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Diverse Music Education Insights

Works Count: 70560

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Description

This cluster of papers explores various aspects of music education, including formal and informal learning practices, self-efficacy and performance anxiety in music, teacher preparation, creative collaboration, and the development of musical skills. It delves into the role of parents, teachers, and peers in motivating students, as well as the impact of music on psychological well-being and quality of life. Additionally, it examines the challenges and experiences of music teachers and the use of technology in music education.

Keywords

Music Education; Informal Learning; Performance Anxiety; Self-Efficacy; Creative Collaboration; Teacher Preparation; Musical Development; Practice Strategies; Motivation in Music; Music Performance

The art and science of teaching: a comprehensive framework for effective instruction

2008-07-01

Robert J. Marzano

In The Art and Science of Teaching: A Comprehensive Framework for Effective Instruction, author Robert J. Marzano presents a model for ensuring quality teaching that balances the necessity of research-based … In The Art and Science of Teaching: A Comprehensive Framework for Effective Instruction, author Robert J. Marzano presents a model for ensuring quality teaching that balances the necessity of research-based data with the equally vital need to understand the strengths and weaknesses of individual students. He articulates his framework in the form of 10 questions that represent a logical planning sequence for successful instructional design. Filled with charts, rubrics and organisers, this methodical, user-friendly guide will help teachers examine and develop their knowledge and skills, so they can achieve that dynamic fusion of art and science that results in exceptional teaching and outstanding student achievement.

Social Psychology of Music

2012-01-01

Prof. Dr. Norbert M. Seel

Music and emotion: theory and research

2002-09-01

Patrik N. Juslin , John Sloboda

That music has an incredible power to move us emotionally is without question. Whether performing music, listening to music, or creating music, this bond with our emotions is always there. … That music has an incredible power to move us emotionally is without question. Whether performing music, listening to music, or creating music, this bond with our emotions is always there. The natu ...

Music, Informal Learning and the School: a New Classroom Pedagogy

2008-07-28

Tiija Rinta

Music Preferences, Personality Style, and Developmental Issues of Adolescents

2003-03-28

Kelly Dean Schwartz , Gregory T. Fouts

The Performance of Music

1999-01-01

Alf Gabrielsson

Music, informal learning and the school: a new classroom pedagogy

2009-10-01

Lucy Green

Contents: Introduction The project's pedagogy and curriculum content Making music Listening and appreciation Enjoyment: making music and having autonomy Group cooperation, ability and inclusion Informal learning with classical music Afterword … Contents: Introduction The project's pedagogy and curriculum content Making music Listening and appreciation Enjoyment: making music and having autonomy Group cooperation, ability and inclusion Informal learning with classical music Afterword Appendices Bibliography Index.

Focus on psychometrics. Aspects of item analysis

1991-01-01

Sandra Ferketich

Abstract During the course of instrument development, investigators are faced with the challenge of developing a psychometrically sound instrument that has a minimal number of items or components. Although instrument … Abstract During the course of instrument development, investigators are faced with the challenge of developing a psychometrically sound instrument that has a minimal number of items or components. Although instrument developers may encounter specific problems in relation to different types of tests, there are three areas of concern that are frequently encountered. These concerns relate to (a) instrument length, (b) scale homogeneity, and (c) instrument sensitivity. The purpose of this article is to discuss selected aspects of item analysis in relationship to these three commonly encountered and interrelated areas of concern.

The role of practice in the development of performing musicians

1996-05-01

John Sloboda , Jane W. Davidson , Michael J. A. Howe +1 more

A sample of 257 young people aged between eight and 18 who had undertaken individual instrumental tuition were interviewed in depth about their performing history from the start of playing. … A sample of 257 young people aged between eight and 18 who had undertaken individual instrumental tuition were interviewed in depth about their performing history from the start of playing. A subset of 94 of these individuals also kept a practice diary for a 42‐week period. The data collected allowed estimates to be calculated of the amount of time devoted to various types of practice and other activities. The sample was selected in order to encompass a wide range of levels of musical achievement, from pupils at a highly selective specialist music school through to individuals who had abandoned instrumental study after less than a year of formal instruction. Data about formal examination successes confirmed the very wide range of achievement in the sample. It was discovered that there was a strong relationship between musical achievement and the amount of formal practice undertaken. Weaker relationships were discovered between achievement and amount of informal playing. There was no evidence that high achievers were able to gain a given level of examination success on less practice than low achievers. High achievers tended to be more consistent in their pattern of practice from week to week, and tended to concentrate technical practice in the mornings. These data lend strong support to the theory that formal effortful practice is a principal determinant of musical achievement.

Self-efficacy and music performance

2006-06-28

Gary E. McPherson , John McCormick

This study is the second in a series of investigations attempting to clarify relationships between variables that impact on a young musician's ability to perform music (as assessed on a … This study is the second in a series of investigations attempting to clarify relationships between variables that impact on a young musician's ability to perform music (as assessed on a graded music examination). Consistent with studies on school academic subjects, our previous investigation demonstrated the importance of self-efficacy in predicting young musicians’ performance examination results. In the current study, structural equation modelling allowed us to compare two different types of graded music performance examinations. Although differences emerged between the two sets of data, self-efficacy was again found to be the most important predictor of achievement in the examinations. Implications arising from this finding are discussed in the final section of the article.

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Music-Society-Education

1985-01-01

Charles Keil , Christopher Small

Cited by Soundpost as remarkable and revolutionary upon its publication in 1977, Music, Society, Education has become a classic in the study of music as a social force. Christopher Small … Cited by Soundpost as remarkable and revolutionary upon its publication in 1977, Music, Society, Education has become a classic in the study of music as a social force. Christopher Small sets out to examine the social implications of Western classical music, effects that until recently have been largely ignored or dismissed by most musicologists. He strives to view the Western musical tradition through the mirror of these other musics [Balinese and African] as it were from the outside, and in so doing to learn something of the inner unspoken nature of Western culture as a whole. As series co-editor Robert Walser writes, By pointing to the complicity of Western culture with Western imperialism, Small challenges us to create a future that is more humane than the past. And by writing a book that enables us to rethink so fundamentally our involvements with music, he teaches us how we might get there.

Music talent, and performance: a conservatory cultural system

1988-09-01

Henry Kingsbury

A provocative, perceptive study of the cultural dynamics of classical music in American society, Music, Talent, and Performance describes music as aa metaphor of the society in which it takes … A provocative, perceptive study of the cultural dynamics of classical music in American society, Music, Talent, and Performance describes music as aa metaphor of the society in which it takes place. Author Henry Kingbury, a conservatory-trained pianist and music educator turned anthropologist forgoes the traditional ethnomusicologist approach of looking at a non-Western musical culture to focus on the field of an American conservatory. The result is a penetrating look at the distinction between teaching music and the nurturing of musicality. Kingsbury offers an innovative anthropological analysis of the western notion of talent and its cultural character, noting that many non-western societies have no such concept. Furthermore, he examines various contexts in which music is produced, experienced, and evaluated. His discussion includes the dynamics of orchestra rehearsals in the conservatory, master class lessons with a distinguished performer-pedagogue, the ritual characteristics of solo recitals, and an interpretive analysis of stage fright. Ultimately, Kingsbury argues that music is highly shifting and indeterminate in meaning, a concept that has important implications for all interpreters of culture and for the artists themselves.

A Philosophy of Music Education: Advancing the Vision

2003-09-01

Michael L. Mark

1. From Philosophical Concurrence to Diversity: Problems and Opportunities. 2. Several Alternative Views and a Synergistic Proposal: An Experience-Based Philosophy of Music Education. 3. The Feeling Dimension of Musical Experience. … 1. From Philosophical Concurrence to Diversity: Problems and Opportunities. 2. Several Alternative Views and a Synergistic Proposal: An Experience-Based Philosophy of Music Education. 3. The Feeling Dimension of Musical Experience. 4. The Creating Dimension of Musical Experience. 5. The Meaning Dimension of Musical Experience. 6. The Contextual Dimension of Musical Experience. 7. From Theory to Practice: Musical Roles as Intelligences. 8. Advancing the Vision: Toward a Comprehensive General Music Program. 9. Advancing the Vision: Toward a Comprehensive Specialized Music Program.

From child to musician: skill development during the beginning stages of learning an instrument

2004-12-15

Gary E. McPherson

This article reports on a three-year longitudinal study with 157 children in school grades 3 and 4 (aged between 7 and 9 years), who commenced learning an instrument in one … This article reports on a three-year longitudinal study with 157 children in school grades 3 and 4 (aged between 7 and 9 years), who commenced learning an instrument in one of eight school music programmes. The children were administered tests at the end of each school year to assess their abilities to perform rehearsed music, sight-read, play from memory, play by ear and improvise, and interviews were completed with the children’s mothers in order to calculate how much practice they had accumulated on their instrument. Data were also obtained to help clarify the quality of mental strategies the children adopted when performing. Findings extend previous research on skill acquisition by proposing that conceptions based on the amount of practice undertaken or that focus exclusively on children’s ability to reproduce rehearsed literature from notation are inadequate to understanding the early stages of instrumental development. It is proposed that a more coherent explanation comes from understanding the range of strategies children employ when performing and that the sophistication of children’s mental strategies provides an important means for understanding why some progress effortlessly in contrast to others who struggle and fail. Conclusions highlight the importance of helping students to develop a repertoire of task-appropriate strategies that will enable them to think musically when performing challenging tasks on their instrument.

The time of music: new meanings, new temporalities, new listening strategies

1989-11-01

Jonathan D. Kramer

Mutual Learning and Democratic Action in Instrumental Music Education

2003-04-01

Randall Everett Allsup

This ethnography is an investigation of the notion of democracy as community-in-the-making. The researcher and nine band students came together to create music that was meaningful and self-reflective. The participants … This ethnography is an investigation of the notion of democracy as community-in-the-making. The researcher and nine band students came together to create music that was meaningful and self-reflective. The participants elected to split into two distinct ensembles. Group 1 chose not to compose on their primary band instruments, opting for electric guitar, bass, synthesized piano, and drums. Group 2 chose to create music using traditional concert band instruments. Choosing a genre and working with the traditions governing its creative processes seemed to be the largest determinant of a groups culture. The group members and researcher saw classical music as unproductive for group composing or community-making. Composing in a jazz or popular style was conceived of as fun, nonobligatory, self-directed, and personally meaningful. In such settings, there was an emphasis on interpersonal relationships, peer learning and peer critique, as well as an expectation that members will take care of each other.

Group creativity: musical performance and collaboration

2006-03-27

R. Keith Sawyer

In this article, I focus on three defining characteristics of group creativity: improvisation, collaboration and emergence. To demonstrate these three characteristics, I present several examples of group creativity in both … In this article, I focus on three defining characteristics of group creativity: improvisation, collaboration and emergence. To demonstrate these three characteristics, I present several examples of group creativity in both music and theater. Then I explore how structure and improvisation are always both present in group creativity. Improvisations contain elements of structure and structured performances contain improvisational elements. I conclude by suggesting some implications for musical education and for education in general.

Formal and informal learning situations or practices vs formal and informal ways of learning

2006-06-29

Göran Folkestad

During the last decade there has been an awakening interest in considering not only formalised learning situations within institutional settings, but also all the various forms of informal musical learning … During the last decade there has been an awakening interest in considering not only formalised learning situations within institutional settings, but also all the various forms of informal musical learning practices outside schools. Informal musical learning outside institutional settings has been shown to contribute to important knowledge and aspects of music education. In this article, I will examine research studies which in different ways focus on formal and informal learning situations and practices or formal and informal ways of learning. I will consider the relationship between music education as praxis (music pedagogy) and as research, and the relationship between these two facets of music education and the surrounding society. I will identify four different ways of using and defining formal and informal learning, respectively, either explicitly or implicitly, each one focusing on different aspects of learning: (i) the situation, (ii) learning style, (iii) ownership, and (iv) intentionality. Formal – informal should not be regarded as a dichotomy, but rather as the two poles of a continuum; in most learning situations, both these aspects of learning are in various degrees present and interacting. Music education researchers, in order to contribute to the attainment of a multiplicity of learning styles and a cultural diversity in music education, need to focus not only on the formal and informal musical learning in Western societies and cultures, but also to include the full global range of musical learning in popular, world and indigenous music in their studies.

The do re mi's of everyday life: The structure and personality correlates of music preferences.

2003-01-01

Peter J. Rentfrow , Samuel D. Gosling

The present research examined individual differences in music preferences. A series of 6 studies investigated lay beliefs about music, the structure underlying music preferences, and the links between music preferences … The present research examined individual differences in music preferences. A series of 6 studies investigated lay beliefs about music, the structure underlying music preferences, and the links between music preferences and personality. The data indicated that people consider music an important aspect of their lives and listening to music an activity they engaged in frequently. Using multiple samples, methods, and geographic regions, analyses of the music preferences of over 3,500 individuals converged to reveal 4 music-preference dimensions: Reflective and Complex, Intense and Rebellious, Upbeat and Conventional, and Energetic and Rhythmic. Preferences for these music dimensions were related to a wide array of personality dimensions (e.g., Openness), self-views (e.g., political orientation), and cognitive abilities (e.g., verbal IQ).

The Functions of Music in Everyday Life: Redefining the Social in Music Psychology

1999-04-01

David J. Hargreaves , Adrian C. North

What psychological functions does music serve in everyday life? In this paper we argue that the answer to this question is changing as a result of current social and technological … What psychological functions does music serve in everyday life? In this paper we argue that the answer to this question is changing as a result of current social and technological changes in music itself, and that these changes force us to re-evaluate the role of the social context in music psychology. After describing the changes we go on to outline the psychological functions of music in everyday life in terms of the cognitive, emotional and social domains. We next attempt a detailed redefinition of the social psychology of music by reviewing the contents of our recent book of this title. The research findings lead us to conclude that the social functions of music are manifested in three principal ways for the individual, namely in the management of self-identity, interpersonal relationships and mood. This leads us to propose a new agenda for music psychology which places the social dimension at its core, and which considers the interdisciplinary context; the effects of the "democratisation" of music; the role of theory; the relationship between theory and practice; and the implications for research methodology.

The importance of music to adolescents

2000-06-01

Adrian C. North , David J. Hargreaves , Susan O’Neill

Aims. The study aims to determine the importance of music to adolescents in England, and investigates why they listen to and perform music. Sample. A total of 2465 adolescents (1149 … Aims. The study aims to determine the importance of music to adolescents in England, and investigates why they listen to and perform music. Sample. A total of 2465 adolescents (1149 males; 1266 females; 50 participants did not state their sex) between 13 and 14 years of age who were attending Year 9 at one of 22 secondary schools in the North Staffordshire region of England. Method. A questionnaire asked participants (a) about their degree of involvement with musical activities; (b) to rate the importance of music relative to other activities; and (c) to rate the importance of several factors that might determine why they and other people of their age and sex might listen to/perform pop and classical music. Results. Responses indicated that i) over 50% of respondents either played an instrument currently or had played regularly before giving up, and the sample listened to music for an average of 2.45 hours per day; ii) listening to music was preferred to other indoor activities but not to outdoor activities; iii) listening to/playing pop music has different perceived benefits to listening to/ playing classical music; iv) responses to suggested reasons for listening to music could be grouped into three factors; and v) responses to suggested reasons for playing music could be grouped into four factors. Conclusions. These results indicate that music is important to adolescents, and that this is because it allows them to (a) portray an ‘ image’ to the outside world and (b) satisfy their emotional needs.

Music Performance Research at the Millennium

2003-07-01

Alf Gabrielsson

Empirical research on music performance has increased considerably during recent decades. This article updates the review of the research up to 1995 published by the current author in 1999. Covering … Empirical research on music performance has increased considerably during recent decades. This article updates the review of the research up to 1995 published by the current author in 1999. Covering about 200 papers from 1995 up to 2002, this article confirms the impression that music performance research is in a very active stage. As in the previous review, the majority of papers are on measurement of performance, but there is a rapidly increasing number of contributions concerning models of performance, performance planning and practice. Although fewer in number, there are also many new contributions within each of the remaining areas of performance research analysed in this review.

Maintaining excellence: Deliberate practice and elite performance in young and older pianists.

1996-01-01

Ralf Krampe , K. Anders Ericsson

Two studies investigated the role of deliberate practice in the maintenance of cognitive-motor skills in expert and accomplished amateur pianists. Older expert and amateur pianists showed the normal pattern of … Two studies investigated the role of deliberate practice in the maintenance of cognitive-motor skills in expert and accomplished amateur pianists. Older expert and amateur pianists showed the normal pattern of large age-related reductions in standard measures of general processing speed. Performance on music-related tasks showed similar age-graded decline for amateur pianists but not for expert pianists, whose average performance level was only slightly below that of young expert pianists. The degree of maintenance of relevant pianistic skills for older expert pianists was predicted by the amount of deliberate practice during later adulthood. The role of deliberate practice in the active maintenance of superior domain-specific performance in spite of general age-related decline is discussed.

The Sequence of Musical Development: A Study of Children's Composition

1986-11-01

Keith Swanwick , June Tillman

A musical development sequence is proposed based on the psycho-logical concepts of mastery, imitation, imaginative play and meta-cognition, drawing on the work of Moog, Piaget and the observations of British … A musical development sequence is proposed based on the psycho-logical concepts of mastery, imitation, imaginative play and meta-cognition, drawing on the work of Moog, Piaget and the observations of British writers. An interpretation of over seven hundred children's compositions is undertaken yielding an eight-mode spiral of development that may have consequences for music teaching; for overall music curriculum planning, for appropriate responses to individuals, for generating progression in a session or project.

Music Education at the Tipping Point

2007-11-01

John Kratus

The Dynamics of Intense Work Groups: A Study of British String Quartets

1991-06-01

J. Keith Murnighan , Donald E. Conlon

This paper focuses on the effects of internal group dynamics on the effectiveness of intense work teams, in this case, professional string quartets in Great Britain.In particular, we studied the … This paper focuses on the effects of internal group dynamics on the effectiveness of intense work teams, in this case, professional string quartets in Great Britain.In particular, we studied the effects of a group's strategies for coping with four important paradoxes: Leadership versus democracy, the paradox of the second violinist, the means for conflict resolution, and similarity versus diversity.Qualitative and quantitative data differentiated clearly between the the more and less successful quartets.

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Songs in Their Heads: Music and Its Meaning in Children's Lives

2001-01-01

Kari Veblen , Patricia Shehan Campbell

This book explores the musical interest and needs of children in their daily lives. Based upon their expressed thoughts and actual 'musicking' behaviours, this text examines the songs they sing, … This book explores the musical interest and needs of children in their daily lives. Based upon their expressed thoughts and actual 'musicking' behaviours, this text examines the songs they sing, the rythyms they make, and the roles that music plays for them. Blending standard education field experiences with ethnographic techniques, Dr. Campbell demonstrates how music is personally and socially meaningful to children and what values they place on particular musical styles, songs, and functions. He explores musical behaviours in various contextual settings, and presents in notated and narrative forms some of the 'songs in their heads', balancing music learned with music 'made', and intentional, purposeful music with natural musical behaviour. Songs in Their Heads is a vivid and engaging book that bridges the disciplines of music education, musicology, ethnomusicology, and folklore. Designed as a text or supplemental text in a variety of music education method courses, as well as a reference for music specialists and classroom teachers, this book will also appeal to parents interested in understanding and enhancing music making in their children.

The Role of Self-Efficacy in a Musical Performance Examination: An Exploratory Structural Equation Analysis

2003-01-01

John McCormick , Gary E. McPherson

The study reported here investigated cognitive mediational processes in the context of a music performance examination. The prime purpose was to focus on an aspect of musical learning - graded … The study reported here investigated cognitive mediational processes in the context of a music performance examination. The prime purpose was to focus on an aspect of musical learning - graded music examinations - that has hitherto received little research attention. The sample consisted of 332 instrumentalists who were completing Trinity College, London, graded, externally assessed performance examinations. Analysis of survey data was carried out using structural equation modelling. The analysis suggested that, in motivational terms, and consistent with research carried out in other academic contexts, self-efficacy was the best predictor of actual performance. The authors conclude that whilst practice plays a vital part in the development of a musician’s capacity to perform well, it should not be considered in isolation from motivational and related variables.

The Science and Psychology of Music Performance Creative Strategies for Teaching and Learning

2002-12-01

Richard Parncutt , Gary E. McPherson

In The Science and Psychology of Music Performance, Richard Parncutt and Gary McPherson assemble current relevant research findings and make them accessible to musicians and music educators. This book explains … In The Science and Psychology of Music Performance, Richard Parncutt and Gary McPherson assemble current relevant research findings and make them accessible to musicians and music educators. This book explains new approaches to teaching music, learning music, and making music at all levels of education and skills. Each chapter is a collaboration between a music researcher (usually a music psychologist) and a player or music educator. The combination of expertise generates excellent practical advice. Readers will learn, for example, that they are in part (57%) if they experience rapid heartbeat before the show; Chapters devoted to anxiety performance will help them decide whether beta-blocker drugs, hypnotherapy, or Alexander. Relaxation Techniques can alleviate their stage fright. Another chapter outlines a step-by-step method for introducing children to musical notation, firmly based on research in cognitive development. Overall, 21 chapters cover the personal, environmental, and acoustic influences that shape music learning and performance

Single Case Experimental Designs: Strategies for Studying Behavior Change

1983-09-01

M. E. Boyle

Journal Article Single Case Experimental Designs: Strategies for Studying Behavior Change Get access Hersen Michel Barlow David H.Single Case Experimental Designs: Strategies for Studying Behavior Change. New York: Pergamon Press, … Journal Article Single Case Experimental Designs: Strategies for Studying Behavior Change Get access Hersen Michel Barlow David H.Single Case Experimental Designs: Strategies for Studying Behavior Change. New York: Pergamon Press, 1976; 374 pages. Mary Elinor Boyle Mary Elinor Boyle State University of New York College at New Paltz Search for other works by this author on: Oxford Academic PubMed Google Scholar Journal of Music Therapy, Volume 20, Issue 3, Fall 1983, Pages 164–165, https://doi.org/10.1093/jmt/20.3.164 Published: 01 October 1983

Scales for the Measurement of Attitudes

1968-03-01

J. B. Buttram

Journal Article Scales for the Measurement of Attitudes Get access Shaw Marvin E. Wright Jack M.Scales for the Measurement of Attitudes, McGraw-Hill, New York, 1967, 570 pp. Joe B. Buttram … Journal Article Scales for the Measurement of Attitudes Get access Shaw Marvin E. Wright Jack M.Scales for the Measurement of Attitudes, McGraw-Hill, New York, 1967, 570 pp. Joe B. Buttram Joe B. Buttram Search for other works by this author on: Oxford Academic PubMed Google Scholar Journal of Music Therapy, Volume 5, Issue 1, March 1968, Page 27, https://doi.org/10.1093/jmt/5.1.27-a Published: 01 March 1968

Audience Addressed/Audience Invoked: The Role of Audience in Composition Theory and Pedagogy

1984-05-01

Lisa Ede , Andrea A. Lunsford

Bourdieu: Critical Perspectives.

1994-09-01

Richard Jenkins , Craig Calhoun , Edward LiPuma +1 more

Music Matters: A New Philosophy of Music Education

1996-01-01

Natalie Sarrazin , David J. Elliott

What is music? Does music deserve a place in general education? If so why? Music Matters ,develops new answers to these questions through a wide-ranging examination of Music as a … What is music? Does music deserve a place in general education? If so why? Music Matters ,develops new answers to these questions through a wide-ranging examination of Music as a diverse human practice. The result is a ground-breaking philosophy of music education that provides critically reasoned perspectives on the nature and significance of performing, listening, musicianship, multiculturalism, creativity, consciousness, curriculum development and more. Music Matters is exceptional for the attention it pays to many aspects of music and education that past music education philosophy either misses of ignores altogether. Following an incisive critique of conventional thinking, Elliot develops a multidimensional concept of music that explains why music-making and listening are unique forms of thinking and unique forms of the most important kinds of knowing human beings can achieve. In a richly detailed narrative that examines a wealth of recent philosophical foundation allows teachers to affirm to themselves, and others, that music deserves a central place in the education of all people. Among many working ideas of this new philosophy is a distinctive concept of curriculum-as-practicum that explains how music educators can fulfil their educational mandate. Through intended first as a text for pre-service and in-service music teachers, Music Matters is for anyone who takes a serious interest in music and music education.

Philosophy of Music Education

2013-02-01

and suggest practical applications of their philosophies in the orchestral classroom, especially in the context of ear training and improvisation.From these philosophies, I will develop my own personal philosophy of … and suggest practical applications of their philosophies in the orchestral classroom, especially in the context of ear training and improvisation.From these philosophies, I will develop my own personal philosophy of music education, most broadly defined by the claim that music is key to experiencing and understanding feelingful experiences.Feelingful experiences refer to the abstract and physical experiences of emotions; not, for example, the emotion of 'love' itself, but what we experience as love, both in our bodies and in our minds.The Jacques-Dalcroze Method, often referred to as "Dalcroze Eurhythmics," is an educational approach based on the philosophy and research of Emile Jacques-Dalcroze, a Swiss pedagogue born in 1865.Eurhythmics, solfège, and improvisation are the three main components of his pedagogical approach, which incorporate most prominently movement, kinesthesia, and high-order, imaginative thinking.Jacques-Dalcroze believed that music was an outlet for emotional and feelingful expression; he spent a large portion of his professional life inventing a multitude of ways in which music students can connect to and utilize music as introspective individuals.His research in physical movement was aimed towards "freeing his students of conflicts between mind and body, between feeling and expression." 2 Many music students 3 lack the emotional literacy necessary to intimately recognize their feelings, as well as the physical ability to express those feelings through music.To combat this, Jacques-Dalcroze utilized movement and kinesthetic awareness of the body to develop skills in analyzing, interpreting, and experiencing music in an emotionally and physically natural 1 Reimer, Bennett.

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The Teacher–Tool Relationship: Theorizing the Design and Use of Curriculum Materials

2011-09-20

Matthew Brown

To understand the complex relationship between curriculum materials and the practices they facilitate, consider an example from jazz. The song Take the A Train, written by Billy Strayhorn, was the … To understand the complex relationship between curriculum materials and the practices they facilitate, consider an example from jazz. The song Take the A Train, written by Billy Strayhorn, was the signature tune of the Duke Ellington Orchestra, and was performed by countless others. If we compare Duke's rendition to one by Ella Fitzgerald, we have little difficulty identifying each rendition as being the same song. Yet, despite their essential similarities, the songs sound distinctly different. (The same can often be said for two renditions by the same artist.) We can examine some of the sources of this variation – ranging from obvious differences such as instruments used to less obvious ones such as cultural influences, contextual factors, and stylistic preferences. But it is also the case that, although performers use pre-rendered scores as foundations to support their practice, a great deal of the creative work takes place during the performance.

The Clockwork Muse: The Predictability of Artistic Change.

1991-05-01

Rémi Clignet , Colin Martindale

Emotion and Meaning in Music

1957-12-01

Julius Portnoy , Leonard B. Meyer

Educational Technology

1972-12-01

J. B. Buttram

Educational Technology Get access Lawrence Lipsitz, ed. Educational Technology, Vol. XI, NO. 8, Palo Alto, California. Joe B. Buttram Joe B. Buttram Search for other works by this author on: … Educational Technology Get access Lawrence Lipsitz, ed. Educational Technology, Vol. XI, NO. 8, Palo Alto, California. Joe B. Buttram Joe B. Buttram Search for other works by this author on: Oxford Academic PubMed Google Scholar Journal of Music Therapy, Volume 9, Issue 4, Winter 1972, Pages 199–200, https://doi.org/10.1093/jmt/9.4.199-a Published: 01 December 1972

Musicking: the meanings of performing and listening

1999-03-01

Collaborative Music Learning : Utilizing n-Track Application in Private Music Education

2025-06-25

Pasukat Sembiring , Yudi Sukmayadi , Ayo Sunaryo | Jurnal Kependidikan Jurnal Hasil Penelitian dan Kajian Kepustakaan di Bidang Pendidikan Pengajaran dan Pembelajaran

This study explores the utilization of n-Track, a digital audio workstation (DAW), as a collaborative tool in private music education. Unlike conventional music learning tools, n-Track enables real-time digital collaboration … This study explores the utilization of n-Track, a digital audio workstation (DAW), as a collaborative tool in private music education. Unlike conventional music learning tools, n-Track enables real-time digital collaboration between teachers and students, facilitating asynchronous learning. This study presented a novel approach by utilizing mobile based DAW technology to enhance both in person and virtual music instruction, making it more accessible and interactive. Using a qualitative approach with a descriptive method, data was collected through observations and interviews with students engaged in n-Track-based learning. Thematic coding was used to identify recurring patterns and themes in the data, providing insights into the app’s impact on student and teacher interaction. The findings indicate that n-Track enhances student engagement, supports independent practice, and improves teacher-student interaction efficiency. Key features such as multitrack recording, MIDI sequencing, and real-time feedback facilitate structured musical arrangements and instrumental skill development. This study also highlights the importance of digital literacy among educators to maximize the benefits of technology in music education. Despite limitations in the free version of n-Track, it remains effective in fostering creativity and autonomy in music learning. This research contributes to the advancement of digital music pedagogy, emphasizing the role of DAWs in modern music education.

Music Performers' Lived Experiences

2025-06-25

Mine Doğantan-Dack | Routledge eBooks

The Wisdom of the Classical Music Performer

2025-06-25

Mine Doğantan-Dack | Routledge eBooks

“I Was Trying to Get Down the Mountain with My Violin Strapped to My Back”: Performance Anxiety Dreams of Classical Music Performers

2025-06-25

Mine Doğantan-Dack , László Stachó | Routledge eBooks

Cross-Genre Musicking in Individual and Collaborative Group Contexts: Lived Experience and Musical Identity

2025-06-25

Ruth Herbert , Asha Parkinson | Routledge eBooks

Mixed Methods for Researching Musicians' Lived Experience: The Philosophy and Science of Musical Absorption

2025-06-25

Simon Høffding | Routledge eBooks

The Oxford Handbook of Feminism and Music Education

2025-06-24

| Oxford University Press eBooks

Abstract The Oxford Handbook of Feminism and Music Education brings together a wide range of international scholars, practicing music educators (at all levels), policy makers, and community musicians to conceptualize, … Abstract The Oxford Handbook of Feminism and Music Education brings together a wide range of international scholars, practicing music educators (at all levels), policy makers, and community musicians to conceptualize, analyze, and/or critique the personal, social, cultural, political, ethical, and therapeutic potentials, practices, and/or problems in music and music education through feminist perspectives. Thus, the Oxford Handbook of Feminism and Music Education offers global, comprehensive, and critical perspectives on a wide range of conceptual and practical issues in music and music education as these apply to various forms of feminist perspectives in music teaching and learning within schools and communities. The central aims of this volume focus on broadening and deepening readers’ understandings of and critical thinking about feminist perspectives on the problems, opportunities, “spaces and places,” concepts, and practical strategies that music educators and community music facilitators employ, develop, and deploy to improve various aspects of music teaching and learning around the world. This book assists and motivates present and future music educators, community music facilitators, and arts and music activists as they attempt (a) to understand the many varieties and potentials of music teaching and learning, as described by the world-renowned scholars and community music practitioners in this book, and (b) to consider how traditional forms of musical pedagogies can be transformed in ways that will make them more mindful of and empathetic toward the personal and musical aims and desires of music students, musicians, and musical communities. This book will be of interest to teachers, scholars, administrators, and advocates who wish to redefine, refine, and redesign music teaching and learning practices and procedures.

Performative Gender and Subversive Music Education

2025-06-24

Ebru Tuncer Boon | Oxford University Press eBooks

Abstract This chapter examines why gender is not solely a political issue, but also a pedagogical one, and why educators should address gender considerations in their teaching and learning of … Abstract This chapter examines why gender is not solely a political issue, but also a pedagogical one, and why educators should address gender considerations in their teaching and learning of music. By way of example, I frame this argument by revealing two Turkish transgender students’ stories, their situated reflections of their lives conditioned by the social, cultural, political, and historical contexts that surround them. With the guidance of Judith Butler’s performative gender theory, I explore the following questions with them: Why should Turkish music educators recognize and provide space for LGBTQ students’ voices to be heard? How might Butler’s notion of performativity and her concepts of “striking moments” or “creative acts” help Turkish educators empower LGBTQ students in the music classroom? Overall, this chapter hopes to find ways of attaining transgender visibility and audibility in a Turkish music classroom.

Music Education and the Female Imagination

2025-06-24

Alexandra Kertz-Welzel | Oxford University Press eBooks

Abstract Utopian thinking has played a vital role in history. It offered possibilities of imagining better ways of being and living, no matter if the visions concerned pleasure, a just … Abstract Utopian thinking has played a vital role in history. It offered possibilities of imagining better ways of being and living, no matter if the visions concerned pleasure, a just political order, or an individually fulfilling life. What is striking, however, is the fact that utopian writing seems to have been a male domain for a long time. Even though there have been female authors imagining better societies, they have mostly been marginalized. In recent years, music education has often been concerned with notions of a better society, for instance regarding social change or eudaimonia—and thus been connected with utopian thinking. But the significance of utopia has rarely been acknowledged in music education. However, regarding the question of what music education’s role for society and its goals in general are, it would be important to analyze visions of a better world and to try to refine them—particularly regarding feminist visions. Sociological research offers the method of the imaginary reconstitution of society to analyze and refine utopian visions of a specific field. This method can help to rethink music education’s societal mission, particularly in view of feminist utopian visions. This chapter utilizes this method and shows the opportunities feminist utopian writing offers—in general and regarding music education. It thereby tries to contribute to redefining music education’s societal mission in the 2020s.

Musicking Nurture

2025-06-24

June Boyce‐Tillman | Oxford University Press eBooks

Abstract This chapter will use a Foucauldian frame of subjugated ways of knowing to examine the direction in which music education in the United Kingdom (UK) appears to be traveling. … Abstract This chapter will use a Foucauldian frame of subjugated ways of knowing to examine the direction in which music education in the United Kingdom (UK) appears to be traveling. It will interrogate how the practical and theoretical aspects balance one another, using Small’s musicking concept. It will relate these to the private and domestic uses of music in relation to women’s traditional roles and assessment practices that are individual rather than communal. The place of intuitive processes in relation to the assessment of products will examine the place of mistakes in the learning journey and nurturing pedagogies will be contrasted with prevailing models of the challenging heroic journey. It will use a partly autoethnographic account of the author’s education examining the role of women in education. This will draw on the author’s experience both as a pupil and a teacher (of all ages) before the establishment of the National Curriculum in the UK. It will use the work of Noddings, Hendricks, and Brown to look at student-centered pedagogy and examine the erosion of this by means of nationally imposed curricula.

The Imperative of Intersectionality in Music Education

2025-06-24

Juliet Hess | Oxford University Press eBooks

Abstract Feminist movements have often served the interests of white women and have therefore failed to account for the ways that women of color experience gender-based oppression. As an analytical … Abstract Feminist movements have often served the interests of white women and have therefore failed to account for the ways that women of color experience gender-based oppression. As an analytical framework, intersectionality provides a tool to consider how gender, race, class, sexual orientation, disability, national origin and status, religion, age, size, and other markers intersect to create multiple, overlapping sites of privilege and oppression. Intersectionality emerged from concerns that feminist movements failed to account sufficiently for race, while anti-racist movements often ignored the role of gender. These important social movements neglected to represent the experiences of Black women and women of color. An intersectional analysis aims to account for the ways that multiple identities interact to control access, mobility, and privilege in different situations. An intersectional approach is thus imperative in any feminist work. This chapter first synthesizes several definitions of intersectionality and subsequently explores the history of intersectionality. It examines what Collins calls the “matrix of domination” and teases out the difference between what the intersectionality literature refers to as single-axis thinking versus matrix thinking. The chapter then postulates what it might mean to consider intersectionality as an analytical framework following Collins’s and Bilge’s work. Ultimately, it explores what employing intersectionality analytically might do for both PK-12 music education and teacher education.

Women, LGBTQ, and Music Education in Japan

2025-06-24

Mitsuko Isoda | Oxford University Press eBooks

Abstract Research on feminism in music education began in the late 1990s in Japan, though only approximately 20 articles were published by 2014 and few new articles have been published … Abstract Research on feminism in music education began in the late 1990s in Japan, though only approximately 20 articles were published by 2014 and few new articles have been published since then. Despite critical issues concerning feminism, such as the hidden curriculum, the theme of feminism has not received much attention in Japanese music education. For example, the pictures of Western male composers like Bach and Beethoven continue to be posted on the walls of music classrooms throughout the country. Moreover, music teachers are generally unaware that through these images on the wall of music classrooms, students will internalize the idea that great professional musicians are only males. Music education in Japan is still male-centric, and it is rare to pay attention to gender diversity because the idea of post-feminism is influencing them. In response to the scarcity of research on this issue, Japan Music Education Society, the largest organization of Japanese music educators, released a special issue of the Japanese Journal of Music Education Practice entitled “Music Education and Gender” in 2013. In that issue, the following three points were discussed: (a) gender bias in images, composers, and lyrics in music textbooks and its impact on children, (b) differences and similarities between what girls and boys learn in music lessons, and (c) the need to respect the diversity of LGBTQ students in music classrooms and music. In this chapter, the problem related to feminism and other gender-related considerations in music education as stated by the Japan Music Education Society (2013) is examined and solutions to the problem of gender bias against female and LGBTQ students through music activities in Japan is discussed.

Interrogating the Paradoxes of “Empowerment” in Women’s Chorus

2025-06-24

Cara Faith Bernard | Oxford University Press eBooks

Abstract In this chapter, I interrogate the paradoxes of empowerment in a high school women’s chorus. Drawing from a feminist conception of empowerment and my experiences as a conductor-teacher, I … Abstract In this chapter, I interrogate the paradoxes of empowerment in a high school women’s chorus. Drawing from a feminist conception of empowerment and my experiences as a conductor-teacher, I query if engaging with women’s chorus repertoire around themes of strength and power is actually empowering. I argue that intended moments for empowerment must be linked to actionable items in order for transfer to occur outside the classroom. Using repertoire as a basis, I describe projects and conversations with students, first drawing attention to the performative, cultural expressions of empowerment exemplified through heroes and icons; then placing oneself as a locus of power; and locating quiet spaces of power where one may develop and employ authorial agency. These experiences demonstrate how instructional aspects of pedagogy as well as the emphasis on feminist empowerment may be performed, routinized, and challenged.

“Is That Allowed?”: Gender in Kenyan Music Education

2025-06-24

Emily Achieng’ Akuno | Oxford University Press eBooks

Abstract In the history of music practice and education in Kenya, the identity of the actors presents a rainbow of shifting roles and responsibilities attributed to women. In looking at … Abstract In the history of music practice and education in Kenya, the identity of the actors presents a rainbow of shifting roles and responsibilities attributed to women. In looking at the gender factor in music education and practice in Kenya, this chapter focuses on space. The context of music making informs the analysis of the potential relationships among gender, identity, and music teaching and learning. The music practice and music education spaces present activities with varying roles. The context, that is, space and time, presents dynamics in the articulation of the identity of the musician in the Kenyan cultural and creative space spilling over into teaching and learning. In a world where women have traditionally been defined as belonging to a man, and where women may not have valued themselves as independent and equally able human beings, the power of that socialization may have had negative effects on their participation in music practice and education. Cultural music practice, popular music and music education present a rich tapestry of relationships and roles that help articulate the gender factor in the practice of music as an agent of socialization in Kenya. These three are the spaces in which the discussion in this chapter takes place. Anchoring on feminist theory, this chapter interrogates the element of gender in the practice of music and music education in Kenya. The chapter analyzes how the concept of gender in the community contributes to the definition, practice, and teaching of music, articulating elements of, especially, choice, empowerment, meaningful engagement, as well as stereotyping.

White Choir Director

2025-06-24

Whitney A. Covalle | Oxford University Press eBooks

Abstract As white choir directors, teachers enter rehearsal with power and privilege with questions, vulnerabilities, and insecurities. Silence protects dominance and to redesign the social hierarchy requires race to be … Abstract As white choir directors, teachers enter rehearsal with power and privilege with questions, vulnerabilities, and insecurities. Silence protects dominance and to redesign the social hierarchy requires race to be acknowledged with honesty. Aligned with Vivian Paley’s book White Teacher, and using Ganz’s methodology of public narrative, the author examines her journey leaving predominantly white institution (PWI) 20 years ago to enter urban settings and teach music where she found herself unequipped in musical and non-musical ways. The potential relationships among gender, identity, race, and music teaching and learning are illustrated through a three-part narrative reflection where she interrogates her personal moments of racial awakening and recognition with overlapping cultural and musical discoveries in learning vocal musics outside of the Western canon.

Feminist Organizations in Music Education

2025-06-24

Sondra Wieland Howe | Oxford University Press eBooks

Abstract Women founded feminist organizations in the 1980s and 1990s to promote women composers, expand historical information, and discuss issues of women and gender in music education. Women composers formed … Abstract Women founded feminist organizations in the 1980s and 1990s to promote women composers, expand historical information, and discuss issues of women and gender in music education. Women composers formed organizations in the 1970s to promote their music. In 1995, several groups of composers merged to form the International Alliance for Women in Music. In the 1980s, musicologists rediscovered women composers and discussed concepts of the canon, genius, genre, and periodization from a feminist perspective. Within established musicology organizations, committees were formed to research the status of women in music. Building on the work of musicologists and women composers, music educators established their own organizations. Gender Research in Music Education (GRIME) was founded at the first Feminist Theory and Music (FT&M) Conference in 1991. This group split into two groups. GRIME International met at FT&M conferences. GRIME Special Research Interest Group (or SRIG) was founded in 1998, changed to Gender and Sexuality SRIG in 2014, and continues to meet at the National Association for Music Education (or NAfME) conferences. The national band organizations have avoided a discussion of gender issues, but women band directors have founded new organizations. The mission statements of organizations in composition, musicology, and music education include various definitions of feminism from the “second wave of feminism” emphasis on inequality and gender discrimination and the “third wave of feminism” focus on individuality and diversity, studying the relationships among gender, race, class, and sexuality. In the 21st century women’s music organizations continue to fight inequality and discrimination. They emphasize gender issues for both male and female musicians and study LGBTQ issues.

Pre-service Music Teacher Education

2025-06-24

Kelly Bylica , Karin S. Hendricks | Oxford University Press eBooks

Abstract It has been nearly a decade since the College Music Society Manifesto challenged and encouraged tertiary music educators to prioritize creativity, diversity, and integration for 21st-century music students. Part … Abstract It has been nearly a decade since the College Music Society Manifesto challenged and encouraged tertiary music educators to prioritize creativity, diversity, and integration for 21st-century music students. Part of the realization of this manifesto has included a shift in music teacher preparation programs toward models that more fully embrace creative and improvisatory approaches to education. In practice, however, it seems as though novice educators, in particular, often face perceived barriers to taking the kinds of creative or improvisatory risks necessary to enact meaningful change. This chapter addresses a potential mechanism for embracing improvisation and risk-taking in pre-service music teacher programs, by considering what it might look like through five principles of gaga feminism: (a) Wisdom lies in the unexpected, (b) Transformation is inevitable, (c) Think and act counterintuitively, (d) Practice creative non-believing, and (e) Be outrageous or risk extinction. Gaga feminism, inspired by Lady Gaga’s innovative and norm-defying musical performances, considers how improvisation might be a catalyst for emancipation—a way to break free from unending cycles of institutional oppression. In this chapter we consider each principle of gaga feminism in terms of how it might inspire a willingness toward risk-taking in pre-service music teacher education curricula, in ways that might help prepare novice educators who are willing to take thoughtful and responsive risks with and alongside their communities.

Feminist Aims for Music Education

2025-06-24

Marissa Silverman | Oxford University Press eBooks

Abstract The purpose of this chapter is to conceptualize an understanding of feminism for music education that centers love. The author examines, as does Margaret E. Toye, “love” as a … Abstract The purpose of this chapter is to conceptualize an understanding of feminism for music education that centers love. The author examines, as does Margaret E. Toye, “love” as a method of knowledge generation through vulnerability. Additionally, the author frames love as caring for oneself and others and collectively being with and for oneself and others through musical engagements. In doing so, and leaning into the work of Toye, love as “affective energy” is positioned in a way that can be both intimate and activistic/artivistic; shared on both a narrow scale and a much wider scale, depending on its reach and context. In pursuing love as affective energy, the author acknowledges the decolonizing work of Dawn Rae Davis. Davis’s willingness to love through “not knowing” acknowledges that curious, engaged listening is the starting point for realizing positions and places through musicing that illustrate “knowing and not knowing,” as well as “proximity and distance,” and “intimacy and inaccessibility.” The main argument of this chapter places Luce Irigaray’s understanding of “love” as the core aim for music teaching and learning.

“Constantly Creating New Conditions”: Feminist Strategies for the Music Theory Classroom

2025-06-24

Chris Stover | Oxford University Press eBooks

Abstract “What’s in your backpack?” This is a question media theorist Shanté Paradigm Smalls asks on the podcast Fantastic Blackness (2020). Smalls draws this theme from Octavia Butler’s Parable of … Abstract “What’s in your backpack?” This is a question media theorist Shanté Paradigm Smalls asks on the podcast Fantastic Blackness (2020). Smalls draws this theme from Octavia Butler’s Parable of the Sower (1993) to encourage her students to think creatively about how they are preparing for the world they are finding themselves in. Butler’s parable is about the enactment of radical change through community and self-care, even in the face of seemingly insurmountable ecological and ethical catastrophe. This chapter begins with an audacious conceit: that the music theory classroom can be a space for nurturing connections, for tending caring relationships, and indeed for enacting radical change. To do so, it deploys themes and (post-)methods from Black feminist theory and pedagogy, decolonial feminist theory, and anarchafeminism to productively consider how music theory can be a space for valorizing difference, making connections through co-creation, practicing storytelling as an analytic method, reinventing histories, and enabling futures. It can do this by attending to its traditional projects—critical music analysis and its claims of preparing musicians for professional careers—through what I would call, following Gloria Josephs (1988) and Patricia Hill Collins (1991), four tenets of Black feminist epistemological praxis: dialogue as knowledge production, personal expressiveness, an ethics of accountability, and attention to lived experience. All of these taken together can transform music theory into a theory “in the making” (Combahee River Collective 1979).

The Elementary General Music Classroom

2025-06-24

Lucas Schoppe | Oxford University Press eBooks

Abstract Viewed through the lenses of critical and feminist scholars, current and prominent systems of public school music instruction in the United States can be perceived as oppressive experiences for … Abstract Viewed through the lenses of critical and feminist scholars, current and prominent systems of public school music instruction in the United States can be perceived as oppressive experiences for both students and teachers. Specific to the elementary general music classroom, teaching and learning are often centered in standards-based and/or standardized pedagogical processes which—as a result of national, state, and/or local mandates—may restrict the personal agency of students and teachers. Through these processes, students and teachers can become compliant and unthinking objects, sustaining current oppressive systems of music education. After recognizing my own oppression within these systems, as well as the oppressive musical and educational experiences of the students I worked with each day at a public elementary school in urban central Texas, the students and I began to work collaboratively to disrupt the oppressive norms of our music classes in an effort to create a more empowering music class experience. In this chapter, I describe these disruptive attempts from the perspective of the learner (i.e. student and adult) and the teacher using examples from my own elementary general music classroom. Finally, I highlight some of the barriers the students and I have faced, which have limited a larger-scale feminist pedagogical transformation of our music classes, along with how these barriers might be overcome in elementary general music classrooms through future research.

The Voices of Music Educators on the Margins

2025-06-24

Carlos R. Abril , Wendy Günther | Oxford University Press eBooks

Abstract Over the last 20 years, a growing number of researchers in music education have sought to amplify the voices of marginalized individuals and groups. Many of these studies are … Abstract Over the last 20 years, a growing number of researchers in music education have sought to amplify the voices of marginalized individuals and groups. Many of these studies are undergirded and informed by the theoretical foundations laid by feminist scholars who went beyond merely empowering girls and women to challenge common-sense assumptions and power dynamics, as well as to document and interpret the lives and perspectives of diverse people. There have been attempts to survey this literature through narrative reviews, usually to provide background for a study, to build an argument, or to construct a theoretical framework. No reports to date have applied systematic review procedures to this burgeoning body of literature. This chapter uses a scoping review method to map the themes, issues, and research approaches, as well as to bring attention to patterns or lacunae in the literature. This chapter will map and synthesize research that provides space for the “voice” of marginalized pre- and in-service pre-K-12 music educators. Guiding questions for this chapter include the following: What groups of music educators are being studied as “marginalized” or “underrepresented” in the music education literature? What are the rationales and theoretical frames for these types of studies? What methods are being employed to study these individuals or groups? What are the key findings of these studies?

Black Feminist Thought in UK Music Education

2025-06-24

Nathan Holder | Oxford University Press eBooks

Abstract Music education in the United Kingdom has historically been conducted through the lens of Western European classical music that has systemically excluded women, with the works and stories of … Abstract Music education in the United Kingdom has historically been conducted through the lens of Western European classical music that has systemically excluded women, with the works and stories of Black women severely marginalized. Even though since 2020 and the murder of George Floyd, the representation and inclusion of racially marginalized groups such as Black women has increased, in which ways has this drive towards equality (if not equity) fallen short? This chapter seeks to discuss the ways in which Black women are currently represented in U.K. music education, and how using a Black feminist lens can transform music education.

Teaching the History of the Women’s Music Movement, 1972–2022

2025-06-24

Bonnie J. Morris | Oxford University Press eBooks

Abstract This chapter provides an overview of the women’s music movement, which fused feminist politics, woman-celebrating event spaces, and grassroots folk traditions to create a bold new recording and performance … Abstract This chapter provides an overview of the women’s music movement, which fused feminist politics, woman-celebrating event spaces, and grassroots folk traditions to create a bold new recording and performance network. Beginning in 1972, hundreds of feminist artists radicalized audiences through concerts, festivals, bookshops, and college radio, producing a songbook of independent albums that are still beloved and relevant today. The music voiced critical truths about women’s alliances and survival across history, in styles and stances from blues and folk to rock and jazz, while also re-introducing vocal rounds and composers from the past. By the mid-1970s, “women’s music” became synonymous with lesbian identity and empowerment in an era with limited LGBTQ rights. The recordings released by independent labels Olivia and Redwood, along with album art, magazine reviews, artists’ memoirs, and concert films, now constitute a material/sound legacy for historians and archives. How might a fifty-year soundtrack for much of feminist and LGBTQ history be preserved and handed down to future generations? Included are a present-day syllabus and a comprehensive bibliography with resources for music and women’s studies pedagogy.

Feminism(s) and Music Education

2025-06-24

Marissa Silverman , Nasim Niknafs | Oxford University Press eBooks

Abstract This chapter discusses issues—emotional, historical, musical, political, sociological, psychological, and social—that illustrate the need for feminism and feminist ideals within and across music education and music teaching and learning. … Abstract This chapter discusses issues—emotional, historical, musical, political, sociological, psychological, and social—that illustrate the need for feminism and feminist ideals within and across music education and music teaching and learning. Additionally, this chapter provides an introduction and overview, not only of select considerations within and across feminism(s) and feminist matters beyond and within the music education profession, but also an introduction to the aims and overview of the Oxford Handbook of Feminism and Music Education. The chapter ends with select limitations of the volume and points to possibilities for future research within music education and formal and informal music teaching and learning.

Chinese Dance Curriculum Politics and students’ creativity

2025-06-24

Xinyu Dou , Lin Jia , W. Jiao | Research in Dance Education

The influencing factors of music teachers’ professional development: a literature review

2025-06-23

Zhang Yan-Han , Luo Yuan-Yu , Dong Jianyu +1 more | Professional Development in Education

A Brass-Playing Identity

2025-06-23

Eleanor Guénault , Jane Ginsborg , John Habron | Journal of World Popular Music

Brass instruments have historically had a strong association with masculinity and have been played mostly by men. Although there have been pioneering women at various points during the twentieth century, … Brass instruments have historically had a strong association with masculinity and have been played mostly by men. Although there have been pioneering women at various points during the twentieth century, women did not enter brass playing in significant numbers until the end of the century. Even now, women are in the minority across the current brass- playing cohort in the UK, and are extremely rare in some genres and some specific brass instruments. This pattern is echoed in many countries and leads us to the following question: how have historical attitudes and practices shaped the identity of brass players in the present day? Drawing on a questionnaire distributed to active UK brass players, this article explores the identities that are constructed within the brass- playing community. Chi- square tests and a thematic analysis of free-text responses revealed that the most common brass- playing stereotypes exist in direct conflict with characteristics traditionally associated with the feminine gender, and that the environment can be unwelcoming to women. Key themes included gender inequality, drinking culture and sociability, and most participants were comfortable describing the characteristics of a “typical brass player”. Some participants felt that existing stereotypes were out- of- date but others suggested that they might still be rooted in reality, and the rate of change within brass playing was also debated. This article will discuss the views of both men and women based in professional, semi- professional and amateur settings, and will explore how stereotyping contributes to the low numbers of women observed in UK brass- playing.

Fine-tuning the details: post-encoding music differentially impacts general and detailed memory

2025-06-23

Kayla Clark , Stephanie L. Leal | Journal of Neuroscience

Music can effectively induce emotional arousal, which is associated with the release of stress hormones that are important for the emotional modulation of memory. Thus, music may serve as a … Music can effectively induce emotional arousal, which is associated with the release of stress hormones that are important for the emotional modulation of memory. Thus, music may serve as a powerful modulator of memory and mood, making it a promising therapeutic tool for memory and mood disorders such as Alzheimer's disease or depression. However, music's impact on memory depends on its features, timing, and ability to elicit emotional arousal. In the current study, we manipulated various features of music played during post-encoding memory consolidation to elicit emotional arousal and impact subsequent memory in men and women. We found that larger increases and moderate decreases in post-encoding music-induced emotional arousal from baseline resulted in gist vs. detail trade-offs in memory, with improved general memory but impaired detailed memory, while moderate increases in arousal from baseline corresponded to improved detailed memory, but impaired general memory. Importantly, relative to controls, music-induced emotional arousal demonstrated unique impacts on detailed memory that are crucial in supporting episodic memory. These findings suggest that music intervention does not uniformly impact memory and has important implications in developing personalized music-related interventions for those with memory and mood impairments.Significance Statement Music may be a powerful tool for modulating memory and mood, offering therapeutic potential for disorders like Alzheimer's and depression. We found that individual differences in emotional arousal following music exposure influenced both general memory and detailed memory performance. Compared to controls, music specifically impacted memory for details, highlighting its potential to target specific memory aspects. These findings suggest that music interventions may not uniformly enhance memory, emphasizing the need for personalized approaches in treating memory and mood impairments.

The Educational Video Game for the Promotion of Traditional Cuban Music Among Children and Teenadgers

2025-06-23

Abraham de Jesús Parada Figueroa , Omar Correa Madrigal | Russian Digital Libraries Journal

This article presents the design and development of the educational video game, conceived as a tool for the promotion and preservation of traditional Cuban music of the Son genre among … This article presents the design and development of the educational video game, conceived as a tool for the promotion and preservation of traditional Cuban music of the Son genre among children and adolescents. The proposal combines cultural content with contemporary game mechanics, generating an immersive and didactic experience. Its pedagogical foundations, playful structure, and potential impact on the formation of cultural awareness from an early age are described.

Digital Transformation and Effect Evaluation of Music Education Driven by Internet of Things Technology

2025-06-21

Jie Tian | International Journal of High Speed Electronics and Systems

In the last few years, the digital revolution has greatly influenced educational methodologies, and the Internet of Things (IoT) has been at the forefront of enlightening teaching and learning experiences. … In the last few years, the digital revolution has greatly influenced educational methodologies, and the Internet of Things (IoT) has been at the forefront of enlightening teaching and learning experiences. To discover the integration of IoT technology into music education, this research combines the Enhanced Northern Goshawk Optimized Deep Spiking Neural Network (ENG-DSNN) framework. The suggested approach utilizes IoT-driven devices to collect data on students’ physiological and psychological states in real time as they take music lessons, including heart rate, stress levels, engagement, and behavioral data. In addition, data normalization is carried out with Min-Max Scaling, and the acceptance of missing values is done by using Multivariate Imputation by Chained Equations (MICE). Subsequently, the use of ENG-DSNN integrates the global search ability of the ENG with the temporal learning strengths of the DSNN. ENG is then used to determine the hyperparameter bounds for giving the best possible settings for the DSNN, thereby increasing the accuracy of its predictions in assessing music education outcomes. Experimental results show the effectiveness of the IoT-enhanced music education system with 98.2% accuracy, depicting the robust performance metrics of the ENG-DSNN model. The research evaluates both the educational impact and mental health of IoT-driven music education, providing actionable insights for educators. Predictive analytics further suggest customized interventions to improve student engagement and mental health.

The Youth Music Institute at the University of Wisconsin, Summer 1969

2025-06-21

Phillip M. Hash | Journal of Research in Music Education

The purpose of this historical study was to examine the planning, implementation, participants, and activities associated with the Youth Music Institute (YMI) held at the University of Wisconsin from July … The purpose of this historical study was to examine the planning, implementation, participants, and activities associated with the Youth Music Institute (YMI) held at the University of Wisconsin from July 7 to August 1, 1969. Organizers hoped this event would bridge the communication gap between society, educational institutions, and youth through a collaborative learning environment involving students, music educators, guidance counselors, and professional recording artists. Participants used the term “youth music” to encompass multiple genres that captured the interest of young people, including various forms of rock, blues, soul, country western, jazz, and ethnic styles. The program consisted of lectures from leading scholars in multiple disciplines; working groups to discuss topics related to youth music, culture, and school curricula; and open rehearsal clinics with professional artists coaching student ensembles. The YMI also sponsored weekly public concerts where professionals and students appeared together, thereby creating authentic performance opportunities for the aspiring young musicians. Research into details surrounding the YMI may provide valuable insights for advocacy and professional development that will enable teachers to advance popular music education today.

The influence of enjoyment and love of music and high school music experience on music societies participation among non-music major college students in Sichuan, China: The mediating effect of basic psychological needs

2025-06-20

Yuxuan Gu , Junainah Abd Hamid , Jacquline Tham | International Journal of Innovative Research and Scientific Studies

This study explored the influencing factors of non-music college students' participation in music societies in Sichuan, China, and analyzed the relationships between students' enjoyment and love of music (EALM), high … This study explored the influencing factors of non-music college students' participation in music societies in Sichuan, China, and analyzed the relationships between students' enjoyment and love of music (EALM), high school music experience (HSME), basic psychological needs (BPN), and music societies participation (MSP) and the mediating role of BPN. The study used a cross-sectional survey with an online questionnaire for 499 students and structural equation modeling to analyze the data. The results showed that EALM was the primary factor influencing MSP, with a significant direct positive association; HSME had a non-significant direct effect on MSP, but its fully mediated effect through BPN was significant; and BPN had a strong positive direct effect on MSP and partially mediated the relationship between EALM and MSP. The study suggests that the core motivation for non-music majors to participate in music societies is an intrinsic love of music, and that the high school music experience indirectly facilitates participation in music societies by fulfilling BPN (autonomy, relatedness, and competence). It is recommended that music education administrators and club activities should focus on stimulating the love of music, satisfying psychological needs, and optimizing the design and promotion of activities to enhance the participation of non-music majors.

Music Heritage, Music-evoked Reminiscence and Cultural Identity: Exploring Musical Connectedness to Family, Community and Place with the Chilean Diaspora of Northern England

2025-06-19

Sara Cohen , Lisa Shaw , Richard Smith +1 more | Bulletin of Hispanic Studies

This article explores the findings of our recent work with the Chilean community in Liverpool, investigating the importance of music as an individual and collective inheritance and how music is … This article explores the findings of our recent work with the Chilean community in Liverpool, investigating the importance of music as an individual and collective inheritance and how music is valued and attached to a sense of self, place and belonging. Using a novel methodology based on BBC Radio Four’s programme ‘Inheritance Tracks’, participants took part in workshops where they discussed two pieces of music, one passed on to them and one they wish to pass on, explaining why the pieces were important and what they evoked. To reinforce reminiscence we introduced personal objects and artefacts into workshops and one-to-one interviews. The article illustrates how using music to stimulate discussion about the past results in emotional and affectionate responses to recalling times and places, with a lesser focus on actions, activities and structures. It explores how music in individual and group activities helps migrant communities maintain their cultural heritage and identity while building new lives, providing a means for forming bonds with the host culture and – in this case – a link with Chile. It investigates how music-inspired reminiscence activities can bring out emotional wellbeing benefits in the present, unlocking memories and related positive emotions and facilitating inter-generational communication and understanding.

Graduate Student Core Reflection Applications to Preservice Teaching

2025-06-19

Morten Tellenes Berg , Genevieve J. Graves , Charles Oldenkamp +1 more | Journal of Music Teacher Education

Regular reflection on teaching is necessary for not only preservice and inservice music teachers but also for music teacher educators. Although reflection is used to generate problem solutions, the impact … Regular reflection on teaching is necessary for not only preservice and inservice music teachers but also for music teacher educators. Although reflection is used to generate problem solutions, the impact of the person doing the reflection on these solutions is often not taken into account. Core reflection encourages teachers to consider professional and personal factors that affect their effectiveness and student learning. During the 2022–2023 academic year, three graduate students participated in a program designed to introduce and foster the application of core reflection to instrument methods course teaching. The program included a series of workshops and bi-weekly journaling. In this article, we present an overview of workshop content and journal prompts, as well as an analysis of experienced benefits and challenges of core reflection implementation. Recommendations for future implementation and implications for music teacher education are also provided.

“¡Bienvenidos a todos! Who's ready for some música?”

2025-06-19

Silvia Monti | Routledge eBooks

“If Girls Don’t Want to Study Jazz, We Can’t Force Them”

2025-06-19

Beatriz Nunes | Journal of Jazz Studies

Scholarship acknowledges jazz as a historically male-dominated culture, where masculinity is closely intertwined with notions of tradition and authenticity. Androcentric perceptions of cultural and historical value, as well as gender … Scholarship acknowledges jazz as a historically male-dominated culture, where masculinity is closely intertwined with notions of tradition and authenticity. Androcentric perceptions of cultural and historical value, as well as gender stereotypes about male and female musical roles, continue to influence the participation of men and women in jazz nowadays. These ideas have long influenced the teaching of jazz, shaping its educational contexts, symbolic discourses, protagonists, and role models. The ongoing underrepresentation of female jazz students, particularly instrumentalists, is often attributed to a perceived lack of interest among female music students in pursuing jazz as an academic option. Stereotypes of masculinity and femininity often lead to reduced motivation in activities considered outside traditional gender norms, guiding students’ assumptions about their own achievement, skills and personality attributes. For instance, female students may struggle with confidence in male-dominated fields, hindering their willingness to take risks and fully engage in learning. According to Erin L. Wehr's (2016) model outlining the reasons for female jazz avoidance, the combination of being a minority in the field, along with the fear of confirming a negative stereotype, contributes to lower confidence of female jazz students, which may explain a negative impact on girls’ motivation to participate in jazz. Despite optimistic notions, which suggests that increased jazz education will naturally attract more female students and gradually expand the number of women playing jazz professionally, the reality often reflects a different scenario, with fewer female students opting for jazz studies and choosing to study classical music instead. This article delves into how these academic preferences are influenced by more than just individual choices, but also by structural power imbalances that significantly impact students' motivation. Drawing from fieldwork conducted between 2021 and 2022 at the Portuguese jazz program of the Conservatório de Música de Coimbra, this study shed light on the perceptions of both students and teachers regarding the gender disparity within their program. While the classical music program maintained a balanced gender distribution, the jazz course revealed a stark contrast, with a disproportionately low number of female students, particularly instrumentalists. Through diverse perspectives offered by students and teachers, this study aims to contribute to a reflection on how jazz educational institutions and communities can address the issue of underrepresentation of female jazz students. It explores the complex interplay between individual agency and structural power dynamics, particularly concerning gender conformity in jazz education. This examination is particularly relevant in peripheral countries like Portugal, where the public implementation of jazz education has a relatively recent history. Therefore, when considering underrepresented individuals, it is imperative to not only consider individual preferences but also to confront broader structural dynamics that shape students' academic experiences. This involves creating an academic environment that fosters equal opportunities, provides necessary support systems, and challenges systemic barriers. By doing so, we can promote meaningful educational experiences for all students, regardless of their background, and promote a more diverse and equitable jazz education community.

Not Yet a Woman, Never a Jazzman

2025-06-19

Emmalouise St. Amand | Journal of Jazz Studies

The middle decades of the twentieth century produced powerful—and contrasting—images of teenage girls as hyper-feminine, suburban consumers and jazz as authentic, masculine art music. These archetypes continue to shape scholarship … The middle decades of the twentieth century produced powerful—and contrasting—images of teenage girls as hyper-feminine, suburban consumers and jazz as authentic, masculine art music. These archetypes continue to shape scholarship today, making it difficult to imagine girls in the history of jazz. Yet there is plentiful documentary evidence that high school girls were highly involved with jazz at midcentury. In this article, I examine this evidence to argue for turning toward jazz audiences as a way of reorienting narratives of jazz history. First, I consider high school yearbooks and student newspapers, where girls are well-documented as jazz fans, players, and critics. I then turn to the widely circulated magazines Seventeen and Tan Confessions, both of which frequently included jazz coverage, to demonstrate that the jazz culture cultivated among girls in schools was also visible at a national scale. The sources show that most girls were amateurs who engaged with jazz at school and in female-focused media. Yet their experiences were, in many ways, more representative than those of professional jazz musicians. Most people involved with jazz at midcentury were amateur players, listeners, and critics, and this majority included thousands of girls. I argue that understanding ubiquity as a criterion for historical relevance in turn allows us to reshape our ideas of gender in jazz history.

Restorative Approaches in Jazz Education

2025-06-19

Dave Wilson | Journal of Jazz Studies

When university jazz programs center and privilege male, straight, white, cisgender, and other dominant identities, individuals with identities beyond these dominant categories often face systemic disadvantage and harm as they … When university jazz programs center and privilege male, straight, white, cisgender, and other dominant identities, individuals with identities beyond these dominant categories often face systemic disadvantage and harm as they begin careers in jazz. Various forms of harm—including those based on gender, race, sexuality, ability, and other social categories, as well as sexual harm—are frequently embedded in institutional structures and pedagogical norms. In response to the persistence of harmful environments in higher music education, many institutions have turned to diversity, equity, and inclusion (DEI) initiatives, though those efforts often fall short when implemented in isolation or without accompanying structural change. A more comprehensive approach has been taken by the Berklee Institute of Jazz and Gender Justice, which has worked to reformulate university-level jazz education by grounding it in feminist and antiracist principles. But many institutions with jazz programs lack the resources, prestige, or institutional support to launch a program at the same scale. This article suggests that, even in situations where resources are limited, positive change toward a safer and more equitable jazz education for students of all genders, with their many intersecting identities, is possible. Drawing on intersectional feminist perspectives, the article outlines several systemic initiatives grounded in restorative justice principles that were implemented in a university jazz program, and discusses their impact. By suggesting that restorative practices are closely aligned with the collectivity and care at the heart of jazz, the article offers a starting point for those envisioning safer, more equitable, and more vibrant jazz spaces to begin implementing restorative practices in jazz education and other jazz environments.

OWN IT!: Cultivating Student Ownership in Orchestra Rehearsals

2025-06-19

Joel Schut | American String Teacher

Inside the piano studio: What teachers say about performance training, perfectionism, and performance anxiety

2025-06-19

Charlene Ryan , Jessica M. Tsang , Diana Dumlavwalla | Psychology of Music

Music performance anxiety (MPA) is a common experience among musicians of all ages. However, young pianists have indicated receiving limited performance training or effective MPA support from their teachers. As … Music performance anxiety (MPA) is a common experience among musicians of all ages. However, young pianists have indicated receiving limited performance training or effective MPA support from their teachers. As these findings do not reflect teacher perspectives, this study was designed to provide a fuller picture of piano training. Two hundred thirty-seven piano teachers from across Canada and the United States participated in an online survey, comprising both open- and closed-ended questions, to gauge their pedagogy regarding performance training, perfectionism, and MPA. While the majority of participants reported that students have expressed MPA concerns to them, many noted that they only discuss the issue when students raise it. Virtually all teachers reported that they teach students what to do on stage and how to address performance challenges—in particular memory lapses. Most believe there is a distinction between teaching to play and teaching to perform, yet only 58% said they offer studio classes and 37% hold dress rehearsals. Participants noted a focus on excellence, not perfection, in their pedagogy, but many acknowledged that perfection is an expectation within the field. Comparisons with previous findings on piano students and implications for educators are discussed.

Towards an Inclusive Jazz Pedagogy

2025-06-19

Ulagh Williams , Nishlyn Ramanna | Journal of Jazz Studies

Women have come to represent around half of the enrolees in South African tertiary jazz programmes, yet remain under-represented in the academy, professional performance, and composition spaces. This mirrors international … Women have come to represent around half of the enrolees in South African tertiary jazz programmes, yet remain under-represented in the academy, professional performance, and composition spaces. This mirrors international patterns of exclusion and marginalization in what is now widely known as a hostile environment for women and others who do not conform to patriarchal discourses. Mostly modelled after American programmes, South African tertiary jazz programs have historically foregrounded the technical mastery of bebop, propagating the master narrative of jazz as a masculine domain and side-lining other forms of jazz and jazz-adjacent genres. Closely tied to this tradition is a well-documented culture of systemic racism, sexism and misogyny. In recent years, this culture has started to wane because of the presence of empowered and empowering women at the highest levels of its tertiary education and professional performance scenes. Amanda Tiffin and Chantal Willie-Petersen both occupy positions of power traditionally reserved for men and use their respective platforms to advocate for gender equality and de-colonialism in jazz education and practice. They represent a growing contingent of jazz educators committed to eradicating outdated pedagogical traditions rooted in oppressive hierarchies of power. Focusing on narratives of resilience and agency, this article draws on elements of feminist post-structuralism and theories of dis-identification to amplify the work of progressive educators like Tiffin and Willie-Petersen. Their own experiences of “othering” have informed multiple aspects of their pedagogical practices, from curricular design to the creation of nurturing learning spaces both within and beyond the classroom. This article explores the impact of feminist pedagogical practices and social awareness on the transformation of what had, until recently, been a highly exclusionary space. Moreover, it aims to encourage scholarship that pays close attention to the complex intersection of gender, race and colonialism in jazz education.

Gender and Jazz Education Roundtable

2025-06-19

Rebeca Muñoz-García | Journal of Jazz Studies

Do transnational jazz education spaces perpetuate exclusion and gender inequality, or are they fostering inclusive and safe environments? What challenges arise when analyzing transnational jazz cultures through a still-developing jazz … Do transnational jazz education spaces perpetuate exclusion and gender inequality, or are they fostering inclusive and safe environments? What challenges arise when analyzing transnational jazz cultures through a still-developing jazz studies framework, particularly from gender and feminist perspectives? What gender equality and diversity challenges are evident in contemporary debates, such as those spurred by Berklee’s Institute of Jazz and Gender Justice? Do transnational contexts offer significant opportunities to transform increasingly popular musical institutions through specific research and practical initiatives? Do these contexts provide adequate resources and support for implementing safer and more inclusive educational environments for all? This issue's gender and jazz education roundtable engages with these questions by addressing local issues with global resonance, providing a necessary space for reflecting on educational environments within transnational jazz contexts.

The History of Music Fashion and Its Impact on Young People

2025-06-18

Lilia A. Nazarenko | Общество философия история культура

This article examines the historical development of musical fashion as a significant cultural phenomenon in-fluencing the formation of both personal and group identity among youth. The paper analyzes the key … This article examines the historical development of musical fashion as a significant cultural phenomenon in-fluencing the formation of both personal and group identity among youth. The paper analyzes the key stages in the evolution of musical styles – from antiquity to the present day – including the periods of the Renaissance, Modernism, and Postmodernism. Particular attention is devoted to the impact of globalization processes, digital technologies, and social media on the transformation of musical preferences among the younger generation. The role of musical fashion in the processes of socialization, value orientation formation, and the psychological state of youth is explored in detail. The relationship between musical trends and socio-cultural changes is em-phasized. The work is based on an interdisciplinary approach, combining the methods of culturology, sociology and psychology, and may be of interest to researchers engaged in the study of youth culture, musical subcul-tures and modern communication processes.