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The Qin Zheng, an ancient Chinese musical instrument, embodies centuries of cultural heritage and artistic expression. Amidst its strings, melodies resonate with stories of ancient China, reflecting the country's rich history and cultural identity. The objective of this study is to analyze the Qin Zheng playing techniques of Zhou Wang in musical literacy development. The research investigates Zhou Wang's historical development, pedagogical approach, and playing techniques through a qualitative analysis. The study focuses on the Xi'an Conservatory of Music as the primary research site, where Zhou Wang has taught and mentored students for over three decades. Key informants include Zhou Wang herself, her students, and colleagues in the field of Chinese musical education. Data analysis involves structured interviews, observations of performances and teaching sessions, and transcription of musical examples. The findings reveal Zhou Wang's mastery of Qin Zheng techniques, including intricate right-hand and left-hand skills, and their significance in fostering musical literacy development. The study highlights the potential benefits of integrating music education, particularly traditional Chinese music like Qin Zheng, into curricula as a means to enrich students' language skills, cognitive abilities, and emotional intelligence.

The study examined the content of methods used in amateur guitar education, namely "Guitar Method for Children" (Bülent Isbilen & Özhan Gölebatmaz), "Classical Guitar Method" (Ahmet Kanneci), "Easy Training Method for Classical Guitar" (Bülent Isbilen & Güray Demir), "Classical Guitar Method" (Murat Isbilen), "Arenas I" (Rodriguez Arenas), "Guitar Method I" (Ziya Aydintan), and "Introductory Method for Classical Guitar" (Bekir Küçükay). The research employed a scanning model. In the data collection phase, methods were obtained, and their contents were examined for topics such as the Historical Development of Classical Guitar, Basic Information, Tuning of the Guitar, Nails, Starting Positions, Visuals, Study and Piece Descriptions, Speed Terminology, and Table of Contents. The results, presented in tables, revealed that two of the methods lacked a table of contents, speed terminology was only presented in one method for all pieces and studies, and topics such as nails and tuning of the guitar were not covered in most methods.

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.

Th? cr?ativity and g?n?ral cognitiv? d?v?lopm?nt of stud?nts ar? gr?atly aid?d by music ?ducation. In China, th? gov?rnm?nt has tak?n action to nationaliz? th? curriculum in r?cognition of th? valu? of music ?ducation and to ?nsur? that childr?n across th? country r?c?iv? consist?nt, ?xc?ll?nt music training. This study aim?d to ?xamin? th? impact of stud?nt motivation on acad?mic achi?v?m?nt. Furth?rmor?, it ?xplor?d th? m?diating rol? of stud?nt motivation and th? mod?rating rol? of saxophon? t?aching m?thods. Th? study includ?s a sampl? of 375 coll?g? stud?nts in China and us?s a quantitativ? cross-s?ctional d?sign. Th? acc?ptanc? and int?gration of culturally appropriat? music curricula, t?aching strat?gi?s, and ?ducational r?sourc?s ar? r?f?rr?d to as nationalizing music ?ducation. Und?rstanding th? ?ff?cts of nationalization on stud?nts' l?arning r?sults r?quir?s a thorough und?rstanding of stud?nt motivation and acad?mic succ?ss in th? music classroom. Th? principal data coll?ction tool for this study is a surv?y qu?stionnair? that ?xamin?s th? nationalization of music ?ducation, saxophon? t?aching t?chniqu?s, stud?nt motivation, and acad?mic accomplishm?nt. Th? gath?r?d data ar? ?xamin?d using statistical t?chniqu?s lik? PLS-S?M and mod?ration analysis. Th? r?sults of th? study d?monstrat?d a dir?ct and favorabl? r?lationship b?tw??n music ?ducation and acad?mic p?rformanc?. Furth?rmor?, it was discov?r?d that stud?nts' motivation play?d a m?diating rol? in this association, indicating that incr?as?d l?v?ls of motivation amplifi?d th? b?n?ficial influ?nc? of music ?ducation on acad?mic achi?v?m?nts. Mor?ov?r, it was not?d that t?aching mod?s play a mod?rating influ?nc?, wh?r? th? us? of ?xp?rim?ntal t?aching m?thods amplifi?s th? impact of music ?ducation on acad?mic accomplishm?nt, ?sp?cially in practical and cr?ativ? ar?as. This r?s?arch ?nhanc?s th? curr?nt und?rstanding by pr?s?nting ?mpirical ?vid?nc? of th? compl?x conn?ction b?tw??n music ?ducation, stud?nts' motivation, and t?aching m?thods.

The inclusion of jazz ensembles within extra-curricular instrumental music programs in secondary schools in Australia has grown exponentially in the past two decades. Despite this growth, there is a deficiency of specialist teacher training in jazz education and pedagogy in Australian tertiary institution instrumental music courses. This lack of specialist training in jazz pedagogy has left many music educators, especially early career instrumental music teachers, underprepared and underequipped to teach jazz programs successfully in their junior and secondary school settings. This article aims to synthesise and contextualise some of the key literature in jazz pedagogy and jazz ensemble rehearsal techniques for early career teachers, or those with little or no background in jazz. The topics discussed in this article include roles of instrumentation, rehearsal and performance set-ups, rehearsal techniques, the role of the jazz director, directed student listening, jazz style, language and articulation, improvisation, and repertoire. The aim is to equip instrumental music teachers with an introductory knowledge, reference to further literature, and practical examples to maximise the proficiency and potential of their jazz ensembles in junior and secondary school music programs.

There are many young people playing brass band instruments in Australia, yet there is generally an expectation in secondary education, and almost always in higher education, that students will play orchestral brass instruments. This article explores how schools and tertiary music educations in Australia are equipping students to be 21st century musicians, with a focus on players of brass band instruments. Secondary school students playing brass band instruments are often misunderstood by music teachers and can have trouble fitting in to school music programs. Currently, the only university in Australia that offers a specific brass band subject and lists brass band instruments is Griffith University in Queensland, therefore many dedicated brass band instrumentalists choose to travel overseas for tertiary study. This article seeks to highlight a broader picture regarding music education in Australia, and encourages educators (and institutions) to step out of the conservatory-style specialisation regarding brass instruments.

The preservation and transmission of cultural knowledge about bronze drums in Donglan County, Guangxi, China, is crucial for protecting a valuable cultural heritage that has been passed down through generations. In Guangxi, Guizhou, and Yunnan, several ethnic groups, such as the Zhuang, Buyi, Miao, and others, still include bronze drums in their cultural practices. These drums function as visible connections to ancient customs and are actively conserved through on-site visits and recordings of performances. Donglan County in Guangxi is crucial to this effort, as it has been officially designated as a national-level zone for the protection of both cultural and ecological resources starting in 2023. This project emphasizes the dedication to protecting intangible cultural resources, with cooperation between communities and educational institutions guaranteeing the transfer of this cultural knowledge to future generations through education. The clear differentiation between male and female bronze drums, as well as their specific acoustic characteristics, contributes to the cultural wealth of this heritage. This is preserved through cultural events and educational programs, ensuring its lasting importance for future generations.

The Dong Pipa, a traditional Chinese musical instrument, is a significant element of the Dong ethnic group's cultural heritage. The objective is to investigate the historical development of the Dong Pipa, a traditional Chinese musical instrument, in literacy functions and educational occasions. The research was conducted in Liping, Congjiang, and Rongjiang counties in Guizhou Province, Tongdao County in Hunan Province, and Sanjiang in the Guangxi Zhuang Autonomous Region. Two key informants and four casual informants, including national transmitters and experts in Dong Pipa music, were interviewed, and data were gathered through fieldwork, interviews, and observations. The analysis focused on the integration of the Dong Pipa into educational settings and its role in fostering cultural literacy. The results indicate that the Dong Pipa has played a dynamic role both historically and in contemporary times, contributing significantly to cultural transmission and education. The study suggests that incorporating traditional instruments like the Dong Pipa into modern educational practices can enhance cultural literacy and support preservation efforts.

The Xu Gongning Bianzhong, an ancient musical instrument dating back to the Western Zhou Dynasty, embodies China's rich cultural heritage. This study investigates the literacy transmission and development of Xu Gongning Bianzhong in Chinese universities, aiming to understand its preservation and development in traditional Chinese music education. Utilizing qualitative interviews, archival research, and thematic analysis, the research focuses on the School of Music at Pingdingshan University in Henan Province, China, as the research site. A total of 18 informants, including experts in Bianzhong reproduction and performance, students, and teachers, provide insights into the transmission process. Data analysis reveals structured classroom teaching, curriculum integration, and student experiences shaping Bianzhong's literacy. Results highlight historical findings, innovative teaching methods, and positive student feedback, emphasizing the instrument's cultural significance and educational impact. The study suggests a continued emphasis on immersive teaching practices, interdisciplinary collaboration, and cultural preservation efforts within higher education settings.

Lusheng is a traditional wind musical instrument cherished by various ethnic minorities in China. The objective of this study is to investigate the role of Lusheng Chinese musical instruments in promoting literacy through educational functions and transmission. Conducted in Guizhou Province, a region rich in ethnic diversity, this study employs qualitative methods and engages two key informants who are local artisans with interview and observation forms. The data analysis reveals multifaceted insights into Lusheng's transmission and promotion. Findings highlight the challenges posed by modernization to traditional craftsmanship, emphasizing the urgency of preserving Lusheng production skills. The inclusion of Lusheng in the National Intangible Cultural Heritage list and the establishment of educational programs in primary, and secondary schools, and universities underscore the government's commitment to safeguarding Lusheng culture. Moreover, the research underscores the transformative impact of modern media on Lusheng's dissemination, and cross-cultural engagement is recognized as vital for expanding its influence. Balancing tradition and innovation remains a challenge. The study suggests collaborative efforts among government, academia, and society to develop a comprehensive conservation strategy, ensuring the continued transmission and promotion of Lusheng culture.

Si Zhu Yue music is a traditional Chinese folk music genre characterized by stringed and bamboo wind instruments. It originates from the Yangtze River basin in China. This study aims to propose guidelines for transmitting literacy studies in traditional Chinese folk music in Si Zhu Yue. We synthesize literature to provide insights into the cultural heritages. Three key informants with expertise in Si Zhu Yue music, educational settings, and cultural preservation efforts were purposefully selected to provide diverse perspectives on Si Zhu Yue music's transmission and literacy studies. Data analysis involved qualitative approaches to identify recurring themes, patterns, and insights from interviews and observations. The findings highlight the significance of integrating cultural values into planning processes, the challenges of preservation in the face of modernization and globalization, and the need for innovative approaches to safeguard intangible cultural heritage. Recommendations include prioritizing cultural heritage preservation in planning policies and adopting interdisciplinary approaches to address the complexities of cultural sustainability planning.

The objectives of this research are to study (i) the development of the Lusheng and its relationshipwith Rongshui culture and (ii) the knowledge management for learning arts and culture insouthern China. This research used qualitative research methods by studying documentsand collecting field data through surveys, interviews, observations, group discussions, and workshops. The data was collected from a group of 18 people. The analysis was based on the objectives, and the results were presented in a descriptive-analytical manner. The research results indicated that: (i) Lusheng is an ancient musical instrument in the bamboo family that has spread throughout Asia, This instrument has evolved differently in difference regions. This musical instrument is closely related to the way of life of people in southern China. People use it as a show for entertainment during important festivals. They believe that the worship of ancestors and gods can protect one's life. Lusheng culture has artistic value and should be studied to be photographed for future generations. (ii) The knowledge of Rongshui Lusheng, a wind instrument made from bamboo, is a valuable musical and dance cultural heritage and deserves to be carefully studied through systematic inheritance. It was found that it is a teaching activity in educational institutions starting in primary school. Secondary and higher education learning in this study has two characteristics: Learning to produce Lusheng and practicing playing Lusheng, which must create a melody. The rhythm goes along with the related dance. In summary, this study can be used as a guideline for the conservation and inheritance of cultural heritage as well as a guideline for teaching and learning for the transmission of artistic and cultural heritage.

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 study aims to determine the perceptions of fine arts high school music department students about the concept of "instrument training" through an alternative measurement and evaluation technique "Word Association Test (WAT)". In this study, the survey model, one of the qualitative research methods, was used. The study group of the research consisted of 110 students studying at Nevit Kodalli Fine Arts High School Music Department in the 2021-2022 academic year. The data were obtained by applying the "Word Association Test (WAT)". Firstly, WAT was explained for informative purposes during the application. Then, the students were asked to write the first 5 words that they thought were related to the key concept of "instrument training" within 1 minute. Afterwards, they were asked to make a sentence related to these answer words. The obtained answer words were analysed by content analysis technique. As a result of the analysis, the answer words that the students associated with the key concept of "instrument training" were grouped under 9 categories (teaching materials, performance anxiety, motivation for the instrument, social skills, attitude towards the instrument, technical skills, student capacity, education and training). According to the order of these categories, the most frequently associated answer words with instrument education were instrument, etude, excitement, working, cooperation, happiness, note, talent and teacher. Under the category of performance anxiety and motivation related to the instrument, the students showed a negative distribution on the word "tiring". It was observed that the students had a positive cognitive structure in all categories.

In northeastern Thailand, the beating heart of tradition and music intertwines seamlessly. The objective of this study was to explore the significance of percussion instruments in Isan Thai folk music within the context of music education and learning. The scope of the research site spans the northeastern Provinces of Thailand. The study employs qualitative interviews with experts and practitioners, complemented by field visits and observations. The findings emphasize that Isan Thai folk music serves as a cultural bridge, nurturing mutual understanding and expressing the extraordinary occurrences within the community. Music education emerges as a pivotal tool in safeguarding the cultural heritage of Isan Thai folk music, offering students a window into diverse cultures, and enriching their appreciation of the world's cultural tapestry. Despite challenges such as a dearth of successors and waning interest among the younger generation. The preservation of Isan percussion instruments is an invaluable component of intangible cultural heritage, thus contributing substantially to the broader discourse on cultural heritage preservation and the role of music education in fostering cross-cultural appreciation and understanding.

This study aimed to demonstrate sustainable education practices in the field of amateur guitar education during the COVID-19 pandemic, emphasizing that all lessons were conducted entirely online. The goal of the study was to enhance economic, social, and environmental performance through a comprehensive approach that assessed the effectiveness of activity-based lesson plans focused on scale, chord, and arpeggio instruction. The lesson plans were designed to include introduction, development, and evaluation sections. The instructional intervention involved five beginner-level students over an eight-week period, with performance data evaluated by three expert evaluators using a 5-point Likert scale. The evaluation allocated 40% weight to theoretical knowledge test results and 60% to performance test outcomes, with student achievement scores ranging from 89.2 to 98.8. The success of the study highlights the potential for sustainable education practices in challenging times like the COVID-19 pandemic and serves as a model for others to follow.

Throughout the history of classical music piano, various schools have emerged, often named after cities such as London, Vienna, and Hamburg. Today, it is widely accepted that there are three major piano schools: the French, German, and Russian schools. This study briefly mentions the history of Russian classical music and the development of the piano school in the country. It explores the individuals who played a significant role in this process and the techniques they employed in piano education. The main objective of the study is to determine the development of the piano school in Russia, the key influencers in this process, and the techniques used in piano education. The study employed a literature review and semi-structured interviews. As a result of the study it can be said that many important artists and teachers, especially Anton and Nicolai Rubinstein, created a classical music culture and tradition in Russia. Piano education based on a solid foundation, combined with the musical talent of the Russian nation, has enabled Russia to become one of the leading countries in piano performance today.

Bronze drums, esteemed artifacts saturated in cultural significance, have been integral to the heritage of ethnic communities in Southwest China for centuries. This study aims to investigate the educational and literacy perspectives regarding bronze drums in contemporary learning resources within the region. Conducting fieldwork in Guangxi, Guizhou, and Yunnan -- renowned for their rich bronze drum culture we engaged six key informants selected for their cultural proficiency and educational involvement. Interviews and documentaries were used to gather first-hand information about the cultural significance of bronze drums, how they were categorized by gender, and how they changed from being passed down orally to being written down formally. Findings highlight bronze drums as invaluable resources for contemporary education, emphasizing their role in cultural preservation and literacy development. This research encourages the utilization of cultural traditions as effective tools for education and heritage preservation, ensuring the continued relevance of Southwest China's unique heritage in a rapidly evolving world.

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.

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.

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.

The purpose of this study is to uncover and comprehend the current state of pre-service music teachers' use of self-regulated learning skills in instrument education, as well as the obstacles they face and the techniques they use to develop these skills throughout their instrument education. The data were obtained from participants' experiences and opinions and may be used to develop a conceptual framework concerning self-regulated learning skills and how these skills can be applied in teaching. This study reveals the importance of autonomy and co-regulation in the learning process, with a focus on teachers' roles in fostering student autonomy and giving support. Previous research has shown that self-regulation tactics can be incorporated in education to improve learners' self-regulation capacities. This study suggests that the "Individualized and Co-regulated Teaching Model in Instrument Education," a student-centered method that stresses dialogue-oriented learning, teacher-student interaction, and tailored learning needs may be appropriate for many learners. Teachers are encouraged to adopt individualized teaching orientations, allowing students to set their own learning goals and monitor their progress, as guided by this model. Furthermore, efficient communication and co-regulation between teachers and students promote self-regulation and musical development. Given the growing importance of self-regulated learning skills in the distance learning era, educational programs should focus their development and empower learners to become independent, and lifelong learners through collaborative knowledge production. The findings of this study imply that more research on the application of self-regulation skills in instrument acquisition among lower-achieving or less-experienced students is needed. Overall, this study highlights the importance of self-regulated learning skills in instrument teaching and advocates its incorporation into instructional procedures.

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.

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.

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.

Playing-related musculoskeletal disorders (PRMDs) are highly prevalent among concert pianists due to the unique sociological and historical predispositions of the instrument. Although current literature explores PRMD risk factors in isolation, few studies have explored the complex interdependencies that exist between the procedural and postural practices of pianists. This study aims to reframe this discussion by holistically exploring how common educational principles in phalangeal curvature, wrist flexion range of motion, and technical exercises interact to precipitate in PRMDs. The practices of the Lhevinne and Taubman schools were comparatively evaluated through kinematic studies to discern potential biomechanical stresses, and the findings were compared with current empirical evidence to ascertain links to PRMDs. The findings from this review indicate pedagogical susceptibility patterns may be more nuanced than the claims of stakeholders. However, studies suggest that practitioners of the Lhevinne school should incorporate phalangeal postures with active flexion to reduce susceptibility to tendinitis, osteoarthritis, and carpal tunnel syndrome. Practitioners of the Taubman school should further apply low-intensity technical exercises for warm-ups to increase muscle flexibility and facilitate temperature-related benefits to performance. However, high-intensity exercises at the Lhevinne school such as consecutive intervals and flexibility studies are contrary to current biomechanical observations.

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.

There are currently very few brass bands in schools in Australia, however they were the predominant music ensemble in Australian schools up to the 1970s. The aim of this article is to document the popularity of British-style brass bands in Australia, and the corresponding development of brass bands in schools during the 20th century. The history of the brass band in Australia and its decline is explored, drawing significantly on the historical research of Dr Duncan Bythell, Dr Thomas Fraschillo, Dr Dave Russell, and Dr John Whiteoak. In addition, various primary sources are examined, such as newspaper articles and photographs. British immigration to Australia played a significant role in shaping the brass band movement, which was distinctly male-dominated and had strong links to the military culture of the first half of the 20th century. These societal trends followed into the school brass band setting. The article concludes with an overview of the factors that influenced the shift away from the all-brass ensemble in schools. This research provides a better understanding of the brass band tradition within the context of the school environment in Australia and calls for further research and scholarly inclusion in the literature of music education.

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.

The purpose of this study was to examine the degree to which impostor feelings and selected demographic variables predict burnout among undergraduate music education majors. Participants (N = 143) completed the Clance Impostor Phenomenon Scale (CIPS) and the Maslach Burnout Inventory for Students. Overall, participants reported relatively high levels of impostor feelings and burnout. Results of multiple regression analyses revealed that CIPS score and year in school significantly predicted exhaustion and cynicism. Participants with higher CIPS scores (more frequent impostor feelings) and more years in school experienced greater exhaustion and cynicism. Descriptive analyses indicated that upper-division and band students experienced more cynicism than lower-division and choral/string/general music education majors, respectively. CIPS score was the only variable that significantly predicted professional efficacy. Participants with lower CIPS scores rated themselves higher in professional efficacy.

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.

The purpose of this study was to examine relationships between high school concert band directors' self-efficacy for classroom management, efficacious sources, and classroom management behaviors. Participants (N = 271) completed the Band Director Self-Efficacy for Classroom Management scale and responded to items about their demographic and school characteristics, formal preparatory experiences, stress from student behavior, support and trust, and satisfaction with recent classroom management. Additionally, participants rated their effectiveness for using classroom management behaviors. Participants' level of satisfaction with their recent classroom management was the strongest positive predictor of their self-efficacy for classroom management scores, followed by their ratings of parent resource support. When participants indicated higher stress from student behavior or higher administration resource support, they also had lower self-efficacy for classroom management scores. Results indicated that several classroom management behaviors predicted participants' self-efficacy, including establishing routines and procedures, keeping students on task, and rarely referring to the music score or lesson plan. Implementing and refining effective classroom management behaviors may improve the likelihood of directors gaining positive mastery experiences and lessen the influence of stress from student behavior on their self-efficacy for classroom management.

Despite a renewed interest in music teacher education practices with real-world implications, the heterogeneity of learners is often daunting to early-career educators. There is a lack of specific and adequate coursework in undergraduate music education programs to prepare preservice music teachers (PSMTs) for teaching diverse learner populations, including learners with disabilities. Drawing on a project where PSMTs facilitated drumming sessions at a special education school, this case study explored PSMTs' experiences of project-based service learning in a special educational setting. Five themes that emerged from the data describing PSMTs' experiences suggest that such initiatives with learners at a special education school can foster student responsiveness and autonomy. The findings describe how integrating dialectic aspects could nurture the music-teaching skills of a PSMT. These aspects are joy and challenges, expectations and reactions, and learning to teach individually and in a group.

Children with severe multiple disabilities face numerous possibilities for enjoying music and participating in performance activities; however, the research practice for realizing these possibilities involves various difficulties. To understand the disabilities of children and their engagement with music, awareness of one's perception of disability is necessary for each practitioner-researcher. The researchers of the current study reflected on their personal views about disability and life histories and described and analyzed them through collaborative autoethnography (CAE). The study was conducted through the practice of combining electronic music equipment and traditional instruments as a music education project for children with severe multiple disabilities. The results demonstrated that the perceptions of the researchers about disability and their life histories interacted with and transformed their research practice. Additionally, the study highlighted how endeavors in CAE encouraged dialogue among researchers and deepened mutual understanding. The suggestions for researchers of music education practice with children with disabilities include analysis of disability from the first-person perspective and sharing of views among co-researchers.

Instrumental music teaching traditionally emphasizes the cognitive, motor, and motivational processes of score reproduction, often at the expense of creative musical activities, such as improvisation or composition. Since today's international art school curricula prominently include creativity competencies, opportunities to integrate creativity in instrumental lessons must be explored. This study investigates instrument teachers' conception of musical creativity: its scope, opportunities, and risks. About 273 teachers completed an online questionnaire on their use of creative class time, beliefs, and barriers to creative instrument teaching. Although the majority acknowledged the benefits of creative activities for score-playing, they invested little in improvisation and composition due to a lack of time and training in musical creativity. Teachers considered interpretation a valuable form of musical creativity, next to improvisation and composition, but questioned its feasibility in instrument lessons. Implications for instrument-teacher training are discussed.

The purpose of this study was to explore female and feminine-presenting band directors' experiences with gender microaggressions in their work. Data consisted of survey responses (N = 974) from current, former, and aspiring band directors living and/or teaching in the United States. The most frequently experienced types of gender microaggressions were second-class citizenship, restrictive gender roles, and environmental microaggressions. Younger individuals, college instructors, and those in the South tended to experience certain microaggression types more frequently than did other directors. Open-ended descriptions indicated a variety of common experiences within each of the nine types of gender microaggression, the most frequent of which was being called a demeaning name (e.g., sweetie, honey, and young lady). The most stressful/bothersome types were second-class citizenship, assumptions of inferiority, and restrictive gender roles, and correlations between frequency and stressfulness were strongest for leaving gender at the door, denial of individual sexism, and denial of the reality of sexism. Implications include the need to develop awareness of, combat, and prevent gender microaggressions in the secondary band profession and to provide opportunities for teachers of all genders to be recognized and valued for their work.

At the 2020 American String Teachers Association (ASTA) Conference held in Orlando Florida, an attendee of the Wellness Committee Listening Session recommended that a study be conducted to determine the prevalence and awareness of mental health concerns among students and teachers within the organization. Members agreed that there is more needed to be understood so that ASTA could provide professional development webinars, resources, as well as local, state, and national conference sessions. In response to this request and the clear need for more information, a survey was developed and deployed to the ASTA membership in the fall of 2020. Follow-up interviews with members who volunteered in response to an invitation on the survey were conducted in the spring and early summer of 2021. Teachers reported a high prevalence of student mental health issues prior to and during the pandemic and reported concerning levels of work overload, compassion fatigue/burnout, and mental health issues. Generational differences in mental health perceptions were noted, as were opportunities to provide targeted professional development and community-level services.

Playing the violin demands highly skilled motor performance, including advanced bimanual coordination and controlled, independent movement of fingers. Through existing literature, the current study aims to demonstrate how young children's motor development relates to the motor demands of violin playing, specifically the demands on the left hand, the right hand, bimanual coordination, and posture. From literature on movement patterns in skilled violinists as well as literature pertaining to motor development between the ages of 4 and 7, connections were highlighted between developmental sequences in this age group and violin-specific skills. Generally observable motor issues relevant to violin playing were found to include intra- and inter-limb motor overflow, postural changes in growing children, and the proximodistal direction of gross and fine motor development. We suggest that further research on effective and age-appropriate movement teaching has the potential to inform violin pedagogues about finding more effective solutions for motor issues encountered in this age group.

The purpose of this article is to revisit the biomechanical concepts of Paul Rolland's scholarship on bowing to provide a new framework of Rolland's underlying bowing principles. First, we discuss how whole body movements help facilitate natural bowing, which can generate better tone efficiently from freedom of movement. Second, we attend to the movements of the bow arm, which can be conceptualized as the natural rotation of the arm. Third, we comment upon the concept of balance, concerning bow hold, leverage, and bow pressure while discussing the particulars of finger placement, its function in bowing, and balance and leverage in the bow arm. The concepts of whole body, movement, and balance should be considered in variable conditions considering the relationship between body parts and the whole. Also, the three biomechanical concepts are not independent or self-sufficient but correlated ideas. Not only do these ideas help with the acquisition of technical skills, but they also pave the way for a pleasing and natural tone quality as well as enhanced musical expression.

The purpose of this descriptive study was to examine enrollment in string orchestra instruction across Texas. Three central research questions guided the investigation: (a) How well is orchestra represented in districts and schools across the state of Texas? (b) What are the characteristics (FRPL eligibility, locale, student race/ethnicity, size/UIL classification) of schools with orchestra programs in Texas? and (c) How do program enrollment and UIL participation vary among these characteristics? Using 2015-2016 enrollment data collected by the Texas Education Agency, we examined string enrollment within secondary traditional public schools in the state. Major findings were that more than two-thirds of schools offering strings were Title I eligible campuses and enrollment on urban, Title I eligible, and African American or Hispanic majority campuses had lower string enrollments than their suburban, non-Title I, and White majority counterparts.

The purpose of this descriptive study was to examine school string teachers' beliefs about and practices of teaching nontraditional music courses. We surveyed middle and high school string teachers (N = 42) about what nontraditional music courses and ensembles (NMCEs) they currently offer and would like to offer to their students. In addition, we examined the educational rationales that string teachers have for offering NMCEs. Our findings indicated that the most frequently offered NMCEs were guitar class, pit orchestra, and music technology. Participants expressed strongest interest in adding fiddle club, popular music, and mariachi ensemble. The participants explained that NMCEs provide opportunities to teach content that closely may more reflect students' cultures and possibly attract a wider range of students. The participants used NMCEs to cultivate musical skills that are often overlooked in large-group setting, including improvisation, playing by ear, and collaborative arranging and composition.

This research, carried out between 2020 and 2021, involves an online questionnaire and individual interviews with undergraduate music students at universities and conservatoires in the UK, to examine student experiences of receiving and delivering instrumental and singing tuition. There is no regulation of instrumental teaching in the UK, and individuals are able to teach without formal training or qualification. Existing literature suggests that musicians often begin teaching while still in education, though there is limited research concerning the experience of this process. This research confirms that students are involved in delivering instrumental and singing lessons before and during their undergraduate studies, often beginning with peer learning initiatives in school or 'helping' family and friends. The study identifies positive perceptions of the role of teaching in portfolio careers in music and highlights the influence of both instrumental teachers and classroom music teachers in shaping understandings and providing guidance and opportunities for students.

Musical expression is often not explicitly addressed in secondary instrumental rehearsals due to the perception of expression as an obscure concept and the instructional time constraints on music educators. Secondary music educators, however, are encouraged to discuss expressive performance goals with instrumental students from the beginning of formal instruction. The three most common methods of teaching expression in music include metaphor, aural modeling, and explicit instruction regarding instrumental techniques. With the use of plainly stated performance goals, music educators can help clarify the concept of and expectations for expressivity for instrumental students.

This article provides a brief review of research along with a recommended music program with the purpose of facilitating constructive and loving relationships between autistic individuals and their allistic siblings. We highlight research regarding the need for family-based interventions, as well as the benefits of music participation for both the individuals with autism and their allistic siblings. Finally, we recommend a world percussion program for the siblings to participate in together that coincides with an allistic sibling support group. Music educators can facilitate growth within these relationships because they have a unique perspective on the individuals involved.

The purpose of this descriptive research study was to examine collegiate instrumentalists' applications of practice strategies and their motivation orientations to practice. Respondents (N = 128) were music majors who enrolled in concert band or orchestra. Results indicated that pianists spent more time in practice followed by percussionists, brass, other instrumentalists (e.g., organ), woodwind, and string players. Collegiate instrumentalists used systematic practice strategies most frequently, followed by error correction techniques, using a metronome and listening to recordings, concentration control, analytic strategies, and the organization of practice sessions. In addition, collegiate instrumentalists were more motivated by intrinsic factors than extrinsic factors. Weekly practice hours were negatively correlated with Extrinsic Motivation: Avoid Failure, but positively correlated with Intrinsic Motivation: Growth. Implications for instrumental teaching and learning are discussed.

Conducting is a multifaceted and essential skill set expected of musicians from many specializations, but certainly for music educators who often fill ensemble leadership roles. For most undergraduate music majors, introductory conducting courses are their first experiences with conducting. Attending to all fundamental components of the undergraduate conducting curriculum, including effective score study strategies, mastery of technical skills in meter and patterns, and expressive and functional gestures, is a daunting task for undergraduates to achieve within the scope of one introductory course. In this review, I examine conducting scholarship regarding pedagogical practice and principles related explicitly to wind band conducting. Topics investigated included (a) score study, (b) gesture and expressivity, (c) conducting curriculum, (d) the dichotomy of "music educator" vs. "conductor as a performer," and (e) the underrepresentation of minority groups on the podium. Implications for continued research and future practices of wind band conducting are shared.

Mnemonic devices are memory aids that make it easier to recall information and are widely used by students studying anatomy and physiology. Simple musical instruments and toys can serve as mnemonic devices for students learning the functional anatomy of the larynx: balloons can help learners understand and recall how sound is produced; tuning pegs can help learners understand how tension affects vocal pitch; fingers on a fretboard can help learners understand how pitch is further modulated; and a common coach's whistle can demonstrate how vocal volume is controlled. Using instruments and toys engages adult learners and helps them connect complex laryngeal anatomy with previous experiences.