Student perceptions of the classroom environment, student characteristics, and motivation for music lessons at secondary school

2021 ◽  
pp. 102986492110558
Author(s):  
Ioulia Papageorgi ◽  
Natassa Economidou Stavrou

The literature suggests that there is often no alignment between student preferences and what and how it is taught in the music classroom. A total of 749 Cypriot secondary school students, aged 12 to 14 years, responded to a survey addressing enjoyment of music, motivation for school music lessons, and perceptions of the music classroom environment. The survey included a questionnaire with six subscales: Involvement, Affiliation, Teacher Support, Task Orientation, Order and Organization, and Rule Clarity. High ratings for Affiliation, Teacher Support, and Rule Clarity suggest that, overall, students’ perceptions of the classroom environment were positive. They were not uniform, but varied on the basis of student characteristics. Girls rated Rule Clarity higher than boys. Younger students tended to rate Task Orientation, Order and Organization, and Rule Clarity higher than older students. Higher-achieving students tended to rate Affiliation and Teacher Support higher. Older boys rated Involvement lower than younger boys, whereas older girls rated Involvement higher than younger girls. It can be inferred that boys experienced a gradual increase in perceived Affiliation as their achievement improved, although the pattern was less consistent for girls. Girls tended to report higher motivation for school music lessons than boys. Motivation was enhanced by classroom environments in which students experienced higher levels of enjoyment of music, engagement, and support from teachers. The findings show that the music classroom environment should be characterized by student engagement, clarity of rules, good organization, clear goals, teacher support, and affiliation between classmates.

Author(s):  
Martin Fautley ◽  
Richard Colwell

The issue of assessment in music education in the secondary school is one of concern in a range of contexts, including teaching, learning, accountability, policy, and politics. In order to investigate assessment in the secondary school, there is a need to understand what assessment is; what the terminologies involved mean; what the implications of assessment are for learners, teachers, program organizers, administrators, legislators, and other interested stakeholders; and what constitutes secondary school music. This article considers the following issues in student assessment: the context of assessment, the uses and purposes of assessment, legitimizing assessment, and assessment and music pedagogy.


2018 ◽  
Vol 36 (3) ◽  
pp. 447-459
Author(s):  
José Palazón ◽  
Andrea Giráldez

This article presents an experiment with a group of secondary school music students in Spain. We used music score sheets enriched with Quick Response codes as a resource for the practice required to play a musical instrument. The first group (n = 56) was compared with another group (n = 56) that used traditional resources (textbooks and compact discs). The results of the research supported the fact that the students who used QR codes associated with videos – read by using mobile devices such as smartphones or tablets – achieved better results than those who used more traditional resources. The analysis of variance test showed that the learning resource had a significant effect on the scores obtained by the students. In other words, the marks of the students participating in the study varied significantly according to the resource used. There was no significant effect on the interaction of method and gender, so there is no relation between the students’ gender and the resources’ impact on the results obtained by students.


1985 ◽  
Vol 2 (1) ◽  
pp. 5-18 ◽  
Author(s):  
Tim Cain

This article is an attempt to explore what we Secondary School Music Teachers should do in our music lessons. To illuminate this problem the author postulates two rôles which he believes many music teachers adopt more or less whole-heartedly: the ‘Instructor’, who passes on a body of received skills, information and perhaps values; and the ‘Enabler’, who sets up conditions in which his or her pupils may discover music.Although both rôles can be fruitful in some areas of the music curriculum, the author considers them inadequate, and attempts to describe a new role which teachers might find more helpful. He outlines ways in which the teacher who adopts this role might operate when teaching Composition, Literature Studies, Audition, Skills and Performance (C(L)A(S)P).


2021 ◽  
pp. 1321103X2098530
Author(s):  
Chryso Hadjikou

Students’ motivation has often been the subject of discussion in the field of music education. This article reports on an exploration of students’ motivation during their first year of attending music lessons in Cypriot lower secondary schools (Year 7). This study was a longitudinal study tracking the students ( N = 170) over one academic year. The first questionnaire was completed as students entered secondary school and the second at the end of their first year when students had encountered the new Cypriot music curriculum for the first time. The findings indicate that students’ overall motivation by the end of their first year at secondary school had diminished. As noted in previous research, problems with student motivation in school music were persistent, notwithstanding changes to the curriculum. The implications of the findings to enhance students’ motivation were examined, and future research directions are discussed.


2011 ◽  
Vol 28 (2) ◽  
pp. 135-157
Author(s):  
Jonathan Savage ◽  
Martin Fautley

This paper explores secondary school music teachers' current practice with regard to the organisation and assessment of composing at Key Stage 4. It draws on research undertaken on a nation-wide basis in England, via the use of two online surveys and face-to-face interviews. In terms of the organisation of classroom composition, the study found that the place of staff notation is currently under-theorised in terms of a developmental musical thinking tool, as opposed to what might be termed a ‘storage system’. The research also found that ICT has brought composing to a wider range of participants. Considerably more time is spent on composing than other musical processes within a typical Key Stage 4 music classroom. The study found that music teachers are, in general, satisfied with the sorts of assessments which are being done at Key Stage 4. Examination Board criteria for assessing composing are universally utilised but there is a feeling that whilst these criteria are fit for purpose, they do not always reflect the effort that students have put into their work. Some styles which are ‘set’ by examination boards are seen as being inappropriate for some students to access.


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