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This article provides a counterstory to damaging, dominant narratives concerning migrant experiences and border crossings. Through counter-storytelling, I share Rey's lived experiences as a transfronterizx (transborder) student who crossed the United States–Mexico border daily to attend school and eventually, participate in school music. The overarching question guiding the study was: What are a transfronterizx student's experiences navigating school and school music in the United States? Based on the findings, Rey encountered literal and metaphorical barriers as he pursued an education in the United States. In particular, navigating language, deficit-based teaching practices, surveillance, and policing were key in his narrative. Currently as a music educator, Rey draws from his personal transfronterizx background to inform his music teaching practices in a predominantly Latine school community. Considerations for working with migrant students and families are discussed in light of ongoing sociopolitical issues, including the need for more culturally and linguistically responsive practices. [ABSTRACT FROM AUTHOR]

Although recent decades have witnessed a significant growth and expansion of studies dealing with the performing practice of Arab music improvisation, most such studies are focused on instrumental, not vocal, performing practices. As a result, Arab vocal performing practice, especially that of vocal improvisatory genres, still lacks a comprehensive theoretical approach. In this article I examine the maqām (Arab modal framework) phenomenon by analysing a piece in its pre‐eminent improvisatory genre (mawwāl) composed and performed by an eminent musician: mawwāl 'Ṭal al‐Ṣabāḥ' by Wadī' al‐Ṣāfī. Most vocal improvisation is presented in Arab music literature without a defined or definite melodic (or rhythmic) structure. I posit that the mawwāl genre has defined and quasi‐defined structures on the macro and micro levels of the piece, since a major part of those structures is manifested as recurring, defined compositional devices and interrelationships throughout the piece within the improvisational frame of the mawwāl genre, a reflection of its structural intricacy. This article thus contributes to the existing literature on classical Arab vocal performance by implementing the theory of natural schemata as an analytical framework along with a structural analysis based on a detailed descriptive transcription of the piece, and thus characterising the largest and smallest strata of musical structures in the mawwāl genre. [ABSTRACT FROM AUTHOR]

The study aims to investigate the impact of a specially designed intervention programme on middle school students' creative thinking and musical experience. The study was conducted among 120 students (SD = 13.4) at middle music schools in the PRC. The instruments included the Creative Personality Scale (CPS) and the Scale of Musical Experience (SME). On the CPS post-test, the control group demonstrated the same creativity, suggesting the impossibility of independent development of creative abilities within an educational institution. The influence group demonstrated increased medium creativity (10.0%) and strong creativity (11.1%). SME post-test in the control group suggests that poor musical experience fell by 11.4%, medium experience increased by 6.4% and strong musical experience increased by 5.0%. The influence secured the dominance of the medium musical experience, with poor musical experience reduced by 22.3% and strong experience increased by 15.7%. The present findings can enhance scientific knowledge about classical music practices and their adoption within educational institutions. The practical significance of the study lies in the fact that creativity-oriented practices can be integrated into music schools. [ABSTRACT FROM AUTHOR]

This research aims to determine the student's knowledge levels in the Department of music education after completing two semesters of Western music theory and practice courses. The study group consisted of 126 students studying in the 1st, 2nd, 3rd and 4th grades of Marmara University Atatürk Faculty of Education, Department of Fine Arts Education, Department of Music Education. The study was designed using a descriptive survey model, and the Western music theory and practice knowledge test and personal information form developed by the researchers were used as data collection tools. The data obtained were analyzed with the help of Kruskall-Wallis and Mann-Whitney U tests. According to the research results, the fact that the students studying in the Department of music education have taken only two semesters of Western music theory and practice courses shows that they are inadequate in musical hearing, reading and writing skills. In addition, variables such as the type of high school the students graduated from, their level of finding the duration of the course sufficient, and their musical hearing, reading and writing education before starting university revealed that there were significant differences between the total scores of the western music theory and practice course achievement test. This research is considered an important research that can contribute to the existing limited studies and develop a knowledge test to measure the knowledge of students studying in the Department of music education towards Western music theory and practice courses. [ABSTRACT FROM AUTHOR]

Intonation evaluation is an important precondition that offers guidance to music practices. This paper present a new intonation quality evaluation method based on self-supervised learning to solve the fuzzy evaluation problem at the critical intonations. Firstly, the effective features of audios are automatically extracted by a self-supervised learning-based deep neural network. Secondly, the intonation evaluation of the single tones and pitch intervals are carried out by combining with the key local features of the audios. Finally, the intonation evaluation method characterized by physical calculations, which simulates and enhances the manual assessment. Experimental results show that the proposed method achieved the accuracy of 93.38% which is the average value of multiple experimental results obtained by randomly assigning audio data, which is much higher than that of the frequency-based intonation evaluation method(37.5%). In addition, this method has been applied in music teaching for the first time and delivers visual evaluation results. [ABSTRACT FROM AUTHOR]

The neuroscience of music originated as part of a laboratory-based scientific tradition with rigid experimental control. During the past two decades, the field has moved toward more naturalistic settings through various means. Sound stimulation and empirical paradigms are now closer to real music, regardless of the research method being used. Study participants cover the whole lifespan and include participants with typical and atypical behavioral and neuropsychiatric profiles. Methods and contexts of data acquisition are more versatile and also include everyday settings, such as daycare centers and schools. Further needs for improved practices have been identified, such as self-reports based on digital data collection tools and inclusion of music cultures not based on Western music practices. Studies in the neuroscience of music gained momentum in the 1990s as an integrated part of the well-controlled experimental research tradition. However, during the past two decades, these studies have moved toward more naturalistic, ecologically valid paradigms. Here, I introduce this move in three frameworks: (i) sound stimulation and empirical paradigms, (ii) study participants, and (iii) methods and contexts of data acquisition. I wish to provide a narrative historical overview of the development of the field and, in parallel, to stimulate innovative thinking to further advance the ecological validity of the studies without overlooking experimental rigor. [ABSTRACT FROM AUTHOR]

In this autoethnographic reflective essay, I explore the challenges that the COVID-19 crisis presented to community music training and practice within a university setting, through the evocative 'storying' of key experiences from my own work. I acknowledge the sense of grief that came with losing opportunities for music-making face to face. Whilst online music-making matters, the visceral experience of sound within space was deeply missed by staff and students. In contrast, I also explore the possibilities that COVID-19 pushed us to explore. These include connecting with international partners in our regular teaching, establishing a digital collaborative project with a local school and creating online placement opportunities. I explore the unexpected developments in teaching, learning and scholarship that have occurred as a result. I also acknowledge the questions and critiques that the pandemic revealed. Whilst the longing for in-person music-making continued, it was reassuring to know that we retained our capacity to connect. [ABSTRACT FROM AUTHOR]

Aiming at an analysis of the psychological suffering which musicians may experience in performance situations, this paper puts forward some ideas largely based on the metapsychology of Sigmund Freud and on a critical view of university-level education of musical interpreters. It is argued, at first, that ethical and moral injunctions put upon performers throughout their education could be identified metapsychologically as superegoic. Another part of the investigation verses on possible relations between Superego, death drive and sublimation in the production of unhealthy practices in the study and preparation of performances. This part of the discussion will also consider the different ways in which the Ego might relate with its ideal instances. The last portion of the paper consists in an analysis of passages from Thomas Bernhard's der Untergeher, based on the hypotheses hereby brought to light. [ABSTRACT FROM AUTHOR]

A framework of cultural humility includes three main tenets: (a) commitment to lifelong, critical self-reflection; (b) recognition and mitigation of power imbalances; and (c) accountability to individuals and institutions. In this article, I aim at applying the concept of cultural humility to frame my analysis of musical diversity in music education. Through a cultural humility lens, music teachers may acknowledge their own beliefs, values, biases, and prejudices in relation to diverse musics. A commitment to lifelong introspection through self-reflection and critique may help teachers continue to investigate new ways to redress power imbalances inherent in music education, as well as build their relationships with students and communities bidirectionally. [ABSTRACT FROM AUTHOR]

The article focuses on the importance of effective practice in music education. Topics include the challenges students face in practicing and suggests strategies for modeling and demonstrating new music, the role of individual lessons in addressing fundamental problems, and the responsibility of music teachers in coaching good practicing strategies.

The aim of this research is to determine the views of conservatory students on the bibliotherapy in music and piano education. This study was carried out with a qualitative approach and is in the phenomenological pattern. In phenomenological studies, it is aimed to put the meanings that the individual attributes to the phenomena. The study group consists of 7 conservatory students selected by homogeneous sampling method. The data in the research were obtained through semi-structured interviews. The data obtained as a result of the research were analyzed with the content analysis method. In the research, the opinions of the students were collected in 5 categories as general opinions on the use of bibliotherapy in music and piano education, individual contribution of bibliotherapy, contribution to music and piano education, positive and negative opinions. The three most prominent results in all categories in the research are awareness of insight, insight, and being able to recognize problems. The participants of the study stated that they had insight and awareness as a result of bibliotheraphy. In line with the findings obtained in the research, it was concluded that the participants were able to identify and cope with the problems they encountered in piano and music education more easily, thanks to their awareness of their personal backgrounds through bibliotherapy. In light of these results, it can be suggested to use bibliotheraphy as a supporting and facilitating practice in music and piano education. [ABSTRACT FROM AUTHOR]

Music Education is changing rapidly worldwide. What effective and promising practices in music teaching and learning are available and can be cross-culturally applied? Using Finland as a case study, this exploratory research highlights promising current endeavors in primary and secondary school music education. In light of these undertakings, data were collected from interviews with students and teachers in Australia and England (N = 25) to investigate if these practices would be considered promising in both Australia and England. The results revealed four key areas of promising music teaching and learning: (1) Allocated Time for Music Teaching and Learning; (2) Teacher Training and Expertise; (3) A Diverse, Collaborative and Interdisciplinary Curriculum, and; (4) Transition to Tertiary Education. A number of practical recommendations are proposed and their pedagogical significance discussed. [ABSTRACT FROM AUTHOR]

Ear training is the most basic building block of music education. This training forms the basis of music and instrument education given in both formal and non-formal education. This course, which aims to develop the musical ear of individuals, also leads students who have just started fine arts high schools in many subjects. Ear training course includes cognitive goals as well as psychomotor goals thanks to applied goals such as intervals, solfeggio and dictation. It can be said that these psychomotor goals contribute to many lessons in the music department. One of the lessons contributed by psychomotor goals is instrument lessons. For the students who have just started their instrument education, the psychomotor goals acquired with the ear training enable the instrument lessons to be carried out more systematically. For this reason, it is thought that the psychomotor goals related to the terms of rhythm patterns, intervals knowledge, tonality knowledge and loudness in instrument education should overlap with the psychomotor goals in ear training. In this study, the 9th grade course book of Western Music Theory and Practice - Turkish Art Music Theory and Practice within the ear training given at the fine arts high school; within the scope of instrument education, the 9th grade Instrument Education (Cello) course book was examined. In this research, the exercises, etudes and pieces in the 9th grade course books of Turkish Art Music Theory and Practice - Western Music Theory and Practice and Instrument Education (Cello) were examined in terms of psychomotor. This research is a descriptive research and qualitative research methods were used. The model of the research is the case study. The universe and sample of the research consists of 9th grade Instrument Education (Cello), 9th grade Music Theory and Practice and Turkish Art Music Theory and Practice course books in Fine Arts High Schools, which is a music education institution in our country. During the data collection phase, the document analysis data collection technique was used. The analysis of these collected data was analyzed using the content analysis technique. As a result of the data obtained, it was revealed that the two course books examined did not overlap in terms of some psychomotor goals. [ABSTRACT FROM AUTHOR]

People can learn, understand, and use music using the solfeggio method. People involved in professional music training have given it importance because it is a fundamental discipline of enlightenment music and a necessary training method and technical theory course to enter the professional level. This article presents an in-depth analysis of the music curriculum model based on data mining technology. Additionally, a music style classification method based on FP Growth association rules mining is developed, which decreases the number of frequent element sets needed and speeds up database scanning. To better match the characteristics of music, a multirepetition structure model is used, and the MFCC (Mel-frequency cepstral coefficients) function is used to set the repetition structure model. The results demonstrate that the music style classification method put forth in this article has clear advantages in terms of efficiency: when the minimum support is 0.2 percent, this method's execution time is about 33 percent compared to the other methods. The outcomes of the experiment suggest that this method can more accurately capture the repeatability of music and enhance separation performance to some extent. [ABSTRACT FROM AUTHOR]

In order to further promote the innovative development of piano teaching of music major in colleges and universities under a diversified environment, we explore a modern piano teaching reform with distinctive innovative characteristics and strengthen the work needs of colleges and universities for the cultivation of comprehensive, practical, and high-quality piano talents. This study deeply understands the current piano learning, curriculum teaching, and innovative practice of music majors in colleges and universities in the form of questionnaire and interview. On this basis, based on the summary of piano teaching methods, this paper puts forward a piano teaching curriculum system based on innovative development, hoping to provide reference and suggestions for the innovation, reform, and development of piano teaching of music majors in colleges and universities. [ABSTRACT FROM AUTHOR]

This paper is written as an homage to Yehudit Cohen, attending to multi-disciplinarity and the contrapuntal relationships among disciplines. Yehudit's musicological work centered on early Baroque, yet simultaneously engaged with contemporary Israeli music and the music education scene. This paper addresses methodological worldviews and practices in musicology and music education with their distinct trajectories, recognizing that eventually both were affected by similar macro forces of the social sciences. Writing from the qualitative research methodology of music and arts education, the second half of the paper reflects, in an autoethnographic style, on the ways that my disciplinary journey has been shaped by broader academic as well as personal contexts. I explore the kind of tuned listening that has guided my research, a listening cultivated by both musicology and qualitative educational research, noting that not only do we research who we are, but that in the process, we become what we research. The paper is written as an invitation for readers to weave in their own disciplinary experiences, attending to differences of perspective and what it may mean for their own inquiries. [ABSTRACT FROM AUTHOR]

Music education is among the most significant subjects covered in providing high-quality education in Chinese universities and colleges. Music education is critical to providing high-quality education to students. It contributes significantly to the development of students' creative motivation, inventive capacity, and personality development. Music education provides excellent outcomes in music instruction and fosters students' original thinking and comprehensive abilities, and therefore supports the overall development of high-quality education. With the development of the educational system, it is becoming more vital to teach students a high level of musical literacy. With the advent of 5G mobile communication, it will become one of the core technologies in Chinese music education, providing an innovative framework for music education. In this study, a novel music education model is proposed for the development of music education using the GTZAN dataset which is comprised of 100 distinct specimens for every genre and ten various kinds of music. The dataset is normalized to prepare it for further processing and the characteristics of the song are retrieved using a technique called spectrum-based feature extraction (SBF). Bi-recurrent neural networks (Bi-RNN). are used to classify objects in space. An improved TCP congestion control algorithm (ITCCA) is proposed for efficient data transmission between the 5G networks. To optimize the performance of the transmission protocol, the honey bee optimization algorithm is employed. The performance of the proposed model is examined and contrasted with that of the currently used approaches. The proposed model shows high performance in terms of throughput, average delay, and packet delivery ratio. The model has the potential to successfully integrate 5G technologies and music education and provide the students with rich and diversified teaching materials and flexible instructional formats. [ABSTRACT FROM AUTHOR]

Given the contemporary polarized political landscape and the elective nature of much music teaching and learning, it is important that music educators understand how they reinforce or undermine stakeholders' political beliefs. The purpose of this inquiry is to investigate alignment between Lakoff's moral-political metaphors and Allsup's main ideas and to consider the value of certain moral-political discourses for music education. I demonstrate that Allsup favors concepts that align with Lakoff's liberal nurturant-parent metaphor, while his ideas work in tension with the conservative strict-parent metaphor. When conservative moral discourse goes unacknowledged, discussions about what kind of ethics should inform music education get misrecognized as arguments about whether ethical concerns should inform music education. I also examine the potential implications of practices aligning with music educators' individual moral-political beliefs, a community's moral-political preferences, or a balanced approach to the two metaphors. Yet, nurturant-parent values and associated practices often remain unarticulated and peripheral in music teacher education. I propose that music educators might name the role that conservative ethics play within the profession, provide increased attention to practices aligning with the nurturant-parent moral-political metaphor, and experiment with discourse and actions not directly invoking either moral-political metaphor. [ABSTRACT FROM AUTHOR]

This paper puts forward a method of similarity distribution and applies it to music teaching management system. We use Java language, using JavaME development platform to complete the basic information management, music homework management, music practice management, online classroom management, information notification management, and other modules of the technical implementation. The system uses mobile learning system to provide a convenient learning platform for learners. However, student users can only view the course information in the system. To allow students to know the course change information more quickly when teachers update course information, the system implements the course information update reminder function. Compared with the existing music teaching system, the music teaching system based on Android adopts wireless Internet technology, which is more suitable for the daily habits of today's college students and makes full use of the fragmentary time, which is conducive to improving their learning efficiency and stimulating students' interest in learning. [ABSTRACT FROM AUTHOR]

Active engagement in music has numerous academic and social benefits for young children and music-making is included in many early childhood standards and preschool curricula. The purpose of this article is to provide quality resources for classroom teachers to use in providing music-making activities for young children, ages 3–5. Although teachers may use music in their classrooms, we provide resources and suggestions for more intentional and extended integration of music-making. Specifically, we identify best practices for preschool music education based on key standards and research as well as with common music pedagogies. We then turn to concrete examples of how teachers can implement these music best practices throughout the entire preschool day. We provide ideas and resources for whole-group activities, focusing on choice-time/center activities and ways to incorporate music activities in other academic areas as these seem to be of greater need for teachers. Finally, we use the stated best practices to review the alignment of a sample of commercially available preschool music curricula as an additional support for teachers. [ABSTRACT FROM AUTHOR]

This article examines the concept of democratization and explains why it has been applied in unhelpful ways to the study of music. We focus on three examples to illustrate the real-world complexities involved in the adoption of new technologies that are often seen as democratic by dint of their widespread use. We argue for a close-reading of the participatory practices of socially-located actors with music-making devices – one that asks detailed questions about who is participating, how, and under what socio-economic conditions. We finish with a call to move beyond the term democratization to an application that is specific to the field of popular music. [ABSTRACT FROM AUTHOR]

Increased availability of tablets at home and in classrooms provides educators access to a powerful tool for music instruction. Music production lessons on tablets offer alternate approaches to developing music literacies while teaching valuable technology skills. These activities are ideal for general music education because they align with contemporary music practices and are adaptable to a variety of learning environments (in person, remote, and hybrid). This article will present a model for tablet-based music production instruction in the general music classroom that aligns with the National Core Arts Standards and accompanying process components grounded in five essential skills: sequencing, recording, editing, effects processing, and mixing. [ABSTRACT FROM AUTHOR]

This text aims to discuss the enactive perspective as a possible foundation for practices in music education, considering that such perspective allows an active view of music teaching and learning. Based on a conceptual definition, enactivism is considered as a perspective that proposes a continuity between the processes undertaken by the body and the mind guided by the person's action in the world. This text characterizes embodied music cognition and enactivism, presents dialogues with literature, and reflects on the implications of an enactive perspective for music teaching and learning. The article also discusses the inseparability between musical and extra-musical content, including the importance of people's experience with their sociocultural worlds. Finally, the relationship between praxis and enactivism is presented, as well as the application of enactivism as a foundation for different practices in music education. The analysis of this text can help music educators to broaden and deepen foundations and reflections on teaching and learning in music education from an enactive perspective. [ABSTRACT FROM AUTHOR]

The significance of music and its practices in the context of the musicianprofessor training are not only related to music and its formal contents, but also to the cognitive mechanisms involved and the way of understanding the social world in a broader approach. Based on the Piagetian clinical-critical method, the present study aimed to analyze the meanings of music graduates about the roles of musician and professor to understand the mechanisms of thought involved, through problematizing situations. The research involved the participation of four undergraduate music students from a public university in the state of Paraná, Brazil. The movements made possible by the interrelations observed in the significances of the participants in this study proved to be distinct, even though they were caused by problematizing situations guided by a similar methodological proposal. The participants' responses stand out in four dimensions in relation to the meanings of Musician and Professor: knowing how to do, teaching, intellectual and action schemes. The results pointed to the importance of understanding the cognitive mechanisms involved in the roles of Musician and Professor, to expand reflections on the development of the music student and specific actions that favor music education both in regular school and in different educational spaces. [ABSTRACT FROM AUTHOR]

Scott Joplin (1868-1917) was an African American composer and pianist of singular merit and influence. Academic interest in Joplin has increased in recent years, leading to new discoveries about the composer's activities, yet teaching materials have not been updated at the same pace as 21st-century findings. Joplin was an entrepreneur, a performer, and a philanthropist, yet his biography is often reduced to a "celebratory" narrative of a composer creating toe-tapping music for the masses. Ragtime Lives, the first in a three-part series, presents a modern understanding of the biographical context, which shaped Scott Joplin's music thought and practice and provides suggested classroom activities for exploring Joplin's life and works written in accordance with NAfME's 2014 National Music Standards. [ABSTRACT FROM AUTHOR]

Assessment in the large choral ensemble classroom continues to be a widely examined topic among music education practitioners and scholars. Scholars have dedicated a significant body of research to identifying and examining the assessment practices of music educators (Denis, 2016; Mc-Quarrie & Sherwin, 2013) However, due to their design, a number of the studies did not thoroughly explore the why and how of music assessment through the voices and experiences of students and teachers (Kotora, 2005; McClung, 1996; McCoy, 1991; Russell & Austin, 2010). This instrumental case study (Stake, 1995) explored perceptions of assessment practices as reported by high school choir students and their choir teacher. Research questions examined participants' beliefs about assessment, the factors that influenced those beliefs, their experiences with assessment practices, and the challenges of assessing choral music students. Through analysis of multiple types of data collected from various data sources, the findings revealed that the teacher used both musical and nonmusical assessment practices to evaluate student learning. Students perceived all assessment practices, musical and nonmusical, to be in support of what they viewed as the primary goal of the choral program--ensemble achievement. The study identified external and internal influences that directly affected the use of assessment practices at Allen Thomas High School (ATHS), including the choir's role in the school curriculum and culture. [ABSTRACT FROM AUTHOR]

But I left the conference confirmed in my sense that urgent matters impinge on music-theory teaching today, and having satisfied myself that the teachers I met set and aspire to meet high standards of student accomplishment, I have turned my attention to the music theory being taught, which I address later in this review. To be sure, at one time this repertory was a common interest among serious college musicians, but student musical interests and tastes seem to grow ever more diverse, and student preparation for it (laments every teacher ever) apparently can only continue to decline. 298 JOURN AL of MUSIC THEORY 2 The conference program and abstracts are online, with links to any supplementary materials provided by the authors (Music Theory Pedagogy Online 2019a, 2019b). room) not usually observed in conferences devoted to music theory. Regret that the historical monuments of Euroclassical music may no longer have a central place in a common music-theory curriculum can be met with determination to reframe them more rigorously in their new special circumstances. [Extracted from the article]

The aim of this study is to discuss, from socio-cultural and music practice perspectives, the presence of the viola (guitar) in Rio de Janeiro at the beginning of the nineteenth century. This bibliographical study is based on literature about the musical life in Brazil from 1750 to 1850, and the study of period sources about the viola, particularly in relation to thorough bass and accompaniment. Issues that stand out from the socio-cultural analysis are the conflict between acceptance and prejudice in relation to the instrument and its performers, and the use of the instrument for music instruction. We consider, taking as a departure point the example given by the Arte de muzica (Anonymous, 1823), that the instrument was conceivably used during early musical instruction and that a simplified version of the rule of the octave, proposed by its author, might epitomize a confluence of oral and written practices of the period. [ABSTRACT FROM AUTHOR]

The ability to recognize and distinguish among varying musical styles is essential to developing aural skills and musicianship. Yet, this task can be difficult for music learners, particularly nonexperts. To address this challenge and guide music education practice, this study drew on cognitive psychological principles to investigate the effect of interleaved presentation of music pieces by various classical music composers on learning to identify these composers' styles. Participants with 4 or fewer years of musical experience were presented with music pieces from six composers in an interleaved manner (alternating between listening to different composers' works) and music pieces from another six composers in a blocked fashion (listening to works by one composer at a time before moving on to the next). A later test in which participants had to classify novel pieces by the same 12 composers revealed the superiority of interleaved over blocked presentation, although most participants misjudged blocking to be more effective than interleaving. This finding provides evidence for the utility of interleaving in teaching music composers' styles and extends the literature on the interleaving effect in category induction to the auditory domain. Practical implications and future directions for the use of interleaving in music education are discussed. [ABSTRACT FROM AUTHOR]

The purpose of this study was to investigate processes that led practicing music educators in a graduate course to examine their beliefs and practices regarding inclusion, responsiveness, equity, and justice. Using Charmaz's constructivist approach to grounded theory, we interviewed 22 participants from MUS 8XX: Philosophy of Music Education. Constant comparative analysis yielded an explanatory framework, which we presented as a model and named "transformative learning processes (TLP) for practicing music teachers encountering social justice." TLP comprises four interrelated components: "building Gemütlichkeit," "grappling with difficult material," "emotional intensity," and "course structures," with "stories" acting as a hub for each of the interconnected categories. By describing processes that led practicing teachers to examine their mindsets and plan to change their practices, TLP could provide guidance for music teacher educators at the graduate level regarding how to approach social justice topics in their teaching. [ABSTRACT FROM AUTHOR]

This article presents a broad discussion of power and influence within contemporary participatory music practices in relation to practices of intervention. The discussion is presented through the respective experience and professional perspectives of music therapy, music education and community music – each illustrated by current practice examples and their accompanying dilemmas; and covering both local and international projects. In a shared closing discussion, the four authors review the key question: whether professional influence and power in participatory music practices 'shows the way' or 'gets in the way'. They conclude that intervention takes place on a continuum, in different ways, and to different degrees and levels. What is vital is to retain practical and ethical reflexivity on the dimensions of intervention as a practice that can offer both creative opportunities, but which can also be part of subtly oppressive power relationships. [ABSTRACT FROM AUTHOR]

This essay attends to select affective politics of theoretical practices in the study of music and affect. Concentrating on EuroAmerican theoretical frames, I address how assumptions generating key theories in affect studies complicate ethnographic analyses of musics emanating from various historical, social and cultural locations. I attend to challenges that object-oriented approaches provide ethnomusicologists in particular, arguing that a focus on practice affords opportunities to avoid the reifications of 'music' and 'affect' as potentially agentive. In considering strategies of presentation and publication, I call citational practices into question, elucidating inequities in distinct processes of legitimation. This essay stands as an invitation for increased transparency and personal accountability in theorising, with special attention to affective entanglements and attachments. [ABSTRACT FROM AUTHOR]

This article presents a case of how culture (specifically music) has been used by Dizu Plaatjies and the Amampondo musical group as a resource for social transformation. Theoretically framed by Bourdieu's concept of habitus, the article narrates the story of Dizu Plaatjies and the Amampondo musical group from Langa Township, Cape Town. This story holds important lessons, as it challenges and suggests new directions for African music education and scholarship beyond its relegation to 'context', 'signs' and 'rituals'. Plaatjies and Amampondo present a model and example of social transformation through the agency of African music and culture. This article draws from more than two years of research fieldwork (apprenticeship, interview and participant observation and archival work) in Cape Town to explain how Plaatjies and Amampondo's traditional music practices had social, cultural and economic effects, and created a uniquely South African musical culture in South African marimba music. The research presented here suggests rethinking African music education and scholarship in terms of social, cultural and economic development. [ABSTRACT FROM AUTHOR]

In Turkey, the main purpose of the Orchestra/Chamber Music lessons practiced with different contents in terms of level and purpose at the institutions where vocational music education is to recognize and promote the pieces of national and international polyphonic music repertory by performing them within the framework of performing together rules and discipline, and to develop musical hearing of students by creating an awareness of common music performance by means of performing together. In line with the purposes of this lesson, the pieces are chosen by the instructors who conduct the lesson considering different variables, and the programs prepared are exhibited within the scope of various musical activities as a product of the education delivered. In this study, the concert programs which have been reached between 2013-2019 years prepared by the music education departments were researched in order to detect the tendencies to the piece selection at the concerts which were prepared within the scope of the Orchestra/Chamber Music lesson in the department of music education at the universities, which are among the institutions that deliver vocational music education. In this direction, the pieces included in the repertories that were created for the purpose of giving concerts were analyzed in detail in terms of their features such as their genres, composers, and the periods they belong to, etc. The research is a descriptive study and a qualitative research. [ABSTRACT FROM AUTHOR]

The article offers information on teaching a transfer music student. It mentions the Square-One Assessment approach and categories such as musical literacy, technique and practice habits. It discusses the creation of uncertainty in planning and teaching of transfer student; lack of knowledge of experiences, learning habits and overall playing level.

Hanns Eisler wrote a series of educational pieces during the early 1930s, the purpose of which was to address what he perceived as the unfortunate separation of theory and practice in music education. This article focuses on the first in the series, the Klavierstucke fur Kinder, Op. 31 (1932-33), to which Eisler appended a typescript titled "Kleine Kompositionslehre fur Kinder (In praktischen Beispielen)" ( " Little Composition-Tutor for Children (In practical examples]" ). His analytical commentary serves as the basis for an examination of the Andantino from the set to elucidate the process of dissolution [Aufiosung] characteristic of the contrasting middle section of a ternary form. [ABSTRACT FROM AUTHOR]

Practice is a major element in cultivating musical skill. Some psychologists have proposed that deliberate practice, a specific framework for structuring practice activities, creates the kind of practice necessary to increase skill and develop expertise. While psychologists have been observing behavior, neurologists have studied how the brain changes when people learn. Neurologists have found changes in the structure of the white matter of the brain that correlate with vast amounts of musical practice. This article contains a brief overview of what researchers believe happens in the brain when people learn or refine motor skills, such as singing or playing an instrument. This article also explores the new research into myelination, one mechanism the body uses to optimize the efficiency of neural circuits. In addition, the authors propose ways that music educators can use findings from both psychological and neurological fields to improve music teaching and learning and help their students begin to develop musical expertise. [ABSTRACT FROM PUBLISHER]

The purpose of this exploratory study was to examine the practice strategies that collegiate music majors chose to employ in preparing for a jazz improvisation performance, and the relationships among selected practice behaviours and achievement in instrumental jazz improvisation. Participants for the study (N = 62) were enrolled as music majors at one of six universities in the USA. Expert judges assessed participants' improvisation performances, and participants' practice sessions were coded for time spent on various practice behaviours. Reliability for both achievement assessment and practice time coding was found to be high. Results indicated low, non-significant correlations between achievement scores and time spent on various practice behaviours, with participants spending the greatest amount of practice time improvising with a play-along recording. [ABSTRACT FROM AUTHOR]

The discoveries of score analysis (e.g., minor seventh chord, ostinato, phrase elision, melodic fragment, half cadence) are more than just compositional techniques or music vocabulary. They are sounds—fascinating, storytelling, dynamic modes of expression—that when approached as such enrich the rehearsal experience. This article presents a three-step process designed to connect style analysis to rehearsal pedagogy: (1) Style analysis yields music vocabulary that (2) the ensemble conductor conceptualizes aurally—as sound with expressive potential—thus laying the groundwork for (3) rehearsing in ways that bring the expressive potential of sounds to the forefront of students’ minds. In step 3, teachers develop student response targets that reference listener, audience, or effect of sound. [ABSTRACT FROM AUTHOR]

Community arts in Australia, as in many other countries, continue to permeate society, illuminating the past and shaping the future. This article situates itself as an aspect of community music through creative music-making within a larger research project that started at Deakin University (DU) (Melbourne, Australia) in 2011 called 'Flows and Catchments'. Through the lens of creative arts and music-making, I argue that community partnerships between local communities and tertiary institutions are a fertile ground to celebrate arts practice where the cultural and artistic life of the community is promoted, fostering respect and understanding between indigenous and non-indigenous peoples. In 2012, I presented a music workshop at the 8th Annual Lake Bolac Eel Festival (LBEF) in Western Victoria. Using the African term Masakhane, which means 'let us build together', I provide a snapshot of my experience through journaling and anecdotal feedback as I reflect in and on the teaching and learning episode of the volcanic composition. The community partnership between DU (academics in an urban space) and the LBEF (local community in a regional place) provided an opportunity for people of all ages to engage, explore and experience music-making collectively in a social context. As a tertiary music educator, I propose more pathways being established with regional communities in order to deepen the knowledge and understanding of them; schools, communities, artists, academics and tertiary students can form cultural synergies in place-based settings like those of festivals. [ABSTRACT FROM AUTHOR]

Sweden has a long tradition of implementing cultural activities in community-based organizations, even though the concept of community music is rarely used. One project in line with this tradition is El Sistema, a global movement that reached Sweden a few years ago. This article aims to discuss to what extent and in what ways El Sistema in Sweden can be regarded as an example of community music practice and further to argue for a critical approach when analysing this particular music education venture. By using discursive tools we try to move beyond preconceptions based on educational and cultural beliefs. In addition, a critical perspective also makes it possible to pay attention to what is at stake in a specific music education context. [ABSTRACT FROM AUTHOR]

The article discusses ways on how music teachers teach their students healthy physical and mental approaches to offer a solid base for playing with comfort, freedom and ease of expression. It mentions the need to instill self-awareness in students to help them learn to manage repetitive strain injury (RSI) that occurs due to highly repetitive tasks. It also notes the importance of educating students on posture pointers and creating safe practice plans before students begin to practice. INSET: DO'S AND DONTS 10 DO'S FOR INJURY PREVENTION.

Articles that explore the short- and long-term effects of COVID-19 on music teaching and learning. I Music Educators Journal (MEJ) i is seeking submissions of articles, essays, and perspective pieces on topics of interest to practitioners of music teaching and learning. I Music Educators Journal i is currently accepting articles on any music-teaching subject, but of particular interest are: Pieces that address the goals outlined in the NAfME Strategic Plan (see https://nafme.org/about/mission-and-goals/. [Extracted from the article]