Preservice Elementary Teachers and Music in the Elementary Classroom

The purpose of this pretest-posttest study was to investigate elementary preservice teachers’ perceptions of and level of comfort with music in the elementary classroom after enrolling in an online music integration course. Participants were preservice elementary teachers ( N = 93) enrolled in three sections of an online music integration course at a large university in Southern California. Results showed significant differences in participants’ agreement with aspects of music teaching, comfort with music, and music integration. Findings also indicated significant differences in participants’ rankings of musical outcomes in an elementary setting. There were no significant differences found among participants’ ranking of music and other subjects in the elementary classroom.

The Effect of Instruction Differentiation in Preventive Classroom Management Strategies on Early Childhood and Elementary Preservice Teachers’ Selected Behaviors in a Music Integration Course

The purpose of this pilot study was to investigate the effect of instruction differentiation in preventive classroom management strategies on preservice teachers’ selected behaviors. Results indicated no significant main effect for treatment condition, and significant main effects for lesson type and microteaching session. Findings indicated that preservice teachers benefited from extended practice in preventive classroom management strategies; however, longer microteaching sessions might be needed to provide more occasions to implement such strategies. With opportunities to practically apply classroom management skills within a university course, preservice teachers might enter their careers with more of a focus on proactive behavior management.

Overview of Music Integration in the Elementary Curriculum

This chapter serves as a brief introduction to music integration and includes definitions and a review of best practices. An overview of the 2015 National Core Arts Standards provides a foundation for the standards-based lessons that teachers will encounter throughout the remaining chapters of the book. There are growing calls to foster self-expression, critical thinking, collaboration, and creativity in school settings, and music integration is a path for developing these skills. The challenge for teachers involved in the integration process is to teach interdisciplinary lessons that make meaningful connections between disciplines and do not compromise the integrity of either discipline. The final section of the chapter focuses on strategies that allow teachers to create their own lessons that integrate music with other areas of the elementary curriculum.

Mimicry and Hybridity of “Congrock Musik 17” in Semarang

Keroncong, a slow and crooning music, serves as the art and culture that reflects Indonesian identities. This music style still exists today, particularly in Semarang that is widely known as an urban area. The resistance of such music is actualized with the process of mimicry and hybridity of keroncong and rock music, causing pros and cons that lead to a crisis. The performed mimicry and hybridity is a negotiation in identity construction that takes place in ambivalent behavior as a strategy to survive from the crisis. Building an identity of Congrock (keroncong and rock) is carried out to explore the mediation form in the third space, enabling the outlining of the position of Congrock identity in Semarang. A case study, an art research method, and historical reading were employed to interpret the existing phenomenon. The result indicated that the Congrock identity was the result of mimicry and hybridity that was formed due to the hegemony in Indonesia. Mimicry and hybridity had become the most important point because they took place in an urban area, such as Semarang. The integration of local and global cultures in Congrock generated a new identity in society as the third space and created a gray zone in Congrock, i.e., the area between the form of imitation and cross-cultural music integration. The position of Congrock in Semarang became a symbol of freedom in negotiating locality while partially articulating modernity.

Music Integration to Reduce Experiences of Foreign Language Classroom Anxiety in Early Childhood Education

Music and language are humanity's most powerful auditory symbol systems. They are connected neurologically early in life, develop similarly, and are linked academically. With communal function, similar learning processes, and neurological proximity, could the intersection of music and language each facilitate the other? This chapter explores the benefits of music integration in language learning, particularly to improve classroom affect and reduce students' experiences of foreign language anxiety (FLA). Exploring the benefits of integrative curriculum, music in the classroom, and language learning theory and methodologies, this work offers a theoretical foundation for further research. By illuminating the connection between music integration and positive classroom affect, further opportunities to develop and implement more effective linguistic classroom practices can improving education's impact in early childhood education.

The Conception of the Contemporary Chinese Opera Music Score Database

Music score are the carrier of musical works, and Chinese Opera is an important part of traditional Chinese folk music. The enduring transmission method of music is an oral tradition, and only a few operatic scores (such as Kunqu Opera, Peking Opera, etc.) have been published before 1949. It was only in the 1950s where the surge of music specialists in the workforce has initiated an effort to record operatic works, resulting in the publication of Chinese Opera and vocal music. After the 1980s, various operatic texts were found stacked on top of each other. In particular, during the Seventh Five-Year Plan key scientific research project of the National Philosophy and Social Sciences, the “Chinese Opera Music Integration” series was founded to compile a comprehensive collection of vocal scores from various operas. By creating a database, a large number of rich resources on opera music can be accessed when all of its information and classification are compiled into the database. By providing the function of searching and browsing some of the vocal scores and images online, its significance is not only limited to providing complete access to operatic works but also promotes the development of academic research in opera music.

Effects of cooperative learning on preservice elementary teachers’ interest in and integration of music into core academic subjects

The author investigated the effects of a cooperative learning environment on the implementation of integrating music into core academic subjects. Using a quasi-experimental design, participants ( N = 59) were preservice generalist elementary and special education majors from four course sections of a required music methods course, where two course sections worked in a cooperative learning environment and two course sections worked individually. For six weeks, participants worked on a final project that integrated music into academic core subject lessons. At the conclusion of six weeks, each participant individually microtaught one lesson created from the music integration project. Additionally, participants completed an interest survey after the study was concluded. Results showed that participants in the cooperative learning group scored statistically significantly higher ( p < .05) on the music integration project, microteaching evaluations, and rated statistically significantly higher interest on their projects from the student interest survey. These results suggest that participants in the cooperative learning group produced work of a higher quality than participants in the control group and that the cooperative learning group also showed a higher level of interest in their own music integration projects.

Cross-modal music integration in expert memory: Evidence from eye movements

The study investigated the cross-modal integration hypothesis for expert musicians using eye tracking. Twenty randomized excerpts of classical music were presented in two modes (auditory and visual), at the same time (simultaneously) or successively (sequentially). Musicians (N = 53, 26 experts and 27 non-experts) were asked to detect a note modified between the auditory and visual versions, either in the same major/minor key or violating the key. Experts carried out the task faster and with greater accuracy than non-experts. Sequential presentation was more difficult than simultaneous (longer fixations and higher error rates) and the modified notes were more easily detected when violating the key (fewer errors), but with longer fixations (speed/accuracy trade-off strategy). Experts detected the modified note faster, especially in the simultaneous condition in which cross-modal integration may be applied. These results support the hypothesis that the main difference between experts and non-experts derives from the difference in knowledge structures in memory built over time with practice. They also suggest that these high-level knowledge structures in memory contain harmony and tonal rules, arguing in favour of cross-modal integration capacities for experts, which are related to and can be explained by the long-term working memory (LTWM) model of expert memory (e.g. Drai-Zerbib & Baccino, 2014; Ericsson & Kintsch, 1995).