Investing time: Teacher research observing the influence of music history and theory lessons upon student engagement and expressive performance of an advanced high school string quartet

This teacher-conducted research observes the influence of music history and theory instruction upon motivation, engagement, and expressive performance of the author’s high school string students. Two diverse teaching approaches were introduced sequentially as students learned two movements of Schubert’s "Death and the Maiden" Quartet (D810). The first movement was taught using performance-based instruction only, while the second movement was taught with a combination of performance-based instruction and music history and theory lessons. Student comments and teacher observations revealed that the incorporation of music history and theory lessons into performance instruction was (a) motivational to students, (b) a catalyst for expressive performance, and (c) an effective use of rehearsal time. Independent adjudicator scores were higher for the second movement than for the first, although several additional explanations are given that may also explain the variation in scores. Pedagogical recommendations are provided for incorporating music history/theory lessons into performance rehearsals

Name Those Notes

The names of the notes on the treble clef staff are not currently taught in the Indiana State Music Curriculum. This concept is essential to the understanding, reading, and writing of music. Therefore, it is important that research based curriculum is developed for this topic. Fourth grade students will complete a pre-test and series of lessons about learning the note names. These lessons will include direct instruction, activities, and homework assignments. A different method or unit plan will be used at each school. Upon the conclusion of each unit, the students will re-take the pre-test as a post-test. Scores from both schools will be compared to analyze which method seemed to produce higher test scores

Music Lessons as a Source for Well-Being and Lifelong Involvement with Music

This paper presentation is based on outcomes of two studies which were carried out in 2008 and 2010. The objectives of the first study were to analyse the experiences and memories gained in general music lessons at school in relation to the current musical activity of the person and his or her attitude towards music; how music lessons have influenced the musical behaviour of a person after graduating from general school and what is the role of the music teacher in that process. I would like to present some results from that study where the following themes were discussed ((1) the most vivid memory from music lessons; (2) an emotion from music lessons; (3) the purpose of music lessons; (4) personality of the music teacher; (5) the importance of music; (6) involvement or lack of involvement with music at present) in the light of outcomes from the second study.The second study explored connections between creative lessons (music, arts and crafts and physical education) at general education school and 13-14 year-old pupils’ leisure activities, creativity and well-being. The idea of this study was to search for links between active participation in creative activity, creativity and well-being. In this presentation I will particularly focus on relations between music lessons and well-being. Could we draw lines between feelings felt before entering a music lesson and general absence from school? Or how is the school\u27s environment connected with that before mentioned entering feeling of a lesson? Are there any differences between boys and girls? Why some pupils stay distant from music and possibilities to change it? How could music teachers encourage pupils in their lessons to start a life-long involvement with music? In this presentation I would like to discuss the idea of music lessons as a source and a resource of well-being in the present and life-long involvement in the future. And what seem to be those difficulties which keep music lessons from being that source at the moment

Integration of informal music technologies in secondary school music lessons

date-added: 2011-08-12 11:03:06 +0100 date-modified: 2011-08-12 11:03:38 +0100date-added: 2011-08-12 11:03:06 +0100 date-modified: 2011-08-12 11:03:38 +0100This project was supported by EPSRC grant EP/I001832/1, ‘Musicology for the masses’

Using videotaped extracts of lessons during interviews to facilitate the eliciting of teachers' thinking. An example with music schoolteachers' perceptions of creativity

This paper explores methodological issues regarding the eliciting of teachers' views regarding creativity, with particular reference to the use of videotaped extracts of lessons during in-depth semi-structured interviews. The paper draws on a doctoral study focussed on English music schoolteachers' perceptions of creativity. Various research designs and results from previous studies were examined and the implications highlighted (Odena, 2001a). A qualitative research design was piloted with three teachers and subsequently refined (Odena, 2001b). It was then used to allow six final participants to reflect on their own ideas. Between three to five hours of music lessons on composition and improvisation were observed and videotaped for each teacher. Final interviews with participants were transcribed and the process of analysis was assisted by a software package for qualitative research (i.e. NVivo). The study exemplified the complexities in defining the term ‘creativity’. It is suggested that the use of videotaped extracts of lessons for the purpose of discussion with participants during the interviews, proved beneficial in exploring the teachers' perceptions. This method may have relevance for both researchers and practitioners interested in teachers' attitudes

High School of Online Cello Playing: A Quantitative Analysis of Online Music Instruction via Video Conferencing Application

abstract: Video conferencing applications, such as Skype, have long been used in classroom settings. Although musicians have been conducting online lessons for years, and institutions such as the Berklee School of Music and the Manhattan School of Music offer online music classes, scholarly research concerning online video conferencing music lessons is limited. Most studies of video conferencing lessons are based on subjective answers, making it difficult to yield conclusive results. As such, the only basis to evaluate the efficacy of video conferencing lessons are those from opinions. This study offers quantitative research on online video conferencing lessons. Between September and December 2017, 22 cello students from Muscatine High School received weekly private online lessons. Students filled out surveys using a Likert scale to rate these lessons and how they felt video and audio quality affected them. Students also received in-person lessons during October 23 or 24 to compare this experience to online lessons. The responses collected throughout the semester were compiled and sorted to reveal data trends. Using information derived from the data, this study concludes that online video conferencing lessons were less productive than in-person lessons but were still effective. In addition, average lesson ratings improved significantly after meeting in-person. In conclusion, this study found that online private lessons are feasible for high school students.Dissertation/ThesisDoctoral Dissertation Music 201

Investigating musical performance: Commonality and diversity amongst classical and non-classical musicians

The research project 'Investigating Musical Performance: Comparative Studies in Advanced Musical Learning' was devised to investigate how classical, popular, jazz and Scottish traditional musicians deepen and develop their learning about performance in undergraduate, postgraduate and wider music community contexts. The aim of this paper is to explore the findings relating to attitudes towards the importance of musical skills, the relevance of musical activities and the nature of musical expertise. Questionnaire data obtained from the first phase of data collection (n = 244) produced evidence of differences and similarities between classical and non-classical musicians. While classical musicians emphasised the drive to excel musically and technically and prioritised notation-based skills and analytical skills, non-classical musicians attached greater importance to memorising and improvising. Regardless of genre, the musicians all considered practical activities such as practising, rehearsing, taking lessons and giving performances to be relevant. However, while classical musicians attached greater relevance to giving lessons and solo performances, their non-classical colleagues considered making music for fun and listening to music within their own genre to be more relevant. Some underlying processes that may have accounted for the differences in attitudes are explored, including musical influences, age of initial engagement with music and educational background. Points of similarity and differences are discussed, and possibilities for the two musical trajectories to inform and learn from each other are highlighted

The construction of creativity: using video to explore secondary school music teachers’ views

This paper is taken from research which seeks to illustrate how English secondary school music teachers view creativity. It explores methodological issues regarding the eliciting of the views of teachers regarding creativity, with particular reference to the use of videotaped extracts of lessons during in-depth semi-structured interviews. Various research designs and results from previous studies are examined and the implications pointed out. A pilot study using a theoretical four-fold framework (pupil-environment-process-product) is reported. A qualitative research design was used to allow teachers to reflect on their own ideas. Music lessons on composition and improvisation from three schools were observed and videotaped. The teachers were interviewed and asked to complete a ‘Musical Career Path’. The process of analysis was assisted by a software package for qualitative research (i.e. NUDIST). The conclusions presented some subcategories that supported the initial framework and exemplified the complexities in defining the term ‘creativity’, pointing to a need for further enquiry. It is suggested that the use of videotaped extracts of lessons for the purpose of discussion with participants during the interviews, proved beneficial in exploring the teachers’ views of creativity. This method may have relevance for both researchers and practitioners interested in teachers’ attitudes