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.

Status of Band and Orchestra Programs in North Carolina

2021 ◽  
Vol 11 (1) ◽  
pp. 51-65
Author(s):  
David S. Miller ◽  
Rebecca B. MacLeod ◽  
Jennifer S. Walter
Keyword(s):  
North Carolina ◽  
Public Schools ◽  
Music Education ◽  
Instrumental Music ◽  
Future Research ◽  
Instrumental Music Education ◽  
The North ◽  
Music Program ◽  
Teaching Responsibilities ◽  
K 12

The purpose of this study was to examine K–12 instrumental music education in North Carolina. Specifically, we investigated course offerings, teacher demographics, teaching responsibilities, and music program funding. We administered a survey to the members of the North Carolina Music Educators Association listserv who indicated band or orchestra as their teaching area. Participants identified themselves as teachers of orchestra ( n = 44), band ( n = 173), or a hybrid of both ( n = 17). Of schools that offered instrumental music, 95% offered band and 36% offered orchestra. More than 20% of orchestra teachers were “very likely to retire within 5 years.” The majority of teachers relied on fundraising to provide adequate music education for students. Results of this study were analyzed and compared to national averages reported in the Give a Note Foundation’s 2017 report: The Status of Music Education in United States Public Schools. Implications for orchestra teachers, music programs, music teacher preparation curriculum, and future research are discussed.

Reports From the Field: Learning to Play the Guitar With the Novaxe Online Learning Platform

2020 ◽  
pp. 244-263
Author(s):  
Anne-Marie Burns ◽  
Caroline Traube
Keyword(s):  
Online Learning ◽  
Music Education ◽  
Blended Learning ◽  
Instrumental Music ◽  
Teaching And Learning ◽  
Musical Instrument ◽  
Pedagogical Tools ◽  
Instrumental Music Education ◽  
Collaborative Tools ◽  
Learning Platform

Recent advances in internet technologies are changing the way we approach instrumental music education. The diversity of online music resources has increased through the availability of experts and user-generated digital scores, video tutorials, and music applications. This report from the field explores how technological innovations are transforming musical instrument teaching and learning with new paradigms of cohesive, integrated, and blended learning experiences. It presents the emerging Novaxe online learning platform (OLP), which is designed as an online space where guitar teachers and learners of different expertise levels—particularly teenagers and adults learning to play pop guitar technique and repertoire—can interact and share learning resources. The OLP includes interactive and collaborative tools supporting teacher-to-learner blended learning and self-taught learning. This field report presents the conceptual ideas behind this Novaxe OLP and explores the potential usage of collective and artificial intelligence as pedagogical tools in the context of instrumental music education.

John Philip Sousa as Music Educator and Fundraiser during World War I

2017 ◽  
Vol 40 (2) ◽  
pp. 143-169
Author(s):  
Jill M. Sullivan
Keyword(s):  
World War I ◽  
Music Education ◽  
Instrumental Music ◽  
Teaching And Learning ◽  
World War ◽  
Military Band ◽  
Instrumental Music Education ◽  
The Us ◽  
Us Government ◽  
The Military

This study documents the music teaching and learning that took place in the U.S. Navy band program at the Great Lakes Naval Training Station (GLNTS) near Chicago during World War I, led by Lieutenant John Philip Sousa. The following six research questions helped guide this investigation: How did Sousa organize the Navy band program? What were the details of teaching the enlisted bandsmen? What other music experiences were provided? How did the bandsmen’s work benefit the Navy and the US government? Which of the military band experiences likely influenced teaching and learning of instrumental music education after the war? What were the benefits for Sousa to volunteer near the end of his career? Findings revealed that more than three thousand bandsmen were taught by Sousa and Navy bandmasters. Bandsmen served in several ways: intact bands were sent to Navy ships to boost sailors’ morale; bands served the training regiments; bands toured the nation selling bonds; the GLNTS band program impacted the supply of band teachers after the war; and Sousa’s and the militaries’ educational and training strategies survive in today’s classrooms. The study concludes with a critique of the US government’s and Sousa’s role in commodifying the bandsmen.

“CONSIDERABLE STRESS and MISERY”: A first-year music teacher’s experiences

2018 ◽  
Vol 41 (1) ◽  
pp. 81-98
Author(s):  
David A. Stringham ◽  
Alden H. Snell
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Music Teachers ◽  
Hierarchical Structures ◽  
Early Career ◽  
Music Teacher ◽  
Future Research ◽  
First Year ◽  
Instrumental Music Education ◽  
Based Instruction

Preparing, inducting, mentoring, and retaining new music teachers remain concerns in our profession. This article began as a study of first-year music teachers who made regular entries in secure electronic journals and participated in mid- and end-of-year interviews. We initially sought to understand these new teachers’ experiences related to mentoring, professional development, collaboration, and standards-based instruction. Findings related to these topics were eclipsed, however, by challenging experiences that Elise, a first-year instrumental music teacher who participated in our study, reported. We used a narrative inquiry methodology to present Elise’s experiences in context of literature related to workplace incivility, gender, hierarchical structures, and emphasis on performance in instrumental music education. Based on findings, we offer recommendations for future research related to four stakeholder groups: pre-service teachers, early career in-service teachers, experienced in-service teachers, and administrators.

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.

scholarly journals A Critical Review of the Use of Wenger's Community of Practice (CoP) Theoretical Framework in Online and Blended Learning Research, 2000-2014

2017 ◽  
Vol 21 (1) ◽  
Author(s):  
Sedef Uzuner Smith ◽  
Suzanne Hayes ◽  
Peter Shea
Keyword(s):  
Communities Of Practice ◽  
Blended Learning ◽  
Community Of Practice ◽  
Online Teaching ◽  
Teaching And Learning ◽  
Empirical Work ◽  
Theoretical Framework ◽  
Future Research ◽  
Online Teaching And Learning ◽  
Integrative Research

After presenting a brief overview of the key elements that underpin Etienne Wenger’s communities of practice (CoP) theoretical framework, one of the most widely cited and influential conceptions of social learning, this paper reviews extant empirical work grounded in this framework to investigate online/blended learning in higher education and in professional development. The review is based on integrative research approaches, using quantitative and qualitative analysis, and includes CoP oriented research articles published between 2000 and 2014. Findings are presented under three questions: Which research studies within the online/blended learning literature made central use of the CoP framework? Among those studies identified, which ones established strong linkages between the CoP framework and their findings? Within this last group of identified studies, what do the patterns in their use of the CoP framework suggest as opportunities for future research in online teaching and learning?

Conversation Design in the Electronic Discussion Age

2008 ◽  
pp. 91-106 ◽  
Author(s):  
Gregory MacKinnon
Keyword(s):  
Teaching And Learning ◽  
Course Design ◽  
Collaborative Inquiry ◽  
Theoretical Framework ◽  
Future Research ◽  
Blended Courses ◽  
Inquiry Approach ◽  
Conversation Theory ◽  
Blended Course

The goal of the chapter to examine a way in which Pask’ s conversation theory (CT) can be used as a theoretical framework for designing blended courses using a collaborative inquiry approach for teaching and learning in campus-based university. This chapter comprises three parts that explains a) the constructs of CT, and their relations in regard to online collaborative inquiry, b) the four principles derived from the constructs of CT and the possible use of these principles to design a blended course, and c) how the effects of these constructs can be used to assess the effectiveness of this CT based blended course design. This chapter is concluded with the discussion and implications for course design, and future research on CT.

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.

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