The Enjoyment Cycle Koops, Lisa Huisman
Journal of research in music education,
10/2017, Volume:
65, Issue:
3
Journal Article
Peer reviewed
The purpose of this phenomenological study was to describe children’s lived experience of enjoyment during musical play. Data sources included class video from 15 weeks of a 24-week extracurricular ...music class for 4-to 7-year-olds taught by the researcher, parent-filmed video of child participant music-making in home settings during the same period, and transcripts of exit interviews with parents and children. Participants included 12 children and 4 adults, all of whom had contributed to prior studies on children’s music-making in family settings. Phenomenological data analysis followed Moustakas’s approach. Five elements emerged as hallmarks of children’s musical enjoyment and provided the textural description of “what” occurred during musical enjoyment, including active musical engagement, signs of physical engagement, a balance of familiarity and novelty, inclusion of activities allowing for student control or choice, and a safe and playful environment. Structurally, participants’ enjoyment occurred in four ways: within a balance of structure and freedom, within a balance of community and individual expression, as a cycle between children’s musical enjoyment and participation, and as a springboard to musical risk-taking and musical agency. Implications for practice and research are discussed.
Educators are often unaware of assets Mexican Indigenous children possess that originate from their cultural practices. Using Critical Latinx Indigeneities and Indigenous Heritage Saberes, our ...studies focus on three unique Indigenous learning communities that provide opportunities of empowerment for these students. We examine the experiences of Triqui middle school students in a Youth Participatory Action Research club and how it facilitated their use of research as a decolonizing tool to hold knowledge inside the school. We explore how Oaxacan students maintain their cultural traditions via a learning community created byan Oaxacan philharmonic band. Lastly, we investigate the experiences of Yucatec-Maya youth with cultural community organization programs that instill knowledge of and pride in their Indigenous identity. Our studies contribute to the critical conversations about equity in education for Mexican Indigenous youth. Recommendations are made for educators and community organizations working with Mexican Indigenous students.
The purpose of this study is to gain a better understanding of the perceived impact of personal circumstances, past and present learning environments, and musical culture on the development of ...playing-related pain and injury among tertiary string students. The study used a multi- phased mixed-methods methodology with elements of both quantitative and qualitative research. Forty eligible Bachelor of Music string majors at a tertiary music institution in Australia completed questionnaires/interviews twice annually, totalling 181 sessions. Due to attrition of 11, the number of participants decreased to 29 (14 violinists, four violists, 11 cellists) of whom 17 took eight semesters to complete their programmes. Results showed students consistently reported a high incidence of playing-related discomfort/pain. Further analysis revealed key groups of contributing factors, including the Major Study course, orchestral rehearsals, practice, technique and non-playing-related activities. The qualitative data revealed the complexity, subjectivity, and individuality of student experiences and the extent to which they vary according to a number of complex and overlapping risk factors. The research suggests the need for education institutions to adopt a range of preventative strategies as part of a multifaceted approach to addressing the issue of playing-related pain and injury. Author abstract
Abstract
Many European cities offer a vivid cultural landscape and numerous live-music opportunities. Some of the events aim at young audiences and develop cooperation projects with schools ...(Schwanse, 2003). The
Schools@Concerts
research project focuses on long-established cooperation projects between schools and concert hosts and tries to give insights into the structure of them. This article describes the Salzburg single case study, where besides the music teacher, the school students and the concert host also a didactics course from the music teacher training at the university is involved. By collecting data with interviews and questionnaires with all participating partners, the research group tries to outline the different roles within the cooperation project and compares the varying goals, tasks and expectations of the participating partners.
An Equity in Music Education Alekna, Mallory; Kang, Soyeon
Music educators journal,
06/2020, Volume:
106, Issue:
4
Journal Article
Peer reviewed
A group of students and faculty at Arizona State University, Tempe, occupied a parking space outside the School of Music for an hour to do an experiment in creative placemaking and music-making. The ...results of their efforts are shared in this article.
The theory of planned behavior (TPB) has been employed as a theoretical framework that predicts and explains an individual’s intention to engage in a certain behavior. The TPB postulates that an ...individual’s behavior is influenced by behavioral intentions, and behavioral intentions are caused by three distinct factors: attitude toward behavior, subjective norms, and perceived behavior control. To holistically understand factors influencing students’ intentions for continued music participation, this article examines music education studies focused on various factors related to student intention to persist in music based on the TPB. This review of literature will support researchers in determining the direction of future investigation of students’ intentions for continued engagement in music. Furthermore, understanding and documenting these factors in student intention could aid music educators in creating teaching strategies focused on increasing student continuation in musical activities.
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.
Although there is now an accepted need for initiatives that support older people’s well-being, little attention has been paid to the role of those facilitating such activities. This research explored ...the benefits and challenges for those working in facilitating musical activities with older people. The research was undertaken at three UK case study sites, and involved 14 music facilitators who completed questionnaires and were interviewed about their work. The findings showed that there were many rewards in working with older people but also considerable challenges in terms of venues, resources, and a lack of initial and ongoing training opportunities.
Given the current state of understanding surrounding musicians’ experiences while performing, this study sought to investigate musicians’ thoughts and perceptions during performances and the ...perceived impact their evaluation of those thoughts and perceptions has on their subsequent musical activities. Twenty-nine student and professional classical musicians were interviewed concerning factors perceived to contribute to the quality of performances, experiences prior to and during performances, and their responses to performances. Self-perceived successful performances were often connected with feelings of sufficient preparation and positive mind-sets, and presented a high yet attainable level of challenge. Less successful performances were typically linked with inadequate preparation, negative mental outlooks, frustration, and lack of enjoyment during the performance itself. Furthermore, the results pointed to the relevance of facilitative versus debilitative perfectionism, locus of control, interpretation of anxiety symptoms, and the interaction between self-talk, self-efficacy, and performance quality to musicians’ performance experiences and satisfaction.
First established in Scotland in the 1870s, civilian Scottish Pipe Bands are now a global intergenerational phenomenon. In Canada, they are a diasporic reminder of the 70,000 Scots who emigrated ...there in the 19th century. Currently, there are more SPBs per capita in Canada than any country outside of Scotland, with an estimated 240 civilian SPBs located from Nova Scotia to Vancouver. Because Canadian SBPs exist entirely in the community, teaching pipes and drums to beginning members of all ages--adults, teenagers, and children--is done within the confines of each local pipe band. Intertwined with how members of Canadian SPBs learn and teach music are issues of identity and meaning, both of particular importance in the Scottish-Canadian diaspora. In this, the first of a four-part qualitative multi-sited case study, we explored music teaching and learning in one Scots-Canadian Pipe Band located in rural Ontario. Research questions included: How do participants teach, learn, and perform SPB music in a Canadian context? How do Web 2.0 technologies facilitate music learning in the genre? What place does this music hold in participants' lives? What role does a "sense of community" play? How is the local situated within the global and vice versa? Finally, what practices correspond to formal school music education and what are striking differences to consider?
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