An Exploratory Case Study of Mindfulness Techniques in a High School Band Program During the COVID-19 Pandemic

The purpose of this study was to explore the effects of mindfulness practices on high school band students. This action research project took place in spring 2020, during the COVID-19 pandemic stay-at-home orders. Four students enrolled in the high school band participated in five weeks of mindfulness practice interventions over the virtual format alongside their instrumental music director. Mindfulness practices included diaphragmatic breathing, relaxation imagery, cued relaxation, and stretching. Throughout the five weeks, student participants discussed improved focus, improvement of stress management, and increased frequency of mindfulness practice. However, four months after data collection was complete, three of the four student participants continued to practice mindfulness techniques on their own time to assist with nervousness, anxiety, and stress.

Passing the Baton: Building Student Autonomy and Democracy in the Large Ensemble Setting

The purpose of this study was to explore the phenomena of participation in a democratic large ensemble experience in a secondary public school setting. Specific research questions included (a) Do high school band students feel capable of performing a music work without teacher intervention? (b) In what ways do high school band students describe the experience of performing in a student-led large ensemble? (c) What music decisions were most often made by high school band students in a student-led large ensemble? and (d) Were there any changes in high school students’ perceptions of autonomy following a student-led large ensemble music rehearsal and performance experience? Findings illustrated that the democratic experience increased student autonomy and music discrimination across larger distances in the classroom as students listened to other nonsimilar sections. Furthermore, student voice, self-efficacy, and personal affect also increased as a result of the experience. Students felt empowered to offer their rehearsal critiques; however, a lingering concern is that participants continued to feel that their peers would not listen to their opinions on rehearsal issues or strategy usage.

“The school band and the Kulturskole are a single ‘thing’”: Exploring co-production between the public sector and a non-governmental organisation

This paper explores how a non-governmental organisation, a school band, and the municipal school of music and performing arts (the Kulturskole) collaborate to provide music education. Drawing on the concept of co-production, this paper investigates a case where the Kulturskole and the school band jointly deliver and plan the service of music education. The findings suggest that co-production in this case was perceived to be beneficial in terms of both efficiency and learning. Other broader outcomes were also detected, such as a strengthening of social bonds in the local society. The findings further suggest that in order to make co-production work, it is necessary to establish well-functioning organisational structures and good communication and knowledge transfer between the participants. Hence, the results in this paper inform the development of co-production as a mechanism to bring together a variety of stakeholders in the delivery and planning of arts education.

High School Band Directors’ Perceptions and Applications of Democratic Rehearsal Procedures in Concert Band Rehearsals

The purpose of this study was to examine inservice high school band directors’ perceptions and applications of democratic rehearsal procedures in concert band rehearsals. Respondents ( N = 216) were members of the National Association for Music Education who were currently teaching concert band at the high school level. Respondents indicated that “identify and describe opportunities for individual and ensemble performance improvement” and “student-led sectionals” were considered the most important democratic rehearsal procedures for their students to experience. These same procedures were also the most frequently used democratic rehearsal procedures. Analysis of open-ended responses revealed that respondents believed student ownership, student engagement, and student growth as musicians and leaders were advantages to implementing democratic rehearsal procedures. Potential disadvantages included issues related to student ability, rehearsal time limitations, unfamiliar classroom dynamics, and availability of classroom resources. Implications for music teachers are discussed.

Effects of Experience on Tempo Preference for Selected Wind Band Masterworks

We conducted two studies to complement extant tempo preference work. In Study 1, we explored preferred tempos for excerpts from selected wind band masterworks of band directors and undergraduate instrumental music majors. Participants used a sort-and-rank procedure to indicate tempo preferences of six excerpts. Preferences for four of the pieces were substantially the same: There was no difference between original tempos and the 6% increase in tempo. These results comport with research showing increased preference for faster tempos. For the other two excerpts, listeners preferred original and decreased tempos. These results parallel earlier research showing that pieces heard as already fast were preferred with slightly slower tempi. However, in one example, music majors preferred the faster tempi, demonstrating that when examples are unfamiliar, faster tempi are preferred. In Study 2, collegiate and secondary school band directors tapped preferred tempi of four works used in Study 1. Results agree with extant literature: Regression to moderate tempi was demonstrated by participants. Conductors tapped slow examples faster and fast examples slower relative to expert baselines. Tapping performance preferences were consistent with the listening preference task. Awareness of these inclinations may inform musical decisions made by students and band directors when rehearsing and conducting.

Repertoire Selection Processes of Basic School Marching Band Instructors in Ghana

The purpose of this study was to investigate into the repertoire selection practices of Basic school marching band instructors in Ghana. Questionnaire and semi-structured interview guide designed for the collection of data obtained demographic information and identified the criteria and procedures used by basic school band directors in selecting repertoire for their bands. An instrumental case study design allowed me to gain an in-depth understanding of band instructors’ perspectives. Data were solicited from 26 school band directors selected using snowball sampling method. Of the 26 directors invited to participate, all agreed to do so and actually responded to all questions. Results revealed that the three most frequently reported sources of repertoire selection were other band experiences, recommendations from colleagues, and school ensemble participation. The three factors most frequently reported as affecting repertoire selection decisions were the appeal of the music to self, appeal of the music to colleagues, the audience appeal to the music, and students’ appeal to music. Recommendations drawn from the research findings included the following: repertoire for school band methods and wind literature classes needs to be more adequately addressed, and school band instructors in Ghana should focus more on ‘quality’ and consider the human subjective elements as alternatives.

Cross-Validation and Application of a Scale Assessing School Band Performance

This is the sixth and culminating study in a series whose purpose has been to acquire a conceptual understanding of school band performance and to develop an assessment based on this understanding. With the present study, we cross-validated and applied a rating scale for school band performance. In the cross-validation phase, college students rated recordings of two high school concert band performances using a scale developed for mid-level band performance. The result was a 25-item School Band Performance Rating Scale (SBPRS) for use at middle and high school levels. Consistent with previous research, the scale was unidimensional, containing one strong second-order factor and three distinct primary-order factors: Rhythm–Technique, Tone Quality–Intonation, and Expressiveness–Musicianship. The scale demonstrated good internal consistency. In a field test, adjudicators used an online version of the SBPRS to assess school band performances. The online form allowed adjudicators to view other adjudicators’ ratings in real time. Good interrater agreement resulted. In another field test, judges used a nonlive version of the SBPRS, and lower interrater agreement resulted. The SBPRS reflects the conceptual structure of school band performance and can be applied advantageously to serve adjudicators and school band ensembles.

The Impact of Music Practice Instruction on Middle School Band Students’ Independent Practice Behaviors

The purpose of this study was to investigate the impact of music practice instruction on middle school band students’ ability to articulate and incorporate practice strategies. Participants were middle school band students at a large suburban middle school ( N = 105). Using a pretest–posttest quasi-experimental design, participants were divided into control ( n = 53) and experimental ( n = 52) groups. Participants in the experimental group received 3 weeks of practice strategy instruction during ensemble warm-up time, and the control group continued with their typical warm-up routine. Pretest and posttest data included self-reported practice strategy lists ( N = 105) and video of individual practice sessions ( n = 20). Both self-reported and video data were coded and analyzed using descriptive statistics as well as pretest–posttest within-groups comparisons. Thirteen hours of video data were further analyzed using an observational measure of self-regulation. Analyses revealed that experimental group participants identified and utilized significantly more practice strategies following the instructional intervention. Posttest experimental group practice sessions also revealed a more mature approach to practicing, including more strategic behaviors, greater variety in musical objectives, and longer periods spent focused on short excerpts of music. Implications for future research and middle school instrumental classroom practice are discussed.