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Over the past several decades, educational policymakers around the world have made changes based on three competencies they believe students will need to be successful in an increasingly globalized society: Knowledge, skills, and mindset. While many advocacy efforts in music education have focused on the first two global competency domains (knowledge and skills), relatively little attention has been given to the third domain (mindset). In this study, the authors examine and compare written music curriculum documents from two different locations through the lens of global mindset. Findings indicate the Wyoming State Standards (United States) and the Valencian Decree (Spain) diminish music education's potential to cultivate global mindset because they uphold a hidden curriculum that implicitly and explicitly privileges Western Art Music (and related pedagogy/performance norms). The authors recommend several small changes to written curriculum documents to suppress this hidden curriculum and maximize the natural connections that exist between music education and global mindset. By replacing language that excludes, tokenizes, and "others" with language that promotes awareness and acceptance of multiple musical perspectives, we can strengthen our argument for the inclusion of music as a "basic" part of every student's educational experience. [ABSTRACT FROM AUTHOR]

This article explores the role of virtual communities of practice in enhancing the doctoral experience, particularly in the contemporary digital era. The author emphasizes the multifaceted benefits, including elevating academic networking, optimizing knowledge management, and supporting the mental well-being of remote learners. The establishment of clear shared objectives, dynamic leadership, and a conducive environment for collaborative innovation are identified as key prerequisites for building successful virtual communities of practice. As remote doctoral education becomes more prevalent, virtual communities of practice not only facilitate academic engagement but also foster mutual support and advocacy among doctoral students. The researcher, as a final year PhD student employed autoethnography as a research method to offer an intimate and reflective exploration of her personal experiences within virtual communities of practice. This unique insider perspective adds depth to the discussion on elevating academic networking, optimizing knowledge management, and supporting the mental well-being of remote learners. Furthermore, her ongoing doctoral research focuses on the socialization process and the development of a sense of belonging among doctoral students. Motivated by her research topics, she commenced her doctoral studies during the epidemic and cultivated the practice of consistently maintaining a researcher’s reflection diary. This perspective article examines her diary, elucidating her experiences, opinions, and feelings. The researcher utilized a thematic approach to thoroughly analyze the author’s research diaries covering the period from December 2020 to August 2023. The article concludes by calling for further research into the professional identity development of doctoral students within virtual learning communities, exploring potential challenges and effective coping mechanisms to achieve inclusive practices in the complex and diverse digital era of academia. [ABSTRACT FROM AUTHOR]

Background: 2023 marks the 50th anniversary of hip-hop. Although hip-hop has existed for a half-century, little attention has been given to its infusion into social work education. This conceptual article explores the potential of hip-hop as a framework for social work education. Objective: We aim to demonstrate how core tenets of hip-hop can be aligned with the Council on Social Work Education's Educational Policy and Accreditation Standards (EPAS) to enhance student learning, client connection, advocacy skills, and empathy. Methods: This conceptual piece draws on existing literature on hip-hop culture and social work education. We explored how various elements of hip hop can be integrated into social work education to achieve the learning objectives outlined in the EPAS. Implications: Integrating hip-hop principles into social work education can have a transformative impact. By fostering critical thinking, self-reflection, and engagement with diverse narratives, students will be better equipped to navigate the complexities of social work practice. Furthermore, a hip-hop-informed approach can cultivate a more culturally responsive lens for advocacy and policy development. This in turn empowers students to build rapport with clients from marginalized communities, utilizing effective communication to promote social change. Conclusion: Hip-hop offers a powerful set of tools for social work education. Integrating its principles can cultivate a new generation of social workers with the knowledge, skills, and cultural competency to address the complex challenges facing individuals, families, and communities. [ABSTRACT FROM AUTHOR]

Music education often struggles to sustain students' long-term commitment, with many perceiving lessons as frustrating or unengaging, leading to discontinuation. To address this gap, our study aimed to elucidate the primary reasons for dropout from the perspectives of various stakeholders, including students, parents, teachers, and principals. Drawing upon the self-determination theory, our research comprehensively investigated external and internal factors contributing to dropout. Among external factors, competing extracurricular commitments, music theory and solfége lessons, and teacher's approach emerge as the most prominent. Among internal factors, our findings highlighted the critical role of autonomy, competency, and relatedness in shaping students' decisions to continue or discontinue music education. Inadequate teacherstudent relationships, limited peer interactions, and uninspiring classroom atmospheres significantly impacted dropout. Moreover, challenges in the music school curriculum, such as difficulties with music theory and solfège, resource limitations, and excessive workloads, emerged as prominent barriers to student engagement. By addressing these multifaceted issues, our study underscores the importance of fostering supportive environments that cater to individual needs and interests, ultimately enhancing the overall music education experience and reducing dropout rates. This research represents the first systematic empirical study in Slovenian music education, laying the groundwork for future quantitative investigations to advance education practices in Slovenia. [ABSTRACT FROM AUTHOR]

Community psychologists have made significant contributions to the study of civic engagement, yet scarce studies have examined the impact of civic engagement training among youth with a history of dropping out. We describe an effort to promote civic education and action through a curriculum implemented at an alternative school that focuses on (a) developing awareness of the importance of engaging in social/political issues; (b) increasing civic participation; and (c) acquiring political advocacy and organizing experience. This evaluation of the civic engagement training summarizes the issues students reported in a public presentation as having had an impact in their lives; their historical, political, and social understanding of the issues; the ways in which they used a variety of social media to communicate information to different audiences; and their engagement in civic actions to impact their selected issues. Overall, students became more aware of their role as citizens and voters and wanted to share their experiences with their peers, friends, and families. The implications of promoting civic engagement among youth with a history of dropping out of school are discussed, as well as the challenges of the training implementation. Highlights: It is critical to design meaningful sociopolitical learning experiences to help youth take action.Many students felt passionate to act due to the policies being proposed by the Trump administration at the time.Students learned they could make a difference and used social media to spread awareness to their peers. [ABSTRACT FROM AUTHOR]

This paper based on the opening address for the 2023–2024 School Psychology Futures Conference, reflects on contemporary inequities in school psychology practice, research, and graduate education. Challenges as the profession reckons with its oppressive past are highlighted. Drawing on concepts from liberation psychology, critical school psychology, and the psychology of radical healing, the author presents a vision for school psychology's reimagined future with steps that can be executed across all levels (e.g., practice, research, graduate education, advocacy and leadership). In order to imagine a new future for school psychology, we must not repeat the mistakes of our past and instead demonstrate cultural humility, center marginalized communities, and embrace anti-oppressive and liberatory approaches. This will allow school psychology to meet its potential and become a profession that effectively serves ALL children and youth. Impact Statement The 2023–2024 School Psychology Futures Conference had an intentional focus on examining school psychology from a social justice lens. This article critically examines contemporary and historical inequities in school psychology to identify mistakes of the past and applies concepts from liberation psychology, critical school psychology, and the psychology of radical healing to describe a more just future for the profession. [ABSTRACT FROM AUTHOR]

AbstractThe “Best Communities for Music Education” (BCME) award from the National Association for Music Merchants (NAMM) Foundation is intended to celebrate school districts committed to supporting music education. However, despite its over twenty-year history, little is known about the awardees themselves. The purpose of this study was to describe the characteristics of school districts that received NAMM’s BCME award in 2021 and 2022. We utilized publicly available data from NAMM and the National Center for Education Statistics (NCES) to analyze demographic data of 2021 and 2022 awardees along several categories. We also gathered and analyzed BCME lists from 2005–2020 to provide an insight on the frequency of repeat awardees. Findings show that awardees primarily represent suburban communities that skew more affluent, more educated, and more white than national averages. These findings may help interrogate conceptions of quality, highlight issues of inequity among school districts, and bring insight into policy tools underpinning public music education advocacy efforts. [ABSTRACT FROM AUTHOR]

One of the general concepts underlying Waldorf education is that teaching is an art. Although this idea is certainly not unique to Waldorf education, what is unique is the way it has been integrated into Waldorf teacher education. While Waldorf teacher education programs are diverse, both in national and international contexts, one of the central elements which they share is the prominent role which different forms of artistic practice play throughout the course of pre-service and in-service programs. This article explores the reasons and aims behind the inclusion of subjects such as music, sculpture, and speech in Waldorf teacher education, at first within the larger context of viewing different perspectives and justifications for the inclusion of the arts in teacher education outside of Waldorf pedagogy. In light of the educational challenges posed by widespread sensory deficits among children and adolescents, viewed here as being connected to the extensive role/s which different forms of digital media play in their lives, the case is made for the potentials of the arts as a way to address those deficits. In examining both the arguments for arts-based courses in teacher education and the pedagogical challenges of our times I propose a concept for the inclusion of the arts in teacher education connected to the concept of aesthesis, from the Ancient Greek concept of aisthésis, understood here as the primary perceptual-sensory basis of aesthetic experience. The integration of scientific courses with arts-based practice in teacher education is seen as providing a fruitful basis for teachers to be able to take on these educational challenges. [ABSTRACT FROM AUTHOR]

This article explores the history of the Crow Indian Woman's Club, an organization founded in 1930 that persisted, on and off, through the early 1980s. Marshalling their identities as "educated Indian women" and lacking direct channels of political power, Crow clubwomen relied heavily on the written word, creating a paper trail of the club's perspectives. Foregrounding sources produced and curated by clubwomen and their descendants, this article recounts these women's advocacy in health, education, and family life, as well as politics and policy--as women and tribal members, but also as clubwomen who took their responsibility for advancing their people's welfare seriously. Toward this end, they navigated complicated alliances, including with the colonial state and with white clubwomen whose commitment to Crow causes proved fickle. [ABSTRACT FROM AUTHOR]

Sources of disaster resilience represent important (but understudied) dimensions of the interplay between immigrants and disasters, as do immigrants' disaster response activities. Using key informant interviews, we examine immigrant faith-based organizations' (FBO) responses to two contemporary pandemics. Additionally, we assess for the presence of disaster-relevant social capital in immigrant FBOs. FBOs were found to possess key components of social capital and to actively engage in pandemic response activities, including provision of health risk communication, education, leadership, infection control measures, cash and in-kind contributions, advocacy, and psychosocial support. For immigrant communities, FBO-based social capital contributes to effective disaster and pandemic responses. [ABSTRACT FROM AUTHOR]

Jane Frazee, an American music educator, administrator, and author has contributed to music education in the United States. This article surveys the impact of her efforts from 1960 to 2015. A pioneer member and past president of the American Orff-Schulwerk Association (AOSA), she taught music to children and adults using the Orff approach and has presented at workshops, clinics, and conferences throughout the United States, as well as internationally. She authored several books and Orff arrangement collections, and her articles have been published in prestigious professional journals and other publications. This paper addresses Frazee's early life, training, influential individuals, teaching of children and adults, and her work with AOSA. Her roles in the founding and administration of Orff certification and graduate programs in music education in Minnesota are discussed. Lastly, Frazee's role as an author and the influences of her publications on music educators in the United States were also examined. Although retired from teaching and administration, Frazee continues to publish and inspires current and future generations of music educators. [ABSTRACT FROM AUTHOR]

Global pressure on universities to compete for research rankings has escalated research expectations and intensified a performativity culture for early career researchers (ECRs). However, there are limited examples in the literature of ECRs advocating for their career and research trajectories. In response to this issue, ECRs in one Australian regional university initiated the Teacher Education ECR Action and Advocacy Group (TEECRAA). This research, reported in this paper, aimed to understand how TEECRAA contributed to the career and research trajectories of these ECRs and their advocacy regarding ECR-specific policy in their higher education context. Framed by tenets of policy network theory and policy communities, this study draws on documents developed by the TEECRAA group using content and thematic analysis to investigate their activities and experiences. Findings highlighted that ECRs were able to set research and career goals, prioritise opportunities for professional learning, create resources to support their research profiles, and develop a network of support. ECRs also increased their contributions to policy and practice by engaging in strategic action that promotes ECR visibility and advocates for their needs. This contribution, however, requires the development of a network-like interaction between ECRs and university leaders with a commitment from the university to work in partnership with ECRs for mutual benefit. [ABSTRACT FROM AUTHOR]

Objective: Oncology social workers (OSWs) deliver services that address social determinants of health affecting cancer patients and families. Yet, a clear delineation of activities that define an OSW role is needed, particularly given recommendations for practice standardization to expand reimbursement for social work services in health care settings. This study is an effort to delineate the OSW role in cancer care. Method: This is a cross-sectional cohort investigation, with data derived from a nationwide survey of OSWs. Through an online survey, respondents indicated the relevance of 91 tasks related to their practice. We used exploratory factor analysis to compute a theoretically interpretable factor structure by which to organize relevant practice behaviors. Results: Responses from 713 OSWs yielded a 9-factor solution consisting of 49 tasks. The first three factors represented fundamental social work competencies, including assessment and provision of emotional support, therapeutic intervention, and care coordination/access. Additional factors reflected activities related to patient, community and professional education, equity and justice, distress screening and compliance, family-centered care, treatment decision-making, and care for vulnerable populations. Conclusion: The findings provide a framework for distinguishing core practice behaviors, informing professional education and advocacy efforts, and expanding reimbursement for OSW services. [ABSTRACT FROM AUTHOR]

Music‐intensive school program are one way of enhancing arts‐education in public schools. Elementary school students enrolled in a music‐intensive program are exposed to several stress factors that could contribute to development of music performance anxiety (MPA). This study aims to describe MPA manifestations as reported by 164 students from 9 to 12 years of age taking part in a music‐intensive school program, and to identify what may contribute to its development. Data were collected using a sociodemographic questionnaire, and the French version of the Music Performance Anxiety Inventory for Adolescents. Although it was expected that being involved in an intensive music program would bring students to report higher levels of MPA, results showed moderate levels of MPA. In addition, girls reported significatively more manifestations of MPA than boys. The MPA level also vary according to the origin of the registration in the program (child's request or parents' suggestion), and the cycle. Indeed, cycle 2 students reported significantly less MPA than cycle 3 students when the request to participate in the music‐intensive program came from the child. Findings provide useful key points that should be considered for both practitioners and researchers. Practitioner points: Manifestation of music performance anxiety (MPA) can be found among elementary music students. Preventive interventions must be considered.Girls and older students seem to be at greater risk of experiencing MPA.The origin of the registration should be considered to identify students who are more likely to manifest MPA and support them appropriately. [ABSTRACT FROM AUTHOR]

This article, titled "Who Are the Music Teacher Educators? Part 1," discusses the various members of the music education community who contribute to the training of future music teachers. The author explores the roles and challenges faced by different groups, including P-12 music educators, non-music education college and university faculty, and cooperating teachers. The article emphasizes the need for shared understandings and dialogue among these "teacher educators" to effectively prepare preservice teachers. It also highlights the importance of communication, flexibility, and collaboration between music education faculty and other faculty members outside of the music education department. [Extracted from the article]

The purpose of this study was to investigate secondary instrumental music education in rural Mississippi. This descriptive study investigated the experiences, attitudes, beliefs, and perceptions that rural instrumental music educators (N = 58) held about their schools, students, and communities. Furthermore, we examined how participants defined success for their programs, what challenges and rewards they experienced in their positions, and what skills they considered most important for rural music educators. Results indicated that while rural music educators find the musical aspects of their positions rewarding, such as fostering a love of music in their students, they believe that non-musical skills related to teaching were more important than their own musical skills. The three greatest challenges named by participants were limited funding, lack of resources, and little support. Conversely, the most frequently reported reward was student personal growth. Implications for music teacher education are discussed. [ABSTRACT FROM AUTHOR]

The purpose of this self-study was to explore how a college-level vernacular music course might have played a part in shaping inservice music educators' teaching practices. Nineteen music teachers who graduated from the same teacher preparation program completed a 23-item researcher-constructed questionnaire that identified how they viewed, incorporated, and negotiated vernacular music practices in their classrooms. Overall, participants indicated that incorporating vernacular approaches in school music programs was important and that the vernacular music course positively impacted how they conceptualized music teaching. Participants reported including a wide variety of informal learning activities that involved technology, aural learning, and student-directed music projects. Conversely, participants identified time limitations, lack of resources, classroom management, and performance tensions as distinct challenges. Future directions include documenting turning points in students' vernacular learning, monitoring curricular changes in PK–12 music programs, and fortifying preservice music teachers' preparation in multimusical learning. [ABSTRACT FROM AUTHOR]

IncluMusic is a project aimed at promoting the inclusion of students with special educational needs (SEN) and disadvantaged backgrounds in Higher Music Education. Starting from the analysis of the „state of the art” that shows a lack of specialised support and a poor practical implementation of inclusive policies for these students in most EU countries, the IncluMusic project envisages the creation of a pilot programme to train music teachers, administrative staff and tutors specialised in inclusive music education. The ultimate goal is to develop new approaches for the education of students with special educational needs in higher music education institutions and to create a community committed to inclusive teaching practices within the AFAM sector. [ABSTRACT FROM AUTHOR]

Music education in the United States aims to be for every child, yet many students become less interested in school music as they mature. Although previous research reveals activities that upper-elementary students may prefer, much of this research may not represent 21st-century students, the instruments and activities that have enhanced curricula in recent decades, or more diverse musical offerings from around the globe. To guide decision-making regarding the activities most appropriate for their students, teachers can gather information from students through both formal and informal means (e.g., conducting research). In this third article in our research-to-practice series, we use data from our investigation into upper-elementary students' activity preferences to create three hypothetical "classes" and provide suggestions for structuring activities that are responsive to our learners. Using a similar process, teachers may discover and tailor experiences to their own students' interests, increasing motivation and persistence in music. [ABSTRACT FROM AUTHOR]

Josef Kotek (1928–2009) was one of the founders of Czech musicological research into popular music. His professional career is mainly connected with the musicological workplace of the Czechoslovak Academy of Sciences and later the Academy of Sciences of the Czech Republic, where he worked from 1962 to 1998. Kotek’s career, as well as the thematic focus of his research, was significantly determined by the cultural and political situation in the Czech lands at the turn of the 1950s and 1960s, when the appeal of Marxist musicology to research so-called mass/applied genres combined with the emergence of modern popular music and its wide social appeal. Kotek’s research was fundamentally influenced by the central project of the Institute for Musicology of the Czechoslovak Academy of Sciences, which was assigned to the Institute by the Central Committee of the Communist Party of Czechoslovakia in the early 1960s and which sought to provide comprehensive treatment of 20th century Czech musical culture, including so-called mass/applied genres. In this sense, from the beginning of his career, Kotek developed research activities in three main areas: (a) the historiography of Czech popular music, anchored in rigorous source research; (b) the sociology of popular music, focusing on questions of the development of popular music reception and taste, with an overlap with practical issues of musical life and music education; and (c) the general theory of popular music, including definitional, terminological, classification and other issues. Kotek’s lifelong work concentrating exclusively on issues of popular music in the 1990s resulted in the remarkable book synthesis Dějiny české populární hudby a zpěvu [The History of Czech Popular Music and Singing] (1994, 1998). The present study examines the above on the basis of an extensive analysis of available sources and takes into account the international situation, in which the institutionalization of popular music research occurred under different circumstances and with some delay. [ABSTRACT FROM AUTHOR]

Jazz arrived in mainland China as early as the 1920s. It has since been a popular music genre among the middle and upper classes. Similar to that in the West, jazz education in China has been increasingly formalized, with a growing number of universities and academies offering jazz degree programs or courses. Despite a few studies on jazz and its early education in China, little is known about how formal jazz education is implemented in contemporary Chinese academic settings. In the present study, we examined and contrasted jazz program policies across three higher education institutions in China wherein at each one, a specialized unit for implementing jazz education has been established. The comparison foregrounded commonalities and differences across the three programs. We also discussed how the institutions responded to the local political and economic contexts in developing their jazz programs. We have concluded by deliberating on the future of jazz education in China in relation to public acceptance of jazz and the recent development in school curriculum. [ABSTRACT FROM AUTHOR]

Based on collaborative work carried out with women, family members and volunteers of the National Association of Relatives of Kidnapped, Detained, and Disappeared of Peru (ANFASEP), we aim to present and analyze the development of a collaborative and healing methodology emerging from the dialogue between indigenous and urban identities. More specifically, members of ANFASEP and ourselves - the researchers - worked together to develop a deeper understanding of their collective, relational, and personal political agency within the framework of various projects conducted between the Institute of Democracy and Human Rights of the Pontifical Catholic University of Peru (IDEHPUCP) and ANFASEP from 2017 to 2023. The projects focused on three main areas: (i) capacity building through political education programmes, psychosocial support, and communication; (ii) advocacy for public policies and strengthening ANFASEP's relationships with its surroundings; and (iii) socially responsible research. The interventions began by engaging the members and their families, eventually leading to a deeper involvement of the members, resulting in a university certification - offered by the Pontifical Catholic University of Peru (PUCP) - as emotional supporters in the search for missing persons. Finally, we note that in the last stage, the members, their members' families and ANFASEP volunteers took on an active role in designing and implementing projects as a result of the previous knowledge exchange between the organization and academia, transforming social and institutional relationships and collectively contributing to the advocacy for missing persons' search policies. On the one hand, this process has allowed for the identification of the personal and collective knowledge and experiences of the ANFASEP members, leading to the creation of a participatory and healing methodology from their own agency to strengthen their exercise of citizenship. On the other hand, it raises questions for academia regarding its formative processes, methodologies, and approaches to indigenous communities, offering a decolonial analysis from diversity, interculturality, and recognition. [ABSTRACT FROM AUTHOR]

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This document is a collection of abstracts from the International Journal of Psychology, covering various topics related to psychology and the arts. One abstract discusses the role of aesthetic education in developing psychomotor skills, while another explores the relationship between artistic work and the Rorschach test. Additional abstracts examine gender differences and chronic stress in music undergraduates, the effects of expressive arts-based intervention on traumatized adolescents, and the impact of aesthetic education on cognitive development. There are also abstracts on the classification and consistency of Indian musical modes, the aesthetic appreciation of haiku poetry, and the impact of musical impressing on individuals and society. The article specifically focuses on the art form called Aitys, analyzing its psychological nature and its ability to foster skills needed in the modern market world. It emphasizes the communicative and interactive aspects of Aitys, highlighting its role in promoting creative thinking and creating a sense of ethnic unity among Kazakh young people. [Extracted from the article]

CLASSICAL MUSIC IS CHARACTERIZED BY ITS standardized practices and established patterns of audience behavior. Recent advancements in digital musical instrument (DMI) and mobile technology may potentially offer a means by which the art form can further evolve. This paper presents a study that aims to examine the audience's perception of classical music concerts performed by ensembles using DMI mobile apps and tablets. A mixed-methods approach was employed, including a questionnaire survey administered to audiences (N = 141) attending a classical music concert featuring repertoire performed by DMI mobile apps ensembles, as well as semi-structured interviews conducted with a subset of participants (n = 13). The survey results revealed significant, strong, and positive correlations between participants' enjoyment of listening to classical music, frequency of attending classical music concerts, expectancy, and authenticity. The interviews addressed relevant issues, such as differences in ensemble and instrumental practices, timbral quality, and the capabilities of DMI mobile apps. While there were negative perceptions regarding expressive body movements, emotional expression, and interaction among performers, positive feedback regarding the use of DMI mobile apps affirmed the potential to introduce innovative pedagogical approaches in school music education, cultivate a younger audience base, and bring fresh ideas to this genre. [ABSTRACT FROM AUTHOR]

The aim of this study is to examine the music literacy levels of primary teachers. In line with this objective, it is considered that assessing the music literacy levels of primary teachers according to diverse factors is crucial for enhancing the quality of the education provided. The study employed the relational survey model, which is one of the non-experimental quantitative research methods. The research sample consisted of 337 primary teachers who work in the urban and rural areas of Ağrı, Ardahan, Iğdır, and Kars provinces, located in the Eastern Anatolia region. Data were collected through the "Music Literacy Scale to Preschool and Elementary School Education Department" and a personal information form. The results showed that the music literacy of primary teachers was at an intermediate level. Demographically, the variables of gender, employment province, and the number of semesters involving music education in their undergraduate studies did not make a statistically significant difference. However, the variables of age, seniority, adequacy of music education received in the undergraduate period, having extracurricular music education beyond the undergraduate study, and receiving a music certificate during or after the undergraduate study made significant differences. [ABSTRACT FROM AUTHOR]

Over the past decade, digital technology has revolutionized music creation, sharing, teaching, and learning, and it is evolving rapidly. There is a whole new process of music making through music games, programs, applications, and networked digital tools. To provide a comfortable learning environment for students and contribute to their high learning outcomes, the impact of such applications on students' motivation and interest should be explored. The aim of the study was to investigate the impact of Overture score writing software on students' motivation and interest in creating electronic music. The experiment involved 87 music students from [BLINDED] in China. For the study purposes, Overture was integrated into the course of creating and reading scores used for practical assignments. Via pre- and post-testing, the effect of its implementation on students' motivation was determined. In sum, it was unveiled that the use of the Overture program increased students' motivation by 14.3%, attention by 29%, confidence by 12.5%, and satisfaction by 12.4%, and this rise was significant. The deduction was made that Overture favored musicians' learning motivation. The written participant surveys revealed a high interest in using Overture and a desire to continue writing electronic music with its help. The experiment results reinforce the findings of previous research in the field. It is possible that Overture will be able to advance students' motivation while studying a number of other music disciplines where it may be applicable. Testing this assumption is seen as one of the future study directions. At the same time, it is important to continue research on the topic of the use of modern software and what impact computer-based music software can exert on students' academic performance. [ABSTRACT FROM AUTHOR]

Collaborative advocacy efforts within the Michigan Adult, Community, and Alternative Education Association (MACAE) and partner organizations have helped to empower adult education in the state, including the establishment of a State Advocate for Adult Education Fellowship (SAAEF). This narrative underscores the parallel commitment to efficiency and collaboration in Michigan’s adult education landscape facilitated by the Coalition on Adult Basic Education (COABE) and MACAE. The collaborative initiatives involving over 130 adult education programs are showcased, emphasizing their shared commitment to enhancing educational experiences. Their strategic partnership is credited with increasing state funding for adult learners, leading to a significant financial boost and participation in state-level grants. This article underscores the critical role of the SAAEF in navigating transitions within MACAE and ensuring the continuation of collaborative advocacy efforts to ensure sustained growth in adult education. [ABSTRACT FROM AUTHOR]

Notwithstanding the contributions of a few policy experts, overall physical education is constrained by policy illiteracy and neglect. A brief historical perspective on physical education policy provides a foundation for "a policy primer" founded on three recurring needs: (a) antecedent and corequisite factors meriting attention in support of policy improvement, (b) field-wide capacity-building in support of policy advocacy and improvement, and (c) specialized policy courses and seminars in physical education teacher education and doctoral physical education teacher education programs. Recommendations for policy-focused research and development structure a new agenda that merits attention and action. [ABSTRACT FROM AUTHOR]

The COVID-19 pandemic raised concerns that academic skills would wither away during the lockdown and with it, social-emotional skills. This is assumed to be as true for neurotypical students as for neurodiverse ones. When students return to their schools, how will they function again in their social environment? The key to addressing the transition back to the "new normal" is the arts, which encompass the whole child: cognition, emotions, social, and physical aspects. This article highlights how creating Barrier-Free Theater programs that include drama, music, dance, art, and creative writing could help all students regain the academic progress they have lost, and with the support of creative arts therapists, could lead to the blossoming of a welcoming and inclusive school community in which everyone, regardless of difference, is valued for their innate creativity and human spirit. Barrier-Free Theater can be integrated in classroom curricula, after-school programs, or with community-school partnerships. Creative arts therapists approach students from a strengths-based perspective. We share processes and strategies to incorporate Barrier-Free Theater, where participants are provided the opportunity to make choices, be respected, and learn through solving problems together. This holistic group process allows the arts to heal trauma and disconnection, while enhancing executive functioning and social-emotional connections. [ABSTRACT FROM AUTHOR]

The history of female piano teachers, especially those working with children, remains largely unstudied. Estelle Philleo (1880–1936) is one example from the early 20th century who specialized in group lessons for beginners. A New Woman who never married, she began as a junior piano teacher at the Michigan Female Seminary before graduating in 1902. After moving to Denver around 1906, she continued teaching and began composing. Philleo traveled widely in the West conducting Melody Way campaigns during the 1920s. The year after she died, Willis Music published her teaching pieces, Two Pastimes on the Black Keys. She is remembered today primarily for her 1917 hit song, "Out Where the West Begins." Philleo's work as a composer and performer garnered the press coverage that makes documenting her career possible. Newspaper articles are the primary sources used to explore her three-pronged career as an educator, composer, and performer. She used her traditional career as a music educator to support work unexpected for a woman—writing and performing music about the American West. This article explores Philleo's teaching career, which spanned more than three decades. By doing so, it contributes to the history of female class piano teachers in the United States. [ABSTRACT FROM AUTHOR]

When novice music educators abandon their expressed dedication to forward-looking ideas like equity, epistemological distinctions between belief and knowledge, or lack of such distinctions, may influence such action. Political philosopher Russell Hardin argued that it makes sense for people to hold false, conflicting, and even extreme beliefs. Drawing on his work, we consider how social influences may encourage music educators to adopt a view of knowledge as the acquisition of information that is useful rather than truthful in the sense of being falsifiable and supported by evidence. First, we examine how teachers' everyday socialization may cause them to abandon practices associated with "music for all," an ill-defined ideal—officially adopted by the (US) National Association for Music Education—that we problematize here. Second, we consider the effects of broader polarization on socialized epistemology, including amplifying effects of technology, which may contribute to an in-group versus out-group mentality. Third, we investigate how advocacy related endeavors as well as bounded social circles in both K-12 music education and collegiate music teacher education may further solidify extreme beliefs within the profession. Finally, we consider implications for practice, including providing tools for more inclusive and open-minded advocacy efforts and some version of profession-wide "music for all" that focuses on socialization and recognition. [ABSTRACT FROM AUTHOR]

7 Guan, Chinese Music Education, 17. 8 See for example, Guan, Chinese Music Education, 34. 9 Guan, Chinese Music Education, 59. 10 Guan, Chinese Music Education, 283-284. Jianhua, Guan, [Chinese Music Education and International Music Education] (Nanjing: Nanjing Normal University Press, 2013) In I Chinese Music Education and International Music Education, i Jianhua Guan examined Chinese music education and curriculum in relation to other countries' music education through the lenses of internationalization. He concluded the first section by introducing the ideas of Chinese music educator Dan Zhaoyi, Chinese musicologist Wang Guangqi, American postmodern cultural and music education, and Reimer's philosophy of music education. [Extracted from the article]

7 Merkt, I Musik-Vielfalt-Integration-Inklusion i , 36. 8 Merkt, I Musik-Vielfalt-Integration-Inklusion i , 16. 9 Merkt, I Musik-Vielfalt-Integration-Inklusion, i 16. 10 Merkt, I Musik-Vielfalt-Integration-Inklusion i , 179. Musik-Vielfalt-Integration-Inklusion: Musikdidaktik für die eine Schule [Music-Diversity-Inclusion-Integration: A New Philosophy of Music Education for an Inclusive School]: Musikdidaktik für die eine Schule Irmgard, Merkt, Musik-Vielfalt-Integration-Inklusion: Musikdidaktik für die eine Schule [Music-Diversity-Inclusion-Integration: A New Philosophy of Music Education for an Inclusive School] (Regensburg: Conbrio, 2019) Irmgard Merkt, a German music education scholar, is a pioneer of intercultural music education with regard to the development of the concept I Schnittstellensansatz i , literally "interface approach", as an initial concept of intercultural music education in the 1980s. [Extracted from the article]

Notwithstanding a growing philosophical literature in music education, too many authors fail to engage with the work of other music educational philosophers. The sheer breadth of these literatures and the claims of philosophy I qua i philosophy are daunting for philosophers writing authoritatively about music education. The reality of music education as a cross disciplinary field constitutes a significant challenge for philosophers of music education. In this article, we reflect on issues that go to the heart of teaching and scholarship in the philosophy of music education. [Extracted from the article]

The purpose of this study was to explore the experiences of Black doctoral students in music education in terms of their motivations to pursue doctoral studies, educational and social experiences while enrolled, and emerging information literacy. Qualitative techniques based on phenomenology were employed to document and better understand the experience of a small, purposive sample of Black doctoral students (n = 14) enrolled at universities throughout the United States. A variety of techniques ensured trustworthiness, including data triangulation, member checking, and use of an external interviewer. After data analysis, four core essences emerged: (a) Familial support and formative experiences during childhood, (b) Overload of information and frustration in conducting research, (c) Prejudice and lack of Black representation in the academy, and (d) Change-oriented motivations beset by barriers to access. Findings revealed commonalities in participants' lived experiences that could inform efforts to recruit and retain Black doctoral students, develop curricula that takes into account their experiences and goals, stem systemic racism, and promote equity and inclusion in the academy. [ABSTRACT FROM AUTHOR]

Lack of relevancy, administrative support, collegial support, and time are just a few of the many barriers that prevent practicing music teachers from accessing relevant professional development (PD) and taking steps to improve their practice. Quality music education PD should help teachers transform practice to improve student learning. Some characteristics of impactful PD include long-term engagement, teacher-to-teacher collaboration, and context-specific classroom implementation and documentation. In this intrinsic case study, we examined the role of a collaborative PD group designed to guide music teachers in using the reflection-on-action cycle to make improvements in their middle-level general music practice. Results from this project suggest that the reflection-on-action cycle is useful for PD projects that focus on improving classroom practice and empowering teachers with autonomy and choice. Teacher-to-teacher collaboration may also support teacher resilience during project difficulties. [ABSTRACT FROM AUTHOR]

In recent decades, the discourse of music education and education more broadly has shifted from curriculum-centered to student-centered approaches. In an effort to address the existential dimensions of education, Gert Biesta poses a rhetorical and theoretical alternative: world-centered education, an orientation directed at enabling what Biesta described as student subject-ness. Situated within and drawing upon U.S.-based conceptions of music education, I position project-based learning as a body of practices through which the possibility of a world-centered orientation--and, thus, student subject-ness--can manifest in music education. To that end, I offer three considerations for music educators of all levels interested in student subject-ness in the practice of project-based learning. To prepare a foundation for these three considerations, the article begins with an explanation of project-based learning, an unfolding of concepts pertinent to Biesta's world-centered education, and a rationale for marrying the two together. [ABSTRACT FROM AUTHOR]

The study aims to determine reflections of the COVID-19 pandemic and the emergency remote teaching process on the instrument training carried out in a conservatory of a state university in Turkey. In line with this purpose, the perspectives of lecturers, students, and parents within the Music Department were gathered using qualitative research methods. The study revealed that the emergency remote teaching process presented challenges, particularly in technical aspects and student interaction, and proved to be ineffective for instrument education. Given that, it also provided students with opportunities to explore alternative learning methods, such as utilizing audio and video recordings. Despite efforts to address practice-related issues, participants believed that face-to-face training would be more effective in overcoming deficiencies. The study concluded that the problems encountered during emergency remote teaching primarily stemmed from the ineffective implementation of distance learning and insufficient participant experience in this domain. Consequently, for distance education to be considered a viable option in music education, music educators need to undergo well-planned and comprehensive distance learning programs in suitable conditions. Such experiences could potentially reshape their perspectives and foster a more favorable view of distance education. [ABSTRACT FROM AUTHOR]

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This study investigates the progression of social-emotional learning skills in children by integrating music activities into creative drama. The research was executed employing a pre-and post-test control group research design. The research cohort consisted of 40 five-year-old participants, separated into two groups of 20 each, experimental and control. An 8-week comprehensive music education program was implemented exclusively for the experimental group to enhance their socialemotional proficiencies. A personalized information questionnaire was also employed to gather demographic information about the children and their respective parents. The "Vineland Social-Emotional Early Childhood Scale" (VSEECS) and the "Expression of Emotions Test" (EET) were applied as pre-and post-tests to determine children's social-emotional behaviors. The results of this investigation revealed a statistically significant difference in the EET pre-and post-test scores within the experimental group. Conversely, comparing both study groups, no statistically significant difference in EET scores was observed. The lack of a significant difference could be attributed to social-emotional learning activities in the curriculum that were carried out at school. This result may positively affect the control group's emotional expression and social skills. The analysis revealed that no statistically significant difference was observed in the mean scores of the (VSEECS) between the two groups at both the pre-test and post-test scores. In the context of forthcoming research, it is advisable to procure data through systematic observation, interviews, and the implementation of longitudinal investigations to elucidate the impact of music education on the development of children's social-emotional learning skills. [ABSTRACT FROM AUTHOR]