Error Detection in Music Education: A Review of Literature

2021 ◽  
pp. 875512332110209
Author(s):  
Rachel A. Sorenson
Keyword(s):  
Music Education ◽  
Error Detection ◽  
Ecological Validity ◽  
Internal Validity ◽  
Personal Characteristics ◽  
Music Educators ◽  
Research Literature ◽  
Detection Ability ◽  
Confounding Variables ◽  
Testing Error

The ability to accurately detect performance errors is a fundamental skill for music educators and has been a popular topic of research within the field of music education. In fact, it has been suggested that roughly half of all ensemble rehearsals are dedicated to error detection. The purpose of this literature review was to synthesize the research literature related to error detection among preservice and inservice music educators. The majority of error detection studies have centered on the topics of (a) defining errors and error hierarchy, (b) developing tests and programmed materials, (c) personal characteristics related to error detection ability, and (d) factors that influence error detection ability. Results from existing error detection studies suggest that not only are there valid and reliable methods for testing error detection ability, but certain variables have the potential to increase or decrease that ability. In addition, findings revealed that a tension exists between designing error detection studies with high ecological validity (real world, contextual relevance) and those with high internal validity (elimination of confounding variables). Based on these findings, I offer several recommendations for inservice music educators and music education faculty.

Achievement Goals in Music Contexts: A Review of Literature

2019 ◽  
Vol 38 (2) ◽  
pp. 10-19
Author(s):  
Leonard Tan ◽  
Hui Xing Sin
Keyword(s):  
Music Education ◽  
Achievement Goals ◽  
Motivational Climate ◽  
Music Educators ◽  
Research Literature ◽  
Review Of Literature ◽  
Mastery Goals ◽  
Domain Specific ◽  
Motivational Climates ◽  
Mastery Approach

The purpose of this article was to review and synthesize the research literature on achievement goals in music contexts. It is structured in four parts: (a) adaptive dispositions and outcomes, (b) motivational climate, (c) music and other domains, and (d) implications for music education. Researchers have found that learners who endorse mastery goals, in particular, mastery-approach ones, also tend to possess a range of adaptive dispositions. Music educators may therefore consider creating motivational climates that foster mastery goals. Achievement goals have also been found to be largely domain specific. Based on the review, implications for music education are offered.

The Effect of Focus of Attention on Error Detection Ability

2021 ◽  
pp. 002242942199744
Author(s):  
Matthew L. Williams
Keyword(s):  
Music Education ◽  
Error Detection ◽  
Future Research ◽  
Psychological Processes ◽  
Detection Ability ◽  
Condition Versus ◽  
Complicated Process ◽  
Research Questions ◽  
The Impact ◽  
Directing Attention

The teaching of error detection is a complicated process, made more so by our evolving understanding of the psychological processes involved with attention itself. The purpose of this study was to explore the impact of listener attention on the error detection process. Guiding research questions were as follows: (1) In what ways does directing attention influence one’s ability to detect errors? and (2) Does voicing of error influence participants’ ability to detect the error? Participants ( N = 64) at six universities listened to 40 recorded excerpts of three-part Haydn divertimenti, either focusing on one line or holistically, while marking errors on a printed score. Participants were better able to detect errors in lines of focus than in peripheral lines and were similarly better at detecting errors in an unfocused listening condition versus focusing on any one of the lines. Additionally, participants were most successful in detecting peripheral errors when focusing on the middle staff and were least successful in detecting errors in the bass line, even when focusing on the bass line. Suggestions for future research and implications for music education are discussed.

Creativity and Commerce in Social Media, Digital Technology, and Music Education

2020 ◽  
pp. 666-680
Author(s):  
David Lines
Keyword(s):  
Social Media ◽  
Music Education ◽  
Digital Technology ◽  
Music Educators ◽  
Research Literature ◽  
Media Technologies ◽  
Production And Consumption ◽  
Economic Forces ◽  
Pedagogical Innovations ◽  
Contemporary Education

Digital music and social media technologies continue to be embraced with a positive sense of optimism in music education, and a broad range of technological and pedagogical innovations and insights have been celebrated and affirmed in the research literature. Despite this, there has been relatively less scholarly discussion on the broader contextual aspects of music and social media technologies, especially within commercial contexts of contemporary education and corporate technology production and consumption. This chapter suggests that a materialist perspective of digital technology and social media is important for raising a greater awareness of the different commercial, cultural, and other dimensions that converge in music and music education. It is suggested that global technologies in education can be questioned through Appadurai’s notion of scapes, and that creative directions in digital technology can be conceptualized through Deleuze and Guattari’s image of the rhizome. These concepts are important for music educators as they become attuned to, and more discerning of, the economic forces that impact on their work with students and as they suggest creative practices that have transformative value for their students.

Professional Development Quality in U.S. Music Education: An Analysis of the 2011–2012 Schools and Staffing Survey

2018 ◽  
Vol 66 (2) ◽  
pp. 168-189 ◽  
Author(s):  
Donna J. Gallo
Keyword(s):  
Professional Development ◽  
Music Education ◽  
Professional Learning ◽  
Specific Activity ◽  
Music Educators ◽  
Research Literature ◽  
Professional Activity ◽  
Schools And Staffing Survey ◽  
Common Assumption

The purpose of this study was to compare differences in the quality of professional development between U.S. music educators and teachers of other disciplines. Data were drawn from the 2011–2012 Schools and Staffing Survey. Factors such as types of professional development, quantity of activities, and levels of satisfaction were analyzed through a series of multiple regressions to determine the relationships between professional development quality for teachers of music and non-music disciplines. Results indicated that music educators were significantly less likely to collaborate with other educators on issues of instruction and engaged in significantly less technology-related professional activity; however, music educators reported significantly higher levels of satisfaction with content-specific professional activity and engaged in significantly more content-specific activity than some higher-stakes disciplines. In light of educational policies and trends, the common assumption that music educators are generally less supported within their schools does not hold true. Implications of this study include the need for music educators to participate in more collaborative forms of professional development. This study also suggests that all educators should receive more time spent in professional learning congruent to the level of engagement espoused by research literature.

Difficult but Sensitive: Participant Observation Research in Music Education

1992 ◽  
Vol 9 (2) ◽  
pp. 131-141 ◽  
Author(s):  
Roland Bannister
Keyword(s):  
Music Education ◽  
Qualitative Method ◽  
Participant Observation ◽  
Music Educators ◽  
Research Literature ◽  
Ethnographic Research ◽  
Wide Acceptance ◽  
Late Twentieth ◽  
Observation Method ◽  
Late Twentieth Century

There have been numerous calls for the use of qualitative research in music education. Music educators have been slow to heed these calls, despite the wide acceptance of qualitative methods in other areas of education research. This paper describes the place of qualitative paradigms in the gamut of research methodology and assesses the potential of the ethnographic techniques of participant observation and ethnographic interviewing for music education. In doing so it responds to Swanwick's (1984) critique of participant observation method by, (a) describing some of the techniques' philosophical bases, (b) citing several model ethnographies in other disciplines, and (c) reviewing some of the ethnographic research literature which, the author argues, has recognised the particular strengths and weaknesses of qualitative method and developed a strong philosophical and empirical rationale for its use. The author argues that ethnographic method has much to offer as we seek solutions to the problems of understanding music education in its social context in the late twentieth century.

The Philosophy of Assessment in Music Education

2019 ◽  
pp. 32-55
Author(s):  
Roger Mantie
Keyword(s):  
Music Education ◽  
Authentic Assessment ◽  
Music Educators ◽  
Local Communities ◽  
Self Determination ◽  
Common Theme ◽  
Education Assessment ◽  
Consequential Validity ◽  
Mandated Testing

Philosophies of assessment are rare, perhaps even more so in music education. This chapter, arranged in five “movements” intended to reflect various ways of examining assessment issues, considers prominent themes emerging from the music education assessment literature, such as accountability, authentic assessment, consequential validity, legitimacy, mandated testing, metaphor, power-knowledge, and self-determination. The author asks questions such as, To what extent should philosophical commitments be voluntary versus compelled? To what extent should music educators be able to collectively determine educative values and to what extent should others (policymakers, local communities) have a say in what should constitute valuable learning in music? A common theme throughout the chapter is the urge for caution and reflection so that well-intended assessment efforts do not undermine cherished goals for music education.

Could There Be Deleuzian Assessment in Music Education?

2019 ◽  
pp. 121-136
Author(s):  
Lauren Kapalka Richerme
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Educators ◽  
Assessment Practices ◽  
Continuous Assessment ◽  
Education Policies ◽  
Philosophical Inquiry ◽  
Music Making ◽  
Musical Practices ◽  
Contemporary Education

Authors of contemporary education and arts education policies tend to emphasize the adoption of formal, summative assessment practices. Poststructuralist philosopher Gilles Deleuze’s emphasis on ongoing differing and imaginative possibilities may at first glance appear incompatible with these overarching, codified assessments. While Deleuze criticizes the increasing use of ongoing assessments as a form of control, he posits a more nuanced explanation of measurement. This philosophical inquiry examines four measurement-related themes from Deleuze’s writings and explores how they might inform concepts and practices of assessment in various music teaching and learning contexts. The first theme suggests that each group of connective relations, what Deleuze terms a “plane of immanence,” demands its own forms of measurement. Second, Deleuze emphasizes varieties of measurement. Third, those with power, what Deleuze terms the “majority,” always set the standard for measurement. Fourth, Deleuze derides continuous assessment. His writings suggest that music educators might consider that assessments created for one musical practice or style should not transcend their own “plane of immanence,” that a variety of nonstandardized assessments is desirable, that the effect of measurement on “minoritarian” musical practices must be examined carefully, and that it is essential to ponder the potentials of unmeasured music making.

Music Teacher Education Program Practices: Preparing Teachers to Work With Diverse Learners

2021 ◽  
Vol 30 (2) ◽  
pp. 51-64
Author(s):  
Mara E. Culp ◽  
Karen Salvador
Keyword(s):  
Teacher Education ◽  
Preservice Teachers ◽  
Music Education ◽  
Teacher Educators ◽  
Teacher Education Program ◽  
Music Educators ◽  
Diverse Learners ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Education Programs

Music educators must meet the needs of students with diverse characteristics, including but not limited to cultural backgrounds, musical abilities and interests, and physical, behavioral, social, and cognitive functioning. Music education programs may not systematically prepare preservice teachers or potential music teacher educators for this reality. The purpose of this study was to examine how music teacher education programs prepare undergraduate and graduate students to structure inclusive and responsive experiences for diverse learners. We replicated and expanded Salvador’s study by including graduate student preparation, incorporating additional facets of human diversity, and contacting all institutions accredited by National Association of Schools of Music to prepare music educators. According to our respondents, integrated instruction focused on diverse learners was more commonly part of undergraduate coursework than graduate coursework. We used quantitative and qualitative analysis to describe course offerings and content integration.

Becoming an Anti-Racist Music Educator: Resisting Whiteness in Music Education

2021 ◽  
Vol 107 (4) ◽  
pp. 14-20
Author(s):  
Juliet Hess
Keyword(s):  
Music Education ◽  
Music Educators ◽  
Music Educator ◽  
The Way

In this article, I propose some ways that music educators might become anti-racist. I explore the ways that Whiteness manifests in music education and subsequently examine actions we might take to resist this Whiteness. Ultimately, I suggest anti-racism as a way forward for music education. I delineate some of the ways that Whiteness operates in music education, not to discourage educators but rather to encourage us to notice the way Whiteness pervades our field.

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