lucia C.","Lucia, Christine (57195509104)","57195509104","How critical is music theory?","2007","Critical Arts","21","1","","166","189","23","8","10.1080/02560040701398871","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85015167418&doi=10.1080%2f02560040701398871&partnerID=40&md5=0733a1d2333ecbf9e85b8b466ed51b3f","University of the Witwatersrand, South Africa","Lucia C., University of the Witwatersrand, South Africa","In this article I address the problem of locating ‘music theory’ within contemporary critical theories in the social sciences and humanities. I show how two kinds of music theory can be distinguished: music theory as an interpretative and ‘critical’ set of theories used mainly in music analysis, and theory of music as an ‘uncritical’ set of practical tools for both composition and analysis. I trace the origins of such theories and the separation between the two, and argue that theory of music as a prerequisite for practice comes from a notion of theory inculcated by music pedagogy in the nineteenth century, entrenched through the external examinations of London-based conservatoires. I show how the ethos of such examinations became lodged in the musical consciousness of South Africans as one of many colonial traces, but I argue that, unlike other aspects of colonialism, theory of music did not become adapted in the process of colonization, but has remained something of an anomaly in music teaching and practice. Especially, it has remained a different kind of ‘theory’ in critical discourse in the social sciences and humanities. Music theory in South Africa, too, has not undergone the kind of transforming process as other ‘critical’ theories have although it has far more possibilities for critique, but has remained a somewhat limited tool for music analysis in South African scholarship. © 2007, Copyright Unisa Press.","Associated board of the royal schools of music; Composition; Conservatoire; Critical theory; Grade exam; Interpretation; Music analysis; Music pedagogy; Music theory; Theory of music; University","","","","","","","","Agawu K., Representing African Music: Postcolonial Notes, Queries, Positions, (2003); Agawu K., How We Got Out of Analysis and How to Get Back In Again, Music Analysis, 23, ii-iii, pp. 267-286, (2004); (1889); The Associated Board of the Royal Academy of Music and the Royal College of Music for Local Examinations in Music: President: H.R.H. The Prince of Wales, K.G.: Balance Sheet* and First [to Twelfth] Annual Report, (1890); Associated Board of the Royal Schools of Music 1889–1948, (1948); Attali J., Noise: The Political Economy of Music, (1985); Ballantine C., Music and Its Social Meanings, (1984); Bent I., Steps to Parnassus: Contrapuntal theory in 1725: Precursors and successors, The Cambridge History of Western Music Theory, pp. 554-602, (2002); Born G., Hesmondhalgh D., Introduction: On Difference, Representation, and Appropriation in Music, Western Music and its Others: Difference, Representation, and Appropriation in Music, pp. 1-58, (2000); Calhoun C., Critical Social Theory: Culture, History, and the Challenge of Difference, (1995); Christensen T., Introduction, The Cambridge History of Western Music Theory, pp. 1-23, (2002); Chua D., The Galitzin Quartets of Beethoven, (1995); Chua D., Absolute Music and the Construction of Meaning, (1999); Cole W., Questions and Exercises on Theory of Music with Hints on Working: Grade 1, (1953); Comaroff J., Comaroff J.L., Colonization of Consciousness in South Africa, Economy and Society, 18, 3, pp. 281-291, (1989); Cook N., Analysing performance and Performing Analysis, Rethinking Music, pp. 262-283, (1999); Culler J., Introduction: What's the point?, The point of theory: Practices of cultural analysis, pp. 202-210, (1994); Dargie D., A Theoretical Approach to Composition in Xhosa Style, Papers Presented at the Second Symposium on Ethnomusicology, pp. 15-22, (1981); Dargie D., African Methods of Music Education, Papers Presented at the Ninth Symposium on Ethnomusicology, pp. 19-28, (1990); Dargie D., African Methods of Musical Education–“Some Reflections, African Music: Journal of the International Library of African Music, 7, 3, pp. 30-43, (1996); DeNora T., Music in Everyday Life, (2000); Ehrlich C., McVeigh S., Musgrave M., The New Grove Dictionary of Music and Musicians, 15, pp. 137-141, (2000); Goehr L., The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, (1992); Herbst A., Nzewi M., Agawu K., The Musical Arts in Africa, (2003); Kerman J., How We Got into Analysis and How to Get Out, Critical Inquiry, 7, pp. 311-331, (1980); King S., On Writing: A Memoir of the Craft, (2001); Leppert R., McClary S., Music and Society: The Politics of Composition, Performance and Reception, (1987); Le Roux W.H., Higher Educational Institutions 7(ii) (b): Music Examinations in South Africa: UNISA, South African Music Encyclopedia, pp. 216-221, (1982); Long N., Music Examining in Great Britain Local Examining in Great Britain and the Work of the Associated Board of the Royal Schools of Music, (1980); Lucia C., The World of South African Music: A Reader, (2005); Ludemann W., Music in Transition: In Search of a Paradigm, SAMUS: South African Journal of the Musicology, 13, pp. 31-41, (1993); McClary S., Afterword, Noise: The Political Economy of Music, (1985); McClary S., Feminine Endings: Music, Gender, and Sexuality, (1991); Mthethwa B., The Songs of Alfred A. Kumalo: A Study in Nguni and Western Musical Syncretism, International Library of African Music, pp. 28-32, (1988); Olivier E., The Art of Metamorphosis–Or the Ju'hoan Conception of Plurivocality, InfoSource, pp. 263-268, (1997); Olwage G., Scriptions of the Choral: The Historiography of Black South African Choralism, SAMUS: South African Journal of Musicology, 22, pp. 29-45, (2002); Parker B., Recent South African Postgraduate Research in Music, SAMUS: South African Journal of Musicology, 21, pp. 39-46, (2001); Pauer E., Musical Forms. [Musical Primers and Educational Series No. 7, (1878); Paxinos S., The Early Years, Musicus, 22, 2, pp. 9-33, (1984); Rainbow B., Music in Educational Thought and Practice: A Survey from 800 BC, (1989); Rainbow B., Anthony K., London: Educational Institutions, Macmillan Publishers Ltd., 15, pp. 158-163, (2000); Schenker H., Das Meisterwerk in der Musik, (1925); Scherzinger M., Negotiating the Music-Theory/African-Music Nexus: A Political Critique of Ethnomusicological Anti-Formalism and a Strategic Analysis of the Harmonic Patterning of the Shona Mbira Song ‘Nyamaropa, Perspectives of New Music, 39, 1, pp. 5-117, (2001); Schoenberg A., Theory of Harmony; Schoenberg A., Style and Idea: Selected Writings of Arnold Schoenberg, (1975); Strohm R., Looking Back at Ourselves: The Problem with the Musical Workconcept, The Musical Work: Reality or Invention?, (2000); Talbot M., The Musical Work: Reality or Invention?, (2000); Tobin J.R., What the Examiner Wants to Know: (Typical Examination Questions Answered), (1934)","","","","","","","","","02560046","","","","English","Crit. Arts","Article","Final","","Scopus","2-s2.0-85015167418"
"Killian J.N.; Henry M.L.","Killian, Janice N. (26033864800); Henry, Michele L. (26121259200)","26033864800; 26121259200","A comparison of successful and unsuccessful strategies in individual sight-singing preparation and performance","2005","Journal of Research in Music Education","53","1","","51","65","14","27","10.1177/002242940505300105","https://www.scopus.com/inward/record.uri?eid=2-s2.0-60950498469&doi=10.1177%2f002242940505300105&partnerID=40&md5=71c139c72e80c3d0bd30ea32470626b3","Texas Tech University; Baylor University; Department of Music Education, School of Music, Texas Tech University, Lubbock, TX 79409-2033, United States; Department of Music Education, School of Music, One Bear Place, Baylor University, Waco, TX 76798-7408, PO Box 97408, United States","Killian J.N., Texas Tech University, Department of Music Education, School of Music, Texas Tech University, Lubbock, TX 79409-2033, United States; Henry M.L., Baylor University, Department of Music Education, School of Music, One Bear Place, Baylor University, Waco, TX 76798-7408, PO Box 97408, United States","High school singers (N = 198) individually sang two melodies from notation, with and without a 30-second practice opportunity. Overall accuracy scores were significantly higher with preparation time. The less accurate singers, however, did not benefit from practice time. Analysis of videoed tests indicated that high scorers tonicized (vocally established the key), used, hand signs, sang out loud during practice, physically kept the beat, and finished practicing the melody within 30 seconds significantly more frequently than did low scorers during practice. Similar strategies were used during performance, with the addition of tonicizing before singing. Sightsinging system used made no significant difference. Characteristics appearing significantly more often among high scorers included: region/state choir, private voice or piano lessons, playing an instrument, membership in instrumental ensemble, sightsinging individually outside class, and director giving individual sight-singing tests. Results are discussed in terms of strategies for teaching individual sightsinging and recommended areas of future research. Copyright © 2005 by MENC: The National Association for Music Education.","","","","","","","","","Antinone P., The effect of fixed vs. movable do on sight-reading accuracy of seventh grade treble choirs, (2000); Boyle J., Lucas K., The effect of context on sightsinging, Bulletin of the Council for Research in Music Education, 106, pp. 1-9, (1990); Brendell J., Time use, rehearsal activity and student off-task behavior during the initial minutes of high school choral rehearsals, Journal of Research in Music Education, 44, pp. 6-14, (1996); Cassidy J., Effects of various sightsinging strategies on nonmusic majors' pitch accuracy, Journal of Research in Music Education, 41, pp. 293-302, (1993); Collins D.L., Teaching choral music, (1999); Collins I., Current attitudes and trends in the teaching of sightsinging in higher education, pp. 40-05, (1979); National standards for arts education, (1994); Crocker E., Snyder A., Experiencing choral tnusic: Sight-singing, I-IV, (2005); Daniels R., Sight-reading instruction in the choral rehearsal, Update: Applications of Research in Music Education, 26, pp. 32-40, (1988); Demorest S., Improving sight-singing performance in the choral ensemble: The effect of individual testing, Journal of Research in Music Education, 46, pp. 182-192, (1998); Demorest S., Sightsinging in the secondary choral ensemble: A review of the research, Bulletin of the Council for Research in Music Education, 137, pp. 1-15, (1998); Demorest S., May W., Sight-singing instruction in the choral ensemble: Factors related to individual performance, Journal of Research in Music Education, 43, pp. 156-167, (1995); Demorest S., Building choral excellence: Teaching sight-singing in the choral rehearsal, (2001); Forsythe J., Kelly S., Effects of visual-spatial added cues on fourthgraders' melodic discrimination, Journal of Research in Music Education, 37, pp. 272-277, (1989); Henry M., A comparison of testing formats for vocal sight-reading, Journal of Research in Music Education, 52, pp. 206-217, (2004); Henry M., The development of a vocal sight-reading inventory, Bulletin of the Council for Research in Music Education, 150, pp. 21-35, (2001); Henry M., Demorest S., Individual sight-singing achievement in successful choral ensembles, Update: Applications of Research in Music Education, 13, 1, pp. 4-8, (1994); Killian J., The relationship between sight-singing accuracy and error detection in junior high singers, Journal of Research in Music Education, 39, pp. 216-224, (1991); Killian J., Daniel D., Rann L., Teacher's resource kit for essential elements for choir, (1999); Lucas K., Contextual condition and sightsinging achievement of middle school choral students, Journal of Research in Music Education, 42, pp. 203-216, (1994); Luce J., Sight-reading and ear-playing abilities as related to instrumental music students, Journal of Research in Music Education, 13, pp. 101-109, (1965); Madsen C.K., Madsen C.H., Teaching/Discipline: A positive approach for educational development, (1998); May J., A description of current practices in the teaching of choral melody reading in the high schools of Texas, pp. 54-03, (1993); McClung A., Sight-singing systems: Current practice and survey of all-state choristers, Update: Applications of Research in Music Education, 20, 1, pp. 3-8, (2001); McClung A., Wheeler R., Preparation time prior to sightsinging, Research Poster Session, Texas Music Educators Association state conference, (2004); Pembrook R., Riggins H., Send help! Aural skills instruction in U.S. colleges and universities, Journal of Music Theory Pedagogy, 4, pp. 231-241, (1990); Roe P., Choral music education, (1983); Scott T., The construction of a holistic, criterion-referenced sightsinging test for high school sopranos based on the voluntary national standards for music education, Dissertation Abstracts International, 57, (1996); Sims W.L., Effect of tempo on music preference of preschool through fourth-grade children, pp. 19-25, (1987); Smith S., Sight-singing in the high school choral rehearsal: Pedagogical practices, teacher attitudes, and university preparation, (1998); Tucker D., Factors related to musical reading ability of senior high school students participating in choral groups Doctoral dissertation, 31, (1969); Wine T., All-state choruses: A survey of practices, procedures, and perceptions, Choral Journal, 37, 3, (1996)","J. N. Killian; Texas Tech University, United States; email: janice.killian@ttu.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-60950498469"
"Uhry J.K.","Uhry, Joanna K. (6507886761)","6507886761","Invented spelling in kindergarten: The relationship with finger-point reading","1999","Reading and Writing","11","5-6","","441","464","23","28","10.1023/a:1008032502132","https://www.scopus.com/inward/record.uri?eid=2-s2.0-10644242017&doi=10.1023%2fa%3a1008032502132&partnerID=40&md5=619d10c8b07db681109388b463c45841","Fordham, University, New York, United States; Graduate School of Education, Fordham University, New York, NY 10023, 113 West 60th Street, United States","Uhry J.K., Fordham, University, New York, United States, Graduate School of Education, Fordham University, New York, NY 10023, 113 West 60th Street, United States","The relationship between ability to invent spellings and ability to finger-point read memorized text was examined in 109 kindergartners in whole-language classrooms. It was hypothesized that letter name knowledge and phonemic awareness would account for ability in finger-point reading, but that invented spelling, because it requires the left-to-right alphabetic principle as well, would account for additional variance, and this turned out to be the case. It was also hypothesized that although initial phoneme spellings would be easier than those in other positions, and would be a factor in the voice-print match in finger-point reading, final phonemes would also play a significant role. This turned out to be the case for children who were able to read only a word or two, as well as for more capable beginners. Results were consistent with Ehri's (1992) model of phonetic-cue sight reading in which letters are utilized from both initial and final positions. © 1999 Kluwer Academic Publishers.","Emergent reading; Invented spelling; Kindergarten; Onset-rime; Phoneme segmentation; Phonological awareness; Reading; Spelling","","","","","","","","Adams M.J., Beginning to Read: Thinking and Learning about Print, (1990); Ashton-Warner S., Teacher, (1965); Ball E.W., Blachman B.A., Does phoneme segmentation training in kindergarten make a difference in early word recognition and developmental spelling?, Reading Research Quarterly, 26, pp. 49-66, (1991); Blachman B.A., Ball E.W., Black R.S., Tangel D.M., Kindergarten teachers develop phoneme awareness in low-income, inner-city classrooms: Does it make a difference?, Reading and Writing: An Interdisciplinary Journal, 6, pp. 1-18, (1994); Cairns S., Oh No, (1995); Dunn L., Dunn L., Peabody Picture Vocabulary Test - Revised, (1981); Ehri L.C., Reconceptualizing the development of sight word reading and its relationship to recoding, Reading Acquisition, pp. 107-143, (1992); Ehri L.C., Chun C., How alphabetic/phonemic knowledge facilitates text processing in emergent readers, Literacy and Education: Essays in Memory of Dina Feitelson, pp. 69-93, (1996); Ehri L.C., Sweet J., Fingerpoint-reading of memorized text: What enables beginners to process the print?, Reading Research Quarterly, 26, pp. 442-462, (1991); Ehri L.C., Wilce L.S., Does learning to spell help beginners learn to read words?, Reading Research Quarterly, 18, pp. 47-65, (1987); Gentry J.R., An analysis of developmental spelling in GYNS at WRK, Reading Teacher, 36, pp. 192-200, (1982); Henderson E.H., Learning to Read and Spell: A Child's Knowledge of Words, (1981); Henderson E.H., Teaching Spelling, (1990); Holdaway D., The Foundations of Literacy, (1979); Mann V.A., Tobin P., Wilson R., Measuring phonological awareness through the invented spellings of kindergarten children, Merrill-Palmer Quarterly, 33, pp. 365-391, (1987); Morris D., Concept of word and phoneme awareness in the beginning reader, Research in the Teaching of English, 17, pp. 359-373, (1983); Morris D., Case Studies in Teaching Beginning Readers: the Howard Street Tutoring Manual, (1992); Morris D., The relationship between children's concept of word in text and phoneme awareness in learning to read: A longitudinal study, Research in the Teaching of English, 27, pp. 133-153, (1993); Morris D., Perney J., Developmental spelling as a predictor of first-grade reading achievement, The Elementary School Journal, 84, pp. 441-457, (1984); Routman R., Invitations: Changing as teachers and learners, (1991); Rosner J., Test of auditory analysis skills, Helping Children Overcome Learning Difficulties, pp. 46-49, (1975); Share D., Jorm A., Maclean R., Matthews R., Sources of individual differences in reading acquisition, Journal of Educational Psychology, 76, pp. 1309-1324, (1984); Stage S.A., Wagner R.K., Development of young children's phonological and orthographic knowledge as revealed by their spellings, Developmental Psychology, 28, pp. 287-296, (1992); Treiman R., Berch D., Weatherston S., Children's use of phoneme-grapheme correspondences in spelling: Roles of position and stress, Journal of Educational Psychology, 95, pp. 466-477, (1993); Uhry J.K., Ehri L.C., Fingerpoint-reading: Training effects on reading in low- And high-achieving kindergarten children, Paper Presented at the Annual Meeting of the American Education Research Association in San Francisco, (1995); Uhry J.K., Shepherd M.J., Segmentation/spelling instruction as part of a first grade reading program: Effects on several measures of reading, Reading Research Quarterly, 28, pp. 218-233, (1993); Woodcock R., Woodcock Reading Mastery Tests - Revised, (1987)","J.K. Uhry; Graduate School of Education, Fordham University, New York, NY 10023, 113 West 60th Street, United States; email: uhry@mary.fordham.edu","","Springer Science and Business Media Deutschland GmbH","","","","","","09224777","","","","English","Read. Writ","Article","Final","","Scopus","2-s2.0-10644242017"
"Guelker Cone L.","Guelker Cone, Leslie (59442445900)","59442445900","The Unaccompanied Choral Rehearsal: Consistent rehearsing without accompaniment can improve a choir's sight-singing, intonation, sense of ensemble, and ability to respond to conducting gestures","1998","Music Educators Journal","85","2","","17","22","5","3","10.2307/3399167","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85078604789&doi=10.2307%2f3399167&partnerID=40&md5=f4be2260357d12b7113af00e2a0ab15c","Western Washington University, Bellingham, WA, United States","Guelker Cone L., Western Washington University, Bellingham, WA, United States","[No abstract available]","","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85078604789"
"Sheldon D.A.","Sheldon, Deborah A. (26034793700)","26034793700","Effects of contextual sight-singing and aural skills training on error-detection abilities","1998","Journal of Research in Music Education","46","3","","384","395","11","25","10.2307/3345550","https://www.scopus.com/inward/record.uri?eid=2-s2.0-60950206549&doi=10.2307%2f3345550&partnerID=40&md5=b2c7edd6f9bbce69f75c1e1ec34017b5","The School of Music, University of Illinois, Urbana, IL 61801, 2136 Music Building, 1114 W. Nevada Street, United States","Sheldon D.A., The School of Music, University of Illinois, Urbana, IL 61801, 2136 Music Building, 1114 W. Nevada Street, United States","Effects of contextual sight-singing and ear training on pitch and rhythm error detection abilities among undergraduate instrumental music education majors were examined. Experimental (n1 = 15) and control (n2 = 15) groups received identical training in instrumental methods and conducting. Experimental subjects additionally received 50 minutes of sight-singing and ear training per week over 11 weeks using materials drawn from extant band repertoire. Subject responses to errors in one-, two-, and three-part homorhythmic and polyrhythmic examples were examined. Results showed significant differences in correct detection of rhythm and pitch errors. Experimental subjects were better at error detection compared to control subjects. Subjects were better at detecting rhythm errors compared to pitch errors. They were best with one-part, did less well with two-part, and least well with three-part examples. Differences attributable to texture were not significant. Contextual sight-singing and aural skills training and practice may have contributed to short-term development of error-detection abilities. © 1998 by MENG-The National Association for Music Education.","","","","","","","","","Blocher L.R., An analysis of college band instrumentalists' detection of common performance errors, Dissertation Abstracts International, 47, 12, (1986); Brand M., Burnsed V., Music abilities and experiences as predictors of error-detection skill, Journal of Research in Music Education, 29, pp. 91-96, (1981); Byo J.L., The influence of textural and timbral factors on the ability of music majors to detect performance errors, Journal of Research in Music Education, 41, pp. 156-167, (1993); Byo J.L., The effects of texture and number of parts on the ability of music majors to detect performance errors, Journal of Research in Music Education, 45, pp. 51-66, (1997); Costanza A.P., Programed instruction in score reading skills, Journal of Research in Music Education, 19, pp. 453-459, (1971); Deal J.J., Computer-assisted instruction in pitch and rhythm error detection, Journal of Research in Music Education, 33, pp. 159-166, (1985); DeCarbo N.J., The effects of conducting experience and programmed materials on error-detection scores of college conducting students, Journal of Research in Music Education, 30, pp. 187-200, (1982); Doane C., The development and testing of a program for the development of conductor aural error detection skills, Journal of the College Band Directors National Association, 6, pp. 11-14, (1989); Dolbeer R.C., Programmed instruction in detecting aural-notation errors in musical performance, Dissertation Abstracts International, 30, 10, (1969); Forsythe J.L., Woods J.R., The effects of conducting on the error detection ability of undergraduate and graduate instrumental conductors, Contributions to Music Education, 10, pp. 27-31, (1983); Gonzo C.L., An analysis of factors related to choral teachers' ability to detect pitch errors while reading the score, Journal of Research in Music Education, 19, pp. 259-271, (1971); Grainger P., Sussex Mummer's Christmas Carol., (1965); Grunow R.F., An investigation of the relative effectiveness of four modes of score preparation on visual-aural discrimination skills development, Dissertation Abstracts International, 41, (1980); Grutzmacher P.A., The effect of tonal pattern training on the aural perception, reading recognition, and melodic sight-reading achievement of first-year instrumental music students, Journal of Research in Music Education, 35, pp. 171-181, (1987); Hayslett D.J., The effect of directed focus on the peripheral hearing of undergraduate instrumental music majors, Dissertation Abstracts International, 52, 7, (1991); Hochkeppel W.J., Systematic score study: Effects of four methodologies on error detection in achievement in instrumental conducting students, Dissertation Abstracts International, 54, 8, (1993); Hopkins J.E., The effect of four approaches to score study on student conductors' ability to detect errors in the performance of choral music, Dissertation Abstracts International, 52, 11, (1991); Killian J.N., The relationship between sight-singing accuracy and error detection in junior high school singers, Journal of Research in Music Education, 39, pp. 216-233, (1991); Larson R.C., Relationships between melodic error detection, melodic dictation, and melodic sight-singing, Journal of Research in Music Education, 25, pp. 264-271, (1977); MacKnight C.B., Music reading ability of beginning wind instrumentalists after melodic instruction, Journal of Research in Music Education, 23, pp. 23-34, (1975); Mailman M., Liturgical Music for Band., (1967); Ramsey D.S., Programmed instruction using band literature to teach pitch and rhythm error detection to music education students, Journal of Research in Music Education, 27, pp. 149-162, (1979); Reed A., Russian Christmas Music., (1969); Sheldon R., Pevensey Castle., (1993); Stuart M., The use of videotape recordings to increase teacher trainees' error detection skills, Journal of Research in Music Education, 27, pp. 14-19, (1979); Taebel D.A., Public school music teachers' perceptions of the effects of certain competencies on pupil learning, Journal of Research in Music Education, 28, pp. 185-197, (1980)","","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-60950206549"
"Kiraly Z.","Kiraly, Zsuzsanna (26422313000)","26422313000","Solfeggio 1: A vertical ear training instruction assisted by the computer","2003","International Journal of Music Education","40","1","","41","58","17","8","10.1177/025576140304000105","https://www.scopus.com/inward/record.uri?eid=2-s2.0-62949141443&doi=10.1177%2f025576140304000105&partnerID=40&md5=42780cf1953becb892fe42d5c563fb06","Lnsi-Uusimaa Music Institute, Finland","Kiraly Z., Lnsi-Uusimaa Music Institute, Finland","The aim of this paper is to describe the process of solfege learning when assisted by computers. The research was conducted in the Lansi-Uusimaa Music Institute in Finland. The study focused on pupils' attitudes, opinions, motivation, and learning-outcomes using computer-based music learning. We also examined how Solfeggio 1, the new electronic ear-training material, works. Jukka Louhivuori (1990) has examined the didactical questions of computer-assisted music education. He emphasized that learning music with a computer does not mean the replacement of ""real"" music. The notions of learning and teaching can change in quality, mainly in the area of ""learning-by-doing"" and ""discovery learning"" in the computer-assisted music classroom. It was found that computer-assisted music learning is more agreeable and effective than traditional music learning. Although results showed that we need a well-functioning, modern environment and a well-educated ""researcher- teacher,"" well-motivated pupils are the most important aspects. © International Journal of Music Education.","","","","","","","","","Bathory Z., Pupils, schools-differences. Tanulók, iskolák- különbségek, Egy Differenciális Tanításelmélet Vázlata, (1997); Karvonen J., Teachers' attitudes, expectations and learning results in further training, Opettajien Asenteet, Odotukset Ja Oppitulokset Jatkokoulutuksessa, (1970); Kiraly Z., Solfège in the Computer Classroom. (Poster Session) ISME Conference, (2000); Kiraly Z., Solfeggio, 1, (2001); Kiraly Z., The next step 2001, TAONGA Regional ISME Conference, (2001); Kiraly Z., Hommage á Dénes Legánÿ, Symposium Conducted at the Meeting of the International Kodály Society, (2001); Kiraly K., Computer-aided Music Instruction According to the Kodály System, International Congress of Hungarian Studies, (2001); Kiraly K., Estudio de obras para coro en aulas de computación con el apoyo del Internet, SADEM Regional ISME Conference, (2001); Louhivuori J., Melodic Dictation As A Cognitive Process, (1992); Louhivuori J., How Do We Learn the Melody? Kuinka Melodia Opitaan. Kodály Keskus, (1995); Szonyi E., Kodály's Principles in Practice: An Approach to Music Education Through the Kodály Method, (1990)","Z. Kiraly; Lnsi-Uusimaa Music Institute, Finland; email: Iumo@lohja.fi","","","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-62949141443"
"Väkevä L.","Väkevä, Lauri (26034926800)","26034926800","Teaching popular music in Finland: What's up, what's ahead?","2006","International Journal of Music Education","24","2","","126","131","5","58","10.1177/0255761406065473","https://www.scopus.com/inward/record.uri?eid=2-s2.0-60949569699&doi=10.1177%2f0255761406065473&partnerID=40&md5=e589941d249fe34010b851f2ee9c5d3c","Sibelius Academy, Helsinki, Finland; Sibelius Academy, Department of Music Education, 00251 Helsinki, PO Box 86, Finland","Väkevä L., Sibelius Academy, Helsinki, Finland, Sibelius Academy, Department of Music Education, 00251 Helsinki, PO Box 86, Finland","This article describes the history and current situation of popular music pedagogy in Finland. While popular music is widely accepted in the curriculum, there are differences in its application in the comprehensive schools and music institutions. Popular styles were first introduced into Finnish music education by secondary school music teachers; however, today the most rapid development in the field appears to be taking place in the professional schools of music. Some aspects and future possibilities of popular music education are examined, with a suggestion that there is more work ahead in the field of general music education. For instance, the didactic implications of different learning cultures of popular music and the musical understandings and practices prevalent in 'urban' and 'electronic' styles present new challenges for traditionally trained music educators, even those with a popular music background. Copyright © 2006 International Society for Music Education.","Afro-American music; Jazz pedagogy; Music education; Music institutions; Popular music","","","","","","","","Green L., How popular musicians learn: A way ahead for music education, (2001); Cited in, Helsingin Sanomat; Regelski T.A., Critical education: Culturalism and multiculturalism, Musiikkikasvatus/Finnish Journal of Music Education, 5, 1, pp. 120-147, (2000); Regelski T.A., Teaching general music in grades 4-8: A musicianship approach, (2004); Roos J.-P., Elämäntavasta elämäkertaan, (1988); Westerlund H., Garage rock bands: A future model for developing musical expertise?, International Journal of Music Education, 24, 2, pp. 119-127, (2006)","L. Väkevä; Sibelius Academy, Department of Music Education, 00251 Helsinki, PO Box 86, Finland; email: lauri.vakeva@siba.fi","","","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-60949569699"
"Betts S.L.; Cassidy J.W.","Betts, Steven L. (57213702512); Cassidy, Jane W. (26663585200)","57213702512; 26663585200","Development of Harmonization and Sight-Reading Skills among University Class Piano Students","2000","Journal of Research in Music Education","48","2","","151","161","10","8","10.2307/3345573","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84990385536&doi=10.2307%2f3345573&partnerID=40&md5=b55bde510ee74b87744c4399edc6c387","Louisiana State University, United States","Betts S.L., Louisiana State University, United States; Cassidy J.W., Louisiana State University, United States","This study is an exploration of the development of sight-reading and harmonization skills among nonkeyboard music majors enrolled in six intact sections of class piano (N = 39). Classes included 10 minutes of instruction in each of two topics, harmonization and sight-reading, with the remaining time spent on keyboard skills not directly related to the study. Subjects were videotaped twice completing two harmonization and two sight-reading tasks. Videotapes were analyzed for pitch and rhythm errors. Statistical analysis compared pretest to posttest scores, right-hand to left-hand scores, the four tasks, and practice-group condition. Results indicated the right hand was more accurate and consistent than was the left hand, made less improvement on all tasks, and was slightly more accurate on the harmonization tasks than the sight-reading tasks. The left hand made noticeable gain in accuracy on all tasks and was more accurate on the easier tasks than on the more difficult ones. © 2000, SAGE Publications. All rights reserved.","","","","","","","","","Blocker R., Keyboard technology and its impact on professional education and training, Proceedings of the 66th Annual Meeting of the National Assocation of Schools of Music, USA, (1991); Buchanan G., Skills of piano performance in the preparation of music educators, Journal of Research in Music Education, 12, pp. 134-138, (1964); Dodson T., Developing music reading skills: Research implications, Update: Applications of Research in Music Education, 1, pp. 3-6, (1983); Fincher B.J., The effects of playing the melody by rote during the prestudy procedure upon sight reading skill development of beginning class piano students (Doctoral dissertation, University of Oklahoma, 1983), Dissertation Abstracts International, 44-12A, (1983); Graff C.A., A manual for undergraduate non-keyboard music education majors at Plymouth State College (Doctoral dissertation, University of Northern Colorado, 1984), Dissertation Abstracts International, 45-08A, (1984); Colwell R., Hodges D., The acquisition of music reading skills, Handbook of research on music teaching and learning, pp. 466-471, (1992); Jackson A., The effect of group size on individual achievement in beginning piano class, Journal of Research in Music Education, 28, pp. 162-166, (1980); Kornicke E., An exploratory study of individual difference variables in piano sight-reading achievement, The Quarterly Journal of Music Teaching and Learning, 6, pp. 56-79, (1995); Kostka M.J., An investigation of reinforcements, time use, and student attentiveness in piano lessons, Journal of Research in Music Education, 32, pp. 113-122, (1984); Kostka M.J., Effects of self-assessment and successive approximations on “knowing” and “valuing” selected keyboard skills, Journal of Research in Music Education, 45, pp. 273-281, (1997); Kostka M.J., The effects of error-detection practice on keyboard sight-reading achievement of undergraduate music majors, Journal of Research in Music Education, 48, pp. 114-122, (2000); Lancaster E.L., Renfrow K.D., Alfred's group piano for adults. Book 1, Teacher's Handbook., (1995); Lowder J.E., Evaluation of a sight-reading test administered to freshman piano classes, Journal of Research in Music Education, 21, pp. 68-73, (1973); Lowder J., Evaluation of keyboard skills required in college class piano programs, Contributions to Music Education, 10, pp. 33-38, (1983); Lusted D.S., The status of keyboard harmony in NASM-approved colleges in the southeastern United States (Doctoral dissertation, Louisiana State University, 1984), Dissertation Abstracts International, 46-04A, (1984); McDonald S.R., A survey of curricular content of functional keyboard skill classes designed for undergraduate piano majors (Doctoral dissertation, University of Oklahoma, 1989), Dissertation Abstracts International, 50-06A, (1989); National Association of Schools of Music 1999-2000 handbook., (1999); Siebenaler D.J., Analysis of teacher-student interactions in the piano lessons of adults and children, Journal of Research in Music Education, 45, pp. 6-20, (1997); Skroch D., A descriptive and interpretive study of class piano instruction in four-year colleges and universities accredited by the National Association of Schools of Music with a profile of the class piano instructor, Dissertation Abstracts International, 52-11A, (1991); Sloboda J., Phrase units as determinants of visual processing in music reading, British Journal of Psychology, 68, pp. 117-124, (1977); Speer D.R., An analysis of sequential patterns of instruction in piano lessons, Journal of Research in Music Education, 42, pp. 14-26, (1994); Stebleton E., Predictors of sight-reading achievement: A review of the literature, Update: Applications of Research in Music Education, 6, 1, pp. 11-15, (1987); Trantham W.E., A music theory approach to beginning piano instruction for the college music major, Journal of Research in Music Education, 18, pp. 49-56, (1970); Colwell R., Uszler M., Research on the teaching of keyboard music, Handbook of research on music teaching and learning, pp. 584-593, (1992)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84990385536"
"Harrison C.S.","Harrison, Carole S. (39361422000)","39361422000","Relationships Between Grades in the Components of Freshman Music Theory and Selected Background Variables","1990","Journal of Research in Music Education","38","3","","175","186","11","10","10.2307/3345181","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84970436922&doi=10.2307%2f3345181&partnerID=40&md5=6aa0169a166dc8ba675d79fc0bf14d4f","California State University, Fullerton, United States","Harrison C.S., California State University, Fullerton, United States","The relative contributions of measures of academic ability, music experience, and musical aptitude in predicting grades in the written-work, ear-training, sight-singing, and keyboard-harmony components of each of two freshman music theory courses were determined by multiple regression techniques. The best predictor of grades in the written-work component of both semester courses and in the ear-training component of the first semester course was the math portion of the Scholastic Aptitude Test (SAT). Measures of music experience and musical aptitude were the best predictors of grades in the sight-singing and keyboard-harmony components of both semester courses and in the ear-training component of the second-semester course. The results of canonical correlation analysis of the first-semester data suggested the presence of one general dimension. © 1990, SAGE Publications. All rights reserved.","","","","","","","","","Afifi A.A., Clark V., Computer-aided multivariate analysis, pp. 169-172, (1984); Cooley J.C., A study of the relation between certain mental and personality traits and ratings of musical abilities, Journal of Research in Music Education, 9, pp. 108-117, (1961); Daniels R.W., Relationships among selected factors and the sight-reading ability of high school mixed choirs, Journal of Research in Music Education, 34, pp. 279-289, (1986); Dixon W.J., BMDP statistical software, (1987); College Board Scholastic Aptitude Test, (1948); Elliott C.A., The relationships among instrumental sight-reading ability and seven selected predictor variables, Journal of Research in Music Education, 30, pp. 5-14, (1982); Gordon E., Musical Aptitude Profile, (1965); Harrison C.S., The validity of the Musical Aptitude Profile for predicting grades in freshman music theory, Educational and Psychological Measurement, 47, pp. 477-482, (1987); Harrison C.S., Predicting music theory grades: The relative efficiency of academic ability, music experience and musical aptitude, Journal of Research in Music Education, 37, pp. 124-137, (1990); Jones M.S., An investigation of the difficulty levels of selected tonal patterns as perceived aurally and performed vocally by high school students, (1979); Norusis M.J., SPSS/PC, (1986); Pembrook R.G., Taylor J.A., Relationships between scores on a melodic discrimination test and the background variables of prospective college music students, Bulletin of the Council for Research in Music Education, 88, pp. 1-21, (1986); Rodeheaver R.E., An investigation of the vocal sight-reading ability of college freshmen music majors, (1972); Salis D.L., The identification and assessment of cognitive variables associated with reading of advanced musk at the piano, (1977); Schleuter S.L., The development of a college version of the Musical Aptitude Profile, Psychology of Musk, 6, pp. 39-42, (1978); Schleuter S.L., A predictive study of an experimental version of the Musical Aptitude Profile with certain music achievement of college music majors, Psychology of Music, 11, pp. 32-36, (1983); Schleuter S.L., Schleuter L.J., A predictive study of an experimental college version of the Musical Aptitude Profile with music achievement of nonmusic majors, Contributions to Musk Education, 6, pp. 2-8, (1978); Thostenson M.S., The study and evaluation of certain problems in ear-training related to achievement in sight-singing and music dictation, Bulletin of the Council for Research in Music Education, 11, pp. 14-35, (1967); Tucker D.W., Factors related to musical reading ability of senior high school students partkipating in choral groups, (1969); Wilkinson L., SYSTAT: The system for statistics, (1987)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84970436922"
"Rosenthal R.K.; Wilson M.; Evans M.; Greenwalt L.","Rosenthal, Roseanne K. (38261881500); Wilson, Mary (57212204168); Evans, Madeline (56316946400); Greenwalt, Larry (57189585205)","38261881500; 57212204168; 56316946400; 57189585205","Effects of Different Practice Conditions on Advanced Instrumentalists’ Performance Accuracy","1988","Journal of Research in Music Education","36","4","","250","257","7","43","10.2307/3344877","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84973191648&doi=10.2307%2f3344877&partnerID=40&md5=10e7c6ba4513ff7f1c82438dde464510","VanderCook College of Music, Chicago, United States","Rosenthal R.K., VanderCook College of Music, Chicago, United States; Wilson M., VanderCook College of Music, Chicago, United States; Evans M., VanderCook College of Music, Chicago, United States; Greenwalt L., VanderCook College of Music, Chicago, United States","The purpose of this study was to examine the relative effects of five practice conditions on instrumentalists’ performance of a musical composition. The authors assigned 60 college music students to one of five practice conditions and asked them to perform the composition after a brief practice session. Practice conditions were modeling, singing, silent analysis, free practice, and control. The authors evaluated each subject's performance in terms of correct notes, rhythms, phrasing or dynamics, articulation, and tempo. The authors found significant differences among the practice techniques in subjects’ performance of correct rhythms, phrasing or dynamics, and tempo and nonsignificant differences among subjects’ performances of correct notes and articulation. Further analysis demonstrated that modeling and practice were most effective in facilitating mastery of the selection. Singing and silent analysis were, in general, no more effective than sight-reading, with the exception of subjects in the silent analysis group, who were more accurate in their performance of the rhythms of the selection. © 1988, SAGE Publications. All rights reserved.","","","","","","","","","Baker D., The effect of appropriate and inappropriate in-class song performance models on performance preference of third- and fourth-grade students, Journal of Research in Music Education, 28, pp. 3-17, (1980); Bona P., Rhythmical articulation, (1969); Choksy L., The Kodaly method, (1974); De Young D., Singing as an aid to brass performance, The Instrumentalist, 31, 11, pp. 49-50, (1977); Elliott C.A., The effectiveness of singing in the beginning band class, Journal of Band Research, 9, pp. 38-39, (1972); Froseth J., Individualizing instruction in the beginning instrumental music class, Journal of Band Research, 8, pp. 11-18, (1971); Kress V., The voice in brass playing, The Instrumentalist, 14, 7, pp. 49-50, (1960); Madsen C.K., Moore R.S., Experimental research in music, (1978); Partchey K.C., The effects of feedback, models, and repetition on the ability to improvise melodies, Bulletin of the Council of Research in Music Education, 4, pp. 9-11, (1973); Puopolo V., The development and experimental application of self-instructional practice materials for beginning instrumentalists, Journal of Research in Music Education, 19, pp. 342-349, (1971); Rosenthal R.K., Relative effects of guided model, model only, guide only, and practice only treatments on the accuracy of advanced instrumentalists' musical performance, Journal of Research in Music Education, 32, pp. 265-273, (1984); Ross S.L., The effectiveness of mental practice in improving the performance of college trombonists, Journal of Research in Music Education, 33, pp. 221-231, (1985); Rubin-Rabson G., Studies in the psychology of memorizing piano music: V. A comparison of pre-study periods of varied length, Journal of Educational Psychology, 32, pp. 101-112, (1941); Siegel S., Nonparametric statistics for the behavioral sciences, (1956); Suzuki S., Nurtured by love: A new approach to education, (1969); Wapnick J., Gilsig M., Hummel T., (1982); Watkins J.G., Farnum S.E., The Watkins-Farnum Performance Scale, Form A: A standardized achievement test for all band instruments, (1954); Whybrew W., Singing approach to the brasses, The Instrumentalist, 11, 2, pp. 22-25, (1956); Zurcher W., The effect of model-supportive practice on beginning brass instrumentalists, Research in music behavior, pp. 131-138, (1975)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84973191648"
"Tan S.-L.; Wakefield E.M.; Jeffries P.W.","Tan, Siu-Lan (16032012800); Wakefield, Elizabeth M. (26322937800); Jeffries, Paul W. (26322590900)","16032012800; 26322937800; 26322590900","Musically untrained college students- interpretations of musical notation: Sound, silence, loudness, duration, and temporal order","2009","Psychology of Music","37","1","","5","24","19","13","10.1177/0305735608090845","https://www.scopus.com/inward/record.uri?eid=2-s2.0-61949303310&doi=10.1177%2f0305735608090845&partnerID=40&md5=5274ce17fe09750d6687f229d247831f","Kalamazoo College, United States; Depauw University, United States; Department of Psychology, 403-C Olds-Upton Hall, Kalamazoo College, Kalamazoo, MI 49006, 1200 Academy Street, United States; C/o Department of Psychological and Brain Sciences, Indiana University, Bloomington, IN 47405, 1101 E. 10th Street, United States; Department of Psychology, DePauw University, Greencastle, IN 46135-0037, United States","Tan S.-L., Kalamazoo College, United States, Department of Psychology, 403-C Olds-Upton Hall, Kalamazoo College, Kalamazoo, MI 49006, 1200 Academy Street, United States; Wakefield E.M., Kalamazoo College, United States, C/o Department of Psychological and Brain Sciences, Indiana University, Bloomington, IN 47405, 1101 E. 10th Street, United States; Jeffries P.W., Depauw University, United States, Department of Psychology, DePauw University, Greencastle, IN 46135-0037, United States","Fifty participants who had never learned how to read music completed a questionnaire about their interpretations of standard western musical notation. Some common assumptions were that a note must consist of a circle plus a line, symbols with unfilled spaces denote silence, the value of notes and rests increases with the size and number of features of a symbol, pitch is denoted by both note-head and stem, and tempo is determined by horizontal spacing. These assumptions are not consistent with the conventions of standard musical notation, thus the findings of the study suggest that many fundamental aspects of notation are not intuitive to beginners. Implications of the findings are discussed with respect to music pedagogy. © 2009 Society for Education, Music and Psychology Research.","Graphic representation; Intuition; Music; Music reading; Musical score; Musical symbols; Naive belief; Orthochronic notation; Sound before symbol; Symbolic notation","","","","","","","","Abeles H.F., Hoffer C.R., Klotman R.H., Foundations of music education, (1994); Auh, Walker R.M.-S., Compositional strategies and musical creativity when composing with staff notations versus graphic notations among Korean students, Bulletin of the Council for Research in Music Education, 141, pp. 2-9, (1999); Bamberger J., The mind behind the musical ear, (1991); Bamberger J., Coming to hear in a new way, Musical perceptions, pp. 131-151, (1994); Bamberger J., Brody M., Perceptual problem solving in music: Some proposals for future research, Psychomusicology, 4, 1-2, pp. 33-58, (1984); Bent M., Chew G., Hiley D., Payne T.B., Rastall R., Szendrei J., Notation, Grove music online, (2006); Berger A.M.B., Mensuration and proportion signs: Origins and evolution, (1993); Biel G.A., Carswell C.M., Musical notation for the keyboard: An examination of stimulus - response compatibility, Applied Cognitive Psychology, 7, 5, pp. 433-452, (1993); Boorman S., The musical text, Rethinking music, pp. 403-423, (1999); Bukspan Y., Introduction of musical literacy to children by means of a binary system of music notation: An experimental study, Council for Research in Music Education, 59, pp. 13-17, (1979); Campbell P.S., Lessons from the world, (1991); Champagne A.B., Gunstone R.F., Klopfer L.E., Naïve knowledge and science learning, Research in Science and Technological Education, 1, 2, pp. 173-183, (1983); Chanan M., Musica practica: The social practice of western music from Gregorian chant to postmodernism, (1994); Cook N., Music, imagination, and culture, (1990); Cope D., New music notation, (1976); Davidson L., Scripp L., Young children's musical representations: Windows on music cognition, Generative processes in music, pp. 195-230, (1988); Davidson L., Scripp L., Surveying the coordinates of cognitive skills in music, Handbook of research on music teaching and learning, pp. 392-413, (1992); Eastlund-Gromko J., Invented iconographic and verbal representations of musical sound: Their information content and usefulness in retrieval tasks, The Quarterly Journal of Music Teaching and Learning, 45, 4, pp. 32-43, (1995); Gaare M., Alternatives to traditional notation, Music Educators Journal, 83, 5, pp. 17-23, (1997); Gardner H., The unschooled mind, (1991); Gellrich M., Parncutt R., Piano technique and fingering in the eighteenth and nineteenth centuries: Bringing a forgotten method back to life, British Journal of Music Education, 15, 1, pp. 5-24, (1998); Goodman N., Languages of art: An approach to a theory of symbols, (1976); Grout D.J., Palisca C.V., A history of western music, (2001); Hultberg C., The printed score as a mediator of musical meaning approaches to music notation in western tonal music, (2000); Hultberg C., Approaches to music notation: The printed score as a mediator of meaning in western tonal tradition, Music Education Research, 4, 2, pp. 185-197, (2002); Karkoschka D., Notation in new music, (1972); Kyme G.H., An experiment in teaching children to read music with shape notes, Journal of Research in Music Education, 8, 1, pp. 3-8, (1960); Lester J., Performance and analysis: Interaction and interpretation, The practice of performance, pp. 197-216, (1995); Mainwaring J., The meaning of musicianship: A problem in the teaching of music, British Journal of Educational Psychology, 11, 3, pp. 205-214, (1941); Mainwaring J., Psychological factors in the teaching of music: Part I: Conceptual musicianship, British Journal of Educational Psychology, 21, pp. 105-121, (1951); Mainwaring J., Psychological factors in the teaching of music: Part II: Applied musicianship, British Journal of Educational Psychology, 21, 3, pp. 199-213, (1951); McPherson G.E., From child to musician: Skill development during the beginning stages of learning an instrument, Psychology of Music, 33, 1, pp. 5-35, (2005); How people learn: Brain, mind, experience, and school, (2000); Randel D.M., Notation, Harvard concise dictionary of music and musicians, pp. 455-458, (1999); Read G., Music notation, (1974); Rogers G.L., Effect of color-coded notation on music achievement of elementary instrumental students, Journal of Research in Music Education, 39, 1, pp. 64-73, (1991); Rothstein W., Performance and analysis: Interaction and interpretation, The practice of performance, pp. 217-240, (1995); Sloboda J.A., The musical mind, (1985); Sloboda J.A., Exploring the musical mind, (2005); Stone K., Music notation in the twentieth century, (1980); Tan S.L., Beginners' intuitions about musical notation, College Music Symposium, 42, pp. 131-141, (2002); Tan S.L., Kelly M.E., Graphic representations of short musical compositions, Psychology of Music, 32, 2, pp. 191-212, (2004); Tanay D., Noting music, marking culture: The intellectual context of rhythmic notation, 1250-1400, (1999); The big book of classical music: Piano solo, (1999); Upitis R., Children's invented notations of familiar and unfamiliar melodies, Psychomusicology, 9, 1, pp. 89-106, (1990); Upitis R., Can I play you my song? The compositions and invented notations of children, (1992); Vosniadou S., Conceptual change and education, Human Development, 50, 1, pp. 47-54, (2007); Walker R., Perception and music notation, Psychology of Music, 6, 1, pp. 21-46, (1978); Walker A.R., The presence of internalised images of musical sounds, Council for Research in Music Education, 66-67, pp. 107-112, (1981); Walker A.R., The effects of culture, environment, age, and musical training on choices of visual metaphors for sound, Perception and Psychophysics, 42, 5, pp. 491-502, (1987); Walker R., Auditory-visual perception and musical behavior, Handbook of research on music teaching and learning, pp. 344-359, (1992)","S. -L. Tan; Kalamazoo College, United States; email: tan@kzoo.edu","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-61949303310"
"Teixeira Dos Santos R.A.; Del-Ben L.","Teixeira Dos Santos, Regina Antunes (26036301600); Del-Ben, Luciana (26035966300)","26036301600; 26035966300","Quantitative and qualitative assessment of solfège in a Brazilian higher educational context","2010","International Journal of Music Education","28","1","","31","46","15","1","10.1177/0255761409351343","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84993728813&doi=10.1177%2f0255761409351343&partnerID=40&md5=e21aa5071faf1fdf9e1fbf734a78e834","Federal University of Rio Grande do Sul, Brazil","Teixeira Dos Santos R.A., Federal University of Rio Grande do Sul, Brazil; Del-Ben L., Federal University of Rio Grande do Sul, Brazil","This article reports on the feasibility of using the assessment criteria for solfège proposed by Davidson, Scripp, and Meyaard as a way to assess a group of Brazilian undergraduate students. The experiment was carried out in 2003, with 16 first-year students in a variety of majors, each with different levels of previous music experience. The average age of the students was 20 years old. Students’ performances of solfège were quantitatively and qualitatively analyzed according to the criteria proposed by Davidson and colleagues. Through the analysis, we found aspects that were not predicted by the authors. The criteria of Davidson and colleagues for quantitative and qualitative assessment were then adapted to our context and enlarged. An individual assessment form was also introduced. The results suggest that the qualitative criteria provided guidelines to the students for improving and fostering their approach to music reading procedures. Qualitative criteria also provided a consistent means of self-assessment for the students’ vocal performance. © 2010, SAGE Publications. All rights reserved.","assessment criteria and procedures; music reading; qualitative and quantitative assessment; sight-singing; solfège","","","","","","","","Davidson L., Scripp L., A developmental view of sightsinging, Journal of Music Theory Pedagogy, 2, 1, pp. 10-23, (1988); Davidson L., Scripp L., Framing the dimensions of sightsinging: Teaching toward musical development, Journal of Music Theory Pedagogy, 2, 1, pp. 24-50, (1988); Davidson L., Scripp L., Meyaard J., Sightsinging ability: A quantitative and qualitative point of view, Journal of Music Theory Pedagogy, 2, 1, pp. 51-68, (1988); Davidson L., Scripp L., Flechter A., Enhancing sight-singing skills through reflective writing: A new approach to the undergraduate theory curriculum, Journal of Music Theory Pedagogy, 9, 1, pp. 1-28, (1995); Demorest S.M., Improving sight-singing performance in the choral ensemble: The effect of individual testing, Journal of Research in Music Education, 46, 2, pp. 182-192, (1998); Demorest S.M., Building choral excellence - teaching sight-singing in the choral rehearsal, (2001); Gerling C.C., Projeto de um programa de leitura musical em alunos de graduação em música [Project for music reading program for music undergraduate students], Boletim do NEA, 3, 1, pp. 50-57, (1995); Karpinski G.S., Aural skills acquisition, (2000); Santos R.A.T., Proposta de desenvolvimento de leitura musical de Davidson & Scripp: uma análise teórico-interpretativa [Program for developing music reading by Davidson & Scripp: A theoretical-interpretive analysis], (2003); Santos R.A.T., Del Ben L., Contextualized improvisation in solfège class, International Journal of Music Education, 22, pp. 271-282, (2004); Welch G.F., Sundberg J., Solo voice, The science and psychology of music performance, pp. 253-268, (2002); White J.D., Guidelines for college teaching of music theory, (2002)","","","","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-84993728813"
"Gillman E.; Underwood G.; Morehen J.","Gillman, Elizabeth (26036369200); Underwood, Geoffrey (59635557500); Morehen, John (26036410000)","26036369200; 59635557500; 26036410000","Recognition of visually presented musical intervals","2002","Psychology of Music","30","1","","48","57","9","5","10.1177/0305735602301006","https://www.scopus.com/inward/record.uri?eid=2-s2.0-61049374289&doi=10.1177%2f0305735602301006&partnerID=40&md5=7bc4287de17d938b344cc242e7758b98","School of Psychology, Nottingham, NG7 2RD, University Park, United Kingdom","Gillman E., School of Psychology, Nottingham, NG7 2RD, University Park, United Kingdom; Underwood G., School of Psychology, Nottingham, NG7 2RD, University Park, United Kingdom; Morehen J., School of Psychology, Nottingham, NG7 2RD, University Park, United Kingdom","The recognition of intervals is likely to underlie skilled sight-reading, since auditory coding and fingering selection are normally dependent on the relative pitches of notes in the score. Therefore, the purpose of this experiment is to investigate the processing of visually presented intervals. Participants were required to perform a matching task, indicating whether two consecutively presented intervals were the ""same"" or ""different"". These pairs of intervals were visually similar, visually dissimilar or spatially dissimilar. Sight-readers were most accurate at judging ""same"" intervals when pairs were visually similar and least accurate at judging ""same"" intervals when pairs were spatially dissimilar. Conversely, sight-readers were most accurate at judging ""different"" intervals when pairs were spatially dissimilar and least accurate at judging ""different"" intervals when pairs were visually similar. This interaction between actual similarity and visual similarity was greater for poor sight-readers compared with good sight-readers. © 2002 by the Society for Research in Psychology of Music and Music Education.","","","","","","","","","Benguerel A., Westdal C., Absolute pitch and the perception of sequential musical intervals, Music Perception, 9, 1, pp. 105-120, (1991); Lynch M.P., Eilers R.E., Oller K.D., Urbano R.C., Wilson P., Influences of acculturation and musical sophistication on perception of musical interval patterns, Journal of Experimental Psychology: Human Perception and Performance, 17, 4, pp. 967-975, (1991); Smith J.D., Nelson D.G.K., Grohshkopf L.A., Appleton T., What child is this? What interval was that? Familiar tunes and music perception in novice listeners, Cognition, 52, pp. 23-54, (1994); Tsuzaki M., Effects of the preceding scale on melodic interval judgement in terms of equality and size, Music Perception, 9, 1, pp. 47-70, (1991); Townsend E.J., Sight-Reading Expertise: The Role ofAuditory Representations, (1997); Waters A.J., Townsend E., Underwood G., Expertise in musical sight-reading: A study of pianists, British Journal of Psychology, 89, pp. 123-149, (1998)","E. Gillman; School of Psychology, Nottingham, NG7 2RD, University Park, United Kingdom; email: lpxerg@psychology.nottingham.ac.uk","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-61049374289"
"Soto A.C.; Lum C.-H.; Campbell P.S.","Soto, Amanda Christina (35206974500); Lum, Chee-Hoo (26034390500); Campbell, Patricia Shehan (26034231100)","35206974500; 26034390500; 26034231100","A university-school music partnership for music education majors in a culturally distinctive community","2009","Journal of Research in Music Education","56","4","","338","356","18","27","10.1177/0022429408329106","https://www.scopus.com/inward/record.uri?eid=2-s2.0-63149172238&doi=10.1177%2f0022429408329106&partnerID=40&md5=eb1d9c1e117d81e8502ce7b5dac6955e","University of Washington, Seattle, United States; University of Washington, School of Music, Box 353450, Seattle, WA 98195, United States; National Institute of Education, Nanyang Technological University, Singapore, Singapore","Soto A.C., University of Washington, Seattle, United States, University of Washington, School of Music, Box 353450, Seattle, WA 98195, United States; Lum C.-H., National Institute of Education, Nanyang Technological University, Singapore, Singapore; Campbell P.S., University of Washington, Seattle, United States","University-community collaborations are a fairly recent phenomenon, which has often been manifested through the establishment of university partnerships with schools. This research sought to document the process and outcomes of a university-school collaboration called Music Alive! in the Valley (MAV), a yearlong partnership between 33 university music education students and faculty with an elementary school within a rural location of a western state. MAV was intended to serve a Mexican American migrant community whose children frequently spoke only Spanish at home and to provide occasions for university students of music education to engage in positive social contact via music performances, participation, and training experiences. An ethnographic method was employed by which observations,interviews, and examination of material culture were assembled over the course of the school year, and an assessment was ffered of the benefits and challenges in the creation of a music education partnership in distinctive (and remote) culturalcommunities. © 2009 MENC.","Ethnographic research; Teacher education; University-community partnership; World music pedagogy","","","","","","","","Berg B.L., Qualitative research methods for the social sciences, (2001); Buys N., Bursnall S., Establishing university-community partnerships: Processes and benefits, Journal of Higher Education Policy and Management, 29, 1, pp. 73-86, (2007); Campbell P.S., Lessons from the Yakama, The Mountain Lake Reader, pp. 46-51, (2001); Campbell P.S., Musician and teacher: An orientation to music education, (2008); Cox D., Developing a framework for understanding university-community partnerships, Cityscape: A Journal of Policy Development and Research, 5, 1, pp. 9-26, (2000); Creswell J.W., Educational research: Planning, conducting, and evaluating quantitative and qualitative research, (2005); DeMulder E.K., Eby K.K., Bridging troubled waters: Learning communities for the 21st century, American Behavioral Scientist, 42, pp. 892-901, (1999); Dewar M.E., Isaac C.B., Learning from difference: The potentially transforming experience of community-university collaboration, Journal of Planning Education and Research, 17, pp. 334-337, (1998); Drummond J., Cultural diversity in music education: Why bother?, Cultural diversity in music education: Directions and challenges for the 21st century, pp. 1-12, (2005); Emerson R.M., Fretz R.I., Shaw L.L., Writing ethnographic fieldnotes: Chicago guides to writing, editing, and publishing, (1995); Fontana A., Frey J.H., Interviewing: The art of science, Handbook of qualitative research, pp. 1-33, (2005); Goodlad J.I., A place called school: Prospects for the future. A study of schooling in the United States, (1984); Graue M.E., Walsh D.J., Studying children in context: Theories, methods, and ethics, (1998); Jassawalla A.R., Sashittal H.C., An examination of collaboration in high-technology new product development processes, Journal of Product Innovation Management, 15, pp. 237-254, (1998); Joseph N., A week of sharing in the Yakima valley, (2007); Myers D., Symposium: Arts education and arts partnerships, Arts Education Policy Review, 105, 1, (2003); Paige R.M., Cohen A., Kappler B., Chi J., Lassegard J., Maximizing study abroad: A student's guide to strategies for language and culture learning and use, (2002); Sargent L.D., Waters L.E., Careers and academic research collaborations: An inductive process framework for understanding successful collaborations, Journal of Vocational Behavior, 64, pp. 308-319, (2004); Schippers H., Taking distance and getting up close: The seven-continuum transmission model (SCTM), Cultural diversity in music education: Directions and challenges for the 21st century, pp. 29-36, (2005); Schmidt-Rinehart B., Knight S.M., The homestay component of study abroad: Three perspectives, Foreign Language Annals, 37, 2, pp. 254-262, (2004); Spradley J.P., Participant observation, (1980); Walsh D., Best practices in university-community partnerships: Lessons learned from a physicalactivity-based program, Journal of Physical Education and Recreation, 77, 4, pp. 45-53, (2006)","A. C. Soto; University of Washington, School of Music, Box 353450, Seattle, WA 98195, United States; email: sotoa@u.washington.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-63149172238"
"Schön D.; Semenza C.; Denes G.","Schön, Daniele (7004198301); Semenza, Carlo (7006077078); Denes, Gianfranco (55305259300)","7004198301; 7006077078; 55305259300","Naming of musical notes: A selective deficit in one musical clef","2001","Cortex","37","3","","407","421","14","21","10.1016/S0010-9452(08)70581-1","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0034915766&doi=10.1016%2fS0010-9452%2808%2970581-1&partnerID=40&md5=8188ed65c62db8abe7ae489b557078da","Department of Psychology, University of Trieste, CRNC-CNRS, Marseille, France; Department of Psychology, B.R.A.I.N. Neuroscience Centre, University of Trieste, Italy; Department of Neurology, Venice Hospital, University of Padova, Italy","Schön D., Department of Psychology, University of Trieste, CRNC-CNRS, Marseille, France; Semenza C., Department of Psychology, B.R.A.I.N. Neuroscience Centre, University of Trieste, Italy; Denes G., Department of Neurology, Venice Hospital, University of Padova, Italy","We investigated the ability to perform solfeggio, i.e. oral reading of musical notes in MP, a 65 year-old female professional musician, who, following a left temporoparietal ischemia, showed a complex pattern of amusia. The deficit on which we focused was her inability to read orally the bass (F) clef, often substituting it with the violin (G) clef. This problem could not be attributed to a lack of comprehension. The patient could in fact correctly perform on the piano the same sequences she erroneously read aloud; she was also able to correctly judge whether two strings, one in bass clef and the other in violin clef, represented the same sequence of notes. The problem seems to lie in the inability to retrieve note names keeping into account the clef-rule. It is hypothesized that, in the production of note names, this function requires the identification and application of syntactic-like information, in analogy with what is thought to happen in the retrieval of other words.","Amusia; Clefs; Lesion; Music; Naming; Reading","aged; amusia; article; brain ischemia; case report; comprehension; conduction aphasia; disorders of higher cerebral function; dyslexia; female; human; music; musician; neuropsychological test; parietal lobe; reading; speech intelligibility; task performance; temporal lobe; writing","","","","","Ministero dell’Università e della Ricerca Scientifica; Università degli Studi di Padova, UNIPD","Aphasia, Venice, 1999. The authors are deeply indebted to M.P., whose patient collaboration was crucial in carrying out this study. Isabelle Peretz provided very useful comments on a previous version of this paper. Support is acknowledged by a grant from the University of Padova to Daniele Schön and by Ministero dell’Università e della Ricerca Scientifica to Carlo Semenza.","Musical Perceptions, (1994); Assal G., Buttet J., Agraphie et conservation de l'écriture musicale chez un professeur de piano bilingue, Revue Neurologique, 139, pp. 569-574, (1983); Basso A., The neuropsychology of music, Handbook of Neuropsychology, pp. 409-418, (1999); Basso A., Capitani E., Spared musical abilities in a conductor with global aphasia and ideomotor apraxia, Journal of Neurology, Neurosurgery and Psychiatry, 48, pp. 407-412, (1985); Benton A., Le amusie, La Musica e il Cervello, pp. 111-135, (1977); Besson M., Faita F., An event-related potential (ERP) study of musical expectancy: Comparison of musicians with nonmusicians, Journal of Experimental Psychology: Human Perception and Performance, 21, pp. 1278-1296, (1995); Bigand E., Contribution of music to research in human auditory cognition, Thinking in Sound: The Cognitive Psychology of Human Audition, pp. 231-277, (1993); Bock J.K., Miller C.A., Broken agreement, Cognitive Psychology, 23, pp. 35-43, (1991); Brust J., Music and language: Musical alexia and agraphia, Brain, 103, pp. 367-392, (1980); Cappelletti M., Waley-Cohen H., Butterworth B., Kopelman M., A selective loss of the ability to read and write music, Neurocase, 6, pp. 321-332, (2000); Carrol-Phelan B., Hampson P.J., Multiple components of the perception of musical sequences: A cognitive neuroscience analysis and some implications for auditory imagery, Music Perception, 13, pp. 517-561, (1996); Clynes M., Music, Mind and Brain, (1982); Perception and Cognition of Music, (1997); The Psychology of Music, (1982); Dowling W.J., Recognition of melodic transformations: Inversion, retrograde, and retrograde inversion, Perception and Psychophysics, 12, pp. 417-421, (1972); Dowling W., Scale and contour: Two components of a theory of memory for melodies, Psychological Review, 85, pp. 341-354, (1978); Fasanaro A.M., Spitaleri D.L., Valiani R., Dissociation in musical reading: A musician affected by alexia without agraphia, Music Perception, 7, pp. 259-272, (1990); Fries W., Swihart A., Disturbance of rhythm sense following right hemisphere damage, Neuropsychologia, 28, pp. 1317-1323, (1990); Gates A., Bradshaw J.L., The role of the cerebral hemispheres in music, Brain and Language, 4, pp. 403-431, (1977); Goolsby T., Profiles of processing: Eye movements during sight-reading, Music Perception, 12, pp. 97-123, (1994); Halpern A., Bower G., Musical expertise and melodic structure in memory for musical notation, American Journal of Psychology, 95, pp. 31-50, (1982); Horikoshi T., Asari Y., Watanabe A., Nagaseki Y., Nukui H., Sasa K.H., Komiya K., Music alexia in a patient with mild pure alexia: Disturbed visual perception of nonverbal meaningful figures, Cortex, 33, pp. 187-194, (1997); Howell P., West R., Cross I., Representing Musical Structure, (1991); Judd T., Gardner H., Geschwind N., Alexia without agraphia in a composer, Brain, 106, pp. 435-457, (1983); Lerdahl F., Jackendoff R., A Generative Theory of Tonal Music, (1983); Levelt W.J.M., Speaking: From Intention to Articulation, (1989); Luzzatti C., Willmes K., De Bleser R., AAT Aachener Aphasie Test, (1991); Marin O., Neurological aspects of music perception and performance, The Psychology of Music, pp. 453-473, (1982); Mavlov L., Amusia due to rhythm agnosia in a musician with LHD: A nonauditory supramodal defect, Cortex, 16, pp. 331-338, (1980); McCloskey M., Cognitive mechanism in numerical processing. Evidence from acquired acalculia, Cognition, 44, pp. 107-157, (1992); Miceli G., Caramazza A., Dissociation of inflectional and derivational morphology: Evidence from aphasia, Brain and Language, 35, pp. 24-65, (1988); Ochipa C., Rothi L.J.G., Heilman K.M., Ideational apraxia: A deficit in tool selection and use, Annals of Neurology, 25, pp. 190-193, (1989); Palmer C., Kruhmhansl C.L., Independent temporal and pitch structures in determination of musical phrases, Journal of Experimental Psychology: Human Perception and Performance, 13, pp. 116-126, (1987); Peretz I., Processing of local and global musical information by unilateral brain-damaged patients, Brain, 113, pp. 1185-1205, (1990); Peretz I., Auditory agnosia: A functional analysis, Thinking in Sound: The Cognitive Psychology of Human Audition, pp. 199-230, (1993); Peretz I., Can we lose memory for music? A case of music agnosia in a nonmusician, Journal of Cognitive Neuroscience, 8, pp. 481-496, (1996); Peretz I., Belleville S., Fontaine S., Dissociations entre la musique et le langage après atteinte cérébrale: Un nouveau cas d'amusie sans aphasie, Revue Canadienne de Psychologie Expérimentale, 51, pp. 354-367, (1997); Peretz I., Kolinsky R., Boundaries of separability between melody and rhythm in music discrimination: A neuropsychological perspective, The Quarterly Journal of Experimental Psychology, 46 A, pp. 301-325, (1993); Peretz I., Morais J., Music and modularity, Contemporary Music Review, 4, pp. 279-293, (1989); Semenza C., Lexical-semantic disorders in aphasia, Handbook of Neuropsychology, pp. 215-244, (1999); Signoret J.L., Van Eeckhout P., Poncet M., Castaigne P., Aphasie sans amusie chez un organiste aveugle, Revue Neurologique, 143, pp. 172-181, (1987); Sloboda J., Visual perception of musical notation: Registering pitch symbols in memory, Quarterly Journal of Experimental Psychology, 28, pp. 1-16, (1976); Sloboda J., The Musical Mind. The Cognitive Psychology of Music, (1985); Spinnler H., Tognoni G., Standardizzazione e taratura italiana di test neuropsicologici, Italian Journal of Neurological Sciences, 6, SUPPL. 8, (1987); Stanzione M., Grossi D., Roberto L., Note-by-note music reading: A musician with letter by letter reading, Music Perception, 7, pp. 273-284, (1990); Vigliocco G., Butterworth B., Semenza C., Constructing subject-verb agreement in speech: The role of semantic and morphological factors, Journal of Memory and Language, 34, pp. 186-215, (1995); Vigliocco G., Butterworth B., Semenza C., Fosselle S., How two aphasic speakers construct subject-verb agreement, Journal of Neurolinguistics, 8, pp. 19-25, (1994); Wolf T., A cognitive model of musical sight reading, Journal of Psycholinguistic Research, 5, pp. 143-171, (1976)","D. Schön; 35139 Padova, via Frigimelica 10, Italy; email: danschon@yahoo.com","","Masson SpA","","","","","","00109452","","CRTXA","","English","Cortex","Article","Final","","Scopus","2-s2.0-0034915766"
"Phuthego M.","Phuthego, Mothusi (26034890600)","26034890600","The identification of needs for the provision of in-service training in music education in Botswana","1998","British Journal of Music Education","15","2","","191","200","9","1","10.1017/S0265051700009347","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85041034646&doi=10.1017%2fS0265051700009347&partnerID=40&md5=336ec2f7bb40b8c2b3bcb3b78997f9a3","","","This study investigates the in-service training needs of the primary school generalist teacher in Botswana. The findings established that singing is a major cross-curricular activity in schools. Dance on the other hand, despite being the most popular form of entertainment in and outside school, is not regarded as an aspect of music education. Instrumental teaching is virtually non-existent. Teachers’ interests in further musical training are influenced by a misconception that singing should be the main activity in music lessons. As a result most are only interested in improving their skills in areas that will improve their singing, such as theory of music to aid sight reading. © 1998 Cambridge University Press.","","","","","","","","","Bradley J., Chesson R., Silverleaf J., Inside Staff Development, (1983); Day C., Classroom Based In-Service Teacher Education: The Development and Evaluation of a Client-Centred Model, (1981); Jones K., Clark J., Figg G., Howarth S., Reid K., Staff Development in Primary Schools, (1989); McGinn N.F., Borden A.M., Framing Questions, Constructing Answers: Linking Research with Educational Policy for Developing Countries, (1995); Report of the National Commission on Education, (1993); William M., In-Service Education and Training, (1991)","","","","","","","","","02650517","","","","English","Br. J. Music Educ.","Article","Final","","Scopus","2-s2.0-85041034646"
"Gromko J.E.; Walters K.","Gromko, Joyce Eastlund (26035992400); Walters, Karen (53564283000)","26035992400; 53564283000","The Development of Musical Pattern Perception in School-Aged Children","1999","Research Studies in Music Education","12","1","","24","29","5","1","10.1177/1321103X9901200103","https://www.scopus.com/inward/record.uri?eid=2-s2.0-61049226199&doi=10.1177%2f1321103X9901200103&partnerID=40&md5=a890460685d85817528b467628ce555e","College of Musical Arts; Graduate College, Bowling Green State University, Bowling Green, OH, United States; Bowling Green State University","Gromko J.E., College of Musical Arts, Graduate College, Bowling Green State University, Bowling Green, OH, United States; Walters K., Bowling Green State University","The purpose of this study was to investigate whether children's development of musical pattern perception is a function of their audiation ability, as measured by the Intermediate Measures of Music Audiation (IMMA). The IMMA is a test of children's ability to compare short tonal and rhythmic musical patterns (Gordon, 1982). All elementary children (N = 48) at a private elementary school participated in musical activity from January 1998 through May 1998. Children sang songs; played songs on recorder and hand drum; performed in an Orff Schulwerk orchestra; read selected rhythmic patterns using syllables from the French conservatory system; and sang and signed selected melodic patterns using solfege syllables and Curwen hand signs, one hour weekly from January through May, 1998. A univariate repeated measures analysis of covariance (ANCOVA), with tonal pretest and posttest as dependent variables, audiation group as factor and age as covariate, showed a significant main effect for audiation group, F (1, 45) = 24.93, p<.001. A univariate repeated measures analysis of covariance (ANCOVA), with rhythm pretest and posttest as dependent variables, audiation group as factor and age as covariate, showed a significant interaction between gain from pretest to posttest and audiation group. High audiation children, with an adjusted rhythm posttest mean of 33.84 (SE = 0.48), gained +1.52; low audiation children, with an adjusted rhythm posttest mean of 29.96 (SE = 0.53), showed a net loss of -1.57. These results show that children with differing levels of audiation ability respond to musical sound differently. Whereas children may have positive musical experiences, they may not necessarily use visual, tactile, kinesthetic, or spatial information to organize their perception of musical sound into patterned mental images.","","","","","","","","","Bebeau M., Effects of traditional and simplified methods of rhythm-reading instruction, Journal of Research in Music Education, 30, 2, pp. 107-119, (1982); Borg W., Gall M., Educational Research, (1983); Boyle J.D., The effect of prescribed rhythmical movements on the ability to read music at sight, Journal of Research in Music Education, 18, 4, pp. 307-318, (1970); Bruner J., The Process of Education, (1960); Domer J., Gromko J., Qualitative Changes in Preschoolers' Invented Notations Following Music Instruction, Contributions to Music Education, 23, pp. 62-78, (1996); Dowling J., Music Cognition, (1986); Flohr J.W., Short-term music instruction and young children's developmental music aptitude, Journal of Research in Music Education, 29, pp. 219-223, (1981); Gordon E., Primary Measures of Music Audiation, (1979); Gordon E., Intermediate Measures of Music Audiation, (1982); Gromko J., Children's invented notations as measures of musical understanding, Psychology of Music, 22, pp. 136-147, (1994); Gromko J., Poorman A., Does perceptual-motor performance enhance perception of patterned art music, MUSICÆ SCIENTIÆ: The Journal of the Ettropean Society for the Cognitive Sciences of Music, 2, 2, pp. 157-170, (1998); Lewis B., The effect of movement-based instruction on first - And third - Graders' achievement in selected music listening skills, Psychology of Music, 16, 2, pp. 128-142, (1988); Martini J., The Effects of An Enriched Program of Rhythmic Instruction Which Integrates Auditory, Visual, and Kinesthetic Learning Modalities on the Rhythmic and Overall Sight-reading Abilities of Ninth Grade Instrumental Music Students, (1998); Metz E., Movement as a musical response among preschool children, Journal of Research in Music Education, 37, 1, pp. 48-60, (1989); Morrongiello B.A., Roes C.L., Developmental changes in children's perception of musical sequences: Effects of musical training, Developmental Psychology, 26, 5, pp. 814-820, (1990); Mueller A., The Effect of Movement-based Instruction on the Melodic Perception of Primary-age General Music Students, (1993); Persellin D., Responses to rhythm patterns when presented to children through auditory, visual, and kinesthetic modalities, Journal of Research in Music Education, 40, 4, pp. 306-315, (1992); Rauscher F., Shaw G., Ky K., Listening to Mozart enhances spatial-temporal reasoning: Towards a neurophysiological basis, Neuroscience Letters, 185, pp. 44-47, (1995); Rideout B., Laubach C., EEG correlates of enhanced spatial performance following exposure to music, Perceptual and Motor Skills, 82, pp. 427-432, (1996); Wilson T., Brown T., Reexamination of the effect of Mozart's music on spatial-task performance, The Journal of Psychology, 131, 4, pp. 365-370, (1997); Wis R., Gesture and Body Movement As Physical Metaphor to Facilitate and to Enhance Musical Erperience in the Choral Rehearsal, (1993); Bisgaard E., Stehouwer G., Grizzly Bear, (1976); Orff C., Keetman G., Canon 46, Music for Children i, (1956); Rao D., Siyahamba (African Song), (1991); Sletto B., Two Native American Folk Songs, (1995); Solomon J., Painted Bunting, Tropical Recorder, pp. 16-17, (1990); Stadler W., Perchermeier M., Study 7, (1981)","","","","","","","","","18345530","","","","English","Res. Stud. Music Educ.","Article","Final","","Scopus","2-s2.0-61049226199"
"Reifinger J.L., Jr.","Reifinger, James L. (35185379600)","35185379600","An analysis of tonal patterns used for sight-singing instruction in second-grade general music class","2009","Journal of Research in Music Education","57","3","","203","216","13","4","10.1177/0022429409343099","https://www.scopus.com/inward/record.uri?eid=2-s2.0-70549098314&doi=10.1177%2f0022429409343099&partnerID=40&md5=a52e6f9464fd867b0358fd5a082444bb","University of Houston, TX, United States","Reifinger J.L., Jr., University of Houston, TX, United States","This research examined characteristics of a select group of tonal patterns to identify features that may affect the initial acquisition of skill in sight-singing pitch. Second graders (N = 193) individually read and sang 25 tonal patterns on a sight-singing pretest, posttest, and retention test. Between the pre- and posttest, the students practiced 15 of the patterns during general music classes, with one new pattern introduced and all previously presented patterns reviewed each session.Ten patterns not included in the instruction were read and sung only during tests. No pattern practice occurred for 8 weeks between the posttest and retention test. Sight-singing performance was assessed for pitch accuracy and contour accuracy. Pattern difficulty indices and difficulty rankings were determined on the basis of the results. Specific pattern features are considered in relation to these data, with some characteristics affecting accuracy with pitch and contour differently. © 2009 MENC:The National Association for Music Education.","Elementary children; Literacy; Pitch accuracy; Sight-singing; Tonal patterns","","","","","","","","Anvari S.H., Trainor L.J., Woodside J., Levy B.A., Relations among musical skills, phonological processing, and early reading ability in preschool children, Journal of Experimental Child Psychology, 83, pp. 111-130, (2002); Choksy L., The Kodály Method I: Comprehensive Music Education, (1999); Dowling W.J., Harwood D.L., Music Cognition, (1986); Flowers P.J., Dunne-Sousa D., Pitch-pattern accuracy, tonality, and vocal range in preschool children's singing, Journal of Research in Music Education, 38, pp. 102-114, (1990); Gamble D.K., A Study of the Effects of Two Types of Tonal Pattern Instruction on the Audiational and Performance Skills of First-year Clarinet Students, 50, 4, (1989); Goetze M., Cooper N., Brown C.J., Recent research on singing in the general music classroom, Bulletin of the Council for Research in Music Education, 104, pp. 16-37, (1990); Gordon E., Tonal and Rhythm Patterns: An Objective Analysis, (1976); Gordon E.E., Learning Sequences in Music: Drill, Content, and Patterns, (2003); Hoffer C.R., Teaching Music in the Secondary Schools, (2001); Holahan J.M., Saunders T.C., Children's discrimination of tonal patterns: Pattern contour, response time, and item difficulty level, Bulletin of the Council for Research in Music Education, 132, pp. 85-101, (1997); Levinowitz L.M., Barnes P., Guerrini S., Clement M., D'April P., Morey M.J., Measuring singing voice development in the elementary general music classroom, Journal of Research in Music Education, 46, pp. 35-47, (1998); Martin B.E., Effects of hand signs, syllables, and letters on first grader's acquisition of tonal skills, Journal of Research in Music Education, 39, pp. 161-170, (1991); Persky H., Sandene B., Askew J., The 1997 NAEP Arts Report Card (NCES 1999-486), (1998); Petzold R.G., The perception of music symbols in music reading by normal children and by children gifted musically, Journal of Experimental Education, 28, pp. 271-319, (1960); Sinor E., The Singing of Selected Tonal Patterns by Preschool Children, 45, (1985); Stankov L., Horn J.L., Human abilities revealed through auditory tests, Journal of Educational Psychology, 72, pp. 22-44, (1980); Walker R., Teaching basic musical concepts and their staff notations through cross-modal matching symbols, Psychology of Music, 9, pp. 31-38, (1981)","J. L. Reifinger; 120 School of Music Bldg., Houston, TX 77204-4017, United States; email: Reifinger@alumni.iu.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-70549098314"
"Kendall M.J.","Kendall, Michael J. (57189585880)","57189585880","Two Instructional Approaches to the Development of Aural and Instrumental Performance Skills","1988","Journal of Research in Music Education","36","4","","205","219","14","8","10.2307/3344874","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84973185769&doi=10.2307%2f3344874&partnerID=40&md5=2130990f52c249f258e0db8cf335328f","University of Tulsa, United States","Kendall M.J., University of Tulsa, United States","The purpose of this study was to determine whether beginning instrumental students taught with a modeling (aural and kinesthetic) mode of instruction would develop better aural musicianship and instrumental performance skills than would beginning instrumental students taught with a comprehensive (aural, kinesthetic, and visual) mode of instruction. The author randomly assigned students from four intact instrumental classes (N = 76) to either a modeling or a comprehensive treatment. The instructional activities for these treatments consisted of a sequence of imitation, discrimination, and association activities. The primary difference between the groups was that the comprehensive treatment included music reading activities but the modeling treatment did not. Test score analyses indicated that differences between the groups were not significant on the ear-to-hand coordination test and the performance test but were significant, favoring the comprehensive treatment, on the verbal association test and the sight-reading test. The data indicated that the introduction of music reading activities did not impede the development of students’ aural and instrumental performance skills. © 1988, SAGE Publications. All rights reserved.","","","","","","","","","Andrews F., Issues and problems in music education, Music Educators Journal, 49, 1, pp. 39-41, (1962); Ashley R., Austin L., Stockhausen K., Conversation, Source, 7, 1, (1967); Bolden J., The influences of selected factors on growth in sight and rhythmic reading, Dissertation Abstracts International, 28, (1967); Boyle J., The effect of prescribed rhythmical movements on the ability to sight read music, Dissertation Abstracts International, 29, (1968); Ernst K., Music in the schools, Music Educators Journal, 48, 3, (1962); Froseth J., The comprehensive music instructor: Listen, move, sing, and play for band, Book 1, (1984); Froseth J., The comprehensive music instructor: Listen, move, sing, and play for band, Supplementary book 1, Perform live, (1984); Froseth J., Teacher's planning guide to the comprehensive music instructor: Listen, move, sing, and play, (1984); Froseth J., A longitudinal study of the relationship between ear-to-hand coordination and selected indices of music achievement at the University of Michigan School of Music, (1985); Froseth J., The comprehensive music instructor: Instrumental ear training and intonation studies, (1985); Froseth J., The comprehensive music instructor: Solfege training and intonation studies, (1985); Gordon E., Manual of the “Musical Aptitude Profile.”, (1965); Gordon E., The psychology of music teaching, (1971); Gordon E., Learning sequences in music: Skill, content, and patterns, (1980); Greer R.D., Design for music learning, (1980); Hartshorn W., The study of music as an academic discipline, Music Educators Journal, 49, 3, pp. 25-28, (1963); Hicks C., Sound before sight: Strategies for teaching music reading, Music Educators Journal, 66, 8, pp. 53-55, (1980); Holz E., Jacobi R., Teaching band instruments to beginners, (1966); House R., Developing an educative setting for performing groups, Music Educators Journal, 53, 1, pp. 54-56, (1966); Klemish J., A comparative study of two methods of teaching reading to first-grade children, Journal of Research in Music Education, 18, pp. 354-360, (1970); Luce J., Sight-reading and ear-playing abilities as related to the training and background of instrumental music students, Dissertation Abstracts International, 19, (1958); Mills E., To parents concerned about music reading, The Suzuki concept, (1973); Teacher education in music: An interim report of the MENC Commission on Teacher Education, Music Educators Journal, 57, 2, (1970); Musical competencies for classroom teachers: An initial report from Task Group IV of the MENC Commission on Teacher Education, Music Educators Journal, 57, 9, (1971); Norusis J., SPSSx advanced statistics guide, (1985); Petzold R., The perception of music symbols in music reading by normal children and by children gifted musically, Journal of Experimental Education, 28, pp. 269-311, (1960); Richardson H., An experimental study utilizing two procedures for teaching music reading to children in second grade, Dissertation Abstracts International, 32, (1971); Sang R., Modified path analysis of a skills-based instructional effectiveness model for beginning teachers in instrumental music education, Dissertation Abstracts International, 43, (1982); Schleuter S., A sound approach to teaching instrumentalists, (1984); Schultz E.J., Fundamental experiences in rhythm, Educational Music Magazine, 32, pp. 16-17, (1953); Seashore C., The psychology of music, (1938); Shuter R., The psychology of musical ability, (1968); Sloboda J., The psychology of music reading, Psychology of Music, 6, pp. 2-20, (1970); Sperti J., Adaptation of certain aspects of the Suzuki method to the teaching of the clarinet: An experimental investigation testing the comparative effectiveness of two different pedagogical methodologies, Dissertation Abstracts International, 32, (1970); Suzuki S., Nurtured by love: A new approach to education, (1983)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84973185769"
"Goldstein D.","Goldstein, David (57213580794)","57213580794","Music pedagogy for the blind","2000","International Journal of Music Education","35","1","","35","39","4","11","10.1177/025576140003500112","https://www.scopus.com/inward/record.uri?eid=2-s2.0-61149448733&doi=10.1177%2f025576140003500112&partnerID=40&md5=5d5f0495397a70709b1192cf81e17674","","","[No abstract available]","","","","","","","","","","","","","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-61149448733"
"Henry M.L.","Henry, Michele L. (26121259200)","26121259200","The use of targeted pitch skills for sight-singing instruction in the choral rehearsal","2004","Journal of Research in Music Education","52","3","","206","217","11","13","10.2307/3345855","https://www.scopus.com/inward/record.uri?eid=2-s2.0-61449415255&doi=10.2307%2f3345855&partnerID=40&md5=97d35197776dc4bb8ffb0a724b42c376","Baylor University; Department of Music Education, School of Music, Baylor University, Waco, TX 76798, PO Box 97408, United States","Henry M.L., Baylor University, Department of Music Education, School of Music, Baylor University, Waco, TX 76798, PO Box 97408, United States","The purpose of this study was to determine the effectiveness of sight-singing instruction using specific pitch skills emphasizing scale degree and harmonic function. Fifteen pitch skills encompassing scalar, cadential, and chordal tasks were included in the study. Over a 12-week period, two randomly assigned groups of novice high school singers received instruction. Group A (n = 41) received instruction with new melothes written specifically to incorporate the targeted skills. Group B (n = 26) received instruction using familiar melodies that contained the same skills. All participants (n = 67) achieved a significantly higher mean score on the posttest than on the pretest (t = 4.38, 66 df, p < .00004). Each treatment group also obtained significantly higher mean scores on the posttest than on the pretest; however, there was no significant difference between the two treatments. Targeting specific pitch skills in both familiar and unfamiliar melothes shows promise as an effective tool for sight-singing instruction. Copyright © 2004 by MENC: The National Association for Music Education.","","","","","","","","","Antholz J., The effect of accompaniment types on sightsinging note accuracy, Missouri Journal of Research in Music Education, 31, (1994); Boyle D., Lucas K., The effect of context on sightsinging, Bulletin of the Council for Research in Music Education, 106, pp. 1-9, (1990); Cho G., Melodic, dyadic, and harmonic sight singing: Graded exercises, (1989); National standards for arts education: What every young American should know and be able to do in the arts, (1994); Demorest S., Improving sight-singing performance in the choral ensemble: The effect of individual testing, Journal of Research in Music Education, 46, pp. 182-192, (1998); Demorest S., May W., Sight-singing instruction in the choral ensemble: Factors related to individual performance, Journal of Research in Music Education, 43, pp. 156-167, (1995); Folkes-Levy L., Tonal markers, melodic patterns, and musicianship training, part I: Rhythm reduction, Journal of Alusic Theory Pedagogy, 11, pp. 1-25, (1997); Frances R., Tonal principles as teaching principles in music, Aiusic Perception, 2, pp. 389-396, (1985); Gordon E., Learning sequences in music: A music learning theory, (1997); Grutzmacher P., The effect of tonal pattern training on the aural perception, reading recognition, and melodic sight-reading achievement of first-year instrumental music students, Journal of Research in Music Education, 35, pp. 171-181, (1987); Henry M., Demorest S., Individual sight-singing achievement in successful choral ensembles, Update: Applications of Research in Music Education, 13, 1, pp. 4-8, (1994); Henry M., The development of a vocal sight-reading inventory (VSRI), Bulletin of the Council for Research in Music Education, 150, pp. 21-35, (2001); Henry M., A comparison of two differing testing formats for vocal sight-reading assessment, Texas Music Education Research, pp. 2-9, (2003); Jones M., An investigation of the difficulty levels of selected tonal patterns as perceived aurally and performed vocally by high school students. Unpublished doctoral dissertation, (1979); Lucas K., Contextual condition and sightsinging achievement of middle school choral students, Journal of Research in Music Education, 42, pp. 203-216, (1994); Sheldon D., Effects of contextual sight-singing and aural skills training on error-detection abilities, Journal of Research in Music Education, 46, pp. 384-395, (1998)","M. L. Henry; Baylor University, United States; email: Michele-Henry@baylor.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-61449415255"
"Rayner K.; Pollatsek A.","Rayner, Keith (7005668331); Pollatsek, Alexander (7006169603)","7005668331; 7006169603","Eye movements, the eye-hand span, and the perceptual span during sight-reading of music","1997","Current Directions in Psychological Science","6","2","","49","53","4","44","10.1111/1467-8721.ep11512647","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0031286401&doi=10.1111%2f1467-8721.ep11512647&partnerID=40&md5=774d699bdad518f6a4cab40982f07a12","Department of Psychology, University of Massachusetts, Amherst, MA, United States","Rayner K., Department of Psychology, University of Massachusetts, Amherst, MA, United States; Pollatsek A., Department of Psychology, University of Massachusetts, Amherst, MA, United States","[No abstract available]","","","","","","","","","Goolsby T.W., Eye movement in music reading: Effects of reading ability, notational complexity, and encounters, Music Perception, 12, pp. 77-96, (1994); Inhoff A.W., Wang J., Encoding of text, manual movement planning, and eye-hand coordination during copytyping, Journal of Experimental Psychology: Human Perception and Performance, 18, pp. 437-448, (1992); Jacobsen O.I., An analytical study of eye-movements in reading vocal and instrumental music, Journal of Musicology, 3, pp. 3-32, (1941); Kinsler V., Carpenter R.H.S., Saccadic eye movements while reading music, Vision Research, 35, pp. 1447-1458, (1995); Levy-Schoen A., Flexible and/or rigid control of oculomotor scanning behavior, Eye Movements: Cognition and Visual Perception, pp. 299-314, (1981); McConkie G.W., Rayner K., The span of the effective stimulus during a fixation in reading, Perception & Psychophysics, 17, pp. 578-586, (1975); Rayner K., Bertera J.H., Reading without a fovea, Science, 206, pp. 468-469, (1979); Truitt F.E., Clifton C., Pollatsek A., Rayner K., The perceptual span and the eye-hand span in sight reading music, Visual Cognition, 4, pp. 143-161, (1997); Van Nuys K., Weaver H.A., Memory span and visual processes in reading rhythms and melodies, Psychological Monographs, 55, pp. 33-50, (1943); Weaver H.A., A survey of visual processes in reading differently constructed musical selections, Psychological Monographs, 55, pp. 1-30, (1943)","","","Blackwell Publishing Inc.","","","","","","09637214","","","","English","Curr. Dir. Psychol. Sci.","Article","Final","","Scopus","2-s2.0-0031286401"
"Harrison C.S.; Asmus E.P.; Serpe R.T.","Harrison, Carole S. (39361422000); Asmus, Edward P. (6508061163); Serpe, Richard T. (6602615410)","39361422000; 6508061163; 6602615410","Effects of Musical Aptitude, Academic Ability, Music Experience, and Motivation on Aural Skills","1994","Journal of Research in Music Education","42","2","","131","144","13","18","10.2307/3345497","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84970105317&doi=10.2307%2f3345497&partnerID=40&md5=0b6cf45b1f99bcd44f83186fc946f599","California State University, Fullerton, United States; University of Utah, Salt Lake, United States","Harrison C.S., California State University, Fullerton, United States; Asmus E.P., University of Utah, Salt Lake, United States; Serpe R.T., California State University, Fullerton, United States","A latent-trait model describing the influence of musical aptitude, academic ability, music experience, and motivation for music on the development of aural skills by 142 music theory students was evaluated. The model accounted for 73% of the total aural skills variance, with the ear-training and sight-singing components variance being accounted for by the model at 79% and 44%, respectively. Musical aptitude had the largest effect on performance in the aural skills components of the theory course, and the effects of academic ability and music experience were also statistically significant. Motivation for music did not affect aural skills performance, and it did not correlate significantly with any of the other latent variables. © 1994, SAGE Publications. All rights reserved.","","","","","","","","","Arenson M.A., The validity of certain entrance tests as predictors of grades in music theory and ear training, Bulletin of the Council for Research in Music Education, pp. 33-39, (1983); Asmus E.P., Sixth graders' achievement motivation: Their views of success and failure in music, Bulletin of the Council for Research in Music Education, pp. 1-13, (1985); Asmus E.P., Student beliefs about the causes of success and failure in music: A study of achievement motivation, Journal of Research in Music Education, 34, pp. 262-278, (1986); Asmus E.P., Factors students believe to be the causes of success or failure in music, Paper presented at the National Biennial In-Service Conference of the Music Educators National Conference, Anaheim, CA., (1986); Asmus E.P., The effect of grade level and motivation level on high school students' beliefs of the causes of their success in music, The Proceedings of the 1987 Southeastern Music Education Symposium, pp. 31-39, (1987); Asmus E.P., Computer-based modeling of music concepts for testing, evaluating, and refining theory, Psychomusicology, 8, pp. 171-182, (1989); Asmus E.P., Harrison C.S., Characteristics of motivation for music and musical aptitude of undergraduate nonmusic majors, Journal of Research in Music Education, 29, pp. 258-268, (1990); Austin J., The effect of music contest format on self-concept, motivation, achievement, and attitude of elementary band students, Journal of Research in Music Education, 36, pp. 95-107, (1988); Austin J.R., Competitive and non-competitive goal structures: An analysis of motivation and achievement among elementary band students, Psychology of Music, 19, pp. 142-158, (1991); Austin J.R., Vispoel W.P., Motivation after failure in school music performance classes: The facilitative effects of strategy attributions, Bulletin of the Council for Research in Music Education, pp. 1-23, (1992); Berberich F.B., Effect of music experience on the perception of a short tonal melody in major and minor contexts, Bulletin of the Council for Research in Music Education, pp. 74-76, (1989); Blalock H.M., Causal models in the social sciences, (1985); Brand M., Burnsed V., Music abilities and experiences as predictors of error-detection skill, Journal of Research in Music Education, 29, pp. 91-96, (1981); Chandler T.A., Chiarella D., Auria C., Performance expectancy, success, satisfaction, and attributions as variables in band challenges, Journal of Research in Music Education, 35, pp. 249-258, (1987); College Board Scholastic Aptitude Test, (1948); Ernest D.J., The prediction of academic success of college music majors, Journal of Research in Music Education, 18, pp. 273-276, (1970); Gordon E., Musical Aptitude Profile, (1965); Gordon E., A study of the efficacy of general intelligence and musical aptitude tests in predicting achievement in music, Bulletin of the Council for Research in Music Education, pp. 40-45, (1968); Gordon E., Advanced Measures of Music Audiation, (1989); Harrison C.S., Predicting music theory grades: The relative efficiency of academic ability, music experience and musical aptitude, Journal of Research in Music Education, 38, pp. 124-137, (1990); Harrison C.S., Relationships between grades in the components of freshman music theory and selected background variables, Journal of Research in Music Education, 38, pp. 175-186, (1990); Harrison C.S., Analyses of relationships between aural skills and background variables: LISREL versus multiple regression, The Quarterly, 2, 4, pp. 10-20, (1991); Hayduk L.A., Structural equation modeling with LISREL, (1987); Hedden S.K., Prediction of music achievement in the elementary school, Journal of Research in Music Education, 30, pp. 61-68, (1982); Helwig C., Thomas M.S., Predicting choral achievement through use of musicality and intelligence scores, Journal of Research in Music Education, 21, pp. 276-280, (1973); Hufstader R.A., Predicting success in beginning instrumental music through use of selected tests, Journal of Research in Music Education, 22, pp. 52-57, (1974); Joreskog K.G., Sorbom D., LISREL VI: Analysis of linear structural relationships by maximum likelihood, instrumental variables, and least squares methods, (1986); Kehrberg D.A., An investigation of the relationships between musical aptitude, general music achievement, attitude toward music, school music participation, school music achievement, and students' outside-of-school environment in a rural ethnic community, Bulletin of the Council for Research in Music Education, pp. 68-72, (1989); Klinedinst R.E., Predicting performance achievement and retention of fifth-grade instrumental students, Journal of Research in Music Education, 39, pp. 225-238, (1991); Long J.S., Covanance structure models: An introduction to LISREL, Sage University Paper series on Quantitative Applications in the Social Sciences, (1983); Norton D., Interrelationships among music aptitude, IQ, and auditory conservation, Journal of Research in Music Education, 28, pp. 207-217, (1980); Roby A.R., A study in the correlation of music theory grades with the Seashore Measures of Musical Talents and the Aliferis Music Achievement Test, Journal of Research in Music Education, 10, pp. 137-142, (1962); Schleuter S.L., The development of a college version of the Musical Aptitude Profile, Psychology of Music, 6, pp. 39-42, (1978); Schleuter S.L., Schleuter L.J., A predictive study of an experimental college version of the Musical Aptitude Profile with music achievement of non-music majors, Contributions to Music Education, 6, pp. 2-8, (1978); Walters D.L., Edwin Gordon's musical aptitude work, The Quarterly, 2, pp. 65-72, (1991); Whellams F.S., The relative efficiency of aural-musical and non-musical tests as predictors of achievement in instrumental music, Bulletin of the Council for Research in Music Education, pp. 15-21, (1970); Wilkinson L., SYSTAT: The sy stern for statistics, (1987); Young W.T., The role of musical aptitude, intelligence, and academic achievement in predicting the music attainment of elementary instrumental music students, Journal of Research in Music Education, 19, pp. 385-398, (1971); Zdzinski S.F., Relationships among parental involvement, musical aptitude, and musical achievement of instrumental music students, Journal of Research in Music Education, 40, pp. 114-125, (1992)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84970105317"
"Hayward C.M.; Eastlund Gromko J.","Hayward, Carol M. (28067899600); Eastlund Gromko, Joyce (57191449027)","28067899600; 57191449027","Relationships Among Music Sight-Reading and Technical Proficiency, Spatial Visualization, and Aural Discrimination","2009","Journal of Research in Music Education","57","1","","26","36","10","30","10.1177/0022429409332677","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84990323795&doi=10.1177%2f0022429409332677&partnerID=40&md5=02e1b456a7b1bbac6bf0b955e28eaa35","Bowling Green State University, Ohio","Hayward C.M., Bowling Green State University, Ohio; Eastlund Gromko J., Bowling Green State University, Ohio","The purpose of this study was to examine predictors of music sight-reading ability. The authors hypothesized that speed and accuracy of music sight-reading would be predicted by a combination of aural pattern discrimination, spatial-temporal reasoning, and technical proficiency. Participants (N = 70) were wind players in concert bands at a medium-sized university in the Midwest. In a regression analysis with music sight-reading as the criterion variable, aural-spatial patterning and technical proficiency explained 51% of the variance, F = 37.34, p <.0001. These results support previous research that suggested that auditory, visual, spatial, and kinesthetic activations occur in coordination when wind players sight-read music notation. The results of the regression analysis suggested that although aural-spatial skills and technical proficiency skills were orthogonal, or separate, they both were essential to the complex task of sight-reading. © 2001, SAGE Publications. All rights reserved.","aural perception; music literacy; sight-reading; spatial-temporal reasoning; technical proficiency","","","","","","","","Parncutt R., McPherson G., Altenmuller E., Gruhn W., Brain mechanisms, pp. 63-81, (2002); Bilhartz T., Bruhn R., Olson J., The effect of early music training on child cognitive development, Journal of Applied Developmental Psychology, 20, pp. 615-636, (2000); Boyle J., The effects of prescribed rhythmic movements on the ability to read music at sight, Journal of Research in Music Education, 18, pp. 307-318, (1970); Colwell R., Boyle J., Evaluation of music ability, pp. 247-265, (1992); Gazzaniga M., D'Esposito M., Developing and implementing neuroimaging tools to determine if training in the arts impacts the brain, pp. 71-80, (2008); Douglas K., Bilkey D., Amusia is associated with deficits in spatial processing, Nature Neuroscience, 10, pp. 915-921, (2007); Gazzaniga M., Dunbar K., Arts education, the brain, and language, pp. 81-91, (2008); Ekstrom R., French J., Harman H., Dermen D., Kit of Factor-Referenced Cognitive Tests, (1976); Elliott C., The relationships among instrumental sight-reading ability and seven selected predictor variables, Journal of Research in Music Education, 30, pp. 5-14, (1982); Gazzaniga M., Gazzaniga M., Arts and cognition: Findings hint at relationships, pp. v-viii, (2008); Gordon E., Advanced Measures of Music Audiation, (1989); Gromko J., Predictors of music sight-reading ability in high school wind players, Journal of Research in Music Education, 52, pp. 6-15, (2004); Gromko J., The effects of music instruction on the development of phonemic awareness in beginning readers, Journal of Research in Music Education, 53, pp. 199-209, (2005); Gromko J., Poorman A., The effect of music training on preschooler' spatial-temporal task performance, Journal of Research in Music Education, 46, pp. 173-181, (1998); Hetland L., Learning to make music enhances spatial reasoning, Journal of Aesthetic Education, 34, 3-4, pp. 179-238, (2000); Ho H., Cheung M., Chang A., Music training improves verbal but not visual memory: Cross-sectional and longitudinal explorations in children, Neuropsychology, 17, pp. 439-450, (2003); Jaques-Dalcroze E., Rhythm music & education, (1921); Gazzaniga M., Jonides J., Music skill and cognition, pp. 11-15, (2008); Lamb S., Gregory A., The relationship between music and reading in beginning readers, Educational Psychology, 13, pp. 19-27, (1993); Parncutt R., McPherson G., Lehmann A., McArthur V., Sight-reading, pp. 135-150, (2002); McPherson G., Bailey M., Sinclair K., Path analysis of a model to describe the relationship among five types of music performance, Journal of Research in Music Education, 45, pp. 103-129, (1997); Parncutt R., McPherson G., McPherson G., Gabrielsson A., From sound to sign, pp. 99-115, (2002); Pantev C., Oostenveld R., Engelien A., Ross B., Roberts L., Hoke M., Increased auditory cortical representation in musicians, Nature, 392, pp. 811-813, (1998); Gazzaniga M., Pettito L., Arts education, the brain, and language, pp. 93-104, (2008); Gazzaniga M., Posner M., Rothbart M., Sheese B., Kieras J., How arts training influences cognition, pp. 1-10, (2008); Rauscher F., Shaw G., Levine L., Wright E., Dennis W., Newcomb R., Music training causes long-term enhancement of preschool children's spatial-temporal reasoning, Neurological Research, 19, (1997); Saffran J., Johnson E., Aslin R., Newport E., Statistical learning of tone sequence by human infants and adults, Cognition, 70, pp. 27-52, (1999); Schlaug G., Jancke L., Huang Y., Staiger J., Steinmetz H., Increased corpus callosum size in musicians, Neuropsychologica, 33, pp. 1047-1055, (1995); Sergent J., Zuck E., Terriah S., McDonald B., Distributed neural network underlying music sight-reading and keyboard performance, Science, 257, 5066, pp. 106-109, (1992); Gazzaniga M., Spelke E., Effects of music instruction on developing cognitive systems at the foundations of mathematics and science, pp. 17-49, (2008); Gazzaniga M., Wandell B., Dougherty R., Ben-Shachar M., Deutsch G., Tsang J., Training in the arts, reading, and brain imaging, pp. 51-59, (2008); Watkins J., Farnum S., Watkins-Farnum Performance Scale, (1954)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84990323795"
"Fourie E.","Fourie, Ella (57194896090)","57194896090","The processing of music notation: Some implications for piano sight-reading","2004","Journal of the Musical Arts in Africa","1","1","","1","23","22","15","10.2989/18121000409486685","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85016247560&doi=10.2989%2f18121000409486685&partnerID=40&md5=dc6adc857fce96a7a86b7702169181f0","","","Most piano pupils and many professional pianists find it difficult to sight-read music fluently. A major reason for this phenomenon is the complexity of the piano sight-reading process. Cognitive research reveals an intricate system of neural networks spread over all four cortical lobes of the brain, which are involved in processing musical sound and notation in particular. When sight-reading a piece of music that is seen for the first time (a prima vista) there are no context-specific memory maps to depend on, as is the case in performance study. The weak reader's biggest problem, therefore, is to form adequate motor responses to perceived notation. Specific challenges include dealing with pitch and rhythm separately while maintaining structural coherence, developing the ability of notational audiation or 'inner hearing', and coping with stress caused by high levels of mental arousal. These problems can be overcome if sight-readers develop an awareness of the mental processes that underlie their actions at the keyboard, and if they strengthen both the analytical and holistic strategies of the brain. Current teaching and learning practices need to be overhauled to utilise fully the insights provided by cognitive research. © 2004 Taylor & Francis Group, LLC.","","","","","","","","","","","","","","","","","","18121004","","","","English","J. Musical Arts Afr.","Article","Final","","Scopus","2-s2.0-85016247560"
"Rozman J.C.","Rozman, Janja Črčinovič (24280618600)","24280618600","Musical creativity in Slovenian elementary schools","2009","Educational Research","51","1","","61","76","15","9","10.1080/00131880802704749","https://www.scopus.com/inward/record.uri?eid=2-s2.0-69249232258&doi=10.1080%2f00131880802704749&partnerID=40&md5=19c496434b27531affa2132fc08c9645","Faculty of Education, University of Maribor, Maribor, Slovenia","Rozman J.C., Faculty of Education, University of Maribor, Maribor, Slovenia","Background: The Slovenian music education curriculum for the first years of elementary school emphasises the following musical activities in the classroom: singing, playing instruments, listening to music, movement to music and musical creativity. In the field of musical creativity, there are two activities where students can be original and creative: making music and moving or drawing/painting activities stimulated by music. Purpose: This research investigated musical creativity in Slovenian elementary schools, its observable characteristics and some of the similarities among the statements made by students and teachers. Sample: The study involved 118 eight-and-a-half to nine-year-old students from five schools in Slovenia, and 51 elementary classroom teachers - 25 of them came from the same five elementary schools as the students and 26 of them came from another four schools located in different parts of the Republic of Slovenia. Students and teachers who took part in our study attended/or worked at the third grade level during the 2004 school year. Design and methods: For the study, two questionnaires were completed using closed and open questions. The teachers had more questions than the students. Some of the questions were the same for both. The data received from the questionnaire was analysed qualitatively and quantitatively. The chi-square test was used to check the relationship between the answers given by students and the answers given by the teachers. Results: We found that creativity in music does exist in the classrooms, but there is only an emphasis being put on activities stimulated by music, and not on creating music. The opinions of the students and classroom teachers overlapped in the following areas: in the types of creative activity preferred, in assessing the successfulness of creative activities, in the feedback following the creative activity, and concerning the amount and difficulty of the tasks performed. The only important difference between the answers found was in assessing the teachers' role in leading the musical activity during the lesson. The reasons for such similar reactions were: (1) that the teacher's expectations were effectively conveyed to the students, and/or (2) the children's self-perception was being formed through an awareness and interpretation of the environment around them. Conclusions: The investigation showed that the students and teachers are satisfied with creative musical activities in the classroom, however, they are not aware of all the aspects of creative musical thinking as well as the criteria for the evaluation of musical creativity. It seems that they are not fully acquainted with the strategies for teaching musical composition and improvisation. The role of university programmes that specialise in music pedagogy should be to produce teachers who will be able to provide creative musical activities in an appropriate manner, and to organise more seminars of similar content for student-teachers during their practical training. © 2009 NFER.","Children's self-perception; Improvisation; Musical creativity; Student belief; Teacher Belief; Teacher expectations","","","","","","","","Auh M., Assessing Creativity in Composing Music: Product-process-person-environment Approaches, (2005); Azzara C.D., An aural approach to improvisation, Music Educators Journal, 86, 3, pp. 21-25, (1999); Babad E.Y., Preferential affect: The crux of the teacher expectancy issue, Advances in Research on Teaching: Expectations in the Classroom, 7, pp. 183-214, (1998); Bandura A., Self-efficacy: The exercise of control, (1997); Bennett R., Music Dictionary, (1994); Chong S.N.-Y., Fostering musical creativity in children, React 2, (1997); Colley A., Banton L., Down J., Pither A., An expert-novice comparison in musical composition, Psychology of Music, 20, 21, pp. 24-37, (1992); Decman N., Delež Posameznih Glasbenih Dejavnosti pri Pouku Glasbene Vzgoje na Razredni Stopnji Osnovne Šole [Part of Music Activities in Elementary Music Education], (1999); Globokar V., Laboratorium, (2002); Guilford J.P., Creative ability in the arts, Psychological Review, 64, 2, pp. 110-118; Harter S., The Construction of the Self: A Developmental Perspective, (1999); Haverkaate G., Neue Wege zur Improvisation, Music & Bildung, 2, pp. 34-38, (1994); Hickey M., Assessment rubrics for music composition, Music Educators Journal, 85, 4, pp. 26-33, (1999); Hickey M., An application of Amabile's consensual assessment technique for rating the creativity of children's musical compositions, Journal of Research in Music Education, 49, 3, pp. 234-244, (2001); Hickey M., Why and How to Teach Music Composition: A New Horizon for Music Education, (2003); Hickey M., Lipscomb S.D., How different is good? How good is different? The assessment of children's creative musical thinking, Musical Creativity: Multidisciplinary Research in Theory and Practice, pp. 97-110, (2006); Kiehn M.T., Development of music creativity among elementary school students, Journal of Research in Music Education, 51, 4, pp. 278-288, (2003); Locke K.D., Interpersonal problems and interpersonal expectations in everyday life, Journal of Social and Clinical Psychology, 24, 7, pp. 915-931, (2005); MacDonald R., Byrne C., Carlton L., Creativity and flow in musical composition: An empirical investigation, Psychology of Music, 34, 3, pp. 292-306, (2006); Mertens D.M., McLaughlin J.A., Research and Evaluation Methods in Special Education, (2004); Orne M.T., Hypnosis, motivation, and ecological validity of the psychological experiment, Nebraska Symposium on Motivation, pp. 187-256, (1970); Pimmer H., Musikalisches Kreativitätstraining in der Grundschule, (1992); Pintrich P.R., Schrunk D.H., Motivation in Education: Theory, Research and Applications, (1996); Plucker J.A., Beghetto R.A., Why creativity is domain general. Why it looks domain specific, and why the distinction does not matter, Creativity: From Potential to Realization, (2004); Pressing J., Cognitive process in improvisation, Cognitive Process in the Perception of Art, pp. 345-363, (1984); Rosenthal R., Teacher expectancy effects: A brief update 25 years after Pygmalion experiment, Journal of Research in Education, 1, pp. 3-12, (1991); Rosenthal R., Jacobson L., Pygmalion in the Classroom: Teacher Expectation and Pupils' Intellectual Development, (1968); Reimer B., A Philosophy of Music Education, (1989); Rubie-Davies C.M., Teacher expectations and student self-perceptions: Exploring relationships, Psychology in the Schools, 43, 5, pp. 537-552, (2006); Rubie-Davies C.M., Classroom interactions: Exploring the practices of high- and lowexpectations teachers, British Journal of Educational Psychology, 77, pp. 289-306, (2007); The New Grove's Dictionary of Music and Musicians, 9, (1980); Sloboda J.A., The Musical Mind: The Cognitive Psychology of Music, 5, (1985); Sawyer R.K., Group creativity: Musical performance and collaboration, Psychology of Music, 34, 2, pp. 148-165, (2006); Tafuri J., Process and teaching strategies in musical improvisation with children, Musical Creativity: Multidisciplinary Research in Theory and Practice, pp. 134-157, (2006); Thomson S., Lehmann A.C., Strategies for sight-reading and improvising music, Musical Excellence: Strategies and Techniques to Enhance Performance, (2004); Torrance E.P., Torrance Tests of Creative Thinking: Technical-norms Manual, (1974); Trouilloud D., Sarrazin P., Bressoux P., Bois J., Relation between teachers' early expectations and students' later perceived competence in physical education classes: Autonomy-supportive climate as a moderator, Journal of Educational Psychology, 98, 1, pp. 75-86, (2006); Weber G., Weber R., Musik erfinden - Kmponieren - Improvisieren, Musik und Unterricht, 13, pp. 4-9, (1992); Webster P.R., Measure of Creative Thinking in Usic-II (MCTM-II), (1994); Webster P.R., Creative thinking in music education: Encouraging students to make aesthetic decisions, Proceedings of the 10th Anniversary ESCOM Conference on Musical Creativity, (2002); Webster P.R., Hickey M., Rating scales and their use in assessing children's compositions, The Quarterly Journal of Music Teaching and Learning, 6, 4, pp. 28-44, (1995); Wiggins J., Teacher control and creativity, Music Educators Journal, 86, 1, pp. 30-35, (1999)","J. C. Rozman; Faculty of Education, University of Maribor, Maribor, Slovenia; email: janja.rozman@uni-mb.si","","Routledge","","","","","","00131881","","","","English","Educ. Res.","Article","Final","","Scopus","2-s2.0-69249232258"
"Joshi R.M.; Aaron P.G.","Joshi, R.Malatesha (57220995361); Aaron, P.G. (6603757444)","57220995361; 6603757444","Specific spelling disability: Factual or artifactual?","1990","Reading and Writing","2","2","","107","125","18","7","10.1007/BF00401798","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0001623780&doi=10.1007%2fBF00401798&partnerID=40&md5=2ee05a19d7a658d08578ab4fc81c112e","Fayetteville State University, Fayetteville, 28311, NC, United States; Indiana State University, Terre Haute, 47809, IN, United States","Joshi R.M., Fayetteville State University, Fayetteville, 28311, NC, United States; Aaron P.G., Indiana State University, Terre Haute, 47809, IN, United States","The research reported in this paper attempted to find whether the so called ""poor spellers who are good readers"" are indeed good readers or if this impression is misleading. Three college students who appeared to be poor spellers but good readers were tested using a variety of techniques. It was found that the three subjects were indeed inefficient readers who committed numerous errors in reading function words, low frequency and unfamiliar words, and pronounceable nonwords. Not being proficient in the phonological conversion of print, these subjects depend excessively on an orthographic sight reading strategy which hinders accurate reading. There appears to be a trade off between speed and comprehension in reading and by slowing down considerably, the ""poor spellers but good readers"" attain an acceptable level of comprehension. It was concluded that reading aloud and spelling involve phonological mediation and, therefore, are not completely dissociable. © 1990 Kluwer Academic Publishers.","Developmental dyslexia; Phoneme-Grapheme conversion; Spelling Disability","","","","","","","","Aaron P.G., Dyslexia, an imbalance in cerebral information processing strategies, Perceptual and Motor Skills, 47, pp. 699-706, (1978); Aaron P.G., Dyslexia and Hyperlexia, Diagnosis and Management of Developmental Reading Disabilities, (1989); Bakker D.J., Teunissen J., Bosch J., Development of laterality: Reading patterns, The Neuropsychology of Learning Disorders, (1978); Barron J., Treiman R.M., Wilf F., Kellman P., Spelling and reading by rules, Cognitive Processes in Spelling, (1980); Beauvois M.F., Derouesne J., Phonological alexia: Three dissociations, Journal of Neurology, Neurosurgery, and Psychiatry, 42, pp. 115-124, (1979); Beers J.W., Developmental strategies of spelling competence in primary school children, Developmental and Cognitive Aspects of Learning to Spell, (1980); Bissex G.L., Gnus at wrk: A Child Learns to Write and Read, (1980); Bradley L., Bryant P.E., Independence of reading and spelling in backward and normal readers, Developmental Medicine and Child Neurology, 21, pp. 504-514, (1979); Carroll J.B., Davies P., Richman B., Word Frequency Book, (1971); Choky C., Reading, writing, and phonology, Harvard Educational Review, 40, pp. 287-309, (1970); Coltheart M., Lexical access in simple reading tasks, Strategies of Information Processing, (1978); Cook L., Misspelling analysis in dyslexia: Observation of development strategy shifts, Bulletin of the Orton Society, 31, pp. 123-134, (1981); Critchley M., Some problems of the ex-dyslexic, Bulletin of the Orton Society, 23, pp. 7-14, (1973); Dewey G., Relative Frequency of English Spellings, (1970); Fisher P.G., Frankfurter A., Normal and disabled readers can locate and identify letters: Where's the perceptual deficit?, Journal of Reading Behavior, 9, pp. 31-43, (1977); Frith U., From print to meaning and from print to sound or how to read without knowing how to spell, Visible Language, 12, pp. 43-54, (1978); Frith U., Unexpected spelling problems, Cognitive Processes in Spelling, (1980); Frith U., Specific spelling problems, Dyslexia: A Global Issue, (1984); Gerber M.M., Orthographic problem-solving ability of learning disabled and normally achieving students, Learning Disability Quarterly, 7, pp. 158-164, (1984); Hecaen H., Albert M., Human neuropsychology, (1978); Jorm A.F., The Psychology of Reading and Spelling Disabilities, (1983); Karlsen B., Madden R., Gardner E.F., Stanford Diagnostic Reading Test, (1974); Marshall J.C., Newcombe F., Patterns of paralexia: A psycholinguistic approach, Journal of Psycholinguistic Research, 2, pp. 175-199, (1973); Nelson H.E., Warrington E.K., Developmental spelling retardation, British Journal of Psychology, 65, pp. 265-274, (1974); Nelson H.E., Warrington E.K., Developmental spelling retardation, The Neuropsychology of Learning Disorders, (1976); Nelson H.E., Analysis of spelling errors in normal and dyslexic schildren, Cognitive Processes in Spelling, (1980); Patterson K.E., The relation between reading and phonological coding: Further neuropsychological observations, Normality and Pathology in Cognitive Functions, (1982); Perfetti C.A., Hogaboam T., Relationship between single word decoding and reading comprehension skills, Journal of Educational Psychology, 67, pp. 461-469, (1975); Read C., Preschool children's knowledge of English phonology, Harvard Educational Review, 41, pp. 1-34, (1971); Simon D.P., Simon H.A., Alternative uses of phonemic information in spelling, Review of Educational Research, 43, 1, pp. 115-137, (1973); Snowling M.J., The development of grapheme-phoneme correspondence in normal and dyslexic readers, Journal of Experimental Child Psychology, 29, pp. 294-305, (1980); Spache G., Characteristic errors of good and poor readers, Journal of Educational Research, 34, 3, pp. 182-189, (1940); Sticht T.G., Rate of comprehending by listening or reading, Understanding Reading Comprehension, (1984); Temple C.M., Marshall J.C., A case study of developmental phonological dyslexia, The British Journal of Psychology, 74, pp. 517-533, (1983); Venezky R., The Structure of English Orthography, (1970); Venezky R., Theoretical and Experimental Base for Teaching Reading, (1976); Wijk A., Rules of Pronunciation for the English Language: An Account of the relationship Between English Spelling and Pronunciation, (1966); Witelson S.F., Abnormal right hemisphere specialization in developmental dyslexia, The Neuropsychology of Learning Disorders, (1976)","","","Kluwer Academic Publishers","","","","","","15730905","","","","English","Read Writ","Article","Final","","Scopus","2-s2.0-0001623780"
"de Bézenac C.; Swindells R.","de Bézenac, Christophe (59789876100); Swindells, Rachel (55556251900)","59789876100; 55556251900","No pain, no gain? Motivation and self-regulation in music learning","2009","International Journal of Education and the Arts","10","16","","1","33","32","30","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-79551678062&partnerID=40&md5=9b2494ba2ed7b4fa435119ff4609d386","Leeds College of Music, United Kingdom; United Kingdom","de Bézenac C., Leeds College of Music, United Kingdom; Swindells R., United Kingdom","This paper explores the issue of motivation in music learning in higher education by contextualising data collected as part of the Investigating-Musical-Performance research project (Welch, et al., 2006-2008). The discussion begins with findings which suggest that popular, jazz and folk musicians experience more pleasure in musical activities than their classical counterparts. Also significant are results indicating that the latter are more influenced by parents and teachers, with the former primarily motivated by intrinsic factors. In examining these findings, three interrelated themes are considered: the quality of musicians’ motivation, genre-specific learning practices, and the competencies demanded by particular music systems. Critiquing the socio-cultural assumptions inherent in Western music pedagogy, and the role of external regulation in formal education systems, a case is made for the importance of autonomy. Questions are raised about the purpose of music education and consequences of formalising musics traditionally learnt through direct engagement with communities of practice. © 2009, Pennsylvania State University Libraries. All rights reserved.","","","","","","","ESRC TLRP, (RES-139-25-0101); Elisabeth Haddon – University of York; Royal Scottish Academy of Music and Drama; University of York; University of London, UoL; Institute of Education, University of London, IOE","Funding text 1: Special thanks to the investigators and other research officers of the Investigating Musical Performance (IMP): Studies in Advanced Musical Learning project (funded by the ESRC TLRP, under award RES-139-25-0101): Professor Graham Welch, Dr. Ioulia Papageorgi, and Dr. Andrea Creech – Institute of Education, University of London; Celia Duffy, Dr. Frances Morton – Royal Scottish Academy of Music and Drama, Glasgow; Dr. John Potter and Elisabeth Haddon – University of York; Dr. Tony Whyton – Leeds College of Music.; Funding text 2: Special thanks to the investigators and other research officers of the Investigating Musical Performance (IMP): Studies in Advanced Musical Learning project (funded by the ESRC TLRP, under award RES-139-25-0101): Professor Graham Welch, Dr. Ioulia Papageorgi, and Dr. Andrea Creech ? Institute of Education, University of London; Celia Duffy, Dr. Frances Morton ? Royal Scottish Academy of Music and Drama, Glasgow; Dr. John Potter and Elisabeth Haddon ? University of York; Dr. Tony Whyton ? Leeds College of Music.","Abbott J., Ryan T., The unfinished revolution, (2001); Asthana A., Out with classroom rap, in with Mozart, The Observer, (2006); Bakan M., Music of death and new creation: Experiences in the world of Balinese gamelan beleganjur, (1999); Barab S., Cherkes-Julkowski M., Swenson R., Garrett S., Shaw R., Young M., Principles of self-organisation: Learning as participation in autokatakinetic systems, The Journal of Learning Sciences, 8, 3&4, pp. 149-390, (1999); Barratt E., Moore H., Researching group assessment: Jazz in the conservatoire, British Journal of Music Education, 22, 3, pp. 299-314, (2005); Berliner P., Thinking in jazz: The infinite art of improvisation, (1994); de Bezenac C., Improvising ambiguity: An ecological approach to music making, (2007); Blacking J., How musical is man?, (1976); Boekaerts M., Minnaert A., Self-regulation with respect to informal learning, International Journal of Education Research, 31, pp. 533-544, (1999); Borgo D., Free jazz in the classroom: An ecological approach to music education, Jazz perspectives, 1, 1, pp. 61-88, (2007); Bowman W., Cognition and the body: Perspectives from music education, Knowing bodies, moving minds: towards embodied teaching and learning, pp. 29-50, (2004); Brinner B., Knowing music, making music, (1995); Burt R., Mills J., Taking the plunge: The hopes and fears of students as they begin music college, British Journal of Music Education, 23, 1, pp. 51-73, (2006); Coren A., A psychodynamic approach to education, (1997); Creech A., Papageorgi I., Duffy C., Morton F., Hadden L., Potter J., de Bezenac C., Whyton T., Himonides E., Welch G., Investigating musical performance: Commonality and diversity amongst classical and non-classical musicians, Music Education Research, 10, 2, pp. 215-234, (2008); Csikszentmihalyi M., The flow experience and its significance for human psychology, Optimal experience: Psychological studies of flow in consciousness, pp. 15-35, (1988); Davidson J., What can the social psychology of music offer community music therapy?, Community music therapy, pp. 114-128, (2004); Deci E., Ryan R., Intrinsic motivation and self-determination in human behavior, (1985); Farrell J., India, Musical development and learning: the international perspective, pp. 56-72, (2001); Green L., How popular musicians learn: A way ahead for music education, (2001); Hallam S., Music psychology in education, (2006); Hargreaves D., North A., Musical development and learning: The international perspective, (2001); Heckhausen H., Gollwitzer P., Thought contents and cognitive functioning in motivational vs. volitional states of mind, Motivation & Emotion, 11, pp. 101-120, (1987); Illich I., Deschooling society, (1976); Maclellan E., Academic achievement: The role of praise in motivating students, Active Learning in Higher Education, 6, 3, pp. 194-206, (2005); Merriam A., The anthropology of music, (1964); Mitchell R., Sociological implication of the flow experience, Optimal experience: Psychological studies of flow in consciousness, pp. 36-59, (1988); Nicholson N., Is jazz dead? (Or has it moved to a new address), (2005); Papageorgi I., Creech A., Haddon E., Morton F., de Bezenac C., Himonides E., Potter J., Duffy C., Whyton T., Welch G., Perceptions and predictions of expertise in advanced musical learners, Psychology of Music; Pitts S., Valuing musical participation, (2005); Reed E., The necessity of experience, (1996); Rice T., May the music fill your soul: Experiencing Bulgarian music, (1994); Ryan R., Deci E., Self-determination theory and the facilitation of intrinsic motivation, social development, and well-being, American Psychologist, 55, 1, pp. 68-78, (2000); Ryan R., Deci E., Intrinsic and extrinsic motivations: Classic definitions and new directions, Contemporary Educational Psychology, 25, pp. 54-67, (2000); Ryan R., Deci E., Handbook of self-determination research, (2002); Sloboda J., Davidson J., The young performing musician, Musical beginnings: Origins and development of musical competence, pp. 171-190, (1996); Small C., Music, society, education, (1996); Sutton A., Traditions of gamelan music in Java: Musical pluralism and regional identity, (1991); Swindells R., Klasik, kawih, kreasi: Musical transformation and the gamelan degung of Bandung, West Java, Indonesia, (2004); Welch G., Duffy C., Potter J., Whyton T., Investigating musical performance (IMP): Comparative studies in advanced musical learning, Teaching and Learning Research Program, (2006); Welch G., Papageorgi I., Haddon E., Creech A., Morton F., de Bezanac C., Duffy C., Potter J., Whyton A., Himonides E., Musical genre and gender as factors in higher education learning in music, Research Papers in Education, 23, 2, pp. 203-217, (2008); Youell B., The learning relationship: Psychoanalytic thinking in education, (2006)","","","Pennsylvania State University Libraries","","","","","","15298094","","","","English","Int. J. Edu. Arts","Article","Final","","Scopus","2-s2.0-79551678062"
"Rogers G.L.","Rogers, George L. (39362495300)","39362495300","Effect of Color-Coded Notation on Music Achievement of Elementary Instrumental Students","1991","Journal of Research in Music Education","39","1","","64","73","9","22","10.2307/3344609","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84970247757&doi=10.2307%2f3344609&partnerID=40&md5=e909fa4ab8278d284eb886db45f93a3b","Westfield State College, Westfield, Massachusetts, United States","Rogers G.L., Westfield State College, Westfield, Massachusetts, United States","In this study, the researcher attempted to determine whether the use of color-coded notation in instructional materials affected students' performance on tasks of performing music from memory, sight-reading, and naming letter names of notes. Ninety-two fifth- and sixth-grade beginning wind players were randomly assigned to experimental and control groups. The experimental group used color-coded method books in which each pitch was highlighted with a different color. The control group used identical materials, but with the notation uncolr ored. All subjects were tested on reading both color-coded and uncolored notation. Results after the 12-week instructional period showed no clear advantage for the experimental group. Group means on the memory task did not differ significantly. Experimental and control group scores did not differ significantly when subjects sight-read the type of notation with which they had been trained, although the experimental group mean was higher. A statistically significant interaction was noted between the treatment and the presentation mode. Similar results were found on the note-naming task. The color-coded materials had a positive affective influence in that 65% of all subjects favored the color-coded notation as easier to play. © 1991, SAGE Publications. All rights reserved.","","","","","","","","","Barat, The effects of two types of feedback, feedback display time, and provision for background color selection on rule learning in computer assisted instruction, Dissertation Abstracts International, 44, (1984); Berry, An exploratory study of the relative effectiveness of realistic and non-realistic color in visual instructional materials, Dissertation Abstracts International, 35, (1974); Booth, Miller, Effectiveness of monochrome and color presentations in facilitating affective learning, AV Communication Review, 22, 2, pp. 409-422, (1974); Bradford, Keith's secret discovery of the sieve of Eratosthenes, Arithmetic Teacher, pp. 239-241, (1974); Burns M., Ideas: coloring squares, Arithmetic Teacher, pp. 124-125, (1975); Carlson, Foundations of physiological psychobgy, (1988); Chute, An experimental study investigating the comparative effectiveness of a color and a monochrome version of an instructional film presentation on incidental and task-relevant discrimination learning, Dissertation Abstracts International, 39, (1978); Ewbank, Ginther, Math lab activity–Colorful squares, School Science and Mathematics, 75, pp. 739-742, (1975); Gattegno C., For the teaching of elementary mathematics, (1963); Goldenberg, Scrutinizing number charts, Arithmetic Teacher, pp. 645-653, (1970); Green R., A color-coded method of teaching basic arithmetic concepts and procedures, Arithmetic Teacher, pp. 231-233, (1970); Hebb, A textbook of psychology, (1966); Konkiel, The interactive effect of the field dependent-field independent cognitive style variable and the color cueing instructional strategy upon map skills achievement of fourth grade students, Dissertation Abstracts International, 43, 8, (1983); Kyme, An experiment in teaching children to read music with shape notes, Journal of Research in Music Education, 8, pp. 3-8, (1960); Lamberski, The effect of a verbal and visual color code on self-paced instruction and testing for retention on different tasks, Dissertation Abstracts International, 41, 1, (1980); Miller, An investigation of the cognitive effectiveness of color and monochrome presentation with black elementary school children in relation to the predominant home television viewing mode, Dissertation Abstracts International, 34, 11, (1972); Papy F., Mathematics and the child, (1971); Papy F., Nebuchadnezzar, seller of newspapers: An introduction to some applied mathematics, Arithmetic Teacher, pp. 278-285, (1974); Papy F., Papy G., Graphs and the child, (1970); Peters M., Dyslexia: Why and when the visual-acoustic-kinesthetic-tactile remedial approach might work, Perceptual and Motor Skills, 52, (1981); Pollock S., The basic colour-factor guide, (1965); SAS Institute, SAS SUGI supplemental library users guide: Version 5 edition, (1986); Scholten J., The tunebook that roars: The sound and style of Sacred Harp singing, Music Educators Journal, 66, 6, pp. 32-37, (1980); Teuber H., Effects of focal brain injury on human behavior, The clinical neurosciences, pp. 267-272, (1975); VanderMeer, A W., Color vs. black and white in instructional films, AV Communication Review, 2, pp. 121-134, (1954); White, The Sacred Harp, (1844); Wu M., Assessing the relative effectiveness of varied presentation methods in facilitating college student achievement of different educational objectives, Dissertation Abstracts International, 46, 4, (1985)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84970247757"
"Giles M.M.","Giles, Martha Mead (59474462700)","59474462700","Choral Reading Built on the Basics","1991","Music Educators Journal","77","6","","26","29","3","0","10.2307/3398209","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85212203813&doi=10.2307%2f3398209&partnerID=40&md5=aba5bd70c329cb52dba78fd63e9f3492","George Mason University, Fairfax, VA, United States","Giles M.M., George Mason University, Fairfax, VA, United States","Many elementary students are taught solfège and other techniques espoused by educators Zoltán Kodály and Carl Orff. Martha Mead Giles extends some of these strategies to the secondary choral classroom. 1991, SAGE Publications Inc. All rights reserved.","","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85212203813"
"Watkins A.; Hughes M.A.","Watkins, Alice (7101937046); Hughes, Marie Adele (24306031500)","7101937046; 24306031500","The Effect of an Accompanying Situation on the Improvement of Students’ Sight Reading Skills","1986","Psychology of Music","14","2","","97","110","13","4","10.1177/0305735686142002","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84970316221&doi=10.1177%2f0305735686142002&partnerID=40&md5=fe153aa30dba2819d1db3b476bc2677b","1212 Avondale, Norman, Oklahoma, United States; University of Oklahoma, Norman, Oklahoma, United States","Watkins A., 1212 Avondale, Norman, Oklahoma, United States; Hughes M.A., University of Oklahoma, Norman, Oklahoma, United States","The purpose of this study was to investigate the effect that accompanying a tape-recorded soloist has on the ability of music students to sight read vocal and instrumental accompaniments at the piano. Specifically, the study examined a tape-recorded accompanying situation and its effects on the accuracy of the following sight reading skills: pitch, rhythm, and expression. The null hypotheses for the study were tested by the Student's t test (a parametric test), the Mann-Whitney U test (a non-parametric test), and an analysis of covariance (a parametric test). Since the results of all three tests agreed, the validity of the findings was enhanced. The treatment group that employed a tape-recorded soloist as an aid to teaching sight reading had significantly higher mean posttest rhythm accuracy scores than did the group that employed no taped soloist. The pitch accuracy and expression accuracy mean posttest scores of the two groups were not significantly different. © 1986, Sage Publications. All rights reserved.","","","","","","","","","Agay D., Teaching Piano, (1981); Buchanan G., Skills of piano performance in the preparation of music educators, Journal of Research in Music Education, 12, pp. 134-138, (1968); Daniel W.W., Applied Nonparametric Statistics, (1978); Enoch Y., Group Piano Teaching, (1978); Lyke J.B., An investigation of class piano programmes in the six state universities of Illinois and recommendations for their improvement, (Doctoral dissertation, Colorado State College.), (1968); Rezits J., Everyone should try ensemble sight reading, Clavier, 11, (1972); Sawyer A.G., Peter J.P., The significance of statistically significant tests in marketing research, Journal of Marketing Research, 20, pp. 122-133, (1983); Van Dalen D., Meyer W.J., Understanding Educational Research, (1966)","","","","","","","","","03057356","","","","English","Psychol. Music","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-84970316221"
"Dzansi M.","Dzansi, Mary (37082948000)","37082948000","Playground music pedagogy of Ghanaian children","2004","Research Studies in Music Education","22","1","","83","92","9","18","10.1177/1321103X040220011101","https://www.scopus.com/inward/record.uri?eid=2-s2.0-61049205169&doi=10.1177%2f1321103X040220011101&partnerID=40&md5=411d82212eda0059b77f93ebc61c70a1","University of Education, Winneba, Ghana","Dzansi M., University of Education, Winneba, Ghana","This article discusses the pedagogical approaches and values that are applied to music knowledge acquisition in the Ghanaian indigenous communities with special reference to the performance of children's singing games on the playground. Music education in the Ghanaian community is largely participatory and informal so that children perform their clapping and dancing games by watching and 'doing'. The process of music training and performance in the Ghanaian context including children's playground music is a key feature of this article. I conducted an ethnographic study to explore how children acquire music knowledge in indigenous contexts and what this could offer formal music education. I also investigated the disparity between playground music pedagogy and classroom pedagogy in Ghanaian schools and offered recommendations to classroom teachers particularly in music. The research questions were: What pedagogical approaches and values are embedded in Ghanaian children's playground performances? How can music educators transform school music by borrowing creatively from children's playground processes? © 2004 Callaway Centre.","","","","","","","","","Addo A., A multimedia analysis of selected Ghanaian children's songs, Bulletin of the Council for Research in Music Education, 129, pp. 1-28, (1996); Akrofi E., The status of music education programs in Ghanaian public schools. D.ED. Unpublished dissertation, (1982); Blacking J., Venda children's song, (1967); Bresler L., The genre of school music and its shaping by meso, micro, and macro contexts, Research Studies in Music Education, 11, pp. 2-18, (1998); Campbell P.S., The musical cultures of children, Research Studies in Music Education, 11, pp. 42-51, (1998); Campbell P.S., Songs in their heads: Music and its meaning in children's lives, (1998); Davidson L., Scripp L., Education and development in music from a cognitive perspective. (59-86), Children and the arts, (1989); Flolu E.J., The dilemma for music education in Ghana, British Journal of Music Education, 10, pp. 111-121, (1993); Flolu E.J., In search of an African and relevance oriented music education system for Ghanaian schools, UBUNTU: Proceedings of the 23rd ISME Conference; Flolu E.J., Re-thinking arts education in Ghana, Arts Education Policy Review, 101, pp. 25-29, (2000); Goncu A., Children's engagement in the world, (1999); Goodnow J.J., Miller P.J., Kessel F., Cultural practices as contexts of development, (1995); Green L., How popular musicians learn: a way ahead for music education, (2001); Hargreaves D.J., The developmental psychology of music, (1986); Harwood E., Memorized song repertoire of children in grades four and five in Urbana-Champaign. Doctoral dissertation, (1987); Harwood E., A study of apprenticeship learning in music. General Music, Today, pp. 4-8, (1993); Harwood. E., Music learning in context: A playground tale, Research Studies in Music Education, 11, pp. 52-60, (1998); Kincheloe J.L., Rethinking intelligence: Confronting Psychological assumptions about teaching and learning, (1999); Lowenfeld V., Creative and mental growth, (1970); Manford R., The status of music teacher education in Ghana with recommendations for improvement, Dissertation Abstract International, 44, (1982); Marsh K., Children's singing games:composition in the playground?, Research Studies in Music Education, 4, pp. 2-11, (1995); Marsh K., Mediated orality: the role of popular music in the changing traditions of children's musical play, Research Studies in Music Education, 13, pp. 2-12, (1999); Merrill-Mirsky C., Eeny meeny pepsadeeny: Ethnicity and gender in children's musical play. Doctoral dissertation, (1988); Moyles J., Just Playing? The role and status of play in early childhood education, (1989); Moyles J., The excellence of play, (1994); Nketia J.H., Music education in Africa and West Africa. Music, Education Journal, 57, pp. 48-55, (1970); Nketia J.H., The Music of Africa, (1974); Nketia J.H., The place of authentic folk music in music education, International Journal of Music Education, 11, pp. 104-111, (1978); Nzewi M., Strategies for music education in Africa: Towards a meaningful progression from tradition to modern, International Journal of Music Education, 33, pp. 72-87, (1999); Ofei P.S., Music education: harmonizing the person's individuality and the needs of the community, 6, pp. 34-37, (1979); Okafor R., Music in Nigerian education, Bulletin of the Council for Research in Music Education, 108, pp. 58-69, (1988); Okai D., Musical games of the people of Adankrono and their educational implications, (1999); Riddell C., Traditional singing games of elementary school children in Los Angeles. Doctoral dissertation, (1990); Slobada J.A., The musical mind: the cognitive psychology of music, (1985); Vygotsky L., Mind in Society: the development of higher psychological process. MA, (1979)","","","","","","","","","18345530","","","","English","Res. Stud. Music Educ.","Article","Final","","Scopus","2-s2.0-61049205169"
"Thompson W.B.","Thompson, W. Burt (7403566589)","7403566589","Music sight-reading skill in rute players","1987","Journal of General Psychology","114","4","","345","352","7","14","10.1080/00221309.1987.9711072","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0346185362&doi=10.1080%2f00221309.1987.9711072&partnerID=40&md5=b02624377cf9f1ce49273c9f43913496","Department of Psychology, Niagara University, United States","Thompson W.B., Department of Psychology, Niagara University, United States","This article reports an investigation of factors related to music sight-reading skill. Flute players (N = 30) performed six tasks: (A) sight-reading standard music, (b) sight-reading random music, (c) recall of music notation, (d) recall of letters, (e) eye-performance span, and (f) choice reaction time for playing individual notes. Sight-reading ability was significantly correlated with eye-performance span (.85), and music recall (.80), but not with letter recall (−.39), thus replicating results of previous work with pianists. Sight-reading skill was correlated with choice reaction time to notes (−.54), and there was a significant partial correlation between sight-reading skill and eye-performance span, with music-reading ability controlled. These results are consistent with the idea that increased skill involves both the speedup of individual processing stages, and an increase in the degree to which these stages operate in parallel. © 1987 Taylor & Francis Group, LLC.","","","","","","","","","Book W.F., The Psychology of Skill, (1908); Butsch R.L.C., Eye movements and the eye-hand span in typewriting, Journal of Educational Psychology, 23, pp. 104-121, (1932); Chase W.G., Ericsson K.A., Skill and working memory, The Psychology of Learning and Motivation, 16, pp. 1-58, (1982); Gekeler K., Gekeler Method for Oboe: Book Two, (1969); Jacobsen O., An analytical study of eye-movements in reading vocal and instrumental music, Journal of Musicology, 3, pp. 1-32, (1941); Levin H., The Eye-Voice Span, (1979); Salis D.L., The Identification and Assessment of Cognitive Variables Associated with Reading of Advanced Music at the Piano, (1977); Salis D.L., Laterality effects with visual perception of musical chords and dot patterns, Perception and Psychophysics, 28, pp. 284-292, (1980); Salthouse T.A., Anticipatory processing in transcription typing, Journal of Applied Psychology, 69, pp. 254-271, (1984); Salthouse T.A., Effects of age and skill in typing, Journal of Experimental Psychology: General, 113, pp. 345-371, (1984); Salthouse T.A., Perceptual, cognitive and motoric aspects of transcription typing, Psychological Bulletin, 99, pp. 303-319, (1986); Shaffer L.H., Attention in transcription skill, Quarterly Journal of Experimental Psychology, 23, pp. 107-112, (1971); Shaffer L.H., Intention and performance, Psychological Review, 83, pp. 375-393, (1976); Sloboda J.A., The eye-hand span: An approach to the study of sight reading, Psychology of Music, 2, pp. 4-10, (1974); Taylor I., Taylor M.M., The Psychology of Reading, (1983); Voxman H., Selected Studies for Flute, (1958); Watkins A.G., Farnum E.F., The Watkins-Farnum Performance Scale, (1954)","","","","","","","","","00221309","","","","English","J. Gen. Psychol.","Article","Final","","Scopus","2-s2.0-0346185362"
"Leahy M.","Leahy, Mark (57194892941)","57194892941","Plantation and thicket: A double (sight) reading of sir Thomas Browne’s garden of cyrus","2005","Performance Research","10","2","","111","121","10","0","10.1080/13528165.2005.10871423","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85023963539&doi=10.1080%2f13528165.2005.10871423&partnerID=40&md5=79842cf419817631eb4ff8782aa5076f","","","[No abstract available]","","","","","","","","","Andrews B., I Don't have Any Paper So Shut up (Or, Social Romanticism), (1992); Politics, (2005); Benjamin W., The Arcades Project, Trans, (1999); Browne T., The Garden of Cyrus, Selected Writings, (1968); Champion M., Freudian UnitPricing, Lingo, 8, (1998); Drucker J., The Art of the Written Image, Figuring the Word: Essays on Books, Writing, and Visual Poetics, pp. 57-75, (1998); Ferrari J., Des Idées et de lécole de Fourier’, The Arcades Project, (1999); Fraser K., B Cuore: The Heart, Selected Poems 1970-1995, (1997); Goldsmith K., Fidget, (2000); Jameson F., The Political Unconscious: Narrative as a Socially Symbolic Act, (1989); Levi Strauss C., The Savage Mind, (1966); Bernard De M., The Fable of the Bees, (1924); Propp V., The Morphology of the Folktale, (1975); Riley D., Selected Poems, (2000); Rimbaud A., A Season in Heil, (1995); Robinson L., Eclogue One: Honour, Xeclogue, (1999); Ross K., The Emergence of Social Space: Rimbaud and the Paris Commune, (1988); de Saussure F., Course in General Linguistics, (1983); Seaton P., An American Primer, L=A=N=G=U=A=G=E 9/10, No Pagination, (1979); Seaton P., Texte, The L=A=N=G= U=A= G=E Book, 1984, pp. 66-69, (1980); Smithson R., A Cinematic Atopia, Robert Smithson: The Collected Writings, (1971); Spicer J., Transformations II, The Collected Books of Jack Spicer, (1996); Watten B., Total Syntax, (1985); Welldon J.E.C., The Politics of Aristotle, (1901); Wershler-Henry D., The Tapeworm Foundry, Andor, the Dangerous Prevalence of Imagination, (2000); van der Zee Sears J., My Friends at Brook Farm, (2005)","","","","","","","","","13528165","","","","English","Perform. Res.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-85023963539"
"Banton L.J.","Banton, Louise J. (57189161727)","57189161727","The Role of Visual and Auditory Feedback during the Sight-Reading of Music","1995","Psychology of Music","23","1","","3","16","13","41","10.1177/0305735695231001","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84970491162&doi=10.1177%2f0305735695231001&partnerID=40&md5=c0fc58d9e8e6f62e2d21e339c01dcec0","Department of Psychology, Leicester, LEI 7RH, The University, United Kingdom","Banton L.J., Department of Psychology, Leicester, LEI 7RH, The University, United Kingdom","This study examined the role of auditory and visual feedback during the sight-reading of a short piece of piano music. Its purpose was to identify errors that arose due to the removal of feedback and to compare the performances of pianists at different levels of sight-reading practice frequency, general musical experience and sight-reading ability. Subjects were tested under the following conditions: normal sight-reading, sight-reading when unable to view the keyboard (no visual feedback) and sight-reading where auditory feedback was unavailable (no auditory feedback). The findings indicated that performances where visual feedback was unavailable resulted in a significantly increased number of adjacent note errors, suggesting that visual feedback is utilised by pianists in order to guide the discrete movements of the hands over the keyboard, but that the degree to which it is relied upon is dependent on the pianist's familiarity with the sight-reading situation itself. Sight-reading when auditory feedback was unavailable proved to be indistinguishable from normal sight-reading, both being superior to performances where visual feedback was unavailable. General musical experience and sight-reading ability were significant factors in distinguishing between errors which might produce a breakdown in performance and those which will not impede fluency. This raises a series of questions concerning (a) differences between high ability and low ability pianists and (b) efficient practice techniques and objectives. © 1995, Sage Publications. All rights reserved.","","","","","","","","","Adams J.A., Response feedback and learning, Psychological Bulletin, 70, pp. 486-504, (1968); Colavita F.B., Human sensory dominance, Perception and Psychophysics, 16, pp. 409-412, (1974); Diehl M.J., Seibel R., The relative importance of visual and auditory feedback in speed typing, Journal of Applied Psychology, 5, pp. 365-369, (1962); Halpern A.R., Bower G.H., Musical expertise and melodic structure in memory for musical notation, American Journal of Psychology, 95, pp. 31-50, (1982); Levin H., Kaplan E.A., Levin H., Williams J.P., Grammatical structure in reading, Basic studies on reading, (1970); Miller R.B., Handbook of training and equipment design, Wright Air Defence Center - Technical Report, pp. 53-136, (1953); O'Regan K., Kolers P.A., Wrolstad M.E., Bouma H., Movement to movement control of eye saccades as a function of textual parameters in reading, Processing of visible language, 1, (1979); Rayner K., Requin J., Foveal and parafoveal cues in reading, Attention and Performance, VII, (1978); Sloboda J.A., The eye-hand span: an approach to the study of sight-reading, Psychology of Music, 2, pp. 4-10, (1974); Sloboda J.A., Visual perception of musical notation: registering pitch symbols in memory, Quarterly Journal of Experimental Psychology, 28, pp. 1-16, (1976); Sloboda J.A., Phrase units as determinants of visual processing in music reading, British Journal of Psychology, 68, pp. 117-124, (1977); Sloboda J.A., Perception of contour in music reading, Perception, 7, pp. 323-331, (1978); Walker J.T., Scott K.J., Auditory - visual conflicts in the perceived duration of lights, tones and gaps, Journal of Experimental Psychology: Human Perception and Performance, 7, pp. 1327-1339, (1981); Weaver H.E., A survey of visual processes in reading differently constructed musical selections, Psychological Monographs, 55, pp. 1-30, (1943); West J., Vision and kinethesis in the acquisition of type-writing skill, Journal of Applied Psychology, 51, pp. 161-166, (1967)","","","","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-84970491162"
"Norris C.E.","Norris, Charles E. (26034305600)","26034305600","A nationwide overview of sight-singing requirements of large-group choral festivals","2004","Journal of Research in Music Education","52","1","","16","28","12","7","10.2307/3345522","https://www.scopus.com/inward/record.uri?eid=2-s2.0-60949689321&doi=10.2307%2f3345522&partnerID=40&md5=29ed230ba1edf677f103718d298bd6b6","Grand Valley State University; Department of Music, Grand Valley State University, Allendale, MI 49401, 1 Campus Drive, 1320 PAC, United States","Norris C.E., Grand Valley State University, Department of Music, Grand Valley State University, Allendale, MI 49401, 1 Campus Drive, 1320 PAC, United States","The purpose of this study was to examine sight-singing requirements at junior and senior high school large-group ratings-based choral festivals throughout the United States. Responses to the following questions were sought from each state: (1) Are there ratings-based large-group choral festivals? (2) Is sight-singing a requirement? (3) Are there specific levels or classes of difficulty? (4) Is musical content specified for each level or class? (5) Is there an overall rating that includes both the performance and sight-singing ratings? Data revealed that less than half of all states require sightsinging at large-group festivals at both the junior high and high school levels. Fewer states delineate levels of difficulty, outline musical content to be assessed, and use the sight-singing rating in an overall final rating. Frequency of ""yes"" responses to all questions was consistently lower at the junior high level. The author suggested further analysis of the most evolved state sight-singing assessment systems to develop a more uniform, sequential system of content, materials, and assessment. © 2004 by MENC: The National Association for Music Education.","","","","","","","","","Armstrong M., Adjudicated sight-reading for the choral ensemble: An incentive for musical literacy, Choral Journal, 41, 10, pp. 21-30, (2001); Battersby S., Benefits of competitions/contests for choral directors and students in the Tri-State area, Dissertation Abstracts International, 55, 11, (1995); Baugess D., Jenson sight singing course, 1, (1984); Bennett P., Tricks, masks, and camouflage: Is imitation passing for music reading?, Music Educators Journal, 71, 3, pp. 65-69, (1984); Boyle D., Lucas K., The effect of context on sight singing, Bulletin of the Council for Research in Music Education, 106, pp. 1-9, (1990); Brendell J., Time use, rehearsal activity, and student off-task behavior during the initial minutes of high school choral rehearsals, Journal of Research in Music Education, 44, pp. 6-14, (1996); Brinson B. A., Choral music methods and materials: Developing successful choral programs, grades 5 to 12, (1996); Collins D., Teaching choral music, (1999); Daniels R. D., Relationships among selected factors and the sightreading ability of high school mixed choirs, Journal of Research in Music Education, 34, pp. 279-289, (1986); Daniels R. D., Sight-reading instruction in the choral rehearsal, Update: Applications of Research in Music Education, 6, 2, pp. 22-24, (1988); Demorest S., Improving sight-singing in the choral ensemble: The effect of individual testing, Journal of Research in Music Education, 46, pp. 182-192, (1998); Demorest S., Building choral excellence: Teaching sight singing in the choral rehearsal, (2001); Demorest S., May W., Sight-singing instruction in the choral ensemble: Factors related to individual performance, Journal of Research in Music Education, 43, pp. 156-167, (1995); Dwiggins R., Teaching sight-reading in the high school chorus, Update: Applications of Research in Music Education, 2, 2, pp. 8-11, (1984); Garrettson R., Conducting choral music, (1997); Henry M., The development of an individual vocal sight-reading inventory, Dissertation Abstracts International, 60, 3, (1999); Henry M., Demorest S. M., Individual sight-singing achievement in successful choral ensembles: A preliminary study, Update: Applications of Research in Music Education, 13, 1, pp. 4-8, (1994); Hoffer C. R., Teaching music in the secondary schools, (2000); Hylton. J., Comprehensive choral music education, (1995); Johnson G. D., A descriptive study of the pitch-reading materials and the amount of time utilized to teach sight-singing by high school choral directors in the north central region of the American Choral Directors Association, Masters Abstracts International, 26, 1, (1987); Lucas K. V., Contextual condition and sight singing achievement of middle school choral students, Journal of Research in Music Education, 42, pp. 203-216, (1994); May J. A., A description of current practices in the teaching of choral melody reading in the high schools of Texas, Dissertations Abstracts International, 54, 3, (1993); The National Association for Music Education, The school music program: A new vision, (1994); Munn V., Music reading unlimited, 1, (1997); Nolker D. B., Individual sight singing success: Effects of testing condition, large ensemble sight-singing rating, school size, and selected background factors, Dissertation Abstracts International, 62, 12, (2001); Phillips K. H., Directing the choral music program, (2003); Rentz E., Choral literature selected for performance in state concert/sightreading contests, Missouri Journal of Research in Music Education, 36, pp. 16-34, (1999); Rittenhousc J. H., Competitive and noncompetitive choral festivals at the secondary level, Dissertation Abstracts International, 50, 6, (1989); Scott T. B., The construction of a holistic, criterion-referenced sightsinging test for high school sopranos based on the voluntary national standards for music education, Dissertations Abstracts International, 57, 11, (1996); Smith S. A., Sight singing in the high school choral rehearsal: Pedagogical practices, teacher attitudes and university preparation, Dissertations Abstracts International, 59, 7, (1998); Snyder A., The sight-singer: Two-part and three-part mixed voices, (1993); Szabo C. E., A profile of ten high school choral directors and their activities during one week, Dissertation Abstracts International, 53, 8, (1992); Telfer N., Successful sight-singing, 1, (1992)","C. E. Norris; Grand Valley State University, United States; email: norrisc@gvsu.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-60949689321"
"Locke T.","Locke, Terry (7004140634)","7004140634","Orff and the 'ivory tower': Fostering critique as a mode of legitimation","2009","International Journal of Music Education","27","4","","314","325","11","2","10.1177/0255761409345446","https://www.scopus.com/inward/record.uri?eid=2-s2.0-77949460070&doi=10.1177%2f0255761409345446&partnerID=40&md5=fc08d440af7d8858552063b4efc7085e","School of Education, University of Waikato, Hamilton, PB 3105, New Zealand","Locke T., School of Education, University of Waikato, Hamilton, PB 3105, New Zealand","This article begins by recounting the development and implementation of a unique, mutual agreement between the School of Education at the University of Waikato and Orff New Zealand Aotearoa (ONZA) to develop three master's-level courses in Orff Music Education: Theory and Practice. The rationale for this project is detailed and related to changing conceptions of postgraduate study and debates about continuing 'professional learning' for teachers. It is argued that at the heart of the exercise is a problematic around theorization. How can an approach to pedagogy such as Orff Schulwerk be incorporated into a programme that demands critical reflexivity? A number of 'solutions' to this problematic are provided. A case is made that involves teachers (as practitioners and prospective researchers) in addressing this problematic and will have positive consequences for Orff Schulwerk in New Zealand (and beyond), and for debates about classroom pedagogy in general. Copyright © 2009 International Society for Music Education.","Music education; Music pedagogy; Orff Schulwerk; Professional learning","","","","","","","","Bakhtin M., The problem with speech genres, Speech Genres and Other Late Essays: M. M. Bakhtin, pp. 60-102, (1986); Beane J., Curriculum integration and the disciplines of knowledge, Phi Delta Kappan, 76, 8, pp. 616-622, (1995); Beane J., Curriculum Integration: Designing the Core of Democratic Education, (1997); Beane J., Beyond self-interest: A democratic core curriculum, Educational Leadership, 59, 7, pp. 25-28, (2002); Codd J., Knowledge, qualifications and higher education: A critical view, Education Policy in New Zealand: The 1990s and Beyond, pp. 130-144, (1997); Fairclough N., Discourse and Social Change, (1992); Foucault M., Politics and the study of discourse, The Foucault Effect: Studies in Governmentality, pp. 53-72, (1991); Keetman G., Elementaria: First Acquaintance with Orff-Schulwerk, (1974); Kress G., Burn A., Pictures from a rocket: English and the semiotic take, English Teaching: Practice and Critique, 4, 1, pp. 95-105, (2005); Locke T., Critical Discourse Analysis, (2004); Locke T., Vulliamy G., Webb R., Hill M., Being a 'professional' primary school teacher at the beginning of the 21st Century: A comparative analysis of primary teacher professionalism in New Zealand and England, Journal of Education Policy, 20, 5, pp. 555-580, (2005); Maubach C., Introduction to the Orff Schulwerk Approach (VOSA Training Guidelines), (2006); May S., Critical multiculturalism, Critical Theory and the Human Condition: Founders and Praxis, pp. 199-212, (2003); Action for Change in Music Education: ... A Brief History [About Us], (2009); Achievement initiative, Education Gazette, 70, 7, (1991); Murray M., Gunild Keetman - The essence of the Schulwerk, Gunild Keetman: A Life Given to Music and Movement, pp. 78-80, (2004); Orff C., Orff-Schulwerk: Past and Future, (1963); Regner H., Music for children: Observations on the reception and adaptatin of Orff-Schulwerk in other countries, Musik und Bildung: Zeitschrift für Musikerziehung, 16, pp. 784-791, (1984); Regelski T., The Aristotelian bases of praxis for music and music education as praxis, Philosophy of Music Education Review, 1, pp. 22-59, (1998); Regelski T., Accounting for all praxis: An essay critique of David Elliot's Music Matters, Bulletin - Council for Research in Music Education, pp. 61-87, (2000); Regelski T., On 'methodolatry' and music teaching as critical and reflective praxis, Philosophy of Music Education Review, 10, 2, pp. 102-123, (2002); Sachs J., Towards an activist view of teacher professionalism, AARE Annual Conference, Adelaide, (1999); Shamrock M., Orff Schulwerk: Brief History, Description and Issues in International Dispersal, (1995); Solomon M., Paths to improvisation: Using Keetman's Elementaria, The Orff Echo, pp. 16-19, (2006)","T. Locke; School of Education, University of Waikato, Hamilton, PB 3105, New Zealand; email: t.locke@waikato.ac.nz","","","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-77949460070"
"Kusák J.","Kusák, Jiří (33267830100)","33267830100","Folklore values education in the context of cultural system and current trends of music pedagogy","2008","New Educational Review","16","3-4","","","","","0","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-68949205960&partnerID=40&md5=c0666ddbb09e5d2f99df87092b5c08bc","","","The paper deals with axiological aspects of folklore as intersubjective and intrasubjective communication and the folklore values education with regard to current trends of music pedagogy, in particular the integrative music pedagogy, polyaesthetic education and humanistic-creative paradigm of music pedagogy. Currently, we can see a shift in the semantic understanding of folklore - from the ""diachronic-contextual"" folklore towards the folklore in the modern updated application intention. The inclusion of folklore elements in the modern educational strategy may adumbrate, in a wider context, future motivating stimuli to life-long musical or cultural cultivation of an individual, to adequate hermeneutic analysis of folk art attributes, understanding its complexity, structure, connections and communication aspects.","Axiology; Folklore; Intersubjective and intrasubjective communication; Music education; Music pedagogy; Value","","","","","","","","Bertrand Y., Soudobé teorie vzdělávání, (1998); Gobelova T., Axiologická dimenze ve výchově a vzdělávání, (2006); Kozelska I., Hlasová výchova v učitelské přípravě (jako dovednostní součást profesionalizace učitelů 21. století), (2004); Kusak J., Aktuální postavení hudebního a tanečního folkloru jako prostředku hudebního vzdělávání mládeže a dospělých v současné společnosti, Česká hudební pedagogika a vzdělávání dospělých 21. století. Sborník z 28. ročníku muzikologické konference Janáčkiana, pp. 50-56, (2006); Kusak J., Výchova k hodnotám hudebního, tanečního a slovesného folkloru jako proces regionální/subregionální etnické sebeidenti kace (zaměření na volnočasové aktivity), Aktuální otázky současné hudebně výchovné teorie a praxe II, pp. 50-52, (2007); Michalova E., Hudba v škole. Príspevok k teórii hudobnej pedagogiky, (1997); Slavikova Z., Učiteľ na prahu 21, (2000); Stiborova Z., Pohybová transformace hudby v tvůrčím pojetí hudebního vzdělávání, (2006); Tesar S., Folklor a hudební pedagogika - poznámky k minulosti a budoucnosti jejich vztahu, Hudební věda a výchova 9, pp. 55-58, (2006)","","","","","","","","","17326729","","","","English","New Educ. Rev.","Article","Final","","Scopus","2-s2.0-68949205960"
"Kertz-Welzel A.","Kertz-Welzel, Alexandra (26034491800)","26034491800","Didaktik of music: A German concept and its comparison to American music pedagogy","2004","International Journal of Music Education","22","3","","277","286","9","17","10.1177/0255761404049806","https://www.scopus.com/inward/record.uri?eid=2-s2.0-61049555765&doi=10.1177%2f0255761404049806&partnerID=40&md5=15120c20a99eedee53ddf39c7b52cec7","University of Washington, Seattle, WA, United States; University of Washington, School of Music, Box 353450, Seattle, WA 98115-3450, United States","Kertz-Welzel A., University of Washington, Seattle, WA, United States, University of Washington, School of Music, Box 353450, Seattle, WA 98115-3450, United States","Didaktik of music is the science and art of teaching music in terms of determining goals, contents and methods. It is both a scholarly field of research and a teacher's craft. Didaktik raises issues which neither curriculum research nor pedagogical methodology address in the same way. The main intent of this article is to present important issues concerning the German Didaktik of music, and to make comparisons to the approaches in the United States. By framing Didaktik in view of American music education as a prominent and familiar system, both practical and theoretical issues may be clarified. The concept of a comparative Didaktik of music is also introduced, allowing for more specific questions of pedagogy and curriculum to be raised which do not feature in studies to date. Copyright © 2004 International Society for Music Education.","American music education; Comparative music education; Curriculum studies; German music education; Pedagogy","","","","","","","","Bloom B.S., Taxonomy of Educational Objectives, (1956); Comenius J.A., Opera Didactica Omnia, (1657); Doyle W., Westbury I., Die Rückbesinnung auf den Unterrichtsinhalt in der Curriculum- und Bildungsforschung in den USA, Bildung und Erziehung, 45, pp. 37-157, (1992); Elliott D., Music Matters: A New Philosophy of Music Education, (1995); Helmholz B., Musikdidaktische Konzeptionen nach 1945, Kompendium der Musikpädagogik, pp. 42-63, (1995); Von Humboldt W., Theory of Bildung, Teaching As A Reflective Practice: The German Didaktik Tradition, pp. 57-61, (1793); Jank W., Meyer H., Didaktische Modelle: Grundlegung und Kritik, (1990); Jorgensen E., Transforming Music Education, (2003); Kaiser H.J., Nolte E., Musikdidaktik, (1989); Kemp A., Lepherd L., Research methods in international and comparative music education, Handbook of Research on Music Teaching and Learning, pp. 773-788, (1992); Klafki W., Didaktik analysis as the core of preparation of instruction, Teaching As A Reflective Practice: The German Didaktik Tradition, pp. 139-159, (2000); Kunzli R., German Didaktik: Models of representation, of intercourse, and of experience, Teaching As A Reflective Practice: The German Didaktik Tradition, pp. 41-54, (2000); Luth C., On Wilhelm von Humboldt's theory of Bildung, Teaching As A Reflective Practice: The German Didaktik Tradition, pp. 63-84, (2000); Menck P., Looking into Classrooms, (2000); Ratke W., Bericht von der Didactica, Oder Lehrkunst, (1613); Reid W.A., Systems and structures or myths and fables? A cross-cultural perspective on curriculum content, Didaktik And/or Curriculum. An International Dialogue, pp. 11-27, (1998); Reimer B., A Philosophy of Music Education, (1970); Shulman L., Lagemann E., Issues in Education Research: Problems and Possibilities, (1999); Terhard E., Changing concepts of curriculum: From 'Bildung' to 'learning' to 'experience': Developments in (West) Germany from the 1960s to 1990, Didaktik And/or Curriculum: An International Dialogue, pp. 107-123, (1998); Trapp K., Musikdidaktik, Neues Lexikon der Musikpädagogik, pp. 172-175, (1994); Unger H.G., Encyclopedia of American Education, 14, (2001); Westbury I., Didaktik and curriculum studies, Didaktik And/or Curriculum. An International Dialogue, pp. 47-78, (1998); Westbury I., Teaching as a reflective practice: What might Didaktik teach curriculum?, Teaching As A Reflective Practice: The German Didaktik Tradition, pp. 15-39, (2000); Witz K.G., The 'academic problem, Journal of Curriculum Studies, 32, pp. 9-23, (2000)","A. Kertz-Welzel; University of Washington, School of Music, Box 353450, Seattle, WA 98115-3450, United States; email: akertz@u.washington.edu","","","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-61049555765"
"Buuren L.V.","Buuren, Luke Van (57189545911)","57189545911","Margaret Thatcher's pronunciation: An exercise in ear–training","1988","Journal of the International Phonetic Association","18","1","","26","38","12","3","10.1017/S0025100300003510","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84928842714&doi=10.1017%2fS0025100300003510&partnerID=40&md5=ad7cc5de060e703f176391808d4ee233","Speech Unit, Department of English, University of Amsterdam, Amsterdam, Spuistraat 21, Netherlands","Buuren L.V., Speech Unit, Department of English, University of Amsterdam, Amsterdam, Spuistraat 21, Netherlands","[No abstract available]","","","","","","","","","Abercrombie D., Elements of General Phonetics, (1967); Beattie G.W., Cutler A., Pearson M., Why is Mrs Thatcher interrupted so often, Nature, 300, 5894, pp. 744-747, (1982); Van B.L., Generative phonetic rules for English (RP), English Institute Journal, 3, pp. 3-10, (1980); Van B.L., Observations on phonation, Journal of the International Phonetic Association, 13, 1, pp. 13-23, (1983); Catford J.C., Fundamental Problems in Phonetics, (1977); Firth J.R., Sounds and prosodies, Transactions of the Philological Society, pp. 127-152, (1948); Honikman B., Articulatory settings, Honour of Daniel Jones, pp. 73-84, (1964); Jones D., Outline of English Phonetics, (1962); Jones D., English Pronouncing Dictionary, (1977); Ladefoged P., A Course in Phonetics, (1975); Local J.K., Kelly J., Wells W.H.G., Towards a phonology of conversation: turn–taking in Tyneside English, To appear in Journal of Linguistics, 22, 2; Young H., Sloman A., The Thatcher Phenomenon, (1986)","","","","","","","","","00251003","","","","English","J. Int. Phon. Assoc.","Article","Final","","Scopus","2-s2.0-84928842714"
"McClung A.C.","McClung, Alan C. (26035692300)","26035692300","Sight-singing scores of high school choristers with extensive training in movable solfège syllables and Curwen hand signs","2008","Journal of Research in Music Education","56","3","","255","266","11","6","10.1177/0022429408323290","https://www.scopus.com/inward/record.uri?eid=2-s2.0-60950445540&doi=10.1177%2f0022429408323290&partnerID=40&md5=84c77c9d6bfacd7f1ddec68c92e7690a","University of North Texas","McClung A.C., University of North Texas","Randomly chosen high school choristers with extensive training in solfège syllables and Curwen hand signs (N = 38) are asked to sight-sing two melodies, one while using Curwen hand signs and the other without. Out of a perfect score of 16, the mean score with hand signs was 10.37 (SD = 4.23), and without hand signs, 10.84 (SD = 3.96). A repeated-measures ANOVA revealed no statistically significant difference, F(1, 37) =.573, p =.454. These findings support the results of five earlier studies; however, because earlier studies were limited to students who were minimally trained in movable solfège syllables and Curwen hand signs, this study expands the knowledge base. Relationships between performance scores and instrumental experience, class grade, sight-singing experience, and hand sign experience were also examined. A pedagogical strategy for linking Curwen hand signs with students' preferred modes of learning (especially the kinesthetic mode) is recommended. © 2008 MENC: The National Association for Music Education.","Choral music classroom; Curwen hand signs; Music literacy; Pedagogy; Sight-singing","","","","","","","","Apfelstadt H., Learning modality: A potential clue in the search for vocal accuracy, Update: Applications of Research in Music Education, 4, 3, pp. 4-6, (1986); Autry M.R., A study of the effect of hand signs in the development of sight singing skills, Dissertation Abstracts International, 37-01, (1976); Casarow P.J., Sight-singing pedagogy: Analysis of practice and comparison of systems as described in related literature, Dissertation Abstract International, 63-02, (2002); Choksy L., The Kodály Method, (1974); Daniels R.D., Relationships among selected factors and sight-reading ability of high school mixed choirs, Journal of Research in Music Education, 34, pp. 279-289, (1986); Demorest S.M., Improving sight-singing performance in the choral ensemble: The effect of individual testing, Journal of Research in Music Education, 46, pp. 182-192, (1998); Demorest S.M., Building Choral Excellence: Teaching Sight-Singing in the Choral Rehearsal, (2001); Demorest, W.V. May S.M., Sight-singing instruction in the choral ensemble: Factors related to individual performance, Journal of Research in Music Education, 43, pp. 156-167, (1995); Dunn, K. Dunn R., Teaching Secondary Students Through Their Individual Learning Styles: Practical Approaches for Grades 7-12, (1993); Frederickson K.B., The relationship of spatial ability and encoding ability to Kodály hand signs and singing performance, Dissertation Abstracts International, 53-12, (1993); Gremli J., Tuned in to learning styles, Music Educators Journal, 83, pp. 24-27, (1996); Henry M., The development of a vocal sight-singing inventory, Bulletin of the Council for Research in Music Education, 150, pp. 21-35, (2001); Henry, S.M. Demorest M., Individual sight-singing achievement in successful choral ensembles, Update: Applications of Research in Music Education, 13, 1, pp. 4-8, (1994); Johnson G.J.B., A descriptive study of the pitch-reading methods and the amount of time utilized to teach sight-singing by high school choral teachers in the north central region of the American Choral Directors Association, Masters Abstracts International, 26-01, (1987); Jones B.A., A comparative study of spatial reinforcement as a means for improving the pitch discrimination of seven year olds, Dissertation Abstracts International, 42, (1981); Killian, M.L. Henry J.N., A comparison of successful and unsuccessful strategies in individual sight-singing preparation and performance, Journal of Research in Music Education, 53, pp. 51-65, (2005); Martin B.A., Effects of hand signs, syllables, and letters on first graders' acquisition of tonal skills, Journal of Research in Music Education, 39, pp. 161-170, (1991); Mason K.E., The phenomenon of paired learning styles as manifested in middle school instrumental music students' music reading achievement, Dissertation Abstracts International, 52-04, (1991); Maxwell, H.D. Delaney S.E., Designing Experiments and Analyzing Data: A Model Comparison Perspective, (2004); May J., A description of current practices in the teaching of choral melody reading in the high schools of Texas, Dissertation Abstracts International, 54-03, (1993); McClung A.C., Sight-singing systems, current practice, and a survey of all-state choristers, Update, Applications of Research in Music Education, 20, 1, pp. 3-8, (2001); McClung A.C., Movable Tonic: A Sequenced Sight-Singing Method, (2008); The School Music Program: A New Vision; Pautz M.P., An investigation of the effect of selected instructional strategies on the learning of complete songs as moderated by perceptual learning style, Dissertation Abstracts International, 49-09, (1988); Pembrook, H. Riggins R., Send help!"" Aural skills instruction in U.S. colleges and universities, Journal of Music Theory Pedagogy, 4, pp. 231-241, (1990); Persellin D.C., The influences of perceived modality on teaching methods used by elementary music educators, Update: Application of Research in Music Education, 7, 1, pp. 11-15, (1988); Rainbow B., Curwen, Kodály and the future, Music Teacher, 58, pp. 11-12, (1979); Smith S., Sight-singing in the high school choral rehearsal: Pedagogical practices, teacher attitudes, and university preparation, Dissertation Abstracts International, 59-07, (1998); Steeves C., The effect of Curwen-Kodály hand signs on pitch and interval discrimination within a Kodály curricular framework, Masters Abstracts International, 40-04, (1984); Sumner M.D., A case for relative solmization within the Kodály context and its application in secondary school music education, Dissertation Abstracts International, 58-11, (1998); Tiller R.W., An investigation into the extent of congruency between general and music specific learning style preferences, Dissertation Abstracts International, 52-05, (1991); Wallace J., Accommodating elementary students' learning styles, Reading Improvement, 32, pp. 38-41, (1995); Youngson, D.C. Persellin S.C., The Curwen hand signs: A help or hindrance when developing vocal accuracy?, Kodály Envoy, 27, 2, pp. 9-12, (2001); Zemke L., The Kodály Concept: Its History, Philosophy and Development, (1977)","A. C. McClung; University of North Texas, United States; email: amcclung@music.unt.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-60950445540"
"Dos Santos R.A.T.; Del Ben L.","Dos Santos, Regina Antunes Teixeira (26036301600); Del Ben, Luciana (26035966300)","26036301600; 26035966300","Contextualized improvisation in solfège class","2004","International Journal of Music Education","22","3","","266","276","10","6","10.1177/0255761404047407","https://www.scopus.com/inward/record.uri?eid=2-s2.0-61049117338&doi=10.1177%2f0255761404047407&partnerID=40&md5=80c59b57fa3a1e7061df5765a228d8a0","Federal University of Rio Grande Do Sul, Brazil; Porto Alegre - RS, Cep 90020-090, Rua Prof. Annes Dias, 112-150 andar, Brazil","Dos Santos R.A.T., Federal University of Rio Grande Do Sul, Brazil, Porto Alegre - RS, Cep 90020-090, Rua Prof. Annes Dias, 112-150 andar, Brazil; Del Ben L., Federal University of Rio Grande Do Sul, Brazil, Porto Alegre - RS, Cep 90020-090, Rua Prof. Annes Dias, 112-150 andar, Brazil","This article presents practitioner research dealing with improvisation in solfège as a creative alternative for the development of music perception. Solfège practice, conceived as a personal construction of a melody, requires an attitude that embraces aural sensitivity to the spatial and temporal dimensions of a melodic line, identification of problems, hypothesizing solutions and experimenting with strategies. In contextualized improvisation in solfège, the melody recently read and understood is manipulated in order to find different ways of embellishing its structure without changing the basic character. Examples extracted from solfège classes in a higher education context are illustrated and discussed. Improvisation on solfège exercises demands awareness of melodic contour at the same time as each note is being named, coherence and rhythmic freedom, providing the means for the students to develop the musical structures dealt with in the studied exercises. Copyright © 2004 International Society for Music Education.","Aural skills; Improvisation in solfège; Music perception; Problem solving; Sight-singing","","","","","","","","Del Aguilar M.C., Melodías Modales, 3, (1988); Azzara C.D., An aural approach to improvisation, Music Educators Journal, 86, 3, pp. 21-25, (1999); Azzara C.D., Improvisation, The New Handbook of Research on Music Teaching and Learning, pp. 171-187, (2002); Covington K., Improvisation in the aural curriculum: An imperative, College Music Symposium, 37, pp. 49-64, (1997); Davidson L., Scripp L., A developmental view of sightsinging, Journal of Music Theory Pedagogy, 2, 1, pp. 10-23, (1998); Davidson L., Scripp L., Framing the dimensions of sightsinging: Teaching toward musical development, Journal of Music Theory Pedagogy, 2, 1, pp. 24-50, (1988); Demorest S.M., Improving sight-singing performance in the choral ensemble: The effect of individual testing, Journal of Research in Music Education, 46, 2, pp. 182-192, (1998); Demorest S.M., Building Choral Excellence: Teaching Sight-singing in the Choral Rehearsal, (2001); Gordon E., Learning Sequences in Music: Skill, Content, and Patterns, (1997); Gramani J.E., Rítmica, (2002); Hall A.C., Studying Rhythm, (1998); Hegyi E., Método Kodály de Solfeo i, (1999); Jersild J., Ear Training: Basic Introduction in Melody and Rhythm Reading, (1962); Karpinski G.S., Aural Skills Acquisition, (2000); Kenny B.J., Gellrich M., Improvisation, The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning, pp. 117-134, (2002); Kratus J., Growing with improvisation, Music Educators Journal, 78, 4, pp. 35-40, (1991); Larson S., Integrated music learning' and improvisation: Teaching musicianship and theory through 'menus, maps, and models, College Music Symposium, 35, pp. 76-90, (1995); Meyer L.B., Style and Music, (1996); Ottman R.W., Music for Sight Singing, (2002); Paz E.A., O Modalismo Na Música Brasileira, (2002); Pressing J., Improvisation: Methods and models, Generative Process in Music: The Psychology of Performance, Improvisation and Composition, pp. 129-178, (1988); Sloboda J.A., The Musical Mind, (2000); Swanwick K., Musical Knowledge: Intuition, Analysis and Music Education, (1994); Swanwick K., Teaching Music Musically, (1999); Welch G.F., Sundberg J., Solo voice, The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning, pp. 253-268, (2002); White J.D., Guidelines for College Teaching of Music Theory, (2002)","R. A. T. Dos Santos; Porto Alegre - RS, Cep 90020-090, Rua Prof. Annes Dias, 112-150 andar, Brazil; email: jhsreg@adufrgs.ufrgs.br","","","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-61049117338"
"Wöllner C.; Halfpenny E.; Ho S.; Kurosawa K.","Wöllner, Clemens (25621588600); Halfpenny, Emma (53564028500); Ho, Stella (53563646500); Kurosawa, Kaori (53564104600)","25621588600; 53564028500; 53563646500; 53564104600","The effects of distracted inner hearing on sight-reading","2003","Psychology of Music","31","4","","377","389","12","18","10.1177/03057356030314003","https://www.scopus.com/inward/record.uri?eid=2-s2.0-43049140657&doi=10.1177%2f03057356030314003&partnerID=40&md5=88f740b8d0e37f58753158947f35a48d","University of Sheffield; Department of Music, University of Sheffield, Sheffield S10 2TN, United Kingdom; Nottinghamshire County Council's Art Support Service","Wöllner C., University of Sheffield, Department of Music, University of Sheffield, Sheffield S10 2TN, United Kingdom; Halfpenny E., University of Sheffield, Nottinghamshire County Council's Art Support Service; Ho S., University of Sheffield; Kurosawa K., University of Sheffield","The importance of inner hearing in musical sight-reading was investigated with an interference paradigm. In a repeated measures design, 20 music students sight-sang two melodies, one of those while listening to distracting music. Participants answered aspects of sight-reading ability and strategy in questionnaires and in semi-structured interviews. The number of mistakes in the sung melodies was calculated; in addition, expert listeners rated continuity/fluency and overall quality. Distracted inner hearing only led to significantly worse rating results for overall quality. Nevertheless, participants found inner hearing to be significantly more difficult with distracting music, and the number of mistakes is highly correlated with the experienced difficulty of inner hearing. Possible explanations and implications for further research are discussed. Copyright © 2003 Society for Education, Music and Psychology Research.","Auditory representation; Interference paradigm; Music performance; Selective attention; Singing","","","","","","","","Bigand E., McAdams S., Foret S., Divided Attention in Music, International Journal of Psychology, 35, 6, pp. 270-278, (2000); Cassidy J., Effects of Various Sightsinging Strategies on Non-Musicians Majors' Pitch Accuracy, Journal of Research in Music Education, 41, pp. 293-302, (1993); DeFonso L.E., Visual Context Effects in the Sight-Singing of Musical Intervals, Proceedings of the 3rd International Conference of Music Perception and Cognition, pp. 333-335; Demorest S.M., Improving Sight-Singing Performance in the Choral Ensemble: The Effect of Individual Testing, Journal of Research in Music Education, 46, 2, pp. 182-192, (1998); Demorest S.M., May W.V., Sight-Singing Instruction in the Choral Ensemble - Factors Related to Individual Performance, Journal of Research in Music Education, 43, 2, pp. 156-167, (1995); Dunford D., Optometry and Music: A Review of the Literature, Journal of Optometric Vision Development, 31, 2, pp. 76-82, (2000); Ericsson K.A., Lehmann A.C., The Acquisition of Accompanying (Sight- reading) Skills in Expert Pianists, Proceedings of the 3rd International Conference of Music Perception and Cognition, pp. 337-338; Gabrielsson A., The Performance of Music, The Psychology of Music, pp. 510-602, (1999); Goolsby T.W., Eye Movement in Music Reading: Effects of Reading Ability, Notational Complexity, and Encounters, Music Perception, 12, pp. 77-96, (1994); Grant J.W., Norris C., Choral Music Education: A Survey of Research 1982-1995, Bulletin of the Council for Research in Music Education, 135, pp. 21-59, (1998); Henry M.L., The Development of an Individual Vocal Sight-Reading Inventory, Dissertation Abstracts International, (1999); Killian J.N., The Relationship between Sightsinging Accuracy and Error Detection in Junior High Singers, Journal of Research in Music Education, 39, 3, pp. 216-224, (1991); Kostka M.J., The Effects of Error-Detection Practice on Keyboard Sight-Reading Achievement of Undergraduate Music Majors, Journal of Research in Music Education, 48, 2, pp. 114-122, (2000); McPherson G., Factors and Abilities Influencing Sightreading Skill in Music, Journal of Research in Music Education, 42, pp. 217-231, (1994); Miller R.E., Contributions of Selected Music Skills to Music Sight Reading Achievement and Rehearsed Reading Achievement, Dissertation Abstracts International, (1988); Oscar Peterson, Blues for Big Scotia, The Essential Oscar Peterson. The Swinger. Verve Records 314 517 174-2, (1962); Sheldon D.A., Effects of Contextual Sight-Singing and Aural Skills Training on Error-Detection Abilities, Journal of Research in Music Education, 46, 3, pp. 384-395, (1998); Sloboda J.A., The Eye-Hand Span: An Approach to the Study of Sight Reading, Psychology of Music, 2, 2, pp. 4-10, (1974); Sloboda J.A., The Psychology of Music Reading, Psychology of Music, 6, 2, pp. 3-20, (1978); Sloboda J.A., Experimental Studies of Music Reading: A Review, Music Perception, 2, 2, pp. 222-236, (1984); Waters A.J., Townsend E., Underwood G., Expertise in Musical Sight Reading: A Study of Pianists, British Journal of Psychology, 89, pp. 123-149, (1998)","C. Wöllner; University of Sheffield, United Kingdom; email: c.woellner@web.de","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-43049140657"
"Grutzmacher P.A.","Grutzmacher, Patricia Ann (57189406074)","57189406074","The Effect of Tonal Pattern Training on the Aural Perception, Reading Recognition, and Melodic Sight-reading Achievement of First-Year Instrumental Music Students","1987","Journal of Research in Music Education","35","3","","171","181","10","33","10.2307/3344959","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84970359021&doi=10.2307%2f3344959&partnerID=40&md5=49244b5c6d6cc65d37806bc7b088efef","Kent State University, United States","Grutzmacher P.A., Kent State University, United States","This study investigated the relationship of tonal pattern instruction to tonal concept development and performance achievement of beginning instrumentalists. The problem was to compare a course of study emphasizing tonal concept development with another emphasizing technical skill development Forty-eight subjects were randomly assigned to the experimental group or the control group. Experimental group content included tonal patterns taught through harmonization and vocalization. Control group content included a set of symbols and range of pitches taught from notation. Students received 14 weekly 30-minute lessons. A one-factor design was employed. The independent variable was teaching content. The dependent variables were pastiest mean scores from Iowa Tests of Musical Literacy and an investigator-constructed sight reading test Analysis of covariance was used. The experimental group scored significantly higher (p <.001) on aural identification of major and minor tonalities and significantly higher (p <.0001) in melodic sight-reading achievement. No significant difference occurred between groups in reading recognition (p >.05). © 1987, Sage Publications. All rights reserved.","","","","","","","","","Attneave F., Olson R.K., Pitch as a medium: A new approach to psychophysical scaling, American Journal of Psychology, 84, pp. 147-166, (1971); Bean K.L., Reading music instead of spelling it, The Journal of Musicology, 1, pp. 1-5, (1939); Bergan J.R., The relationships among pitch identification, imagery for musical sounds, and musical memory, Journal of Research in Music Education, 15, 2, pp. 99-109, (1967); Colwell R., An investigation of musical achievement among vocal students, vocal-instrumental students, and instrumental students, Journal of Research in Music Education, 11, 2, pp. 123-130, (1963); Cuddy L.L., Absolute judgement of musical-related pure tones, Canadian Journal of Psychology, 25, pp. 42-55, (1971); Cuddy L.L., From tone to melody to music: Some directions for a theory of musical cognition, Bulletin of the Council for Research in Music Education, 71, pp. 15-29, (1982); Deutsch D., Music recognition, Psychological Review, 76, pp. 300-307, (1969); Deutsch D., Tones and numbers: Specificity of interference in short-term memory, Science, 168, pp. 1604-1605, (1970); Deutsch D., Mapping of interactions in the pitch memory store, Science, 175, pp. 1020-1022, (1972); Feldstein S., O'Reilly J., Alfred's basic band method, (1977); Gordon E., Manual: Musical aptitude profile, (1965); Gordon E., Manual: Iowa tests of musical literacy, (1970); Gordon E., The psychology of music teaching, (1971); Gordon E., Learning sequences in music, (1980); Hale M.R., An experimental study of the comparative effectiveness of harmonic and melodic accompaniment in singing as it relates to the development of a sense of tonality (Doctoral dissertation, State University of New York at Buffalo, 1976), Dissertation Abstracts International, 37, (1976); Heffernan C.W., Teaching children to read music, (1968); Hoffer C.R., Teaching music in the secondary schools, (1969); Kress H.E., An investigation of the effect upon the musical achievement and musical preference of beginning band students exposed to method books reflecting Piaget's theory of conservation (Doctoral dissertation, University of Colorado at Boulder, 1981), Dissertation Abstracts International, 42, (1981); Krumhansl C.L., The psychological representation of musical pitch in tonal context, Cognitive Psychology, 11, pp. 346-374, (1979); Leonhard C., House R.W., Foundation and principles of music education, (1959); MacKnight C.B., The development and evaluation of tonal pattern instruction in music reading for beginning wind instrumentalists (Doctoral dissertation, University of Massachusetts, 1973), Dissertation Abstracts International, 33, (1973); Mainwaring J., Psychological factors in the teaching of music, British Journal of Educational Psychology, 21, pp. 105-121, (1951); McGarry R.J., Teaching experiment to measure the extent to which vocalization contributes to the development of selected music performance skills. A comparison of the effectiveness of two teaching techniques on instrumental music performance utilizing the Watkins-Farnum Performance Scale (Doctoral dissertation, New York University, 1967), Dissertation Abstracts International, 28, (1967); Mursell J.L., Principles of music education, (1927); Mursell J.L., Human values in music education, (1934); Mursell J., Glenn M., The psychology of school music teaching, (1938); Mursell J.L., Education for musical growth, (1948); Schleuter S.L., A sound approach to teaching instrumentalists, (1984); Texter M.E., An historical and analytical investigation of the beginning band method book (Doctoral dissertation, Ohio State University, 1975), Dissertation Abstracts International, 36, (1975); Thomas R., A study of new concepts, procedures, and achievements in music learning as developed in selected music education programs, (1966); Watson J.M., What about music reading?, National Elementary Principal, 33, (1954)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84970359021"
"Kostka M.J.","Kostka, Marilyn J. (26423776500)","26423776500","The Effects of Error-Detection Practice on Keyboard Sight-Reading Achievement of Undergraduate Music Majors","2000","Journal of Research in Music Education","48","2","","114","122","8","17","10.2307/3345570","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84990385563&doi=10.2307%2f3345570&partnerID=40&md5=158a50d0346429fcd88958082bf3f0cf","Northern Arizona University","Kostka M.J., Northern Arizona University","This investigation compared three methods of teaching keyboard sight-reading to undergraduate music majors. Sixty-nine students enrolled in six piano classes were randomly divided among three conditions: (1) error-detection practice plus “shadowing” (silently playing the notes on top of the keys), (2) shadowing only, and (3) unguided independent practice (contact control). A pretest-posttest design was used to assess subjects’ achievement on five selected sight-reading assignments during the course of one academic semester (15 weeks). Individual pretest and posttest performances were tape-recorded and evaluated across three error categories: rhythm, notes, and hesitations. Results indicated that, while no significant differences were found in overall sight-reading improvement among groups, the EDS (error-detection plus shadowing) subjects achieved modest overall gains, and rhythm was the most improved category, followed by notes and hesitations. © 2000, SAGE Publications. All rights reserved.","","","","","","","","","Boyle J., The effects of prescribed rhythmic movements on the ability to read music at sight, Journal of Research in Music Education, 18, pp. 307-318, (1970); Byo J.L., The influence of textural and timbral factors on the ability of music majors to detect performance errors, Journal of Research in Music Education, 41, pp. 156-167, (1993); Cassidy J., Effects of various sight-singing strategies on nonmusic majors’ pitch accuracy, Journal of Research in Music Education, 41, pp. 293-302, (1993); Crowe D.R., Effects of score study style on beginning conductors’ error-detection abilities, Journal of Research in Music Education, 44, pp. 160-171, (1996); Daniels R.D., Sight-reading instruction in the choral rehearsal, Update: Applications of Research in Music Education, 6, 2, pp. 22-24, (1988); Deal J., Computer-assisted instruction in pitch and rhythm error detection, Journal of Research in Music Education, 33, pp. 159-166, (1985); Delzell J., The effects of musical discrimination training in beginning instrumental music classes, Journal of Research in Music Education, 37, pp. 21-31, (1989); Demorest S., Improving sight-singing performance in the choral ensemble: The effect of individual testing, Journal of Research in Music Education, 46, pp. 182-192, (1998); Demorest S., May W., Sight-singing instruction in the choral rehearsal: Factors related to individual performance, Journal of Research in Music Education, 43, pp. 156-167, (1995); Dodson T., Developing music reading skills: Research implications, Update: Applications of Research in Music Education, 1, 4, pp. 3-6, (1983); Elliott C., The relationships among instrumental sight-reading ability and seven selected predictor variables, Journal of Research in Music Education, 30, pp. 5-14, (1982); Hilley M., Olson L., Piano for the developing musician: Comprehensive edition, (1998); Colwell R., Hodges D., The acquisition of music reading skills., pp. 466-471, (1992); Killian J.N., The relationship between sightsinging accuracy and error detection in junior high singers, Journal of Research in Music Education, 39, pp. 216-224, (1991); Kostka M., Effects of self-assessment and successive approximations on “knowing” and “valuing” selected keyboard skills, Journal of Research in Music Education, 45, pp. 273-281, (1997); Lowder J., An experimental study of a keyboard sight-reading (test) administered to freshman secondary piano students at the Ohio State University, Contributions to Music Education, 3, pp. 97-105, (1974); Lowder J., Evaluation of keyboard skills required in college class piano programs, Contributions to Music Education, 10, pp. 33-38, (1983); Lucas K., Contextual conditions and sight-singing achievement of middle school choral students, Journal of Research in Music Education, 42, pp. 203-216, (1994); Lindeman C., Pianolab: An introduction to class piano., (1996); Mach E., Contemporary class piano., (1996); Sheldon D.A., Effects of contextual sight-singing and aural skills training on error-detection abilities, Journal of Research in Music Education, 46, pp. 384-395, (1998); Sloboda J., The eye-hand span’An approach to the study of sight-reading, Psychology of Music, 2, 2, pp. 4-10, (1974); Stebleton E., Predictors of sight-reading achievement: A review of the literature, Update: Applications of Research in Music Education, 6, 1, pp. 11-15, (1987); Stwolinski J., Faulconer J., Schwarzkopf A.B., A comparison of two approaches to learning to detect harmonic alterations, Journal of Research in Music Education, 36, pp. 83-94, (1988)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84990385563"
"Gruhn W.; Litt F.; Scherer A.; Schumann T.; Weiß E.M.; Gebhardt C.","Gruhn, Wilfried (7003650216); Litt, Friederike (57191758883); Scherer, Annette (57191761226); Schumann, Till (57191762763); Weiß, Eva Maria (57191757554); Gebhardt, Christine (57191762328)","7003650216; 57191758883; 57191761226; 57191762763; 57191757554; 57191762328","Suppressing reflexive behaviour: Saccadic eye movements in musicians and non-musicians","2006","Musicae Scientiae","10","1","","19","32","13","12","10.1177/102986490601000102","https://www.scopus.com/inward/record.uri?eid=2-s2.0-78650929309&doi=10.1177%2f102986490601000102&partnerID=40&md5=f1c6dc1797f8bc68743af8b38925e687","Music Education Department, University of Music, Freiburg, Germany; University of Music, Freiburg, Germany; Blick Labor, Brain Research Unit, University of Freiburg, Germany","Gruhn W., Music Education Department, University of Music, Freiburg, Germany; Litt F., University of Music, Freiburg, Germany; Scherer A., University of Music, Freiburg, Germany; Schumann T., University of Music, Freiburg, Germany; Weiß E.M., University of Music, Freiburg, Germany; Gebhardt C., Blick Labor, Brain Research Unit, University of Freiburg, Germany","Musicians who practice from notation and sight read every day can be said to perform a special eye training and could therefore possibly be distinguished from non-musicians. If a difference between both groups could be demonstrated it would be interesting to know whether this difference remains stable over the entire life span. In a cross-sectional study we tested 115 participants of three age groups (36 pupils M = 11.5 years, 41 university students M = 23.1 years, 38 adults M = 55.6 years) and varying degrees of musical training (57 were musicians) with respect to their saccadic eye movements (overlap and anti gap paradigm). An infra-red beam helmet (Express Eye) was used to collect data for the reaction time of pro and anti saccades, mean distribution, percentage of express saccades, correction time, and percentage of directional errors. Data were analyzed separately for each age group and served as factors for fixation and voluntary control. Data from measures of general intelligence (Raven's Advanced Progressive Matrices), music aptitude (Gordon's Advanced Measures of Music Audiation), handedness, and sight reading were used as covariates. The data exhibit an advantage for musicians regarding those parameters that involve involuntary control and fixation. But in general there is no evidence to show that music aptitude and saccadic behavior interact. © 2006, European Society for the Cognitive Sciences of Music. All rights reserved.","","","","","","","","","Bastian H.G., Musik(erziehung) und ihre Wirkung, (2000); Biscaldi M., Fischer B., Hartnegg K., Voluntary saccadic control in dyslexia, Perception, 29, pp. 509-521, (2000); Currie J., Ramsden B., McArthur C., Maruff P., Validation of a clinical saccadic eye movement test in the assessment of dementia, Archives of Neurology, 48, pp. 644-648, (1991); Fischer B., Blick-Punkte. Neurobiologische Prinzipien des Sehens und der Blicksteuerung, (1999); Fischer B., Hören, Sehen, Blicken, Zählen. Teilleistungen und ihre Störungen, (2003); Galley N., Fixation durations and saccadic latencies as indicators of mental speed, Personality Psychology, 7, pp. 221-234, (1999); Gardner H., Frames of mind. The theory of multiple intelligences, (1985); Gardner H., Intelligence reframed, (1999); Gruhn W., Galley N., Kluth C.H., Do mental speed and musical abilities interact, Annals of the New York Academy of Sciences, 999, pp. 485-496, (2003); Kimmig H., Express-Sakkaden beim Menschen: Die Rolle der Aufmerksamkeit in der Vorbereitungsphase zielgerichteter Blicksprünge, (1986); Kinsler V., Carpenter R.H., Saccadic eye movements while reading music, Vision Research, 35, 10, pp. 1447-1458, (1995); Mokler A.V., Okulomotorik bei aufmerksamkeitsgestörte, hyperaktiven Kindern, (2002); Oldfield R.C., The assessment and the analysis of handedness: The Edinburgh Inventory, Neuropsychologia, 9, pp. 97-113, (1971); Petsche H., Gehirn — Musik — Intelligenz, Verhandlungen der Deutschen Gesellschaft für Pathologie, 86, pp. 131-137, (2002); Rosse R.B., Schwartz B.L., Kim S.Y., Deutsch S.I., Correlation with antisaccadic and Wisconsin Card Sorting Test in schizophrenia, American Journal of Psychiatry, 150, pp. 333-335, (1993); Saring W., Cramon V., Is there an interaction between cognitive ability and lateral eye movements, Neuropsychologia, 18, 4-5, pp. 591-596, (1980); Tatler B.W., Wade N.J., On nystagmus, saccades, and fixations, Perception, 32, 2, pp. 167-184, (2003); Sereno A.B., Holzman P.S., Antisaccades and smooth pursuit eye movements in schizophrenia, Biological Psychiatry, 37, pp. 394-401, (1995); Thiele A., Henning P., Kubischik M., Hoffmann K.-P., Neural mechanisms of saccadic suppression, Science, 295, 5564, pp. 2460-2462, (2002); Thilo K.V., Santoro L., Walsh V., Blakemore C., The site of saccadic suppression, Nature Neuroscience, 7, 1, pp. 13-14, (2004); Winner E., Hetland L., The arts in education: Evaluating the evidence for a causal link, The Journal of Aesthetic Education, 34, 3-4, pp. 3-10, (2000)","","","","","","","","","10298649","","","","English","Musicae Scientiae","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-78650929309"
"Cenoz J.; Lecumberri M.L.G.","Cenoz, Jasone (15021893800); Lecumberri, Ma Luisa Garcia (25646630100)","15021893800; 25646630100","The acquisition of english pronunciation: Learners’ views","1999","International Journal of Applied Linguistics (United Kingdom)","9","1","","3","15","12","46","10.1111/j.1473-4192.1999.tb00157.x","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84937186148&doi=10.1111%2fj.1473-4192.1999.tb00157.x&partnerID=40&md5=7e0705cb14a409ea05f435ad695c3359","University of the Basque Country, Spain","Cenoz J., University of the Basque Country, Spain; Lecumberri M.L.G., University of the Basque Country, Spain","This paper aims at describing English learners’ views on the acquisition of the phonetic component of English by focusing on their awareness of the difficulty and importance of English pronunciation as well as their beliefs about influential factors in the acquisition of pronunciation and their attitudes towards English accents. It also aims at examining the differences in phonetic awareness, beliefs and attitudes between learners of English with different first languages (Basque and Spanish). All the participants (n=86) were asked to complete several questionnaires, including a background questionnaire and a specific questionnaire on awareness, beliefs and attitudes. The results indicate that pronunciation is a difficult and important skill for all learners. It was also found that learners consider contact with native speakers and ear training as the most influential factors in the acquisition of pronunciation and that the difficulty of some English accents is related to learners attitudes towards these accents. The results also indicate that all learners tend to share the same awareness of difficulty, importance of, beliefs about and attitudes towards different accents independently of their first language. © 1999 Wiley. All rights reserved.","","","","","","","","","Berns M., English in Europe: Whose language, whose culture, International Journal of Applied Linguistics, 5, pp. 21-32, (1995); Best C.T., The emergence of native-language phonological influences in infants: A perceptual assimilation model, The development of speech perception, pp. 167-224, (1994); Cenoz J., Garcia Lecumberri M.L., The acquisition of English vowels: A longitudinal study, New Sounds 97, pp. 55-60, (1997); Cenoz J., Garcia Lecumberri M.L.; Chryshochoos N., Learners’ awareness of their learning, Language awareness in the classroom, pp. 148-162, (1991); Cruttenden A., Gimson’s pronunciation of English, (1994); Ellis R., The study of second language acquisition, (1994); Fitzpatrick F., A teacher’s guide to practical pronunciation, (1995); Flege J.E., A critical period for learning to pronounce foreign languages, Applied Linguistics, 8, pp. 162-177, (1987); Flege J.E., Bohn O.S., An instrumental study of vowel reduction and stress placement in Spanish-accented English, Studies in Second Language Acquisition, 11, pp. 35-62, (1989); Flege J.E., Eefting W., Production and perception of English stops by native Spanish speakers, Journal of Phonetics, 15, pp. 67-83, (1987); Flege J.E., Munro M.J., Fox R.A., Auditory and categorical effects on cross-language vowel perception, Journal of the Acoustic Society of America, 95, pp. 3623-3641, (1994); Fox R., Flege J.E., Munro M.J., The perception of English and Spanish vowels by native English and Spanish listeners: A multidimensional scaling analysis, Journal of the Acoustic Society of America, 97, pp. 2540-2551, (1995); Garcia Lecumberri M.L., Perception of accentual focus by Basque L2 learners of English, Anuario del Seminario “Julio de Urquijo”, 29, pp. 581-598, (1995); Garcia Lecumberri M.L., Cenoz J., Identification by L2 learners of English vowels in different phonetic contexts, New Sounds 97, pp. 196-205, (1997); Gardner R.C., Social psychology and second language learning, (1985); Garret P., Coupland N., William A., City Harsh and the Welsh version of RP: Some ways in which teachers view dialects of Welsh English, Language Awareness, 4, pp. 99-107, (1995); Guerra R., Estudio estadístico de la sílaba en español [Statistical study of the Spanish syllable], Estudios de fonética [Studies of phonetics], pp. 9-112, (1983); Guiora A., Schonberger R., Native pronunciation of bilinguals, New Sounds 90, pp. 26-36, (1990); Hoffmann C., Luxembourg and the European schools, Beyond bilingualism: Multilingualism and multilingual education, pp. 143-174, (1998); Hualde J.I., Basque phonology, (1991); Hyde M., The importance of language awareness in the phonology component of a teacher training programme, Language Awareness, 3, pp. 141-150, (1994); Ioup G., Is there a structural foreign accent? A comparison of syntactic and phonological errors in second language acquisition, Language Learning, 34, pp. 1-17, (1984); James J., Garret P., Language awareness in the classroom, (1991); Laroy C., Pronunciation, (1995); Major R., Foreign accent: Recent research and theory, International Review of Applied Linguistics, 15, pp. 185-202, (1987); Major R., Phonological similarity, markedness, and rate of L2 acquisition, Studies in Second Language Acquisition, 9, pp. 63-82, (1987); Michelena L., Fonética histórica vasca [Historical phonetics of the Basque language], (1985); Morley J., The pronunciation component in teaching English to speakers of other languages, TESOL Quarterly, 25, pp. 481-520, (1991); Neufeld G.G., Schneiderman E.I., Prosodic and articulatory features in adult language learning, Research in second language acquisition, pp. 105-109, (1980); Polka L., Linguistic influences in adult perception of non-native vowel contrasts, Journal of the Acoustic Society of America, 97, pp. 1286-1296, (1995); Purcell E.T., Suter R.W., Predictors of pronunciation accuracy: A reexamination, Language Learning, 30, pp. 271-287, (1980); Quilis A., Fernandez J.A., Curso de fonética y fonología españolas [Spanish phonetics and phonology course], (1985); Roach P., English phonetics and phonology, (1991); Schneiderman E., Bourdages J., Champagne C., Second-language accent: The relationship between discrimination and perception in acquisition, Language Learning, 38, pp. 1-19, (1988); Singleton D., Language acquisition: The age factor, (1989); Suter R.W., Predictors of pronunciation accuracy in second language learning, Language Learning, 26, pp. 233-253, (1976); Tench P., The intonation system of English, (1966); Thompson I., Foreign accents revisited: The English pronunciation of Russian immigrants, Language Learning, 41, pp. 177-204, (1991); Trask R.L., A dictionary of phonetics and phonology, (1996); Wells J.C., Accents of English 1: An introduction, (1982); Wells J.C., Longman pronunciation dictionary, (1990); Wenden A., What do second language learners know about their language learning? A second look at retrospective accounts, Applied Linguistics, 7, pp. 186-201, (1986); Wenden A., Learner strategies for learner autonomy, (1991); Zuendler J., Applying accommodation theory to variable performance data in L2, Studies in Second Language Acquisition, 4, pp. 181-192, (1982)","J. Cenoz; Dept of English Philology, University of the Basque Country, Vitoria-Gasteiz, 01006, P.O. Box 2111, Spain; email: fipceirj@vc.ehu.es","","","","","","","","08026106","","","","English","Int. J. Appl. Linguist.","Article","Final","","Scopus","2-s2.0-84937186148"
"Demorest S.M.","Demorest, Steven M. (6507620011)","6507620011","Improving sight-singing performance in the choral ensemble: The effect of individual testing","1998","Journal of Research in Music Education","46","2","","182","192","10","25","10.2307/3345622","https://www.scopus.com/inward/record.uri?eid=2-s2.0-60950526509&doi=10.2307%2f3345622&partnerID=40&md5=db02f37b2f7cfd59aa38c0ae5caf9534","School of Music, University of Washington, Seattle, WA 91895-3450, PO Box 353450, United States","Demorest S.M., School of Music, University of Washington, Seattle, WA 91895-3450, PO Box 353450, United States","The purpose of this study was to examine the effect of individual testing, in conjunction with group instruction, on students' sight-singing skills. A quasi-experimental study was designed to test the following prediction: Choir students given a regular program of individual testing will show a significantly greater improvement in individual sight-singing over students given group sight-singing instruction alone. A sample of 306 subjects was drawn from the beginning and advanced choirs of six high schools in the State of Washington where sight-singing was taught. Intact choirs were randomly assigned in a pretest-posttest control group design to examine the effect of a seres of three individual tests administered to the experimental group throughout one semester. Results showed a significantly greater gain in individual sight-singing performance on the major melody for members of the experimental group. Members of the advanced choirs scored significantly higher on the major melody across conditions. There were no significant differences in either variable for the minor melody. There was a significant school-to-school difference in individual achievement for both melodies, but no interaction with the treatment. Individual testing was found to be an effective means of improving individual sight-singing performance in group instructional situations. © 1998 by Music Educators National Conference.","","","","","","","","","Crowe E., Lawton A., Whittaker W.G., The Folk Song Sight-Singing Series., (1961); Daniels R.D., Relationships among selected factors and the sight-reading ability of high school mixed choirs, Journal of Research in Music Education, 34, pp. 279-289, (1986); Daniels R.D., Sight-reading instruction in the choral rehearsal, Update: Applications of Research in Music Education, 6, 2, pp. 22-24, (1988); Demorest S.M., May V.W., Sight-singing instruction in the choral ensemble: Factors related to individual performance, Journal of Research in Music Education, 43, pp. 156-167, (1995); Dwiggins R., Teaching sight-reading in the high school chorus, Update: Applications of Research in Music Education, 2, 2, pp. 8-11, (1984); Fitchhorn E., A foundation for music literacy, The School Musician, 54, 8, pp. 14-15, (1983); Gregory T., The effect of rhythmic notation variable on sight-reading errors, Journal of Research in Music Education, 20, pp. 462-468, (1972); Henry M., Demorest S.M., Individual sight-singing achievement in successful choral ensembles: A preliminary study, Update: Applications of Research in Music Education, 13, 1, pp. 4-8, (1994); Johnson G.J.B., A Descriptive Study of the Pitch-Reading Methods and the Amount of Time Utilized to Teach Sight-Singing by High School Choral Teachers in the North Central Region of the American Choral Directors Association., (1987); Keene J.A., A History of Music Education in the United States., (1982); McCoy C., Basic training: Working with inexperienced choirs, Music Educators Journal, 75, 8, pp. 42-45, (1989); National Standards for Arts Education: What Every Young American Should Know and Be Able to Do in the Arts., (1994); Ottman R.W., Music for Sight Singing, (1967); Szabo C.E., A profile of ten high school choral directors and their activities during one week (Doctoral dissertation, Kent State University, 1992), Dissertation Abstracts International, 53, (1993); Tucker D.W., Factors related to the music reading ability of senior high school students participating in choral groups (Doctoral dissertation, University of California, Berkeley, 1969), Dissertation Abstracts International, 31, (1969)","","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-60950526509"
"Cassidy J.W.","Cassidy, Jane W. (26663585200)","26663585200","Effects of Various Sightsinging Strategies on Nonmusic Majors’ Pitch Accuracy","1993","Journal of Research in Music Education","41","4","","293","302","9","16","10.2307/3345505","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84965409736&doi=10.2307%2f3345505&partnerID=40&md5=9c3556c23845896113f4f579dd03b845","Louisiana State University, United States","Cassidy J.W., Louisiana State University, United States","The purposes of this study were to determine if different strategies used to practice sightsinging would aid nonmusic students in accurately performing such a task; if improvement in sightsinging would transfer to improved pitch accuracy while singing a familiar children's song; and if teacher-selected starting pitches and tessituras would raise the tessitura of subsequent performances by subjects. Pretest and posttest data compared among the five groups of elementary education majors (N = 91) the accuracy of notes and intervals sung and subject-selected starting pitches on a familiar children's song and four composed sightsinging exercises. Results indicated that improvement in sightsinging occurred in all experimental groups, with posttest scores of subjects using solfege coupled with Curwen hand signs and those using solfege alone scoring significantly better (p < .05) than subjects using staff letter names and those using the neutral syllable “la. ” There was no significant difference among groups (p > 5) on the accuracy of singing a familiar song on the posttest, with an average gain of 6.4 %, indicating that improvement of vocal accuracy while sightsinging did not transfer into recreational singing. Classwork in a higher tessitura than that selected by all subjects on the pretest had no effect on shifting starting pitches upward during the singing of a familiar song on the posttest. © 1993, SAGE Publications. All rights reserved.","","","","","","","","","Autry M.R., A study of the effect of hand signs in the development of sight singing skills (Doctoral dissertation, University of Texas, Austin, 1975), Dissertation Abstracts International, 37, (1976); Baldridge W.R., A systematic investigation of listening activities in the elementary general music classroom, Journal of Research in Music Education, 32, pp. 79-93, (1984); Boyle J.D., Lucas K.V., The effect of context on sightsinging, Bulletin of the Council for Research in Music Education, 106, pp. 1-10, (1990); Bryson E.F., A study of the use of music activities by classroom teachers (Doctoral dissertation, The Florida State University, Tallahassee, 1982), Dissertation Abstracts International, 43, pp. 2269A-2270A, (1983); Cassidy J.W., The use of an instruction observation form and delivery observation form in the study of teacher intensity: A pilot, Paper presented at the national convention of the National Association of Music Therapy, (1989); Chosky L., The Koddly method., (1988); Feldstein S., The world's greatest songbook., (1988); Forsythe J.L., Kelly M.M., Effects of visual-spatial added cues on fourth-graders melodic discrimination, Journal of Research in Music Education, 37, pp. 272-277, (1989); Geringer J.M., Intonational performance and perception of ascending scales, Journal of Research in Music Education, 26, pp. 32-40, (1978); Geringer J.M., Nelson J.K., Kostka M.C., Differential assessment of child and adult singing ranges, Contributions to Music Education, 8, pp. 39-46, (1980); Jellison J.A., Siebenaler D.J., Singing and the elementary education student: A study of experience, attitude, and skills, Paper presented at the Ninth National Symposium for Research in Music Behavior, (1991); Kuhn T.L., Wacchaus G., Moore R.S., Pantle J.E., Undergraduate non-music major vocal ranges, Journal of Research in Music Education, 27, pp. 68-75, (1979); Mann R., Why should elementary students have all the fun?, Music Educators Journal, 76, 2, pp. 39-42, (1989); Martin B.A., Effects of hand signs, syllables, and letters on first graders acquisition of tonal skills, Journal of Research in Music Education, 39, pp. 161-170, (1991); Moore R.S., Comparative use of teaching time by American and British elementary music specialists, Bulletin of the Council for Research in Music Education, 66-67, pp. 62-68, (1981); Moore R.S., Comparison of children's and adult's vocal ranges and preferred tessituras in singing familiar songs, Bulletin of the Council for Research in Music Education, 107, pp. 13-22, (1991); Pembrook R.G., Interference of the transcription process and other selected variables on perception and memory during melodic dictation, Journal of Research in Music Education, 34, pp. 238-261, (1986); Saunders T.C., Baker D.C., In-service classroom teachers perceptions of useful music skills and understandings, Journal of Research in Music Education, 39, pp. 248-261, (1991); Small A.R., The effects of a simultaneous melodic stimulus on harmony intonation of college singers, Psychology of Music, 10, 2, pp. 18-25, (1982); Smith D.S., Differential pitch level selections for song performances by undergraduate non-music majors, Paper presented at the National Biennial In-Service Conference of the Music Educators National Conference, (1990); Steckman H.M., The development and trial of a college course in music literacy based upon the Kodaly method (Doctoral dissertation, University of Illinois at Urbana-Champaign, 1979), Dissertation Abstracts International, 40, (1980); Stroud B.S., A study of the general classroom music programs in the public elementary schools of the Tidewater region of Virginia (Doctoral dissertation, University of Illinois at Urbana-Champaign, 1980), Dissertation Abstracts International, 41, (1981); Yarbrough C., Green G., Benson W., Bowers J., Inaccurate singers: An exploratory study of variables affecting pitch-matching, Bulletin of the Council for Research in Music Education, 107, pp. 23-34, (1991)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84965409736"
"Lebler D.","Lebler, Don (26034472500)","26034472500","Student-as-master? Reflections on a learning innovation in popular music pedagogy","2007","International Journal of Music Education","25","3","","205","221","16","99","10.1177/0255761407083575","https://www.scopus.com/inward/record.uri?eid=2-s2.0-60949662340&doi=10.1177%2f0255761407083575&partnerID=40&md5=3ebdaad3c6adb39b18d25a7e73eba430","Griffith University, QLD, Australia; Multimedia Building G23, Gold Coast Campus, Griffith University, QLD 4222, Australia","Lebler D., Griffith University, QLD, Australia, Multimedia Building G23, Gold Coast Campus, Griffith University, QLD 4222, Australia","If the modern conservatorium is to prosper in a rapidly changing cultural and economic landscape, it will need to provide a learning experience that produces multi-skilled and adaptable graduates who are self-monitoring and self-directing. By implication, teaching practices that have dominated in the past will need to be re-thought, and alternatives considered that are likely to produce graduates with the abilities and attributes necessary to adapt readily to a changing environment. As a response to this imperative, one conservatorium has developed a pedagogical approach based on the creation of a scaffolded self-directed learning community, a master-less studio. It is embedded in a popular music programme that explicitly values the development of learning characteristics that will help graduates deal with an unpredictable future. Student feedback on the impact of these practices has been gathered during the evolution of this process. It includes survey data, formal and informal student feedback, and a number of interviews in which students describe how aspects of this learning-centred approach have interacted with their music-making and their career expectations. From this feedback, it is evident that greater student autonomy and self-efficacy result from the a-synchronous reflection on performance that is enabled through recording, the self-reflection that is required by self-assessing, and the reflections on the work of others that peer-based assessment demands. Copyright © 2007 International Society for Music Education.","Autonomy; Community of learning; Informal learning; Peer assessment; Popular music learning; Self-assessment","","","","","","","","Abdullah M.H., Self-directed learning, ERIC Clearinghouse on Reading English and Communication, (2001); Andrews B.W., Musical contracts: Fostering student participation in the instructional process, International Journal of Music Education, 22, 3, pp. 219-229, (2004); Biggs J.B., Teaching for quality learning at university: What the student does, (1999); Blom D., Poole K., Peer assessment of tertiary music performance: Opportunities for understanding performance assessment and performing through experience and self-reflection, British Journal of Music Education, 21, 1, pp. 111-125, (2004); Boud D., Developing student autonomy in learning, (1981); Boud D., Enhancing learning through self assessment, (1995); Boud D., Cohen R., Sampson J., Peer learning and assessment, Assessment and Evaluation in Higher Education, 24, 4, pp. 413-426, (1999); Burt R., Mills J., The transition from school to higher education in music: Four UK institutions compared, SRHE Annual Conference, (2005); Burt R., Mills J., Learning to Perform, Two years of a longitudinal study. Paper presented at the 27th International Society for Music Education World Conference, (2006); Burwell K., A degree of independence: Teachers' approaches to instrumental tuition in a university college, British Journal of Music Education, 22, 3, pp. 199-215, (2005); Claxton G., Wise up: The challenge of lifelong learning, (1999); Claxton G., Hare brain, tortoise mind: How intelligence increases when you think less, (2000); Claxton G., Building learning power, (2002); Daniel R., Peer assessment in musical performance: The development, trial and evaluation of a methodology for the Australian tertiary environment, British Journal of Music Education, 21, 1, pp. 89-110, (2004); Folkestad G., Formal and informal learning situations or practices vs formal and informal ways of learning, British Journal of Music Education, 23, 2, pp. 135-145, (2006); Furedi F., Where have all the intellectuals gone? Confronting 21st century Philistinism, (2004); Gijbelsa D., Van De Watering G., Dochy F., Integrating assessment tasks in a problem-based learning environment, Assessment & Evaluation in Higher Education, 30, 1, pp. 73-86, (2005); Green L., Popular music education in and for itself, and for 'other' music: Current research in the classroom, International Journal of Music Education, 24, 2, pp. 101-118, (2006); Hanrahan S.J., Isaacs G., Assessing self- and peer-assessment: The students' views, Higher Education Research & Development, 20, 1, pp. 53-70, (2001); Johnson B., Homan S., Vanishing acts: An enquiry into the state of live popular music opportunities in New South Wales, (2003); Leadbeater C., Living on thin air: The new economy, (2000); Lebler D., 3D assessment: Looking through a learning lens, (2006); Lessig L., The future of ideas: The fate of the commons in a connected world, (2001); Lessig L., The vision for the creative commons: What are we and where are we headed?, Open Content Licensing (OCL): Cultivating the Creative Commons conference, (2005); Liu E.Z.F., Lin S.S.J., Yuan S.M., Alternatives to instructor assessment: A case study of comparing self and peer assessment with instructor assessment under a networked innovative assessment procedures, International Journal of Instructional Media, 29, 4, pp. 395-404, (2002); McLaughlin P., Simpson N., Peer assessment in first year university: How the students feel, Studies in Educational Evaluation, 30, pp. 135-149, (2004); McWilliam E., Unlearning pedagogy, Journal of Learning Design, 1, 1, pp. 1-11, (2005); Mills J., Working in music: The pianist, Music Education Research, 8, 2, pp. 251-265, (2006); Prosser M., Trigwell K., Understanding learning and teaching: The experience in higher education, (1999); Purchase H.C., Learning about interface design through peer assessment, Assessment & Evaluation in Higher Education, 25, 4, pp. 341-352, (2000); Rust C., O'Donovan B., Price M., A social constructivist assessment process model: How the research literature shows us this could be best practice, Assessment & Evaluation in Higher Education, 30, 3, pp. 231-240, (2005); Sadler D.R., Interpretations of criteria-based assessment and grading in higher education, Assessment & Evaluation in Higher Education, 30, 2, pp. 175-194, (2005); Schon D.A., The reflective practitioner: How professionals think in action, (1983); Searby M., Ewers T., An evaluation of the use of peer assessment in higher education: A case study in the School of Music, Kingston University, Assessment & Evaluation in Higher Education, 22, 4, pp. 371-383, (1997); Struyven K., Dochy F., Janssens S., Students' perceptions about evaluation and assessment in higher education: A review, Assessment & Evaluation in Higher Education, 30, 4, pp. 325-341, (2005); Westerlund H., Garage rock bands: A future model for developing musical expertise?, International Journal of Music Education, 24, 2, pp. 119-125, (2006); Wrigley B., Improving music performance assessment, (2005); Young V., Burwell K., Pickup D., Areas of study and teaching strategies in instrumental teaching: A case study research project, Music Education Research, 5, 2, pp. 138-155, (2003)","D. Lebler; Multimedia Building G23, Gold Coast Campus, Griffith University, QLD 4222, Australia; email: d.lebler@griffith.edu.au","","","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-60949662340"
"Wallace F.L.; Chua Y.S.","Wallace, F.Layne (7006249039); Chua, Yap Siong (7004132188)","7006249039; 7004132188","Teaching computer music in a computer setting","1993","Computers and Education","21","4","","337","343","6","1","10.1016/0360-1315(93)90037-J","https://www.scopus.com/inward/record.uri?eid=2-s2.0-50749135872&doi=10.1016%2f0360-1315%2893%2990037-J&partnerID=40&md5=27140386dd1bc95f49f47f81ab3e4f6f","Department of Computer and Information Sciences, College of Computing, University of North Florida, South Jacksonville, FL 32224-2645, 4567 St John's Bluff Road, United States","Wallace F.L., Department of Computer and Information Sciences, College of Computing, University of North Florida, South Jacksonville, FL 32224-2645, 4567 St John's Bluff Road, United States; Chua Y.S., Department of Computer and Information Sciences, College of Computing, University of North Florida, South Jacksonville, FL 32224-2645, 4567 St John's Bluff Road, United States","Using a computer to produce sound in the classroom is not new and has been used for ear training and drill-and-practice for some time. Computer music can also provide computer students with an alternative means to explore traditional computer concepts: modular design, functional decomposition, and iterative development. Combining these uses for computer music would produce a course where both computer students and music students could gain an insight to the use of system development techniques. Such a course is described in this paper along with notes on how this course was implemented. © 1993.","","","","","","","","","Wallace, The relationship between music ability and academic success in computing science, (1992); Loy, Composing with computers—a survey of some compositional formalisms and music programming languages, Current Directions in Computer Music Research, (1989); Jordahl, Teaching music in the age of MIDI, Classroom Comput. Learning, (1988); Rudolph, MIDI goes to school, Down Beat, (1990); Arveiller, Comments on university instruction in computer music composition, Computer Music Journal, 6, (1982); Moore, Elements of Computer Music, (1990); Moore, What shape does music have?, Classroom Comput. Learning, (1985); International MIDI Association, Musical Instrument Digital Interface 1.0, (1983); Conger, MIDI Sequencing in C, (1989); De Furia, Scacciaferro, MIDI Programmer's Handbook, (1989); Buxton, Reeves, Baecker, Mezei, The use of hierarchy and instance in a data structure for computer music, Comput. Music J., 2, (1978); Vercoe, The Csound Reference Mannual, (1986); Langston, Little languages for music, Computing Systems, 3, (1990); Oppenheimer, Carlberg, Making music with nature: Bernie Krause samples life, Electronic Musician, 5, (1989); Chua, Composition based on pentatonic scales: a computer-aided approach, Computer, 24, (1991); Rowe, Interactive Music Systems, (1992); Todd, A connectionist approach to algorithmic composition, Computer Music Journal, 13, (1989); Wallace, Wallace, An undergraduate course in artificial neural networks, Computers & Education, 16, (1991); Big Noise Software, Cadenza: The Graphic Sequencer, (1990); Conger, C Programming for MIDI, (1988); Cope, An expert system for computer-assisted composition, Computer Music Journal, 11, (1987); Passport Designs, SCORE User's Guide, (1990)","","","","","","","","","03601315","","COMED","","English","Comput Educ","Article","Final","","Scopus","2-s2.0-50749135872"
"Southcott J.E.; Lee A.H.-C.","Southcott, Jane E. (26034625800); Lee, Angela Hao-Chun (7405631134)","26034625800; 7405631134","Missionaries and Tonic Sol-fa music pedagogy in 19th-century China","2008","International Journal of Music Education","26","3","","213","228","15","7","10.1177/0255761408092528","https://www.scopus.com/inward/record.uri?eid=2-s2.0-60950259325&doi=10.1177%2f0255761408092528&partnerID=40&md5=316fbf199ae00620b8876c9d79ea0a4c","Monash University, Australia; Transworld Institute of Technology, TWN, Taiwan; Faculty of Education, Monash University, Clayton Campus, Vic. 3800, Australia; Douliou, Yunlin 640, 49 Luenbeei Rd., Taiwan","Southcott J.E., Monash University, Australia, Faculty of Education, Monash University, Clayton Campus, Vic. 3800, Australia; Lee A.H.-C., Transworld Institute of Technology, TWN, Taiwan, Douliou, Yunlin 640, 49 Luenbeei Rd., Taiwan","In the 19th century, Christian missionaries in China, as elsewhere, used the Tonic Sol-fa method of music instruction to aid their evangelizing. This system was designed to improve congregational singing in churches, Sunday schools and missions. The London Missionary Society and other evangelical groups employed the method. These missionaries took their message and their music throughout the world. The missionaries were generally convinced of the superiority and efficacy of their religion, their teaching methods and their music. Songs designed as didactic tools were and continue to be employed to impart moral and religious messages. Words sung were often deemed to have more effect than mere words. Music was implicit in missionary teaching and practices - no service was complete without a hymn. For this reason, finding an effective way to teach hymns became a priority. Music continues to be employed to carry messages considered significant and music educators are often expected to support such endeavours. © 2008 International Society for Music Education.","Curriculum history; History of music education","","","","","","","","Band E., Working His Purpose Out: The History of the English Presbyterian Mission 1847-1947, (1948); Barr P., To China with Love: The Lives and Times of Protestant Missionaries in China 1860-1900, (1972); Blackett J., Missionary Triumphs Among the Settlers in Australia and the Savages of the South Seas, (1914); Brown A., Missions and tonic sol-fa method, Tonic Sol-fa Reporter, 5, 106, (1861); Burns W.C., Carstairs D., Ióng Sim Sîn Si (Hymn book), (1873); Campbell Rev. W., An Account of Missionary Success on the Island of Formosa Published in London in 1650 and Now Reprinted with Copious Appendices, (1889); Canton W., A History of the British and Foreign Bible Society, 1, (1904); Chiang Y.-R., Sèng Si Koa: The First Church Hymnbook in Taiwan - Bibliographic Investigation of the Primary Source, (2004); Manual for Stewards on China, (1911); Crawford J.A., Letter, Tonic Sol-fa Reporter, 6, 128, (1863); Curwen J., Singing for Schools and Congregations, (1843); Curwen J., Singing for Schools and Congregations (2nd Ed.), (1853); Curwen J., The Teacher's Manual of the Tonic Sol-fa Method; Davidson Mrs, Letter, The School Music Review, 19, 226, (1911); Douglas C., Chang Tseuen Shin She (Hymn Book), (1862); Douglas C., Yang Sin She Teaou (Hymn Tunes in Three Parts), (1868); Douglas C., Introduction to Common Notation, (1869); Douglas C., Yo Li Po Hsi (Exercises on Change of Key), (1870); Douglas J., Memorials of Carstairs Douglas, Missionary of the Presbyterian Church of England at Amoy, China, (1877); Faber A.W., Chinese theory of music, China Review, 1, pp. 324-329, (1872); Fonder M., Editorial, Journal of Historical Research in Music Education, 25, 2, pp. 75-76, (2004); Fryer J., Letter, Tonic Sol-fa Reporter, 6, 143, pp. 332-333, (1864); Garrett V.M., Heaven is High, the Emperor Far Away, (2002); Missionary life in China, Independent Magazine, pp. 356-360, (1842); Johnston J., China and Formosa: The Story of the Mission of the Presbyterian Church of England, (1897); Julian J., A Dictionary of Hymnology, (1892); Legge J., The Nestorian Monument of Hsî-an Fû in Shen-Hsî, China, (1888); Loh I.T., Through 'indigenous elements in our Christian music' worship: My duty, Tainan Theological Review, 2, 1; Lord E.C., Hymns and Tunes; Matheson D., Narrative of the Mission to China of the English Presbyterian Church, (1866); Morsch V.S., The Use of Music in Christian education, (1956); Music: Play for Life, (2007); Using Get America Singing ... Again in the Classroom, (2007); (1995); Neill S., A History of Christian Missions, (1975); Nying-Po Kyiao-We Sô Yüong-Go(Ningpo Church Local Hymnbook), (1887); Palmer R., The Book of Praise from the best English Hymn Writers, (1862); Parsons T., The British Imperial Century, 1815-1914, (1999); Piggin S., Assessing nineteenth-century missionary motivation: Some considerations of theory and method, Religious Motivation: Biographical and Sociological Problems for the Church Historian, pp. 327-337, (1978); Rainbow B., Music in Educational Thought and Practice, (1989); Richards T., Chinese music, The Musical Herald, 514, (1891); Sheng D., A Study of the Indigenous Elements in Chinese Christian Hymnody, (1964); Smith Rev. G., A Narrative of on Exploratory Visit to Each of the Consular Cities of China, and to the Islands of Hong Kong and Chusan, on Behalf of the Church Missionary Society, in the Years 1844, 1845, 1846, (1847); Southcott J.E., The first Tonic Sol-fa missionary: Reverend Robert Toy in Madagascar, Research Studies in Music Education, 23, pp. 3-17, (2004); Stock S.G., Missionary Heroes of Africa, (1897); Tewksbury E.G., Letter, The Musical Herald, 534, SEPTEMBER, (1892); Tinling C.I., Memories of the Mission Field, (1927); Annual report of the Tonic Sol-fa Association, 1856, The Tonic Sol-fa Reporter, 3, 49, (1857); Missions and tonic sol-fa, The Tonic Sol-fa Reporter, 5, 114, (1862); Townsend W.J., Robert Morrison: The Pioneer of Chinese Missions, (1888); The Tonic Sol-fa College Calendar, (1909); Wylie A., Memorials of Protestant Missionaries to the Chinese: Giving a List of Their Publications, and Obituary Notices of the Deceased, (1867)","J. E. Southcott; Faculty of Education, Monash University, Clayton Campus, Vic. 3800, Australia; email: Jane.Southcott@education.monash.edu.au","","SAGE Publications Ltd","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-60950259325"
"Sloboda J.A.; Parncutt R.; Clarke E.F.; Raekallio M.","Sloboda, John A. (6701874747); Parncutt, Richard (6602410680); Clarke, Eric F. (7202881155); Raekallio, Matti (6603775617)","6701874747; 6602410680; 7202881155; 6603775617","Determinants of Finger Choice in Piano Sight-Reading","1998","Journal of Experimental Psychology: Human Perception and Performance","24","1","","185","203","18","44","10.1037/0096-1523.24.1.185","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0345917654&doi=10.1037%2f0096-1523.24.1.185&partnerID=40&md5=6fa3d5fb52323964bca4fad412d02f0a","Department of Psychology, Keele University, Newcastle, Staffordshire, United Kingdom; Department of Music, University of Sheffield, Sheffield, United Kingdom; Sibelius Academy of Music, Helsinki, Finland; Department of Psychology, Keele University, Newcastle, Staffordshire ST5 5BG, United Kingdom","Sloboda J.A., Department of Psychology, Keele University, Newcastle, Staffordshire, United Kingdom, Department of Psychology, Keele University, Newcastle, Staffordshire ST5 5BG, United Kingdom; Parncutt R., Department of Psychology, Keele University, Newcastle, Staffordshire, United Kingdom; Clarke E.F., Department of Music, University of Sheffield, Sheffield, United Kingdom; Raekallio M., Sibelius Academy of Music, Helsinki, Finland","Sixteen pianists sight-read the unfingered right-hand score of 7 studies by Czerny. The pianists were of 3 levels of expertise. Each study was performed twice. Fingerings were transcribed from video recordings. Measures were taken of performance accuracy and fingering consistency. The choices made were compared to the predictions of a model based primarily on motor-anatomical considerations. Performance accuracy and fingering consistency were both correlated positively with expertise and negatively with the calculated difficulty of fingerings according to the model. These data are consistent with the notion that expertise in piano fingering depends on the availability of overlearned, rule-governed response sequences triggered by familiar visual patterns within the notation.","","","","","","","","","Bamberger J., The musical significance of Beethoven's fingerings in the piano sonatas, Music Forum, 4, pp. 237-280, (1976); Bernstein N., The Coordination and Regulation of Movements, (1967); Clarke E.F., Structure and expression in rhythmic performance, Musical Structure and Cognition, pp. 209-236, (1985); Clarke E.F., Generative principles in music performance, Generative Processes in Music, pp. 1-26, (1988); Clarke E.F., Parncutt R., Raekallio M., Sloboda J.A., Talking fingers: An interview study of pianists' views on fingering, Musicae Scientiae, 1, 1, pp. 87-108, (1997); Czerny C., Vollständige Theoretisch-praktische Pianoforte-Schule Von Dem Ersten Anfange Bis Zur Höchsten Ausbildung Fortschreitend, Op. 500, (1842); Czerny C., 160 Kurze Übungen [160 Eight-bar Exercises] Opus 821, (1920); Ericsson K.A., Krampe R., Tesch-Romer C., The role of deliberate practice in the acquisition of expert performance, Psychological Review, 100, pp. 262-406, (1993); Ericsson K.A., Smith J., Towards a General Theory of Expertise: Prospects and Limits, (1991); Garcia-Albia J.E., Del Viso S., Igoa J.M., Movement errors and levels of processing in sentence production, Journal of Psycholinguistic Research, 18, pp. 145-161, (1989); Garrett M.F., Levels of processing in sentence production, Language Production: Vol. 1. Speech and Talk, 1, pp. 177-220, (1980); Green D.P., Operative Hand Surgery, (1988); Hummel J.N., Ausführliche Theoretische-praktische Anweisung Zum Piano-Forte-Spiel, Vom Ersten Elementar-Unterrichte Bis Zur Vollkommensten Ausbildung, (1828); Kugler P.N., Kelso S., Turvey M.T., On the concept of coordinative structures as dissipative structures: 1. Theoretical lines of convergence, Tutorials in Motor Behavior, pp. 3-47, (1980); Lehmann A., Ericsson K.A., The historical development of domains of expertise: Performance standards and innovations in music, Genius and the Mind: Studies of Creativity and Temperament in the Historical Record; Palmer C., Van De Sande C., Units of knowledge in music performance, Journal of Experimental Psychology: Learning, Memory, and Cognition, 19, pp. 457-470, (1993); Palmer C., Van De Sande C., Range of planning in music performance, Journal of Experimental Psychology: Human Perception and Performance, 21, pp. 947-962, (1995); Parncutt R., Sloboda J.A., Clarke E.F., Raekallio M., An ergonomic model of keyboard fingering for melodic fragments, Music Perception, 14, 4, pp. 341-382, (1997); Repp B., Patterns of expressive timing in performances of a Beethoven minuet by nineteen famous pianists, Journal of the Acoustical Society of America, 88, pp. 622-641, (1990); Ridout A., A Manual of Scales and Arpeggios, (1995); Rosenbaum D.A., Successive approximations to a model of human motor programming, The Psychology of Learning and Motivation, 21, pp. 153-182, (1987); Rosenbaum D.A., Vaughan J., Jorgensen M.J., Barnes H.J., Stewart E., Plans for object manipulation, Attention and Performance XIV: Synergies in Experimental Psychology, Artificial Intelligence, and Cognitive Neuroscience, pp. 803-820, (1993); Semjen A., Garcia-Colera A., Planning and timing of finger tapping sequences with a stressed element, Journal of Motor Behaviour, 18, pp. 287-322, (1986); Shaffer L.H., Performances of Chopin, Bach, and Bartok: Studies in motor programming, Cognitive Psychology, 13, pp. 326-376, (1981); Sloboda J.A., The eye-hand span: An approach to the study of sight-reading, Psychology of Music, 2, pp. 4-10, (1974); Sloboda J.A., The effect of item position on the likelihood of identification by inference in prose and music reading, Canadian Journal of Psychology, 30, pp. 228-238, (1976); Sloboda J.A., The communication of musical metre in piano performance, Quarterly Journal of Experimental Psychology, 37 A, pp. 377-396, (1983); Sloboda J.A., Experimental studies of music reading: A review, Music Perception, 2, 2, pp. 222-236, (1984); Sloboda J.A., Expressive skill in two pianists: Metrical communication in real and simulated performances, Canadian Journal of Psychology, 39, pp. 273-293, (1985); Todd N.P., A model of expressive musical timing in tonal music, Music Perception, 3, pp. 33-58, (1985); Turk D.G., Klavierschule, Oder Anweisung Zum Klavierspielen für Lehrer und Lernende, Mit Kritischen Anmerkungen [Facsimile], (1962); Wagner C., The pianist's hand: Anthropometry and biomechanics, Ergonomics, 31, 1, pp. 97-131, (1988)","J.A. Sloboda; Department of Psychology, Keele University, Newcastle, Staffordshire ST5 5BG, United Kingdom; email: j.a.sloboda@keele.ac.uk","","American Psychological Association Inc.","","","","","","00961523","","JPHPD","","English","J. Exp. Psychol. Hum. Percept. Perform.","Article","Final","","Scopus","2-s2.0-0345917654"
"Väkevä L.","Väkevä, Lauri (26034926800)","26034926800","Garage band or GarageBand®? Remixing musical futures","2010","British Journal of Music Education","27","1","","59","70","11","76","10.1017/S0265051709990209","https://www.scopus.com/inward/record.uri?eid=2-s2.0-79956085997&doi=10.1017%2fS0265051709990209&partnerID=40&md5=25cd0ca24cc77ae43eb98f4e5d559bc2","Box 86, FIN-00251, Helsinki, Finland","Väkevä L., Box 86, FIN-00251, Helsinki, Finland","In this paper, I suggest that it is perhaps time to consider the pedagogy of popular music in more extensive terms than conventional rock band practices have to offer. One direction in which this might lead is the expansion of the informal pedagogy based on a 'garage band' model to encompass various modes of digital artistry wherever this artistry takes place. This might include: in face-to-face pedagogical situations, in other contexts of informal learning, and in such open networked learning environments as remix sites and musical online communities. The rock-based practice of learning songs by ear from records and rehearsing them together to perform live or to record is just one way to practice popular music artistry today. Such practices as DJing/turntablism; assembling of various bits and pieces to remixes; remixing entire songs to mash-ups in home studios; collective songwriting online; producing of one's own music videos to YouTube; exchanging and comparing videos of live performances of Guitar Hero and Rock Band game songs - all of these indicate a musical culture that differs substantially from conventional 'garage band' practices. The global eminence of digital music culture can be taken as one indication of the need to reconsider music as a transformative praxis. By examining the ways in which music is produced and used in digital music culture, we can prepare for new forms of artistry that have yet to emerge from the creative mosaic of digital appropriation. Thus, we expand and redefine our notions of informal music pedagogy. This paper concludes with consideration of several themes that Afrodiasporic aesthetics suggest to the understanding of this artistry. Copyright © 2010 Cambridge University Press.","","","","","","","","","Alperson P.A., What should one expect from a philosophy of music education?, Journal of Aesthetic Education, 25, pp. 215-242, (1991); Aristotle E.N., Nikomakhoksen etiikka, Nichomachean Ethics, (1981); Butler M.J., Unlocking the Groove. Rhythm, Meter, and Musical Design in Electronic Dance Music, (2006); Bartlett A., Airshafts, loudspeakers, and the hip hop sample: Contexts and African American musical aesthetics, That's the Joint! A Hip Hop Studies Reader, pp. 393-406, (2004); Bowman W.D., What should the music education profession expect of philosophy?, Arts and Learning Research Journal, 16, pp. 54-75, (2000); Bowman W.D., Why do humans value music?', (2000); Dawkins R., The Selfish Gene, (1976); Delanda M., The virtual breeding of sound, Sound Unbound, pp. 219-226, (2008); Dinerstein J., Swinging the Machine. Modernity, Technology, and African American Culture between the World Wars, (2003); Dewey J., The Collected Works of John Dewey 1882- 1953, (1996); Dewey J., Julkinen toiminta ja sen ongelmat, Public and its Problems, (2006); Dubois W.E.B., The Souls of the Black Folk, (1903); Dyndahl P., Norsk hiphop i verden. Om konstruksjon av glokal identitet i hiphop og rap, Hiphop i Skandinavien, pp. 103-125, (2008); Elliott D.J., Music Matters. A New Philosophy of Music Education, (1995); Floyd Jr. S.A., The Power of Black Music: Interpreting Its History From Africa to the United States, (1995); Gates H.L., The Signifying Monkey: A Theory of African-American Literary Criticism, (1988); Gilroy P., The Black Atlantic: Modernity and Double Consciousness, (1993); Gracyk T., Rhythm and Noise: Aesthetics of Rock, (1996); Green L., How Popular Musicians Learn: A Way Ahead for Music Education, (2002); Green L., Music, Informal Learning and the School. A New Classroom Pedagogy, (2008); Harrison N., Video Explains the World'S Most Important 6-Sec Drum Loop, (2004); Keller D., The Musician As Thief: Digital culture and copyright law., Sound Unbound, pp. 135-150, (2008); Lethem J., The ecstasy of influence: A plagiarism mosaic, Sound Unbound, pp. 25-52, (2008); Lilliestam L., On playing by ear, Popular Music, 15, 2, pp. 195-216, (1996); Locke A., The New Negro. Voices of the Harlem Renaissance, (1925); Mcintyre A., Hyveiden jäljillä, After Virtue, (2004); Pappas G., John Dewey's Ethics: Democracy as Experience, (2008); Regelski T.A., A prolegomenon to a praxial philosophy, Finnish Journal of Music Education, 1, pp. 23-40, (1996); Regelski T.A., The Aristotelian bases of praxis for music and music education as praxis, Philosophy of Music Education Review, 6, pp. 22-59, (1998); Regelski T.A., Amateuring inmusic and its rivals, Action, Criticism and Theory forMusic Education, 6, (2007); Robertson R., Glocalization - time-space and homogeneity-heterogeneity, Global Modernities, pp. 25-44, (1995); Rose T., Black Noise. Rap Music and Black Culture in Contemporary America, (1994); Salavuo M., Open and informal online communities as forums of collaborative musical activities and learning, British Journal of Music Education, 23, pp. 253-271, (2006); Salavuo M., Social media as an opportunity for pedagogical change in music education, Journal of Music Education and Technology, 2-3, pp. 121-136, (2008); Shusterman R., Surface and Depth. Dialectics of Criticism and Culture, (2002); Small C., Music of the Common Tongue. Survival and Celebration in African American Music, (1987); Small C., Musicking: The Means and Performance of Listening, (1998); Snoman R., Dance Music Manual: Tools, Toys and Techniques, (2008); Toop D., Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Works, (1995); (2009); Vakeva L., Naturalizing philosophy of music education, Finnish Journal of Music Education, 5, pp. 73-83, (2000); Vakeva L., Music education as critical practice: A Naturalist view, Philosophy of Music Education Review, 11, 2, pp. 33-48, (2003); Vakeva L., Teaching popular music in Finland: What's up, what's ahead?, International Journal of Music Education, 24, 2, pp. 126-131, (2006); Vakeva L., Art education, the art of education and the art of life. Considering the implications of Dewey's later philosophy to art and music education, Action, Criticism and Theory for Music Education, 6, (2007); Vakeva L., The world well lost, found. Reality and authenticity in Green's 'New Classroom Pedagogy, Action, Criticism and Theory for Music Education, 9; VaKeva L., Westerlund H., The 'method' of democracy in music education, Action, Criticism and Theory for Music Education, 6, (2007); Westerlund H., Bridging Experience, Action, and Culture in Music Education, (2002); Westerlund H., Reconsidering aesthetic experience in praxial music education, Philosophy of Music Education Review, 11, 1, pp. 45-62, (2003); Westerlund H., Garage rock band: A future model for developing musical expertise?, International Journal of Music Education, 24, 2, pp. 119-125, (2006); Woodford P., Democracy and Music Education: Liberalism, Ethics, and The Politics of Practice, (2005)","L. Väkevä; Box 86, FIN-00251, Helsinki, Finland; email: lauri.vakeva@siba.fi","","","","","","","","14692104","","","","English","Br. J. Music Educ.","Article","Final","","Scopus","2-s2.0-79956085997"
"Killian J.N.","Killian, Janice N. (26033864800)","26033864800","The Relationship Between Sightsinging Accuracy and Error Detection in Junior High Singers","1991","Journal of Research in Music Education","39","3","","216","224","8","23","10.2307/3344721","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84970177653&doi=10.2307%2f3344721&partnerID=40&md5=d29261c5e9e27e92d4923b3f26bde267","Texas Woman's University, United States","Killian J.N., Texas Woman's University, United States","The purpose of this study was to compare junior high students' sightsinging accuracy with their ability to perceive errors in recorded examples. Junior high choir students (N − 75) individually taped themselves while sightsinging counterbalanced examples of notation and solfege syllables. Subsequently, an error-detection task was designed based on the most common student errors and using the same examples. Students listened to the sung examples, then looked at the notation and circled any errors. Analyses of correct responses among high-scoring, medium-scoring, and low-scoring sightsingers revealed no significant differences between sightsinging from notation or syllables, although unskilled singers scored higher using syllables. The relationship between sightsinging (performance) and error detection (perception) was different for high- and medium-scoring sightsingers than for low-scoring sightsingers. For high- and medium-scoring sightsingers, there were no significant differences between sightsinging and error detection, while low-scoring sightsingers were signifi-I canity more accurate on error-detection tasks. An analysis of data across specific intervals I revealed a trend toward more accurate descending patterns. © 1991, SAGE Publications. All rights reserved.","","","","","","","","","Apfelstadt H., Effects of melodic perception instruction on pitch discrimination and vocal accuracy of kindergarten children, Journal of Research in Music Education, 32, pp. 15-24, (1984); Brand M., Burnsed V., Music abilities and experiences as predictors of error detection skill, Journal of Research in Music Education, 29, pp. 91-96, (1981); Boyle, The effect of prescribed rhythmical movements on the ability to read music at sight, Journal of Research in Music Education, 18, pp. 307-318, (1970); Costanza A., Programmed instruction in score reading skills, Journal of Research in Music Education, 29, pp. 453-459, (1971); Daniels R., Relationships among selected factors and the sightreading ability of high school mixed choirs, Journal of Research in Music Education, 34, pp. 279-289, (1986); Deal J., Computer-assisted instruction in pitch and rhythm error detection, Journal of Research in Music Education, 33, pp. 159-166, (1985); Elliott C., The relationships among instrumental sight-reading ability and seven selected predictor variables, Journal of Research in Music Education, 30, pp. 5-14, (1982); Fowler, G, Sing!, (1988); Geringer J., Intonational performance and perception of ascending scales, Journal of Research in Music Education, 26, pp. 32-40, (1978); Geringer J., The relationship of pitch-matching and pitch-discrimination abilities of preschool and fourth-grade students, Journal of Research in Music Education, 31, pp. 93-99, (1983); Geringer J., Madsen, G, Programmatic research in music: Perception and performance of intonation, Applications of research in music behavior, pp. 244-253, (1987); Gonzo, G, Research in choral music: A perspective, Bulletin of the Council for Research in Music Education, 33, pp. 21-33, (1973); Gregory, The effect of rhythmic notation variables on sightreading errors, Journal of Research in Music Education, 20, pp. 462-468, (1972); Hylton J., A survey of choral education research: 1971-1972, Bulletin of the Council for Research in Music Education, 76, pp. 1-29, (1983); Kanable B., An experimental study comparing programmed instruction with classroom teaching of sightsinging, Journal of Research in Music Education, 17, pp. 217-226, (1969); Klemish, A comparative study of two methods of teaching music reading to first-grade children, Journal of Research in Music Education, 18, pp. 355-364, (1970); Larson, Relationships between melodic error detection, melodic dictation, and melodic sightsinging, Journal of Research in Music Education, 25, pp. 264-271, (1977); Leach, Hemmenway J., Werung, Key to sightreading success, (1983); Madsen, G, Geringer J., Preferences for trumpet tone quality versus intonation, Bulletin of the Council for Research in Music Education, 46, pp. 13-22, (1976); Porter S., The effect of multiple discrimination training on pitch-matching behaviors of uncertain singers, Journal of Research in Music Education, 25, pp. 68-82, (1977); Ramsey, Programmed instruction using band literature to teach pitch and rhythm error detection to music education students, Journal of Research in Music Education, 27, pp. 149-162, (1979); Ramsey J., The efforts of age, singing ability, and instrumental experiences on preschool children's melodic perception, Journal of Research in Music Education, 31, pp. 133-145, (1983); Robinson R., Winold A., The choral experience: Literature, materials, and methods, (1976); Roe P., Choral music education, (1973); Stuart M., The use of videotape recordings to increase teacher trainees' error detection skills, Journal of Research in Music Education, 27, pp. 14-19, (1979); Taebel D., Public school music teachers' perceptions of the effects of certain competencies on pupil learning, Journal of Research in Music Education, 28, pp. 185-197, (1980); Zwissler R., An investigation of the pitch discrimination skills of first grade children identified as accurate singers and those identified as inaccurate singers (Doctoral dissertation, University of California at Los Angeles, 1971), Dissertation Abstracts International, 32, (1972)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84970177653"
"Cox G.","Cox, Gordon (36899841400)","36899841400","Inspecting the teaching of singing in the teacher training colleges of England, Wales and Scotland 1883-1899","2005","Research Studies in Music Education","24","1","","17","27","10","1","10.1177/1321103X050240010201","https://www.scopus.com/inward/record.uri?eid=2-s2.0-61049104528&doi=10.1177%2f1321103X050240010201&partnerID=40&md5=bec1685dd8817689f6d96a4762fc9da6","University of Reading","Cox G., University of Reading","This paper investigates the links between the teaching of singing, training and inspection during the late Victorian era. It utilises as a primary source the annual inspection reports of the music inspector, Sir John Stainer. More specifically it focuses upon the musical background of the students in the training colleges of England, Wales and Scotland, the methods employed to teach sight singing and voice production, the vocal repertoire and preparation for the teaching of singing in schools. Finally, some comparison is made with the present day and the relationship between the teaching of singing, training and inspection. © 2005 Callaway Centre.","","","","","","","","","Baptie D., A handbook of musical biography, (1883); Report on music, arts and crafts and drama in training colleges, (1928); Brooks R., Contemporary debates in education: an historical perspective, (1991); Buckley S., John Buckley 1865-1944: learner, teacher, friend, (1946); Charlton P., John Stainer and the musical life of Victorian Britain, (1984); Reports of the Committee of Council on Education, (1883); Cox G., A history of music education in England 1872-1928, (1993); Cox G., Living music in schools 1923-1999: studies in the history of music education in England, (2002); Cox G., Sir Arthur Somervell on music education: his writings, speeches and letters, (2003); Final report of the commissions appointed to inquire into the elementary education acts, England and Wales, (1888); Cunningham P., Gardner P., Becoming teachers: texts and testimonies 1917-1950, (2004); Dent H.C., The training of teachers in England and Wales 1800-1975, (1977); Downing D., Johnson F., Kaur S., Saving a place for the arts? A survey of the arts in primary schools in England, (2003); Edwards E., Women in teacher training colleges, 1900-1960: a culture of femininity, (2001); Finney J., Curriculum stagnation: the case of singing in the English National Curriculum, Music Education Research, 2, 2, pp. 203-211, (2000); Horn P., Education in rural England 1800-1914, (1978); McCarthy M., The past in the present: revitalising history in music education, British Journal of Music Education, 20, 2, pp. 121-134, (2003); McNaught W.G., How to teach note singing pleasantly and expeditiously, School Music Review, 3, pp. 15-16, (1894); Mills J., Secondary singing inspected, British Journal of Music Education, 17, 1, pp. 61-66, (2000); Rainbow B., John Curwen: a short critical biography, (1980); Rich R.W., The training of teachers in England and Wales during the nineteenth century, (1933); Robinson W., Women and teacher training: women and pupil-teacher centres, 18001914, Women, educational policy-making and administration in England: authoritative women since 1880, pp. 99-115, (2000); Russell D., Popular music in England 1840-1914: a social history, (1987); Scott D., The singing bourgeois: songs of the Victorian drawing room and parlour, (1989); Simon H., Song and words: a history of the Curwen Press, (1973); Stainer J., Music education in elementary schools, Health Exhibition Literature XVIII. Conference on education; Thomas J.B., British universities and teacher education, (1990)","","","","","","","","","18345530","","","","English","Res. Stud. Music Educ.","Article","Final","","Scopus","2-s2.0-61049104528"
"Smith K.H.","Smith, Kenneth H. (7410186178)","7410186178","The effect of computer-assisted instruction and field independence on the development of rhythm sight-reading skills of middle school instrumental students","2009","International Journal of Music Education","27","1","","59","68","9","15","10.1177/0255761408099064","https://www.scopus.com/inward/record.uri?eid=2-s2.0-77952802168&doi=10.1177%2f0255761408099064&partnerID=40&md5=15a2a27e7379c6c42e3e311a8370cb53","Western Michigan University, Kalamazoo, MI 49008-5434, 1903 W. Michigan Ave, United States","Smith K.H., Western Michigan University, Kalamazoo, MI 49008-5434, 1903 W. Michigan Ave, United States","This study investigated how the effectiveness of computer-assisted instruction (CAI) to teach rhythm reading skills may be influenced by subjects' level of field dependence/independence. The subjects for the study consisted of 120 middle school instrumental music students divided into four groups based on scores from the Group Embedded Figures Test. Each was randomly divided in half. Half were assigned to the experimental group receiving CAI using Music Ace 2 software, and the control group received no CAI treatment. This CAI was administered half an hour a week for eight weeks. A pre- and post-test of subjects' abilities to read and perform rhythms were measured using the Rhythm Performance Scale. No significant difference was found between test score improvements of the experimental and control groups. However, significant findings were found to show that field-independent subjects overall performed better on the rhythm performance test than field dependent subjects. Copyright © 2009 International Society for Music Education.","field dependent; field independent; technology","","","","","","","","Alvira J.R., Teoría: Music Theory Web; Arms-Gilbert L., The effects of computer-assisted keyboard instruction on meter discrimination and rhythm discrimination of general music education students in the elementary school, Dissertation Abstracts International, 58, (1997); Berz W.L., Bowman J., An historical perspective on research cycles in music computer-based technology, Bulletin of the Council for Research in Music Education, 126, pp. 15-28, (1995); Bostic J.Q., Tallent-Runnels M.K., Cognitive styles: A factor analysis of six dimensions with implications for consolidation, Perceptual and Motor Skills, 72, pp. 1299-1306, (1991); Buck B., An experimental study using the Pitch Master and Tap Master systems to improve music literacy and singing skills, Dissertation Abstracts International, 52, (1991); Bush J.E., The effects of a hypermedia program, cognitive style, and gender on middle school students' music achievement, Contributions to Music Education, 27, 1, pp. 9-26, (2000); Choi E., The development and implementation of an interactive multimedia instrumental discrimination skills training courseware for beginning clarinet students, Dissertation Abstracts International, 57, (1996); Christmann E.P., A meta-analysis of the effect of computer-assisted instruction on the academic achievement of students in grades 6 through 12: A comparison of urban, suburban, and rural educational settings, Dissertation Abstracts International, 56, (1995); Ester D.P., Teaching vocal anatomy and function via Hypercard technology, Contributions to Music Education, 24, 1, pp. 91-99, (1997); Goodson C.A., Intelligent music listening: An interactive hypermedia program for basic music listening skills, Dissertation Abstracts International, 53, (1993); Heitland K.W., Cognitive styles and musical aptitudes: An exploratory study, Dissertation Abstracts International, 43, (1982); Higgins W., Technology, Handbook of Research on Music Teaching and Learning: A Project of the Music Educators National Conference, pp. 480-497, (1992); Kassner K., Effects of computer-assisted instruction in a master learning/cooperative learning setting on the playing abilities and attitudes of beginning band students, Dissertation Abstracts International, 53, (1992); King D.W., Field-dependence/field-independence and achievement in music reading, Dissertation Abstracts International, 44, 13, (1983); Messick S., The Matter of Style: Manifestations of Personality in Cognition, Learning, and Teaching, (1993); Oltman P.K., Raskin E., Witkin H.E., Group Embedded Figures Test, (1971); Orman E.K., Effect of development and implementation of an interactive multimedia computer program on beginning saxophonists' attitude and achievement, Dissertation Abstracts International, 56, (1995); Schmidt C.P., Lewis B.E., Field-dependence/independence, movement-based instruction and fourth graders' achievement in selected musical tasks, Psychology of Music, 15, pp. 117-127, (1987); Terelak J., Field dependence/independence and eye-hands-legs coordination, Perceptual and Motor Skills, 71, pp. 947-950, (1990); Watkins J.G., Farnum S.E., The Watkins-Farnum Performance Scale, (1954); Webster P., Computer-based technology and music teaching and learning, Handbook of Research on Music Teaching and Learning: A Project of the Music Educators National Conference, pp. 416-439, (2002); Witkin H.A., Moore C.A., Goodenough D.R., Cox P.W., Field-dependent and field-independent cognitive styles and their educational implications, Review of Educational Research, 47, 1, pp. 1-64, (1977); Witkin H.A., Oltman P.K., Raskin E., Karp S.S., A Manual for the Embedded Figures Test, (1971)","K. H. Smith; Western Michigan University, Kalamazoo, MI 49008-5434, 1903 W. Michigan Ave, United States; email: kenneth.smith@wmich.edu","","","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-77952802168"
"de Stwolinski G.; Faulconer J.; Schwarzkopf A.B.","de Stwolinski, Gail (57189586148); Faulconer, James (25949729800); Schwarzkopf, A.B. (7003498725)","57189586148; 25949729800; 7003498725","A Comparison of Two Approaches to Learning to Detect Harmonic Alterations","1988","Journal of Research in Music Education","36","2","","83","94","11","9","10.2307/3345242","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84973206459&doi=10.2307%2f3345242&partnerID=40&md5=9aeb7ecfe49a7e755df97ebf69c25738","University of Oklahoma, Norman, United States","de Stwolinski G., University of Oklahoma, Norman, United States; Faulconer J., University of Oklahoma, Norman, United States; Schwarzkopf A.B., University of Oklahoma, Norman, United States","The purpose of this study was to evaluate instructional activities and practice techniques of musicians attempting to improve their accuracy in detecting errors in music examples heard. In this study, a commonly recommended practice procedure, keyboard sight-reading, was compared with listening to recorded examples of simple piano works characteristic of those used in college-level class piano courses. The authors randomly assigned 59 college music majors to two groups. One group (Group R) studied examples by sight-reading music excerpts at the keyboard; the other group (Group L) studied the same excerpts by listening to recordings. Both groups were tested using taped examples of the excerpts with harmonic alterations. When data were collected for harmonic alterations not detected (misses) and for errors indicated where none were performed (false alarms), Group L was significantly more accurate (p = 0.0001) in detecting harmonic alterations than was Group R. The difference between the two groups was the same regarding false alarms (p = 0.0001). A repeated measures design was employed 2 weeks later with similar results. The data also indicated a possible effect of treatment order (listening first or sight-reading first). Implications are drawn for classroom application and for further study. © 1988, SAGE Publications. All rights reserved.","","","","","","","","","Benward B., Music in theory and practice, (1985); Brand M., Burnsed F., Music abilities and experiences as predictors of error detection skill, Journal of Research in Music Education, 29, pp. 91-96, (1981); Hansen L.A., A study of the ability of musicians to detect melodic and harmonic errors in the performance of choral music while inspecting the score., (1955); Kostka S., Payne D., Tonal harmony with an introduction to twentieth-century music., (1984); Sidnell R.G., Self-instructional drill materials for student conductors, Journal of Research in Music Education, 19, pp. 85-91, (1971); Trubitt A.R., Hines R.S., Ear training and sight-singing: An integrated approach., (1979); Zeitlin P., Goldberger D., Russian music for the young pianist., (1967); Burgmuller J.F., Twenty-five easy and progressive studies for the piano, Op. 100., (1903); Robinson H., Basic piano for adults., (1964); Elson L.C., Modern music and musicians, (1918)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-84973206459"
"Brendell J.K.","Brendell, Janna K. (39361080400)","39361080400","Time use, rehearsal activity, and student off-task behavior during the initial minutes of high school choral rehearsals","1996","Journal of Research in Music Education","44","1","","6","14","8","18","10.2307/3345409","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0345908012&doi=10.2307%2f3345409&partnerID=40&md5=771e9df9acf329e66482ac37b2d43f22","The School of Music, East Carolina University, Greenville NC 27858-4353, United States","Brendell J.K., The School of Music, East Carolina University, Greenville NC 27858-4353, United States","In this study, the use of rehearsal time during the initial minutes (i.e., the warm-up time) of 33 high school choral rehearsals was examined. Student attentiveness was also investigated during initial rehearsal activities. Trained observers used interval observation techniques in collecting attentiveness, rehearsal activity, and time usage data. Interobserver agreement averaged. 93 for off-task,. 88 for activity coding, and. 85 for rehearsal timing. Conductors averaged 43.45 elapsed seconds prior to the first verbal statement to begin and 14 minutes 19 seconds prior to rehearsal of literature. Time allotted to rehearsal activities was the following: sight-reading, 22.23% vocal warm-up, 9.63% getting ready, 6.75% physical warm-up, 3.37% literature instruction, 1.84% and other activity, 1.46%. Off-task percentages were: getting ready, 26.14% physical warm-up, 18.48% other, 16.53% literature instruction, 16.27% vocal warm-up, 15.07% and sight-reading, 9.22%. Results indicated that the highest percentages of off-task behavior occurred during activities requiring less singing and active participation. Off-task behavior seemed to be a function of the nature of the activity. © 1996 by Music Educators National Conference.","","","","","","","","","Caldwell Jr. W.M., A time analysis of selected musical elements and leadership behaviors of successful high school choral conductors, Dissertation Abstracts International, 41, pp. 976-977, (1980); Cox J., Choral rehearsal time usage in a high school and a university: A comparative analysis, Contributions to Music Education, 13, pp. 7-21, (1986); Cox J., Rehearsal organizational structures used by successful high school choral directors and their corresponding relationships, Dissertation Abstracts International, 48, (1987); Cutietta R., The effects of including systemized sight-singing drill in the middle school choral rehearsal, Contributions to Music Education, 7, pp. 12-20, (1979); Fiocca P.D.H., A descriptive analysis of the rehearsal behaviors of selected exemplary junior high and middle school choir directors, Dissertation Abstracts International, 47, (1986); Forsythe J.L., The effect of teacher approval, disapproval, and errors on student attentiveness: Music versus classroom teachers, Research in Music Behavior, pp. 49-55, (1975); Forsythe J.L., Elementary attending behavior as a function of classroom activities, Journal of Research in Music Education, 25, pp. 228-239, (1977); Madsen Jr. C.H., Madsen C.K., Teaching/Discipline: A Positive Approach to Discipline, (1983); Madsen C.K., Geringer J.M., Attending behavior as a function of in-class activity in university music classes, Journal of Music Therapy, 20, pp. 30-38, (1983); Madsen C.K., Yarbrough C., Competency-Based Music Education., (1985); Moore R.S., Comparative use of teaching time by American and British elementary music specialists, Bulletin of the Council for Research in Music Education, 66, pp. 62-68, (1981); Moore R.S., Bonney J.T., Comparative analysis of teaching time between student teachers and experienced teachers in general music, Contributions to Music Education, 14, pp. 52-58, (1987); Murray K.C., The effect of teacher approval/disapproval on musical performance, attentiveness, and attitude of high school choruses, Dissertation Abstracts International, 33, pp. 4459-4460, (1972); Price H.E., The effect of conductor academic task presentation, conductor reinforcement, and ensemble practice on performers' musical achievement, attentiveness, and attitude, Journal of Research in Music Education, 31, pp. 245-257, (1983); Sherrill M.H., An analytical study of videotaped rehearsal and conducting of selected junior and high school band conductors, Dissertation Abstracts International, 47, pp. 1231-1232, (1986); Spradling R.L., The effect of time out from performance on attentiveness and attitude of university band students, Dissertation Abstracts International, 41, (1980); Thurman V.L., A frequency and time description of selected rehearsal behaviors used by five choral conductors, Dissertation Abstracts International, 38, (1977); Tyson T.L., A descriptive case study of a master teacher's verbal behavior in a high school choral rehearsal, Dissertation Abstracts International, 50, (1988); Wagner H.J., Strul E.P., Comparisons of beginning versus experienced elementary music educators in the use of teaching time, Journal of Research in Music Education, 27, pp. 113-125, (1979); Warner D.L., An investigation of patterns of motivation in rehearsal construction of selected high school choral conductors, Dissertation Abstracts International, 47, (1986); Watkins R.C., Nonperformance time use in middle and junior high school choral rehearsals, (1992); Watkins R.E., A descriptive study of high school choral directors' use of modeling, metaphorical language, and musical/technical language related to student attentiveness, Dissertation Abstracts International, 47, (1986); Weise P.N., Effective and Efficient High School Chorus, Orchestra, and Band Rehearsal Techniques, (1960); Witt A.C., Instructional time and student attentiveness in secondary instrumental music rehearsals, Dissertation Abstracts International, 44, (1983); Yarbrough C., The effect of magnitude of conductor behavior on performance, attentiveness, and attitude of students in selected mixed choruses, Dissertation Abstracts International, 34, (1973); Yarbrough C., Price H.E., Prediction of performer attentiveness based on rehearsal activity and teacher behavior, Journal of Research in Music Education, 29, pp. 209-217, (1981)","","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-0345908012"
"Propst T.G.","Propst, Tonya Gray (26121447200)","26121447200","The relationship between the undergraduate music methods class curriculum and the use of music in the classrooms of in-service elementary teachers","2003","Journal of Research in Music Education","51","4","","316","329","13","8","10.2307/3345658","https://www.scopus.com/inward/record.uri?eid=2-s2.0-45849129341&doi=10.2307%2f3345658&partnerID=40&md5=b923b3543e617c4d670deb82461aefa9","Forestbrook Middle School, Myrtle Beach, SC, United States; Myrtle Beach, SC 29577, 3527 Chestnut Drive, United States","Propst T.G., Forestbrook Middle School, Myrtle Beach, SC, United States, Myrtle Beach, SC 29577, 3527 Chestnut Drive, United States","The purpose of this study was to determine which experiences in undergraduate elementary music methods curricula were the strongest predictors of the amount of time elementary classroom teachers used music weekly in their classrooms. A discriminant analysis procedure was used to determine whether the variable clusters considered simultaneously were significant predictors of the amount of time elementary classroom teachers (n = 297) use music in their classrooms. Of the three variable cluster groupings, two were found to contribute uniquely to the definition of the discriminant function. More than 42 % of the subjects were correctly classified as to the amount of time they used music in their classroom by simultaneously considering Variable Cluster 1 (participating in folk dances, singing games, movements; integrating music with academic subjects; creating songs, rhythms, movements) and Variable Cluster 3 (developing call charts; teaching lessons on musical concepts; practicing solfege; reading music notation; playing musical recordings as background music; identifying names of instruments in the orchestra). Copyright © 2003 by MENC: The National Association for Music Education.","","","","","","","","","Atsalis L. A., A comparison of curricula requirements in music for students majoring in elementary education at selected colleges and universities in southwestern, Dissertation Abstracts International, 48, (1988); Baker D. S., Saunders T.C., In-service classroom teachers' perceptions of useful music skills and understandings, Journal of Research in Music Education, 39, pp. 248-261, (1994); Barry N. H., Music and education in the elementary music methods class, Journal of Music Teacher Education, 2, 1, pp. 16-23, (1992); Bresler L. B., Music in a double-bind: Instruction by non-specialists in elementary schools, Bulletin of the Council for Research in Music Education, 115, pp. 1-14, (1993); Brown R. L., A descriptive study of college level music courses for elementary education majors at NASM institutions in the western Great Lakes region of the United States, (1988); Bryson E. F., A study of the use of music activities by classroom teachers, Dissertation Abstracts International, 43, pp. 2269-2270, (1982); Garwood A. N., Regional differences in America: A statistical sourcebook, (1988); Gauthier D., McCrary J., Music courses for elementary education majors: An investigation of course content and purpose, Journal of Research in Music Education, 47, pp. 124-134, (1999); Goodman J. L., Perceived music and music-teaching competencies of classroom teachers, Dissertation Abstracts International, 46, (1985); Kinder G. A., Survey of the musical activities of classroom teachers with implications for undergraduate music courses for elementary education majors, (1988); The school music program: Description and standards; The National Association for Music Education, National standards for music education, (1994); Morin F. L., Beliefs of preservice and in-service early years/elementary classroom teachers regarding useful music course topics, (1994); Persky H. R., Sandene B.A., Askew J.M., The NAEP 1997 arts report card, (1998); Price H. E., Burnsed V., Classroom teachers' assessments of elementary education music methods, Update, 8, 1, pp. 28-31, (1989); Sefzik W. P., A study of the effectiveness of teacher preparation programs in six areas of competency as perceived by the elementary teachers in Texas during their first three years of teaching, Dissertation Abstracts International, 44, (1984); Siegel S., Castellan J. N., Nonparametric statistics for the behavioral sciences, (1988); Sims W. L., Why should music educators care about NAEP?, Teaching Music, 7, 4, pp. 40-48, (2000); Stroud B. S., A study of the general classroom music programs in the public elementary schools of the Tidewater region of Virginia, Dissertation Abstracts International, 41, (1981); Verrastro R. E., Leglar M., Music teacher education, Handbook of research on music teaching and learning, pp. 676-696, (1992)","T. G. Propst; Forestbrook Middle School, Myrtle Beach, SC, United States; email: tpropst@fm.hcs.k12.sc.us","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-45849129341"
"Waters A.J.; Underwood G.; Findlay J.M.","Waters, Andrew J. (7101758834); Underwood, Geoffrey (7005488624); Findlay, John M. (57203044417)","7101758834; 7005488624; 57203044417","Studying expertise in music reading: Use of a pattern-matching paradigm","1997","Perception and Psychophysics","59","4","","477","488","11","73","10.3758/BF03211857","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0031132522&doi=10.3758%2fBF03211857&partnerID=40&md5=052d5a604bfcd09cabd17f1483591635","University College London, London, United Kingdom; University of Nottingham, Nottingham, United Kingdom; University of Durham, Durham, United Kingdom; Depts. of Psychology/Epidemiology, H.B.U., Brook House, London WC1H 0LP, 2-16 Torrington Pl., United Kingdom","Waters A.J., University College London, London, United Kingdom, Depts. of Psychology/Epidemiology, H.B.U., Brook House, London WC1H 0LP, 2-16 Torrington Pl., United Kingdom; Underwood G., University of Nottingham, Nottingham, United Kingdom; Findlay J.M., University of Durham, Durham, United Kingdom","Two experiments are described that make use of a pattern-matching paradigm to investigate perceptual processing of music notation. In Experiment 1, it is reported that the speed of comparing two visually presented musical sequences is related to the sight-reading skill of the subjects. The effect of the temporal and pitch structure of the comparison stimuli is also assessed. In Experiment 2, eye-movement recordings were taken as subjects performed the task. These data demonstrated that more experienced musicians are able to perform the comparisons with fewer, and shorter, glances between the patterns. These and other findings suggest that skilled sight-reading is associated with an ability to rapidly perceive notes or groups of notes in the score, and confirm that the pattern-matching paradigm is a useful tool in examining expertise in music reading.","","Adolescent; Adult; Attention; Female; Humans; Male; Music; Pattern Recognition, Visual; Pilot Projects; Practice (Psychology); Reaction Time; Reading; adolescent; adult; article; attention; female; human; learning; male; music; pattern recognition; pilot study; reaction time; reading","","","","","","","Beal A.L., The skill of recognizing musical structures, Memory & Cognition, 5, pp. 405-412, (1985); Bean K.L., An experimental approach to the reading of music, Psychological Monographs, 50, 50, (1938); Bower G.H., Springston F., Pauses as recoding points in letter series, Journal of Experimental Psychology, 83, pp. 421-430, (1970); Charness N., Components of skill in bridge, Canadian Journal of Psychology, 33, pp. 1-6, (1979); Chase W.G., Simon H.A., Perception in chess, Cognitive Psychology, 4, pp. 55-81, (1973); Clifton J.V., Cognitive Components in Music Reading and Sight Reading Performance, (1986); De Groot A., Thought and Choice in Chess, (1978); Deutsch D., The processing of structured and unstructured tonal sequences, Perception & Psychophysics, 28, pp. 381-389, (1980); Dowling W.J., Rhythmic groups and subjective chunks in memory for melodies, Perception & Psychophysics, 14, pp. 37-40, (1973); Ellis S.H., Structure and Experience in the Matching and Reproduction of Chess Patterns, (1973); Ericsson K.A., Smith J., Toward a General Theory of Expertise: Prospects and Limits, (1991); Fasanaro A.M., Spitaleri D.L.A., Valiani R., Dissociation in music reading: A musician affected by alexia without agraphia, Music Perception, 7, pp. 259-272, (1990); Gentner D.R., Timing of skilled motor performance: Tests of the proportional duration model, Psychological Review, 94, pp. 255-276, (1987); Goolsby T., Computer applications to eye movement research in music reading, Psychomusicology, 8, pp. 111-126, (1989); Goolsby T.W., Eye-movement in music reading - Effects of reading ability, notational complexity, and encounters, Music Perception, 12, pp. 77-96, (1994); Goolsby T.W., Profiles of processing - Eye-movements during sightreading, Music Perception, 12, pp. 97-123, (1994); Halpern A.R., Bower G.H., Musical expertise and melodic structure in memory for musical notation, American Journal of Psychology, 95, pp. 31-50, (1982); Halverson D.L., A Biometric Analysis of Eye Movement Patterns of Sight-singers, (1974); Handel S., Temporal segmentation of repeating auditory patterns, Journal of Experimental Psychology, 101, pp. 46-54, (1973); Kinsler V., Carpenter R.H.S., Saccadic eye movements while reading music, Vision Research, 35, pp. 1447-1458, (1995); Mackenzie C.L., Van Eerd D.L., Rhythmic precision in the performance of piano scales: Motor psychophysics and motor programming, Attention and Performance XIII: Motor Representation and Control, pp. 375-408, (1990); Mckeithen K.B., Reitman J.S., Rueter H.H., Hirtle S.C., Knowledge organization and skill differences in computer programmers, Cognitive Psychology, 13, pp. 307-325, (1981); Reitman J., Skilled perception in go: Deducing memory structures from interresponse times, Cognitive Psychology, 8, pp. 336-356, (1976); Restle F., Serial patterns: The role of phrasing, Journal of Experimental Psychology, 92, pp. 385-390, (1972); Reulen J.P.H., Marcus J.T., Koops D., De Fries F.R., Tiesinger G., Bofhuizen K., Bos J.E., Precise recording of eye movements: The IRIS technique, Medical & Biological Engineering & Computing, 26, pp. 20-26, (1988); Saariluoma P., Chess players' intake of task-relevant cues, Memory & Cognition, 13, pp. 385-391, (1985); Salis D.L., Laterality effects with visual perception of musical chords and dot patterns, Perception & Psychophysics, 28, pp. 284-292, (1980); Salthouse T.A., Effects of age and skill in typing, Journal of Experimental Psychology: General, 113, pp. 345-371, (1984); Schmidt F.O., The Eye Movement Patterns of Woodwind Instrument Performers while Sight-reading, (1981); Shaffer L.H., Performance of Chopin, Bach, and Bartok: Studies in motor programming, Cognitive Psychology, 13, pp. 326-376, (1981); Sloboda J.A., Music Reading and Prose Reading: Some Comparisons of Underlying Perceptual Processes, (1974); Sloboda J.A., The effect of item position on the likelihood of identification by inference in prose reading and music reading, Canadian Journal of Psychology, 30, pp. 228-236, (1976); Sloboda J.A., Visual perception of musical notation: Registering pitch symbols in memory, Quarterly Journal of Experimental Psychology, 28, pp. 1-16, (1976); Sloboda J.A., Phrase units as determinants of visual processing in music reading, British Journal of Psychology, 68, pp. 117-124, (1977); Sloboda J.A., Perception of contour in music reading, Perception, 7, pp. 117-124, (1978); Sloboda J.A., The psychology of music reading, Psychology of Music, 6, 2, pp. 3-20, (1978); Sloboda J.A., The uses of space in music notation, Visible Language, 25, pp. 86-110, (1981); Sloboda J.A., Music performance, The Psychology of Music, pp. 476-496, (1982); Sloboda J.A., The communication of musical metre in piano performance, Quarterly Journal of Experimental Psychology, 35 A, pp. 377-396, (1983); Sloboda J.A., Experimental studies of music reading: A review, Music Perception, 2, pp. 222-236, (1984); Sloboda J.A., Expressive skill in two pianists: Style and effectiveness in music performance, Canadian Journal of Psychology, 39, pp. 273-293, (1985); Sloboda J.A., The Musical Mind: The Cognitive Psychology of Music, (1985); Thompson W.B., Music sight-reading skill in flute players, Journal of General Psychology, 114, pp. 345-352, (1987); Underwood G., Deihim C., Batt V., Expert performance in solving word puzzles: From retrieval cues to crossword clues, Applied Cognitive Psychology, 8, pp. 531-548, (1994); Van Nuys K., Weaver H.A., Memory span and visual pauses in reading rhythms and melodies, Psychological Monographs, 55, 1, pp. 33-61, (1943); Wolf T., A cognitive model of musical sight-reading, Journal of Psycholinguistic Research, 5, pp. 143-171, (1976); York R., An Experimental Study of Vocal Music Reading Using eve Movement Photographs and Voice Recording, (1952)","A.J. Waters; Depts. of Psychology/Epidemiology, H.B.U., Brook House, London WC1H 0LP, 2-16 Torrington Pl., United Kingdom; email: rmjdajw@ucl.ac.uk","","Psychonomic Society Inc.","","","","","","00315117","","PEPSB","9158323","English","Percept. Psychophys.","Article","Final","All Open Access; Bronze Open Access","Scopus","2-s2.0-0031132522"
"McPherson G.E.","McPherson, Gary E. (23668231200)","23668231200","The Assessment of Musical Performance: Development and Validation of Five New Measures","1995","Psychology of Music","23","2","","142","161","19","43","10.1177/0305735695232003","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84970415482&doi=10.1177%2f0305735695232003&partnerID=40&md5=1ae1a275bc5a073b819f95569c1471a0","School of Music and Music Education, University of South Wales, Sydney, New South Wales 2052, Australia","McPherson G.E., School of Music and Music Education, University of South Wales, Sydney, New South Wales 2052, Australia","This study examined the ability of 101 high school instrumentalists to perform rehearsed music, sight-read, play from memory, pay by ear and improvise. It is organised into three parts: part one describes the development of measures to assess instrumentalists' ability to perform music from memory, by ear and by improvising. In part two, scores on each of these measures are compared with results obtained using (1) the Watkins-Farnum Performance Scale to measure sight-reading ability, and (2) awards in an Australian Music Examinations Board performance examination to indicate subject ability to perform a repertoire of rehearsed music. For part three, 16 variables related to subjects' musical background were examined in order to determine the degree of correlation between these variables and the five performance skills. Results show a pattern of higher correlations between the five types of performance as instrumentalists mature. In addition, important differences between each of the five skills and 16 variables were observed and discussed. © 1995, Sage Publications. All rights reserved.","","","","","","","","","Addison R., From aims to actions: 2, Music Teacher, (1986); Baker D.N., Jazz improvisation; Barry N., The effects of practice strategies, individual differences in cognitive styles, and sex upon technical accuracy and musicality of student instrumental performance, (1990); Boyle J.D., Radocy R.E., Measurement and evaluation of musical experiences, (1987); Bryant D.E., The effect of special memory instruction and guided analysis on the memorization efficiency of college brass players, (1985); Campbell D.T., Fiske D.W., Convergent and discriminant validation by the multitraitmultimethod matrix, Psychological Bulletin, 56, pp. 81-105, (1959); Choksy L., Abramson R.M., Gillespie A.E., Woods D., Teaching music in the twentieth century, (1986); Coker J., Improvising jazz, (1964); Coker J., Patterns for jazz, (1970); Colwell R.J., An investigation of achievement in music in the public schools of Sloux Falls, South Dakota, (1961); Davidson L., Tools and environments for musical creativity, Music Educators Journal, 76, pp. 47-51, (1990); Davidson L.S., Scripp L., Welsh P., Happy Birthday, Journal of Aesthetic Education, 22, pp. 65-74, (1988); Music from 5 to 16: Curriculum matters, 4, (1990); Dickey M.R., A comparison of verbal instruction and non-verbal teacher-student modeling in instrumental ensembles, Journal of Research in Music Education, 39, pp. 132-142, (1991); Eaton J., correlation study of keyboard sightreading facility ith previous training, notereading, psychomotor, and memorization skill, (1978); Elliot C.A., The relationships among instrumental sight-reading ability and seven selected predictor variables, Journal of Research in Music Education, 30, pp. 5-14, (1982); Elliot C.A., May W.V., Relationships among ensemble participation, private instruction, and aural skill development, Journal of Research in Music Education, 28, pp. 155-161, (1980); Fowler C., The Crane symposium: Toward an understanding of the teaching and learning of music performance, (1988); Frackenpohl A., Harmonization at the piano, (1985); Froseth J.O., The individualized instructor: Sing, drum and play, (1984); Froseth J.O., A longitudinal study of the relationship of melodic ear-to-hand co-ordination and selected indices of musical achievement at the University of Michigan School of Music, (1985); Froseth J.O., Test of melodic ear-to-hand co-ordination, (1987); Froseth J., Blaser A., Studies in creative musicianship: Ear training for musical improvisation, Levels 1 and 2, (1980); Gorder W.D., An investigation of divergent production abilities as constructs of musical creativity, (1976); Gorder W.D., Divergent production abilities as constructs of musical creativity, Journal of Research in Music Education, 28, pp. 34-42, (1980); Gordon E.E., Learning sequences in music, (1989); Grunow R.F., Jump right in, (1988); Gruson L.M., Sloboda J.A., Rehearsal skill and musical competence: Does practice make perfect?, Generative processes in music, (1988); Guilford J.P., The nature of human intelligence, (1967); Handbook for examiners, (1990); Hargreaves D.J., The developmental psychology of music, (1986); Judy S., Making music for the joy of it: Enhancing creativity, skills, and musical confidence, (1990); Kohut D.L., Musical performance: Learning theory and pedagogy, (1985); Kratus J., Structuring the music curriculum for creative learning, Music Educators Journal, 76, pp. 33-37, (1990); Laske O.E., Music, memory, and thought, (1977); Luce J.R., Sight-reading and ear playing abilities related to the training and backgrounds of instrumental music students, (1958); Luce J.R., Sight-reading and ear playing abilities as related to instrumental music students, Journal of Research in Music Education, 13, pp. 101-109, (1965); Maggio M.S., multitrait-multimethod investigation of the relationship between music memory and spatial memory, (1989); Mainwaring J., Kinaesthetic factors in the recall of musical experience, British Journal of Psychology, 23, pp. 284-307, (1933); Mainwaring J., The meaning of musicianship: A problem in the teaching of music, British Journal of Educational Psychology, 11, pp. 205-214, (1941); Markovich V.A., An investigation of the effects of matching timbre and training on melodic ear-to-hand co-ordination of college music majors, (1985); McPherson G.E., Factors and abilities influencing the development of visual, aural and creative performance skills in music and their educational implications, (1993); McPherson G.E., Evaluating improvisational ability of high school instrumentalists, Council for Research in Music Education, 119, pp. 11-20, (1993); McPherson G.E., Factors and abilities influencing sightreading skill in music, Journal of Research in Music Education, 42, pp. 217-231, (1994); McPherson G.E., Five aspects of musical performance and their correlates, Council for Research in Music Education; Miller R.E., Contributions of selected music skills to music sight-reading achievement and rehearsed reading achievement, (1988); Morris K., Technique and creativity part 5, Music Teacher, 70, pp. 10-11, (1991); Nuki M., Memorization of piano music, Psychologia, 27, pp. 157-163, (1984); Pratt G., Aural awareness: Principles and practice, (1990); Priest P., Playing by ear: An investigation of the phenomenon andof its potential for instrumental learning as part of music education, (1988); Priest P., Playing by ear: Its nature and application to instrumental learning, British Journal of Music Education, 6, pp. 173-191, (1989); Regelski T.A., Principles and problems of music education, (1975); Reichling M., Memorizing piano music: What the research offers teachers, Update, 8, pp. 9-13, (1989); Ross S.L., The effectiveness of mental practice in improving the performance of college trombonists, Journal of Research in Music Education, 33, pp. 221-230, (1985); Rubin-Rabson G., The influence of analytical prestudy in memorizing piano music, Archives of Psychology, 31, pp. 1-57, (1937); Rubin-Rabson G., Studies in the psychology of memorizing piano music I: A comparison of the unilateral and the co-ordinated approaches, Journal of Educational Psychology, 30, pp. 321-345, (1939); Rubin-Rabson G., Studies in the psychology of memorizing piano music II: A comparison of massed and distributed practice, Journal of Educational Psychology, 31, pp. 270-284, (1940); Rubin-Rabson G., Studies in the psychology of memorizing piano music III: A comparison of the whole and the part approach, Journal of Educational Psychology, 31, pp. 460-476, (1940); Rubin-Rabson G., Studies in the psychology of memorizing piano music IV: The effect of incentive, Journal of Educational Psychology, 32, pp. 45-54, (1941); Rubin-Rabson G., Studies in the psychology of memorizing piano music V: A comparison of prestudy periods of varied lengths, Journal of Educational Psychology, 32, pp. 101-112, (1941); Rubin-Rabson G., Studies in the psychology of memorizing piano music VI: A comparison of two forms of mental rehearsal and keyboard overleaming, Journal of Educational Psychology, 32, pp. 593-602, (1941); Rubin-Rabson G., Studies in the psychology of memorizing piano music VII: A comparison of three degrees of overlearning, Journal of Educational Psychology, 32, pp. 688-695, (1941); Rubin-Rabson G., Studies in the psychology of memorizing piano music VIII: The inhibitory influence of the same and of different degrees of learning, Journal of Musicology, 5, pp. 13-29, (1947); Schleuter S.L., A sound approach to teaching instrumentalists: Application of content and learning sequences, (1984); Shockley R.P., An experimental approach to the memorization of piano music with implications for music reading, (1980); Sloboda J.A., Generative processes in music, (1988); Streckfuss R.J., The effect of a sight-reading pacer machine upon the sight-reading ability of college wind instrumentalists, (1984); Swanwick K., Tillman J., A sequence of musical development: A study of children's compositions, British Journal of Music Education, 3, pp. 305-339, (1986); Thackray R.M., Creative music in education, (1968); Thackray R.M., Some thoughts on aural training, Australian Journal of Music Education, 17, pp. 25-30, (1975); Thackray R.M., Aural awakening, (1978); Vaughan M.M., Music as model and metaphor in the cultivation and measurement of creative behavior in children, (1971); Watkins J.G., Farnum S.E., The Watkins-Farnum performance scale: A standardised achievement test for all band instruments, (1954); Webster P.R., factor of intellect approach to creative thinking in music, (1977); Webster P.R., Relationship between creative behavior in music and selected variables as measured in high school students, Journal of Research in Music Education, 27, pp. 227-242, (1979); Webster P.R., Refinement of a measure of musical imagination in young children and a comparison to aspects of musical aptitude, (1983); Webster P.R., Madsen C.L., Prickett C.A., Refinement of a measure of creative thinking in music, Applications of research in music behavior, (1987); Webster P.R., Richmond J.W., Creative thinking in music: The assessment question, The proceedings of the suncoast music education forum on creativity, (1989); Wig J.A., The effect of instruction in music composition strategies on middle school band students' ability to improvise melodies, (1980); Wilson J.P., The effect of sleep and time on music memory, (1983)","","","","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-84970415482"
"Stewart S.R.; Gonzalez L.S.; Page J.L.","Stewart, Sharon R. (7401747190); Gonzalez, Lori S. (7202218894); Page, Judith L. (55279574400)","7401747190; 7202218894; 55279574400","Incidental learning of sight words during articulation training","1997","Language, Speech, and Hearing Services in Schools","28","2","","115","125","10","5","10.1044/0161-1461.2802.115","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0031286675&doi=10.1044%2f0161-1461.2802.115&partnerID=40&md5=533832c795aa8df840b64b0f8dfe6f78","University of Kentucky, Lexington, KY, United States; Division of Communication Disorders, University of Kentucky, Lexington, KY 40504-2605, 1028 South Broadway, United States","Stewart S.R., University of Kentucky, Lexington, KY, United States, Division of Communication Disorders, University of Kentucky, Lexington, KY 40504-2605, 1028 South Broadway, United States; Gonzalez L.S., University of Kentucky, Lexington, KY, United States; Page J.L., University of Kentucky, Lexington, KY, United States","The present study examined the acquisition of sight reading vocabulary learned incidentally during articulation training. A multiple probe design across behaviors with reinforced probe conditions was used to evaluate the effectiveness of an articulation training program that included incidental information to teach basic sight word reading. Specifically, beginning readers with sound production errors received articulation therapy paired with a procedure in which (a) words were printed below the stimulus pictures and (b) the experimenter drew an imaginary line under the word while saying, ""Yes, (word). Look, (word)."" as part of feedback for articulatory performance. Results indicated that the subjects learned to read sight words incidentally during articulation training, and this learning generalized beyond printed words on cards to printed words on a list.","Articulation; Children; Incidental learning; Reading","","","","","","","","Ball E.W., Blachman B.A., Phoneme segmentation training: Effect on reading readiness, Annals of Dyslexia, 38, pp. 208-225, (1988); Ball E.W., Blachman B.A., Does phoneme awareness training in kindergarten make a difference in early word recognition and developmental spelling?, Reading Research Quarterly, 26, pp. 49-66, (1991); Bishop D.V.M., Adams C., A prospective study of the relationship between specific language impairment, phonological disorders, and reading retardation, Journal of Child Psychology and Psychiatry, 31, pp. 1027-1050, (1990); Blachman B.A., Early literacy acquisition: The role of phonological awareness, Language Learning Disabilities in School-Age Children and Adolescents, pp. 253-274, (1994); Catts H., Kamhi A., The relationship between reading and language disorders: Implications for the speech-language pathologist, Seminars in Speech and Language, 8, pp. 377-392, (1987); Doyle P., Gast D., Wolery M., Ault M., Farmer J., Use of constant time delay in small group instruction: A study of observational and incidental learning, The Journal of Special Education, 23, pp. 369-385, (1990); Doyle P., Wolery M., Gast D., Ault M., Wiley K., Comparison of constant time delay and the system of least prompts in teaching preschoolers with developmental delays, Research in Developmental Disabilities, 11, pp. 1-22, (1990); Dunn L.M., Dunn L.M., Peabody Picture Vocabulary Test-Revised, (1981); Cast D., Doyle P., Wolery M., Ault M., Baklarz J., Acquisition of incidental information during small group instruction, Education and Treatment of Children, 14, pp. 1-18, (1991); Ham R., Relationship between misspelling and misarticulation, Journal of Speech and Hearing Disorders, 23, pp. 294-297, (1958); King R., Jones C., Lasky E., In retrospect: A fifteen-year follow-up report of speech-language-disordered children, Language, Speech, and Hearing Services in Schools, 13, pp. 24-32, (1982); Larson V.L., McKinley N., Language Disorders in Older Students: Preadolescents and Adolescents, (1995); Levi G., Capozzi F., Fabrizi A., Sechi E., Language disorders and prognosis for reading disabilities in developmental age, Perceptual and Motor Skills, 54, pp. 1119-1122, (1982); Markwardt F.C. Jr., Peabody Individual Achevement Test-Revised, (1990); Mowrer D.E., The behavioral approach to treatment, Assessment and Remediation of Articulatory and Phonological Disorders 2nd Ed., pp. 159-192, (1989); Nelson N.W., Childhood Language Disorders in Context: Infancy Through Adolescence, (1993); Orelove F., Acquisition of incidental learning in moderately and severely handicapped adults, Education and Training of the Mentally Retarded, 17, pp. 131-136, (1982); Secord W., T-MAC: Test of Minimal Articulation Competence, (1981); Shelton B., Gast D., Wolery M., Winterling V., The role of small group instruction in facilitating observational and incidental learning, Language, Speech, and Hearing Services in Schools, 22, pp. 123-133, (1991); Simon C., Communication Skills and Classroom Success: Assessment and Therapy Methodologies for Language Learning Disabled Students, (1991); Tawney J., Gast D., Single Subject Research in Special Education, (1984); Torgeson J.K., Morgan S.T., Davis C., Effects of two types of phonological awareness training on word learning in kindergarten children, Journal of Educational Psychology, 84, pp. 364-370, (1992); Winterling V., The effects of constant time delay, practice in writing or spelling, and reinforcement on sight word recognition in a small group, Journal of Special Education, 24, pp. 101-116, (1990); Wolery M., Werts M.G., Holcombe A., Billings S.S., Vassilaros M.A., Instructive feedback: A comparison of simultaneous and alternating presentation of non-target stimuli, Journal of Behavioral Education, 3, pp. 187-204, (1993); Wolf B., Human Exceptionality: Society, School, and Family 3rd Ed., (1990)","","","American Speech-Language-Hearing Association","","","","","","01611461","","","","English","Lang. Speech Hear. Serv. Sch.","Article","Final","","Scopus","2-s2.0-0031286675"
"Ciorba C.R.","Ciorba, Charles R. (54419687200)","54419687200","Predicting jazz improvisation achievement through the creation of a path-analytical model","2009","Bulletin of the Council for Research in Music Education","","180","","43","57","14","11","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-82955194819&partnerID=40&md5=054cab26eec2426ea261fb8f64ec0367","Millikin University, Decatur, IL, United States","Ciorba C.R., Millikin University, Decatur, IL, United States","The primary purpose of this study was to create a model to predict jazz improvisation achievement. The dependent variable was defined as jazz improvisation achievement and the independent variables were defined as: (a) self-assessment, (b) self-efficacy, (c) motivation, (d) jazz theory knowledge, (e) academic achievement, (f) sight-reading ability, and (g) listening experience. A sample of high school students (N = 102) in grades 9 through 12 were chosen from 3 high schools in south Florida (n = 59) and 4 high schools in southeast Michigan (n = 43). The seven independent variables combined to account for 50% of the variance in jazz improvisation achievement. The path model revealed an adequate fit between theory and data (χ2 = 10.67, df = 11, p < .471), indicating that a model to predict jazz improvisation achievement can be created and statistically tested. © 2009 Board of Trustees University of Illinois.","","","","","","","","","Aebersold J., Bb blues: Shuffle time, On Maiden Voyage [CD], (1992); Aebersold J., How to Play Jazz and Improvise, (1992); Asmus E.P., Sixth graders' achievement motivation: Their views of success and failure in music, Bulletin of the Council for Research in Music Education, 85, pp. 1-13, (1985); Asmus E.P., Student beliefs about the causes of success and failure in music: A study of achievement motivation, Journal of Research in Music Education, 34, 4, pp. 262-278, (1986); Asmus E.P., Characteristics of motivation for music and musical aptitude of undergraduate nonmusic majors, Journal of Research in Music Education, 38, 4, pp. 258-268, (1990); Asmus E.P., Motivation in music teaching and learning, The Quarterly Journal of Music Teaching and Learning, 5, 4, pp. 5-32, (1994); Austin J.R., The effect of music contest format on self-concept, motivation, achievement, and attitude of elementary band students, Journal of Research in Music Education, 34, pp. 262-278, (1988); Austin J.R., Vispoel W.P., Motivation after failure in school music performance classes: The facilitative effects of strategy attributions, Bulletin for the Council for Research in Music Education, 111, pp. 1-23, (1992); Baker D., Jazz Pedagogy: A Comprehensive Method of Jazz Education for Teacher and Student, (1989); Bandura A., Self-efficacy: Toward a unifying theory of behavioral change, Psychological Review, 84, 2, pp. 122-147, (1982); Bandura A., Social Foundations of Thought and Action: A Social Cognitive Theory, (1986); Bandura A., Self-efficacy: The Exercise of Control, (1997); Bash L., The effectiveness of three instructional methods on the acquisition of jazz improvisational skills, Dissertation Abstracts International, 44, (1983); Bergee M.J., A comparison of faculty, peer, and self-evaluation of applied brass jury performances, Journal of Research in Music Education, 41, 1, pp. 19-27, (1993); Bergee M.J., Relationships among faculty, peer, and self-evaluations of applied performances, Journal of Research in Music Education, 45, 4, pp. 601-612, (1997); Birch T., Musical taste as indicated by records owned by students with varying high school experience, Missouri Journal of Research in Music Education, 1, pp. 53-54, (1962); Bongiorno F.J., The Construction and Validation of An Evaluation Instrument for Jazz Ensemble Saxophone Auditions, (1990); Briscuso J.J., A study of ability in spontaneous and prepared jazz improvisation among students who possess different levels of musical aptitudes, Dissertation Abstracts International, 33, (1972); Burnsed C.V., The development and evaluation of an introductory jazz improvisational sequence for intermediate band students, Dissertation Abstracts International, 39, (1978); Burnsed V.V., Price H.E., Improvisation and evaluation, Research Proceedings of the National Association of Jazz Educators, 6, pp. 35-42, (1984); Byo J., Recognition of intensity contrasts in gestures of beginning conductors, Journal of Research in Music Education, 38, pp. 157-163, (1990); Coker J., Listening to Jazz, (1978); Coker J., The Teaching of Jazz, (1989); Coker J., How to Practice Jazz, (1990); Crook H., Ready, Aim, Improvise!, (1999); Geringer J.M., McManus D., A survey of musical taste in relationship to age and musical training, College Music Symposium, 19, 2, pp. 69-76, (1979); Good J.M.M., Aggleton J.P., Kentridge R.W., Barker J.G.M., Neave N.J., Measuring musical aptitude in children: On the role of age, handedness, scholastic achievement, and socioeconomic status, Psychology of Music, 25, pp. 57-69, (1997); Heider F., The Psychology of Interpersonal Relations, (1958); Hewitt M.P., The effects of modeling, self-evaluation, and self-listening on junior high instrumentalists' music performance and practice attitude, Journal of Research in Music Education, 49, 4, pp. 307-322, (2001); Hores R.G., A comparative study of visual- and aural-oriented approaches to jazz improvisation with implications for instruction, Dissertation Abstracts International, 39, (1977); Hufstader R.A., Predicting success in beginning instrumental music through use of selected tests, Journal of Research in Music Education, 22, pp. 52-57, (1974); Keith T.Z., Multiple Regression and beyond, (2006); Kenny J., Gellrich G., Improvisation, The Science & Psychology of Music Performance, pp. 117-134, (2002); Klinedinst R.E., Predicting performance achievement and retention of fifth-grade instrumental students, Journal of Research in Music Education, 39, 3, pp. 225-238, (1991); Kostka M.J., Effects of self-assessment and successive approximations of ""knowing"" and ""valuing"" selected keyboard skills, Journal of Research in Music Education, 45, 2, pp. 273-281, (1997); Legette R.M., Causal attributions of music majors and non-music majors regarding success and failure in music: A study of motivation and achievement, Research Perspectives in Music Education, 80, pp. 9-12, (1993); Madura P.D., Relationships among vocal jazz improvisation achievement, jazz theory knowledge, imitative ability, previous musical experiences, general creativity, and gender, Dissertation Abstracts International, 53, 12, (1992); May L.F., Relationships among Jazz Theory Achievement, Jazz Aural Skills, Aural Imitation, and Achievement in Instrumental Jazz Improvisation, (1998); McCormick J., McPherson G., The role of self-efficacy in a musical performance examination: An exploratory structural equation analysis, Psychology of Music, 31, 1, pp. 37-51, (2003); McDaniel W.T., Differences in music achievement, musical achievement, musical experience, and background between jazz-improvising musicians and non-improvising musicians at the freshman and sophomore college levels, Dissertation Abstracts International, 35, (1974); Montano D.R., The effect of improvisation in given rhythms on rhythmic accuracy in sight-reading achievement by college elementary group piano students, Dissertation Abstracts International, 44, 6, (1983); Partchey K.C., The effects of feedback, models and repetition on the ability to improvise melodies, Dissertation Abstracts International, 35, 1, (1973); Pfenninger R.C., The development and validation of three rating scales for the objective measurement of jazz improvisation achievement, Dissertation Abstracts International, 51, (1990); Phillips D., Jazz studies, objectives, rationales, activities, and evaluation: The New Trier High School model, Jazz Educators Journal, 30, 5, pp. 32-35, (1998); Rohwer M., The effect of listening to a concert recording of singers' self-evaluation of choral performance, Missouri Journal of Research in Music Education, 33, pp. 10-27, (1996); Schilling R., The feasibility of objective diagnostic measurement of jazz improvisation, Research Proceedings of the National Association of Jazz Educators, 7, pp. 161-170, (1987); Schmidt C.P., Attributions of success, grade level, and gender as factors in choral students' perceptions of teacher feedback, Journal of Research in Music Education, 43, pp. 313-329, (1995); Schunk D.H., Self-efficacy and achievement behaviors, Educational Psychology Review, 1, pp. 173-208, (1989); Schunk D.H., Hanson A.R., Peer models: Influence on children's self-efficacy and achievement, Journal of Educational Psychology, 77, pp. 313-322, (1985); Schunk D.H., Hanson A.R., Cox P.D., Peer-model attributes and children's achievement behaviors, Journal of Educational Psychology, 79, pp. 54-61, (1987); Sichivitsa V.O., Music motivation: A study of fourth, fifth and sixth graders' intention to persist in music, Contributions to Music Education, 33, 2, pp. 27-41, (2004); Watkins J.G., Farnum S.E., The Watkins-Farnum Performance Scale, (1954); Weiner B., Achievement Motivation and Attribution Theory, (1974); Yarbrough C., The relationship of behavioral self-assessment to the achievement of basic conducting skills, Journal of Research in Music Education, 35, 3, pp. 183-189, (1986); Zimmerman B.J., Measuring and mismeasuring academic self-efficacy: Dimensions, problems, and misconceptions, Annual Meeting of the American Educational Research Association, (1996)","","","","","","","","","00109894","","","","English","Bul. Counc. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-82955194819"
"Bernstein L.F.","Bernstein, Lawrence F. (52963376900)","52963376900","""Singende Seele"" or ""unsingbar""? Forkel, Ambros, and the forces behind the Ockeghem reception during the late 18th and 19th centuries","2006","Journal of Musicology","23","1","","3","61","58","6","10.1525/jm.2006.23.1.3","https://www.scopus.com/inward/record.uri?eid=2-s2.0-60949855261&doi=10.1525%2fjm.2006.23.1.3&partnerID=40&md5=00336bb1ba9a9c70c217fc3d830d74da","University of Pennsylvania","Bernstein L.F., University of Pennsylvania","In 1868, Wilhelm Ambros lauded a number of compositions by Johannes Ockeghem, including the triple canon Prenez sur moy. Emphasizing the expressive qualities of this music, he suggested that its composer had breathed into it a ""singing soul."" Some decades earlier, Johann Forkel also focused on Prenez sur moy, dismissing it, however, as ""unsingable."" The present study examines the cultural and intellectual forces that gave rise to these strikingly contradictory assessments. Enlightenment historians are generally thought to have charted the flow of history according to a progressive paradigm. Late medieval music often fared poorly viewed from this perspective, drawing criticism for its failure to reflect the refinements of modern music. Initially, Forkel toed this line, but his comments about examples of 15th-century music in the Allgemeine Geschichte der Musik also reveal his capacity to strike a relativist pose regarding some of them, and even to offer unqualified praise. The changes in Forkel's position are traced to philosophical writings known to have been part of his library, and to his conviction that the music of Johann Sebastian Bach was superior to that of his own time. Taking that stand surely must have raised questions in his mind about his earlier commitment to the progressive view of history. Forkel's openness to new historiographical approaches suggests that he, of all Enlightenment writers on music, might have found value in Ockeghem's music, all the more so because he was better informed about Ockeghem's preeminent stature in his own day than anyone else at the time, and owing to his awareness of a current German tradition that regarded Ockeghem as ""the Bach of his day."" Yet Forkel's deprecation of Ockeghem's music is among the strongest in the literature. His negative stand can be traced to his admiration for a 16th-century tract on teaching music, the Compendium musices by Adrian Petit Coclico, who demonizes Ockeghem as an icon of the scholastic approach to music. Forkel's own commitment to a humanistic orientation in music pedagogy surely led him to view Coclico as a kindred spirit. © 2006 by the Regents of the University of California. All rights reserved.","","","","","","","","","Ann Owens J., Music Historiography and the Definition of 'Renaissance, 47, pp. 305-330, (1990); Meconi H., Josquin and Musical Reputation, Essays in Music and Culture in Honor of Herbert Kellman, pp. 280-297, (2001); Kirkman A., From Humanism to Enlightenment: Reinventing Josquin, Journal of Musicology, 17, pp. 441-458, (1999); Kirkman A., Under Such Heavy Chains': The Discovery and Evaluation of Late Medieval Music Before Ambros, 19th-Century Music, 24, pp. 89-112, (2000); Bernstein L.F., Ockeghem the Mystic: A German Interpretation of the 1920s,  Colloque international d'études humanistes, Tours, 3-8 février 1997, pp. 811-841, (1988); Bukofzer M., Caput: A Liturgico-Musical Study, Studies in Medieval and Renaissance Music, pp. 291-292, (1950); Nikolaus Forkel J., Allgemeine Geschichte der Musik, (1788); Die grossen Darstellungen der Musikgeschichte, Barock und Aufklärung, 2, (1967); Otto Naegele P., August Wilhelm Ambros: His Historical and Critical Thought, (1956); Meier B., Zur Musikhistoriographie des 19. Jahrhunderts, Die Ausbreiting des Historismus über die Musik, pp. 195-202, (1969); Heinz R., Geschichtsbegriff und Wissenschaftscharakter des, Jahrhunderts: Philosophische Aspekte einer Wissenschaftsentwicklung, Studien zur Musikgeschichte des 19. Jahrhunderts, 11, pp. 23-27, (1968); Marie Higgins P., Antoine Busnois and Musical Culture in Late Fifteenth-Century France and Burgundy, pp. 222-224, (1987); Ambros, Geschichte der Musik, 3, pp. 171-172; Adler G., August Wilhelm Ambros (November 17, 1816 - June 18, 1876), Musical Quarterly, 17, pp. 360-373, (1931); Edward E.L., collaboration with Bonnie, pp. 148-77, (1976); Judd C.C., Reading Renaissance Music Theory: Hearing with the Eyes, Studies in Music Theory and Analysis, 14, pp. 280-286, (2000); Ambros, Geschichte der Musik, In diesem Sinne darf also der ehrwürdige Okeghem wirklich als der geistige Stammvater aller folgenden Generationen von Musikern gelten, 3; Picker M., The Chanson Albums of Marguerite of Austria, (1965); Litterick L., The Revision of Ockeghem's 'Je n'ay dueil,, Le Moyen français, 5, pp. 29-48, (1979); Ambros, Geschichte der Musik Es ist vielmehr ein höchst ernst gemeintes Werk, die;ber dessen Sätzen, mag man sie aus welchem Tone immer singen, ein eigenthümlicher Ton milder Ruhe auch wohl stiller Wehmuth schwebt - ein Ton übrigens, 3; Bernstein L.F., The Music of Johannes Ockeghem: Problems of Reception and Musical Style, (1993); Kirkman, Under Such Heavy Chains, 90; Matthes H., Die Grenzen der Musik und Poesie: Eine Studie zur Aesthetik der Tonkunst, (1855); Cornell J.H., The Boundaries of Music and Poetry, (1893); Pauls J., Sämtliche Werke: Historisch-kritische Ausgabe, 3, pp. 116-117, (1959); Christoph Hamberger G., Georg Meusel J., Das gelehrte Teutschland oder Lexikon der jetzt lebenden teutscher Schriftsteller, (1797); Schunemann G., Jean Pauls Gedanken zur Musik, Zeitschrift für Musikwissenschaft, 16, (1934); Levitan S.J., Ockeghem's Clefless Compositions, Musical Quarterly, 23, pp. 440-464, (1937); Dahlhaus C., Ockeghems 'Fuga trium vocum,, Die Musikforschung, 13, pp. 307-310, (1960); Reese G., Musical Compositions in Renaissance Intarsia, Medieval and Renaissance Studies, pp. 74-97, (1968); Urquhart P., Canon, Partial Signatures, and 'Musica Ficta' in Works by Josquin DesPrez and his Contemporaries, pp. 93-98, (1988); Perkins L.L., Ockeghem's Prenez sur moi: Reflections on Canons, Catholica, and Solmization, Musica disciplina, 44, pp. 119-183, (1990); Fallows D., Prenez sur moy: Ockeghem's Tonal Pun, Plainsong and Medieval Music, 1, pp. 63-75, (1992); van Benthem J., Prenez sur moy vostre exemple': Signae, Text, and Cadences in Ockeghem's Prenez sur moy and Missa Cuiusvis toni, Tijdschrift van de Koninklijke Vereniglng voor Nederlandse Muziekgeschiedenis, 47, pp. 99-118, (1997); Gosman A.R., Compositional Approaches to Canons from Ockeghem to Brahms, pp. 3-17, (2000); Kirkman, Under Such Heavy Chains, 96; Burney C., A General History of Music From the Earliest Ages to the Present Period, 1, (1776); Burney, A General History of Music, 1; Perkins, Ockeghem's Prenez sur moi: Reflections on Canons, Catholica, and Solmization, 143; Bewley's review appeared in The Monthly Review, 56, pp. 137-144, (1777); Walton I., Cotton C., The Complete Angler with Notes, Historical, Critical, (1760); Lonsdale R., Dr. Charles Burney: A Literary Biography, pp. 209-219, (1965); Hawkins, A General History of the Science and Practice of Music, 1; Owens, Music Historiography and the Definition of 'Renaissance, 109; Kirkman, Under Such Heavy Chains, N37; Kirkman C., Under Such Heavy Chains, pp. 92-93; Forkel, Allgemeine Geschichte der Musik, 2; Hegar, Die Anfänge der neuren Musikgeschictsschreibung, pp. 81-83; Glarean C., Dodecachordon, 2, pp. 323-324; Nikolaus Forkel J., Über die Theorie der Musik, (1777); Cramer C.F., Magazin der Musik, 1, pp. 855-912, (1783); The Practica musicae of Franchinus Gafurius, pp. 153-155, (1969); The New Bach Reader: A Life of Johann Sebastian Bach, Letters and Documents, (1998); Nikolaus Forkel J., Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke, (1966); Stanley G., Historiography, NG II, 11; Forkel J.N., Review of Sir John Hawkins, A General History of the Science and Practice of Music, Musikalisch-kritische Bibliothek, 2, (1778); The Spectator, 29; Herder J.G., Werke, 5, Schriften zum alten Testament, Frankfurt am Mein: Deutscher Klassiker Verlag, pp. 661-1308, (1993); Herder J.G., Burlington, (1833); Kneif T., Forkel und die Geschichtsphilosophie des ausgehenden 18. Jahrhunderts, Die Musikforschung, 16, pp. 234-235, (1963); Kummel, Geschichte und Musikgeschichte, pp. 92-103; Clark, Herder: His Life and Thought, pp. 187-196; Clark, Herder: His Life and Thought, 82-83, pp. 308-309; Stanley, Historiography, NG II, 11; Strunk O., Source Readings in Music History, (1998); Finck H., Practica musica, Sezione, 2, 21, (1969); Heyden S., De arte canendi; Musicological Studies and Documents, 26, pp. 107-108, (1972); Glarean, Dodecachordon, book 3, pp. 454-455; Glarean, Dodecachordon; Miller's translation, 2; Levitan, Ockeghem's Clefless Compositions, 442; Forkel, Allgemeine Geschichte der Musik, Wenn demnach dieser Canon der Vorschrift des Verfassers völlig gemäss aufgelöset werden sollte, so müsste die obere Stimme in die untere und die untere in die obere verwandet werden, 2; Forkel, Allgemeine Geschichte der Musik, Uebrigens ist, was die Schönheit dieser Composition betrifft, auch bey der letzten völlig nach der Vorschrift eingerichteten Versetzung nicht viel gewonnen. Sie ist und bleibt steif und unsingbar, 2; Forkel, Allgemeine Geschichte der Musik, Johann Ockenheim oder Okeghem, welchen einige in Rücksicht auf die künstliche und tiefsinnige Ausarbeitung seiner Compositionen für den Bach seiner Zeit halten, 2; Wilhelm Marpurg F., Ob und was für Harmonie die Alten gehabt, und zu welcher Zeit dieselbe zur Vollkommenheit gebracht worden, Historisch-kritische Beyträge zur Aufnahme der Musik, 2, pp. 316-317, (1756); Mendel, Wolff D., The English translation is drawn, The New Bach Reader, 374; Forkel, Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke; David, The New Bach Reader; Verzeichniss der nachgelassenen Bücher, 292; Forkel, Allegemeine Geschichte der Musik, Das grosse Verdienst des neuern Bachs liegt eben darin, dass er so viele Kunst mit so vielem, zwar fremdartigen aber doch natürlichen Gesang zu verbinden gewusst hat, 2; Sisman E.R., Learned Style and the Rhetoric of the Sublime in the 'Jupiter' Symphony, Wolfgang Amadé Mozart: Essays on his Life and his Music, pp. 219-220, (1996); Forkel confronts Rousseau's position, the Allgemeine Geschichte der Musik, 1, pp. 47-48; the music of the early 15th century, the Allgemeine Geschichte der Musik begins, 2; Petit Coclico A., Compendium musices; Bukofzer M., Documenta musicological, Erste Reihe, 9, (1954); Petit Coclico A., Musical Compendium (Compendium musices), 5, (1973); Wegman R.C., From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450-1500, Journal of the American Musicological Society; Coclico, Compendium musices; Owens, How Josquin Became Josquin, 272; Owens, Music Historiography and the Definition of 'Renaissance, 313; Dunning A., Coclico, Adrianus Petit, NG II, 6; Sparks E.H., Cantus Firmus in Mass and Motet: 1420-1520, pp. 258-268, (1963); Wegman R.C., Born for the Muses: The Life and Masses of Jacob Obrecht, pp. 234-235, (1994); Kyriazis M., Die Cantus firmus-Technik in den Messen Obrechts, (1952); Larry Todd R., Retrograde, Inversion, Retrograde-Inversion, and Related Techniques in the Masses of Jacobus Obrecht, Musical Quarterly, 64, pp. 50-78, (1978); Heyden S., De arte canendi, (1537); Grossmann M., Humanism in Wittenberg: 1485-1517, pp. 36-49, (1975); Marcus van Crevel, Adrianus Petit Coclico: Leben und Beziehungen eines nach Deutschland emigrierten Josquinschulers, 143 45, pp. 365-368, (1940); The English translation quoted here follows Glarean, Dodecachordon, 2, pp. 276-278; Coclico, Compendium musices, 7; Powers, Johann Nikolaus Forkel's Philosophy of Music, 284 86, pp. 323-324; Baini G., Memorie storico-critiche della vita, delle opere di Giovanni Pierluigi da Palestrina, 2, pp. 403-407, (1966); cf, Kirkman, Under Such Heavy Chains, pp. 96-102; Meier, Zur Musikhistoriographie des 19, Jahrhunderts, pp. 186-95; Allen W.D., Philosophies of Music History, pp. 105-106, (1939); Kier H., Raphael Georg Kiesewetter (1773-1850): Wegbereiter des musikalischen Historismus, (1968); Kier, Raphael Georg Kiesewetter (1773-1850): Wegbereiter des musikalischen Historismus, pp. 57-82; Newby T.C., History of the Modern Music, (1848); Georg Kiesewetter R., Die Verdienste der Niederländer um die Tonkunst, (1829); Kiesewetter, Die Verdienste der Niederländer um die Tonkunst; Kiesewetter, Geschichte der europaeisch-abenlaendischen oder unsrer heutigen Musik; Chesney K., Oeuvres poétiques, de Guillaume Crétin, pp. 60-73, (1932); Meier, Zur Musikhistoriographie des 19. Jahrhunderts, 186ff; Die Verdienste der Niederländer um die Tonkunst, Kiesewetter offers only the first Kyrie; in his Geschichte der europaeisch-abenlaendischen oder unsrer heutigen Musik, he adds the Christe; Perkins L., Toward a Typology of the 'Renaissance' Chanson, Journal of Musicology, 6, pp. 422-423, (1988); Thus, Kiesewetter offers Prenez sur moy and the Kyrie of the Missa Cuiusvis toni (both after Charles Burney's General History of Music), To these he added only his own faulty transcription of a portion of the Benedictus from the same Mass and the first Kyrie and Christe of Josquin's Missa Gaudeamus; Kiesewetter, Die Verdienste der Niederländer","","","","","","","","","02779269","","","","English","J. Musicol.","Article","Final","","Scopus","2-s2.0-60949855261"
"Mark D.","Mark, Desmond (53563996200)","53563996200","The music teacher's dilemma - Musician or teacher?; [Das dilemma des musiklehrers - Musiker oder lehrer?]","1998","International Journal of Music Education","32","1","","3","23","20","59","10.1177/025576149803200102","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0008553574&doi=10.1177%2f025576149803200102&partnerID=40&md5=a6506905029b1bc48bbbc29b078918a2","Institut für Musiksoziologie, Hochschule für Musik und Darstellende Kunst Wien","Mark D., Institut für Musiksoziologie, Hochschule für Musik und Darstellende Kunst Wien","One of the basic problems with music teacher education lies in establishing a meaningful balance between musical practice, pedagogy and musicology. Is it the role of the ""musician"", the ""teacher"", or even the ""scientist"" which should dominate? The results of empirical surveys among students of music pedagogy and active music teachers reveal a strong awareness among these groups of a pedagogical and didactic deficit in the curriculum, which often leads to what is called ""Praxisschock"". Further issues treated are problems with the entrance examination, professional motivation, ideal and self-image, job satisfaction etc. In the context of current endeavours to reform the Musikhochschulen in Austria, directed primarily towards integrating the presently separated artistic and pedagogical instrumental studies, similar developments in other European countries are outlined. Through such an integration the artistic training of instrumental teachers should be improved on the one hand, on the other hand, the students in the concert department would also receive some basic pedagogical training, since many of them are expected to teach in their later career. Therefore, this would substantially improve the job opportunities for musicians in the present labour market.","","","","","","","","","Abel-Struth S., Grundriß der Musipädagogik, (1985); Bailer N., Lehrerbilder zwischen Wunsch und Wirklichkeit, Zur Beruflichen Situation von Musikerzieherinnen und Musikerziehern, (1997); Blaukopf K., Musik im Wandel der Gesellschaft. Grundzüge der Musiksoziologie, (1996); Musical Life in A Changing Society, (1991); Gieseler W., Berufsbildung und Selbstverständnis des Musiklehrers, Kritische Stichwörter Zum Musikunterricht. München, (1978); Herzog R., Rede des Deutschen Bundespräsidenten bei der Verleihung der Zelterund Pro-Musica-Plaketten, Neue Musik Zeitung, 4, (1998); Kosa E., Modelle künstlerischer Bildungswege im universitären Kontext. Vergleichende Recherche zu künstlerischen Studien im tertiären Bildungswesen Europas, Bericht An das Bundesministerium für Wissenschaft und Verkehr, (1997); Kundrat N., Schulmusik - Schule oder Musik? Auswahl, Ausbildung und Berufstätigkeit von Musik(v)erziehern, Musik(v)erziehung. Forschungsergebnisse Aus Dem Pädagogischen Alltag, (1991); Lehrplan der Allgemeinbildenden Höheren Schulen (AHS), Allgemeiner Teil, (1989); Colwell R., Symposium in Music Education, (1982); Mark D., Musikschule 2000: Der Bedarf an Musikschullehrern, Schriftenreihe Musik und Gesellschaft, 21, (1990); Mark D., Music teacher training in the year 2000: A perspective from Vienna, Music Teacher Training in the Year 2000-Three European Perspectives. School of Music and Musicology, (1992); Niessen A., Künstler, Pädagoge, Manager? Musiklehrerinnen und Musiklehrer zwischen Anspruch und Wirklichkeit, Musik und Unterricht, Heft, (1995); Olsson B., The social psychology of music education, The Social Psychology of Music, pp. 290-305, (1997); Pfeiffer W., Musiklehrer. Biographie, Alltag und Berufliche Zufriedenheit von Musiklehrern An Bayerischen Gymnasien, (1994); Roberts B.A., A Place to Play. The Social World of University Schools of Music, (1991); Roberts B.A., Reconsidering the deschooling of school music education, Research Studies in Music Education, 5, pp. 66-77, (1995)","","","","","","","","","02557614","","","","German","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-0008553574"
"Drake C.; Palmer C.","Drake, Carolyn (7202461620); Palmer, Caroline (7403082074)","7202461620; 7403082074","Skill acquisition in music performance: Relations between planning and temporal control","2000","Cognition","74","1","","1","32","31","142","10.1016/S0010-0277(99)00061-X","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0033991691&doi=10.1016%2fS0010-0277%2899%2900061-X&partnerID=40&md5=4ae8c743450ee04b96d0004e754014d3","CNRS and University of Paris V, Paris, France; Ohio State University, Colombus, OH, United States","Drake C., CNRS and University of Paris V, Paris, France; Palmer C., Ohio State University, Colombus, OH, United States","We investigated the acquisition of music performance skills in novice and expert pianists. Temporal disruptions in novice performances coincided with constraints in planning capacities. Child and adult pianists ranging in age (9-26 years), training (3-15 years) and sight-reading ability learned to perform a novel musical piece in eleven practice trials. Computer-detected pitch and timing errors revealed: (1) gradual improvements in performance tempo and pitch accuracy with skill level and practice, generally fitting a power function; (2) a relative-timing/pitch accuracy trade-off and high incidence of simultaneous pitch/time errors; (3) improvements in relative timing (temporal continuity, underlying beat, metrical structure) with skill and practice; and (4) increased anticipatory behavior and a greater range of planning with skill and practice. A strong positive relationship between the mastery of temporal constraints and planning abilities within performance suggests that these two cognitive indicators are closely related and may arise from segmentation processes during performance. Examination of sequence timing may explicate planning abilities that underlie many complex skills. Copyright (C) 2000 Elsevier Science B.V.; We investigated the acquisition of music performance skills in novice and expert pianists. Temporal disruptions in novice performances coincided with constraints in planning capacities. Child and adult pianists ranging in age (9-26 years), training (3-15 years) and sight-reading ability learned to perform a novel musical piece in eleven practice trials. Computer-detected pitch and timing errors revealed: (1) gradual improvements in performance tempo and pitch accuracy with skill level and practice, generally fitting a power function; (2) a relative-timing/pitch accuracy trade-off and high incidence of simultaneous pitch/time errors; (3) improvements in relative timing (temporal continuity, underlying beat, metrical structure) with skill and practice; and (4) increased anticipatory behavior and a greater range of planning with skill and practice. A strong positive relationship between the mastery of temporal constraints and planning abilities within performance suggests that these two cognitive indicators are closely related and may arise from segmentation processes during performance. Examination of sequence timing may explicate planning abilities that underlie many complex skills.","Music performance; Pianists; Planning; Still acquisition; Temporal control","Computer simulation; Human engineering; Skill acquisition; accuracy; adult; anticipation; child; cognition; controlled study; human; learning; music; musician; normal human; performance; perseveration; planning; priority journal; review; skill; temporal cortex; training; Cognitive systems","","","","","National Institute of Mental Health, NIMH, (R01-45764)","This research was supported in part by NIMH Grant R01-45764 to the second author. We are grateful for assistance and comments from Melissa Blakeslee, Gary Dell, Kory Klein, Rosalee Meyer, Pete Pfordresher, Bruno Repp, Grant Rich, Brent Stansfield, and Tim Walker.   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Psychological Review, 84, 1, pp. 1-66, (1977); Shaffer L.H., Analysing piano performance: A study of concert pianists, Tutorials on Motor Behavior, pp. 443-455, (1980); Shaffer L.H., Clarke E.F., Todd N.P., Metre and rhythm in piano playing, Cognition, 20, pp. 61-77, (1985); Sloboda J.A., Phrase units as determinants of visual processing in music reading, British Journal of Psychology, 68, pp. 117-124, (1977); Sloboda J.A., The communication of musical metre in piano performance, Quarterly Journal of Experimental Psychology, 35, pp. 377-396, (1983); Smith J., Reproduction and representation of musical rhythm: The effects of musical skill, Acquisition of Symbolic Skill, pp. 273-283, (1983); Van Galen G., Wing A.M., The Psychology of Human Movement, pp. 153-182, (1984); Yee W., Holleran S., Jones M., Sensitivity to event timing in regular and irregular sequence: Influences of musical skill, Perception and Psychophysics, 56, pp. 461-471, (1994); Yeston M., The Stratification of Musical Rhythm, (1976)","C. Drake; Lab. Psychologie Experimentale, UMR 8581, Universite Rene Descartes, 92774 Boulogne-Billancourt Cedex, 71 Avenue Edouard Vaillant, France; email: drake@idf.ext.jussieu.fr","","Elsevier Sci B.V.","","","","","","00100277","","CGTNA","10594308","English","Cognition","Article","Final","","Scopus","2-s2.0-0033991691"
"Waters A.J.; Townsend E.; Underwood G.","Waters, Andrew J. (7101758834); Townsend, Ellen (8126671400); Underwood, Geoffrey (7005488624)","7101758834; 8126671400; 7005488624","Expertise in musical sight reading: A study of pianists","1998","British Journal of Psychology","89","1","","123","149","26","70","10.1111/j.2044-8295.1998.tb02676.x","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0347038793&doi=10.1111%2fj.2044-8295.1998.tb02676.x&partnerID=40&md5=e0320b46a37fb9616721f957d47c46c8","Depts. of Psychology/Epidemiology, University College, London, United Kingdom; HBU, Brook House, London WC1E 6BT, 2-16 Torrington Place, United Kingdom","Waters A.J., Depts. of Psychology/Epidemiology, University College, London, United Kingdom, HBU, Brook House, London WC1E 6BT, 2-16 Torrington Place, United Kingdom; Townsend E.; Underwood G.","Musical sight reading on the piano represents a complex transcription task involving a series of overlapping perceptual, cognitive and motoric processes. It is suggested that skilled sight reading requires the development of efficient input skills, especially 'pattern recognition' skills, 'prediction' skills and the ability to generate and use auditory representations. The sight-reading ability of pianists was assessed before being tested in a series of laboratory experiments assumed to involve relatively distinct processing demands. These laboratory tasks measured (i) verbal protocols as participants previewed a piece of music to be sight read; (ii) the speed of naming individual notes; (iii) recall accuracy of briefly presented chords; (iv) the time to make a same/different judgment of two repeatedly presented sequences; (v) priming effects in a chord judgment task; (vi) same/different judgments in comparing visual musical notation with an auditory sequence; and (vii) performance in a musical problem-solving task, in which a missing bar from a phrase had to be identified. Analyses of variance conducted on individual experiments demonstrated that performance in a number, though not all, of these tasks was associated with sight-reading skill. Correlational analyses showed that performance in the pattern-recognition task requiring immediate recall of rapidly presented chords correlated most strongly with sight-reading skill. Performance in the visual-auditory comparison task, a task tapping the ability to generate auditory representations, also correlated strongly. There was a weaker statistical correlation between sight-reading skill and prime size effects in the priming task, a task thought to tap prediction ability. A multiple regression analysis in which performance on the pattern-recognition tasks was entered first into the analysis, demonstrated that the prediction of sight-reading skill was improved when performance on the visual-auditory matching task and the priming task were entered on the following two steps. These analyses indicate that the ability to use auditory representations and the development of prediction skills may be important over and above basic pattern-recognition skills in musical sight reading.","","","","","","","","","Allard F., Starkes J.L., Perception in sport: Volleyball, Canadian Journal of Sport Psychology, 2, pp. 22-33, (1980); Bean K.L., An experimental approach to the reading of music, Psychological Monographs, 50, 50, (1938); Bharucha J.J., Music cognition and perceptual facilitation: A connections framework, Music Perception, 5, 1, pp. 1-30, (1987); Bharucha J.J., Stoeckig K., Reaction time and musical expectancy, Journal of Experimental Psychology: Human Perception and Performance, 12, pp. 403-410, (1986); Chase W.G., Simon H.A., Perception in chess, Cognitive Psychology, 4, pp. 55-81, (1973); Clifton J.V., Cognitive Components in Music Reading and Sight Reading Performance, (1986); Colley A.M., Cognitive motor skills, Human Skills, 2nd Ed., (1989); De Groot A., Thought and Choice in Chess, (1978); Elliot C.A., The relationship among instrumental sight-reading ability and seven selected variables, Journal of Research in Music Education, 30, pp. 5-14, (1982); Ericsson K.A., Lehmann A.C., The acquisition of accompanying (sight reading) skills in expert pianists, 3rd International Conference in Music Perception and Cognition, (1994); Ericsson K.A., Simon H.A., Protocol Analysis: Verbal Reports as Data, (1984); Ericsson K.A., Smith J., Toward a General Theory of Expertise: Prospects and Limits, (1991); Gentner D.R., Timing of skilled motor performance: Tests of the proportional duration model, Psychological Review, 94, pp. 255-276, (1987); Jones M.R., Time, our lost dimension: Towards a new theory of perception, attention and expectancies, Psychological Review, 83, pp. 322-335, (1976); Lerdahl F., Jackendoff R., A Generative Theory of Tonal Music, (1983); McDermott J., Larkin J.H., Re-representing textbook physics problems, Proceedings of the 2nd National Conference of the Canadian Society for Computational Studies of Intelligence, pp. 156-164, (1978); Meyer D.E., Schaneveldt R.W., Facilitation in recognizing pairs of words: Evidence of a dependence between retrieval operations, Journal of Experimental Psychology, 90, pp. 227-234, (1971); Meyer L.B., Emotion and Meaning in Music, (1956); Narmour E., Beyond Schenkerism: The Need for Alternatives in Music Analysis, (1977); Neely J.H., Semantic priming and retrieval from lexical memory: Roles of inhibitionless spreading activation and limited-capacity attention, Journal of Experimental Psychology: General, 106, pp. 226-254, (1977); Patel V.L., Groen G.J., The general and specific nature of medical expertise: A critical look, Toward a General Theory of Expertise: Prospects and Limits, pp. 93-125, (1991); Posner M.I., Snyder C.R.R., Facilitation and inhibition in the processing of signals, Attention and Performance, (1975); Rayner K., Pollatsek A., Eye movements in reading: A tutorial review, Attention and Performance, XII, (1987); Rumelhart D.E., Norman D.A., Simulating a skilled typist: A study of skilled perceptual motor mechanisms, Cognitive Science, 6, pp. 1-36, (1982); Salis D.L., Laterality effects with visual perception of musical chords and dot patterns, Perception and Psychophysics, 28, pp. 284-292, (1980); Salthouse T.A., Effects of age and skill in typing, Journal of Experimental Psychology: General, 113, pp. 345-371, (1984); Salthouse T.A., Perceptual, cognitive, and motoric aspects of transcription typing, Psychological Bulletin, 99, pp. 303-319, (1986); Shaffer L.H., Timing in the motor programming of typing, Quarterly Journal of Experimental Psychology, 30, pp. 333-345, (1978); Sloboda J.A., The effect of item position on the likelihood of identification by inference in prose reading and music reading, Canadian Journal of Psychology, 30, pp. 228-236, (1976); Sloboda J.A., The psychology of music reading, Psychology of Music, 6, pp. 3-20, (1978); Sloboda J.A., Music performance, The Psychology of Music, (1982); Sloboda J.A., Experimental studies of music reading: A review, Music Perception, 2, pp. 222-236, (1984); Tekman H.G., Bharucha J.J., Time course of chord priming, Perception and Psychophysics, 51, pp. 33-39, (1992); Underwood G., Deihim C., Batt V., Expert performance in solving word puzzles: From retrieval cues to crossword clues, Applied Cognitive Psychology, 8, pp. 531-548, (1994); Waters A.J., Underwood G., Findlay J.M., Studying expertise in music reading: Use of a pattern matching paradigm, Perception and Psychophysics; Wolf T., A cognitive model of musical sight-reading, Journal of Psycholinguistic Research, 5, pp. 143-171, (1976)","","","John Wiley and Sons Ltd.","","","","","","20448295","","","","English","Br. J. Psychol.","Article","Final","","Scopus","2-s2.0-0347038793"
"Georgii-Hemming E.; Westvall M.","Georgii-Hemming, Eva (26035955400); Westvall, Maria (36706970000)","26035955400; 36706970000","Music education - A personal matter? Examining the current discourses of music education in Sweden","2010","British Journal of Music Education","27","1","","21","33","12","102","10.1017/S0265051709990179","https://www.scopus.com/inward/record.uri?eid=2-s2.0-78650750081&doi=10.1017%2fS0265051709990179&partnerID=40&md5=0a8f01b49b09e8bebb4d28a1849215e5","Örebro University, School of Music, Theatre and Art, SE-701 82 Örebro, Sweden","Georgii-Hemming E., Örebro University, School of Music, Theatre and Art, SE-701 82 Örebro, Sweden; Westvall M., Örebro University, School of Music, Theatre and Art, SE-701 82 Örebro, Sweden","The embedding of informal practices in music education in school relates to significant issues concerning students' engagement, participation, inclusion and the role of the teacher. This article addresses these issues by presenting and discussing current music education in compulsory comprehensive schooling in Sweden. It does so by drawing upon music pedagogical research, music education studies conducted during the last 10 years and national evaluations. Examples of practice from upper secondary schools are also used to clarify and illustrate the issues under consideration. It has been said that Swedish music education has gone from 'School Music' to 'Music in School'. This development has been characterised by greater influence of students on curriculum content resulting in increased use of popular music, and, consequently, teaching strategies acquired from informal music playing contexts. The curriculum states that the core of the subject is practical music playing, through which personal development can occur - both musically and socially. Music education in several other countries is developing a more practical approach, and the role of popular music in schools, and what is sometimes called informal learning, is featured in international music pedagogy debates. This article considers the musical, pedagogical and democratic consequences of this pedagogy from a Swedish perspective. As a result of a sharp focus on personal social development and individual students' musical interests, music education in Sweden has become relatively limited in terms of repertoire, content and teaching methods. Recent evaluations and studies also demonstrate that music education lacks direction, and is short of creative engagement with music. The role of the teacher is unclear and sometimes lacks validity in a practical music education situation. Viewed from an international perspective, the kind of music education that has developed in Sweden is unique. Thus, when the possibilities and limitations of music education in Sweden are discussed, it has the potential to be of interest to international music education research. Copyright © 2010 Cambridge University Press.","","","","","","","","","Bauman Z., Globalization. The Human Consequences, (2000); Bauman Z., The Individualized Society, (2001); Bennett A., Popular Music and Youth Culture: Music, Identity, and Place, (2000); Bergman A., Växa upp Medmusik: Ungdomarsmusikanvändande i Skolan och på fritiden [Growing up with music. Young people's use of Music in School and During Leisure Time, (2009); Boman Y., Utbildningspolitik i Det andra Moderna. Om Skolans Normativa Villkor, (2002); Elliott D., Praxial Music Education: Reflections and Dialogues, (2005); Englund T., Läroplanens och Skolkunskapens Politiska Dimension, (2005); Ericsson C., Skolans musikverksamhet som offentligt rum: En diskussion av Thomas Ziehe's begrepp i ljuset av en empirisk studie, Nordisk Musikkpedagogisk Forskning, 5, pp. 63-73, (2001); Ericsson C., Från Guidad Visning Till Shopping och Förströdd Tillägnelse: Moderniserade Villkor För Ungdomars Musikaliska Lärande, (2002); Folkestad G., Formal and informal learning situations or practices vs formal and informal ways of learning, British Journal of Music Education, 23, pp. 135-145, (2006); Forsberg E., Elevinflytandets Många Ansikten, (2000); Freire P., Pedagogy of the Oppressed, (1972); Frith S., Performing Rites. On the Value of Popular Music, (2002); Gadamer H.-G., Sanning Och Metod. I urval, (1960); Georgii-Hemming E., Berättelsen Under Deras Fötter: Fem Musiklärares Livshistorier, (2005); Georgii-Hemming E., Personal experiences and professional strategies, Music Education Research, 8, pp. 217-236, (2006); Georgii-Hemming E., Westvall M., Teaching music in our time. A study of student teachers' reflections on participation, inclusion and the right to musical development in their school-based music teacher education, Music Education Research, (2010); Giddens A., The Consequences of Modernity, (1990); Giddens A., Modernity and Self-identity. Self and Society in the Late Modern Age, (1991); Green L., How Popular Musicians Learn. A Way Ahead for Music Education, (2002); Green L., Music, Informal Learning and the School. A New Classroom Pedagogy, (2008); Jeffs T., Smith M., Using Informal Education: An Alternative to Casework, Teaching and Control?, (1990); Karlsson C., Karlsson S., Lagom Svåra Och Hyfsat Moderna. En Undersökning av Spelrepertoaren i Skolår, pp. 7-9, (2009); Kursplan Och Betygskriterier i Musik För Grundskolan, (2000); Läroplan För Grundskolan, (1962); Läroplan För Grundskolan, (1969); Läroplan För Grundskolan, (1980); Lilliestam L., Gehörsmusik, (1995); Lilliestam L., En Dödsmetall-Hardcore-Hårdrocksgrej, Detär Jättesvårt att Förklara'. Göteborgska Gymnasister Tänker Och Talar om Musik, (2001); Läroplan För det Obligatoriska Skolväsendet, (1994); Lundberg D., Malm K., Ronstrom O., Music, Media, Multiculture: Changing Music Landscapes. Stockholm: Svenskt Visarkiv, (2003); Madsen T., Å terupprätta läraren!, Pedagogiska Magasinet, 3, pp. 54-59, (2002); Maffesoli M., Jeux de masques. Postmodern tribalism, Design Issues, 4, pp. 1-2, (1988); Ruud E., Musikk Og Verdier, (1996); Ruud E., Musikk Og Identitet, (1997); Sandberg R., Skolan som kulturell mötesplats, Uttryck, Intryck, Avtryck. Lärande, Estetiska Uttrycksformer och Forskning, pp. 35-65, (2006); Sernhede O., Skolan och populärkulturen], Uttryck, Intryck, Avtryck: Lärande, Estetiska Uttrycksformer Och Forskning, pp. 11-19, (2006); National Evaluation of the Compulsory School in 2003, (2004); Nationell Utvärdering av Grundskolan 2003, (2004); Grundskolans Ämnen i Ljuset av Nationella Utvärderingen 2003, (2005); Musik - En Samtalsguide om Kunskap, Arbetssätt Och Bedömning, (2007); Smiers J., Arts under Pressure: Promoting Cultural Diversity in the Age of Globalization, (2003); Stalhammar B., Samspel. Grundskola -Musikskola i Samverkan: En Studie av Den Pedagogiska Och Musikaliska Interaktionen i en Klassrumssituation, (1995); Stalhammar B., Musical Identities and Music Education, (2006); Års Skolkommisions Betänkande med Förslag Till Riktlinjer För det Svenska Skolväsendets Utveckling, (1927); Thavenius J., Den Goda Kulturen Och Det Fria Skapandet: Diskurser om 'Kultur I Skolan, (2002); Varkoy O., Musikk for Alt (og alle): Om Musikksyn i Norsk Grunnskole, (2001); Wright R., Thinking Globally, Acting Locally: Informal Learning and Social Justice in Music Education. Music Education as Liberatory Education, (2008); Zackari G., Modigh F., Värdegrundsboken, (2000); Ziehe T., Kulturanalyser, (1993)","E. Georgii-Hemming; Örebro University, School of Music, Theatre and Art, SE-701 82 Örebro, Sweden; email: eva.georgii-hemming@oru.se","","","","","","","","14692104","","","","English","Br. J. Music Educ.","Article","Final","All Open Access; Bronze Open Access; Green Open Access","Scopus","2-s2.0-78650750081"
"Burnard P.; Dillon S.; Rusinek G.; Sæther E.","Burnard, Pamela (22949855200); Dillon, Steve (26034037900); Rusinek, Gabriel (26034924300); Sæther, Eva (26034839400)","22949855200; 26034037900; 26034924300; 26034839400","Inclusive pedagogies in music education: A comparative study of music teachers' perspectives from four countries","2008","International Journal of Music Education","26","2","","109","126","17","55","10.1177/0255761407088489","https://www.scopus.com/inward/record.uri?eid=2-s2.0-60949748962&doi=10.1177%2f0255761407088489&partnerID=40&md5=2fc58684ee683f0b69fca34daf8ed9b9","University of Cambridge, United Kingdom; Queensland University of Technology, Australia; Universidad Complutense de Madrid, Spain; Malmö Academy of Music, Sweden; University of Cambridge, Faculty of Education, Cambridge, CB2 2PQ, 184 Hills Road, United Kingdom; Queensland University of Technology, Mt Gravatt, QLD 4122, 37 Stanhope Street, Australia; Malmö Academy of Music, Malmö, PO Box 8203-20041, Sweden; Universidad Complutense de Madrid Facultad de Educación, 28040 Madrid, c/Rector Royo Villanova, s/n, Spain","Burnard P., University of Cambridge, United Kingdom, University of Cambridge, Faculty of Education, Cambridge, CB2 2PQ, 184 Hills Road, United Kingdom; Dillon S., Queensland University of Technology, Australia, Queensland University of Technology, Mt Gravatt, QLD 4122, 37 Stanhope Street, Australia; Rusinek G., Universidad Complutense de Madrid, Spain, Malmö Academy of Music, Malmö, PO Box 8203-20041, Sweden; Sæther E., Malmö Academy of Music, Sweden, Universidad Complutense de Madrid Facultad de Educación, 28040 Madrid, c/Rector Royo Villanova, s/n, Spain","Recognizing the increasing importance of developing inclusive pedagogies in music education, this article offers diverse ways of promoting positive learning experiences and reaching learners who are most at risk of exclusion. The findings reported in this article arise out of a wider comparative research project investigating the pedagogies of music teachers working in challenging contexts. This article highlights one strand of the study involving teacher perspectives from accounts of pedagogy documented through interviews and observations. The complex ways in which teachers achieve 'inclusion' (a term that refers to all children achieving and participating despite challenges stemming from poverty, class, race, religion, linguistic and cultural heritage or gender) in their music classrooms is best understood in connection with the interplay of policies, structures, culture and values specific to schools. This qualitative case study of four teachers from four different countries, Spain, Australia, Sweden and the UK, provides insight on ways of working with young people on the margins of society and ways of creating a learning environment in which students can succeed musically. Accounts offered by these four exceptional music teachers range from particular teacher and school strategies to management practices that promote pupil-pupil relations in and outside the classroom, to the way the school connects with its musical community. The authors ask the challenging question of how inclusive our music pedagogies are and conclude with what we can learn, as practitioners and researchers, from comparative accounts of pedagogy. Copyright © 2008 International Society for Music Education.","Comparative research; Inclusion; Music teaching and learning; Pedagogy; Teacher thinking","","","","","","","","Alexander R., Culture and Pedagogy: International Comparisons in Primary Education, (2000); Bamford A., The Wow Factor: Global Research Compendium on the Impact of the Arts in Education, (2006); Bauer E.A., Response to June Boyce-Tillman, Towards an ecology of music education, Philosophy of Music Education Review, 12, 2, pp. 186-188, (2005); Bernstein B., Class pedagogies: Visible and invisible, Education: Culture, Economy and Society, pp. 134-156, (1997); Broadfoot P., Not so much a context, more a way of life? Comparative education in the 1990s, Learning from Comparing: New Directions in Comparative Educational Research. Volume 1: Contexts, Classrooms and Outcomes, pp. 21-32, (1999); Buber M., Between man and man, (1969); Burnard P., Pupil-teacher conceptions and the challenge of learning: Lessons from a year 8 music classroom, Improving Schools, 7, 1, pp. 23-34, (2004); Charmaz K., Grounded theory, Rethinking Methods in Psychology, pp. 27-49, (1995); Del Pueblo D., Violencia escolar: El maltrato entre iguales en la educación secundaria obligatoria 1999-2006 (Nuevo estudio y actualización del informe 2000) (School violence: Bullying among peers in compulsory secondary education 1999-2006, (2006); Every Child Matters: Change For Children, (1995); Dillon S., Documenting cases of 'good practice' in music education, Queensland Journal of Music Education, 1, 1, pp. 23-52, (2004); Dillon S., El profesor de música como gestor cultural, Revista Electrónica Complutense de Investigación en Educación Musical, 2, 3, pp. 1-10, (2005); Dillon S., Assessing the positive influence of music activities in community development programmes, Music Education Research, 8, 2, pp. 267-280, (2006); Dillon S., Maybe we can find some common ground: Indigenous perspectives, a music teacher's story, Australian Journal of Indigenous Education, 36, SUPPL., pp. 59-65, (2007); Dillon S., Music, Meaning and Transformation, (2007); Dillon S., Stewart D., Songs of Resilience. Proceedings of the 27th World Conference of the International Society for Music Education; International collaboration in social science research, Social Sciences News from the Economic and Social Research Council, 65, pp. 8-14, (2007); Fraser N., Justice interruptus: Critical reflections on the 'post-socialist' condition, (1997); Garner P., Exclusions: The challenge to schools, Support for Learning, 8, 3, pp. 99-103, (1993); Glaser B.G., Theoretical Sensitivity, (1978); Glaser B.G., Basics of Grounded Theory Analysis: Emergence vs. Forcing, (1992); Harland J., Kinder K., Lord P., Stott A., Schagen I., Haynes J., Cusworth L., White R., Paola R., Arts Education in Secondary Schools: Effects and Effectiveness, (2000); Jeffery G., The Creative College: Building a Successful Learning Culture in the Arts, (2005); Kinder K., Harland J., The arts and social inclusion: What's the evidence, Support for Learning, 19, 2, pp. 52-56, (2004); Kinder K., Wilkin A., With All Respect: Reviewing Disaffection Strategies, (1998); Lemerle K., Stewart D., Health promoting schools: A proposed model for building school social capital and children's resilience, 18th World Conference on Health Promotion and Health Education Conference, (2004); MacBeath J., Gray J., Cullen J., Frost D., Steward S., Swaffield S., Schools on the Edge: Responding to Challenging Circumstances, (2007); Marchesi A., El Fracaso Escolar en España (School failure in Spain), (2003); Pascoe R., Leong S., Mackinlay E., Smith B., Church T., Winterton A., National Review of School Music Education: Augmenting the Diminished, (2005); Rudduck J., Teacher practice and the student voice, Changing Schools: Changing Practices, pp. 41-54, (1999); Rue J., El Absentismo Escolar Momo Reto para la Calidad Educative (Absenteeism as a Challenge to Educational Quality), (2003); Tallberg Broman I., Rubinstein Reich L., Hagerstrom J., Likvärdighet i en Skola för Alla. Historisk Bakgrund och Kritisk Granskning (Equality in a School for All: Historical Background and Critical Review), (2002); Topping K., Maloney S., Editors' introduction, Reader in Inclusive Education, pp. 1-15, (2005); Tripp D., Critical Incidents in Teaching: Developing Professional Judgement, (1993); Walker R., Case study, case records and multimedia, Cambridge Journal of Education, 32, 1, pp. 109-27, (2002); Watkins C., Mauthner M., Hewitt R., Epstein D., Leonard D., School violence, school differences and school discourses, British Educational Research Journal, 33, 1, pp. 61-75, (2007)","P. Burnard; University of Cambridge, Faculty of Education, Cambridge, CB2 2PQ, 184 Hills Road, United Kingdom; email: pab61@cam.ac.uk","","","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-60949748962"
"Crichlow W.E.","Crichlow, Warren E. (53563408000)","53563408000","Against the Grain: Popular music, pedagogy and cultural politics in the films of Isaac Julien","1995","Discourse: Studies in the Cultural Politics of Education","16","3","","391","406","15","1","10.1080/0159630950160308","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84954844501&doi=10.1080%2f0159630950160308&partnerID=40&md5=7ba7343d391dbe98171203e0408967ab","University of Rochester, Warner Graduate School of Education and Human Development, Rochester, NY 14610, 1-160J Dewey Hall, United States","Crichlow W.E., University of Rochester, Warner Graduate School of Education and Human Development, Rochester, NY 14610, 1-160J Dewey Hall, United States","[No abstract available]","","","","","","","","","BENNETT G., The non-sovereign self (Diaspora Identities), Left Curve, 19, pp. 4-9, (1995); BROTZMAN P., HOPKINS F., ALI R., Songlines, (1991); BUCKINGHAM D., SEFTON-GREEN J., Cultural Studies Goes to School: reading and teaching popular media, (1994); CLINTON G., Funkadelic: one nation under a groove, (1978); FELL K., Inappropriate others, Queer theory’s documentary agency and Darker Side of Black, (1994); GILROY P., The Black Atlantic: modernity and double consciousness, (1993); HALL S., What is this “Black” in Black Popular Culture, Black Popular Culture, (1992); HOOKS B., States of desire: Isaac Julien in conversation with bell hooks, Diary of a Young Soul Rebel, (1992); JULIEN I., MACCABE C., Diary of a Young Soul Rebel, (1991); LIPSITZ G., Dangerous Crossroads: popular music, postmodernism and the poetics of place, (1994); MARLEY B., WAILERS T., Natty Dred, (1974); MORRISON T., Playing in the Dark whiteness and the literary imagination, (1992); MORROW B., Interview with Isaac Julien, Fuse Magazine, 18, 3, pp. 15-23, (1995); NOEL P., Batty Boys in Babylon: can Gay West Indians survive the “Boom Bye Bye” posses?, Village Voice, pp. 29-36, (1993); SAID E., Musical Elaborations, (1991); WILLIS P., Common Culture: symbolic work at play in everyday cultures of the young, (1990); WIMSATT W.U., Bomb the Suburbs: graffiti, freight-hopping, race and the search for hip-hop’s moral center, (1994); WIMSATT W.U., In These Times, 18, 22, pp. 39-40, (1994); WILLIAMS R., (1958)","","","","","","","","","01596306","","","","English","Discourse","Article","Final","","Scopus","2-s2.0-84954844501"
"Miskiewicz Andzej","Miskiewicz, Andzej (12762617400)","12762617400","Timbre solfege. A course in technical listening for sound engineers","1992","AES: Journal of the Audio Engineering Society","40","7-8","","621","625","4","40","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0026897262&partnerID=40&md5=4d1f938d6676c08ceb1e778d787b47ce","Chopin Acad of Music, Warsaw, Poland","Miskiewicz Andzej, Chopin Acad of Music, Warsaw, Poland","A special course in technical listening called timbre solfege has been developed and introduced in the Sound Engineering Department at the Chopin Academy of Music in Warsaw, Poland. Timbre solfege deals with various aspects of subjective evaluation of sound. The course program, which has been designed for training sound engineers, is described.","","Ability testing; Education; Personnel; Auditory memory; Chopin Academy of Music; Listening skills; Sound engineer training; Timbre solege; Engineering","","","","","","","","","","","","","","","","00047554","","ADIOA","","English","J Audio Eng Soc","Article","Final","","Scopus","2-s2.0-0026897262"
"Darrow A.-A.; Marsh K.","Darrow, Alice-Ann (14024006400); Marsh, Kerry (36799870600)","14024006400; 36799870600","Examining the validity of self-report: Middle-level singers' ability to predict and assess their sight-singing skills","2006","International Journal of Music Education","24","1","","21","29","8","4","10.1177/0255761406063101","https://www.scopus.com/inward/record.uri?eid=2-s2.0-60949845170&doi=10.1177%2f0255761406063101&partnerID=40&md5=43fe9570af223df45fe5e401dd3a33fa","Florida State University, United States; College of Music, Florida State University, Tallahassee, FL 32306-1180, 132 N. Copeland, United States; California State University, Sacramento, CA, United States; California State University - Sacramento, Sacramento, CA 95825, 2025 Flowers St, United States","Darrow A.-A., Florida State University, United States, College of Music, Florida State University, Tallahassee, FL 32306-1180, 132 N. Copeland, United States; Marsh K., California State University, Sacramento, CA, United States, California State University - Sacramento, Sacramento, CA 95825, 2025 Flowers St, United States","The purpose of the present study was to determine choral students' ability to predict and evaluate their sight-singing skills. Participants were asked to assign a rating based on how well they predicted they would sight-sing five musical examples. Following the singing of each example, participants were asked to evaluate their sight-singing performances using the same rating scale. Two middle-level choral directors were asked to evaluate the participants' performances using an evaluation form designed to parallel the subject's prediction and evaluation questionnaires. Findings indicate that students were reasonably accurate at predicting their sight-singing performance; however, they were more accurate at evaluating their performance. Older students were generally more able to predict and assess their sight-singing performances, as were students who had participated in a musical ensemble. The data suggest that the dependability and usefulness of student self-report is promising and should be further examined by music educators. Copyright © 2006 International Society for Music Education.","Choral; Middle school; Music evaluation; Predictive validity","","","","","","","","Agee D., Double-barrelled assessment: Teachers and students as partners, Adult Learning, 2, 7, pp. 7-9, (1991); Andersen H.O., The supervisor as a facilitator of self-evaluation, School Science and Mathematics, 7, pp. 603-616, (1972); Combs A.W., Myths in education, (1979); Daniels R.D., Sight-reading instruction in the choral rehearsal, Update: Applications of Research in Music Education, 6, 2, pp. 22-24, (1988); Darrow A.A., Johnson C.M., Miller A., Williamson P., Can students accurately assess themselves?: Predictive validity of student self report, Update: Applications of Research in Music Education, 20, 2, pp. 8-11, (2002); Demorest S.M., Sightsinging in the secondary choral ensemble: A review of the research, Bulletin of the Council for Research in Music Education, 137, pp. 1-15, (1998); Diez M.E., Assessment as a lever in educational reform, National Forum, 77, 1, pp. 27-30, (1997); Hales B., Dissertation Abstracts International, 22, (1961); Hartman C.L., A longitudinal look at self-appraisal strategies, Journal of Teacher Education, 29, 5, pp. 11-12, (1978); Henry M., Demorest S.M., Individual sight-singing achievement in successful choral ensembles: A preliminary study, Update: Applications of Research in Music Education, 13, 1, pp. 4-8, (1994); Kusnic E., Finley M.L., Student self-evaluation: An introduction and rationale, New Directions for Teaching and Learning, 56, pp. 5-13, (1993); Lohmann K.T., Marsh K.R., A comparison of junior high choral students' self-perception of sight-singing ability to actual sight-singing test results, (1998); Rodgers C.R., On becoming a person, (1961); Szabo C.E., Dissertation Abstracts International, (1992)","A.-A. Darrow; College of Music, Florida State University, Tallahassee, FL 32306-1180, 132 N. Copeland, United States; email: aadarrow@fsu.edu","","","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-60949845170"
"Thorkildsen R.J.; Friedman S.G.","Thorkildsen, Ron J. (6603255423); Friedman, Susan G. (56549425500)","6603255423; 56549425500","Interactive videodisc: Instructional design of a beginning reading program","1986","Learning Disability Quarterly","9","2","","111","117","6","2","10.2307/1510359","https://www.scopus.com/inward/record.uri?eid=2-s2.0-35348948525&doi=10.2307%2f1510359&partnerID=40&md5=08e7208a5c7ce71f5c9b25745fab8c19","Department of Special Education and Instructional Technology, Utah State University, United States; Department of Special Education, University of Colorado, United States","Thorkildsen R.J., Department of Special Education and Instructional Technology, Utah State University, United States; Friedman S.G., Department of Special Education, University of Colorado, United States","This article provides a general overview of the nature and capabilities of interactive videodisc systems (microcomputer/videodisc), with particular emphasis on their application to learners with special needs. To illustrate current trends in this technology as explored by the project, Interactive Videodiscs in Special Education Technology (IVSET), at Utah State University, the Beginning Sight Reading (BSR) programs are discussed in detail. These programs were designed to investigate three dimensions of instructional technology: (a) its instructional potential; (b) effects of minimal versus extensive remediation; and (c) rate of instruction. To assess the effects of different remedial approaches, two versions of the BSR program were designed: BSR-1 represents extensive remediation; BSR-2 represents minimal remediation. The results of initial BSR field-testing show that the test scores of students in the two remediation groups doubled from pre- to posttest. In addition, the high-remediation group finished 10% faster than the low-remediation subjects. Conclusions and suggestions for future research are presented. © 1986, Council for Learning Disabilities. All rights reserved.","","","","","","","","","Friedman S.G., Hofmeister A.M., Matching technology to content and learners: A case study, Exceptional Children, 51, 2, pp. 130-134, (1984); Prinz P.M., Nelson K.E., A child-computer-teacher interactive method for teaching reading to young deaf children, (1984); Thorkildsen R.J., Interactive videodisc for special education technology, (1981)","","","","","","","","","07319487","","","","English","Learn. Disabil. Q.","Article","Final","","Scopus","2-s2.0-35348948525"
"Raddeker H.B.","Raddeker, Hélène Bowen (56007729300)","56007729300","The past through telescopic sights - reading the prison-life-story of kaneko fumiko","1995","Japan Forum","7","2","","155","169","14","3","10.1080/09555809508721539","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84909250176&doi=10.1080%2f09555809508721539&partnerID=40&md5=45e7b66633c3dda9d2817946568e0b39","","","[No abstract available]","","","","","","","","","Foucault Decoded: Notes from Underground, Tropics of Discourse: Essays in Cultural Criticism, pp. 256-257, (1978); Damton R., The Kiss of Lamourette: Reflections in Cultural History, (1990); Somekawa E., Smith E., Theorizing the Writing of History or “I Can’t Think Why It Should Be So Dull, For a Great Deal Of It Must Be Invention”, Journal of Social History, 22, 1, pp. 156-157, (1988); Ooms H., Tokugawa Ideology: Early Constructs, 1570-1680, (1985); Hardacre H., Creating State Shinto: The Great Promulgation Campaign and the New Religions, Journal of Japanese Studies, 12, 1, pp. 29-63, (1986); Jay P.L., Being in the Text: Autobiography and the Problem of the Subject, Modem Language Notes, 94, 5, pp. 1045-1063, (1979); Jay P.L., Being in the Text: Autobiography and the Problem of the Subject, Modem Language Notes, 94, 5, pp. 1045-1063, (1979); Fumiko K., Nani ga watashi o kösaseta ka, (1984); Inglis J., Book Review: “What Made Me Like This?” The Prison Memories of Kaneko Fumiko, Anpo: Japan-Asia Quarterly Review, 13, 2, pp. 34-39, (1981); Ryuji K., Hangyaku no josei, Kaneko Fumiko: “Pak Yeol Jiken” hashigaki, Jiyū shisō, 6, pp. 37-44, (1961); Shoji Y., Kaneko Fumiko ron nōto, Rekishi hyōron, pp. 1-8, (1991); Raynaud J.-M., What’s What in Biography, Reading Life Histories: Griffith Papers on Biography, (1981); The Bounty: An Ethnographic History, (1988); de Man P., Autobiography as De-facement, Modem Language Notes, 94, 5, (1979); Smith S., Watson J., De/Colonizing the Subject; The Politics of Gender in Women’s Autobiography, (1992); Beverley J., The Margin at the Center; On Testimonio (Testimonial Narrative); Komatsu, Hangyaku no josei; Kaplan, Resisting Autobiography; Testimonio; Song K., Pak Yeol, pp. 248-251, (1974); Trial Records, pp. 581-589; Trial Records, pp. 9-19; Trial Records, pp. 9-19; Yohaku no haru, pp. 335-336; Raynaud, What’s What in Biography; White, Interpretation in History, Tropics of Discourse; Bowen H.L., Victims as Victors, Death as Life: Representation and Empowerment in the Works of the Prewar Japanese “Traitors”, Kanno Suga and Kaneko Fumiko, (1992); Structure, Sign and Play in the Discourse of the Human Sciences, Writing and Difference, (1978); White, Interpretation in History; Derrida, Force and Signification, Writing and Difference; Derrida, Structure, Sign, and Play; White, Foucault Decoded; White, Foucault Decoded; Kaneko, What Made Me Like This?; Trial Records, pp. 871-876; Kaneko, What Made Me Like This?, pp. 177-178; Tokugawa Ideology, pp. 3-17; Philipp J., Traditional Historical Narrative and Action-Oriented (or Ethnographic) History, Historical Studies, 2, pp. 339-352, (1983); Sehi K., Trial Records, pp. 228-240, (1925); Richie D., Too Much Truth Makes Life Too Difficult, Japan Times, (1992); Smith S., A Poetics of Women’s Autobiography, pp. 4-5, (1987); Smith S., A Poetics of Women’s Autobiography, pp. 4-5, (1987); Roland Barthes; Inglis, Book Review: “What Made Me Like This?”; Dening G., History’s Anthropology: The Death of William Gooch, (1988); Akai tsutsuji no hana: Kaneko Fumiko no. omoide to kashū, (1984); Akai tsutsuji no hana: Kaneko Fumiko no. omoide to kashū, (1984); Kaneko, What Made Me Like This?, pp. 75-76","","","","","","","","","09555803","","","","English","Japan Forum","Article","Final","","Scopus","2-s2.0-84909250176"
"McMillan C.","McMillan, Christine (57210812177)","57210812177","Musical ways of knowing: A personal approach to qualitative inquiry in education","2005","International Journal of Education and the Arts","6","10","","1","16","15","0","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85094816813&partnerID=40&md5=9406ea225f3cd55cb1c130e32c6dd3ee","University of Western Ontario, London, ON, Canada","McMillan C., University of Western Ontario, London, ON, Canada","In this comparative essay, I examine how musical ways of knowing inform my educational research. To understand this question, I employ dual perspectives as a musician and qualitative researcher. I use Eisner’s concept of the art of educational evaluation (1985a, 1985b, 1997)—particularly as educational evaluation relates to connoisseurship and criticism—to explore how my aesthetic understanding of musical performance, with its descriptive, thematic, interpretive and evaluative aspects, illuminates the process of qualitative inquiry. I also evaluate an earlier quantitative study of sight-singing achievement among young students by viewing it through a more aesthetic, affective lens. In sharing how I have learned to trust musical ways of knowing to inform my educational research, I suggest ways that other music educators can focus their aesthetic lenses on research questions of interest to us all. © 2005, Pennsylvania State University Libraries. All rights reserved.","","","","","","","","","Berg B. L., Qualitative research methods for the social sciences, (2001); Bogdan D., Musical spirituality: Reflection on identity and the ethics of embodied aesthetic experience in/and the academy, The Journal of Aesthetic Education, 37, 2, pp. 80-98, (2003); Buber M., I and Thou, (1970); Denzin N. K., The research act, (1989); Eisner E. W., The art of educational evaluation: A personal view, (1985); Eisner E. W., The educational imagination: On the design and evaluation of school programs, (1985); Eisner E. W., Learning and teaching the ways of knowing, (1985); Eisner E. W., The enlightened eye: Qualitative inquiry and the enhancement of educational practice, (1997); Gay L. R., Airasian P., Educational research: Competencies for analysis and applications, (2003); Glaser B. G., Strauss A., The discovery of grounded theory, (1974); Hillman J. T., Who would have thought?, (2001); Morton L. L., McMillan C., Determinants of sight-singing proficiency and progress in young children, Canadian Music Educator, 37, 3, pp. 31-36, (1997); Richardson L., Writing: A method of inquiry, Handbook of qualitative research, pp. 516-529, (1994)","","","Pennsylvania State University Libraries","","","","","","15298094","","","","English","Int. J. Edu. Arts","Article","Final","","Scopus","2-s2.0-85094816813"
"Olsson B.","Olsson, Bengt (36976768100)","36976768100","A credo of music pedagogy","2005","International Journal of Music Education","23","2","","121","123","2","1","10.1177/0255761405052405","https://www.scopus.com/inward/record.uri?eid=2-s2.0-60950039885&doi=10.1177%2f0255761405052405&partnerID=40&md5=2090b5f91166f8199fbcbc06d1831bf4","Gothenburg University; School of Music and Music Education, Göteborgs Universitet, Box 210, SE 405 30 Gothenburg, Sweden","Olsson B., Gothenburg University, School of Music and Music Education, Göteborgs Universitet, Box 210, SE 405 30 Gothenburg, Sweden","More people are currently experiencing and performing music than at any previous time. New technology has made it possible to both create and distribute music all over the world. However, although it is of huge importance, the role of music education is often neglected. What then is the essence of music education? Traditionally people speak of 'intention to teach' and 'intention to learn' as two basic premises for education, but music education is much more. Music education may reflect the cultural life of a geographical community, re-created community, or imagined community. What are the unique aspects of music education? First, music education leads to a spirit of community; second, people's abilities to distinguish between different kinds of music are developed; and, third, there is a focus on how to perform all kinds of music. Thus, music education plays a significant role in human development. Copyright © 2005 International Society for Music Education.","Core issues of music education; Musical communities","","","","","","","","","B. Olsson; School of Music and Music Education, Göteborgs Universitet, Box 210, SE 405 30 Gothenburg, Sweden; email: bengt.olsson@musik.gu.se","","","","","","","","02557614","","","","English","Int. J. Music Educ.","Article","Final","","Scopus","2-s2.0-60950039885"
"Tejada J.","Tejada, Jesús (57194530988)","57194530988","Hearing music notation through music score software: Effects on students' music reading and writing","2009","International Journal of Learning","16","6","","17","32","15","0","10.18848/1447-9494/CGP/v16i06/46351","https://www.scopus.com/inward/record.uri?eid=2-s2.0-77950264088&doi=10.18848%2f1447-9494%2fCGP%2fv16i06%2f46351&partnerID=40&md5=98c63ed30750d9fce5754a92c109a7c6","Universidad de Valencia, Spain","Tejada J., Universidad de Valencia, Spain","The work-on-progress reported here attempts to discover if the audition of music notation by means of a score editor software has an effect in the users' musical achievement operativized as the ability to imaging rhythm and/or pitch sequences in listening, reading and writing tasks. Also, the study tried to know the users' perceptions about the role of music score editor programs in their musical instruction. In order to collect quantitative and qualitative data, the same studies were carried out on two different populations; one of them with pupils of Elementary level at the Conservatory of La Rioja (age 8-14; predominantly females). The second study was carried out with students studying for Music Teaching Certification at the University of La Rioja, Spain (age 19-24; predominantly females). The study consisted of two phases: one quasi-experimental contrasting experimental and control groups, the other qualitative based in semi-structured interviews. Quantitative data did not show very much improvement in the hearing of written musical notation in building mental sound images of rhythms and intervals. A significant difference was found in the results of the Conservatory experimental group, which obtained differences in completing incomplete rhythm patterns and completing incomplete pitch patterns (without rhythm values). In contrast, qualitative data shows strong users' preferences for using a score editor software in their initial music instruction because it offered the capacity to immediately hear music transcriptions of the Solfége' studies. © Common Ground, Jesús Tejada.","Mental representations of sound; Music-score editor software; Symbolic association","","","","","","","","Arms L., The effects of computer-assisted keyboard instruction on meter discrimination and rhythm discrimination of general music education students in the elementary school, Dissertation Abstracts International, (1997); Bowman J., An investigation of two methods of preparation for college level music theory, Dissertation Abstracts International, (1984); Buck B., An experimental study using the Pitch Master and TAP Master systems to improve music literacy and singing skills, Dissertation Abstracts International, (1991); Goodwin M., The effectiveness of 'Titch Master' compared to traditional classroom methods in teaching sightsinging to college music students, Dissertation Abstracts International, (1991); Gordon E., Iowa tests of music literacy, (1970); Gordon E., Woods D., Jump right in the music curriculum: reference handbook for using learning sequence activities, (1992); Konecky L., A comparison of two sequences of aural interval identificatíon drill administered to college students through computer-assisted instruction, Dissertation Abstracts International, (1987); Lemons R., The development and trial of microcomputer-assisted techniques to supplement traditional training in musical sightreading, Dissertation Abstracts International, (1985); Ozeas N., The effect of the use of a computer assisted drill program on the aural skill. development of students in beginning solfége, Dissertation Abstracts International, (1991); Parker R., The relative effectiveness of the TAP system in instruction in sight singing: An experimental study, Dissertation Abstracts International, (1980); Platte J., The effects of a microcomputer-assisted instructional program on the ability of college choral ensemble members to sing melodic configurations at sight, Dissertation Abstracts International, (1981); Encore 4.1, (1995); Atlas-ti [computer program], (2004); Schon D., Et al., An FMRI study of music sight-reading, Neuroreport, 13, 17, pp. 2285-2289, (2002); Shannon D., Aural-visual interval recognition in music instruction: A comparison of a computerassisted approach and a traditional in-class approach, Dissertation Abstracts International, (1982); Tejada J., Music Technology and multimedia as a music teachers' tool, Technology and Teacher Education Annual 1998, (1998); Tejada J., MIDI en el Conservatorio, la Escuela y el Instituto (MIDI at Conservatory, School and High-School), (2001); Watanabe N., Computer-assisted music instruction: Utilizing compatible audio hardware in computer-assisted aural drill Dissertation. University of Illinois at UrbanaChampaign, Dissertation Abstracts International, (1982); Webster P., Computer-Based Technology and Music Teaching and Learning, New Handbook of Research on Music Teaching and Learning, pp. 416-443, (2002); Whiston S., The development of melodic concepts in elementary school age children using computer-assisted instruction as a supplemental tool, Dissertation Abstracts International, (1987)","","","Common Ground Publishing","","","","","","14479494","","","","English","Int. J. Learn.","Article","Final","","Scopus","2-s2.0-77950264088"
"Bernhard II H.C.","Bernhard II, H. Christian (36860038000)","36860038000","The long-term effect of tonal training on the melodic ear playing achievement of beginning wind instrumentalists","2006","Journal of Band Research","42","1","","70","79","9","4","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-60950592178&partnerID=40&md5=2495bab1756a3485d1fb04ad73286f48","","","The purpose of the study was to determine the long-term effect of tonal training on the melodic ear playing achievement of beginning wind instrumentalists. Subjects were 42 sixth grade beginning band students who had previously participated in an investigation regarding the effects of tonal training, as applied using standard method book melodies, on melodic ear playing and sight reading achievement. In the initial study, tonal training had significantly affected melodic ear playing achievement (p < .001), but not melodic sight reading achievement (p > .05). Five months following completion of the initial study, all subjects were re-tested for melodic ear playing achievement using identical procedures from the first test administration. During the five-month hiatus, all students had returned to a traditional style of instruction. A 2 x 2 mixed-design analysis of variance regarding subjects' long-term ear playing achievement revealed significant effects for treatment group (p < .05), as well as group and time interactions (p < .001), but not for time (p > .05). Analysis of group means revealed that, while experimental group scores remained greater than control group scores, the average control group performance had improved and the average experimental group performance had deteriorated. These results suggest that continued traditional experience with band instruments may slowly improve ear playing achievement, while long-term benefits of tonal training may gradually diminish.","","","","","","","","","Bernhard H.C., The effects of tonal training on the melodic ear playing and sightreading achievement of beginning wind instrumentalists, Contributions to Music Education, 31, 1, pp. 91-107, (2004); Colwell R.J., Goolsby T., The teaching of instrumental music, (1992); Delzell J.K., Rohwer D.A., Ballard D.E., Effects of melodic pattern difficulty and performance experience onability to play by ear, Journal of Research in Music Education, 47, pp. 53-63, (1999); Delzell J.K., Rohwer D.A., Ballard D.E., Measurement of the Ability to Play by Ear, (1999); Dickey M.R., A comparison of verbal instruction and nonverbal teacher-student modelingin instrumental ensembles, Journal of Research in Music Education, 39, pp. 132-142, (1991); Feldstein S., Clark L., The Yamaha advantage, (2001); Gordon E.E., Learning sequences in music, (1988); Grutzmacher P.A., Melodic sight reading achievement test, (1985); Grutzmacher P.A., The effect of tonal pattern training on the aural perception, readingrecognition, and melodic sight-reading achievement of first-year instrumentalmusic students, Journal of Research in Music Education, 35, pp. 171-181, (1987); The National Association for Music Education, The school music program: A new vision, (1994); O'Reilly J., Williams M., Accent on achievement, (1997); Pearson B., Standard of excellence, (1993); Schleuter S.L., A sound approach to teaching instrumentalists, (1997); Sloboda J.A., The musical mind, (1990)","","","","","","","","","00219207","","","","English","J. Band Res.","Article","Final","","Scopus","2-s2.0-60950592178"
"Mengozzi S.","Mengozzi, Stefano (26034193400)","26034193400","Virtual segments: The hexachordal system in the late middle ages","2006","Journal of Musicology","23","3","","426","467","41","10","10.1525/jm.2006.23.3.426","https://www.scopus.com/inward/record.uri?eid=2-s2.0-60950313031&doi=10.1525%2fjm.2006.23.3.426&partnerID=40&md5=57c1c5bd9dcd5858936e63f8ee2d35f9","University of Michigan","Mengozzi S., University of Michigan","Music-theoretical writings from the 13th to the 15th centuries maintained a basic distinction between two types of major sixth, customarily labeled hexachordum and deductio (or proprietas). The term hexachordum, more frequently called tonus (or semitonus) cum diapente, designated the interval of a major of minor sixth, frequently expressed by pitch letters only (such as G-e and A-F) and discussed independently of Guidonian solmization. On the other hand, proprietas and deductio indicated a ""virtual segment"" (the set of six syllables ut-la) that could be employed for the purpose of sight singing. Neither set challenged the conceptual primacy of the seven claves, expressed by the letters A-G. Hexachordum was routinely described as a portion of the octave, and the late-medieval notion of proprietas still reflected the principle of octave duplication, which had regulated musical practice since pre-Guidonian times. The ""two-tier"" model of diatonic space encountered in medieval music theory, based on the superimposition of Guido's six syllables onto the seven pitch letters, came to an end in the late 15th century, when authors such as Ramos de Pareja and Franchino Gafori began describing the Guidonian deductio - which they called hexachordum - as the primary mode of organization of the gamut that had superseded the Greek tetrachordum. © 2006 by the Regents of the University of California. All rights reserved.","","","","","","","","","Allaire G., The Theory of Hexachords, Solmization, and the Modal System: A Practical Application, (1972); Berger C., Hexachord, Mensur und Textstruktur: Studien zum französischen Lied des 14. Jahrhunderts, 35, (1992); Chafe E.T., Monteverdi's Tonal Language, (1992); Pike L., Hexachords in Late-Renaissance Music, (1998); Crocker R.L., Hermann's Major Sixth, Journal of the American Musicological Society, 25, pp. 19-37, (1972); Perchè Zarlino diede una nuova numerazione ai modi?, Rivista italiana di musicologia, 3, pp. 48-58, (1968); R.gule Rithmice, Prologus in Antiphonarium, and Epistola ad Michahelem: A Critical Text and Translation, Introduction, Annotations, Indices, and New Manuscript Inventories, (1999); Aretinus G., Micrologus, (1955); Hucbald G., John on Music: Three Medieval Treatises, pp. 57-83, (1978); Huglo M., Der Prolog des Odo zugeschriebenen 'Dialogus de Musica, Archiv für Musikwissenschaft, 28, pp. 134-146, (1971); 'Musica Enchiriadis' and 'Scolica Enchiriadis, pp. 14-16; Gaffurio F., The Theory of Music, trans. with introduction and notes by Walter K. Kreyszig, (1993); Musica et scolica enchiriadis, pp. 32-34; Musica Enchiriadis' and 'Scolica Enchiriadis, pp. 18-19; Musica enchiriadis' and 'Scolica enchiriadis; Chartier Y., L'œuvre musicale d'Hucbald de Saint-Amand, Les compositions et le traité de musique Cahiers d'Études Médiévales, 5, (1995); Charrier, L'œuvre musicale d'Hucbald; Pesce, Guido d'Arezzo's Regule Rithmice, pp. 470-473; Crocker R., Hermann's Major Sixth, Journal of the American Musicological Society, 25, pp. 36-37, (1972); Seay A., The Expositio manus of Johannes Tinctoris, Journal of Music Theory, 9, (1965); Ellsworth O., The Origin of Coniuncta: A Reappraisal, Journal of Music Theory, 17, (1973); Balmer L., Tonsystem und Kirchentöne bei Johannes Tinctoris, pp. 65-71, (1935); Pesce, Guido d'Arezzo's Regule Rithmice, 10; Meyer C., Musica plana Johannis de Garlandia, introduction, (1998); Musica plana; Coussemaker, Scriptorum, 2; Gerbert, Scriptores, 3; Sisko J., Space, Time, and Phantasms in Aristotle, De Memoria, 2; Classical Quarterly, 47, pp. 167-175, (1997); Modrak D.K.W., Aristotle: The Power of Perception, The Philosophical Review, 99, pp. 305-309, (1990); Russo, Hexachordal Theory, 149; Russo, Hexachordal Theory, pp. 156-157; Jeronimus de Moravia, Tractatus de musica, Freiburger Studien zur Musikwissenschaft, 2, pp. 49-55, (1935); Johannes de Garlandia, Introductio musice plane under Sequitur de mutationibus, pp. 72-77; Yssandon's J., Traité de la musique pratique (1582), 8 (both treatises now available in one volume by Minkoff Reprints, (1972); Ramos de Pareja B., Musica practica; Calvisius S., Compendium musicae pro incipientibus (1594) and Exercitationes musicae duae, (1600); Puteanus E., Modulata Pallas, sive Septem discrimina vocum; Banchieri A., Cartella musicale, (1614); Ann Owens J., Waelrant and Bocedization. Reflections on Solmization Reform, Yearbook of the Alamire Foundation, 2, pp. 377-393, (1997); Lucidarium, pp. 268-269; Bonaventura da Brescia, Brevis collectio artis musicae, Critical Text, 11, (1980); Maria A., Berger B., Medieval Music and the Art of Memory, pp. 85-94, (2005); Bent M., Diatonic ficta; Diatonic ficta revisited: Josquin's Ave Maria in context, Music Theory Online, 2, 6, (1996); Smits Van Waesberghe J., Musikerziehung, 127; Wolf J., Musica practica Bartolomei Rami de Pareia, Publikationen der Internationalen Musikgesellschaft, HEFT 2, (1901); Wolf, Musica practica, 10","","","","","","","","","02779269","","","","English","J. Musicol.","Article","Final","","Scopus","2-s2.0-60950313031"
"Letowski Tomasz","Letowski, Tomasz (7004183065)","7004183065","DEVELOPMENT OF TECHNICAL LISTENING SKILLS: TIMBRE SOLFEGGIO.","1985","AES: Journal of the Audio Engineering Society","33","4","","240","244","4","37","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0022045114&partnerID=40&md5=1e71a1da7807482432c9c40450f1a10a","Univ of Tennessee at Knoxville, Dep, of Audiology & Speech Pathology,, Knoxville, TN, USA, Univ of Tennessee at Knoxville, Dep of Audiology & Speech Pathology, Knoxville, TN, USA","Letowski Tomasz, Univ of Tennessee at Knoxville, Dep, of Audiology & Speech Pathology,, Knoxville, TN, USA, Univ of Tennessee at Knoxville, Dep of Audiology & Speech Pathology, Knoxville, TN, USA","Timbre memory and sensitivity to timbre changes are two important factors that influence the career of a sound engineer. Both skills can be developed successfully by training on a systematic basis. The need for conscious and systematic training in technical listening led in 1974 to the introduction of a special course called timbre solfeggio at the Chopin Academy of Music in Warsaw, Poland. The main goal of this course is to develop timbre perception skills, that is, to increase timbre sensitivity and improve (expand) timbre memory.","","AUDIO ACOUSTICS; LISTENING TRAINING; TIMBRE MEMORY; TIMBRE SOLFEGGIO; ACOUSTIC VARIABLES MEASUREMENT","","","","","","","","","","","","","","","","00047554","","ADIOA","","English","J Audio Eng Soc","Article","Final","","Scopus","2-s2.0-0022045114"
"Fine P.; Berry A.; Rosner B.","Fine, Philip (56384165400); Berry, Anna (37082855800); Rosner, Burton (55442633100)","56384165400; 37082855800; 55442633100","The effect of pattern recognition and tonal predictability on sight-singing ability","2006","Psychology of Music","34","4","","431","447","16","32","10.1177/0305735606067152","https://www.scopus.com/inward/record.uri?eid=2-s2.0-61049319221&doi=10.1177%2f0305735606067152&partnerID=40&md5=d0efe6c2eae3a8ef8305dd3b55c5a619","University of Buckingham, United Kingdom; University of Oxford, United Kingdom","Fine P., University of Buckingham, United Kingdom; Berry A., University of Oxford, United Kingdom; Rosner B., University of Oxford, United Kingdom","This study investigated the role of concurrent musical parts in pitching ability in sight-singing, concentrating on the effects of melodic and harmonic coherence. Twenty-two experienced singers sang their part twice in each of four novel chorales. The chorales contained either original or altered melody and original (tonal) or altered (atonal) harmony. Participants also performed an interval-singing task. Alterations from the original in both melody and harmony increased pitching errors in sight-singing. These results indicate respectively that pattern recognition and harmonic prediction are integral to sight-singing ability. Singers made fewer errors on the second reading, showing the role of familiarity. Error rate correlated with interval-singing performance. Less skilled sight-singers were significantly more affected by a disruption in harmony than were better sight-singers. The results suggest an increasing role for internal auditory representations with increasing expertise. Copyright © 2006 Society for Education, Music and Psychology Research.","Auditory representations; Harmony; Melody; Musical context; Prediction; Sight-reading; Singing","","","","","","","","Banton L.J., The Role of Visual and Auditory Feedback during the Sight-Reading of Music, Psychology of Music, 23, 1, pp. 3-16, (1995); Bean K.L., An Experimental Approach to the Reading of Music, Psychological Monographs, 50, 6, pp. 1-80, (1938); Brodsky W., Henik A., Rubinstein B., Zorman M., Inner Hearing among Symphony Orchestra Musicians: Intersectional Differences of String-Players versus Wind-Players, Music, Mind and Science, pp. 370-392, (1999); Brodsky W., Henik A., Rubinstein B., Zorman M., The ""mind's Ear"": Inner Hearing of Notated Music, The 6th International Conference of Music Perception and Cognition; Brodsky W., Henik A., Rubinstein B., Zorman M., Auditory Imagery from Musical Notation in Expert Musicians, Perception and Psychophysics, 65, 4, pp. 602-612, (2003); Chase W.G., Simon H.A., Perception in Chess, Cognitive Psychology, 4, pp. 55-81, (1973); Costa M., Fine P., Ricci Bitti P.E., Interval Distributions, Mode, and Tonal Strength of Melodies as Predictors of Perceived Emotion, Music Perception, 22, 1, pp. 1-14, (2004); Demorest S.M., Improving Sight-Singing Performance in the Choral Ensemble: The Effect of Individual Testing, Journal of Research in Music Education, 46, 2, pp. 182-192, (1998); Falkner K., Voice, (1983); Furneaux S., Land M.F., The Effects of Skill on the Eye-Hand Span during Musical Sight-Reading, Proceedings of the Royal Society of London, Series B, 266, pp. 2435-2440; Gabrielsson A., The Performance of Music, The Psychology of Music, pp. 501-602, (1999); Goolsby T.W., Eye Movement in Music Reading: Effects of Reading Ability, Notational Complexity, and Encounters, Music Perception, 12, 1, pp. 77-96, (1994); Gordon E.E., Learning Sequences in Music: Skill, Content, and Pattern. A Music Learning Theory, (1993); Hays W.L., Statistics, (1993); Kinsler V., Carpenter R.H.S., Saccadic Eye Movements while Reading Music, Vision Research, 35, 10, pp. 1447-1458, (1995); Kornicke E., An Exploratory Study of Individual Difference Variables in Piano Sight-Reading Achievement, The Quarterly Journal of Music Teaching and Learning, 6, 1, pp. 56-79, (1995); Krumhansl C.L., Cognitive Foundations of Musical Pitch, (1990); Lehmann C.A., Ericsson K.A., Sight-Reading Ability of Expert Pianists in the Context of Piano Accompanying, Psychomusicology, 12, pp. 182-195, (1993); Lehmann C.A., Ericsson K.A., Performance without Preparation: Structure and Acquisition of Expert Sight-Reading and Accompanying Performance, Psychomusicology, 15, pp. 1-29, (1996); Lehmann A.C., McArthur V., Sight-Reading, The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning, pp. 135-150, (2002); Rayner K., Pollatsek A., Eye Movements, the Eye-Hand Span, and the Perceptual Span during Sight-Reading of Music, Current Directions in Psychological Science, 6, 2, pp. 49-53, (1997); Repp B.H., Effects of Auditory Feedback Deprivation on Expressive Piano Performance, Music Perception, 16, 4, pp. 409-438, (1999); Salis D.L., Laterality Effects with Visual Perception of Musical Chords and Dot Patterns, Perception and Psychophysics, 28, pp. 284-292, (1980); Salzberg R.S., Wang C.C., A Comparison of Prompts to Aid Rhythmic Sight-Reading of String Students, Psychology of Music, 17, 2, pp. 123-131, (1989); Schellenberg E.G., Simplifying the Implication-Realization Model of Musical Expectancy, Music Perception, 14, pp. 295-318, (1997); Schmieder W., Thematisch-systematisches Verzeichnis der Musikalischen Werke von Johann Sebastian Bach: Bach-Werke-Verzeichnis (BWV), (1990); Seashore C.E., Psychology of Music, (1938); Shaffer L.H., Timing in the Motor Programming of Typing, Quarterly Journal of Experimental Psychology, 30, 2, pp. 333-345, (1978); Shaffer L.H., Rhythm and Timing in Skill, Psychological Review, 89, 2, pp. 109-122, (1982); Sheldon D.A., Effects of Contextual Sight-Reading and Aural Skills Training on Error Detection Abilities, Journal of Research in Music Education, 46, 3, pp. 384-395, (1998); Sloboda J.A., The Eye-Hand Span: An Approach to the Study of Sight-Reading, Psychology of Music, 2, pp. 4-10, (1974); Sloboda J.A., Visual Perception of Musical Notation: Registering Pitch Symbols in Memory, Quarterly Journal of Experimental Psychology, 28, pp. 1-16, (1976); Sloboda J.A., Phrase Units as Determinants of Visual Processing in Music Reading, British Journal of Psychology, 68, pp. 117-124, (1977); Sloboda J.A., The Psychology of Music Reading, Psychology of Music, 6, pp. 3-20, (1978); Sloboda J.A., Experimental Studies of Music Reading: A Review, Music Perception, 2, pp. 222-236, (1984); Sloboda J.A., The Musical Mind: The Cognitive Psychology of Music, (1985); Sundberg J., The Science of the Singing Voice, (1987); Thompson W.B., Music Sight-Reading Skill in Flute Players, Journal of General Psychology, 114, 4, pp. 345-352, (1987); Townsend E., Sight-Reading Expertise: The Role of Auditory Representations, (1997); Truitt F.E., Clifton Jr. C., Pollatsek A., Rayner K., The Perceptual Span and Eye-Hand Span in Sight Reading Music, Visual Cognition, 4, 2, pp. 143-161, (1997); Ward D., Burns E., Singing without Auditory Feedback, Journal of Research in Singing, 1, pp. 24-44, (1978); Waters A.J., Underwood G., Eye Movements in a Simple Music Reading Task: A Study of Expert and Novice Musicians, Psychology of Music, 26, 1, pp. 46-60, (1998); Waters A.J., Townsend E., Underwood G., Expertise in Musical Sight Reading: A Study of Pianists, British Journal of Psychology, 89, pp. 123-149, (1998); Waters A.J., Underwood G., Findlay J.M., Studying Expertise in Music Reading: Use of a Pattern-Matching Paradigm, Perception and Psychophysics, 59, 4, pp. 477-488, (1997); Watkins A., Hughes M.A., The Effect of an Accompanying Situation on the Improvement of Students' Sight Reading Skills, Psychology of Music, 14, pp. 97-110, (1986); Wolf T., A Cognitive Model of Musical Sight Reading, Journal of Psycholinguistic Research, 5, pp. 143-171, (1976)","","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-61049319221"
"Hoffman J.V.; Roser N.L.; Salas R.; Patterson E.; Pennington J.","Hoffman, James V. (7402611472); Roser, Nancy L. (7801573232); Salas, Rachel (57193745901); Patterson, Elizabeth (35764674000); Pennington, Julie (59793031200)","7402611472; 7801573232; 57193745901; 35764674000; 59793031200","Text Leveling and “Little Books” in First-Grade Reading","2001","Journal of Literacy Research","33","3","","507","528","21","36","10.1080/10862960109548121","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84990359423&doi=10.1080%2f10862960109548121&partnerID=40&md5=f79436435760eeb858c92f133e5bfd1e","University of Texas at Austin","Hoffman J.V., University of Texas at Austin; Roser N.L., University of Texas at Austin; Salas R., University of Texas at Austin; Patterson E., University of Texas at Austin; Pennington J., University of Texas at Austin","In this study, we investigated the reliability of two current approaches for estimating text difficulty at the firstgrade level: the Scale for Text Accessibility and Support (STAS-1) and the Fountas/Pinnell system. We analyzed the performance of 105 first-grade students in texts leveled using these systems in the areas of rate, accuracy, and fluency. Students read these texts under three support conditions: sight reading, read-aloud (modeled), and previewed. The predictive validity of the two rating scales was supported by the performance data. Statistically significant effects were found for the various support conditions. Further, our analysis suggests potential benchmarks for first-grade performance: 95% accuracy; 80 words per minute; and a fluency rating of 3 (on a 1–5 scale). © 2001, SAGE Publications. All rights reserved.","","","","","","","","","Clay M.M., Becoming literate: The construction of inner control., (1991); Fountas I.C., Pinnell G.S., Guided reading: Good first teaching for all children., (1996); Fountas I.C., Pinnell G.S., Matching books to readers: Using leveled books in guided reading, k-3., (1999); Harris W.V., Ancient literacy., (1989); Hiebert E.H., Text matters in learning to read, The Reading Teacher, 52, pp. 552-566, (1999); Hiebert E.H., Raphael T.E., Early literacy instruction., (1998); Hoffman J.V., McCarthey S.J., Abbott J., Christian C., Corman L., Curry C., Dressman M., Elliott B., Matherne D., Stahle D., So what's new in the new basals? A focus on first grade, (1993); Hoffman J.V., McCarthey S.J., Abbott J., Christian C., Corman L., Dressman M., Elliot B., Matherne D., Stahle D., So what's new in the “new” basals?, Journal of Reading Behavior, 26, pp. 47-73, (1994); Hoffman J.V., McCarthey S.J., Elliott B., Bayles D.L., Price D.P., Ferree A., Abbott J.A., The literature-based basals in first-grade classrooms: Savior, Satan, or same-old, same old?, Reading Research Quarterly, 33, pp. 168-197, (1997); Hoffman J.V., Roser N.L., Worthy J., Challenging the assessment context for literacy instruction in first grade: A collaborative study, Assessing reading: Theory and practice, pp. 166-181, (1998); Holdaway D., The foundations of literacy., (1979); Klare G., Readability, Handbook of reading research, pp. 681-744, (1984); Leslie L., Caldwell J., Qualitative reading inventory., (1990); Peterson B., Selecting books for beginning readers: Children's literature suitable for young readers, Bridges to literacy: Learning from Reading Recovery, pp. 115-147, (1991); Rhodes L.K., I can read! Predictable books as resources for reading and writing instruction, The Reading Teacher, 36, pp. 511-518, (1981); Smith N.B., American reading instruction., (1986); Venezky R.L., A history of the American reading textbook, The Elementary School Journal, 87, pp. 247-281, (1987); Wepner S., Feeley J., Moving forward with literature: Basals, books, and beyond., (1986)","","","","","","","","","1086296X","","","","English","J. Lit. Res.","Article","Final","","Scopus","2-s2.0-84990359423"
"Truitt F.E.; Clifton Jr. C.; Pollatsek A.; Rayner K.","Truitt, Frances E. (8448295400); Clifton Jr., Charles (7005369123); Pollatsek, Alexander (7006169603); Rayner, Keith (7005668331)","8448295400; 7005369123; 7006169603; 7005668331","The perceptual span and the eye-hand span in sight reading music","1997","Visual Cognition","4","2","","143","161","18","83","10.1080/713756756","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0000968174&doi=10.1080%2f713756756&partnerID=40&md5=0967cb8da4a2dd3668f196198a703c7e","Department of Psychology, University of Massachusetts, Amherst, MA, United States; Dept. of Psychology, University of Massachusetts, Amherst, MA 01003, United States","Truitt F.E., Department of Psychology, University of Massachusetts, Amherst, MA, United States; Clifton Jr. C., Department of Psychology, University of Massachusetts, Amherst, MA, United States; Pollatsek A., Department of Psychology, University of Massachusetts, Amherst, MA, United States; Rayner K., Department of Psychology, University of Massachusetts, Amherst, MA, United States, Dept. of Psychology, University of Massachusetts, Amherst, MA 01003, United States","The perceptual span and eye-hand span of pianists were examined while they played and read single-line melodies (with four beats per measure). The perceptual span was measured by the use of a moving-window technique with four window conditions: two beats, four beats, six beats, or no window. It was found that pianists need to see no more than the whole measure that they are fixating in order to perform normally: playing time was longest in the two-beat window condition, and there were longer fixation durations, more fixations, more regressions, and shorter saccade lengths in the two-beat window condition than in the other three conditions, which generally did not differ from one another. The eye-hand span, determined by comparing eye movement data and keypress data, was found to be a little more than one beat. The two-beat window yielded the smallest eye-hand span and the no window condition yielded the largestspan. Finally, the effect of skill was examined by comparing the four most skilled and the four least skilled music readers. Playing time, eye-hand span, and fixation duration all differed as a function of skill, with the skilled readers having shorter playing times, larger eye-hand spans, and shorter fixation durations than the less-skilled readers. Window size did not interact with reading skill. ©1997 Psychology Press, an imprint of Erlbaum (UK) Taylor & Francis Ltd.","","","","","","","","","Bartok B., Mikrokosmos Piano Solo, 1, (1940); Bean K.L., An experimental approach to the reading of music, Psychological Monographs, 50, 226, (1938); Bernstein S., Self Discovery Through Music: With Your Own Two Hands, (1981); Friedberg R.C., The Complete Pianist: Body, Mind, Synthesis, (1993); Goolsby T.W., Computer applications to eye movement research in music reading, Psychomusicology, 8, pp. 111-126, (1989); Goolsby T.W., Eye movement in music reading: Effects of reading ability, notational complexity, and encounters, Music Perception, 12, pp. 77-96, (1994); Goolsby T.W., Profiles of processing: Eye movements during sightreading, Music Perception, 12, pp. 97-123, (1994); Inhoff A.W., Briihl D., Bohemier G., Wang J., Eye-hand span and coding of text during copytyping, Journal of Experimental Psychology: Learning, Memory, and Cognition, 18, pp. 298-306, (1992); Inhoff A.W., Wang J., Encoding of text, manual movement planning, and eye-hand coordination during copytyping, Journal of Experimental Psychology: Human Perception and Performance, 18, pp. 437-448, (1992); Jacobsen O.I., An analytical study of eye-movements in reading vocal and instrumental music, Journal of Musicology, 3, pp. 3-32, (1941); Kinsler V., Carpenter R.H.S., Saccadic eye movements while reading music, Vision Research, 35, pp. 1447-1458, (1995); Levy-Schoen A., Flexible and/or rigid control of oculomotor scanning behavior, Eye Movements: Cognition and Visual Perception, pp. 291-314, (1981); McConkie G.W., Rayner K., The span of the effective stimulus during a fixation in reading, Perception & Psychophysics, 17, pp. 578-586, (1975); Ortmann O., Span of vision in note reading, Yearbook of Music Education National Conference, pp. 88-93, (1937); Pollatsek A., Raney G.E., Lagasse L., Rayner K., The use of information below fixation in reading and in visual search, Canadian Journal of Experimental Psychology, 47, pp. 179-200, (1993); Rayner K., Eye movements in reading: Recent developments, Current Directions in Psychological Science, 2, pp. 81-85, (1993); Rayner K., Pollatsek A., The Psychology of Reading, (1989); Salthouse T.A., Effects of age and skill in typing, Journal of Experimental Psychology: General, 113, pp. 345-371, (1984); Shaffer L.H., Latency mechanisms in transcription, Attention and Performance IV, pp. 435-446, (1973); Sloboda J.A., The Musical Mind: The Cognitive Psychology of Music, (1985); Van Nuys K., Weaver H.E., Memory span and visual pauses in reading rhythms and melodies, Psychological Monographs, 55, pp. 33-50, (1943); Weaver H.E., A survey of visual processes in reading differently constructed musical selections, Psychological Monographs, 55, pp. 1-30, (1943)","K. Rayner; Dept. of Psychology, University of Massachusetts, Amherst, MA 01003, United States; email: rayner@psych.umass.edu","","Psychology Press Ltd","","","","","","13506285","","VICOF","","English","Vis. Cogn.","Article","Final","","Scopus","2-s2.0-0000968174"
"Wiggins T.","Wiggins, Trevor (56865788500)","56865788500","The world of music in education","1996","British Journal of Music Education","13","1","","21","29","8","13","10.1017/S0265051700002928","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84926181173&doi=10.1017%2fS0265051700002928&partnerID=40&md5=14d012b54d0c8f46e5379afbab0c58f3","","","This article is concerned with music pedagogy, especially in relation to world music. The process of learning music varies with musical culture and is an integral part of musical style. Learning musicians bring training and concepts from their own musical background, as well as their strengths and weaknesses. The author examines aspects of the pedagogic process for indigenous and foreign musicians, considering the nature of the experience and understanding from their different viewpoints. The article results from a period of field research in Ghana during 1994–5 which was supported by grants from Dartington College of Arts and the Elmgrant Trust. © 1996 Cambridge University Press.","","","","","","","","","","","","","","","","","","02650517","","","","English","Br. J. Music Educ.","Article","Final","","Scopus","2-s2.0-84926181173"
"Kopiez R.; Galley N.; Lee J.I.","Kopiez, Reinhard (15923451000); Galley, Niels (6602420354); Lee, Ji In (13102956000)","15923451000; 6602420354; 13102956000","The advantage of a decreasing right-hand superiority: The influence of laterality on a selected musical skill (sight reading achievement)","2006","Neuropsychologia","44","7","","1079","1087","8","41","10.1016/j.neuropsychologia.2005.10.023","https://www.scopus.com/inward/record.uri?eid=2-s2.0-33646110995&doi=10.1016%2fj.neuropsychologia.2005.10.023&partnerID=40&md5=06f2fa51c786e13d1d76a191d9270dab","Hanover University of Music and Drama, Institute for Research in Music Education, 30175 Hanover, Emmichplatz 1, Germany; University of Cologne, Department of Psychology, Germany","Kopiez R., Hanover University of Music and Drama, Institute for Research in Music Education, 30175 Hanover, Emmichplatz 1, Germany; Galley N., University of Cologne, Department of Psychology, Germany; Lee J.I., Hanover University of Music and Drama, Institute for Research in Music Education, 30175 Hanover, Emmichplatz 1, Germany","In this study, the unrehearsed performance of music, known as 'sight reading', is used as a model to examine the influence of motoric laterality on highly challenging musical performance skills. As expertise research has shown, differences in this skill can be partially explained by factors such as accumulated practise and an early start to training. However, up until now, neurobiological factors that may influence highly demanding instrumental performance have been widely neglected. In an experiment with 52 piano students at a German university music department, we could show that the most challenging musical skill, sight reading (which is characterized by extreme demands on the performer's real time information processing), is positively correlated with decreasing right-hand superiority of performers. Laterality was measured by the differences between left and right-hand performance in a speed tapping task. SR achievement was measured using an accompanying task paradigm. An overall superiority of 22% for non-right-handed pianists was found. This effect is gender-related and stronger in non-right-handed males (r(24) = -0.49, p < 0.05) than in non-right-handed females (r(28) = -0.16, p > 0.05). We conclude that non-right-handed motoric laterality is associated with neurobiological advantages required for sight reading, an extremely demanding musical subskill. © 2005 Elsevier Ltd. All rights reserved.","Brain asymmetry; Handedness; Interhemispheric communication; Music performance; Musical ability","Achievement; Adult; Dominance, Cerebral; Female; Functional Laterality; Humans; Male; Music; Psychomotor Performance; Reading; Sex Factors; Statistics; adult; article; college student; controlled study; correlation analysis; female; hemispheric dominance; human; human experiment; male; mental performance; music; normal human; right handedness; sex difference; task performance","","","","","","","Aggleton J.P., Kentridge R.W., Good J.M.M., Handedness and musical ability: a study of professional orchestral players, composers, and choir members, Psychology of Music, 22, 2, pp. 148-156, (1994); Amunts K., Jancke L., Mohlberg H., Steinmetz H., Zilles K., Interhemispheric asymmetry of the human motor cortex related to handedness and gender, Neuropsychologia, 38, 3, pp. 304-312, (2000); Annett M., Left, right, hand and brain the right shift theory, (1985); Annett M., Handedness and brain asymmetry: the right shift theory, (2002); Annett M., Kilshaw D., Mathematical ability and lateral asymmetry, Cortex, 18, 4, pp. 547-568, (1982); Annett M., Manning M., The disadvantages of dextrality for intelligence, British Journal of Psychology, 80, 2, pp. 213-226, (1989); Annett M., Manning M., Arithmetic and laterality, Neuropsychologia, 28, 1, pp. 61-69, (1990); Bishop D.V.M., Handedness and developmental disorder, (1990); Corballis M.C., From mouth to hand: gesture, speech and the evolution of right-handedness, Behavioral and Brain Sciences, 26, 2, pp. 199-260, (2003); Crow T.J., Crow L.R., Done D.J., Leask S., Relative hand skills predicts academic ability: global deficits at the point of hemispheric indecision, Neuropsychologia, 36, 12, pp. 1275-1282, (1998); Dixon S., Midicompare [Computersoftware], (2002); Floel A., Buyx A., Breitenstein C., Lohmann H., Knecht S., Hemispheric lateralization of spatial attention in right- and left-hemispheric language dominance, Behavioural Brain Research, 158, 2, pp. 263-268, (2005); Geschwind N., Galaburda A.M., Cerebral lateralization. Biological mechanisms, associations and pathology. I. A hypothesis and a program for research, Archives of Neurology, 42, 5, pp. 428-459, (1985); Gilbert A.N., Wysocki C.J., Hand preference and age in the United States, Neuropsychologia, 30, 7, pp. 601-608, (1992); Gorynia I., Egenter D., Intermanual coordination in relation to handedness, familial sinistrality and lateral preferences, Cortex, 36, 1, pp. 1-18, (2000); Gotestam K.O., Left-handedness among students of architecture and music, Perceptual and Motor Skills, 70, 3 PART 2, pp. 1323-1327, (1990); Halpern D.F., Sex, brains, hands, and spatial cognition, Developmental Review, 16, 3, pp. 261-270, (1996); Hassler M., Birbaumer N., Handedness, musical abilities, and dichaptic and dichotic performance in adolescents: a longitudinal study, Developmental Neuropsychology, 4, 2, pp. 129-145, (1988); Hassler M., Gupta D., Functional brain organization, handedness, and immune vulnerability in musicians and non-musicians, Neuropsychologia, 31, 7, pp. 655-660, (1993); Hecaen H., Agostini M., de Monzon-Montes A., Cerebral organization in left-handers, Brain and Language, 12, 2, pp. 261-284, (1981); Henderson N.J., Stephens C.D., Gale D., Left-handedness in dental undergraduates and orthodontic specialists, British Dental Journal, 181, 8, pp. 285-288, (1996); Hering R., Catarci T., Steiner T., Handedness in musicians, Functional Neurology: New Trends in Adaptive and Behavioral Disorders, 10, 1, pp. 23-26, (1995); Jones G.V., Martin M., A note on Corballis (1997) and the genetics and evolution of handedness: developing a unified distributional model from the sex-chromosomes gene hypothesis, Psychological Review, 107, 1, pp. 213-218, (1997); Kilshaw D., Annett M., Right- and left-hand skill. I. Effects of age, sex and hand preference showing superior skill in left-handers, British Journal of Psychology, 74, 2, pp. 253-268, (1983); Kimura D., Sex, sexual orientation and sex hormones influence human cognitive function, Current Opinion in Neurobiology, 6, 2, pp. 259-263, (1996); Knecht S., Drager B., Deppe M., Bobe L., Lohmann H., Floel A., Ringelstein E.-B., Henningsen H., Handedness and hemispheric language dominance in healthy humans, Brain, 123, 12, pp. 2512-2518, (2000); Knecht S., Drager B., Floel A., Lohmann H., Breitenstein C., Hennigsen H., Ringelstein E.-B., Behavioural relevance of atypical language lateralization in healthy subjects, Brain, 124, 8, pp. 1657-1665, (2001); Kopiez R., Weihs C., In search of variables distinguishing low and high performers in a musical sight reading task, Proceedings of the Paper presented at the Eighth International Conference of Music Perception and Cognition (ICMPC8), (2004); Kopiez R., Weihs C., Ligges U., Lee J.I., Classification of high and low achievers in a music sight reading task, Psychology of Music, 34, 1, pp. 5-26, (2006); Laland K.N., Kumm J., Van Horn J.D., Feldman M.W., A gene-culture model of human handedness, Behavior Genetics, 25, 5, pp. 433-445, (1995); Lee J.I., Component skills involved in sight reading music, (2004); Lehmann A.C., Ericsson K.A., Sight-reading ability of expert pianists in the context of piano accompanying, Psychomusicology, 12, 2, pp. 182-195, (1993); Lehmann A.C., Ericsson K.A., Performance without preparation: structure and acquisition of expert sight-reading and accompanying performance, Psychomusicology, 15, 1-2, pp. 1-29, (1996); Mathews G.A., Fane B.A., Pasterski V.L., Conway G.S., Brook C., Hines M., Androgenic influences on neural asymmetry: handedness and language lateralization in individuals with congenital adrenal hyperplasia, Psychoneuroendocrinology, 29, 6, pp. 810-822, (2004); Mayringer H., Wimmer H., No deficits at the point of hemispheric indecision, Neuropsychologia, 40, 7, pp. 701-704, (2002); McManus I.C., Handedness, cerebral lateralization, and the evolution of handedness, The descent of mind, pp. 194-217, (1999); McManus I.C., Right-hand left-hand, (2002); McManus I.C., Bryden M.P., The genetics of handedness, cerebral dominance and lateralization, Handbook of neuropsychology Developmental neuropsychology, Part 1, 6, pp. 115-144, (1992); McPherson G.E., Five aspects of musical performance and their correlates, Bulletin of the Council for Research in Music Education, 127, pp. 115-121, (1995); McPherson G.E., Commitment and practice: key ingredients for achievement during the early stages of learning a musical instrument, Bulletin of the Council for Research in Music Education, 147, pp. 122-127, (2001); McPherson G.E., From child to musician: skill development during the beginning stages of learning an instrument, Psychology of Music, 33, 1, pp. 5-35, (2005); McPherson G.E., Bailey M., Sinclair K.E., Path analysis of a theoretical model to describe the relationship among five types of musical performance, Journal of Research in Music Education, 45, 1, pp. 103-129, (1997); McPherson G.E., Gabrielsson A., From sound to sight, The science and psychology of music performance. Creative strategies for teaching and learning, pp. 99-115, (2002); Nalcacr E., Kalaycioglu C., Cicek M., Genc Y., The relationships between handedness and fine motor performance, Cortex, 37, 4, pp. 493-500, (2001); Newcombe F., Ratcliff G., Handedness, speech lateralization and ability, Neuropsychologia, 11, 4, pp. 399-407, (1973); Oldfield R.C., Handedness in musicians, British Journal of Psychology, 60, 1, pp. 91-99, (1969); Oldfield R.C., The assessment and analysis of handedness: the Edingburgh inventory, Neuropsychologia, 9, 1, pp. 97-113, (1971); Oswald W.D., Roth E., Der Zahlen-Verbindungs-Test [number combination test]. 2nd ed., (1997); Perelle I.B., Ehrman L., An international study of human handedness: the data, Behavior Genetics, 24, 3, pp. 217-227, (1994); Peters M., Handedness: effect of prolonged practice on between hand performance differences, Neuropsychologia, 19, 4, pp. 587-590, (1981); Peters M., A non-trivial motor performance difference between right-handers and left-handers: attention as intervening variable in the expression of handedness, Canadian Journal of Psychology, 41, 1, pp. 91-99, (1987); Peters M., Description and validation of a flexible and broadly usable handedness questionnaire, Laterality, 3, 1, pp. 77-96, (1998); Peters M., Durding B.M., Handedness measured by finger tapping: a continuous variable, Canadian Journal of Psychology, 32, 4, pp. 257-261, (1978); Peters M., Durding B.M., Left-handers and right-handers compared on a motor task, Journal of Motor Behavior, 11, 2, pp. 103-111, (1979); Pitts S.E., Davidson J.W., McPherson G.E., Developing effective practice strategies: case studies of three young instrumentalists, Music Education Research, 2, 1, pp. 45-56, (2000); Price C.J., The anatomy of language: contributions from functional neuroimaging, Journal of Anatomy, 197, 3, pp. 335-359, (2000); Raven J.C., Standard progressive matrices [SPM], (2000); Rayner K., Eye movements in reading and information processing: 20 years of research, Psychological Bulletin, 124, 3, pp. 372-422, (1998); Ridding M.C., Brouwer B., Nordstrom M.A., Reduced interhemispheric inhibition in musicians, Experimental Brain Research, 133, 2, pp. 249-253, (2000); Rigal R.A., Which handedness: preference or performance?, Perceptual and Motor Skills, 75, 3, pp. 851-866, (1992); Schlaug G., The brain of musicians. A model for functional and structural adaptation, The biological foundations of music (Annals of the New York Academy of Sciences, 930, pp. 281-299, (2001); Schlaug G., Jancke L., Huang Y., Staiger J.F., Steinmetz H., Increased corpus callosum size in musicians, Neuropsychologia, 33, 8, pp. 1047-1055, (1995); Siebner H.R., Limmer C., Peinemann A., Drzezga A., Bloem B.R., Schwaiger M., Conrad B., Long-term consequences of switching handedness: a positron emission tomography study on handwriting in ""converted"" left-handers, Journal of Neuroscience, 22, 7, pp. 2816-2825, (2002); Sloboda J.A., The musical mind. The cognitive psychology of music, (1985)","R. Kopiez; Hanover University of Music and Drama, Institute for Research in Music Education, 30175 Hanover, Emmichplatz 1, Germany; email: kopiez@hmt-hannover.de","","","","","","","","00283932","","NUPSA","16321405","English","Neuropsychologia","Article","Final","","Scopus","2-s2.0-33646110995"
"Miyazaki K.; Ogawa Y.","Miyazaki, Ken'ichi (16552997900); Ogawa, Yoko (36983921800)","16552997900; 36983921800","Learning absolute pitch by children: A cross-sectional study","2006","Music Perception","24","1","","63","78","15","53","10.1525/mp.2006.24.1.63","https://www.scopus.com/inward/record.uri?eid=2-s2.0-33847790960&doi=10.1525%2fmp.2006.24.1.63&partnerID=40&md5=f7d1b5c26786c70e56b53a7cea63e45e","Department of Psychology, Faculty of Humanities, University of Niigata, 950-2181 Niigata, Ikarash-2-no-cho 8050, Japan; University of Tottori, Tottori, Japan","Miyazaki K., Department of Psychology, Faculty of Humanities, University of Niigata, 950-2181 Niigata, Ikarash-2-no-cho 8050, Japan; Ogawa Y., University of Tottori, Tottori, Japan","This study is an attempt to depict the learning process of AP in Japanese children in a cross-sectional design. In this study, 104 children of 4 to 10 years of age in a music school were tested. The children had been trained within a music education system of the school since they entered the school at the age of 4. They had received a one-hour keyboard lesson a week in school and probably had everyday practice at home. The training during the initial 2-year course emphasized imitative singing with syllables in the fixed-do system while playing on the keyboard at the same time. In this training, particular emphasis was placed on establishing associations between pitches and solfège labels. In the AP test, test tones presented to the children ranged from C3 (131 Hz) to B5 (988 Hz). Children were instructed to name each tone out loud as rapidly as possible. The test score markedly increased for a fairly good number of the children with remarkable improvement from the age of 4 to 7. Children seemed to learn pitches in order of their appearance in music lessons; first, white-key notes, then black-key notes. However, one should be cautious about concluding from the present results that anyone can learn to develop AP with appropriate training, because there may be confounding factors (e.g., sampling bias and a certain dropout rate). Nevertheless, the present results are consistent with the early-learning theory of AP, and may explain the existence of partial AP (greater accuracy for white-key notes) and a high prevalence of AP in Japan. © 2006 by the Regents of the University of California. All Right Reserved.","Absolute pitch; Critical period; Early learning; Music training; Pitch naming","","","","","","","","Abraham O., Das absolute Tonbewusstsein, Sammelbände Der Internationalen Musikgesellschaft, 3, pp. 1-86, (1901); Bachem A., Absolute pitch, Journal of the Acoustical Society of America, 27, pp. 1180-1185, (1955); Baharloo S., Johnston P.A., Service S.K., Gitschier J., Freimer N.B., Absolute pitch: An approach for identification of genetic and nongenetic components, American Journal of Human Genetics, 62, pp. 224-231, (1998); Baharloo S., Service S.K., Risch N., Gitschier J., Freimer N.B., Familial aggregation of absolute pitch, American Journal of Human Genetics, 67, pp. 755-758, (2000); Brady P.T., Fixed-scale mechanism of absolute pitch, Journal of the Acoustical Society of America, 48, pp. 883-887, (1970); Brown W.A., Sachs H., Cammuso K., Folstein S.E., Early music training and absolute pitch, Music Perception, 19, pp. 595-597, (2002); Cohen A.J., Baird K., Acquisition of absolute pitch: The question of critical periods, Psychomusicology, 9, pp. 31-37, (1990); Crozier J.B., Absolute pitch: Practice makes perfect, the earlier the better, Psychology of Music, 25, pp. 110-119, (1997); Cuddy L.L., Practice effects in the absolute judgment of pitch, Journal of the Acoustical Society of America, 43, pp. 1069-1076, (1968); Cuddy L.L., Training the absolute identification of pitch, Perception and Psychophysics, 8, pp. 265-269, (1970); Eguchi T., Eguchi A., Shin Zettai Onkan Program [A New Absolute-Pitch Program], (2001); Gregersen P.K., Kowalsky E., Kohn N., Marvin E.W., Absolute pitch: Prevalence, ethnic variation, and estimation of the genetic component, American Journal of Human Genetics, 65, pp. 911-913, (1999); Levitin D.J., Absolute pitch: Self-reference and human memory, International Journal of Computing and Anticipatory Systems, 4, pp. 255-266, (1999); Levitin D.J., Zatorre R.J., On the nature of early music training and absolute pitch: A reply to Brown, Sachs, Cammuso, and Folstein, Music Perception, 21, pp. 105-110, (2003); Lockhead G.R., Byrd R., Practically perfect pitch, Journal of the Acoustical Society of America, 70, pp. 387-389, (1981); Meyer M., Is the memory of absolute pitch capable of development by training?, Psychological Review, 6, pp. 514-516, (1899); Miyazaki K., The identification of musical pitch by absolute pitch possessors, Perception and Psychophysics, 44, pp. 501-512, (1988); Miyazaki K., Absolute pitch identification: Effects of timbre and pitch region, Music Perception, 7, pp. 1-14, (1989); Miyazaki K., The speed of musical pitch identification by absolute-pitch possessors, Music Perception, 8, pp. 177-188, (1990); Miyazaki K., Absolute pitch as an inability: Identification of musical intervals in a tonal context, Music Perception, 11, pp. 55-72, (1993); Miyazaki K., Perception of relative pitch with different references: Some absolute-pitch listeners can't tell musical interval names, Perception and Psychophysics, 57, pp. 962-970, (1995); Miyazaki K., Rawoski A., Recognition of notated melodies by possessors and nonpossessors of absolute pitch, Perception and Psychophysics, 64, pp. 1337-1345, (2002); Mull H.K., The acquisition of absolute pitch, American Journal of Psychology, 36, pp. 469-493, (1925); Profita J., Bidder T.G., Perfect pitch, American Journal of Medical Genetics, 29, pp. 763-771, (1988); Revesz G., Introduction to the Psychology of Music, (1953); Russo F.A., Windell D.L., Cuddy L.L., Learning the ""special note"": Evidence for a critical period for absolute pitch acquisition, Music Perception, 21, pp. 119-127, (2003); Sakakibara A., A longitudinal study of a process for acquiring absolute pitch, Japanese Journal of Educational Psychology, 47, pp. 19-27, (1999); Sergeant D., Experimental investigation of absolute pitch, Journal of Research in Music Education, 17, pp. 135-143, (1969); Sergeant D., Roche S., Perceptual shifts in the auditory information processing of young children, Psychology of Music, 1, pp. 39-48, (1973); Stumpf C., Tonpsychologie [Psychology of Tone], 1, (1883); Takeuchi A.H., Hulse S.H., Absolute-pitch judgments of black- and white-key pitches, Music Perception, 9, pp. 27-46, (1991); Takeuchi A.H., Hulse S.H., Absolute pitch, Psychological Bulletin, 113, pp. 345-361, (1993); Vitouch O., Absolutist models of absolute pitch are absolutely misleading, Music Perception, 21, pp. 111-117, (2003); Ward W.D., Absolute pitch, Sound, 2, PART I, pp. 14-21, (1963); Ward W.D., Absolute pitch, The Psychology of Music, pp. 265-298, (1999); Wellek A., Das absolute Gehör und seine Typen, Zeitschrift Für Angewandte Psychologie and Charakterkunde-Beihefte, 83, pp. 1-368, (1938); Wellek A., Musikpsychologie and Musikästhetik: Grundriss Der Systematischen Musikwissenschaft [Music Psychology and Music Aesthetics: An Outline of Systematic Musical Science], (1963)","K. Miyazaki; Department of Psychology, Faculty of Humanities, University of Niigata, 950-2181 Niigata, Ikarash-2-no-cho 8050, Japan; email: miyazaki@human.niigata-u.ac.jp","","","","","","","","07307829","","","","English","Music Percept.","Article","Final","","Scopus","2-s2.0-33847790960"
"Royer R.D.","Royer, Randall D. (38162399800)","38162399800","Sound pressure levels and frequencies in secondary public school band programs","2003","Journal of Band Research","38","2","","22","43","21","1","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-60950407162&partnerID=40&md5=1d23d24e7d769cfc938f69f73a3ffa91","","","Previous studies have identified public school band directors as showing signs of a noise-induced hearing loss. The present study measured sound pressure levels in secondary public school band rooms to determine the level of sound band directors are exposed to during concert and jazz band rehearsals. The sound generated during rehearsals was also analyzed by one-third octave increments. This information was compared to the Occupational Safety and Health Administration's standards for noise exposure in industry. Fifty sound measurements (N = 50) were taken in 23 band rooms for this study. Additional measurements were also taken during a high school and a junior high school sight-reading contest. Sound levels measured during this study were found not to exceed the OSHA's standards for noise exposure. Sound levels measured did identify 30% of the band directors at risk of a noise-induced hearing loss when other standards were used.","","","","","","","","","Axelsson A., Clark W., Hearing conservation programs for nonserved occupations and populations, Occupational hearing loss, 10, 3, (1995); Cutietta R.A., Klich R.J., Royse D., Rainbolt H., The incidence of noise-induced hearing loss among music teachers, Journal of Research in Music Education, 42, pp. 318-330, (1994); Cutietta R.A., Millin J., Royse D., Noise-induced hearing loss among school band directors, Bulletin of the Council for Research in Music Education, 101, pp. 41-49, (1989); Dibble K., Hearing loss & music, Journal of the Audio Engineering Society, 43, 4, pp. 251-266, (1995); Fearn R.W., Hearing loss in musicians, Journal of Sound and Vibration, 163, 2, pp. 372-378, (1993); Gumm A.J., The identification and measurement of music teaching styles, Dissertation Abstracts International, 52, (1992); Kryter K.D., The effects of noise on man, (1985); Kryter K.D., The handbook of hearing and the effects of noise, (1994); Melnick W., Occupational noise standards: Status and critical issues, Noise-induced hearing loss, pp. 521-530, (1992); Miskiewicz A., Rakowski A., Loudness level versus sound-pressure level: A comparison of musicalinstruments, Journal of the Acoustical Society of America, 96, 6, pp. 3375-3379, (1994); Noise and hearing loss, 8, 1, pp. 1-24, (1990); Industrial hygiene field operations manual, 6, (1984); Royster J.D., Royster L.H., Killion M.C., Sound exposures and hearing thresholds of symphony orchestra musicians, Journal of the Acoustical Society of America, 89, 6, pp. 2793-2803, (1991); Sataloff R.T., Sataloff J., Hearing loss in musicians, Textbook of performing arts medicine, pp. 301-317, (1991); Sataloff R.T., Sataloff J., Occupational hearing loss, (1993); Schmidt J.M., Verschuure J., Brocaar M.P., Hearing loss in musicians, Audiology, 33, pp. 185-194, (1994); Shotland L.I., The effects of microphone placement and azimuth on acousticcharacteristics of Type A impulses, Dissertation Abstracts International, 47, (1987); Solomon E., The not-so-silent menace, The Instrumentalist, 41, 3, pp. 24-33, (1986); Strahm C., pcRTA. [Computer Program Manual], (1994); Suter A.H., The relationship of the exchange rate to noise-induced hearing loss, 127th meeting of the American Standards Association, (1994); Suter A.H., Current standards for occupational exposure to noise, Scientific basis of noise-induced hearing loss, pp. 415-429, (1996); Tempest W., Noise and hearing, The noise handbook, pp. 47-67, (1985); Templeton D., Acoustics in the built environment, (1993); Waser M.P., Crocker M.J., Introduction to the two-microphone cross-spectral method of determiningsound intensity, Noise Control Engineering Journal, 22, 3, pp. 76-85, (1984); Weed L.E., Weed J.S., On tape, (1987)","","","","","","","","","00219207","","","","English","J. Band Res.","Article","Final","","Scopus","2-s2.0-60950407162"
"Gromko J.E.","Gromko, Joyce Eastlund (26035992400)","26035992400","Predictors of music sight-reading ability in high school wind players","2004","Journal of Research in Music Education","52","1","","6","15","9","46","10.2307/3345521","https://www.scopus.com/inward/record.uri?eid=2-s2.0-33747802228&doi=10.2307%2f3345521&partnerID=40&md5=e1a7f6877b538e0cd978de9495b2121b","Bowling Green State University; Department of Music Education, College of Musical Arts, Bowling Green State University, Bowling Green, OH 43403, United States","Gromko J.E., Bowling Green State University, Department of Music Education, College of Musical Arts, Bowling Green State University, Bowling Green, OH 43403, United States","The purpose of this study, grounded in near-transfer theory, was to investigate relationships among music sight-reading and tonal and rhythmic audiation, visual field articulation, spatial orientation and visualization, and achievement in math concepts and reading comprehension. A regression analysis with data from four high schools (N = 98) in the American Midwest yielded a 4-variable model that included reading comprehension, rhythmic audiatio71, visual field articulation, and spatial orientation, F = 21.26, p < 0.001, accounting for 48% of the variance on music sight-reading. The results support previous studies in music education, cognitive science, and neuroscience that have shown that music reading draws on a variety of cognitive skills that include reading comprehension, audiation, spatial-temporal reasoning, and visual perception of patterns rather than individual notes. Copyright © 2004 by MENC: The National Association for Music Education.","","","","","","","","","Boyle J., The effect of prescribed rhythmical movements on the ability to read music at sight, Journal of Research in Music Education, 18, pp. 307-308, (1970); Ciepluch G., Sightreading achievement in instrumental music performance, learning gifts and academic achievement: A correlation study, (1988); Ekstrom R., French J., Harman H., Dermen D., Kit of factor-referenced cognitive tests, (1976); Elliott C., The relationships among instrumental sight-reading ability and seven selected predictor variables, Journal of Research in Music Education, 30, pp. 5-14, (1982); Gardner H., Frames of mind, (1983); Gobert J., Expertise in the comprehension of architectural plans, (1994); Goolsby T., Music reading as language reading or picture-viewing, Southern Division conference of MENC, (1989); Goolsby T., Profiles of processing: Eye-movements during sightreading, Music Perception, 12, pp. 97-123, (1994); Gordon E., Advanced Measures of Music Audiation, (1989); Gromko J., Poorman A., The effect of music training on preschoolers' spatial-temporal task performance, Journal of Research in Music Education, 46, pp. 173-181, (1998); Gromko J., Russell C., Relationships among young children's aural perception, listening condition, and accurate reading of graphic listening maps, fournal of Research in Music Education, 50, pp. 333-342, (2002); Hetland L., Learning to make music enhances spatial reasoning, Journal of Aesthetic Education, 34, 3-4, pp. 179-238, (2000); Holzman P., The relation of assimilation tendencies in visual, auditory, and kinesthetic time-error to cognitive attitudes of leveling and sharpening, Journal of Personality, 22, pp. 375-394, (1954); Hoover H., Dunbar S., Frisbie D., Oberley K., Bray G., Naylor R., Lewis J., Ordman V., Quails A., The Iowa tests, (2003); Kolers P., Duchnicky R., Sundstroem G., Size in the visual processing of faces and words, Journal of Experimental Psychology: Human Perception and Performance, 11, pp. 726-751, (1985); Lehmann A., McArthur V., 2002, Sight-reading, The science & psychology of music performance: Creative strategies for teaching and learning; Mainwaring J., Psychological factors in the teaching of music: Part II: Applied musicianship, British Journal of Educational Psyclwlogy, 21, 3, pp. 199-213, (1951); McPherson G., Gabrielsson A., From sound to sign, The science & psychology of music performance: Creative strategies for teaching and learning, (2002); Palmer M., Relative effectiveness of two approaches to rhythm reading for fourth-grade students, Journal of Research in Music Education, 24, pp. 110-118, (1976); Rauscher F., Shaw G., Levine L., Wright E., Dennis W., Newcomb R., Music training causes long-term enhancement of preschool children's spacial-temporal reasoning, Neurological Research, 19, 1, (1997); Salomon G., Perkins D., Rocky roads to transfer: Rethinking mechanisms of a neglected phenomenon, Educational Psychologist, 24, pp. 113-142, (1989); Sergent J., Zuck E., Terriah S., MacDonald B., Distributed neural network underlying musical sight-reading and keyboard performance, Science, 257, pp. 106-109, (1992)","J. E. Gromko; Bowling Green State University, United States; email: jgromko@bgnet.bgsu.edu","","SAGE Publications Inc.","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-33747802228"
"Freeman J.","Freeman, Jason (7403529502)","7403529502","Extreme sight-reading, mediated expression, and audience participation: Real-time music notation in live performance","2008","Computer Music Journal","32","3","","25","41","16","55","10.1162/comj.2008.32.3.25","https://www.scopus.com/inward/record.uri?eid=2-s2.0-54249158432&doi=10.1162%2fcomj.2008.32.3.25&partnerID=40&md5=77a32458cf1a78790e57f1399d660167","Music Department, College of Architecture, Georgia Institute of Technology, Atlanta, GA 30332-0456, 840 McMillan Street, United States","Freeman J., Music Department, College of Architecture, Georgia Institute of Technology, Atlanta, GA 30332-0456, 840 McMillan Street, United States","Real-time music notation within the context of algorithmic and computer-assisted composition and also within the aesthetic framework of open-form composition are described. The two key motivations for the pursuit of real-time music notation systems: mediating the output of live performance algorithms through human musical expressions and connecting audiences to musicians by allowing them to influence the behavior of those algorithms have been discussed. Lastly, two major challenges associated with real-time notation systems that is, rehearsing the music and illustrating the process to the audience in addition to a variety of ways addressing these issues are explored.","","Systems analysis; Live performances; Music notations; Musical expressions; Notation systems; Real time systems","","","","","","","Ames C., Automated Composition in Retrospect: 1956-1986, Leonardo, 20, 2, pp. 169-185, (1987); Assayag G., Et al., Computer-Assisted Composition at IRCAM: From PatchWork to OpenMusic, Computer Music Journal, 23, 3, pp. 59-72, (1999); Baird K., Real-Time Generation of Music Notation via Audience Interaction Using Python and GNU Lilypond, Proceedings of the 2005 International Conference on New Interfaces for Musical Expression, pp. 240-241, (2005); Bent I., Et al., Notation, §1, 1: General: Introduction, Grove Music Online, (2007); Brown E., Available Forms I, (1961); Brown E., Calder Piece. Rye, (1966); Brown E., Transformations and Developments of a Radical Aesthetic, Current Musicology, 67-68, pp. 39-57, (1999); Chadabe J., Remarks on Computer Music Culture, Computer Music Journal, 24, 4, pp. 9-11, (2000); Cope D., Experiments in Musical Intelligence, (1996); Dannenberg R., A Brief Survey of Music Representation Issues, Techniques, and Systems, Computer Music Journal, 17, 3, pp. 20-30, (1993); Dannenberg R., Interactive Visual Music: A Personal Perspective, Computer Music Journal, 29, 4, pp. 25-35, (2005); Didkovsky N., Zero Waste (score and recording), (2002); Didkovsky N., Recent Compositions and Performance Instruments Realized in the lava Music Specification Language, Proceedings of the 2004 International Computer Music Conference, pp. 746-749, (2004); Didkovsky N., Burk P., Java Music Specification Language: An Introduction and Overview, Proceedings of the 2001 International Computer Music Conference, pp. 123-126, (2001); Essl K., Champ d'Action, (1998); Freeman J., Large Audience Participation, Technology, and Orchestral Performance, Proceedings of the 2005 International Computer Music Conference, pp. 757-760, (2005); Garnett G., The Aesthetics of Interactive Computer Music, Computer Music Journal, 25, 1, pp. 21-33, (2001); Gutknecht J., Clay A., Frey T., GoingPublik: Using Realtime Global Score Synthesis, Proceedings of 2005 International Conference on New Interfaces for Musical Expression, pp. 148-151, (2005); Hajdu G., Automatic Composition and Notation in Network Music Environments, Proceedings of Sound and Music Computing, (2006); Hiller L., Composing with Computers: A Progress Report, Computer Music Journal, 5, 4, pp. 7-21, (1981); Hiller L., Isaacson L., Illiac Suite for String Quartet, (1957); Hiller L., Isaacson L., Experimental Music: Composition with an Electronic Computer, (1959); Hughes S., How to Write an Overture: A Rossini Recipe, Musical Times, 97, 1359, pp. 247-249, (1956); Jennings K., ″Toy Symphony': An International Music Technology Project for Children, Music Education International, 2, pp. 3-21, (2003); Kim-Boyle D., Musical Score Generation in Valses and Etudes, Proceedings of the 2005 International Conference on New Interfaces for Musical Expression. New, pp. 238-239, (2005); Kush J., (2008); Kuuskankare M., Laurson M., Expressive Notation Package, Computer Music Journal, 30, 4, pp. 67-79, (2006); Laske O., Composition Theory in Koenig's Project 1 and, Computer Music Journal, 5, 4, pp. 54-65, (1981); Mann S., Natural Interfaces for Musical Expression: Physiphones as Primordial Infra-Instruments, Proceedings of the 2007 International Conference on New Interfaces in Musical Expression, pp. 118-123, (2007); Morales-Manzanares R., Non-Deterministic Automatons Controlled by Rules for Composition, Proceedings of the 1992 International Computer Music Conference, pp. 400-401, (1992); Nauert P., A Theory of Complexity to Constrain the Approximation of Arbitrary Sequences of Timepoints, Perspectives of New Music, 32, 2, pp. 226-263, (1994); Nummiaro K., Koller-Meier E., Van Gool L., An Adaptive Color-Based Particle Filter, Image and Vision Computing, 21, 1, pp. 99-110, (2003); Roads C., The Computer Music Tutorial, (1996); Rokeby D., The Construction of Experience: Interface as Content, Digital Illusion: Entertaining the Future with High Technology, pp. 27-48, (1998); Rothstein E., Calder Mobile Conducts a Work by Earle Brown, The New York Times, C18, (1981); Sherwood T., Personal iipterview, (2008); Stockhausen K., Klavierstück XI, (1957); Tanaka A., Musical Performance Practice on Sensor-based Instruments, Trends in Gestural Control of Music, pp. 389-406, (2000); Winkler C., The Realtime-Score: A Missing-Link in Computer-Music Performance, Proceedings of Sound and Music Computing, (2004); Winkler T., Composing Interactive Music: Techniques and Ideas Using Max, (1998); Wulfson H., Barrett G., Winter M., Automatic Notation Generators, Procecding of the 2007 International Conference on New Interfaces in Musical Expression, pp. 346-351, (2007); Xenakis I., Formalized Music, (1992)","J. Freeman; Music Department, College of Architecture, Georgia Institute of Technology, Atlanta, GA 30332-0456, 840 McMillan Street, United States; email: jason.freeman@music.gatech.edu","","","","","","","","15315169","","CMUJD","","English","Comput Music J","Article","Final","","Scopus","2-s2.0-54249158432"
"Mayr A.","Mayr, Albert (57028981900)","57028981900","Sketches for a low-frequency solfège","1985","Music Theory Spectrum","7","1","","107","113","6","2","10.2307/745882","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84952397435&doi=10.2307%2f745882&partnerID=40&md5=ff4120445f22de512278ef56adc60ae0","Florence Conservatory of Music, Italy","Mayr A., Florence Conservatory of Music, Italy","[No abstract available]","","","","","","","","","Godwin J., The Revival of Speculative Music, Musical Quarterly, 68, pp. 373-389, (1982); Haase R., Der Messbare Einklang: Grundziige Einer Empirischen Weltharmonik, (1976); Kayser H., Akroasis: Die Lehre Von Der Harmonik Der Welt, 3D Ed. (Basel: Schwabe, (1976); Vicario G., Tempo Psicologico Ed Eventi, (1973); Gibson J., Events are Perceivable But Time Is Not, Of Time!, pp. 295-301, (1975); Bielawski L., The Zones of Time in Music and Human Activity, The Study of Time, 4, pp. 173-179, (1981); Mosetti F., Considerazioni Preliminari per Una Legge Sulle Periodicity naturali,” Tecnica Ilaliana, 11","","","","","","","","","01956167","","","","English","Music Theory Spectr.","Article","Final","","Scopus","2-s2.0-84952397435"
"Wristen B.; Evans S.; Stergiou N.","Wristen, Brenda (12786431400); Evans, Sharon (57214157899); Stergiou, Nicholas (7004254944)","12786431400; 57214157899; 7004254944","Sight-reading versus repertoire performance on the piano: A case study using high-speed motion analysis","2006","Medical Problems of Performing Artists","21","1","","10","16","6","4","10.21091/mppa.2006.1003","https://www.scopus.com/inward/record.uri?eid=2-s2.0-33645067901&doi=10.21091%2fmppa.2006.1003&partnerID=40&md5=280f28f95c9ce524dfa0f2a70827cfd0","School of Music, University of Nebraska-Lincoln, Lincoln, NE, United States; University of Nebraska-Lincoln, Madonna Rehabilitation Hospital, Lincoln, NE, United States; HPER Biomechanics Laboratory, University of Nebraska at Omaha, Omaha, NE, United States; 343 Westbrook Music Bldg., Lincoln, NE 68588-0100, United States","Wristen B., School of Music, University of Nebraska-Lincoln, Lincoln, NE, United States, 343 Westbrook Music Bldg., Lincoln, NE 68588-0100, United States; Evans S., University of Nebraska-Lincoln, Madonna Rehabilitation Hospital, Lincoln, NE, United States; Stergiou N., HPER Biomechanics Laboratory, University of Nebraska at Omaha, Omaha, NE, United States","This study was intended to examine whether differences exist in the motions employed by pianists when they are sight-reading versus performing repertoire and to determine whether these differences can be quantified using high-speed motion capture technology. A secondary question of interest was whether or not an improvement in the efficiency of motion could be observed between two sight-reading trials of the same musical excerpt. This case study employed one subject and a six-camera digital infrared camera system to capture the motion of the pianist playing two trials of a repertoire piece and two trials of a sight-reading excerpt. Angular displacements and velocities were calculated for bilateral shoulder, elbow, wrist, and index finger joints. The findings demonstrate the usefulness of high-speed motion capture technology for analyzing motions of pianists during performance, showing that the subject's motions were less efficient in sight-reading tasks than is repertoire tasks.","","adult; article; cognition; elbow; female; finger joint; human; human experiment; index finger; movement (physiology); musician; normal human; pedagogics; reading; velocity; wrist","","","","","","","Lehmann A.C., Ericsson K.A., Performance without preparation: Structure and acquisition of expert accompanying and sight-reading performance, Psychomusicology, 15, pp. 1-29, (1996); McPherson G.E., Factors and abilities influencing sightreading skill in music, J Res Music Educ, 42, pp. 217-231, (1994); Sloboda J.A., The eye-hand span: An approach to the study of sight-reading, Psychol Music, 2, pp. 4-10, (1974); Sloboda J.A., Phrase units as determinants of visual processing in music reading, Br J Psychol, 68, pp. 117-124, (1977); Furneaux S., Land M.F., The effects of skill on the eye-hand span during musical sight-reading, Proc Royal Soc Lond Series B, 266, pp. 2435-2440, (1999); Goolsby T.W., Profiles of processing: Eye movements during sightreading, Music Percept, 12, pp. 97-123, (1994); Waters A., Underwood G., Eye movements in a simple music reading task: A study of experts and novice musicians, Psychol Music, 26, pp. 46-60, (1998); Waters A., Townsend E., Underwood G., Expertise in musical sight reading: A study of pianists, Br J Psychol, 89, pp. 123-149, (1998); Halsband U., Binkofski F., Camp M., The role of the perception of rhythmic grouping in musical performance: Evidence from motor-skill development in piano playing, Music Percept, 11, pp. 265-288, (1994); Sloboda J.A., The Musical Mind: The Cognitive Psychology of Music (Rev. Ed.), (1993); Sloboda J.A., Parncutt R., Clarke E.F., Raekallio M., Determinants of finger choice in piano sight-reading, J Exp Psychol, 24, pp. 185-203, (1998); Shaffer L.H., Performances of chopin, bach, and bartok: Studies in motor programming, Cogn Psychol, 13, pp. 326-376, (1981); Westney W., The Perfect Wrong Note, (2003); Shan G., Visentin P., Schultz A., Multidimensional signal analysis as a means of better understanding factors associated with repetitive use in violin performance, Med Probl Perform Art, 19, pp. 129-139, (2004); Stergiou N., Buzzi U.H., Kurz M.J., Heidel J., Nonlinear tools in human movement, Innovative Analyses of Human Movement, pp. 63-90, (2003); Stergiou N., Bates B.T., James S.L., Asynchrony between subtalar and knee joint function during running, Med Sci Sports Exercise, 31, 11, pp. 1645-1655, (1999); Manchester R.A., Medical aspects of musical development, Psychomusicology, 7, 2, pp. 147-152, (1988); Sataloff R.T., Brandfonbrener A.G., Lederman R.J., Textbook of Performing Arts Medicine, (1991); Fry H.J.H., How to treat overuse injury: Medicine for your practice, Music Educ J, 72, MAY, pp. 44-49, (1986); Brandfonbrener A.G., The medical problems of musicians, Am Music Teacher, APRIL-MAY, 37-55, (1988)","B. Wristen; 343 Westbrook Music Bldg., Lincoln, NE 68588-0100, United States; email: bwristen2@unl.edu","","Science and Medicine Inc.","","","","","","08851158","","MPPAE","","English","Med. Probl. Perform. Artists","Article","Final","","Scopus","2-s2.0-33645067901"
"Daniels R.D.","Daniels, Rose Dwiggins (57189400528)","57189400528","Relationships Among Selected Factors and the Sight-Reading Ability of High School Mixed Choirs","1986","Journal of Research in Music Education","34","4","","279","289","10","15","10.2307/3345261","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84970207565&doi=10.2307%2f3345261&partnerID=40&md5=238d6ba026d76606374752b2538df776","Richland County School District One, Columbia, South Carolina, United States","Daniels R.D., Richland County School District One, Columbia, South Carolina, United States","The purpose of this study was to investigate the relationships among sight-reading ability in the high school mixed chorus and selected variables in four categories: the school, the music curriculum, the chorus teacher, and the chorus students. Twenty high school select mixed choirs and chorus teachers participated in the study. Data were obtained through teacher and student questionnaires. A sight-reading test was administered and recorded at each of the 20 schools, and the performances were rated by five expert adjudicators. Based on the findings of this study, the factors that, in combination, best predict sight-reading ability are: the ethnic makeup of the school, a large percentage of choir students with a piano in their home, a rural school, an occasional use of rote procedures to teach music, a large percentage of choir students who participated in all-state chorus, a large proportion of choir students with experience playing a musical instrument, a large high school, and a chorus teacher who believes in the importance of sight-reading instruction in the high school chorus. © 1986, SAGE Publications. All rights reserved.","","","","","","","","","Birge E.G., History of Public School Music in the United States, (1966); Colwell R., An investigation of musical achievement among vocal students, vocal-instrumental students, and instrumental students, Journal of Research in Music Education, 11, pp. 123-130, (1963); Ernst K.D., A study of certain practices in music education in school systems of cities over 150,000 population, Journal of Research in Music Education, 1, (1957); Flom J.H., An investigation of growth in musical facts and concepts, in musical discrimination, and in vocal performance proficiency as a result of senior high school vocal music experiences (Doctoral dissertation, University of Minnesota, Minneapolis, 1969), Dissertation Abstracts International, 30, (1969); Goodnight J.H., Ray A.A., SAS User's Guide: Statistics, (1982); Hales B.W., A study of music reading programs in high school choruses in the Rocky Mountain States (Doctoral dissertation, University of Oregon, Eugene, 1961), Dissertation Abstracts, 22, (1961); Major J.E., The effect of rhythmic subdivision activity upon rhythmic performance skills of subjects in high school mixed choirs (Doctoral dissertation, University of Wisconsin, Madison, 1976), Dissertation Abstracts International, 38, (1976); Penna J., The New Versus Tradition in Music Education-Source Book III, (1966); Tellstrom A.T., Music in American Education., (1971); Tucker D.W., Factors related to musical reading ability of senior high school students participating in choral groups (Doctoral dissertation, University of California, Berkley, 1969), Dissertation Abstracts International, 31, (1969); Weyland R.H., The effects of a workshop on certain fourth-grade teachers’ skills in teaching music reading, (1955)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84970207565"
"Harrison C.S.","Harrison, Carole S. (39361422000)","39361422000","The validity of the musical aptitude profile for predicting grades in freshman music theory","1987","Educational and Psychological Measurement","47","2","","477","482","5","6","10.1177/0013164487472021","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84973794725&doi=10.1177%2f0013164487472021&partnerID=40&md5=420d73306260ef9b1aae6cf398e7e4e1","California State University, Fullerton, United States","Harrison C.S., California State University, Fullerton, United States","For a sample of 135 freshman music majors who completed one semester of music theory coursework, and for a sample of 104 freshman music majors who also completed a second semester of music theory coursework, the purpose of this study was to determine the criterion-related validity of the Musical Aptitude Profile (MAP) (Gordon, 1965) in relation to achievement in freshman music theory as determined by semester grades in the courses and by grades in the three components of the courses. It was concluded that the Tonal Imagery subtest of the MAP shows promise as a valid predictor of success in all three components of each of the two beginning music theory courses. In addition, the Rhythm Imagery subtest of the MAP is modestly valid in predicting grades in the sight-singing and ear-training components of the music theory courses, but not in the written work component. No statistically significant validity coefficients were obtained for Musical Sensitivity subtest scores as predictors of theory grades, and the Composite Score on the MAP afforded little or no increment in the degree of predictive validity over that provided by the Tonal Imagery or the Rhythm Imagery subtest. © 1987, Sage Publications. All rights reserved.","","","","","","","","","Arenson M.A., The validity of certain entrance tests as predictors of grades in music theory and ear training, Council of Research in Music Education, 75, pp. 33-39, (1983); Gordon E., Musical Aptitude Profile, (1965); Gordon E., Implications for the use of the Musical Aptitude Profile with college and university freshman music students, Journal of Research in Music Education, 15, pp. 32-40, (1967); Lee R.E., An investigation of the use of the Musical Aptitude Profile with college and university freshman music majors, Journal of Research in Music Education, 15, pp. 278-288, (1967); Schleuter S.L., Use of standardized tests of musical aptitude with university freshman music majors, Journal of Research in Music Education, 22, pp. 258-269, (1974); Schleuter S.L., A predictive study of an experimental college version of the Musical Aptitude Profile with certain music achievement of college music majors, Psychology of Music, 11, pp. 32-36, (1983)","","","","","","","","","00131644","","","","English","Educ. Psychol. Meas.","Article","Final","","Scopus","2-s2.0-84973794725"
"Southcott J.E.","Southcott, Jane E. (26034625800)","26034625800","Early 19th century music pedagogy – german and english connections","2007","British Journal of Music Education","24","3","","313","333","20","2","10.1017/S0265051707007607","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85041081134&doi=10.1017%2fS0265051707007607&partnerID=40&md5=bbed217b1408ff71c49fb0819c8a9ed6","Monash University, Victoria, 3800, Clayton Campus, Australia","Southcott J.E., Monash University, Victoria, 3800, Clayton Campus, Australia","Calls to improve congregational psalmody in 18th century England strongly influenced early music pedagogy. In the first decades of the 19th century English music educators, concerned with psalmody and music in charitable schools, looked to Germany for models of successful practice. The Musikalisches Schulgesangbuch (1826) by Carl Gotthelf Gläser (1784–1829) influenced the music materials designed by Sarah Anna Glover (1786–1867). These, in turn, directly influenced John Turner (dates unknown), William Hickson (1803–1870) and, indirectly, John Curwen (1816–1880). It is illuminating to explore how influential a small collection of German didactic songs could be during an early and very active phase of the development of English school music curricula. © 2007 Cambridge University Press.","","","","","","","","","A Dictionary of Musicians, (1824); Charon M., On the Different Schools, The Quarterly Musical Magazine and Review, 3, 9, pp. 273-295, (1821); Cole W., A View of Modern Psalmody Being an Attempt to Reform the Practice of Singing in the Worship of God, (1819); Cunningham F., A Selection of Psalm Tunes, Extracted from Various Authors, Chiefly Adapted to Public Worship; with Appendix, Containing Hymns for the Principal Festivals of the Church of England and for Family and Private Use., (1824); Curwen J., Lessons on Singing. Letter III, The Independent Magazine, pp. 58-63, (1842); Curwen J., Lessons on Singing. Letter VII, The Independent Magazine, pp. 390-392, (1842); Curwen J., A visit to Miss Glover’s school, The Independent Magazine, pp. 214-218, (1842); Curwen J., Singing for Schools and Congregations, (1843); Curwen J., Singing for Schools and Congregations a Grammar of Vocal Music; Curwen J., The Teacher’s Manual of the Tonic Sol-Fa Method, (1875); Curwen J., The Standard Course of Lessons and Exercises in the Tonic Sol-Fa Method of Teaching Music, (1892); Gibson E., The Excellent Use of Psalmody with a Course of Singing-Psalms for Half a Year, (1811); Glaser K.G., Musikalisches Schulgesangbuch Methodisch Geordnet Nach Natorps Anleitung Zur Unterweisung Im Singen in Zwei Kursen, (1826); Glaser K.G., Evangelisches Choral Melodienbuch Enthaltend 140 Choralmelodien, (1826); Glover S.A., German Canons Or Singing Exercises and Psalm Tunes Expressed in the Sol-Fa Notation of Music, (1834); Glover S.A., Scheme for Rendering Psalmody Congregational, (1835); Glover S.A., Guide to Sol-Fa-Ing; Containing German Canons, also Psalm Tunes according to All Measures Employed by Brady and Tate, (1838); Gurlitt W., Riemann Musik Lexicon. Personenteil A-K, (1959); Hickson W.E., The Singing Master, (1836); Hickson W.E., The Singing Master, (1839); Hickson W.E., Dutch and German Schools. an Account of the Present State of Education in Holland, Belgium, and the German States, with a View to the Practical Steps Which Should Be Taken for Improving and Extending the Means of Popular Instruction in Great Britain and Ireland, (1840); Hodgson R., The Life of the Right Reverend Beilby Porteus, D.D., Late Bishop of London, (1811); Hullah J., Wilhem’s Method of Teaching Singing, Adapted to English Use, (1849); Hyde D., New Found Voices: Women in Nineteenth-Century English Music, (1998); Kennedy R., Thoughts on the Music and Words of Psalmody as at Present in Use among the Members of the Church of England, (1821); Kertz-Welzel A., The singing muse? Three centuries of music education in Germany, Journal of Historical Research in Music Education, 21, 1, pp. 8-27, (2004); Lightwood J.T., The Music of the Methodist Hymn-Book, (1950); Mainzer J., Singing for the Millions, (1841); Mainzer J., A Treatise on Musical Grammar, and the Principles of Harmony, (1843); Natorp B.C.L., Anleitung Zur Unterweisung Im Singen für Lehrer in Volksschulen, (1824); Pfeiffer M.T., Nageli H.G., Gesangbildungslehre Nach Pestalozzischen Grundsätzen pädagogisch begründet Von Michael Traugott Pfeiffer, Methodisch Bearbeitet Von Hans Georg Nägeli, (1810); Rainbow B., Introduction, John Turner a Manual of Instruction in Vocal Music (1833), pp. 5-11, (1983); Rainbow B., Music in Educational Thought and Practice, (1989); Educational Magazine, 1, 3, (1841); Scholes P.A., The Mirror of Music, (1947); Snooke W.D., Parochial Psalmody: Being Select Portions of the New Version of Psalms, for the Use of Churches and Chapels, (1827); The Tonic-Solfa Reporter, and Magazine of Vocal Music for the People, (1856); Turner J., Manual of Instruction in Vocal Music, Chiefly with a View to Psalmody with an Historical Introduction, (1833); Turner J., The Class Singing-Book for Schools and Families, with Canons, Tunes and Exercises, for Practice, (1838); Turner J., Manual of Instruction in Vocal Music, Chiefly with a View to Psalmody with an Historical Introduction, (1841); Weir A.J., The Macmillan Encyclopaedia of Music and Musicians in One Volume, (1938)","J.E. Southcott; Monash University, Victoria, 3800, Clayton Campus, Australia; email: Jane.Southcott@education.monash.edu.au","","","","","","","","02650517","","","","English","Br. J. Music Educ.","Article","Final","","Scopus","2-s2.0-85041081134"
"Kopiez R.; Weihs C.; Ligges U.; Lee J.I.","Kopiez, Reinhard (15923451000); Weihs, Claus (6602344572); Ligges, Uwe (56089414000); Lee, Ji In (13102956000)","15923451000; 6602344572; 56089414000; 13102956000","Classification of high and low achievers in a music sight-reading task","2006","Psychology of Music","34","1","","5","26","21","37","10.1177/0305735606059102","https://www.scopus.com/inward/record.uri?eid=2-s2.0-33646082716&doi=10.1177%2f0305735606059102&partnerID=40&md5=69c71f3503070a7263c8941f0391f461","Hanover University of Music and Drama, Germany; University of Dortmund, Germany; Department of Music Psychology, Hanover University of Music and Drama; Hanover University of Music and Drama, 30175 Hanover, Emmichplatz 1, Germany; University of Dortmund, Department of Statistics, 44221 Dortmund, Vogeslpothsweg 87, Germany","Kopiez R., Hanover University of Music and Drama, Germany, Department of Music Psychology, Hanover University of Music and Drama, Hanover University of Music and Drama, 30175 Hanover, Emmichplatz 1, Germany; Weihs C., University of Dortmund, Germany, University of Dortmund, Department of Statistics, 44221 Dortmund, Vogeslpothsweg 87, Germany; Ligges U., University of Dortmund, Germany, University of Dortmund, Department of Statistics, 44221 Dortmund, Vogeslpothsweg 87, Germany; Lee J.I., Hanover University of Music and Drama, Germany, Hanover University of Music and Drama, 30175 Hanover, Emmichplatz 1, Germany","The unrehearsed performance of music, called 'sight-reading' (SR), is a basic skill for all musicians. It is of particular interest for musical occupations such as the piano accompanist, the conductor, or the correpetiteur. However, up until now, there is no theory of SR which considers all relevant factors such as practice-related variables (e.g. expertise), speed of information processing (e.g. mental speed), or psychomotor speed (e.g. speed of trills). Despite the merits of expertise theory, there is no comprehensive model that can classify subjects into high- and low-performance groups. In contrast to previous studies, this study uses a data mining approach instead of regression analysis and tries to classify subjects into predetermined achievement classes. It is based on an extensive experiment in which the total SR performance of 52 piano students at a German music department was measured by use of an accompanying task. Additionally, subjects completed a set of psychological tests, such as tests of mental speed, reaction time, working memory, inner hearing, etc., which were found in earlier studies to be useful predictors of SR achievement. For the first time, classification methods (cluster analysis, regression trees, classification trees, linear discriminant analysis) were applied to determine combinations of variables for classification. Results of a linear discriminant analysis revealed a two-class solution with four predictors (cross-validated error: 15%) and a three-class solution with five predictors (cross-validated error: 33%). Copyright © 2006 Society for Education, Music and Psychology Research.","Music performance; Music reading; Performance analysis","","","","","","","","Annett M., Left, Right, Hand and Brain: The Right Shift Theory, (1985); Annett M., Kilshaw D., Right- and Left-Hand Skill: II. Estimating the Parameters of the Distribution of L-R Differences in Males and Females, British Journal of Psychology, 74, 2, pp. 269-283, (1983); Breiman L., Friedman J., Olshen R., Stone C., Classification and Regression Trees, (1984); Brodsky W., Henik A., Rubinstein B.-S., Zorman M., Auditory Imagery from Musical Notation in Expert Musicians, Perception & Psychophysics, 65, 4, pp. 602-612, (2003); Crawford S.L., Resampling Strategies for Recursive Partitioning Classification with the CART Algorithm, (1987); Dixon S., MidiCompare (computer software), (2002); Drosler A., Visuelle Wahrnehmungen Von Notenfolgen: eine experimentelle Untersuchung zum Kurzzeitgedächtnis Von Experten- und Laienmusikern verschiedener Altersgruppen' (Visual perception of note sequences: An experimental investigation of the short-term memory of expert and non-expert musicians of different age groups), (1989); Eaton J.L., A Correlation Study of Keyboard Sight-Reading Facility with Previous Training, Note-Reading, Psychomotor, and Memorization Skills, (1978); Hastie T.J., Tibshirani R.J., Friedman J., The Elements of Statistical Learning: Data Mining Inference and Prediction, (2001); Kilshaw D., Annett M., Right- and Left-Hand Skill: I. Effects of Age, Sex and Hand Preference Showing Superior Skill in Left-Handers, British Journal of Psychology, 74, 2, pp. 253-268, (1983); Kornicke L.E., An Exploratory Study of Individual Difference Variables in Piano Sight-Reading Achievement, (1992); Kornicke L.E., An Exploratory Study of Individual Difference Variables in Piano Sight-Reading Achievement, Quarterly Journal of Music Teaching and Learning, 6, 1, pp. 56-79, (1995); Lee I J., Component Skills Involved in Sight Reading Music, (2004); Lehmann A.C., Ericsson K.A., Sight-reading Ability of Expert Pianists in the Context of Piano Accompanying, Psychomusicology, 12, 2, pp. 182-195, (1993); Lehmann A.C., Ericsson K.A., Performance without Preparation: Structure and Acquisition of Expert Sight-reading and Accompanying Performance, Psychomusicology, 15, 12, pp. 1-29, (1996); Lehmann A.C., McArthur V., Sight-reading, The Science and Psychology of Musical Performance: Creative Strategies for Music Teaching and Learning, pp. 135-150, (2002); Macmillan N.A., Creelman C.D., Detection Theory: A User's Guide, (1991); McPherson G.E., Factors and Abilities Influencing the Development of Visual, Aural and Creative Performance Skills in Music and their Educational Implications, (1993); McPherson G.E., The Assessment of Musical Performance: Development and Validation of Five New Measures, Psychology of Music, 23, 2, pp. 142-161, (1995); McPherson G.E., Gabrielsson A., From Sound to Sign, The Science and Psychology of Musical Performance: Creative Strategies for Music Teaching and Learning, pp. 99-115, (2002); McPherson G.E., Bailey M., Sinclair K., Path Analysis of a Model to Describe the Relationship Among Five Types of Musical Performance, Journal of Research in Music Education, 45, 1, pp. 103-129, (1997); Oberauer K., Suess H.-M., Schulze R., Wilhelm O., Wittmann W.W., Working Memory Capacity - Facets of a Cognitive Ability Construct, Personality & Individual Differences, 29, 6, pp. 1017-1045, (2000); Oldfield R.C., The Assessment and Analysis of Handedness: The Edinburgh Inventory, Neuropsychologia, 9, 1, pp. 97-113, (1971); Oswald W.D., Roth E., Der Zahlen-Verbindungs-Test (The number combination test), (1997); Pagan K.R., An Experiment in the Measurement of Certain Aspects of Score Reading Ability, (1970); Peters M., Durding B.M., Handedness Measured by Finger Tapping: A Continuous Variable, Canadian Journal of Psychology, 32, 4, pp. 257-261, (1978); R Development Core Team, R: A Language and Environment for Statistical Computing, (2004); Raven J.C., Standard Progressive Matrices, (2000); Salis D.L., The Identification and Assessment of Cognitive Variables Associated with Reading of Advanced Music at the Piano, pp. 7239-7240, (1978); Schlaug G., The Brain of Musicians: A Model for Functional and Structural Adaptation, The Biological Foundations of Music, pp. 281-299, (2001); Schlaug G., Jancke L., Huang Y., Staiger J.F., Steinmetz H., Increased Corpus Callosum Size in Musicians, Neuropsychologia, 33, 8, pp. 1047-1055, (1995); Schleuter S.L., The Relationship of AMMA Scores to Sight Singing, Dictation, and SAT Scores of University Music Majors, Contributions to Music Education, 20, pp. 57-63, (1993); Sloboda J.A., The Eye-Hand Span: An Approach to the Study of Sight Reading, Psychology of Music, 2, 2, pp. 4-10, (1974); Stein C.V.D., Gibt es eine objektive Händigkeit?' (Is there an objective handedness?), (1995); Steinberg D., Colla P., CART-Classification and Regression Trees, (1997); Therneau T.M., Atkinson E.J., An Introduction to Recursive Partitioning Using RPART Routines, (1997); Thompson W.B., Sources of Individual Differences in Music Sight-Reading Skill, (1985); Playing at Sight (Piano), 1; Venables W.N., Ripley B.D., Modern Applied Statistics with S, (2002); Waters A.J., Townsend E., Underwood G., Expertise in Musical Sight-reading: A Study of Pianists, British Journal of Psychology, 89, 1, pp. 123-149, (1998)","R. Kopiez; Hanover University of Music and Drama, Germany; email: kopiez@hmt-hanover.de","","SAGE Publications Ltd","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-33646082716"
"Mito H.","Mito, Hiromichi (37095669100)","37095669100","Performance at a transposed keyboard by possessor and non-possessor of absolute pitch","2003","Bulletin of the Council for Research in Music Education","","157","","18","23","5","5","","https://www.scopus.com/inward/record.uri?eid=2-s2.0-60950094225&partnerID=40&md5=c0980154af17afd7d7ece4471847c447","Miyagi University of Education, Japan","Mito H., Miyagi University of Education, Japan","This experiment was conducted to examine the ability of relative pitch for absolute pitch possessors with the use of a transported keyboard instrument. Transportation was intentionally set to make the perception of absolute pitch more difficult. In this manner, the observation of relative pitch ability was able to be observed. Twenty university music majors participated in the experiment. Half possessed absolute pitch and the other half lacked absolute pitch prior to the experiment. Participants were requested to play the first 16 bars of Bach's Partita No.4 Aria and Chopin's Mazurka Op.50-3 by sight-reading with either the transported or ordinary keyboard. In the performance of absolute pitch possessors, the total and the uncorrected errors were much more noticeable in the transposed condition than in the ordinary condition. In contrast to absolute pitch possessors, non-absolute pitch possessors did not show significant differences between the ordinal and the transposed condition. These results indicated that pitch perception by absolute pitch possessors in this experiment was carried out mainly by relying on absolute pitch perception even in the transposed condition. Also, the results suggest that absolute pitch possessors have weak relative pitch perception.","","","","","","","","","MacNaught W.G., The Psychology of Sight-singing, Proceedings of the Musical Association, Xxvi, 35, pp. 35-55, (1899); Mito H., Detection of modified pitches in well-learned musical pieces by absolute pitch possessors, Memoirs of the Faculty of Education Niigata University, 39, pp. 193-201, (1997); Miyazaki K., Perception of musical intervals by absolute pitch possessors, Music Perception, 9, pp. 413-426, (1992); Miyazaki K., Absolute pitch as an inability: Identification of musical intervals in tonal context, Music Perception, 11, pp. 55-72, (1993); Miyazaki K., The Cognitive process of musical pitch by absolute-pitch listeners, Report of Research Project, Grant-in-Aid for Scientific Research (C), 1997-1998, (1999); Miyazaki K., Rakowski A., Recognition of notated melodies by possessors and non-possessors of absolute-pitch, Perception & Psychophysics; Sergent D., Experimental investigation of absolute pitch, Journal of Research in Music Education, 17, 1, pp. 135-143, (1969); Tokawa S., Idoudo No Susume [Recommendation of Movable Do. ], (1985)","","","","","","","","","00109894","","","","English","Bul. Counc. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-60950094225"
"Hsieh I.-H.; Saberi K.","Hsieh, I-Hui (16642757700); Saberi, Kourosh (7004232931)","16642757700; 7004232931","Language-selective interference with long-term memory for musical pitch","2008","Acta Acustica united with Acustica","94","4","","588","593","5","14","10.3813/AAA.918068","https://www.scopus.com/inward/record.uri?eid=2-s2.0-51349158715&doi=10.3813%2fAAA.918068&partnerID=40&md5=2af8566eb214fb2947349721030aad2e","Department of Cognitive Sciences, Center for Cognitive Neuroscience, University of California, Irvine, CA 92697-5100, United States","Hsieh I.-H., Department of Cognitive Sciences, Center for Cognitive Neuroscience, University of California, Irvine, CA 92697-5100, United States; Saberi K., Department of Cognitive Sciences, Center for Cognitive Neuroscience, University of California, Irvine, CA 92697-5100, United States","This study examines linguistic influences on musical pitch processing and provides evidence for a form of language-selective interference with absolute-pitch (AP) memory. We show that voiced solfege syllables whose fundamental frequencies and harmonic structures are digitally shifted to precisely map onto a mismatched musical note can selectively interfere with pitch identification by some but not other AP musicians. Interference diminishes as the stimulus spectrum is increasingly lowpass filtered to remove its broadband speech features. Time reversal of mismatched pitch-syllable ""hybrids"", which distorts their phase spectra but leaves their amplitude spectra intact, also substantially reduces interference. These findings support recent theories of AP encoding that propose an intrinsic association between linguistic cues and stored pitch representations in extraction and accurate labeling of pitch from long-term memory. © S. Hirzel Verlag EAA.","","Learning systems; Long-term memory; Low-pass; Musical pitch; Data storage equipment","","","","","","","Levitin D.J., Absolute memory for musical pitch: Evidence from the production of learned melodies, Perception and Psychophysics, 56, pp. 414-423, (1994); Deutsch D., Henthorn T., Absolute pitch, speech, and tone language: Some experiments and a proposed framework, Music Perception, 21, pp. 339-356, (2004); Deutsch D., Henthorn T., Marvin E., Xu H.-S., Absolute pitch among American and Chinese conservatory students: Prevalence differences, and evidence for a speech-related critical period, Journal of the Acoustical Society of America, 119, pp. 719-722, (2006); Zatorre R.J., Absolute pitch: A model for understanding the influence of genes and development on neural and cognitive function, Nature Neuroscience, 6, pp. 692-695, (2003); Zatorre R.J., Perry D.W., Beckett C.A., Westbury C.F., Evans A.C., Functional anatomy of musical processing in listeners with absolute pitch and relative pitch, Proc. Natl. Acad. Sci., USA, 95, pp. 3172-3177, (1998); Hsieh I., Saberi K., Dissociation of procedural and semantic memory in absolute-pitch processing, Hearing Research, 240, pp. 73-79, (2008); Ohnishi T., Matsuda H., Asada T., Aruga M., Hirakata M., Nishikawa M., Katoh A., Imabayashi E., Functional anatomy of musical perception in musicians, Cerebral Cortex, 11, pp. 754-760, (2001); Deutsch D., The puzzle of absolute pitch, Current Directions in Psychological Science, 11, pp. 200-204, (2002); Itoh K., Suwazono S., Arao H., Miyazaki K., Nakada T., Electrophysiological correlates of absolute pitch and relative pitch, Cerebral Cortex, 15, pp. 760-769, (2005); Miyazaki K., The auditory Stroop interference and the irrelevant speech/pitch effect: Absolute-pitch listeners can't suppress pitch labeling, 18th International Congress on Acoustics (ICA, (2004); McLeod P., Posner M.I., Privileged loops from percept to act, Attention and Performance X: Control of Lan-guage Processes, pp. 55-66, (1981); Hsieh I., Saberi K., Temporal integration in absolute identification of musical pitch, Hearing Research, 233, pp. 108-116, (2007); Miyazaki K., Absolute pitch identification: Effects of timbre and pitch region, Music Perception, 7, pp. 1-14, (1989); Miyazaki K., The speed of musical pitch identification by absolute-pitch possessors, Music Perception, 8, pp. 177-188, (1990); Cohen G., Martin M., Hemisphere differences in an auditory Stroop test, Perception and Psychophysics, 17, pp. 79-83, (1975); McClain L., Stimulus-response compatibility affects auditory Stroop interference, Perception and Psychophysics, 33, pp. 266-270, (1983); Green E.J., Barber P., An auditory Stroop effect with judgments of speaker gender, Perception and Psychophysics, 30, pp. 459-466, (1981); Green E.J., Barber P., Interference effects in an auditory stroop task: Congruence and correspondence, Acta Psychology, 53, pp. 183-194, (1983); Hamers J.F., Lambert W.E., Bilingual interdependencies in auditory perception, Journal of Verbal Learning and Verbal Behavior, 11, pp. 303-310, (1972); Pieters J.M., Ear asymmetry in an auditory spatial Stroop task as a function of handedness, Cortex, 17, (1981); Walker P., Smith S., Stroop interference based on the synaesthetic qualities of auditory pitch, Perception, 13, pp. 75-81, (1984); Walker P., Smith S., Stroop interference based on the multimodal correlates of haptic size and auditory pitch, Perception, 14, pp. 729-736, (1985); Walker P., Smith S., The basis of Stroop interference involving the multimodal correlates of auditory pitch, Perception, 15, pp. 491-496, (1986)","","","","","","","","","16101928","","AAACF","","English","Acta Acust. United Acust.","Article","Final","","Scopus","2-s2.0-51349158715"
"Lennox Atkins E.P.","Lennox Atkins, E.P. (57046628000)","57046628000","Ear-Training and the Standardisation of Equal Temperament","1914","Proceedings of the Musical Association","41","1","","91","111","20","0","10.1093/jrma/41.1.91","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84953974835&doi=10.1093%2fjrma%2f41.1.91&partnerID=40&md5=abce3e5251e56f0b128cd63df4eb8586","","","[No abstract available]","","","","","","","","","","","","","","","","","","09588442","","","","English","Proc. Music. Assoc.","Article","Final","","Scopus","2-s2.0-84953974835"
"Benward B.C.","Benward, Bruce C. (24761817600)","24761817600","CAL in music designed for use with a companion text","1984","Computers and Education","8","1","","127","131","4","0","10.1016/0360-1315(84)90061-7","https://www.scopus.com/inward/record.uri?eid=2-s2.0-50849150131&doi=10.1016%2f0360-1315%2884%2990061-7&partnerID=40&md5=8ad65b274fabc353bffd5704decbb6e3","Madison, WI 53711, 5602 Hammersley Road, United States","Benward B.C., Madison, WI 53711, 5602 Hammersley Road, United States","In America today computer-assisted learning programs in music are few, consist entirely of subject matter related to the most fundamental elements of music, and represent a fragmented and disorganized group of isolated studies. Since several published music theory and ear training texts are comprehensive in scope, incorporate all necessary expository material, and already contain student assignments ideally suited to the computer, two such texts (one for theory and one for ear training) were selected as the basis for an extensive project aimed at the 2-year college-level theory course for professional musicians and music educators. A 2-year experimental period (1979-1981) comprising considerable student input, thorough research, and frequent failures, culminated in a series of 120 theory and 93 ear-training programs to accompany the texts, Music in Theory and Practice, volumes 1 and 2, and Ear Training, a Technique for Listening. With a standard Apple II and a music synthesizer board, capable of playing and displaying up to four simultaneous voices on the screen, the programs are created from the objective assignments in the texts and incorporate features students found most desirable. Tutorial assistance was the single element considered most important by students, so considerable research time was expended to insure substantial and effective learning support. Completed in the summer of 1982 these programs were instituted that fall at the University of Wisconsin School of Music. A full-scale statistical analysis is scheduled for September 1983, but some indicators are already emerging: 1. (1) Since the computer tutorials have proven very effective, instructors find relief in the much-reduced tasks of hand-grading weekly assignments and providing individual ""help"" sessions. 2. (2) Students learn faster, thus permitting greater in-depth concentration. 3. (3) Desirable features most often mentioned by students:are: (1) instant feedback, (2) extended tutorials, (3) 14-h daily availability of CAL and (4) the opportunity to retake failed ear-training tests on the computer. Similar (but not the same) tests were provided. © 1984.","","","","","","","","","","","","","","","","","","03601315","","COMED","","English","Comput Educ","Article","Final","","Scopus","2-s2.0-50849150131"
"McCarthy J.F.","McCarthy, James F. (57199211471)","57199211471","Individualized instruction, student achievement, and dropout in an urban elementary instrumental music program","1980","Journal of Research in Music Education","28","1","","59","69","10","25","10.2307/3345053","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84965668718&doi=10.2307%2f3345053&partnerID=40&md5=7c942e879931138daa470efbb111c55c","Western Michigan University, Kalamazoo, United States","McCarthy J.F., Western Michigan University, Kalamazoo, United States","In this study involving fifth- and sixth-grade students in an urban school system, both individual instruction within instrumental music classrooms and student subject variables were examined for their influence on an audiovisual music reading test, a performance sight-reading test, and attrition from the music program. When compared to group instruction, individualized instruction resulted in significantly superior scores on the performance test for students of higher than normal academic reading skills. No other instructional interactions or main effects were found. Of the subject variables used in the analyses, only the students academic reading achievement and socioeconomic status were able to account consistently for unique and nontrivial proportions of variance in the three dependent variables. Scores on the two measures of achievement and dropout were not predictable by race or sex, and the students grade level was either a nonsignificant or minor factor in the analysis. Differences in teachers also had virtually no effect on student achievement or attrition. © 1980, SAGE Publications. All rights reserved.","","","","","","","","","Block J.H., Mastery learning: Theory and practice, (1971); Bloom B.S., Learning for mastery, Evaluation Comment, 1, 2, pp. 17-33, (1968); Colwell R., Music achievement tests, (1970); Ebel R.L., Estimation of the reliability of ratings, Psychometrika, 16, pp. 407-424, (1951); Flanagan J.C., Program for learning in accordance with needs, Psychology in the Schools, 6, pp. 133-136, (1969); Flanagan J.C., Education: How and for what, American Psychologist, 28, pp. 551-556, (1973); Glaser R., Adapting the elementary school curriculum to individual performance, Proceedings of the 1967 invitational conference on testing problems, (1968); Johnson P.O., Neyman J., Tests of certain linear hypotheses and their applications to some educational problems, Statistical Research Memoirs, 1, pp. 57-93, (1936); McCarthy J., The effect of individualized instruction on the performance achievement of beginning instrumentalists, Bulletin of the Council for Research in Music Education, 38, pp. 1-12, (1974); Shugert J., An experimental investigation of heterogeneous class and private methods of instruction with beginning instrumental music students, (1969); Waa L., An experimental study of class and private methods of instruction in instrumental music, (1965); Washburne C.W., Educational measurements as a key to individualizing instruction and promotions, Journal of Educational Research, 5, pp. 195-206, (1922); Watkins J., Farnum S., The Watkins-Farnum performance scale, (1954)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84965668718"
"Shears L.A.","Shears, Lambert A. (57190467096)","57190467096","Modern Language Instruction and Music","1943","The Modern Language Journal","27","4","","243","246","3","0","10.1111/j.1540-4781.1943.tb00221.x","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84980168107&doi=10.1111%2fj.1540-4781.1943.tb00221.x&partnerID=40&md5=3b37c60be39963b7a2d1a56f9d8662ab","Duke University, Durham, North Carolina, United States","Shears L.A., Duke University, Durham, North Carolina, United States","Author's summary.— Modern language instruction, particularly in the colleges, often suffers from overemphasis on rational and historical aspects. Methods employed in music teaching might well prove the value of ear training and the importance of fixing mental patterns by an abundance of uniform examples. 1943 The Modern Language Journal","","","","","","","","","","","","","","","","","","00267902","","","","English","Mod. Lang. J.","Article","Final","","Scopus","2-s2.0-84980168107"
"Blethen E.","Blethen, Edna (59498821500)","59498821500","Music Education versus Solfeggio","1953","Music Educators Journal","39","4","","62","64","2","0","10.2307/3387688","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85213983455&doi=10.2307%2f3387688&partnerID=40&md5=5b9faf0969d2e1472d40071520b20fce","Demonstration School, Music Methods, Mississippi Southern College, Hattiesbutrg, United States","Blethen E., Demonstration School, Music Methods, Mississippi Southern College, Hattiesbutrg, United States","[No abstract available]","","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85213983455"
"Luce J.R.","Luce, John R. (57189187840)","57189187840","Sight-Reading and Ear-Playing Abilities as Related to Instrumental Music Students","1965","Journal of Research in Music Education","13","2","","101","109","8","15","10.2307/3344447","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84965889470&doi=10.2307%2f3344447&partnerID=40&md5=c961ea5d1c9fa2ee8b47315bf07d1d1d","Louisiana Polytechnic Institute, United States","Luce J.R., Louisiana Polytechnic Institute, United States","A sample of 98 high school instrumental students from band and orchestra were interviewed and tested on sight-reading and ear-playing abilities. Test scores were correlated with other student characteristics including intelligence quotients, mental ages, music goals, student leadership status, and amounts of music instruction. A significant relationship between sight-reading and ear-playing was found for all students. In sight-reading, 37 students read theoretically more difficult pitch and rhythm patterns while not succeeding at easier levels. Research should be carried out to determine the successive levels of complexity from the learner's point of view. Methods for teaching ear-playing should be devised, and experiments should be made in spending as much time in teaching ear-playing as sightreading. Students' intelligence quotients and mental ages had a high relationship to sight-reading and earplaying; student leadership status had the highest relationship to these skills. Of the amounts of instruction, instrumental group hours, school instrumental group hours, and total private hours are the most highly related to the two skills. In developing the tested abilities, students should be encouraged to participate in instrumental music groups inside and outside of school. When the student characteristics of mental age, music goals, school instrumental group hours, total private instructional hours, and student leadership status predicted the tested skills, the relative contribution of these variables was different for boys, girls, and combined boys and girls. Variable weights predicting the criteria for combined boys and girls frequently appeared to be compromises for sex differences. © 1965, SAGE Publications. All rights reserved.","","","","","","","","","","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84965889470"
"Deutsch M.","Deutsch, Maury (57189558162)","57189558162","A Study of Two Approaches to Ear Training for Elementary School Children","1971","Journal of Research in Music Education","19","2","","234","237","3","0","10.2307/3343829","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84972609754&doi=10.2307%2f3343829&partnerID=40&md5=4d7765cb2ebff22bdafbae9ac74753a9","New York City, United States","Deutsch M., New York City, United States","[No abstract available]","","","","","","","","","Ellison A., Music with Children, (1959); Meyers L.K., Teaching Children Music in the Elementary School, (1961); Weber F., A Guide to the First Division Band Course, (1962); Zacharias J.R., Improving Music Education, The Education Digest, pp. 47-49, (1964); Berkowitz S., Fontrier G., Kraft L., A New Approach to Sight Singing, (1960); Lieberman M., Ear Training and Sight Singing, (1959); McHose A.I., Tibbs R.N., Sight Singing Manual, (1957); Hartshorn W.C., The Teacher of Music, Music Educators Journal, 50, 2, pp. 28-30, (1963); Jackson S.I., Ear and Rhythmic Training, Music Educators Journal, 50, 1, (1963); Wedge G.A., Ear Training and Sight Singing, (1921); Jackson S.I., Ear and Rhythmic Training, Music Educators Journal, 50, 1, (1963)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84972609754"
"Gullette C.C.","Gullette, Cameron C. (57190356192)","57190356192","THE AWKWARD AGE IN HIGH SCHOOL LANGUAGE STUDY","1934","The Modern Language Journal","18","6","","361","365","4","1","10.1111/j.1540-4781.1934.tb01294.x","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84980178303&doi=10.1111%2fj.1540-4781.1934.tb01294.x&partnerID=40&md5=e929cb544d92a7b2cf875fa091f90fd6","University of Illinois, United States","Gullette C.C., University of Illinois, United States","Author's summary.— Extensive sight reading, training in reading for inference and much aural‐oral work as stimuli in third and fourth year high school modern foreign language study. 1934 The Modern Language Journal","","","","","","","","","","","","","","","","","","00267902","","","","English","Mod. Lang. J.","Article","Final","","Scopus","2-s2.0-84980178303"
"Fredrich F.","Fredrich, Frank (59443208700)","59443208700","Are Sight Reading and Memorizing Related?","1950","Music Educators Journal","37","2","","40","","","0","10.2307/3387340","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85210451305&doi=10.2307%2f3387340&partnerID=40&md5=99fbf855bc12b7347c77f123d2628524","","","[No abstract available]","","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85210451305"
"Hutton D.","Hutton, Doris (57188900066)","57188900066","A Comparative Study of Two Methods of Teaching Sight Singing in the Fourth Grade","1953","Journal of Research in Music Education","1","2","","119","126","7","6","10.2307/3344546","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84964150220&doi=10.2307%2f3344546&partnerID=40&md5=dca6d37cdfd1991ac45b08e751409e7e","Austin Public Schools, Texas, United States","Hutton D., Austin Public Schools, Texas, United States","[No abstract available]","","","","","","","","","","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84964150220"
"Orton S.T.","Orton, S.T. (56904725800)","56904725800","The ""sight reading"" method of teaching reading, as a source of reading disability","1929","Journal of Educational Psychology","20","2","","135","143","8","7","10.1037/h0072112","https://www.scopus.com/inward/record.uri?eid=2-s2.0-58149422239&doi=10.1037%2fh0072112&partnerID=40&md5=59ecb59ebb75f26c7241eb75cbe42e7d","","","A discussion of the physiological processes involved in reading, with the development of a physiological theory of reading disability in terms of the failure of elision of non-dominant engrams. Facts indicate that word-blindness and slow acquisition of reading form parts of a graded series. While ""sight reading"" may give greater progress in terms of a group average, it may also be a serious obstacle ""to educable children who happen to deviate from the average in the case of establishment of a clear-cut unilateral brain habit."" For these, specific teaching methods are needed. (PsycINFO Database Record (c) 2006 APA, all rights reserved). © 1929 American Psychological Association.","EDUCATIONAL PSYCHOLOGY; READING ABILITY AND MATCHING LETTERS, DISABILITY OF CHILDREN, AND SIGHT METHOD","","","","","","","","Bachmann F., ""Uber Kongenitale Wortblindheit."", (1927); Hinshelwood J., ""Congenital Word Blindness."", (1917); Kerr J., The Howard Price Essay of the Royal Statistical Society, (1896); Lyday J.F., The Greene County Mental Clinic, Mental Hygiene, X, 4, (1926); Monroe M., Genetic Psychology Monographs, (1928); Orton S.T., Wordblindness"" in School Children, Archives of Neurology and Psychiatry, XIV, (1925); Pringle M.W., A Case of Congenital Wordblindneas, British Medical Journal, (1896)","","","","","","","","","00220663","","","","English","J. Educ. Psychol.","Article","Final","","Scopus","2-s2.0-58149422239"
"Gregory T.B.","Gregory, Thomas B. (57189419628)","57189419628","The effect of rhythmic notation variables on sight-reading errors","1972","Journal of Research in Music Education","20","4","","462","468","6","12","10.2307/3343804","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84970697492&doi=10.2307%2f3343804&partnerID=40&md5=6f149387673a6f88fac2856e583fd187","Indiana University, Bloomington, Indiana, United States","Gregory T.B., Indiana University, Bloomington, Indiana, United States","[No abstract available]","","","","","","","","","An Analysis of the Effect of Various Types of Rhythmic Notation on the Errors Made in Music Sight-Reading, (1967); Wheelwright L.F., An Experimental Study of the Perceptibility and Spacing of Music Symbols, (1939); Kendall J., Talent Education and Suzuki, Journal of Research in Music Education, (1966); Osborn L.A., Notation Should Be Metric and Representational, Journal of Research in Music Education, 14, pp. 67-83, (1966); Watkins J.G., Farnum S.E., The Watkins-Farnum Performance Scale, (1954); Ferguson G.A., Statistical Analysis in Psychology and Education, pp. 281-299, (1959)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84970697492"
"Humphrey T.","Humphrey, Terrence (7004586278)","7004586278","The effect of music ear training upon the auditory discrimination abilities of trainable mentally retarded adolescents","1980","Journal of Music Therapy","17","2","","70","74","4","2","10.1093/jmt/17.2.70","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0019024775&doi=10.1093%2fjmt%2f17.2.70&partnerID=40&md5=31211268000df3079b1f7a54474a17c3","Hammond State School, Hammond, Louisiana, Loyola University, New Orleans, LA, United States","Humphrey T., Hammond State School, Hammond, Louisiana, Loyola University, New Orleans, LA, United States","The purpose of this study was to investigate the effect of music ear training upon the auditory discrimination abilities of 30 institutionalized trainable mentally retarded (TMR) adolescents. Subjects were 15 TMRs enrolled in choir and 15 TMRs who were not choir members. The hypothesis was that music ear training incorporated in choir rehearsals would enhance auditory discrimination abilities, as measured by the Goldman-Fristoe-Wood-cock Test of Auditory Discrimination. An analysis of variance revealed significantly more errors in auditory discrimination by the TMR adolescents not enrolled in choir. Results of t tests comparing the scores of TMR choir members to Goldman-Fristoe-Woodcock test norms for the same chronological age revealed significantly more errors by the choir members. However, t tests comparing the performance of TMR choir members and Goldman-Fristoe-Woodcock test norms for normal subjects of the same mental age revealed significantly more errors by normal subjects. © 1980 by the National Association for Music Therapy, Inc.","","Adolescent; Auditory Perception; Human; Louisiana; Mental Retardation; Music Therapy; adolescent; article; hearing; human; mental deficiency; music therapy; United States","","","","","","","Benward B., Workbook in ear training, (1961); Goldman R., Fristoe M.S., Woodcock R.W., Test of auditory discrimination, (1970); Lienhard M., Factors relevant to the rhythmic perception of a group of mentally retarded children, Journal of Music Therapy, 13, pp. 58-65, (1976); Roskam K., Music therapy as an aid for increasing auditory awareness and improving reading skills, Journal of Music Therapy, 16, pp. 31-42, (1979); Semel E., Sound, order, sense, (1970); Zigmond N.K., Beery K.W., Auditory learning, (1968)","","","","","","","","","00222917","","","10247296","English","J. Music Ther.","Article","Final","","Scopus","2-s2.0-0019024775"
"Elliott C.A.","Elliott, Charles A. (57189170342)","57189170342","The Relationships Among Instrumental Sight-Reading Ability and Seven Selected Predictor Variables","1982","Journal of Research in Music Education","30","1","","5","14","9","28","10.2307/3344862","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84972675168&doi=10.2307%2f3344862&partnerID=40&md5=1be05f3ade8d0168cc3b7318f5fac115","University of South Carolina, United States","Elliott C.A., University of South Carolina, United States","The purpose of this study was to investigate the relationships among instrumental sight-reading ability and seven selected variables: (1) Technical Proficiency, (2) Rhythm Reading Ability, (3) Sight Singing Ability, (4) Cumulative Grade Point Average, (5) Cumulative Music Theory Grade Point Average, (6) Cumulative Performance Jury Grade Point Average, and (7) Major Instrument Grade Point Average. Thirty-two wind instrumentalists, selected at random from undergraduate music theory classes at the University of South Carolina, served as subjects. During the spring semester of 1980, the subjects took tests designed to measure their abilities in sight-reading, technical proficiency, sight singing, and rhythm reading. Data were collected from each student' s permanent record regarding each of the other variables. The following conclusions were drawn: (1) A strong positive relationship exists between wind instrumentalists' general sight-reading ability and the ability to sight-read rhythm patterns. (2) Rhythm-reading ability is the single best predictor of wind instrumentalists' sight-reading scores. (3) Rhythm-reading ability and performance jury scores combine to make the best predictors of wind instrumentalists' sight-reading performance scores. © 1982, SAGE Publications. All rights reserved.","","","","","","","","","Apel W., Harvard dictionary of music, (1962); Bobbitt R., The development of music reading skill, Journal of Research in Music Education, 18, pp. 143-156, (1970); Boyle J.D., The effect of prescribed rhythmical movements on the ability to sight read music, (1968); Boyle J.D., The effect of prescribed rhythmical movements on the ability to read music at sight, Journal of Research in Music Education, 18, pp. 307-308, (1970); Carey D.A., A survey of the sight reading ability of senior students in nine Kansas high schools, (1959); Garofalo R.J., Teaching sight reading- It can be done, Music Educators Journal, 62, 7, pp. 64-65, (1976); Goodnight J.H., SAS users guide, (1979); Gregory T.B., The effect of rhythmic notation variables on sight reading errors, Journal of Research in Music Education, 20, pp. 462-468, (1972); Hull C.H., Nie N.H., SPSS update, (1979); Morgan H.N., Music education source book, (1947); Mursell J.L., Music education principles and problems, (1956); Thostenson M.S., The study and evaluation of certain problems in eartraining related to achievement in sightsinging and music dictation, Bulletin of the Council for Research in Music Education, 11, pp. 14-35, (1969); Watkins J.G., Farnum E.F., The Watkins-Farnum performance scale, (1962); Willemsen E.W., Understanding statistical reasoning, (1974)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84972675168"
"Boyle J.D.","Boyle, J. David (57189162151)","57189162151","The Effect of Prescribed Rhythmical Movements on the Ability to Read Music at Sight","1970","Journal of Research in Music Education","18","4","","307","318","11","31","10.2307/3344498","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84970672608&doi=10.2307%2f3344498&partnerID=40&md5=514508fb0dad8cecaa024d9ac2c477cf","The Pennsylvania State University, United States","Boyle J.D., The Pennsylvania State University, United States","Both the control and experimental groups made statistically significant gains in their scores on the rhythm sight-reading test and The Watkins-Farnum Performance Scale. However, the experimental group's scores on both criterion measures were significantly higher than those made by the control group. These results were borne out by a subsample in which the control and experimental groups both made gains in their scores on the rhythm sight-reading test and the Watkins-Farnum test, but only the experimental group's were statistically significant. The subsample experimental group's posttest scores also were significantly higher than the subsample control group's posttest scores. A coefficient of correlation was computed between the subjects' pretest scores on the rhythm sight-reading test and The Watkins-Farnum Performance Scale. A correlation coefficient of .81 was found to exist between the two sets of scores and was interpreted as representing a high degree of relationship. Although the high correlation between rhythm sight-reading and music sight-reading does not prove that the latter is dependent upon the former, it does lend strong support to such a thesis. This, coupled with the statistically significant gains made by the subjects in the rhythm training programs, suggests that junior high school band directors should spend a portion of their rehearsal time systematically teaching the reading of rhythm. Further, it is recommended that the bodily movements used by the experimental bands in this study be incorporated into these rhythm training sessions. The specifically recommended movements are foot tapping to mark the underlying beat and hand clapping to practice the rhythm patterns to be learned. The foot tapping should be continued while students then play the rhythm patterns on their respective instruments. © 1970, SAGE Publications. All rights reserved.","","","","","","","","","Nuys K.V., Weaver H.E., Memory Span and Visual Pauses in Reading Rhythms and Melodies, Psychological Monographs, 55, (1943); Thomson A.G., An Analysis of Difficulties in Sight Reading Music for Violin and Clarinet, (1953); Revelli W.D., What About Rhythm?, Etude, 73, (1955); Mursell J.L., Music in American Schools, (1943); Ernst K.D., Gary C.L., Music in General Education, pp. 17-18, (1965); Hoffer C.R., Teaching Music in the Secondary Schools, (1964); Hindemith P., Elementary Training for Musicians, pp. 3-8, (1946); Shanet H., Learn to Read Music, pp. 1-63, (1956); Dallin L., Introduction to Music Reading: A Program for Personal Instruction, pp. 1-51, (1966); Carlsen J.C., Melodic Perception: A Program of Self-Instruction, (1965); Cooper I., The Reading Singer, (1964); Hudadoff I., A Rhythm a Day, (1963); Lamke T.A., Nelson M.J., The Henmon-Nelson Test of Mental Ability, (1957); Shaffer L.F., Review of Henmon-Nelson Test of Mental Ability, Revised Edition, The Fifth Mental Measurements Yearbook, (1959); Gordon E., Musical Aptitude Profile, (1965); Gordon; Tarrell V.V., An Investigation of the Validity of the Musical Aptitude Profile, Journal of Research in Music Education, 13, (1965); Watkins J.E., Farnum S.E., The Watkins-Farnum Performance Scale, (1954); Whybrew W.E., Measurement and Evaluation in Music, (1962)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84970672608"
"","","","Keyboard Sight Reading: Observations of a Teacher","1963","Music Educators Journal","49","3","","88","89","1","0","10.2307/3389887","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85210444692&doi=10.2307%2f3389887&partnerID=40&md5=76ede37d8d62feee90fce49498458329","","","[No abstract available]","","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85210444692"
"Heydenburg F.","Heydenburg, Floyd (59443225300)","59443225300","Developing Skills in Sight-Reading","1960","Music Educators Journal","47","1","","106","","","0","10.2307/3389160","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85210423004&doi=10.2307%2f3389160&partnerID=40&md5=3b54f2726cc8f9dd740056dbd7f75a23","","","[No abstract available]","","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85210423004"
"Salisbury F.S.; Smith H.D.","Salisbury, F.S. (57152595200); Smith, H.D. (25956901400)","57152595200; 25956901400","Prognosis of sight singing ability of normal school students","1929","Journal of Applied Psychology","13","5","","425","439","14","1","10.1037/h0071220","https://www.scopus.com/inward/record.uri?eid=2-s2.0-58149425734&doi=10.1037%2fh0071220&partnerID=40&md5=689e2e847f399d42b7694ef4bd345fcc","","","A report of a three year experimental study with the purpose of evolving a prognostic test of sight singing ability. The test was intended primarily for the differentiation of normal school students according to their ability in sight singing. During the first year test materials were investigated; during the second, a criterion and a test were evolved; and the results were checked during the third year. The criterion consisted of a test of four short songs of from eight to twenty measures, graded from easy to moderately difficult. Factual knowledge about music notation was found to be of small prognostic value. After a year of experimentation an achievement test was constructed consisting of the following exercises: solfa syllables, dictation, lines and spaces, recognition of familiar songs from notation, scales, notes and rests, vocabulary and measures, and key signatures. The dictation test was found very valuable, and correlated with the criterion .79. A table gives the intercorrelations of these tests with 131 normal school students. After a careful statistical treatment of the data, weights were assigned to various test exercises, and the test, after revision, was given the following (third) year to a group of 144 students. According to the conclusions reached by the authors of this investigation, the most effective combination of test exercises for predicting sight singing ability is obtained by using weighted standard scores for dictation, pitch, and tonal memory, resulting in a multiple correlation of .84 with a probable error of .27 sigma in predicting true scores. In actual application only about 5% of the students promoted to advanced singing classes obtained scores lower than grade C on the five point grading system. (PsycINFO Database Record (c) 2006 APA, all rights reserved). © 1929 American Psychological Association.","EDUCATIONAL PSYCHOLOGY; MENTAL TESTS; MUSIC ABILITY, SINGING ABILITY; SINGING ABILITY","","","","","","","","","","","","","","","","","00219010","","JAPGB","","English","J. Appl. Psychol.","Article","Final","","Scopus","2-s2.0-58149425734"
"Larson R.C.","Larson, Richard C. (57189166489)","57189166489","Relationships between melodic error detection, melodic dictation, and melodic sightsinging","1977","Journal of Research in Music Education","25","4","","264","271","7","16","10.2307/3345267","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84965441419&doi=10.2307%2f3345267&partnerID=40&md5=b212304763f8c1b49049fd28b076f991","State University College Fredonia, New York, United States","Larson R.C., State University College Fredonia, New York, United States","This study investigated the competencies of undergraduate music majors in the three aural skills of melodic error detection, melodic dictation, and melodic sightsinging. Three criterion-referenced aural tasks were developed for comparative evaluation of these competencies within the single musical parameter of pitch for diatonic, chromatic, and “atonal” melodic styles. Significant relationships were obtained among nearly all task and subtask scores, although the relationships were generally higher between error detection and dictation scores than between error detection and sightsinging scores. It also was found that differing melodic styles affected task difficulty but did not have an appreciably different effect upon the relationships between tasks. © 1977, SAGE Publications. All rights reserved.","aural discrimination; music students; music theory; sight reading","","","","","","","","Costanza A.P., The Development and Evaluation of Programmed Instruction in Score Reading Skills., (1968); Fitch J.R., An Instructional Design Using Selected Contemporary Compositional Practices as the Basis for a Beginning Theory Course., (1970); McMullen P.T., Bauman D., Music Theory Knowledge and Skills for Beginning Teachers: A Descriptive Survey Report, (1975); Ottman R.W., A Statistical Investigation of the Influence of Selected Factors on the Skill of Sight Singing., (1956); Shaw T., A Program to Improve Choral Conducting Students’ Ability to Detect Rhythmic Errors in Choral Rehearsal., (1971); A Statistical Investigation of the influence of Selected Factors on the Skill of Sight Singing., (1965); Sherman R., Et al., Aural and Visual Perception of Melody in Tonal and Atonal Musical Environments, (1967); Sidnell R.G., The Development of Self Instructional Drill Materials to Facilitate the Growth of Score Reading Skills of Student Conductors, (1968); Thostenson M.S., The Study and Evaluation of Certain Problems in Eartraining Relative to Achievement in Sight Singing and Music Dictation, (1971)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84965441419"
"Gutsch K.U.","Gutsch, Kenneth U. (6507029741)","6507029741","Instrumental music performance: One approach toward evaluation","1966","Journal of Educational Research","59","8","","377","380","3","0","10.1080/00220671.1966.10883385","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84946452905&doi=10.1080%2f00220671.1966.10883385&partnerID=40&md5=7da353c106162b44752f59d659864490","University of Southern Mississippi, United States","Gutsch K.U., University of Southern Mississippi, United States","This study sought to determine if an objective measurement of instrumental music achievement could be obtained on sight-reading rhythms and if it could differentiate ce:degrees of attainment. Through the utilization of concepts introduced by Joseph Schillinger, mathematical constructs were used to develop equivalent forms of an individual instrumental music performance test. Complete test protocols for 771 subjects at the 5th grade level or above revealed a high degree of consistency for the two forms of the test. Randomly selected tape recordings of testing sessions reflected a high degree of scorer reliability. Multiple and partial correlations revealed the importance of experience to performance, and t-test results indicated differences between any two levels of experience when experience was defined in years. © Taylor & Francis Group, LLC.","","","","","","","U.S. Department of Health, Education and Welfare, HEW","1. The research reported herein was supported through the Cooperative Research Program of the Office of Education, U. S. Department of Health, Education, and Welfare. 2. Many of the ideas presented under Procedure are at-tributable to the work of Joseph Schillinger and can be found in the following source: Joseph Schillinger, The Schillinger System of Musical Composition, Vol. I (Copyright 1941, 1942, 1946 by Carl Fischer, Inc., N.Y.), pp. 1-20. Permission to use this material has been granted by the Carl Fischer Publishing Co., and by Mrs. Joseph Schillinger.","","","","","","","","","","00220671","","","","English","J. Educ. Res.","Article","Final","","Scopus","2-s2.0-84946452905"
"Spencer H.S.","Spencer, Herbert S. (59424854700)","59424854700","Ear Training in Music Education","1947","Music Educators Journal","33","4","","44","69","25","0","10.2307/3388378","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85210164107&doi=10.2307%2f3388378&partnerID=40&md5=5628b561343c956430c06ea82422024a","","","Answering the Current Challenge to Time Occupied by Ear Training 1947, SAGE Publications Inc. All rights reserved.","","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85210164107"
"Gross D.; Griffin W.","Gross, Dorothy (55423689200); Griffin, Wendy (57167105700)","55423689200; 57167105700","Implementation and evaluation of a computer-assisted course in musical aural skills","1982","AEDS Journal","15","3","","143","150","7","2","10.1080/00011037.1982.11008314","https://www.scopus.com/inward/record.uri?eid=2-s2.0-52549086346&doi=10.1080%2f00011037.1982.11008314&partnerID=40&md5=b7af6305d2c09879875d78de598bd56c","University of Minnesota, United States","Gross D., University of Minnesota, United States; Griffin W., University of Minnesota, United States","Studying musical aural skills often requires a partner for effective learning. Since it can be difficult for students to arrange convenient practice sessions, computers offer an alternative to a human partner. We selected the Apple II microcomputer because it has atone generator, some existing music soft ware, and, with the addition of an ALF board, can produce up to three simultaneous tones. Several programs, including one original one, were used. Altogether, the courseware covered intervals, scales, and melodies. Evaluation of this project, including attitude questionnaires and achievement tests, was largely positive and suggests that the use of computers should be expanded to the rest of the ear-training curriculum. © 1982 Taylor & Francis Group, LLC.","Computer-assisted instruction; Music","","","","","","","","Arenson M., Computer-based ear training instruction for non-music majors, Proceedings of the Annual Conference of the Association for the Development of Computer-Based Instructional Systems, pp. 949-958, (1979); Borry L., MECC Music Disk. Cupertino, (1980); Foltz R., Gross D., Integration of CA1 into a music program, Journal of Computer-Based Instruction, 6, pp. 72-76, (1980); Hofstetter F.T., GUIDO: An interactivecomputer-based system for improvement of instruction and research in ear-training, Journal of Computer-Based Instruction, 1, pp. 100-106, (1975); Hofstetter F.T., Controlled evaluation of a competency-based approach to teaching aural interval identification, Proceedings of the 1979 Conference of the Association for the Development of Computer-Based Instructional Systems, 5, pp. 935-938, (1979); Hofstetter F.T., Applications of the GUIDO system to aural skills research, 1975-80, College Music Symposium, 2, 2, pp. 46-53, (1981); Humphries J.A., The effects of computer-assisted aural drill time on achievement in musical interval identification, Journal of Computer-Based Instruction, 5, pp. 91-98, (1980); Schubert E.D., Killam Lorton R.N., Lorton P.V., Interval recognition: A study of students’ accuracy of identification of harmonic and melodic intervals, Journal of Music Theory, 19, 2, pp. 212-234, (1975); Steinberg E.R., Review of student control in computer-based instruction, Journal of Computer-Based Instruction, 5, pp. 84-90, (1977); Torrance E.P., Implications of whole-brained theories of learning and thinking for computer-based instruction, Journal of Computer-Based Instruction, 7, pp. 99-105, (1981); von Feldt J.R., Computer-assisted instruction in the public school general music class: A comparative study. (Doctoral dissertation. University of Missouri. 1971), Dissertation Abstracts International, 33, (1971)","","","","","","","","","00011037","","","","English","AEDS J.","Article","Final","","Scopus","2-s2.0-52549086346"
"Walker A.","Walker, Alfred (59485191500)","59485191500","Sight Singing in Our Schools—Can It Be Improved?","1935","Music Educators Journal","21","4","","15","","","0","10.2307/3384600","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85212979368&doi=10.2307%2f3384600&partnerID=40&md5=d082243886c467c4dd7e66445359e15a","White Plains, NY, United States","Walker A., White Plains, NY, United States","[No abstract available]","","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85212979368"
"Wolf T.","Wolf, Thomas (57198203329)","57198203329","A cognitive model of musical sight-reading","1976","Journal of Psycholinguistic Research","5","2","","143","171","28","77","10.1007/BF01067255","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0016945443&doi=10.1007%2fBF01067255&partnerID=40&md5=81fd6cf2db2df2d7741ae9037d53049d","Graduate School of Education, Harvard University, Cambridge, Massachusetts, United States","Wolf T., Graduate School of Education, Harvard University, Cambridge, Massachusetts, United States","The author, a professional flutist and psychologist, interviewed four pianists noted for their sight-reading abilities. The results of the interviews are considered from several points of view. Sight-reading is analyzed as a problem in pattern recognition: a movement from a sonata by Handel is used to illustrate the principle of scanning for familiar patterns. The close relationship between musical sight-reading and the reading of conventional texts is also suggested. Finally, drawing on the findings of other studies, a cognitive model of musical sight-reading is proposed. The schematic model of interlocking information-processing systems explains the differences between skilled and unskilled sight-readers; it also explains why some experienced, professional musicians are poor sight-readers. Verification of the model is provided in an additional section in which conversations with unskilled sight-readers are reported. © 1976 Plenum Publishing Corporation.","","Adolescent; Adult; Cognition; Form Perception; Human; Information Theory; Male; Middle Age; Models, Psychological; Music; Pattern Recognition, Visual; Reading; adolescent; adult; article; cognition; human; information science; male; model; music; pattern recognition; reading","","","","","","","Atkinson R.C., Shiffrin R.M., Human memory: A proposed system and its control processes, The Psychology of Learning and Motivation, pp. 89-195, (1968); Bean K.L., An approach to the reading of music, Psychol. Monogr., 226, pp. 1-80, (1938); Broadbent D.E., Perception and Communication, (1958); de Groot A.D., Thought and Choice in Chess, (1965); Geyer J.J., Kolers P.A., Reading as information processing, Advances in Librarianship, pp. 175-237, (1974); Gregg L.W., Simon G.A., An information-processing explanation of one-trial and incremental learning, J. Verb. Learn. Verb. Behav., 6, pp. 780-787, (1967); Huey E.G., The Psychology and Pedagogy of Reading (1908), (1968); Kolers P.A., Three stages of reading, Basic Studies on Reading, pp. 90-118, (1970); Miller G.A., The magic number seven, plus or minus two: Some limits on our capacity for processing information, Psychol. Rev., 63, pp. 81-97, (1956); Neisser U., Cognitive Psychology, (1967); Simon H.A., Barenfeld M., Information-processing analysis of perceptual processes in problem solving, Psychol. Rev., 76, pp. 473-483, (1969)","","","Kluwer Academic Publishers-Plenum Publishers","","","","","","15736555","","","957269","English","J Psycholinguist Res","Article","Final","","Scopus","2-s2.0-0016945443"
"Woolf G.; Myers M.J.","Woolf, G. (7003707252); Myers, M.J. (7402142822)","7003707252; 7402142822","The effect of two ear training procedures on the improvement of auditory discrimination and articulation.","1968","Exceptional children","34","9","","659","665","6","3","10.1177/001440296803400902","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0014290194&doi=10.1177%2f001440296803400902&partnerID=40&md5=841b52353d3aa93832439191c2dfb0e6","","","[No abstract available]","","Auditory Perception; Child; Creativeness; Female; Humans; Male; Methods; Speech Therapy; MLCS; MLOWN; article; child; creativity; female; hearing; human; male; speech therapy; technique","","","","","","","","","","","","","","","","00144029","","","5653126","English","Except Child","Article","Final","","Scopus","2-s2.0-0014290194"
"Macknight C.B.","Macknight, Carol B. (55598281200)","55598281200","Music reading ability of beginning wind instrumentalists after melodic instruction","1975","Journal of Research in Music Education","23","1","","23","34","11","16","10.2307/3345200","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84976943229&doi=10.2307%2f3345200&partnerID=40&md5=25cb1f48edda2ace7f3effa975d23105","University of Massachusetts, Amherst, Massachusetts, United States","Macknight C.B., University of Massachusetts, Amherst, Massachusetts, United States","Teaching techniques and materials that would treat music reading as a process and emphasize the structure of the melodic line were researched, developed, and then tested with 90 fourth grade students, each studying a wind instrument of his/her choice for a year. Control and experimental groups were set up with the groups and their teachers statistically equated. The only variation in treatment of the two groups was in the method of introducing pitches. The experimental group was introduced to pitch through a series of tonal patterns, while the control group learned a new pitch by letter name, fingering, and sound. The study showed that tonal pattern instruction is superior to note identification teaching techniques in development of both sight reading skills and auditory-visual discrimination skills. The experimental treatment was particularly effective with students of low musical ability as measured by the Watkins-Farnum Performance Scale, a test of instrumental sight reading. © 1975, SAGE Publications. All rights reserved.","audiovisual ability; brass-wind instruments; elementary education student; instrumental music students; music reading; statistical analysis teaching method","","","","","","","","Petzold R.G., The Perception of Music Symbols in Music Reading by Normal Children and by Children Gifted Musically, Journal of Experimental Education, 28, (1960); Mursell J.L., Music Education Principles and Programs, (1956); Murphy H.A., Teaching Musicianship, pp. 43-59, (1950); Leonard C., House R., Foundations and Principles of Music Education, (1959); Lannert V., Ullman M., Factors in the Reading of Piano Music, American Journal of Psychology, 43, pp. 91-99, (1945); Colwell R.J., An Investigation of Musical Achievement Among Vocal Students, Vocal-Instrumental Students, and Instrumental Students, Journal of Research in Music Education, 11, (1963); Petzold; The Development and Evaluation of Tonal Pattern Instruction in Music Reading for Beginning Wind Instrumentalists, (1973); Watkins J.G., Farnum S.E., The Watkins-Farnum Performance Scale, (1954); Colwell R.J., Music Achievement Test, (1969); Gordon E., Musical Aptitude Profile, (1965); Cook W.W., Leeds C.H., Callis R., Minnesota Teacher Attitude Inventory Manual, (1951); Standlee L.S., Popham W.J., The MTAI as a Predictor of Over-All Teacher Effectiveness, Journal of Educational Research, 42, pp. 319-320, (1959); MacKnight C.B., Young J.E., Hearing and Playing Musical Patterns for Wind Instruments; Kinyon J., Breeze Easy, (1959); Harvey W.R., Instructions for Use of LSMLGP, (1968); Petzold R.G., The Development of Auditory Perception of Musical Sounds By Children in the First Six Grades, Journal of Research in Music Education, 11, (1963); Boucher J., Osgood C.E., The Pollyanna Hypothesis, Journal of Verbal Learning and Verbal Behaviour, 8, (1969)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84976943229"
"Emerick L.","Emerick, Lon (6507477567)","6507477567","A facet of ear training","1967","Southern Speech Journal","33","2","","143","146","3","0","10.1080/10417946709371926","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84953950089&doi=10.1080%2f10417946709371926&partnerID=40&md5=975594ebaf14b429e60334979e4c68ce","Northern Michigan University, Marquette, United States","Emerick L., Northern Michigan University, Marquette, United States","Ear training is a familiar therapeutic concept to speech clinicians working with children having articulation defects. In this article a modified approach to classical ear‐training methods is described. © 1967 Taylor and Francis Group, Ltd.","","","","","","","","","","","","","","","","","","00384585","","","","English","South. speech j.","Article","Final","","Scopus","2-s2.0-84953950089"
"Kallander F.","Kallander, Florence (59504725100)","59504725100","Ear Training and Musical Understanding","1941","Music Educators Journal","27","4","","31","32","1","0","10.2307/3386141","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85214364088&doi=10.2307%2f3386141&partnerID=40&md5=54f790d7e5319fa6b759f37962541dd0","Department of Music and Music Education, Teachers College, Columbia University, United States","Kallander F., Department of Music and Music Education, Teachers College, Columbia University, United States","[No abstract available]","","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85214364088"
"Stelzer T.G.","Stelzer, Theo G. (56952450800)","56952450800","Construction, Interpretation, and Use of a Sight Reading Scale in Organ Music with an Analysis of Organ Playing into Fundamental Abilities","1938","Journal of Experimental Education","7","1","","35","43","8","0","10.1080/00220973.1938.11010113","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84946661277&doi=10.1080%2f00220973.1938.11010113&partnerID=40&md5=9a79ec562a785a9a4f8b1ee47a9a8bf2","Concordia Teachers College, Seward, Nebraska, United States","Stelzer T.G., Concordia Teachers College, Seward, Nebraska, United States","[No abstract available]","","","","","","","","","","","","","","","","","","00220973","","","","English","J. Exp. Educ.","Article","Final","","Scopus","2-s2.0-84946661277"
"Sawybr F.J.","Sawybr, Frank J. (57046710000)","57046710000","The Teachings of Harmony as a Basis of Ear Training","1900","Proceedings of the Musical Association","27","1","","51","72","21","0","10.1093/jrma[fs]27.1.51","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84953975626&doi=10.1093%2fjrma%5bfs%5d27.1.51&partnerID=40&md5=6bb92d3ae38cc63b6c8f63011264ebc8","","","[No abstract available]","","","","","","","","","","","","","","","","","","09588442","","","","English","Proc. Music. Assoc.","Article","Final","","Scopus","2-s2.0-84953975626"
"Schleuter S.L.","Schleuter, Stanley L. (57189166092)","57189166092","A predictive study of an experimental college version of the musical aptitude profile with certain music achievement of college music majors","1983","Psychology of Music","11","1","","32","36","4","5","10.1177/0305735683111004","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84972592400&doi=10.1177%2f0305735683111004&partnerID=40&md5=927a4b3a512ef29b7ab4734827377904","Kent State University, Ohio, United States","Schleuter S.L., Kent State University, Ohio, United States","Pretraining scores from an experimental college version of the Musical Aptitude Profile (CMAP) were analysed as predictors of music major achievement. Scores were collected from 23 students over a two-year time span, and a stepwise multiple regression analysis was performed. Significance occurred for CMAP scores as predictors of end of first-year sight-singing scores. No significance occurred for CMAP scores as predictors of applied music ratings or ear training scores. © 1983, Sage Publications. All rights reserved.","","","","","","","","","Gordon E., Musical Aptitude Profile, (1965); Schleuter S.L., The development of a college version of the Musical Aptitude Profile, Psychology of Music, 6, 1, pp. 39-42, (1978); Schleuter S.L., Schleuter L.J., A predictive study of an experimental college version of the Mlusical Aptitude Profile with music achievement of non-music majors, Contributions to Music Education, 6, pp. 2-8, (1978)","","","","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-84972592400"
"Lindsay D.N.","Lindsay, Dorothy N. (57190356899)","57190356899","Newspapers and the Bible as Supplementary Reading Material","1938","The Modern Language Journal","23","1","","13","15","2","0","10.1111/j.1540-4781.1938.tb02787.x","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84979308696&doi=10.1111%2fj.1540-4781.1938.tb02787.x&partnerID=40&md5=3271624d6ed951ea5e76b8a6c98e813e","McCook Junior College, Mccook, Nebraska, United States","Lindsay D.N., McCook Junior College, Mccook, Nebraska, United States","Weekly clippings from foreign‐language newspapers, on which individual reports are expected, outside of class, have proved successful in developing reading ability, interest, and integration of the foreign language with history courses. Penny copies of St. John and other books of the Bible make good sight‐reading and dictation material.) 1938 The Modern Language Journal","","","","","","","","","","","","","","","","","","00267902","","","","English","Mod. Lang. J.","Article","Final","","Scopus","2-s2.0-84979308696"
"Dorow L.G.; Douglas Greer R.","Dorow, Laura Gilbert. (6505821845); Douglas Greer, R. (7102828176)","6505821845; 7102828176","The reinforcement value of a music instrument for beginning instrumentalists and the influence of discovery versus teacher approval on achievement","1977","Journal of Music Therapy","14","1","","2","16","14","4","10.1093/jmt/14.1.2","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84938489328&doi=10.1093%2fjmt%2f14.1.2&partnerID=40&md5=37efdb910d9e3f8c48e2e5e0efe5589f","State University of at New Paltz, New York, United States; Teachers College Columbia University, United States","Dorow L.G., State University of at New Paltz, New York, United States; Douglas Greer R., Teachers College Columbia University, United States","Twenty-eight musically-nalve subjects from a third-grade classroom and a combined fourth-fifth-grade classroom were randomly assigned to either a no-instruction or an instruction group. All subjects were individually observed for 11 5-minute sessions of free activity time during which they could choose to play the recorder, use self-instructional recorder materials, or watch television. Immediately preceding the first 10 sessions, subjects in the instruction group received a 5-minute recorder lesson with a controlled high rate of teacher verbal approval for target social and music performance behaviors. A posttest recorder performance test was administered to subjects in both groups before the 11th session of free time. Observers counted the number of correct beats subjects played on the recorder while sight reading an untitled melody. There was no difference in the total number of seconds subjects in the no-instruction and instruction groups spent with the recorder during free time. For both groups the amount of time decreased across the 11 sessions indicating a decrease in the reinforcing effect of the music instrument. It was concluded that the initial reinforcement effect of the music instrument was a function of novelty. The fourth-fifth-graders in both groups spent more time with the recorder than, the third-graders. Subjects in the instructional group per-. © 1977 Oxford University Press.","","","","","","","","","Crozier J.B., Verbal and exploratory responses to sound sequences varying in uncertainty level, Studies in the New Experimental Aesthetics: Steps Toward an Objective Psychology of Aesthetic Appreciation. Washington, (1974); Ferguson G.A., Statistical Analysis in Psychology and Education (3Rd Ed.), (1971); Greer R.D., Doraw L., Harrison L., Aural discrimination instruction and the preferences of sixth graders for music listening, story listening, and candy, Research in Music Behavior: Modifying Music Behavior in the Classroom, (1975); Greet R.D., Dorow L.G., Randall C.A., Music listening preferences of children from nursery school through grade six, Journal of Research in Music Education, 22, pp. 284-291, (1974); Hall V., Managing Behavior, Part 1, Beluwtor Modification, the Mea- Surement of Behavior, (1970); Hollander M., Wolfe D.A., Nonpar Ametric Statistical Methods, (1973); Kinunel H.D., Instrumental conditioning oi uutonomicaily mediated re spouses in human beings, An Aldim Annual on the Regulation of Bodily Processes & Consciousness, (1974); Madsen C.K., Madsen C.H., Selection of music listening oi candy as a function of” contingent versus noncontingent reinforcement and scale singing, Journal of Music Therapy, 9, pp. 190-198, (1972); Manley S., Miller F.D., Factors affecting children’s alternation and choice behaviors, Psychonomic Science, 13, pp. 65-66, (1968); Miller D., Effects of selected music listening contingeneies on arithmetic performance and music preference of educable mentally retarded children, American Journal of Mental Deficiency; Premack D., Catching up with common sense or two sides of a generaliza-tion: Reinforcement and punishment, The Nature of Reinforcement, (1971); Tanner F.D., The effort of disc jockey approval of music and peer approval of music on music selection (Doctoral dissertation, Columbia University, Dissertation Abstracts International, 76-27, (1976); Wilson M.M., Novelty as a reinforcer for position learning in children, Journal of Experimental Child Psychology, 18, pp. 51-61, (1974); Winer I.S.G., Statistical Principles in Experimental Design (3Id Ed.), (1971)","","","","","","","","","00222917","","","","English","J. Music Ther.","Article","Final","","Scopus","2-s2.0-84938489328"
"Hammer H.","Hammer, Harry (57188914717)","57188914717","An Experimental Study of the Use of the Tachistoscope in the Teaching of Melodic Sight Singing","1963","Journal of Research in Music Education","11","1","","44","54","10","5","10.2307/3344530","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84964171350&doi=10.2307%2f3344530&partnerID=40&md5=5a8d1e54b7b5ea03e6ff9b32f52108cb","Mesa College, Grand Junction, Colorado, United States","Hammer H., Mesa College, Grand Junction, Colorado, United States","[No abstract available]","","","","","","","","","","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84964171350"
"Armitage R.H.","Armitage, R.H. (57190474746)","57190474746","Some Uses of the Blackboard in Foreign Language Classes","1946","The Modern Language Journal","30","7","","475","480","5","0","10.1111/j.1540-4781.1946.tb04271.x","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84980140122&doi=10.1111%2fj.1540-4781.1946.tb04271.x&partnerID=40&md5=2841189bfaa96d2b0d0fab1a799ecac5","The Ohio State University, Columbus, Ohio, United States","Armitage R.H., The Ohio State University, Columbus, Ohio, United States","Author's summary.— Use of available blackboard space during the first part of every recitation hour makes possible simultaneous participation of all students in worthwhile language activities. Free composition, rapid dictation, and various other dramatic exercises hold students' attention, provide for ear training, functional grammar, pronunciation, writing, and meaningful exchange of ideas. 1946 The Modern Language Journal","","","","","","","","","","","","","","","","","","00267902","","","","English","Mod. Lang. J.","Article","Final","","Scopus","2-s2.0-84980140122"
"Hargiss G.","Hargiss, Genevieve (57215755667)","57215755667","The Acquisition of Sight Singing Ability in Piano Classes for Students Preparing To Be Elementary Teachers","1962","Journal of Research in Music Education","10","1","","69","75","6","1","10.2307/3343914","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84938649800&doi=10.2307%2f3343914&partnerID=40&md5=0557bced964c62dfa0385db606a8fda0","University of Kansas, United States","Hargiss G., University of Kansas, United States","[No abstract available]","","","","","","","","","","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84938649800"
"Dean C.D.","Dean, C.D. (25955319100)","25955319100","Predicting sight-singing ability in teacher-education","1937","Journal of Educational Psychology","28","8","","601","608","7","2","10.1037/h0058468","https://www.scopus.com/inward/record.uri?eid=2-s2.0-58149436632&doi=10.1037%2fh0058468&partnerID=40&md5=b45b9f58abb21db908b0cda2e4379b11","","","The purpose of this study was to determine the efficiency of the Seashore tests of musical talent, records of prior training, and intelligence scores in predicting success or failure of entering normal-school students in courses in sight-singing and ear-training. The most significant of these three indices were the Seashore tests of pitch and memory. Prior musical training was slightly more significant than intelligence, although both gave low correlations with achievement in the courses in sight-singing and ear-training. (PsycINFO Database Record (c) 2006 APA, all rights reserved). © 1937 American Psychological Association.","GENERAL SOCIAL PROCESSES (INCL. ESTHETICS); MUSIC ABILITY, TESTS; TEST, MUSIC","","","","","","","","","","","","","","","","","00220663","","","","English","J. Educ. Psychol.","Article","Final","","Scopus","2-s2.0-58149436632"
"McLaughlin T.F.; Lane - S.","McLaughlin, T.F. (7103113802); Lane -, S. (7202105397)","7103113802; 7202105397","Establishing a sight reading vocabulary in a third grade disadvantaged child","1975","Psychological Reports","36","1","","106","","","1","10.2466/pr0.1975.36.1.106","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0016804905&doi=10.2466%2fpr0.1975.36.1.106&partnerID=40&md5=490ec371e1ecbc0515a2105abcd8346c","United States","McLaughlin T.F., United States; Lane - S., United States","[No abstract available]","","major clinical study; reinforcement; verbal behavior","","","","","","","","","","","","","","","","00332941","","PYRTA","","English","PSYCHOL. REP.","Article","Final","","Scopus","2-s2.0-0016804905"
"Coye N.B.","Coye, Nina B. (59484770300)","59484770300","Sight Singing and Theory in the Junior High School","1938","Music Educators Journal","25","2","","32","33","1","0","10.2307/3385340","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85212962958&doi=10.2307%2f3385340&partnerID=40&md5=6dad107b10aa106cc37fb1e698979e5d","Harrison Park Junior High School, Grand Rapids, MI, United States","Coye N.B., Harrison Park Junior High School, Grand Rapids, MI, United States","[No abstract available]","","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85212962958"
"Gullette C.C.","Gullette, Cameron C. (57190356192)","57190356192","EAR TRAINING IN THE TEACHING OF PRONUNCIATION","1932","The Modern Language Journal","16","4","","334","336","2","1","10.1111/j.1540-4781.1932.tb05691.x","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84980130339&doi=10.1111%2fj.1540-4781.1932.tb05691.x&partnerID=40&md5=8d21bf1e6479c41a918b6bc8c1c2dd50","University of Illinois, United States","Gullette C.C., University of Illinois, United States","Author's Summary.— The teaching of pronunciation upon a physiological basis, plus consistent, continued ear training designed to develop ability in the diagnosis of aural and physical characteristics of sounds heard. 1932 The Modern Language Journal","","","","","","","","","","","","","","","","","","00267902","","","","English","Mod. Lang. J.","Article","Final","","Scopus","2-s2.0-84980130339"
"Anderson J.N.","Anderson, James N. (57199276571)","57199276571","Effects of Tape-Recorded Aural Models on Sight-Reading and Performance Skills","1981","Journal of Research in Music Education","29","1","","23","30","7","26","10.2307/3344676","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84965409810&doi=10.2307%2f3344676&partnerID=40&md5=04da90e9596bb4a80407aaf543f54583","Louisiana College, Pineville, United States","Anderson J.N., Louisiana College, Pineville, United States","The purpose of this study was to investigate the effect of using tape-recorded aural models for home practice on selected sight-reading and performance skills of sixth-grade clarinet students. The experimental design was a pretest-posttest control-group design with an additional posttest measure. It was predicted that students in the experimental group would do significantly better than students in the control group with regard to pitch reading, rhythm reading, tempo accuracy, and intonation accuracy as measured by the sight-reading and performance tests. It was also projected that students in the experimental group would complete more music exercises during the study than students in the control group. The statistical analysis indicated no significant difference between the experimental and control groups with regard to either the skills measured or the number of music exercises completed during the study. These results appear to indicate that tape-recorded aural models used in this study had no observed effect on the selected music skills. © 1981, SAGE Publications. All rights reserved.","","","","","","","","","Arant E.P., The development and evaluation of a method of voice instruction utilizing tape-recorded lesson materials, (1970); Biggs M.R., An evaluation of technique employing the use of the magnetic tape recorder in teaching of students in brass instruments, (1960); Buckner J.F., The effect of aural models on efficiency of single-line instrumental music memorization, (1970); Daniels M.L., An investigation of the effectiveness of programmed learning in the teaching of harmonic dictation in a beginning college music theory course, (1964); Folts M., The relative aspect of two procedures, as followed by flute, clarinet, and trumpet students while practicing on the development of tone quality and on selected performance skills, (1973); Froseth J.O., Individualizing in the beginning instrumental music class, Journal of Band Research, 6, pp. 11-23, (1971); Hodges D.A., The effects of recorded aural models on the performance achievement of beginning instrumentalists, (1974); Kanable B.M., An experimental study comparing programmed instruction with classroom teaching of sightsinging, (1964); LaFosse L., Teaching the art of practicing, The Instrumentalist, 28, pp. 42-43, (1973); Leonhard C., House R.W., Foundations and Principles of Music Education, (1972); McCarthy J.F., The effect of individualized instruction on the performance achievement of beginning instrumentalists, Bulletin of the Council for Research in Music Education, 38, pp. 1-16, (1974); McGarry J., Teaching experiment to measure the extent to which vocalization contributes to the development of selected instrumental performance skills, A comparison of the effectiveness of two teaching techniques on instrumental music performance utilizing the Wat kins-Farnum Performance Scale, (1967); Peightel J.W., The development and comparison of two recorded programmed techniques in teaching the beginning trombone student, (1971); Puopolo V., The development and experimental application of self-instructional practice materials for beginning instrumentalists, (1970); Rizzolo R., An experimental taped program to improve sensitivity to intonation, (1969); Spohn C.L., An exploration in the use of recorded teaching material to develop aural comprehension in college music classes, (1959); Spohn C.L., Programming the basic materials of music for self-instructional developing of aural skills, Journal of Research in Music Education, 11, pp. 91-98, (1963); Wiehe D.D., A study of the use of a tape recorder in the teaching of solo trumpet literature to secondary school students, (1971); Zurcher W., The effect of model-supportive practice on beginning brass instrumentalists, (1972)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84965409810"
"Lowder J.E.","Lowder, Jerry E. (57189648463)","57189648463","Evaluation of a Sight-Reading Test Administered to Freshman Piano Classes","1973","Journal of Research in Music Education","21","1","","68","73","5","4","10.2307/3343981","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84899674197&doi=10.2307%2f3343981&partnerID=40&md5=01463424105b96eafd9bf7549ff4898c","The Ohio State University, Columbus Ohio, United States","Lowder J.E., The Ohio State University, Columbus Ohio, United States","[No abstract available]","","","","","","","","","An Experimental Study of Teaching Reading Concepts and Keyboard Fingering Patterns to Freshmen College Piano Classes, (1970); Bean K., An Experimental Approach to the Reading of Music, Psychological Monographs, 50, pp. 10-80, (1938); Jacobsen O.I., An Analysis of Eye Movements in Reading Music, (1926); Ortmann O., Elements of Chord Reading in Music Notation, Journal of Experimental Education, 3, pp. 50-57, (1934); Weaver H.E., An Experimental Study of Music Reading, (1930)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84899674197"
"Hofstetter F.T.","Hofstetter, Fred T. (55287224200)","55287224200","Evaluation of a competency-based approach to teaching aural interval identification","1979","Journal of Research in Music Education","27","4","","201","213","12","5","10.2307/3344708","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84965587774&doi=10.2307%2f3344708&partnerID=40&md5=9616d4bde6ec7089c4a35676b3960495","University of Delaware Newwark","Hofstetter F.T., University of Delaware Newwark","Twenty-four music majors participated in an evaluation of a competency-based approach to teaching aural Interval Identification. The students were taught ascending Intervals using a traditional learning sequence from the Benward ear-training series. Twelve continued to learn descending, mixed ascending and descending, and harmonic intervals by the same methods in a sequential control group. The other twelve learned in a competency-based experimental group. Whereas there was no significant difference in the amount of learning between the two groups on the basis of ascending intervals, the competency-based experimental group learned significantly more on subsequent materials than did the sequential control group. Although students in both groups spent the same amount of learning time, the competency-based format caused students in the experimental group to spend a greater proportion of their time on the more difficult materials than did students in the control group. Students in the experimental group were unaware of the beneficial effects that the competency-based approach was having on their achievement scores. © 1979, SAGE Publications. All rights reserved.","ability; aural discrimination; computer assisted instruction; music achievement tests; teaching method","","","","","","","","Benward B., Workbook in Ear Training, (1969); Hofstetter F.T., GUIDO: An interactive computer-based system for improvement of instruction and research in ear training, Journal of Computer-Based Instruction, 1, pp. 100-106, (1975)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84965587774"
"Sloboda J.","Sloboda, John (6701874747)","6701874747","The eye-hand span-an approach to the study of sight reading","1974","Psychology of Music","2","2","","4","10","6","91","10.1177/030573567422001","https://www.scopus.com/inward/record.uri?eid=2-s2.0-0002720276&doi=10.1177%2f030573567422001&partnerID=40&md5=fbb9df29dbd7b083278240e2e2673b1b","","","[No abstract available]","","","","","","","","","Averbach E., Sperling G., Cherry C., Short-term Storage of Informi.ation inl Vision, Symposiunm on information Theory, pp. 196-211, (1961); Bean K.L., An Experiml-ental Approach toi the Reading of sli'ic, Psychological Monographs, 30, (1938); Broadbent D.E., Word Frequency Effect anid Response Blsa, Psychological Review, 74, 1, pp. 1-15, (1967); Buswell G.T., An Experim-ental Study of Eyeoicc Span in Readirn, Supplementary Educational Monographs, 17, (1920); Catlin J., On the Word Frequency Etiect, Psychological Review, 76, 5, pp. 504-506, (1969); Cooke D., The Language of Music, (1959); Goldiamond I., Hawkins W.F., Vexierversuch: The Log Relatiornship between Word Frequency and Recognition Obtained in the Absernce of Stimulus Words, Journtal of Experimental Psychology, 56, pp. 457-463, (1958); Klemmer E.T., Frick F.C., Assimilation of Information iroin Dot and Matrix Patterns, Journal of Experimental Ps}chology, 45, pp. 15-19, (1953); Lawson E., A Note on the Influence of Different Orders of Approxilmtion to the English Language Upon the Eye-Voice Span, QaarieriI' Journai of Experimental Psychology, 13, pp. 53-55, (1961); Levin H., Kaplan E.L., Harry L., Willianis J.P., Gramnmatical Stn uLctuire and Reading, Basic Stuidies on Reading, (1970); Miller G.A., The Magical Number Seveni, Pius or MinUs Two. Some Limits on Our Capacity for processing Information, Psvchologicajl Review, 63, pp. 81-97, (1956); Morton J., The Effects of Context upon Speed of Reading, Eye-Movements, and Eye-Voice Span, Quarterly Joutrnall of E lvperimlnenfal Psychology, 16, pp. 340-351, (1964); Morton J., Norman D.A., A Functional Model for Memnory, Mlodeli a! -nmalant Memory, (1970); Reicher G.M., Perceptual Recognition as a Function of Meaningfulness of Stimulus Material, Journal of Experimiiental Psychology, 21, 2, pp. 275-280, (1971); Savin H.B., Word Frequency Effect and Errors in the Perception of' Speech, Journal of the Acoustical Society of America, 35, pp. 200-206, (1963); Sperling G., The Information Available in Brief Visuial Presentations, Psychological Monographs, 74, (1960); Tinker M.A., Recent Studies of Eye-Movements in Readitg, Psvchological Bulletin, 55, pp. 215-231, (1958)","","","","","","","","","03057356","","","","English","Psychol. Music","Article","Final","","Scopus","2-s2.0-0002720276"
"Smith M.","Smith, Melville (59485646000)","59485646000","Solfège: An Essential in Musicianship","1934","Music Educators Journal","20","5","","16","20","4","2","10.2307/3385779","https://www.scopus.com/inward/record.uri?eid=2-s2.0-85146740278&doi=10.2307%2f3385779&partnerID=40&md5=b4365f36c991c694bd761ce1cefec645","Western Reserve University, United States","Smith M., Western Reserve University, United States","[No abstract available]","","","","","","","","","","","","SAGE Publications Inc.","","","","","","00274321","","","","English","Music. Educ. J.","Article","Final","","Scopus","2-s2.0-85146740278"
"Chadwick J.E.","Chadwick, J.E. (25955174300)","25955174300","Predicting success in sight-singing","1933","Journal of Applied Psychology","17","6","","671","674","3","2","10.1037/h0074196","https://www.scopus.com/inward/record.uri?eid=2-s2.0-58149418673&doi=10.1037%2fh0074196&partnerID=40&md5=012cab2fbd0a0030607fc019c05e6bf9","","","A multiple correlation of .84 was obtained between scores on ""a very objective performance test"" of sight-singing and scores on the Seashore music tests, a college achievement test and the American Council Psychological Examination. A regression equation is developed through the use of the path coefficient technique for determining the relative influence of the three variables in predicting success in sight-singing. ""In determining probable success in music, musical talent tests are about two and one-half times as indicative as intelligence tests, and twenty-five times as effective as tests of general knowledge of school subjects."" (PsycINFO Database Record (c) 2006 APA, all rights reserved). © 1933 American Psychological Association.","MUSIC, TEST; SOCIAL FUNCTIONS OF THE INDIVIDUAL; TEST, MUSIC","","","","","","","","","","","","","","","","","00219010","","JAPGB","","English","J. Appl. Psychol.","Article","Final","","Scopus","2-s2.0-58149418673"
"McNaught W.G.","McNaught, W.G. (57046574000)","57046574000","The Psychology of Sight-Singing","1899","Proceedings of the Musical Association","26","1","","35","55","20","3","10.1093/jrma/26.1.35","https://www.scopus.com/inward/record.uri?eid=2-s2.0-79954963314&doi=10.1093%2fjrma%2f26.1.35&partnerID=40&md5=95d72c6f3a7533fbf2e3f7b0bfef6291","","","[No abstract available]","","","","","","","","","","","","","","","","","","09588442","","","","English","Proc. Music. Assoc.","Article","Final","All Open Access; Green Open Access","Scopus","2-s2.0-79954963314"
"Siler H.","Siler, Henry (57188904702)","57188904702","Toward An International Solfeggio","1956","Journal of Research in Music Education","4","1","","40","43","3","0","10.2307/3343838","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84964146736&doi=10.2307%2f3343838&partnerID=40&md5=4ac1b780f989ab5ac64fc61bf83a4058","University of California, Riverside, United States","Siler H., University of California, Riverside, United States","[No abstract available]","","","","","","","","","","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84964146736"
"Williams D.B.","Williams, David Brian (55737550600)","55737550600","Short-term retention of pitch sequence","1975","Journal of Research in Music Education","23","1","","53","66","13","13","10.2307/3345203","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84965565121&doi=10.2307%2f3345203&partnerID=40&md5=22ebdb769c4cd8ef60dc908257278d64","SWRL Educational Research and Development, Los Alamitos, United States","Williams D.B., SWRL Educational Research and Development, Los Alamitos, United States","This research focused on short-term memory (STM) and the extent to which pitch sequence length and pitch position within a sequence affect the amount of pitch information losi between offset of the stimulus and the time of perceptual report. Loss of pitch information in STM was shown as a result of increased time before recall, the position of a pitch within a sequence (recency > primacy > center), and the increased length of a sequence. It was also demonstrated that loss of pitch information due to an increased number of pitch items stored in STM was dependent upon the amount of time before report. Moreover, time was shown to be a selective function depending upon the pitch position in a melodic sequence. Implications were indicated for research design in several areas. These included music perception, pedagogical and measurement techniques in eartraining instruction, and programed instruction design in melodic dictation and sight-singing. © 1975, SAGE Publications. All rights reserved.","audiovisual ability; aural discrimination; memory; psychology; sight reading; teaching method; test development; theory","","","","","","","","Carlsen J.C., A Proposal for Research on a Cross Cultural Study of Perceptual Expectancy of Melody, (1973); Carlsen J.C., Divenyi P.I., Taylor J.A., A Preliminary Study of Perceptual Expectancy in Melodic Configurations, Council for Research in Music Education Bulletin, 22, pp. 4-12, (1970); Deutsch D., Effect of Repetition of Standard and Comparison Tones on Recognition Memory for Pitch, Journal of Experimental Psychology, 93, 1, pp. 156-162, (1972); Dowling W.J., Fujitani D.S., Contour, Interval, and Pitch Recognition in Memory for Melodies, The Journal of the Acoustical Society of America, 49, 2, pp. 524-531, (1971); Edwards A.L., Experimental Design in Psychological Research, (1972); Elliot L.L., Auditory Memory for One and Two Tones, The Journal of the Acoustical Society of America, 49, 2, pp. 450-456, (1971); Haber R.N., Information-Processing Approaches to Visual Perception, (1969); Hopkins K.P., Peckham P.D., The Analysis of Repeated Measures Designs, (1968); Hunt E., Makous W., Some Characteristics of Human Information Processing, unpublished manuscript, Department of Psychology, University of Washington (Seattle), Technical Report 68–1–19, (1968); Massaro D.W., Consolidation and Interference in the Perceptual Memory System, Perception and Psychophysics, 7, 3, pp. 153-156, (1970); Massaro D.W., Preperceptual Auditory Images, Journal of Experimental Psychology, 85, 3, pp. 411-417, (1970); Massaro D.W., Effect of Masking Tone Duration on Perceptual Auditory Images, Journal of Experimental Psychology, 87, 1, pp. 146-148, (1971); Massaro D.W., Stimulus Information vs. Processing Time in Auditory Pattern Recognition, Perception and Psychophysics, 12, 1A, pp. 50-56, (1972); Miller G., The Magical Number Seven, Plus or Minus Two: Some Limits on Our Capacity for Processing Information, Psychological Review, 2, pp. 81-97, (1966); Moss S.M., Myers J.L., Filmore T., Short Recognition Memory of Tones, Perception and Psychophysics, 7, 6, pp. 369-373, (1970); Murdock B.B., The Serial Effect of Free Recall, Journal of Experimental Psychology, 64, pp. 482-488, (1962); Newell A., Man on his Artificial Nature, series of John Danz Lectures given at the University of Washington (Seattle), (1972); Norman D.A., Rumelhart D.E., Norman D., A System for Perception and Memory, Models of Human Memory, pp. 19-64, (1970); Peterson L.R., Peterson J.J., Short-Term Retention of Individual Verbal Items, Journal of Experimental Psychology, 58, pp. 193-198, (1959); Pollack I., The Information of Elementary Auditory Displays, The Journal of the Acoustical Society of America, 24, pp. 745-749, (1952); Shiffrin R.M., Atkinson R.C., Storage and Retrieval Processes in Long-Term Memory, Psychological Review, 76, 2, pp. 179-193, (1969); Sperling G., The Information Available in Brief Visual Presentations, Psychological Monographs, 74, 11, (1960); Taylor J.A., Perception of Melodic Intervals Within Melodic Context, (doctoral dissertation, University of Washington, (1972); Wickelgren W.A., Consolidation and Retroactive Interference in Short-Term Recognition Memory for Pitch, Journal of Experimental Psychology, 72, 2, pp. 250-259, (1966); Wickelgren W.A., Associative Strength Theory of Recognition Memory for Pitch, Journal of Mathematical Psychology, 6, pp. 13-61, (1969); Williams D.B., Shelton C., A Procedure and Instrumentation for Presenting Luminous Numeric Response Cues in a Nonverbal Auditory Serial Position Task, Behavior Research Methods and Instrumentation, (1975)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84965565121"
"Kwalwasser J.","Kwalwasser, J. (25956728700)","25956728700","Tests and measurements in music","1928","Psychological Bulletin","25","5","","284","301","17","1","10.1037/h0075076","https://www.scopus.com/inward/record.uri?eid=2-s2.0-58149419242&doi=10.1037%2fh0075076&partnerID=40&md5=c711e724b4fb87ae19a0dfc00337dc40","","","The great array of music tests now devised indicates that important changes in music pedagogy lie ahead. The tests include those for aptitudes (Sensory, feeling, motor) and those for achievements (knowledge, appreciation, performance). 28 titles are listed. (PsycINFO Database Record (c) 2006 APA, all rights reserved). © 1928 American Psychological Association.","MENTAL TESTS; MUSIC, TESTS IN, REVIEW; REVIEW, MUSIC TESTS; SOCIAL FUNCTIONS OF THE INDIVIDUAL; TESTS, MUSIC, REVIEW","","","","","","","","","","","","","","","","","00332909","","PSBUA","","English","Psychol. Bull.","Article","Final","","Scopus","2-s2.0-58149419242"
"Brand M.; Burnsed V.","Brand, Manny (59065277200); Burnsed, Vernon (26036412000)","59065277200; 26036412000","Music Abilities and Experiences as Predictors of Error-Detection Skill","1981","Journal of Research in Music Education","29","2","","91","96","5","22","10.2307/3345017","https://www.scopus.com/inward/record.uri?eid=2-s2.0-84965404647&doi=10.2307%2f3345017&partnerID=40&md5=fd16e43d16aeb19c8f8dfd095592e050","University of Houston, Texas, United States; Virginia Polytechnic Institute and State University, Blacksburg, United States","Brand M., University of Houston, Texas, United States; Burnsed V., Virginia Polytechnic Institute and State University, Blacksburg, United States","This study examined the predictive validity of previous music abilities and experiences of skill in music error detection among undergraduate instrumental music education majors. The predictor variables included number of instruments played; ensemble experience; ability in music theory, sightsinging and ear training, and years of precollege private instrumental instruction. Results indicated no statistically significant relationship between each of the predictor variables and skill in music error detection. This suggests that the ability to detect music errors may exist independently of other music abilities. The benefits accrued through participation in one kind of music activity may not contribute to other areas of music development. © 1981, SAGE Publications. All rights reserved.","","","","","","","","","Commission on Teacher Education, Teacher education in music: A final report, (1972); Cooksey J.M., A facet-factorial approach to rating high school choral music performance, Journal of Research in Music Education, 25, pp. 100-114, (1977); Fiske H.E., Musical performance evaluation ability: Toward a model of specificity, Bulletin of the Council for Research in Music Education, 59, pp. 27-31, (1979); Ramsey D.S., Programmed instruction using band literature to teach pitch and rhythm error detection to music education students, Journal of Research in Music Education, 27, pp. 149-162, (1979); Sidnell R.G., Self-instructional drill materials for student conductors, Journal of Research in Music Education, 19, pp. 85-91, (1971); Stuart M., The use of videotape recording to increase teacher trainees’ error detection skills, Journal of Research in Music Education, 27, pp. 14-19, (1979); Taylor C.G., A study of the ability of musicians to detect melodic and harmonic errors in the performance of choral music while inspecting the score, Bulletin of the Council for Research in Music Education, 1, pp. 45-49, (1963)","","","","","","","","","00224294","","","","English","J. Res. Music Educ.","Article","Final","","Scopus","2-s2.0-84965404647"