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

The sources of self-efficacy: Educational research and implications for music

Music teachers can empower students with control over their own music ability development by helping them foster positive self-efficacy beliefs. This article reviews general education and music research concerning Bandura’s theoretical four sources of self-efficacy (enactive mastery experience, vicarious experience, verbal/social persuasion, and physiological and affective states), in order to guide music teachers in determining effective methods and approaches to help students develop a sense of music self-efficacy and subsequent music achievement. A brief summary of each self-efficacy source category is provided, along with a discussion of the means whereby self-efficacy perceptions can be developed within both general education and music learning environments. Each of these four sections reviews research and simultaneously provides corresponding practical suggestions for educators

Pedagogical content knowledge and preparation of string teachers

In the past few decades, there has been an increase in the percentage of non-string specialists teaching string classes. In this article, we review literature about subject-specific pedagogical content knowledge (PCK) in general and music education settings, to better understand the challenges that teachers with limited knowledge of string-specific content may face when teaching strings students. Included in this review are discussions concerning trends in the string teacher workforce, PCK in education and music, acquisition of PCK in general settings and music teacher preparation programs, and relationships between teacher content knowledge and instructional effectiveness, both in general and string education settings. Based on this review, we recommend that preservice and professional development curricula for music teachers include comprehensive preparation in both content-specific and pedagogical-specific knowledge for teaching strings

Pedagogical content knowledge for SHIFTING: More than a toolbox of tricks

The heterogeneous string classroom can often present challenges to string teachers in knowing how to help a variety of students develop complex string technique such as shifting and vibrato. Just like teaching any skill in any subject, teaching string-specific technique requires specific types of knowledge, and long-term success depends largely on ensuring that technical fundamentals are well taught. In this two-part series, we will address the issues of pedagogical content knowledge (PCK)—the integration of content knowledge and pedagogical knowledge—in regard to shifting and vibrato in the heterogeneous string classroom, to demonstrate how knowledge of technique works hand-in-hand with knowledge of teaching. “We explore common shifting challenges and realistic teaching strategies that take into consideration the large heterogeneous string classroom.” In this first article, we focus on shifting technique, and in the second, we will discuss vibrato. Previous research suggests that teachers who have PCK to teach a concept or skill can help students deepen the understanding of complex skills and concepts. In this article, we discuss various teaching strategies from the pre-shifting exercises to early shifting exercises. We explore common shifting challenges and realistic teaching strategies that take into consideration the large heterogeneous string classroom

Eclectic styles and classical performance: Motivation and self-efficacy belief at two summer music camps

String teachers and scholars have suggested that classically-trained students may be motivated to engage in eclectic (e.g., rock, pop, jazz, groove, folk) styles. However, we do not fully understand the ways in which students’ motivations to engage in new musics might be influenced by their perceptions of competence in those styles. In this mixed-method study we draw upon quantitative, qualitative, and arts-based data from 120 middle and high school students at two camps (one emphasizing classical music, the other emphasizing eclectic styles), to explore various ways in which students develop self-efficacy beliefs and motivation to perform in a variety of musical approaches. According to analysis of all data, students at both camps generally expressed having positive musical and social experiences. Negative experiences, while less common, stemmed from confusion or frustration with music learning, boredom with music that was too easy or not interesting, and competitive comparison with others. Based on findings from qualitative and arts-based data, we suggest that these students may have benefitted from additional teacher support when encountering new musical technique

Collective efficacy belief, within-group agreement, and performance quality among instrumental chamber ensembles

We examined collective efficacy beliefs, including levels of within - group agreement and correlation with performance quality, of instrumental chamber ensembles (70 musicians, representing 18 ensembles). Participants were drawn from collegiate programs and intensive summer music festivals located in the No rthwestern and Western regions of the United States. Individuals completed a 5 - item survey gauging confidence in their group’s performance abilities; each ensemble’s aggregated results represented its collective efficacy score. Ensembles provided a video - r ecorded performance excerpt that was rated by a panel of four string specialists. Analyses revealed moderately strong levels of collective efficacy belief and uniformly high within - group agreement. There was a significant, moderately strong correlation bet ween collective efficacy belief and within - group agreement ( r S = .67, p < .01). We found no relationship between collective efficacy belief and performance quality across the total sample, but those factors correlated significantly for festival - based ensem bles ( r S = .82, p < .05). Reliability estimates suggest that our collective efficacy survey may be suitable for use with string chamber ensembles. Correlational findings provide partial support for the theorized link between efficacy belief and performance quality in chamber music settings, suggesting the importance for music educators to ensure that positive efficacy beliefs become well founded through quality instruction

Socio-musical connections and teacher identity development in a university methods course and community youth symphony partnership

In this article we describe the experiences of nine preservice music teachers enrolled in the first semester of a newly designed instrumental methods course in which a traditional lecture format was replaced with experiential, student-driven, service-oriented activities. Students were entrusted with organizing and directing a community youth symphony, including sharing of teaching and all administrative responsibilities (e.g., recruiting, fundraising, repertoire selection, community outreach). While the first author was the professor and designer of the course, the second author acted as an outside observer, collecting data through rehearsal observations, student interviews, and study of course artifacts. Findings suggest that students benefitted from opportunities to observe and collaborate with the professor and classmates in real-world teaching settings. Furthermore, students demonstrated evidence of growth and maturation over the course of the semester in teaching skills, professional identity, and socio-musical connections. The article closes with a description of how student recommendations for course improvement were implemented in subsequent semesters

International Research Symposium on Talent Education, Part 4: The joys and benefits of Suzuki group class

This is the fourth article in a series reporting the findings of a large-scale demographic study of Suzuki teachers in Canada and the United States. Previous articles introduced the research, reporting on basic demographic statistics, teacher training, studio size, and structure of group classes. In this article we report on the results of an open-ended response question regarding the benefits of student participation in Suzuki group class