A Comparison of the Basic Song Repertoire of Vocal/Choral and Instrumental Music Education Majors

2000 ◽  
Vol 48 (1) ◽  
pp. 5-9 ◽  
Author(s):  
Carol A. Prickett ◽  
Madeline S. Bridges
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Instrumental Music ◽  
Music Educators ◽  
Education Majors ◽  
Education Students ◽  
Song Repertoire ◽  
Instrumental Music Education ◽  
Significant Difference ◽  
Music Education Majors

Following up on an earlier study, an audiotape of the tunes of 25 standard songs, assumed to be known by everyone who has finished 6th grade, was played for 135 undergraduate instrumental music education students and 79 undergraduate vocal/choral music education students. There was no significant difference in the ability of either group to identify the songs. The means for both groups indicated that neither had developed a strong repertoire of standard songs outside the college classroom. Several songs that music educators have stated are very important for children to learn could not be identified by even half the students in either group. It is recommended that professors preparing music education students for their future careers consider adding activities to music education courses that build a strong song repertoire.

An Observational Study of Score Study Practices Among Undergraduate Instrumental Music Education Majors

2017 ◽  
Vol 65 (1) ◽  
pp. 52-71 ◽  
Author(s):  
Brian A. Silvey ◽  
Mark Montemayor ◽  
Christopher M. Baumgartner
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Education Majors ◽  
Preparation Programs ◽  
Score Study ◽  
Instrumental Music Education ◽  
Study Session ◽  
Significant Difference ◽  
Model Condition ◽  
Music Education Majors

The purpose of this study was to investigate undergraduate instrumental music education majors’ score study practices as they related to the effectiveness of their simulated conducting. Participants ( N = 30) were video recorded in two sessions in which they completed a 20-min score study session and a simulated conducting performance. In the first score study session, all 30 conductors studied Mini-Suite for Band, Movement 1. In Session 2, participants studied Portrait of a Clown but this time either with a model recording ( n = 15) or without one ( n = 15). We computed the overall duration of participants’ score study behaviors for both pieces. Additional data included graduate students’ evaluations of participants’ post–score study conducting performances and an inventory of participants’ score study markings. We found a significant difference in the proportion of time spent in score studying activities between the model and no-model condition conductors, with more time spent in gesturing when studying along with a model. Evaluations of participants’ conducting revealed no differences between those conductors who used a model and those who did not while studying Portrait of a Clown. Our analysis of conductors’ score markings revealed a small number of notable differences between stronger/weaker conductors and between model/no-model conditions. Implications for undergraduate conductor preparation programs are discussed.

The Role of Accompaniment Quality in the Evaluation of Solo Instrumental Performance

2018 ◽  
Vol 66 (1) ◽  
pp. 92-110 ◽  
Author(s):  
D. Gregory Springer ◽  
Brian A. Silvey
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Education Majors ◽  
Instrumental Performance ◽  
Solo Performance ◽  
Instrumental Music Education ◽  
Performance Quality ◽  
Music Education Majors ◽  
Main Effects

The purpose of this study was to examine the effect of accompaniment quality on the evaluation of solo instrumental performance. Undergraduate instrumental music education majors ( N = 71) listened to and evaluated the accuracy and expressivity of six excerpts of Haydn’s Concerto for Trumpet in E-Flat Major, which we created by synchronizing recordings of good and bad performances of a trumpet soloist with good and bad performances of a piano accompaniment (as well as a no-accompaniment condition). Participants also chose one “best aspect of the performance” and one “aspect needing most improvement” for each excerpt. Significant main effects for accompaniment condition (good, bad, or none) and solo condition (good or bad) were found, in addition to interaction effects. Results of a Solo × Accompaniment interaction signified that participants’ ratings were not independent of accompaniment condition, and this effect was moderated by the performance quality of the trumpet soloist. Additionally, participants noted different “best aspects” and “aspects needing most improvement” based on both solo performance quality and accompaniment condition.

Undergraduate Instrumental Music Education Majors' Approaches to Score Study in Various Musical Contexts

2006 ◽  
Vol 54 (3) ◽  
pp. 215-230 ◽  
Author(s):  
Jeremy S. Lane
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Education Majors ◽  
Score Study ◽  
Verbal Responses ◽  
Instrumental Music Education ◽  
Study Results ◽  
Audible Sound ◽  
Music Education Majors ◽  
Score Preparation

Participants in the study (N = 21) engaged in two one-on-one interview sessions with the investigator. During each session, participants "thought out loud" as they studied one solo score and one full score of music by various composers. Interviews were conducted in an effort to assess preexisting knowledge of the music being studied and to assess participants' perceptions about score study. Results indicated three primary themes: (1) a lack of transfer of preexisting knowledge into certain score-study procedures, (2) an increase in specificity of verbal responses that seemed to correspond with education and experience, and (3) a lack of audible sound used during score preparation within full-score settings. Other findings suggest a contextual basis for score-study procedures and reflect changes in score-study patterns that seem influenced by experience and education.

The Role of Accompaniment Quality in Band Directors’ Evaluations of Solo Instrumental Performance

2019 ◽  
Vol 67 (4) ◽  
pp. 481-493
Author(s):  
Brian A. Silvey ◽  
D. Gregory Springer
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Band Directors ◽  
Education Majors ◽  
Instrumental Performance ◽  
Instrumental Music Education ◽  
Study Results ◽  
Music Education Majors ◽  
Trumpet Performance

The purpose of this replication study was to examine the effects of accompaniment on evaluations of solo instrumental performances. Although previous findings have indicated that instrumental music education majors’ evaluations of soloists were not independent of accompaniment, it is unknown whether more experienced evaluators are similarly affected by accompaniment. In addition to using a new population (in-service band directors), we also extended the previous study by asking participants whether they believed their evaluations of a soloist were influenced by the accompaniment provided. Participants ( N = 58) listened to six excerpts of Haydn’s Concerto for Trumpet, which we created by pairing different recordings of solo trumpet performance (good or bad) with piano accompaniment (good, bad, or none). Participants evaluated the accuracy and expressivity of the soloist in each excerpt. Similar to the previous study, results indicated that participants discriminated between good and bad solo performances successfully, but a significant three-way interaction among solo, accompaniment, and order indicated that these differences were further influenced by the quality/presence of accompaniment and order. Most participants (72.4%) believed that their evaluations of the soloist were not influenced by the piano accompaniment, primarily because they were able to focus on the soloist or because they followed the instructions provided.

Familiarity with Basic Song Repertoire: Music Education/Therapy Majors versus Elementary Education Majors

1998 ◽  
Vol 46 (4) ◽  
pp. 461-468 ◽  
Author(s):  
Carol A. Prickett ◽  
Madeline S. Bridges
Keyword(s):  
Elementary Education ◽  
Music Education ◽  
Music Therapy ◽  
Music Educators ◽  
Education Majors ◽  
Education Students ◽  
Song Repertoire ◽  
Elementary Education Majors ◽  
Elementary Education Students ◽  
Teaching Music

An audiotape of the tunes of 25 standard songs assumed to be known by everyone who has finished Grade 6 was played for 273 undergraduate music therapy and music education students and 306 elementary education students who were beginning a music skills class. Music majors identified significantly more tunes than did elementary education majors, but the means for both groups indicated that neither had developed a strong repertoire of standard songs outside the college classroom. Several songs that music educators have stated are very important for children to learn could not be identified by even half the students in either group. It is recommended that those preparing elementary education students emphasize building a song repertoire and that those teaching music therapy and education students consider adding this goal to appropriate courses.

Music Therapy Knowledge and Interest: A Survey of Music Education Majors

2020 ◽  
Vol 57 (4) ◽  
pp. 455-474
Author(s):  
Lori F Gooding ◽  
D Gregory Springer
Keyword(s):  
Music Education ◽  
Music Therapy ◽  
Music Teachers ◽  
Degree Programs ◽  
Education Majors ◽  
Education Students ◽  
Career Option ◽  
Key Factor ◽  
Career Options ◽  
Music Education Majors

Abstract Music teachers play an important role in exposing students to career options in the field of music. As a result, there is a need to explore music education students’ interest in and knowledge of music therapy. The purpose of this study was to investigate music education students’ exposure to, knowledge of, and willingness to promote music therapy as a career option for prospective collegiate students. A survey was given to 254 music education majors from four research institutions, two with and two without music therapy degree programs. Participants answered demographic, yes/no, Likert-type scale, and open-ended questions about their exposure to, knowledge of, and willingness to promote careers in music therapy. Results indicate that exposure to music therapy occurred in both pre-collegiate and college settings, and that music teachers appear to be influential in exposing students to music therapy. Students often sought out information on music therapy independently, which played an important role in how individuals learned about music therapy, though it has the potential of providing misinformation. Significant differences were found in participants’ knowledge and willingness to promote music therapy as a career option based on the presence of music therapy degree programs. Exposure seemed to be a key factor in music therapy knowledge and promotion; thus, music therapists need to ensure accurate dissemination of music therapy-related information in both pre-collegiate and college settings. Increasing the visibility of the field has the potential to expand interest and potentially attract young musicians well suited for a career in music therapy.

Emotional Competence Within the Stress Coping Strategies of Music Education Students

2021 ◽  
pp. 002242942110614
Author(s):  
Michelle S. McConkey ◽  
Christa R. Kuebel
Keyword(s):  
Music Education ◽  
Coping Strategies ◽  
Life Stress ◽  
Emotional Competence ◽  
Stress Coping ◽  
Education Majors ◽  
Education Students ◽  
Emotional Competency ◽  
Stress Coping Strategies ◽  
Music Education Majors

Researchers have identified high levels of stress among music education students, but we know very little about how students manage this stress and how emotional competence skills might be utilized within stress coping mechanisms for this population. Through this qualitative study, we sought to understand the stress coping strategies of eight music education majors through the lens of emotional competence as outlined by Saarni. We identified several sources of participants’ stress: general life stress, schedule, performance expectations, and coursework. Student coping strategies included awareness of stress, an attitude of pushing through, self-care, and seeking support. Through coding and utilization of the theoretical framework, we concluded that all eight of Saarni’s emotional competence skills were evident in the data as a whole, but not for each individual participant. Minimal evidence was found for half of the skills and for some students they were nonexistent, thus indicating a need for growth in emotional competency. Gaining an understanding of how music education majors cope with their stress could be a key step toward understanding how to better support students throughout their degree programs and as they transition into the field of music education.

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