Music for all: Identifying, challenging and overcoming barriers

A great deal of change has occurred within UK music education over the past decade. There were good intentions behind some of the changes; for example, the government had an ambition to provide everyone with access to music education during their school years. The timing of such initiatives, however, was unfortunate. Within the context of financial austerity and the subsequent cuts to public spending, education budgets came under increasing pressure. This article examines the current challenges facing music education within England and raises questions for researchers to consider as the future direction of research in the field starts to take shape

Self-affirmation improves music performance among performers high on the impulsivity dimension of sensation seeking

In the light of evidence that self-affirmation can mitigate the negative effects of stress on outcomes, this study tested whether a self-affirmation manipulation could improve undergraduate students’ achievement in a formal musical performance examination. The study also investigated the association between impulsivity and music performance and explored whether impulsivity moderated any impact of self-affirmation on exam performance. Methods: At baseline, participants provided demographic information and completed the UPPS-P Impulsive Behaviour Scale (short-form), which assesses five dimensions of impulsivity (negative and positive urgency, lack of premeditation, lack of perseverance, and sensation seeking). In the subsequent 14 days, participants (N = 65) completed either a self-affirmation manipulation or a control task, before reading a message about the impact of practice on music performance. Music performance was formally assessed 14 days later. Findings: Sensation seeking was the only dimension of impulsivity associated with exam performance, with participants high in sensation seeking receiving lower grades. Critically, self-affirmation promoted better music performance among those high in sensation seeking. Discussion: Self-affirmation may provide a useful intervention to augment the performance of musicians who would otherwise perform worse than their counterparts under formal evaluative circumstances, such as those high in sensation seeking

Isolation and Characterization of Adenoviruses Persistently Shed from the Gastrointestinal Tract of Non-Human Primates

Adenoviruses are important human pathogens that have been developed as vectors for gene therapies and genetic vaccines. Previous studies indicated that human infections with adenoviruses are self-limiting in immunocompetent hosts with evidence of some persistence in adenoid tissue. We sought to better understand the natural history of adenovirus infections in various non-human primates and discovered that healthy populations of great apes (chimpanzees, bonobos, gorillas, and orangutans) and macaques shed substantial quantities of infectious adenoviruses in stool. Shedding in stools from asymptomatic humans was found to be much less frequent, comparable to frequencies reported before. We purified and fully sequenced 30 novel adenoviruses from apes and 3 novel adenoviruses from macaques. Analyses of the new ape adenovirus sequences (as well as the 4 chimpanzee adenovirus sequences we have previously reported) together with 22 complete adenovirus genomes available from GenBank revealed that (a) the ape adenoviruses could clearly be classified into species corresponding to human adenovirus species B, C, and E, (b) there was evidence for intraspecies recombination between adenoviruses, and (c) the high degree of phylogenetic relatedness of adenoviruses across their various primate hosts provided evidence for cross species transmission events to have occurred in the natural history of B and E viruses. The high degree of asymptomatic shedding of live adenovirus in non-human primates and evidence for zoonotic transmissions warrants caution for primate handling and housing. Furthermore, the presence of persistent and/or latent adenovirus infections in the gut should be considered in the design and interpretation of human and non-human primate studies with adenovirus vectors

Self-Regulated Learning in Music Practice and Performance

This chapter discusses self-regulated learning (SRL) in the context of music. SRL holds significant potential for increasing the efficiency of musical skill acquisition across all aspects of music performance instruction. We begin with a review of selected research that has studied skill acquisition when learning to play a musical instrument. Although the literature related to this topic is growing steadily, much of the scholarship is scattered and atheoretical. Moreover, researchers in music tend to concentrate on behavior and cognition as separate and somewhat unrelated theoretical topics to the exclusion of affect. We discuss these limitations and present a summary of literature that brings research-based evidence pertaining to behavior, cognition, and affect together into a coherent SRL framework. Current and future research priorities are then detailed as a means of outlining ways of maximizing music practice, teacher-student interactions, and efficient approaches to learning complex musical skills. Our final section summarizes the discussion and provides implications for how SRL might be adopted more widely in the music education domain

Applying self-regulated learning microanalysis to study musicians’ practice

This article describes the development of a music practice microanalysis protocol that is based on the three-phase model of self-regulated learning (i.e., Forethought, Performance, and Self-Reflection). Up until now, most studies on music practice have tended to focus on behavioural aspects. The expanded view presented here outlines a technique for mapping the types of behaviours (actions), cognition (thoughts), and affect (feelings) that can help focus musicians’ practice. To explain the technique, we describe the practice of two first year Bachelor of Music students studying at a prominent university music school who are compared at three time points across one semester as they prepare an étude for a performance exam. These case studies demonstrate two broadly contrasting self-regulated learning profiles of how microanalysis can be used to cue students to think about what they are doing and then reflect critically on the strategies they can use to improve their playing. As a technique, microanalysis can inform educational interventions aimed at breaking the cycle of habits that typify musical practice by encouraging musicians to become more behaviourally, metacognitively, and motivationally involved in their own learning

Using a microanalysis intervention to examine shifts in musicians' self-regulated learning

The purpose of this study was to explore the effects of using a self-directed practice diary on conservatory pianists’ self-regulated learning tendencies. We sought to determine whether the implementation of a self-directed practice diary based on the three-phase model of self-regulated learning would lead students to gradually demonstrate more self-regulated learning tendencies across a semester of practicing, and if the type and quality of their self-regulated learning tendencies varied as a function of performance ability. A marked and consistent improvement in metacognitive monitoring skills was observed across the semester for all seven participants. Variations between lower and higher ability students were most pronounced in the Forethought stage, with higher ability pianists reporting fewer goals and strategies and higher self-motivational beliefs than their lower ability counterparts. In the Performance phase, higher ability students invested more effort in help seeking and structuring their practice environment, and lower ability students reported more self-instruction. In the Self-Reflection phase, higher ability pianists reported being more focused in the practice session. Suggestions for further refinement of the technique to improve musicians’ ability to master their learning and achieve their personal best are provided

Student Vitality, Teacher Engagement, and Rapport in Studio Music Instruction

Vitality is the feeling of being alive, vigorous, and energetic, and is an important indicator of overall motivation and wellbeing. Studio music instruction holds rich potential for creating feelings of vitality through close relationships, the potential for developing skills, and a shared endeavor of artistic expression. But they also have the potential to deplete vitality – through controlling teaching, a poor quality relationship, or harsh criticism from the teacher. The purpose of this study was to investigate relationships among student and teacher behavior, rapport, and students’ experiences of subjective vitality in the context of university-level applied performance lessons. Participants were six undergraduate instrumental music majors and their teachers located at universities in the United States and Australia, who were selected because they provided the highest (three participants) and lowest (three participants) scores on a measure of subjective vitality completed immediately following a studio music lesson. A lesson was recorded for each student-teacher participant pair, coded for the frequencies of 35 lesson behaviors, described with a qualitative contextual commentary, and rated for evidence of rapport and physical proximity. Clear differences emerged between the high and low vitality lessons with regard to questioning, feedback, modeling, student performance, and student talk. Teachers of high vitality students spent most or all of the lesson within close proximity to their student, and showed stronger rapport than teachers of low vitality students. The findings suggest that students’ vitality may depend on important differences in styles of teacher-student engagement and the quality of student-teacher relationships