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Assessment is a crucial aspect of music performance. In pedagogical contexts, an effective assessment process can measure student achievement and inform instructional decisions that contribute to improving teaching and learning. However, music performance assessment is particularly challenging due to its inherent subjectivity, involving personal expression and interpretation, which can lead to divergent opinions. In this PRISMA systematic review (registration DOI: 10.17605/OSF.IO/CSM8Q), we aimed to delimit and analyze solo music performance assessment systems found in the literature to date, including their corresponding evaluation categories and descriptive criteria, rating methodology, and target audience. A search in three main scientific databases (Web of Science, Scopus, ERIC) was conducted using keywords associated with the topic of assessment in the field of solo music performance. Ultimately, 20 papers were selected and examined, resulting in 26 original assessment systems for analysis. Regarding sample characteristics, we found that studies mainly focused on evaluating high school and university students, with music teachers and faculty members serving as primary evaluators. Many assessment systems were designed to be applicable across various instruments, although some were tailored to specific instruments (e.g., piano, voice) and families (e.g., brass, woodwind). Systems typically structured evaluation around technical, interpretative/expressive, and various musical feature categories (e.g., pitch, rhythm, intonation), further elaborated with descriptive items. While five-point Likert scales were commonly used, recent studies indicated a shift towards rubrics for detailed feedback, which aids examiners' understanding and supports student progress. No differentiation was found in assessment criteria based on students' learning stages, suggesting an area for improvement in refining these assessment methods. This study identifies gaps and proposes improvements in existing assessment systems, providing a foundation for educators and policymakers to enhance curriculum design and instructional practices in music education. [ABSTRACT FROM AUTHOR]

Embedding musicians' occupational health training in music education curricula is widely recommended due to the well-documented high prevalence of performance-related health problems (PRHPs) among musicians across their lifespan. A scoping review was conducted to examine the range of evidence from implementations of musicians' health education programs, regarding the maintenance of hearing, musculoskeletal, psychological, and vocal health, as well as injury prevention strategies to minimize the risk of PRHP. Eligible sources of evidence included published and unpublished studies reporting occupational health education programs (which may have incorporated information on physical or psychological health, exercise, or somatic movement training) implemented with pre-tertiary and tertiary music students and teachers. Studies reporting stand-alone psychological health education were excluded. Key characteristics from included studies were extracted and charted. Data charts outline commonalities across the reported results, including physical, psychological, educational, and behavioral change outcome measures. Out of 46 records included for data extraction, 35 reported programs with tertiary-aged music students, seven reported programs with pre-tertiary-aged music students, two reported programs with music teachers, and two reported systematic reviews. Reported benefits from this research with both pre-tertiary and tertiary music students suggest that musicians' health education and injury prevention strategies reduce self-reported playing-related pain and music performance anxiety. However, future implementation studies need to address identified challenges such as effective behavior change and the enablers and barriers to the long-term adoption of strategies for optimal music performance and health outcomes. This review highlights the need for further research into designing and embedding musicians' health education into all music training settings, including more implementations with pre-tertiary music students, as well as training to support the professional development needs of instrumental and vocal teachers. [ABSTRACT FROM AUTHOR]

Much has been written on the different learning paths of classical and popular musicians and the view that popular musicians can be marginalized within the musical hegemony. Adopting Lucas, Claxton, and Spencer's creative dispositions model, this article explores the extent to which this might occur when popular musicians learn to become secondary classroom music teachers. Data were collected through a series of semi-structured interviews from three popular musicians on a Post-Graduate Certificate of Education (PGCE) Secondary Music program. Utilizing a qualitative approach, the findings suggest that popular musicians innately demonstrate imaginative, inquisitive, and collaborative creative musical capacities. However, learning to teach seems to significantly impact their pedagogic identity as they experience underlying performativity cultures and hierarchical relationships in schools. This article considers the risks associated with undervaluing the creative dispositions of popular musician teachers, including minimizing their potential to reconceptualize pedagogic expertise at a time of significant education reform in Wales. [ABSTRACT FROM AUTHOR]

Soundscapes engender historical, cultural, social, and aesthetic meanings through acoustical qualities that reflect a community's lived experiences. In this article, we propose music lesson ideas that help students appreciate and embrace their sociocultural heritage—by creating, performing, and listening to soundscapes that are representative of their locality. These lesson ideas are guided by pedagogical imperatives drawn from key soundscape literature, which reveals sounds as being powerful in sculpting culture and identity as well as impacting ways of knowing. Activities in the lessons serve to develop students' aurality and their understanding of the sociocultural connotations of sound. The learnings gained may supplement more traditional musical skills and knowledge acquisition in the music classroom. [ABSTRACT FROM AUTHOR]

The paper turns on the period when Dobroslav Orel worked as a teacher in church institutions and Austrian secondary schools (1894-1918). It focuses on the least studied part of his activity, choirmastering. Through the prism of contemporary pedagogical journals and school documentation, he attempts to reconstruct the choirmaster's methods used by him and, in particular, traces the dynamics of the development of his relationship with Battke's intonation method, from his initial enthusiasm to his awareness of the pitfalls of uncritical acceptance of this method to his warning against the danger of elevating the means of achieving correct intonation to the goal of singing education. [ABSTRACT FROM AUTHOR]

La OCDE establece la competencia global para impulsar una educación que contribuya a la construcción de un mundo inclusivo y sostenible, de modo que los programas universitarios que se imparten en los países miembros deben incorporarla. El objetivo del presente estudio es explorar algunos programas universitarios chilenos de Pedagogía en Música, haciendo el análisis en función de la competencia global definida por la OCDE. Se utiliza el método comparativo constante para analizar tres programas universitarios deformación inicial del profesorado de música. Los resultados revelan que las competencias generales son consistentes con la competencia global, no así las competencias específicas, pues proponen enfoques pragmáticos y colonialistas. En conclusión, los programas universitarios son consistentes con la competencia global, al menos desde sus competencias generales. No obstante, es imperioso fortalecer la visión formativa orientada hacia la inclusión y la sostenibilidad. The OECD establishes global competence to promote education that contributes to building an inclusive and sustainable world, and university programmes from country members should incorporate it. This study aims to explore some Chilean university music pedagogy programmes, analysing them from global competence established by OECD. The constant comparative method is used to analyse the three university programmes for music teacher education. Results reveal that general competencies are consistent with global competence, but not the specific competencies, as they propose pragmatic and colonialist approaches. In conclusion, the university programmes are consistent with global competence, at least from their general competencies. Nonetheless, it is imperative that a formative vision oriented towards inclusiveness and sustainability will be strengthened. [ABSTRACT FROM AUTHOR]

First-person VR- and MR-based Action Observation research has thus far yielded both positive and negative findings in studies observing such tools' potential to teach motor skills. Teaching drumming, particularly polyrhythms, is a challenging motor skill to learn and has remained largely unexplored in the field of Action Observation. In this contribution, a multimodal tool designed to teach rudimental and polyrhythmic drumming was developed and tested in a 20-subject study. The tool presented subjects with a first-person MR perspective via a head-mounted display to provide users with visual exposure to both virtual content and their physical surroundings simultaneously. When compared against a control group practicing via video demonstrations, results showed increased rhythmic accuracy across four exercises. Specifically, a difference of 239 ms (z-ratio = 3.520, p < 0.001) was found between the timing errors of subjects who practiced with our multimodal mixed reality development compared to subjects who practiced with video, demonstrating the potential of such affordances. This research contributes to ongoing work in the fields of Action Observation and Mixed Reality, providing evidence that Action Observation techniques can be an effective practice method for drumming. [ABSTRACT FROM AUTHOR]

Assessment is a crucial aspect of music performance. In pedagogical contexts, an effective assessment process can measure student achievement and inform instructional decisions that contribute to improving teaching and learning. However, music performance assessment is particularly challenging due to its inherent subjectivity, involving personal expression and interpretation, which can lead to divergent opinions. In this PRISMA systematic review (registration DOI: 10.17605/OSF.IO/CSM8Q), we aimed to delimit and analyze solo music performance assessment systems found in the literature to date, including their corresponding evaluation categories and descriptive criteria, rating methodology, and target audience. A search in three main scientific databases (Web of Science, Scopus, ERIC) was conducted using keywords associated with the topic of assessment in the field of solo music performance. Ultimately, 20 papers were selected and examined, resulting in 26 original assessment systems for analysis. Regarding sample characteristics, we found that studies mainly focused on evaluating high school and university students, with music teachers and faculty members serving as primary evaluators. Many assessment systems were designed to be applicable across various instruments, although some were tailored to specific instruments (e.g., piano, voice) and families (e.g., brass, woodwind). Systems typically structured evaluation around technical, interpretative/expressive, and various musical feature categories (e.g., pitch, rhythm, intonation), further elaborated with descriptive items. While five-point Likert scales were commonly used, recent studies indicated a shift towards rubrics for detailed feedback, which aids examiners’ understanding and supports student progress. No differentiation was found in assessment criteria based on students’ learning stages, suggesting an area for improvement in refining these assessment methods. This study identifies gaps and proposes improvements in existing assessment systems, providing a foundation for educators and policymakers to enhance curriculum design and instructional practices in music education.

Introduction: Via mirror mechanism, motor training approaches based on the alternation of action observation and execution (i.e., Action Observation Training- AOT) promote the acquisition of motor abilities. Previous studies showed that both visual and auditory stimuli may elicit a common motor representation of music-related gestures; however, the potentialities of AOT for the acquisition of musical skills are still underexplored. Methods: Twenty-one music-naïve participants underwent two blocks of training: AOT and Key-light Observation Training (KOT). AOT consisted of the observation of a melodic sequence played on a keyboard with the right hand by an expert model, followed by participant's imitation. Observation and execution were repeated six consecutive times (T1--T6). KOT followed the same procedure, except for the visual content of the stimulus, depicting the sequential highlighting of the piano keys corresponding to the melody. The rate of correct notes (C), the trainee-model similarity of key-pressure strength (S), and the trainee-model consistency of note duration (R) were collected across T1--T6. Results: Both AOT and KOT improved musical performance. Noteworthy, AOT showed a higher learning magnitude relative to KOT in terms of C and S. Discussion: Action Observation Training promotes the acquisition of key elements of melodic sequences, encompassing not only the accurate sequencing of notes but also their expressive characteristics, such as key-pressure dynamics. The convergence of listening and observation of actions onto a shared motor representation not only explains several pedagogical approaches applied in all musical cultures worldwide, but also enhances the potential efficacy of current procedures for music training. [ABSTRACT FROM AUTHOR]

Copyright of Iskolakultúra is the property of University of Szeged, Faculty of Arts & Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A marginal instrument such as the orgue sensoriel (OS), created for disabled people, invites us to interrogate the meaning of musical practices by situating them in their respective contexts of production and reproduction, determined in their material, imaginary and symbolic reality. The eco-logical perspective is chosen for its analytical and descriptive virtues, rather than for its normative implications. In presenting the life and origins of the OS, three concepts exogenous to the field of music are introduced: ecological niche, microbiome and musiculture. As metaphors - figuratively, heuristically and pedagogically rich - they enable the placement of the sounds of OS, and their meaning, in the socio-bio-ecosystems of each (set of) situation(s). Analysts, artists and educators can work creatively and sensitively on those three dimensions to restore complexity and variability to the meaning of musical practices, and to orient new experiences. [ABSTRACT FROM AUTHOR]

IntroductionVia mirror mechanism, motor training approaches based on the alternation of action observation and execution (i.e., Action Observation Training-AOT) promote the acquisition of motor abilities. Previous studies showed that both visual and auditory stimuli may elicit a common motor representation of music-related gestures; however, the potentialities of AOT for the acquisition of musical skills are still underexplored.MethodsTwenty-one music-naïve participants underwent two blocks of training: AOT and Key-light Observation Training (KOT). AOT consisted of the observation of a melodic sequence played on a keyboard with the right hand by an expert model, followed by participant’s imitation. Observation and execution were repeated six consecutive times (T1–T6). KOT followed the same procedure, except for the visual content of the stimulus, depicting the sequential highlighting of the piano keys corresponding to the melody. The rate of correct notes (C), the trainee-model similarity of key-pressure strength (S), and the trainee-model consistency of note duration (R) were collected across T1–T6.ResultsBoth AOT and KOT improved musical performance. Noteworthy, AOT showed a higher learning magnitude relative to KOT in terms of C and S.DiscussionAction Observation Training promotes the acquisition of key elements of melodic sequences, encompassing not only the accurate sequencing of notes but also their expressive characteristics, such as key-pressure dynamics. The convergence of listening and observation of actions onto a shared motor representation not only explains several pedagogical approaches applied in all musical cultures worldwide, but also enhances the potential efficacy of current procedures for music training.

In 2019 the Society for Music Analysis commissioned a report to find out if stakeholders in music education agreed that knowledge and/or skills in music literacy had declined for those applying to study music at university in England. The ensuing mixed methods study collected data from a range of stakeholders through interviews (N = 33), questionnaires (N = 233), a Music Literacy Study Day and informal observation. The findings showed that many participants thought that music literacy, if defined more narrowly, had declined in recent years. In addition, views on priorities in music education differed considerably, aligning with different forms of social justice. Some participants considered the bar to have been lowered in general music education, leading universities to alter their practices to facilitate access. This article reflects on those findings. The authors conclude that there needs to be careful consideration of curricula to prevent taking knowledge and skills away unnecessarily while ensuring that updated curricula are coherent and relevant to contemporary concerns about music education. [ABSTRACT FROM AUTHOR]

Utjecaj opće pedagogije na glazbeno obrazovanje u Zagrebu u 19. stoljeću u ovom se radu istražio na Pjevačkoj obuci u pučkoj školi Vjenceslava Novaka, koja je objavljena 1892. kao metodički priručnik za nastavnike glazbe na pučkim školama i udžbenik za polaznike učiteljske škole. To je prvo djelo u kojem se teorijski elaborirala i praktično razradila metodika nastave Pjevanja u pučkoj školi, a autor se jasno pozvao na europske i hrvatske pedagoške autoritete. Među njima su Johann Heinrich Pestalozzi, Johann Friedrich Herbart, Jan Amos Komensky, Stjepan Basariček, Milan Kobali i Ljudevit Modec. Protiveći se dotad uobičajenoj metodi memoriranja nakon ponavljanja za učiteljem, Novak je svoju metodu temeljio na ana-litičko-sintetičkom usvajanju nastavnoga gradiva u kojem se ono što je iskustveno naučeno potom tijekom nastavnoga procesa raščlanjuje, analizira i sintetizira u apstraktne glazbene pojmove i zakonitosti. Velik značaj dao je osvješta-vanju estetičke dimenzije glazbe. Postavio je temelje moderne glazbene pedagogije. [ABSTRACT FROM AUTHOR]

This commentary on Alves and Nogueira (2024) proposes a potential approach to compare expert and non-expert music teachers' use of embodied teaching strategies in one-to-one lessons with advanced performance students. The approach is hypothesis-driven, and builds on Alves and Nogueira's theoretical framework of expert competency domains, as well as empirical studies of musical communication and oneto- one teaching strategies. It is argued that a comprehensive definition of embodied teaching strategies should be conceptualized in terms of the quality of teacher-student interactions and the measurable outcomes of those interactions, and that it should account for the wide range of verbal and non-verbal forms of embodied musical communication that arise. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Department of Pedagogy / Zbornik Odseka za Pedagogiju is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Interuniversitaria de Formación del Profesorado is the property of Asociacion Universitaria de Formacion del Profesorado (AUFOP) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This is a qualitative investigation to create practice sets for the traditional Thai khim that would permit independent practice and self-tuition. These sets are to be considered part of the promotion, conservation, and development of national arts and culture for longer-term survival and to respond to the increasing demand for independent learning material. Data was gathered from documentary review and in-depth interviews with nine khim musicians. It was found that khim techniques are generally consistent from one musician to the next. This potentially facilitates independent self-tuition of the instrument. However, two of the most important elements of khim musicianship are playing posture and hammer grip, which are more difficult to train without an expert eye. Based on interview comments about the difficulty and different stages of khim training, the researchers develop practice material for independent training. The findings suggest that independent khim learning should be a supplement to traditional, rote-based Thai music pedagogy. [ABSTRACT FROM AUTHOR]

Musical abilities and the possibilities of measuring them have drawn the attention of both music educators and music psychologists for decades. Due to parallel development of these disciplines, the assessment of musical abilities can be categorized into two main types – evaluation by music educators (primarily based on reproduction assessment) and the measurement of perceptual abilities through tests. Although the majority of standardized psychological tests for musical abilities emerged during the 20th century, it is evident that this issue continues to inspire researchers in more recent times. Consequently, there is a considerable number of newer tests for assessing musical abilities. The aim of this study is to present the characteristics of tests published after the year 2000, highlighting their potential applications in educational practice and within the scope of research on musical abilities across different disciplines. The following instruments have been analyzed: Goldsmiths Musical Sophistication Index (Gold-MSI), Montreal Battery of Evaluation of Amusia (MBEA), University of Washington Clinical Assessment of Music Perception Test, The Montreal Battery of Evaluation of Musical Abilities (MBEMA), MBEMA on tablet, Implicit Tonal Ability Test (ITAT), Musical Aptitude Test (MAT), Musical Ear Test (MET), Profile of Music Perception Skills (PROMS), Brief PROMS, PROMS-S, Mini-PROMS, and Micro-PROMS. The results of the research reveal evident differences in the content and purpose of the tests. Some tests can be applied as early as the age of 4 to 6 years (MBEMA on tablet), from 6 to 8 years (MBEMA), and from 6 to 12 years (ITAT), while others are intended solely for adult participants. Variations also exist in the content of the tests, determining which types of musical abilities will be measured. While MET includes only two subtests (Melody and Rhythm), others incorporate tasks such as Harmony, Dynamics (MAT), Tuning, or Loudness (PROMS). Another significant variable is the duration of the assessment, ranging from as little as 10 minutes for implementation (Micro-PROMS) to as much as 90 minutes (MBEA). Depending on the research needs, the manner of expressing results should be considered, as most tests calculate a total score, whereas MAT presents results in the form of a five-dimensional profile. In conclusion, there is a solid selection of tests for musical abilities published after the year 2000, accessible to researchers. Some of them are adapted for online use, enabling a broader range of participants in research in the field of music pedagogy and other disciplines. We hope that the test overview presented in this study will aid researchers in selecting suitable instruments for their investigations, taking into account different types of abilities in relation to research needs, participant age, or planned assessment time. [ABSTRACT FROM AUTHOR]

The results of successful training of students of music and pedagogy at piano lessons depend on their technical level, and possession of an entire range of skills for the implementation of performance tasks. However, effective development is hindered by psychophysiological factors, namely excessive hand clenching, the inability to rationally use the necessary muscle groups and to distribute the load on the body in a balanced manner. The purpose of the study is to analyse the process of development of performance skills through the understanding of psychophysiological characteristics. The methodological basis was established by the works of Ukrainian and foreign scholars, pianists and teachers. A set of methods was used to solve the tasks: analysis, systematisation, classification, and generalisation of pedagogical experience. Descriptive and didactic methods were used to outline technical performance problems and ways to solve them; the method of pedagogical observation was used to test and confirm the effectiveness of the chosen methodology. The research emphasises the key points of correction of body posture, which help to eliminate excessive stiffness of movements, and overstrain of weaker muscle groups and have a positive impact on the development of performing freedom. First and foremost, it’s about sitting properly at the tool, developing a sense of the weight of the hand at rest and during lifting. The research offers tested exercises that ensure the fixation of optimal muscle sensations in the shoulder girdle area, especially in the area of the scapula and shoulder joint, during various arm movements. Another common problem is insufficient attention to the functioning of the finger extensor muscles, which impedes the development of their dexterity and independence and causes wrist stiffness. The significance of educating students to consciously master primary motor skills based on specific muscle sensations is substantiated. The results of the study prove that a certain algorithm of actions in the setting of the game apparatus and the correction of deficiencies can ensure the stability of performing freedom, self-control and self-regulation of motor actions.

Artistic education is an important factor in the cultural growth of the nation – the development of personal qualities and abilities. The methodology of teaching music pedagogy is related to the category of musical style. The relevance of this study is conditioned by a broad interpretation of the concept of musical style. Numerous musicological interpretations of the concept outline the range of issues and a growing interest among scholars in the search for promising approaches to understanding musical phenomena and the integration of scientific knowledge. The purpose of the study is to investigate musicological solutions to the problem of style, to identify optimal approaches to building the educational process. The paper analyses various interpretations of the concept of "style" by musicologists. Methods and approaches of teaching musical and practical disciplines are highlighted, including the method of stylistic generalisation, experimental methodology, historical and stylistic approach, concentric approach, genre approach, and the principle of generalisation. As a result of the study, it was concluded that the educational process in the classes of musical and practical training should be built according to genre and stylistic principle – semantic generalisations of the genre in the context of multi-level style features. This paper can be useful for teachers in music education institutions to implement an effective approach to organising the educational process.

Virtual Co-embodiment (vc) is a relatively new field of VR, enabling a user to share control of an avatar with other users or entities. According to a recent study, vc was shown to have the highest motor skill learning efficiency out of three VR-based methods. This contribution expands on these findings, as well as previous work relating to Action Observation (ao) and drumming, to realize a new concept to teach drumming. Users "duet" with an exemplar half in a virtual scene with concurrent feedback to learn rudiments and polyrhythms. We call this puppet avatar controlled by both a user and separate processes a "halvatar". The development is based on body-part-segmented vc techniques and uses programmed animation, electromechanical drum strike detection, and optical bimanual hand-tracking informed by head-tracking. A pilot study was conducted with primarily non-musicians showing the potential effectiveness of this tool and approach. [ABSTRACT FROM AUTHOR]

Performance anxiety is a widespread issue that can affect musicians across their education and career. It can develop in musicians from a young age leading to short-term and long-term impacts on not only their performance, but also their wellbeing. There is potentially a significant role that music educators hold in the development of their students and how they handle performance anxiety, though it is not clear how, or how often, teachers support their students in this way. Through a PRISMA-based systematic review, this paper explores what is known about the strategies used by music educators to help manage their students' performance anxiety. The paper also discusses the role that instrumental/vocal tutors and school classroom teachers might hold in this area. The findings show that music educators are implementing multiple strategies to assist their students with MPA, with themost common being simulated performance, positive outlook, preparation and breathing. It was found that there is a role for teachers to address MPA management with their students. While some students prefer to receive MPA support from experts in the field of psychology, students still expressed a need to have this support come from their teacher. Though many teachers felt a need for additional training for them to help their students cope with MPA, many of the strategies were found to be multifunctional and embedded into the regular teaching practices or teaching styles of the educator. Although these strategies might be implicit rather than explicit, the findings suggest that music educators could represent a valuable source of support for MPA management. [ABSTRACT FROM AUTHOR]

Copyright of Teoretické Reflexe Hudební Výchovy is the property of Masaryk University, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Performance anxiety is a widespread issue that can affect musicians across their education and career. It can develop in musicians from a young age leading to short-term and long-term impacts on not only their performance, but also their wellbeing. There is potentially a significant role that music educators hold in the development of their students and how they handle performance anxiety, though it is not clear how, or how often, teachers support their students in this way. Through a PRISMA-based systematic review, this paper explores what is known about the strategies used by music educators to help manage their students' performance anxiety. The paper also discusses the role that instrumental/vocal tutors and school classroom teachers might hold in this area. The findings show that music educators are implementing multiple strategies to assist their students with MPA, with the most common being simulated performance, positive outlook, preparation and breathing. It was found that there is a role for teachers to address MPA management with their students. While some students prefer to receive MPA support from experts in the field of psychology, students still expressed a need to have this support come from their teacher. Though many teachers felt a need for additional training for them to help their students cope with MPA, many of the strategies were found to be multifunctional and embedded into the regular teaching practices or teaching styles of the educator. Although these strategies might be implicit rather than explicit, the findings suggest that music educators could represent a valuable source of support for MPA management.

The aim of this research paper is to build the historical journey of the development of music education since its origins until the middle of the 20th century. Based on archival documents and facts, historical and journalistic publications, texts and didactic musical pedagogical methods, as well as in other supplementary materials I present with facts, analysis and generalizing treatments in the historical plane, the path of the formation and development of the music education tradition as part of general education system and also outside it. The research model was historical research which underpins all other research into music education as even the most contemporary facts have already occurred. The technique for analysing archival documents in the context of music education were document identification, document evaluation, content analysis, interpretation of the findings from the archival documents and synthesize the information to form a coherent narrative or analysis of music education practices descriptive analysis of the technical character of music methods that is made to each document stored in the Central State Archive (CSA), the comparative method for the recognition and contributions given by every religious educational institution in Scutari or secular in the four cities. To accomplish this objective, the study is focused on the documents researched mainly in Central State Archive as well as other sources publication interviews). On this basis and according to the historic importance, the study is shed light on the path of development of Albanian music pedagogy and the stages which defined this development, both in the drawing up of programs as well as through the publication of musical books by Albanian or foreign authors. The article gives a unique contribution of the first phase of the establishment of the music education tradition in Albania, as an outcome of which there were some achievements of the artistic activities, which linked the general music education of the first half of 20th century. This study may be the beginning of a wider research for professional music pedagogy in Albania, may serve for the international researchers to know the development of music pedagogy in the early years of education in Albania and to compare it with the developments in the Balkans. [ABSTRACT FROM AUTHOR]

Music Education is presented as a possible scenario for the search of better ways of human interrelation and communication. Based on this premise, this article is based on a documentary type research with bibliographic design and framed in describing the implications of Music Education as an educational practice that contributes to the development of socio-communicative skills in students of Higher Basic Education and High School in Ecuador. It is concluded that Music Education is an area that gives the student tools to achieve socio-communicative skills from their vision of life, providing the opportunity to express their ideas, thoughts, emotions, concerns as well as their creative art in an artistic, aesthetic and personal way, which contributes to their full and integral development and the possibility to achieve their educational self-realization without any discrimination and with a true sense of inclusion. [ABSTRACT FROM AUTHOR]

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Musical Education / Edukacja Muzyczna is the property of Jan Dlugosz University in Czestochowa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Internacional de Educacion Musical is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Internacional de Educacion Musical is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Community Music (CM) is one of the most innovative directions in musical-pedagogical practice, originating in specific educational needs related to social and cultural context, the need for inclusion, integration and social change. Although numerous and highly diversified internationally, all the approaches to CM share four basic elements: community, context, participation and pedagogy, which contribute to outline the theoretical framework within which the debate on CM is taking place internationally and in Italy. In recent years, approaches to CM have broadened significantly, embracing theoretical-scientific aspects of research and connecting with other fields, such as musicology. The latter has, in recent decades, grown increasingly receptive to pedagogical tools and to modes of knowledge transfer, and is showing remarkable interest in the results obtained by CM both in ensemble musical practice and in theoretical aspects. New models based on narration, and on the collaborative creation of diversified expressive experiences, now embrace the possibility of creating educational settings that also foster historical knowledge and aesthetic appreciation.

Arts and culture are increasingly acknowledged as pillars of society in which all of humanity including people who identify as’ LGBTQIA+ can contribute in 21st century society. United Nations and individual country initiatives continue to promote the notion of inclusive, egalitarian values that promote equal access and opportunity to chosen careers and passions. Jazz as an artform has evolved as a form of cultural expression, entertainment, and political metaphor, subject to societal and populist pressures that have created both a canon and popularized history. Jazz education has moved from largely informal to almost wholly formal and institutionally designed methods of learning and teaching. The jazz ensemble or stage band remains an enduring secondary education experience for most students learning jazz today. This qualitative study of music directors investigates their approaches, perspectives and concerns regarding attitudes and practices in the teaching profession, the promoting of inclusive practices, access, and equity, amidst a pervasive masculinized performance and social structure that marginalizes non-male participation. The study provides implications for how jazz education may continue to evolve in both attitude and enlightened access in the education of jazz learners.