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This study delves into the cultural significance and educational potential of Hua'er folk songs within the Hui ethnic communities of Gansu and Ningxia in northwest China. By positioning Hua'er as an indispensable educational tool in folk song history, the research seeks to safeguard and elevate this revered musical tradition. Employing literature reviews, immersive fieldwork, questionnaire surveys, interviews with four significant contributors, and direct observations, the study sheds light on the importance of Hua'er music as a cultural legacy. These insights offer valuable guidance for educators, cultural institutions, and future research initiatives. Through a detailed exposition of the research methodology, this study enriches our understanding of the diverse landscape of Chinese folk song history, presenting avenues for further exploration and practical application in educational contexts.

Purpose: This study aimed to conduct a needs analysis for developing the ethnomathematics e-module based on Sundanese Gamelan to facilitate mathematics learning in junior high school. Specifically, this study identified crucial components for module development and to gather feedback from both students and teachers regarding the learning material. Methodology: The Research and Development (R&D) method was used, specifically the Plomp model, to create e-module for mathematics learning. Qualitative data were collected from ethnomathematics experts, a mathematics teacher, and five students via purposive sampling. The instruments used for this data collection included expert validation sheets, student interview recordings, teacher questionnaires, and small group observations. Findings: The results indicated that the integration of Sundanese Gamelan ethnomathematics into junior high school mathematics e-module significantly improved students' understanding and interest in the subject. This culturally infused approach increased students' motivation and engagement, indicating a potential shift towards more inclusive and culturally responsive educational practices. Significance: The integration of Sundanese Gamelan ethnomathematics into mathematics curriculum is known for the unique blend of cultural elements with academic content, contributing to enhanced students' understanding and cultural awareness. In addition, this method offered benefits for students, teachers, curriculum developers, and ethnomathematics researchers, presenting a holistic model that combined educational innovation with cultural appreciation.

Gifted individuals are more advanced than their peers in cognitive, affective, psychomotor, or creative areas. This study aimed to find an answer to how gifted students' immediate emotional states change by means of music containing different emotions. The sample of the study consisted of 122 students studying at Adana BILSEM. Their moods were measured after listening to different pieces of music. The findings showed that there was a significant difference between the emotions that the students felt with different music, they felt more positive emotions, and the girls felt the emotion much more than the boys. The results of this study can be used to better understand gifted students and to develop musical activities to help them manage their emotions.

Funded by the Social Sciences and Research Council of Canada (SSHRC) grant, this national study examines arts-based adult education organizations involved in dance, music, drama, and visual arts with a philosophical perspective aligned with a multiliteracies theoretical framework. Multiliteracies considers how cultural and linguistic diversity must be fostered to encourage adults to thrive in all learning environments and recognizes that multimodality provides an expanded way to engage in literacy practices. Utilizing Carey Jewitt's four theoretical tenets to characterize multimodality serves to structure the analytical framework for the findings and discussion of this paper. Multiple case studies and constructivist grounded theory were used for the methodology. Some of the sites discussed in this paper include an art gallery; an immigration museum; and a chamber music organization that offers interactive performances. Participants included adult educators and learners who had options around face-to-face interviews; observations; document analysis of lesson plans or exemplars; or secondary data analysis of original ¿lm footage shot in these spaces. This research has found that arts-based approaches can infuse the work of adult educators to engage adult learners in inclusive pedagogy and active citizenship.

People's lives tend to the outside world, leading to the waning of cultural preservation values due to the ease with which foreign cultural influences enter and threaten the existence of local culture. To avoid the decline of the younger generation's interest in traditional art, it is necessary to carry out an idea of preservation through education, in this case, social studies subjects at school. This study aims to analyze the relationship between traditional art and social studies as a learning resource. The traditional art discussed in this study is panting music which is traditional arts in South Kalimantan. This is done to get a pattern for preserving traditional arts through social studies subjects. The research method used is qualitative. Data collection is done through observation, interviews, and documentation. Informant this research panting music players, and social studies teachers. The various data obtained are then reduced, presented, and then concluded. The researcher triangulated and extended the observations. The study's results confirmed panting music performance activities could be packaged as social studies learning resources. This is done by integrating class VII textbooks on the theme of cultural and ethnic diversity in the Indonesian traditional musical.

By addressing the research question, "How do Korean international students engage in music for their own well-being in the UK?", this study aims to understand a group of international students' experiences of their temporary migrant status and the coping mechanisms they employ in the pursuit of subjective well-being in response to these experiences. After semi-structured interviews, the thematic analysis resulted in five themes: (1) music as a tongbanja [Korean characters omitted] (companion), (2) music as a safe konggan [Korean characters omitted] (space), (3) music for gwangye [Korean characters omitted] (relationships), (4) music for gibun [Korean characters omitted] (moods), and (5) musical demands of international students. This led to discussions of music as: 'Being' a companion and safe space, and 'doing' in relationships and moods, including doing K-pop for 're-membering'. Therefore, this study adds depth to understanding of how Korean international students in the UK engage with music to address the challenges they face and, thus, enhance their subjective wellbeing.

Concurrency is a complex to learn topic that is becoming more and more relevant, such that many undergraduate Computer Science curricula are introducing it in introductory programming courses. This paper investigates the combined use of Sonic Pi and Team-Based Learning to mitigate the difficulties in early exposure to concurrency. Sonic Pi, a domain-specific music language, provides great support for "playing" with concurrency, and "hearing" common problems such as data races and lack of synchronization among different concurrent threads. More specifically, the paper focuses on students' misconceptions regarding concurrency in Sonic Pi and compares them to those arising in traditional concurrent programming languages. In addition, it preliminarily explores knowledge transfer from Sonic Pi to C/C++. The approach has been applied in two teaching experiments with undergraduate students in our University involving 184 participants. Our investigations bring out the need to address misconceptions through targeted interventions for a clear understanding of concurrent programming concepts. Sonic Pi's simplified abstraction and domain-specific flavor has demonstrated to be effective, especially for first-year students.

Music therapy is a unique form of psychotherapy that has a broad range of applications. Music has the advantage of being an unobtrusive instrument with communicative flexibility, reaching to clients who may not accept other forms of therapy. The transformative qualities of music are valued because a client can ascribe meaning to sounds, or thoughts to music.

The academic study of harsh vocals has been gaining traction of late, as the physiology (Eckers et al., 2009), creative attributes (Di Lorenzo & Trantino, 2016) and socio-political ramifications (Heesch, 2019) of usage have been covered in some depth by existing literature. However, formalised pedagogical study around the technique is somewhat lacking, as each vocalist has a unique path to the style and it is highly unlikely to be the result of formal training. In Australia this situation is exacerbated by the relative isolation of the individuals learning due to its small population, large geographic size and relative lack of popularity of heavy metal. This research involved interviewing five active harsh vocalists about their journey to learning and revealed that individuals were unlikely to engage in formal training and were more likely to experiment, seek access to information online and engage with strategies from other vocal styles in order to develop their own sound.

Test anxiety is alarmingly rising and has been shown to correlate with academic performance and affect occupations and well-being. Graduate occupational therapy (OT) students encounter a rigorous workload and pressure to become entry-level practitioners. Higher levels of baseline graduate student anxiety is correlated with increased test anxiety. Practical examinations are essential for assessing graduate OT students' higher learning and entry-level clinical skills. Educators are often challenged with identifying coping strategies to assist graduate OT students in reducing their test anxiety. Substantial research supports the use of music to reduce anxiety in adults. Seventy-five OT graduate students participated in this quasi-experimental study which explored the influence of background music on test anxiety during a lab practical examination. Participants completed pre- and post-outcome measures using the State-Trait Anxiety Inventory for Adults and the Test Anxiety Inventory and had their blood pressure and heart rate recorded. Results showed a significant main effect in the experimental group with music decreasing systolic blood pressure in participants with high state anxiety. Music had no significant interaction with mean arterial pressure, systolic blood pressure, diastolic blood pressure, heart rate, state anxiety, trait anxiety, test anxiety, or practical scores when comparing the experimental groups. Most participants indicated that background music assisted in decreasing anxiety experienced during practicals, and experimental group participants self-reported that background music was effective. Music intervention may be useful during practicals by reducing test anxiety. Additional studies would assist in further examining the efficacy of test anxiety reduction interventions with graduate OT students.

Throughout 2022, we carried out an outreach project called "Young Adults and Pop Songs in English: Exploring Connections for Post-Pandemic Teaching" at the National University of La Pampa in Argentina. The project consisted of a sequence of online and in-person workshops for young adults (YAs) between the ages of 14 and 18. The workshops were taught mostly by pre-service teachers enrolled in the English language teaching (ELT) program at the university. Those pre-service teachers selected a pop song for each session and designed a structured lesson based on the form and content of the song's lyrics. The lessons, 60 to 80 minutes long, were delivered mostly in English, except for the final discussions which, due to their relatively abstract nature, often combined English and Spanish. The main aim of the project was not merely to review the structures and lexicon of pop songs in English but also to open spaces for dialog around the problems experienced by YAs in the post-pandemic context.

The process of perceiving music involves the transference of environmental physics in the air to anatomical and physiological interpretations of resonance in the body and psychological perceptions in the brain. These processes and musical interpretations are the basis of physical and cognitive science, neurophysiology, psychoacoustics, and cultural psychology. The intersection of interdisciplinary and transdisciplinary curricular offerings forms the basis of STEM (Science, Technology, Engineering, and Mathematics). In this study, the researcher explores the synergy of music in STEM for formulating and affording authentic STEAM programmatic offerings for learners. The blending of the art of music within STEM provides opportunities for teachers and students to address and connect content through creative, innovative approaches for deeper, meaningful learning. Threading the art of music within STEM affords discovery-learning opportunities that facilitate both critical thinking and social, emotional learning skills development in students. This study provides perspective in terms of developing curricular offerings for students that blend physical and cognitive science with the art of sound. The researcher provides authentic curricular exemplars regarding the synergy of music in STEM and concludes by offering recommendations for designing and implementing expressive curricular programmatic offerings for students from early childhood settings through higher education.

In this article we explore the work of two after-school programs in Toronto, Ontario. Our Youth Success (OYS) is a community-based mentoring program dedicated to lowering the push-out rates of students of Spanish and/or Portuguese-speaking descent. In the Youth Speak Program (YSP), community activists use spoken word poetry and rapping as a vehicle for Black students to express their emotional lives. The data we present come from two separate studies which both used ethnographic approaches, focusing on observation and interviews with participants (Hammersley & Atkinson, 2019). Using Critical Race Theory (CRT), we examine interview data on how the pedagogical relationships developed in these spaces promote the wellbeing of Latinx and Black youth beyond academic outcomes. We argue that these spaces provide insight into the transformative possibilities of critical pedagogies for the wellbeing and healing of communities who have long been marginalized from mainstream institutions.

Chinese Gu Shi Ci art songs are a genre that combines ancient Chinese poetry with music, reflecting profound emotional depth and cultural ethos. The primary objective is to investigate the integration of vocal techniques and musical literacy in the performance of Chinese Gu Shi Ci art songs. The study conducted at Nanchang University and the China Conservatory of Music involved interviews and observations with five key informants: professors, vocal coaches, professional singers, music educators, and opera performers. Data analysis included transcribing interviews, coding for recurring themes, and cross-referencing observational data. The findings reveal that precise vocal techniques, such as breath control and tone modulation, and a deep understanding of the poems' contexts significantly enhance performance authenticity and emotional resonance. The study underscores the need for an integrated curriculum in music education that combines technical skills with cultural and literary education. It suggests incorporating historical context modules, technical workshops, interdisciplinary approaches, performance analysis, and practical opportunities to foster a comprehensive understanding of Gu Shi Ci art songs. This approach can deepen students' appreciation and ensure the rich cultural heritage of these songs continues to resonate with contemporary audiences.

The Dong Grand Songs, renowned for their polyphonic choral arrangements, are a vital cultural heritage of the Dong ethnic group. This study investigates the contemporary educational approaches to the literacy and development of the Dong Grand Songs in Guangxi, China. Employing a qualitative design, the research includes fieldwork, in-depth interviews, participant observation, and document analysis. Key informants comprise school administrators, teachers, song teachers, cultural inheritors, students, and community members. The findings reveal that integrating Dong Grand Song courses into primary and secondary school curricula, with support from song teachers and cultural inheritors, effectively enhances musical literacy and preserves this tradition. However, challenges such as youth migration, modern entertainment influences, and the aging population of song masters threaten the continuity of this cultural heritage. The study suggests comprehensive approaches, including economic support for rural areas, increased public awareness, and sustainable cultural programs, are necessary to address these challenges. This research provides valuable insights for policymakers, educators, and cultural practitioners on preserving intangible cultural heritage and promoting musical literacy through education.

Chinese court music from the Zhou Dynasty holds immense cultural and historical significance, reflecting ancient China's sophisticated societal ethos, rituals, and values. The study's objective is to investigate the reviving of literacy in Chinese court music from the Zhou Dynasty at a University in China. The study encompasses a comprehensive literature review exploring ancient Chinese music, educational practices, and cultural preservation efforts. The research primarily focuses on the efforts made at a university in China to reconstruct and promote ancient court music, collaborating with cultural institutions like museums and performance venues. Three key informants include experts in Chinese court music, educators specializing in ancient music education, and students engaged in court music programs. Data analysis involves thematic analysis of qualitative data gathered through observation forms, interview forms, and questionnaires. The research results reveal the significant educational role of court music in moral education, virtue cultivation, and societal harmony. Suggestions for future research include exploring innovative pedagogical approaches, expanding collaborative partnerships, and evaluating long-term sustainability strategies for preserving Chinese court music heritage.

This research employs a multidisciplinary approach, incorporating musicology and ethnomusicology, to explore the cultural significance of Huaibang Opera--a traditional Chinese Han ethnic local opera genre in Henan province, China. The investigation encompasses the historical evolution, cultural contexts, and musical attributes of Huaibang Opera, aiming to contribute to education, literacy, and a deeper comprehension of this traditional art form. The methodology involves interviews with key informants possessing profesional experience in Huaibang Opera, coupled with live performance observations. Through the analysis of collected data and its alignment with existing literature and theoretical frameworks, the study delineates the evolution of Huaibang Opera from a folk song art form to a prototype opera and its subsequent establishment as a local opera. This comprehensive examination sheds light on the cultural and artistic dimensions of education and literacy within Huaibang Opera, providing valuable insights into the historical significance, artistic expressions, and cultural heritage of this distinctive Chinese opera.

The Poya Songbook, an integral part of Zhuang traditional culture, embodies rich music and folklore passed down through generations. This study aims to examine the historical development and literacy transmission of the Poya Songbook for education and literacy studies in Funing County, Wenshan Prefecture, Yunnan Province, China. Drawing upon a combination of ethnographic methods and semiotic analysis, the research delves into the intricate journey of the Poya Songbook, contrasting its state before and after the pivotal year 2006, when it received official recognition as an intangible cultural heritage. Three key informants, deeply rooted in the local cultural milieu, provide valuable insights into the songbook's transformation, its role in education, and the challenges of preserving its authenticity amidst modern influences. The data analysis discerns shifts in transmission methods, content, and performance, shedding light on the evolving relationship between tradition and cultural identity. The findings underscore the importance of balancing preservation with adaptation to ensure the continued vitality of this cherished cultural heritage. Suggestions for the sustained safeguarding of the Poya Songbook include innovative educational initiatives that integrate its teachings into contemporary curricula, fostering a deeper understanding and appreciation of Zhuang cultural identity.

The study on the preservation and transmission of Lusheng knowledge in Qiandongnan Miao and Dong Autonomous Prefecture, Guizhou Province, China, yields important findings. It begins by detailing the traditional 6-pipe Lusheng's production process, stressing its employment on numerous cultural occasions but its limited applicability for solo performances owing to its narrow tonal range. Throughout, regional differences in Lusheng scale configurations contribute to a variety of musical styles. Mr. Dong Dan Gan is a key figure in the growth of Lusheng instruments. It starts with the 8-pipe Lusheng, then moves on to the 11-pipe version, which expands tonal potential. Subsequent variations, such as the 12-pipe, 13-pipe, 14-pipe, 16-pipe, 19-pipe, and ground-breaking 18-pipe, 21-tone Lusheng, increased adaptability and melodic possibilities even more. Moreover, Lusheng has a wider tone range. These advancements accommodate varied musical traditions and help to preserve and disseminate Lusheng knowledge, strengthening the cultural legacy. And efforts have enhanced Lusheng music greatly, aiding its transmission and cultural continuation.

This research represents a creative exploration in the field of music (Practice as Research: PaR) with the objectives of 1) studying the use of a sampler from Isan instruments and instruments from various cultures to create musical compositions using music software, and 2) examining the appropriate contexts for using a sampler in creative musical works. The research findings reveal that 1) Isan folk music possesses unique characteristics in terms of sound quality and performance techniques, while other musical elements can be combined with it in a technologically driven creative process. This involves connecting the concepts and methods of both traditional and diverse cultural music to create unified compositions using technology, such as recording musical notes in standard notation, exporting them as MIDI files, and then importing them into audio recording software to refine the sounds for complete songs. 2) Regarding the appropriate contexts for using a sampler in creative music, three main contexts were identified: an Isan folk music composition context, a music education context, and a commercial or music business context. In summary, the process of using a sampler for creative music works can bridge the concepts of various cultural music and integrate them with technology. Furthermore, this process can be extended to enhance interdisciplinary learning and teaching methods, making it applicable in diverse contexts.

This research paper aimed to develop a training curriculum to enhance the competency of music teachers in Buriram Province who graduated from Rajabhat University and became professional teachers in active learning management. The study involved 50 music teachers who participated in workshops and academic exchange forums. The training curriculum consisted of eight components, including the development of active learning unit plans and lesson plans. The research instruments used were the training curriculum, the active learning unit plan assessment form, and the active learning lesson plan assessment form. The use of the curriculum resulted in positive outcomes, with most of the active learning unit plans receiving high assessment scores, and the academic exchange forums effectively showcased best practices. This study provides insights into the development of a training curriculum aimed at enhancing the competencies of music teachers in active learning management, which can be adapted to other teaching fields.

This literature review offers compelling evidence for the significant role music and song can play in cultivating student engagement in elementary school science lessons. With students disengaging from science education, there is concern about the lack of necessary scientific literacy skills required in today's world. To explore whether music and song could be used engage students in science we conducted a thorough search of composite education databases for relevant scholarly articles published 1993-2021. Synthesis of the resulting 26 articles revealed four themes: the common goal of engagement, evidence of learning improvement, broad utility of music and songs as pedagogical tools, and limited long-term studies. While acknowledging the limited evidence presented in these articles, we emphasize that incorporating music and song into science lessons not only enriches the educational environment but also contributes to an arts-infused education known to enhance student performance across a wide range of curriculum domains. We recommend further research with a particular focus on investigating the impact of music and song on science engagement and learning over the long-term in elementary school science classrooms.

Chinese Dongbei Dagu vocal songs, a traditional genre hailing from Northeast China's Dongbei region, possess a rich history spanning over two centuries, distinguished by their unique combination of rhythmic speech-like delivery and melodic elements. The objective of this study is to investigate the fostering of literacy through the transmission of Chinese Dongbei Dagu vocal songs in Xiuyan County, Liaoning Province. The research utilized questionnaires and interviews with six key informants as research tools, including two academic experts, three singers of Dongbei Dagu, and one musical accompanist, who played a pivotal role in providing invaluable insights into various facets of Dongbei Dagu, ranging from its historical significance to the methods employed for its traditional and modern transmission. Qualitative data analysis revealed the existence of two primary modes of transmission: the time-honored apprentice style and the familial family-style methods within traditional settings. Moreover, it uncovered contemporary transmission modes that ingeniously adapt to folk activities, tea houses, theaters, and specialized training workshops. The research findings underscore the paramount importance of cultural databases, governmental support, educational initiatives, innovation, audience expansion, and early education in the continuous preservation and promotion of Dongbei Dagu. Ultimately, this study not only enhances our comprehension of intangible cultural heritage but also offers a pragmatic blueprint for sustaining traditional art forms within the context of contemporary society.

Traditional Chinese fiddle instruments have a long history, with their origins dating back over a thousand years. They are an integral part of Chinese culture and have evolved over time, incorporating various regional styles and techniques. The objective is to examine the historical perspective on literacy and learning resources of traditional Chinese fiddle musical instruments in Jiangxi Province, with a primary focus on Jiujiang City. The study employs a multidisciplinary approach, drawing from ethnomusicology, organology, and musical acoustics, to unravel the intricate cultural, social, and historical context of fiddle music. Key informants, including master craftsmen and experts in fiddle production, provide valuable insights into the region's musical heritage. The research also explores the emergence of the Zhonghu, a plucked stringed instrument, and its role in Chinese folk music. The study's findings reveal the rich cultural landscape of Jiujiang City, characterized by the fusion of fiddle music with silk and bamboo music, private music clubs, religious ceremonies, and Taoist traditions. In conclusion, this research contributes to the preservation and enrichment of Jiangxi's cultural heritage and offers insights into the continued development of traditional Chinese fiddle music education and cultural preservation.

Chuanjiang Haozi, a distinctive form of folk music originating from the Yangtze River Basin in Chongqing, China, serves as a unique cultural treasure, blending utility with artistic expression. This study aims to investigate the preservation and promotion of literacy through performing arts education in Chuanjiang Haozi in Chongqing Province, China. Through a comprehensive research approach, including interviews with key informants who are inheritors of this art form, this study delves into the preservation and promotion strategies for Chuanjiang Haozi. The research site encompasses the Chuanjiang River system, spanning Chongqing and Sichuan, where this art form has deep historical roots. The two key informants were interviewed to gather essential information for this study, including prominent inheritors of Chuanjiang Haozi, providing valuable insights into its cultural significance and preservation challenges. The data analysis process involves transcription, coding, categorization, and theme identification, enabling a comprehensive understanding of the research topic. The research results advocate for a multifaceted approach, including the establishment of digital museums, festival tourism, legal support, and funding for inheritors, to ensure the continued preservation and promotion of Chuanjiang Haozi. These strategies aim to integrate tradition with modernity, safeguarding this intangible cultural heritage for future generations.

The objectives of this research were to study (1) the development of knowledge on the aesthetics of Lam in Ubon Style, and (2) the process of transferring knowledge to inherit the performing arts of Molam Morlam-Ruang-Tor-Klon in Ubon style. Data from documents and fieldwork were analyzed and presented using descriptive analysis. The results showed that there are developments and changes according to the eras, divided into the old era before 1937, a few numbers of performers; the changing era into theatrical performance; the modern Morlam era brought popular musical instruments to play; and the current Morlam era, in which light and sound technology is used to help in the performance of three aspects of aesthetics: melody, poetry, and aesthetics of singing techniques. Regarding the process of transferring knowledge, the results indicated that two national artists have provided knowledge by practicing the performing arts in singing, dancing, and poetic gestures. Improvements are made in each area to enhance learners' skills development. The study provides significant insight and implications for developing learners' skills in performing arts at home.

Jiang Han Ping Yuan Shadow Puppetry, a traditional Chinese performing art rooted in Hubei Province's cultural heritage, embodies intricate shadow play, music, and storytelling. This research aims to explore the efficacy of integrating Jiang Han Ping Yuan Shadow Puppetry into education for cultural protection and literacy development among students. Conducted in Qianjiang City, the birthplace of Jiang Han Ping Yuan Shadow Puppetry, the study employs a multidisciplinary approach, drawing on ethnomusicology, historical theory, and the anthropology of music. Two key informants, selected for their expertise and local cultural ties, provide insights into the historical development, artistic characteristics, and cultural resilience of this shadow puppetry. Through a meticulous analysis of historical aspects, artistic features, props, and cultural practices, the research uncovers the rich tapestry of Jiang Han Ping Yuan Shadow Puppetry. Findings suggest that despite challenges such as declining popularity and economic factors, the art form has persisted, showcasing adaptability through reforms and innovations. Recommendations include curriculum development, community engagement, and awareness initiatives to strengthen the role of Jiang Han Ping Yuan Shadow Puppetry in literacy programs and cultural preservation.

This research investigates the literacy transmission of Guqin culture at the Wangji School in Henan Province, China, through the lenses of ethnomusicology and transmission theory. The goal is to gain an understanding of the educational opportunities provided by this institution and its function in preserving and advancing this ancient Chinese musical tradition. Located in Henan, a province known as the "Cradle of Chinese Civilization," the Wangji School serves as a vital hub for Guqin education, performance, and transmission. Key informants provide perspectives on the diverse backgrounds and pedagogical approaches of Guqin instructors at the school. Using thematic analysis to look at observations and interviews as data shows that there is a focus on copying, expressing oneself, and combining lifestyle elements. The research highlights the school's commitment to cultural preservation, fostering an inclusive learning environment, and employing online outreach. In conclusion, the Wangji School emerges as a beacon of Guqin culture, bridging tradition and innovation to ensure the continuity and vitality of this cherished musical tradition, offering valuable lessons for the preservation of cultural heritage in contemporary educational settings.

Chengdu's popular music, with its profound historical and cultural significance, serves as an educational resource at the intersection of music, literacy, and cultural education. This research aims to propose guidelines for the teaching resource of Chengdu popular music for fostering literacy and cultural education. Located in the culturally diverse Sichuan Province, Chengdu boasts a rich tapestry of musical traditions, from folk to hip-hop, making it an ideal research site. Two key informants, experts in folk and hip-hop music, provide valuable insights into Chengdu's musical evolution. Data analysis involves thematic analysis of questionnaires and interviews, offering a comprehensive understanding of the city's music culture. The study reveals Chengdu's historical role as a cultural crossroads and the evolution of its pop music into a distinctive force within China's music landscape. Advocating for the integration of Chengdu popular music into educational curricula, this research emphasizes the need for well-structured teaching resources to capture its cultural authenticity. The benefits of cultural education include fostering diversity appreciation, enhancing cultural understanding, promoting literacy skills, cultivating emotional intelligence, strengthening cultural identity, and inspiring creativity and expression. Chengdu popular music offers a transformative approach to fostering cultural literacy, empowering students to thrive in a globalized world.

Chinese music has played a significant role in the lives of the Chinese people for generations, being passed down from one generation to the next. Particularly, Changchao Lu's Guqin teaching holds valuable academic insights. Therefore, this study aims to investigate the transmission of Guqin knowledge and literacy by Changchao Lu. The researchers used qualitative approaches, specifically interviews and observations. The study's findings illustrate that Changchao Lu's Guqin playing style exhibits attributes of tranquility, minimalism, strength, and adaptability. The instructor's pedagogical approach integrates conventional and progressive elements, placing significant emphasis on a comprehensive and balanced educational experience. He established the College of Chinese Arts, which aimed to amalgamate conventional and contemporary Guqin education. The institution prioritized several aspects, such as theoretical knowledge, performing skills, pedagogy, and even the craft of instrument-making. The use of online technologies, the promotion of collaborative learning, and the implementation of a student-centered approach all improve the educational experience. Changchao Lu's activities encompass the integration of Guqin, a traditional Chinese musical instrument, into rural schools, the promotion of cultural understanding, and the active engagement of local education officials. In addition, he engages in collaborative efforts with local governmental bodies to rejuvenate rural culture by means of Guqin, therefore nurturing artistic potential and establishing connections between Guqin art and local industry.

Jiujiang Folk Songs, from Jiujiang County in Jiangxi Province, is a traditional Chinese folk genre with unique musical styles and themes focusing on daily life, labor, love, and historical narratives. Beginning with an introduction that highlights the cultural significance of these songs, the study's objective is to propose strategies for education and literacy in the preservation and transmission of Jiujiang folk songs in Jiangxi Province. Focusing on Jiujiang County, known for its rich cultural heritage, the research involves key informants with deep roots in the region and extensive experience in performing and teaching Jiujiang folk songs. Through qualitative data analysis, including live performance observations and structured interviews, the study identifies key challenges such as an aging population of practitioners, language barriers, and a lack of modern promotion. Drawing from these findings, the research suggests strategies at multiple levels, including legislative protection, cultural promotion, and school involvement, to bridge these gaps and ensure the continued preservation and transmission of Jiujiang folk songs. This study contributes to the broader discourse on the preservation of traditional cultural heritage in the face of modernization and serves as a model for safeguarding similar treasures worldwide.

This study aimed to examine the effect of Turkish Music, which is played in the background in preschool education environments, on the intrinsic motivation levels of children in the preschool period. The study used a "quasi-experimental pretest-posttest control group design with retention test", one of the quantitative research models. The study group of the study consists of 21 children aged 48-72 months, who were selected by purposive sampling method, attending the kindergartens of primary schools affiliated to the Ministry of National Education in the city center of Tokat, Türkiye. The "Motivation Scale for Preschool Children (DMQ18)" was employed as a data collection tool to measure the motivation levels of children. In the study, while routine training activities were applied in the experimental group, Turkish Music pieces selected in accordance with each activity were played in the background. In the experimental group, background Turkish Music was played five days a week for four weeks. In the control group, the teacher practiced only daily activities. The study found a significant difference between the control and experimental group post-tests in favor of the experimental group. The study contributed to the literature as the first study to reveal that Turkish Music, which is played in the background during activities in preschool educational environments, makes a significant contribution to the intrinsic motivation levels of children.

This article explores how music and lyrics serve as modes of storytelling in the language classroom, integrating a multimodal approach and the World-Readiness Standards for Learning Languages. In the 'Sing My Story' project, language students creatively write their own lyrics, which are subsequently performed by either student musicians or target language-speaking musicians within the school community. This initiative encourages students at the Intermediate or Advanced proficiency levels to collaboratively produce a music album, creating narrative lyrics for existing songs. Through this project, students are provided with opportunities for meaningful language application, fostering creative and transformative language learning experiences.

Miao Nationality music represents a profound and longstanding musical heritage from the cultural legacy of the Miao community in Yunnan Province, China. This qualitative research study endeavor aims to explore the historical development and transmission of Miao Nationality music, emphasizing its significance within the context of ethnomusicology, cultural transmission theory, and education theory. The chosen research site strategically focuses on Yunnan Province, China, especially targeting regions with substantial Miao populace and deeply entranced musical traditions. Seven key informants, including elder musicians, music educators, community leaders, and cultural enthusiasts, were purposefully sampled to provide expert insights. A thematic analysis of qualitative data gathered through interviews and observations revealed important information about the ancient roots of Miao Nationality music, how it is used in everyday life, how cultural exchanges affect it, and how important it is for traditional instruments, vocal styles, and passing down the music from one generation to the next. The study suggests strategies for safeguarding and disseminating Miao Nationality music, emphasizing cultural awareness, technological advancements, support for inheritors, environmental protection, and innovative communication methods.

The purpose of this collective case study was to examine how four elementary music teachers (from different U.S. regions) integrated modern band into their curricula. Data included semi-structured interviews, videos, emails, and a researcher journal. Teachers integrated modern band to improve student "buy-in" and to gain instruments. All started modern band with older students in Grades 4 to 6 or 3 to 5, with some expanding to younger grades. Instruments were accumulated over time through various forms of funding, with repertoire selection coming primarily from students. All participants used approximation and multiple access points for making music when teaching modern band. Challenges were teachers' lack of knowledge and skills (playing modern band instruments and teaching rap and hip hop) and overcoming personal biases of popular music. Facilitating factors included access to training and resources and administrative funding and support. Implications include considerations for music teachers and music teacher educators.

It can be difficult to navigate the tasks of repertoire selection and part assignments in a way that produces a successful performance product while also being educationally beneficial to all students. However, researchers have explored methods of ensuring these goals through repertoire selection. In this article, I present ideas for how educators can pair the Zone of Proximal Development (ZPD) with music aptitudes when assigning parts in an ensemble. In doing so, ensemble directors might find themselves better positioned to address the individual needs of every student in the ensemble.

Class piano has been a subset of piano pedagogy that has been growing in popularity since its establishment 200 years ago. The purpose of this literature review was to synthesize the research and materials related to the history of class piano and its function in (a) K-12 school settings, (b) collegiate student settings, and (c) adult student settings. Results from previous studies suggest that class piano has benefits for students such as increased musical creativity and motivation. Previous studies also indicate that it is important for class piano teachers to successfully handle the aspects of a group class and be aware of goals and resources among different age groups. Further evidence suggests that although there are a considerable number of resources in collegiate class piano teaching, there is less available in K-12 school settings. Based on these findings, I offer recommendations for potential and current class piano educators of all levels.

The purpose of this scoping review was to synthesize literature regarding audio streaming in the P-12 music classroom by identifying the varied uses, recommendations for equitable access, and gaps in the knowledge base. A total of 23 publications met the criteria for inclusion. Ensemble and general music classrooms in elementary, middle, and high school contexts were represented in the literature with exemplification of concepts, genres, styles, and techniques evident as the most common usage. YouTube, Spotify, and Pandora were frequently referenced as streaming platforms. Authors cited inexpensive or free platforms and ubiquity of access most frequently when referencing equity and streaming. Most authors made no reference to potential access impediments. I identified gaps in the literature, including the uses of streamed music in jazz classrooms, performer compensation, diversity of content, barriers to student access, potential solutions to equitable access issues, and music perception differences for those with limited access.

This article is a systematic review of literature related to collective and relational trust in general school settings, with applications to music education. We focused on trauma-sensitive approaches and emerging pedagogies of trust and considered how they interact with theoretical facets of relational trust (vulnerability, confidence, honesty, openness, reliability, benevolence, and competence) in music learning settings. Trauma-sensitive approaches to trust include (a) using consistent rules and routines, (b) creating engaging lessons that are fun and enjoyable, and (c) praising students honestly and authentically. Pedagogies of trust involve (a) promoting collaboration and consistency, (b) open communication and authentic listening, (c) commitment and persistence to shared goals, and (d) the teacher's willingness to be vulnerable, take musical risks, and continue learning along with students. More research is needed to understand processes of trust involving racial trauma as well as generational differences in how trust is viewed, developed, and/or received.

Music performance is an intensive sensorimotor task that involves the generation of mental representations of musical information that are actively accessed, maintained, and manipulated according to the demands of the performance. Internal representations and external information interact through feedback and feedforward processes that adjust the musician's motor behavior to optimize a musical performance. This study aimed to examine the relationship between altered sensory feedback and performance errors. Seventeen experienced pianists aged between 33 and 54 years performed Hanon Exercise N°1 from memory under four different conditions: (1) normal (normal sensory feedback); (2) closed fallboard (altered haptic and auditory feedback); (3) blindfolded (altered visual feedback); and (4) combined (blindfolded and closed fallboard; altered haptic, auditory, and visual feedback). Performance errors were quantified based on a video analysis of the performances. Results indicated that compared with normal performance, participants made significantly more note errors in the blindfolded condition and more bar-adding errors per trial in the closed fallboard condition. The comparison between the normal condition and the three altered sensory feedback conditions revealed the impact of altering sensory feedback in musical performance. These findings are discussed in the context of music learning.

Music has been shown to improve social interaction and attention to verbal stimuli in autism. We report a feasibility randomised controlled trial of an online intervention using music-assisted programmes, compared with best-practice treatment (Social Communication Intervention for Pre-schoolers-Intensive) for language learning in preschool autistic children with minimal verbal language. Minimisation randomisation ensured comparability of groups before intervention. Ninety-one people expressed interest in taking part; 27 met eligibility criteria and were randomised to receive either music-assisted programmes or Social Communication Intervention for Pre-schoolers--Intensive. Children and their parent received two 45-min sessions weekly, over 18 weeks, coached online by a speech and language therapist. A smartphone app was developed to support home-based practice between sessions. Over the study period, 20% of participants completed the intervention and assessments of outcome measures. At 3 months post-intervention follow-up, social responsiveness, understanding of words and phrases and number of words spoken and parent-child interaction improved more in the music-assisted programmes than the Social Communication Intervention for Pre-schoolers-Intensive group. The results demonstrate the feasibility of recruiting this population into a randomised controlled trial and the music-assisted programmes had high perceived acceptability highlighted by parent interviews. A full clinical trial to establish music-assisted programmes' effectiveness in improving early vocabulary learning in autistic children is warranted.

In 1950, percussionist and pedagogue Paul Price established an accredited collegiate percussion ensemble course at the University of Illinois Urbana-Champaign, the first of its kind in the country. In this article, I argue that Price's accreditation of the genre, coupled with his many other entrepreneurial initiatives, was made possible by the higher education's renewed desire for democracy and intellectual achievement that emerged after World War II and ultimately led to percussion's own 'Golden Age' that endured until the late 1970s. I achieve this objective by highlighting Price's role as an institutional entrepreneur, as demonstrated through his relationships and compositional collaborations with two American composers of midcentury percussion works, Michael Colgrass and Vivian Fine. By advocating for new standards of learning, musicianship, and composition, Price negotiated institutionalized norms to help turn percussion into an art form worthy of professional performance standards, accredited courses, a thriving repertory, and institutional recognition in the United States. An investigation of the correlations between midcentury collegiate percussion practices and the patterns of change and growth evident in higher education at the time help illuminate the powerful influence of educational institutions on music discourse in the postwar era.

William Frederick ("Fred") Cardin served as a director of instrumental music in the Reading, Pennsylvania, School District from 1930 until his retirement in June 1960. An accomplished performer and composer, Cardin studied at the Curtis School of Music and the Conservatoire Américaine in Paris, France. He is remembered as an outstanding educator and conductor both in the public schools and with community organizations. Cardin was also known as Pejawah, his Native American name. To gain further insight regarding Cardin's musical legacy and how it reflects his heritage, interviews were conducted with former students and colleagues. Additional artifacts were collected pertaining to his education, influences, and accomplishments. Cardin pursued a focused mission through compositions and performances to promote Native American music and culture while also demonstrating aptitude in music composition, performance, and conducting. Cardin is one individual who pursued a successful career in music and music education while navigating the issues of racial discrimination.

Nigeria's triple music heritage of traditional, Islamic and Western music should have informed her formal music education curriculum. Instead, western music was used by the early Christian missionaries that it became difficult to integrate indigenous music traditions into the curriculum that music could not gain traction as a school subject across the country. In an effort to correct the defect a bi-musical curriculum of western and African traditional music was designed by the Nsukka Music School (NMS). Although the change was epistemologically right, the bi-musical curriculum confronted numerous challenges during implementation. This paper identifies the challenges and discusses how they were addressed. Data were obtained through interviews of key informants and a review of relevant literature. The challenge of stereotyping music and musicians was solved by students proving their mettle among their peers. Non-acceptance of music within the academia and society, was not addressed throughout the period. Difficulty of finding music lecturers was ameliorated by employing expatriates and some Nigerians but the latter undertook graduate studies abroad. Lack of scholars and traditional practitioners in the theoretical and practical aspects of African music knowledge was solved through awarding research grants for traditional African music, and hiring traditional musicians to teach indigenous instruments. Challenges arising from low student registration were ameliorated by creating alternative entry requirements for music while encouraging non-music majors to register for music ensemble courses. The challenge of poor musical background of the foundation music majors was tackled by passing them through an accelerated program and creating an enabling environment for teaching and learning. The solutions to the challenges enabled NMS to graduate students that were musically competent and socially relevant.

Band repertoire lists evolved from a desire to make the school band experience "more educational" when school bands themselves were relatively new. The first national band repertoire list was created for the National Band Contest in 1924, with new lists published annually through 1943. These lists gave prominence to the literature they contained, and through nationwide dissemination, the literature contained on them formed the foundation of many band libraries. This study was an analysis of the pieces and composers that were on the lists, how the lists were structured, and also the people who created them. Only 9.25 percent of the literature on the earliest lists between 1924 and 1931 had been originally composed for band, whereas 40.23 percent of literature on the lists from 1931 to 1943 had been composed for band. Only 2.58 percent of the literature on the lists was composed by women or people of color, and their works on the list were all transcriptions for band. The literature lists, designed to make band "more educational," excluded popular styles, including jazz and ragtime. These lists were created and maintained by 41 White men between 1924 and 1943, predominantly (88.1 percent) from New York and seven states in the Midwest.

In this study, we examine how race and racism impact the schooling of African American males by analyzing the first-person perspective of hip-hop superstar, Nasir "Nas" Jones. We selected Nas due to his unique yet prevalent educational trajectory and perspectives. Critical race theory is employed as a framework as well as notions of Sankofa methodology and literary analysis to investigate his music, documentaries, and an open letter whereby he critiques the public school system while providing academic ideas to engage and inspire Black students. Studies about Black males routinely focus on their subpar academic performance with the intention of "correcting" these behaviors. We utilize the experiences of Nas to reframe the conversation and provide nuanced insight into Black educational experiences instead of perpetuating recycled, bleak narratives. This article concludes with suggestions for educators to better serve African American males in the Pre K-12 academic context.

The present longitudinal study investigated the hypothesis that early musical skills (as measured by melodic and rhythmic perception and memory) predict later literacy development via a mediating effect of phonology. We examined 130 French-speaking children, 31 of whom with a familial risk for developmental dyslexia (DD). Their abilities in the three domains were assessed longitudinally with a comprehensive battery of behavioral tests in kindergarten, first grade, and second grade. Using a structural equation modeling approach, we examined potential longitudinal effects from music to literacy via phonology. We then investigated how familial risk for DD may influence these relationships by testing whether atypical music processing is a risk factor for DD. Results showed that children with a familial risk for DD consistently underperformed children without familial risk in music, phonology, and literacy. A small effect of musical ability on literacy via phonology was observed, but may have been induced by differences in stability across domains over time. Furthermore, early musical skills did not add significant predictive power to later literacy difficulties beyond phonological skills and family risk status. These findings are consistent with the idea that certain key auditory skills are shared between music and speech processing, and between DD and congenital amusia. However, they do not support the notion that music perception and memory skills can serve as a reliable early marker of DD, nor as a valuable target for reading remediation.

Infants are immersed in a world of sounds from the moment their auditory system becomes functional, and experience with the auditory world shapes how their brain processes sounds in their environment. Across cultures, speech and music are two dominant auditory signals in infants' daily lives. Decades of research have repeatedly shown that both quantity and quality of speech input play critical roles in infant language development. Less is known about the music input infants receive in their environment. This study is the first to compare music input to speech input across infancy by analyzing a longitudinal dataset of daylong audio recordings collected in English-learning infants' home environments, at 6, 10, 14, 18, and 24 months of age. Using a crowdsourcing approach, 643 naïve listeners annotated 12,000 short snippets (10 s) randomly sampled from the recordings using Zooniverse, an online citizen-science platform. Results show that infants overall receive significantly more speech input than music input and the gap widens as the infants get older. At every age point, infants were exposed to more music from an electronic device than an in-person source; this pattern was reversed for speech. The percentage of input intended for infants remained the same over time for music while that percentage significantly increased for speech. We propose possible explanations for the limited music input compared to speech input observed in the present (North American) dataset and discuss future directions. We also discuss the opportunities and caveats in using a crowdsourcing approach to analyze large audio datasets. A video abstract of this article can be viewed at https://youtu.be/lFj_sEaBMN4

Music contributes to the expansion of the outlook, memory training, and the development of children's creative abilities. The main objective of the work is to determine the effectiveness of music education for preschool children through the use of modern technologies aimed at the development of the memory of students, taking into account the relationship between parents and teachers. The study relied on the methods of analysis and comparison, which contributed to the development of approaches to teaching preschoolers. The learning mechanisms were based on the development of musical hearing, sense of rhythm, technical aspects, and speech clarity. To implement the training, GNU Solfege, MUSIQUEST, LOOPIMAL, and Penxy were used. The study determined the preschoolers' performance in Experimental Group 1 (EG1) (with parental involvement) and Experimental Group 2 (EG2) (without parental involvement). The findings suggested that 46% of members in EG1 and 12% of members in EG2 obtained strong knowledge after three months of study. After six months, the number of students with proficient knowledge increased to 83% and 21%, respectively. The increase in performance is associated with the development of practical skills, memorization of information, and the narrow focus of the used online learning applications. It was found that the training influenced the development of long-term memory in preschoolers of EG1 (0.98) and the development of short-term memory in students of EG2 (0.97). The paper's practical implications are attributed to identifying the need for the implementation of preschool music education and the use of modern online music technology.

This literature review explores the impact of music on tonal language learning, with a focus on Mandarin Chinese. Utilising searches across major databases such as ERIC (EBSCO), ProQuest Central, Google Scholar, and Web of Science from 2005 to 2024, we selected relevant peer-reviewed English-language articles examining music's role in aiding tone acquisition and related cognitive processes. From 30 publications, findings are categorised into theoretical relationships, cognitive effects, melodic intonation therapy (MIT) applications and digital music applications. Theoretical frameworks emphasise the correlation between musicality and language proficiency, highlighting musicians' enhanced tonal perception and production skills. Cognitive effects include music's influence on pronunciation, memory and cultural understanding. MIT's effectiveness in tonal language learning is then discussed, emphasising its potential to improve cortical representations of tone categories. Finally, digital music applications are examined, focusing on language learning apps incorporating music for personalised and engaging learning experiences. The review finds significant literature reporting that music-based methodologies, aligned with experiential learning paradigms, hold significant potential in Mandarin Chinese acquisition. They enhance listening comprehension, spoken language production, and understanding of grammar and syntax. Similar to MIT principles, music-assisted tonal language learning utilises exaggerated melody and rhythm to improve language production, especially with complex words. This review is motivated by the recognition of music's potential benefits in language education, especially for tonal languages. It aims to provide educators and researchers with insights into effective methods and applications, guiding instructional practices and stimulating further empirical investigations in this interdisciplinary field. Ultimately, it contributes to the ongoing discourse on optimising tonal language learning methodologies.