scholarly journals A theoretical model of piano sightplaying components

2005 ◽  
Author(s):  
◽  
Dneya Bunnag Udtaisuk
Keyword(s):  
Theoretical Model ◽  
Music Education ◽  
Music Educators ◽  
Review Of Literature ◽  
Multiple Perspectives ◽  
Fields Of Study ◽  
Analysis And Synthesis ◽  
Research Findings ◽  
Extended Review ◽  
Observation Results

The goal of this study is to provide a theoretical model regarding sightplaying phenomena based upon investigation, analysis, and synthesis from a large amount of research findings, observation results, theoretical ideas, teaching methods, and perspectives from various fields of study including psychology of music, music education, psycho-musicology, and neurological science. Specifically, the focus of the study is on an individual's ability to sightplay on the piano. As a result of an extended review of literature, the author proposed a generalized picture about the possible components shown to be involved in the process of sightplaying development as well as sightplaying performance. With a qualitative philosophy as the research methodology and multiple perspectives in mind, the author believes that the model describing the four sightplaying components, CAPE: physical Coordination, musical Awareness, musical Potential, and musical Experiences, is useful as an instructional and experimental guideline for investigating and understanding a unique sightplaying ability in each individual as well as sightplaying performance in different circumstances. When using this model, music educators and researchers need to be aware that variations among levels or differences in the strengths of the component have not been predicted by this model. Any generalizations and implications need to be drawn with appropriate caution.

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.

Assessment in Music: A Practitioner Introduction to Assessing Students

2017 ◽  
Vol 36 (3) ◽  
pp. 20-28 ◽  
Author(s):  
John M. Denis
Keyword(s):  
Music Education ◽  
Learning Outcomes ◽  
Music Educators ◽  
Student Growth ◽  
Review Of Literature ◽  
Music Assessment ◽  
The Past ◽  
Accountability Movement

There has been an increased interest in documenting the growth and learning outcomes of students in all subjects in the past 20 years, and music education has not been immune to the accountability movement. Yet, in spite of the increased sociopolitical pressures put on educators, music has remained a difficult discipline to assess, which in turn has created tension between music educators and policymakers. This review of literature examines the basic nature of assessment in music education and discusses possible concepts and methods to improve practitioner understanding of student growth and learning. Topics include (a) What is assessment? (b) Why does assessment matter? (c) How do we assess in music? and (d) What challenges occur in music assessment?

scholarly journals Improvisation in Elementary General Music: A Review of the Literature

2018 ◽  
Vol 37 (1) ◽  
pp. 42-48
Author(s):  
Michael D. Chandler
Keyword(s):  
Music Education ◽  
Divergent Thinking ◽  
The United States ◽  
Music Educators ◽  
Elementary Level ◽  
Instructional Time ◽  
General Music ◽  
The United Kingdom ◽  
Area Of Interest ◽  
Research Findings

Improvisation is an area of interest to both music education researchers and music educators alike. The purpose of this literature review was to examine extant studies related to improvisation at the elementary level. Selected research included the nature of improvisation, the amount of instructional time and activity type used, the development of improvisation skills with age, and the effect of improvisation on other skill areas. Findings indicated that children chose their own musical and social roles when there was minimal teacher intervention. Most teachers agreed that improvisation was important, although at varying degrees and based on varying levels of experience and ability. Improvisation skills increased with age, particularly when considering rhythmic improvisation and phrase structure, and improvisation was found to increase creativity and divergent thinking while also reducing performance anxiety. Research findings are included from the United Kingdom, Sweden, Finland, Italy, Greece, Slovenia, Malaysia, and the United States. The review concludes with implications for practice and recommendations for further research.

Optimizing Optimal Experiences: Practical Strategies to Facilitate Flow for 21st-Century Music Educators

2020 ◽  
Vol 107 (2) ◽  
pp. 35-41
Author(s):  
Leonard Tan ◽  
Hui Xing Sin
Keyword(s):  
Music Education ◽  
21St Century ◽  
Flow Theory ◽  
Music Educators ◽  
Flow Experience ◽  
Research Findings ◽  
Theory Research ◽  
Flow Experiences ◽  
Music Classrooms ◽  
Mihaly Csikszentmihalyi

In 1990, psychologist Mihaly Csikszentmihalyi warned against an excessive emphasis on how well music learners perform rather than on the experiential aspect of music in and of itself. Whereas the former approach is, in his words, “a source of psychic disorder,” the latter approach offers access to “flow”: the optimal, enjoyable, meaningful, and happy state. What might an approach to music education that aims to optimize optimal experiences (i.e., flow) look like? This article presents concrete strategies to facilitate flow experiences in music classrooms and rehearsal halls by drawing on flow theory, research findings, and the authors’ own professional and applied experiences. The authors clarify the nature of the flow experience, sketch the benefits of flow, and propose ten strategies to facilitate flow for music educators.

Does Music Education Have a Poverty Problem?

2021 ◽  
pp. 875512332110360
Author(s):  
Tina Beveridge
Keyword(s):  
Literature Review ◽  
Music Education ◽  
Teacher Attitudes ◽  
Music Educators ◽  
Macro Level ◽  
Barriers To Participation ◽  
Participation Barriers ◽  
Research Findings ◽  
Students In Poverty

In this literature review, I explore poverty, the barriers to participation that exist for students in poverty, and why this issue should matter to music educators. Research findings about students and poverty generally fall into three categories: logistics, teacher attitudes, and policy. I identify participation barriers in each of these categories and offer suggestions how they might be addressed. Overall, findings involving poverty and music education indicate that when teachers are well-supported at the micro and macro level by legislators, administrators, parents, and other teachers, most barriers can be reduced or eliminated, and participation increases.

New legislation in Brazilian music education: Studying the law and its implementation

2016 ◽  
Vol 35 (1) ◽  
pp. 79-92
Author(s):  
Dwight Manning ◽  
Marilia Kamil
Keyword(s):  
Public Schools ◽  
Music Education ◽  
Music Teachers ◽  
School Curriculum ◽  
Music Educators ◽  
Educational History ◽  
National School ◽  
The Status ◽  
Private And Public ◽  
Research Findings

In 2008, Brazilian legislators approved a law that added music on a mandatory basis to the basic national school curriculum. Despite the possibilities afforded by this legislation, music educators affirm that many questions remain due to its ambiguity. Given the 2012 deadline for the implementation of this law, there is a need to understand how it was enacted across diverse settings. This study considers the implementation from the perspective of music teachers. Thus, in this interview study, we seek to understand the status of music education throughout the country according to the perspectives of music educators from private and public schools. Such perspectives are situated within reviews of educational history, legislation, policy, and research. Findings point toward the need to (a) address a shortage of music teachers; (b) better define the preparation of professional music educators; and (c) identify pedagogies which are likely to have the greatest impact in implementing this new law.

Factors Influencing Future Music Participation: A Review of Literature Based on the Theory of Planned Behavior

2020 ◽  
Vol 38 (3) ◽  
pp. 18-28
Author(s):  
Hyesoo Yoo
Keyword(s):  
Theory Of Planned Behavior ◽  
Music Education ◽  
Planned Behavior ◽  
Behavioral Intentions ◽  
Music Educators ◽  
Review Of Literature ◽  
Music Participation ◽  
Factors Influencing ◽  
Intention To Persist ◽  
Perceived Behavior Control

The theory of planned behavior (TPB) has been employed as a theoretical framework that predicts and explains an individual’s intention to engage in a certain behavior. The TPB postulates that an individual’s behavior is influenced by behavioral intentions, and behavioral intentions are caused by three distinct factors: attitude toward behavior, subjective norms, and perceived behavior control. To holistically understand factors influencing students’ intentions for continued music participation, this article examines music education studies focused on various factors related to student intention to persist in music based on the TPB. This review of literature will support researchers in determining the direction of future investigation of students’ intentions for continued engagement in music. Furthermore, understanding and documenting these factors in student intention could aid music educators in creating teaching strategies focused on increasing student continuation in musical activities.

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.

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