Ozan Evrim Tunca, Evrim Genc Kumtepe, Sukru Torun, Yusuf Zafer Can Ugurhan
{"title":"Development and Validation of The Anadolu University Music Perception Test","authors":"Ozan Evrim Tunca, Evrim Genc Kumtepe, Sukru Torun, Yusuf Zafer Can Ugurhan","doi":"10.1177/02557614231193422","DOIUrl":"https://doi.org/10.1177/02557614231193422","url":null,"abstract":"In Turkey, children are accepted to conservatory music departments after fourth grade and fine arts high school music departments after eighth grade by taking a musical talent test. For students with high musical aural skills to know about their potential and be directed to the related education institutions there needs to be a valid test. This study was, therefore, conducted to develop a valid internet-based test to assess music perception of children with design-based research. Design-based research includes a series of iterative stages that involve continuous data collection, analysis, and improvement, rather than a linear process in development and implementation activities. Voluntary-basis selected schools in the pilot city’s first through fourth grades (both public and private schools) were invited to join the preliminary test. A total of 433 students participated in the online test. The test has seven categories including pitch discrimination (single, two, and multiple tones), tempo, length, melody, and rhythm. For item analysis, two separate sequential samples were collected. The results were evaluated according to psychometric test development principles. The initial results show that the music perception test (AMAT) is a valid and reliable instrument. The test is open to public use and can be reached at: https://aummat.anadolu.edu.tr/amat/","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135539183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Rubén Carrillo, Javier Tarango, Patricia Adelaida González-Moreno
{"title":"Music literacy in higher education in Mexico: Current conceptions and teaching practices","authors":"Rubén Carrillo, Javier Tarango, Patricia Adelaida González-Moreno","doi":"10.1177/02557614231199193","DOIUrl":"https://doi.org/10.1177/02557614231199193","url":null,"abstract":"This article presents an analysis of the perceptions of Mexican university professors about Music Literacy (ML), the practices used to teach it, and how the expectancies and values of professors influence the application of these practices. The literature review shows the relationship between the conservatory model and its influence on teaching ML in higher education in Mexico. Fifty-four professors from different states in the country answered a self-report questionnaire through Google Forms. The results suggest that the perceptions of ML are strongly linked to skills such as reading and writing traditional music notation. In their weekly planning, professors privilege the use of reading to learn repertoire from scores, over other aspects such as aural development and musical creativity. In addition, it was observed that professors tend to plan more frequently activities in which they feel competent, repeating the schemes under which they were taught. The article concludes by raising the need to develop alternative approaches, focused on a more holistic musical training, and the need to establish a basic set of skills in different areas that allows university graduates to have greater opportunities in the music profession.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135537286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Exploring the career development issues of young musicians through participation in music festivals: A case study of the Youth Music Culture Guangdong Festival","authors":"Yahan Chen","doi":"10.1177/02557614231197904","DOIUrl":"https://doi.org/10.1177/02557614231197904","url":null,"abstract":"Previous studies have highlighted that emerging musicians have a narrow understanding of their future careers due to the limitations of university education and therefore encourage them to engage in extra-curricular spaces such as music festivals. However, much research has focused on the external impacts of music festivals, neglecting its core stakeholders of participating musicians, especially the younger generation. This study, therefore, examines the impacts of participating in music festivals on the career awareness, employability and career development of young musicians by using a case study of the Youth Music Culture Guangdong (YMCG) festival in Guangzhou, China. The data collected from interviews with three festival organisers and eight participating young musicians were analysed through thematic analysis. The results reveal that the music festival has impacted young musicians’ careers in terms of stimulating creativity, motivating working passion, building transferable skills and expanding sustainable networks, horizons and industrial understandings. The multiple impacts of festival participation contribute to developing a learner identity, which was described by previous research as the key to young musicians’ careers in such a precarious industry. Different from university contexts, music festivals provide a more diverse, inclusive and uncompetitive environment for young musicians to explore the possibilities of the music industry.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"2010 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135539154","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ghanaian collegiate music students who play brass instruments’ music education experiences at the pre-tertiary level","authors":"Amy Spears, John-Doe Dordzro","doi":"10.1177/02557614231194728","DOIUrl":"https://doi.org/10.1177/02557614231194728","url":null,"abstract":"In this qualitative study, we share the musical experiences of seven Ghanaian university music students who primarily play a brass instrument in a university band. The purpose of this study is to illuminate these students’ musical experiences during their pre-tertiary years to better understand what those experiences were and how they impacted their current musical abilities and understandings. The research questions for this study are: What were the formal musical experiences of Ghanaian university music majors who play Western-style brass instruments before entering university? What music teaching and learning methods did they experience prior to entering university? Who were the people who taught them music prior to entering university? Findings indicate that musical spaces were mostly outside of the regular school curriculum, including extra-curricular school regimental bands, church brigades, and town bands. Music learning was non-sequential throughout students’ pre-tertiary experiences. Lack of access to instruments outside of rehearsals was a barrier to individual practice. Participants showed a lack of clarity about their music teachers’ credentials, experience, and backgrounds but their answers suggest that professional development and training programs for teachers would be beneficial. It is recommended that Ghanaian brass band music education is restructured in places where it already exists and where pre-tertiary students choose to play, to include more comprehensive and sequential instrumental music education.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136309051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Inclusive music teacher education: Valuing breadth and diversity through authentic immersive experiences","authors":"Rhonda J Fuelberth, Robert H Woody","doi":"10.1177/02557614231199251","DOIUrl":"https://doi.org/10.1177/02557614231199251","url":null,"abstract":"In this report of self-study research, we share the insights we have gained working together at our institution to make undergraduate music teacher education more inclusive of how people naturally do music, focusing on three program features. First, we explain how our program affirms composition as a primary form of musicianship, similar to the status commonly given to performance. Second, we describe a vernacular music making experience in which our music education students learn to play “rock band” instruments, engage in songwriting, and explore being expressive in the styles of music personally favored by themselves and their future students. Third, we share how our students have opportunity to work with an intergenerational choir that is inclusive of individuals with special needs. We have found that these creative, authentic, and immersive experiences produce a more inclusive educational orientation in the future music teachers who graduate from our program.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136308967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Gender equality discourse in classical music higher education: Women, individualisation, and change","authors":"Ann Werner, Tuire Kuusi","doi":"10.1177/02557614231199473","DOIUrl":"https://doi.org/10.1177/02557614231199473","url":null,"abstract":"This article takes its’ starting point in the ongoing debate about gender and gender equality in higher music education (HME) institutions where new policies, projects and initiatives have been developed during the first decades of the 21st century. This article’s analysis is framed by feminist scholarship on gender equality, and gender mainstreaming, as well as music education research about gender and gender equality. The aim is to investigate how gender and gender equality is talked about in classical music higher education, analyse how it is experienced and in what terms it is described. The main research question is, how is gender and gender equality constructed among leaders, teachers and students in three HME institutions in Nordic (Finland), Baltic (Estonia) and Central European (Hungary) countries. It is based on qualitative thematic semi-structured interviews with 45 participants, analysed with qualitative data-driven content analysis. In the discussion we argue that gender and gender equality are, in our material, constructed as being about women, that gender is rarely related to other types of discrimination or inequalities and that the cause of gender inequality is individualised. The conclusions suggest steps for further pursuing gender equality in HME.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135060639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Effect of music education based on Edwin E. Gordon’s Theory on children’s developmental music aptitude and social emotional learning skills","authors":"Senim Çenberci, Enver Tufan","doi":"10.1177/02557614231196973","DOIUrl":"https://doi.org/10.1177/02557614231196973","url":null,"abstract":"This study aims to determine the effect of music education based on Music Learning Theory (MLT) on children’s developmental music aptitude (DMA) and Social Emotional Learning (SEL) skills. For this purpose, an experimental procedure planned as 16 lessons was applied to primary school first-grade students ( n = 92) aged between 6 and 7. The experimental group received music education based on MLT, and the control group received music education following the current curriculum in Turkey. Also, SEL objectives were integrated into MLT lessons. DMA was measured with the Primary Measures of Music Audiation test, and SEL skills were measured with Social Emotional Assets and Resilience Scale-Teacher Form-Turkish. In the musical dimension of the study, although the difference was not statistically significant, it can be said that the increase in the tonal, rhythmic, and composite scores of the experimental group are higher than the control groups’ scores and noteworthy for a short-term experiment. As for the SEL dimension of the study, the total SEL skills of the experimental group showed statistically significant improvement. These results suggest that music education in this direction can create opportunities and an effective learning environment for acquiring SEL skills; however further research is needed, particularly over a longer instructional period.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134910971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Engaged pedagogy in teacher education: A literature review","authors":"Andrew Goodrich, Kính Tiến Vũ","doi":"10.1177/02557614231198198","DOIUrl":"https://doi.org/10.1177/02557614231198198","url":null,"abstract":"The structures of North American school systems are often based in what bell hooks called rote, assembly-line teaching that includes top-down instructional practices. As a result, teacher educators often serve in an authoritarian role, making the decisions about what knowledge is important and how it should be learned. By comparison, engaged pedagogy promotes collaboration, whereby teachers and students transgress educational norms and become active participants in learning. The purpose of this review of literature is to understand how researchers in the field of education use engaged pedagogy in their teaching practice. It highlights three themes found throughout the literature: (re)designing courses, critical reflection, and sharing stories. Following each theme, a critical discussion contextualized within related research in music education provides practical implications for how music teacher educators can use engaged pedagogy in the classroom. Finally, the potential for issues of using engaged pedagogy in preservice music teacher education are illuminated for the reader, along with recommendations for future research in music education.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134911244","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Structural features in classical and jazz studio lessons","authors":"Kim Burwell","doi":"10.1177/02557614231196589","DOIUrl":"https://doi.org/10.1177/02557614231196589","url":null,"abstract":"The purpose of this study was to investigate broad structural divisions in advanced studio lessons, characterising and comparing them, and considering their implications beyond the context of the studio. The study took a microethnographic approach to the observation of two undergraduate studio lessons, one classical and one jazz, given by expert performer-teachers. Structures were identified by seeking patterns of behaviour in terms of performance and lesson dialogue, along with discourse markers that might signify changes of focus or trajectories of action. A common feature for the two lessons was a series of episodes focused on student performance, with behavioural patterns changing for episodes reflecting on it. Contextual episodes emerged as the outstanding feature of the jazz studio lesson. It is argued that contrasts between the two lessons might be linked to the cultural traditions implied in each, and that such studies can contribute to research-informed studio practices by provoking and supporting the ongoing development of excellence in the studio.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135981584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The iron cage of the music teaching profession: A multi-case study on how primary music teachers in Spain understand bureaucracy","authors":"Daniel Mateos-Moreno, Paloma Bravo-Fuentes","doi":"10.1177/02557614231196594","DOIUrl":"https://doi.org/10.1177/02557614231196594","url":null,"abstract":"Despite being an unavoidable part of the music teaching profession, bureaucracy remains an under-studied and ill-defined topic in the research literature. However, its investigation may benefit the music teaching profession by re-thinking policy, informing music teacher education programmes and fostering a mutual understanding among music teachers and policymakers. Therefore, in the present study, we aimed to investigate the understandings of Spanish music teachers in relation to bureaucracy and to compare these with the views of the teachers of other subjects in primary education. The perspective of purposefully selected music teachers were thus explored in-depth and contrasted with the views of their counterparts in a multiple case-study design. Our findings contribute a taxonomy of bureaucracy in the music teaching profession. Additionally, we conclude that the views of our music teacher participants on bureaucracy are mainly negative and slightly more pessimistic than those of their counterparts. In discussing our results, we connect these views with the Weberian ‘iron cage’ of bureaucracy and Arendt’s ‘government of Nobody’ as a substitute for democracy in governing education. Finally, we hypothesise a dystopic future of deprofessionalisation as a result of these primary music teachers’ declared lack of control over their own organisational tasks.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":" ","pages":""},"PeriodicalIF":1.8,"publicationDate":"2023-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43023994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}