Learning a musical instrument: the case for parental support

The aims of this research were to identify the ways in which parents may most constructively support their children's musical development, and to ascertain whether styles of parent-teacher and parent-pupil interaction would influence the extent to which parents engage in different types of supportive behaviours. A model of parent involvement as comprising behavioural support, cognitive/intellectual support and personal support was applied to a sample of 337 parent-pupil-teacher trios, in the context of individual violin instruction. A typological approach was taken; using a quantitative survey that measured interpersonal interaction behaviours, as well as learning outcomes, six distinct categories of parent-pupil-teacher interaction types in instrumental learning were identified. The three categories of parental support were compared across these interaction types. The extent to which parents engaged in various types of support was found to vary according to interpersonal relating style, and the interaction types in turn were found to impact on learning outcomes. Learning outcomes, including enjoyment of music, motivation, self-esteem, self-efficacy and personal satisfaction with music lessons, were found to be enhanced when parents: (1) elicited their children's views regarding appropriate parental involvement, (2) negotiated with their children over practising issues, within parameters set by the teacher, (3) provided a structured home environment for practice, (4) took an interest in promoting good teacher-pupil rapport, (5) communicated with the teacher in relation to the child's progress and (6) remained as a supremely interested audience. © 2010 Taylor & Francis

Learning a musical instrument: the influence of interpersonal interaction on outcomes for school-aged pupils

Researchers in recent years have increasingly placed an emphasis on seeking pupils' perceptions of educational settings. Alongside this shift towards attaching value to the pupil viewpoint has been a growing interest concerning how interpersonal relationships, manifested as control or responsiveness between teachers and pupils or parents and pupils, impact on learning processes and outcomes. This study aimed first to elicit pupils' perceptions of their interpersonal interactions with teachers and parents, in the context of learning a musical instrument. The second aim was to explore whether dimensions of interpersonal interaction could account for variability in learning outcomes. Three hundred and thiry-seven violin pupils were surveyed, and measures for the interpersonal dimensions of control and responsiveness, as well as measures for outcomes that were defined as self-esteem, self-efficacy, motivation, enjoyment of music and musical attainment, were collected. A principal component analysis of the control and responsiveness scales was carried out. Multiple regressions revealed that receptiveness to parental support and pupil-teacher accord accounted for significant variability in the learning outcomes. The research reported here adds to a growing body of evidence suggesting that the interpersonal dynamics of pupil-parent and pupil-teacher dyads represent a powerful influence in pupils' experiences of learning musical instruments. © The Author(s) 2011

Interpersonal interaction within the violin teaching studio: the influence of interpersonal dynamics on outcomes for teachers

The overall aims of this study were to identify qualities of interpersonal interaction within teacher- parent-pupil learning partnerships and to explore whether these characteristics were predictors of learning and teaching outcomes for teachers, parents and pupils participating in pursuit of expertise on musical instruments. This article presents the findings relating to how teachers' beliefs relating to interpersonal interaction with pupils and parents impacted on their professional satisfaction, self-efficacy, and involvement with pupils and parents. Two hundred and sixty-three violin teachers were surveyed, each completing a questionnaire that included measures of the interpersonal constructs of control and responsiveness as well as measures for outcomes that included professional satisfaction, teacher self-efficacy, and involvement with pupils and parents. The scales for control and responsiveness were subjected to a principal component analysis, revealing several underlying dimensions of these constructs. Multiple regressions revealed that facets of control bore significant correlations with all of the specified teacher outcomes, while the interpersonal factor that had the greatest influence overall was teacher sensitivity (a responsiveness component). At the heart of this finding is a model of a 'responsive leader', providing authoritative direction but also compelled to respond to the individual pupil needs and parental wishes or circumstances. © The Author(s) 2010

Every picture tells a story: pupil representations of learning the violin

Abstract: 
 The influence on learning outcomes of interpersonal interaction amongst
 teachers, pupils and parents is the subject of an inquiry that took this researcher on a
 voyage from the qualitative to the quantitative side of the “methodological divide”, and
 back again.
 This paper presents findings from first phase of the research, which included a
 quantitative survey to examine how learning and teaching experience for violin pupils was
 influenced by the interpersonal dynamics of responsiveness and control, within pupilparent
 and pupil-teacher relationships.
 As part of the survey pupils were asked to draw pictures of their violin lessons. It was
 thought that the pictures might reveal pupils’ perceptions of their experience of learning
 an instrument and that the pictures would add depth to the quantitative scales that
 measured interpersonal mechanisms and pupil outcomes.
 The pictures were subjected to content analysis and coded accordingly. These codes
 were matched with pupil artists’ scores for control and responsiveness, as well as with
 their scores for outcomes that included enjoyment of music, personal satisfaction, self
 esteem, self efficacy, friendship, motivation and musical attainment. Analysis of variance
 was computed in order to test the null hypotheses that a) pupil-teacher-parent
 interpersonal behaviour (control and responsiveness) was not represented in their
 pictures and b) pupil outcomes were not reflected in their depictions of violin lessons. This
 paper presents the results of this analysis, thus addressing the question of whether the
 pictures could be accepted as telling a credible and coherent story about pupils’
 perceptions of learning the violin

Gender differences in musical instrument choice

Historically, there have been differences in the musical instruments played by boys and girls with girls preferring smaller, higher pitched instruments. This paper explores whether these gender preferences have continued at a time when there is greater gender equality in most aspects of life in the United Kingdom. Data were collected from the 150 Music Services in England as part of a larger survey. Some provided data regarding the sex of pupils playing each instrument directly. In other cases, the pupils’ names and instruments were matched with data in the national Common Basic Data Set to establish gender. The findings showed distinctive patterns for different instruments. Girls predominated in harp, flute, voice, fife/piccolo, clarinet, oboe, and violin and boys in electric guitar, bass guitar, tuba, kit drums, tabla and trombone. The least gendered instruments were African drums, cornet, French horn, saxophone and tenor horn. The gendered pattern of learning was relatively consistent across education phases with a few exceptions. A model was developed which sets out the various influences which may explain the continuation of historical trends in instrument choice given the increased gender equity in UK society

Survey of local authority music services 2005

In 2001, the Department for Education and Skills (DfES) published the White Paper 'Schools: achieving success' within which the Government pledged to ensure thatover time, evey primary school child who wanted to would have the opportunity to learn to play a musical instrument. To deliver this commitment robust, current, data base was required which could be used to provide a baseline for wider opportunities in primary music, prepare the way for changes in Music Standards Fund allocations, enable national benchmarks to be established and complement the Music Services' Guidance as a tool for self-evaluation, development and target-setting

Evaluation of voices foundation primer in primary schools

Music education has an important role in contributing towards society's needs in relation to the culture industries and continued development of active and constructive participation in musical activities. In addition to its role in developing musical skills many claims have been made regarding the benefits of music education in relation to a range of transferable skills

Music for Life: Promoting Social Engagement and Well-Being in Older People Through Community Supported Participation in Musical Activities

Within our current social context where extraordinary demographic transitions are underway, where the numbers of old people suffering from depression is increasing and where there is an accepted need for initiatives that support older people’s well-being and productivity (Age concern, 2008) little attention has been paid to the potential for music-making to effect a significant contribution to the quality of life of older people. This research explored the role of music in older people’s lives and how active participation in making music, particularly in community settings can enhance their social, emotional and cognitive well-being. The specific aims were to investigate the way in which participating in creative music making activities could enhance the lives of older people, to consider the extent to which this may impact on social, emotional and cognitive well-being and to consider the processes through which potential benefits were achieved. A further aim was to explore barriers to participation and to consider implications for effective practice. The research comprised three UK case studies, the Sage, Gateshead, the Connect Programme of the Guildhall School of Music, and Westminster Adult Education Service, which each offer a variety of musical activities to older people. In each case study a sample of older people (total N = 398) some of whom had recently begun musical activities (novices), others who are more experienced were recruited to complete questionnaires about their musical background, musical self-concept and musical preferences. The questionnaires included measures of well-being; these were the CASP-12 quality of life measure, developed for use in research on ageing (Wiggins et al., 2008), and basic psychological needs scales (Deci and Ryan (2000). The questionnaires were completed before and after nine months of active engagement with music. A control group (N=102) who participated in activities other than music completed the same measures. In- depth interviews were carried out with a representative sample of participants, followed by observations of musical activities and focus group interviews as well as interviews with the musicians facilitating the activities, participants’ family members and representatives from charitable organisations working with older people within the wider community. Higher scores on the CASP-12 and the basic needs scales were found consistently amongst the music participants, in comparison with the control group. The music participants attributed significant social, emotional and health benefits to their active music making. Many participants re-invented a prior musical self-concept, for example, through memories of music-making at school, suggesting that musical opportunities early on in the life-course may have a cumulative and long-term influence on resilience in older age. This research supports the view that active music-making has powerful potential benefits for older people but that in order for these benefits to be maximized facilitators/teachers require appropriate training that meets specific needs and addresses barriers to participation