Perceptions of college-level music performance majors teaching applied music lessons to young students

2007 ◽  
Vol 25 (1) ◽  
pp. 72-80 ◽  
Author(s):  
William E. Fredrickson
Keyword(s):  
Music Performance ◽  
College Level ◽  
Applied Music ◽  
Music Lessons ◽  
Young Students ◽  
Performance Majors

Measurement of Instrumental and Vocal Undergraduate Performance Juries Using a Multidimensional Assessment Rubric

2009 ◽  
Vol 57 (1) ◽  
pp. 5-15 ◽  
Author(s):  
Charles R. Ciorba ◽  
Neal Y. Smith
Keyword(s):  
Music Performance ◽  
Assessment Tools ◽  
Applied Music ◽  
Performance Achievement ◽  
Multidimensional Assessment ◽  
Solo Music ◽  
Interjudge Reliability ◽  
Specific Assessment ◽  
High Level ◽  
Assessment Rubric

Recent policy initiatives instituted by major accrediting bodies require the implementation of specific assessment tools to provide evidence of student achievement in a number of areas, including applied music study. The purpose of this research was to investigate the effectiveness of a multidimensional assessment rubric, which was administered to all students performing instrumental and vocal juries at a private Midwestern university during one semester ( N = 359). Interjudge reliability coefficients indicated a moderate to high level of agreement among judges. Results also revealed that performance achievement was positively related to participants' year in school (freshman, sophomore, junior, and senior), which indicates that a multidimensional assessment rubric can effectively measure students' achievement in the area of solo music performance.

The relationship between small music ensemble experience and empathy skill: A survey study

2019 ◽  
pp. 030573561988722 ◽  
Author(s):  
Eun Cho
Keyword(s):  
Online Survey ◽  
Social Activity ◽  
Music Performance ◽  
Survey Study ◽  
Music Students ◽  
Personal Factors ◽  
Music Ensemble ◽  
Small Ensemble ◽  
Performance Majors ◽  
The Relationship

A small music ensemble represents a unique form of human social activity, involving a highly complex set of interpersonal communicative skills. To achieve a joint musical goal, ensemble performers actively strive to reach out to the “other,” by sensitively attending to, and aligning their emotions with, those of their co-performers. This suggests that engagement in small music ensembles may be a fruitful domain to cultivate the habit of empathizing. The current study explored the relationship between college music students’ small ensemble experiences and their empathy skills. Undergraduate music performance majors in their senior year ( N = 165) voluntarily completed an online survey that included questions about their background and participation in and attitudes toward small ensembles. They also completed a self-assessment questionnaire that measured their dispositional empathy levels. Hierarchical multiple regression analysis indicated that students’ levels of participation in various small ensemble activities significantly predicted their empathy skills, even after controlling for the effect of personal factors. Personality also appeared to play a significant role in predicting music students’ empathy skills.

Faculty Interjudge Reliability of Music Performance Evaluation

2003 ◽  
Vol 51 (2) ◽  
pp. 137-150 ◽  
Author(s):  
Martin J. Bergee
Keyword(s):  
Performance Evaluation ◽  
Rating Scale ◽  
Faculty Evaluation ◽  
Music Performance ◽  
Applied Music ◽  
Letter Grade ◽  
Score Reliability ◽  
Scale Total Score ◽  
Interjudge Reliability ◽  
Grade Assessment

Assessment of music performance in authentic contexts remains an underinvestigated area of research. This study is an examination of one such context, the inter-judge reliability of faculty evaluation of end-of-semester applied music performances. Brass (n = 4), percussion (n = 2), woodwind (n = 5), voice (n = 5), piano (n = 3), and string (n = 5) instructors evaluating a recent semester's applied music juries at a large university participated in the study. Each evaluator completed a criterion-specific rating scale for each performer and assigned each performance a global letter grade not shared with other evaluators or with the performer. Interjudge reliability was determined for each group's rating scale total scores, subscale scores, and the letter-grade assessment. All possible permutations of two, three, and four were examined for interjudge reliability, and averaged correlations, standard deviations, and ranges were determined. Full-panel interjudge reliability was consistently good regardless of panel size. All total score reliability coefficients were statistically significant, as were all coefficients for the global letter-grade assessment. All subscale reliabilities for all groups except Percussion (which, with an n of 2, had a stringent significance criterion) were statistically significant, with the exception of the Suitability subscale in Voice. For larger panels (ns of 4 and 5), rating scale total score reliability was consistently but not greatly higher than reliability for the letter-grade assessment. There was no decrease of average reliability as group size incrementally decreased. Permutations of two and three evaluators, however, tended on average to exhibit more variability, greater range, and less uniformity than did groups of four and five. No differences in reliability were noted among levels of experience or between teaching assistants and faculty members. Use of a minimum of five adjudicators for performance evaluation in this context was recommended.

Skype music lessons in the academy: Intersections of music education, applied music and technology

2013 ◽  
Vol 6 (1) ◽  
pp. 43-60 ◽  
Author(s):  
Nathan B. Kruse ◽  
Steven C. Harlos ◽  
Russell M. Callahan ◽  
Michelle L. Herring
Keyword(s):  
Music Education ◽  
Applied Music ◽  
Music Lessons ◽  
Music And Technology

scholarly journals Theoretical Framework for Facilitating Young Musicians’ Learning of Expressive Performance

2021 ◽  
Vol 11 ◽  
Author(s):  
Henrique Meissner
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Teaching And Learning ◽  
Music Performance ◽  
Theoretical Framework ◽  
Future Research ◽  
Embodied Experience ◽  
Dialogic Teaching ◽  
Instrumental Music Education ◽  
Music Lessons

Since communication and expression are central aspects of music performance it is important to develop a systematic pedagogy of teaching children and teenagers expressiveness. Although research has been growing in this area a comprehensive literature review that unifies the different approaches to teaching young musicians expressiveness has been lacking. Therefore, the aim of this article is to provide an overview of literature related to teaching and learning of expressiveness from music psychology and music education research in order to build a new theoretical framework for teaching and learning expressive music performance in instrumental music lessons with children and teenagers. The article will start with a brief discussion of interpretation and expression in music performance, before providing an overview of studies that investigated teaching and learning of performance expression in instrumental music education with adults and children. On the foundation of this research a theoretical framework for dialogic teaching and learning of expressive music performance will be proposed and the rationale explained. Dialogic teaching can be useful for scaffolding young musicians’ learning of expressivity as open questions can stimulate thinking about the interpretation and may serve to connect musical ideas to the embodied experience of the learner. A “toolkit” for teaching and learning of expressiveness will be presented for practical application in music lessons. In addition, a theoretical model will be proposed to further our understanding of teaching and learning of expressive music performance as a multifaceted and interactive process that is embedded in the context of tutors’ and learners’ experiences and environment. Finally, implications of this framework and suggestions for future research will be discussed.

Peer assessment of tertiary music performance: opportunities for understanding performance assessment and performing through experience and self-reflection

2004 ◽  
Vol 21 (1) ◽  
pp. 111-125 ◽  
Author(s):  
Diana Blom ◽  
Kim Poole
Keyword(s):  
Performance Assessment ◽  
Peer Assessment ◽  
Music Performance ◽  
Assessment Process ◽  
Diverse Range ◽  
Self Reflection ◽  
Wide Range ◽  
Second Year ◽  
Performance Majors ◽  
Undergraduate Performance

This paper discusses a project in which third-year undergraduate Performance majors were asked to assess their second-year peers. The impetus for launching the project came from some stirrings of discontent amongst a few students. Instead of finding the assessment of their peers a manageable task, most students found the breadth of musical focus, across a diverse range of musical styles on a wide range of instruments, daunting and difficult. Despite this, students and staff believed the task had proved valuable for learning about the assessment process itself and for understanding the performance process.

Exploring Chinese college chamber music education: a case study of students’ conceptions

2020 ◽  
Vol 37 (3) ◽  
pp. 247-259
Author(s):  
Chiao-Ting Feng
Keyword(s):  
Music Education ◽  
Chamber Music ◽  
Demographic Data ◽  
Music Performance ◽  
Learning Situation ◽  
Comprehensive Description ◽  
Chinese University ◽  
Performance Majors ◽  
The Relationship

AbstractThe purpose of this study was to examine the learning situation of Chinese students’ studying chamber music in universities. Therefore, students’ perspectives on learning chamber music were the main focus of this study. The study begins with a comprehensive description by educators of current Chinese college chamber music education and then details students’ cognition of and behaviour towards chamber music education. The survey participants (N = 23) were all music performance majors who had taken chamber music courses in one average-ranked Chinese university. Demographic data regarding students’ chamber music background, actual practical problems in classes, students’ expectations of their chamber music education and the relationship between practice and learning chamber music were collected. The results indicated that students all possessed positive and assertive attitudes towards learning chamber music and believed in the necessity and value of establishing chamber music education in Chinese universities.

PROBLEMS IN THE DEVELOPMENT OF CREATIVE ABILITIES OF STUDENTS OF PRIMARY CLASSES THROUGH A.ESBAEV SONGS

2020 ◽  
Vol 68 (4) ◽  
pp. 232-239
Author(s):  
A.K. Akhmetova ◽  
◽  
L.U. Brimgazina ◽  
Keyword(s):  
Detailed Analysis ◽  
Music Programs ◽  
Creative Ability ◽  
Music Lessons ◽  
Language And Music ◽  
Music Literature ◽  
National Spirit ◽  
School Music ◽  
Creative Abilities ◽  
Young Students

The article considers the development of creative abilities of young students. The concepts of "ability", "creativity", "creative ability" are studied in detail in the work of scientists. Also, there was discussed the issue and the question of regeneration of virtues, inherited from our forgotten ancestors, rooted in our blood and roots. In particularly, our national traditions, language and music, literature, customs, especially, our national spirit must always remain in our heart. In the framework of "Spiritual Revival" is a detailed analysis of the use of the song by Abilahata Espaeva in school music programs, which correspond to the problem of education. In particularly, the composer's songs in music lessons are intended for the development of creative abilities of young schoolchildren. The authors thoroughly studied the content, character and theme of the song of the composer.

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