Programmed Instruction using Band Literature to Teach Pitch and Rhythm Error Detection to Music Education Students

1979 ◽  
Vol 27 (3) ◽  
pp. 149-162 ◽  
Author(s):  
Darhyl S. Ramsey
Keyword(s):  
Music Education ◽  
Error Detection ◽  
Programmed Instruction ◽  
Education Students ◽  
Optimum Length ◽  
Band Literature ◽  
Correct Score ◽  
Medium Level ◽  
Training Error

One of the skills necessary for the conductor of an ensemble is the ability to detect errors of pitch and rhythm in a rehearsal while examining a correct score. This study developed (1) a program to train the ability to detect errors, and (2) a test to measure improvement of this ability. Both the program and the test used full-score band literature of medium-level difficulty. Three forms of the program, each differing in the number of practice frames, were developed in order to determine the optimum length of program needed to effectively train error detection skill. Results showed that programmed instruction was effective in training error detection skill and that the longer forms of the program resulted in greater gains.

Effects of Listening Conditions, Error Types, and Ensemble Textures on Error Detection Skills

2011 ◽  
Vol 59 (1) ◽  
pp. 56-71 ◽  
Author(s):  
Dori T. Waggoner
Keyword(s):  
Music Education ◽  
Error Detection ◽  
Significant Interaction ◽  
Detection Accuracy ◽  
Education Students ◽  
Error Type ◽  
Band Literature ◽  
Single Section ◽  
Recording Condition ◽  
Different Types

This study was designed with three main purposes: (a) to investigate the effects of two listening conditions on error detection accuracy, (b) to compare error detection responses for rhythm errors and pitch errors, and (c) to examine the influences of texture on error detection accuracy. Undergraduate music education students ( N = 18) listened to purposefully incorrect performances of band literature in two formats, on recordings and while conducting a live ensemble. Pitch and rhythm errors were inserted into the music excerpts to investigate responses to different types of errors. Half of the excerpts were played by the full ensemble and half by a single section. Participants served as their own controls by completing the error detection tasks under all conditions. Results indicated that participants were significantly more successful in identifying errors in the recording condition than in the conducting condition. A significant interaction existed between the error type (pitch or rhythm) and the ensemble texture (single section or full ensemble). Participants identified rhythm errors more accurately in the single section texture and diagnosed pitch errors more successfully in the full ensemble excerpts.

The Influence of Tonal and Atonal Contexts on Error Detection Accuracy

2013 ◽  
Vol 61 (2) ◽  
pp. 233-243 ◽  
Author(s):  
Timothy J. Groulx
Keyword(s):  
United States ◽  
Music Education ◽  
Error Detection ◽  
Test Scores ◽  
Southeastern United States ◽  
Detection Accuracy ◽  
Education Students ◽  
Performance Errors ◽  
Tonal Context

Music education students ( N = 21) at a university in the southeastern United States took an error detection test that had been designed for this study to determine the effects of tonal contexts versus atonal contexts on the ability to detect performance errors. The investigator composed 16 melodies, 8 of which were tonal and 8 of which were atonal. The test administered included 18 planned errors, 9 in tonal melodies and 9 in atonal melodies, and errors were balanced between the two sets of melodies for error duration and error interval. These melodies were performed live for the participants, who were asked to identify where errors took place in the performance. Participant test scores were calculated, and mean scores were generated for each individual error. Each error was then classified according to its attributes of tonal context, interval deviation, and duration. Interval deviation and duration did not significantly affect error detection scores, while tonal context did. More specifically, errors in tonal contexts that deviated from the tonal framework were significantly more easily detected than atonal errors or errors in tonal contexts that remained within the tonal framework. These results confirmed findings in existing research.

Music Therapy Knowledge and Interest: A Survey of Music Education Majors

2020 ◽  
Vol 57 (4) ◽  
pp. 455-474
Author(s):  
Lori F Gooding ◽  
D Gregory Springer
Keyword(s):  
Music Education ◽  
Music Therapy ◽  
Music Teachers ◽  
Degree Programs ◽  
Education Majors ◽  
Education Students ◽  
Career Option ◽  
Key Factor ◽  
Career Options ◽  
Music Education Majors

Abstract Music teachers play an important role in exposing students to career options in the field of music. As a result, there is a need to explore music education students’ interest in and knowledge of music therapy. The purpose of this study was to investigate music education students’ exposure to, knowledge of, and willingness to promote music therapy as a career option for prospective collegiate students. A survey was given to 254 music education majors from four research institutions, two with and two without music therapy degree programs. Participants answered demographic, yes/no, Likert-type scale, and open-ended questions about their exposure to, knowledge of, and willingness to promote careers in music therapy. Results indicate that exposure to music therapy occurred in both pre-collegiate and college settings, and that music teachers appear to be influential in exposing students to music therapy. Students often sought out information on music therapy independently, which played an important role in how individuals learned about music therapy, though it has the potential of providing misinformation. Significant differences were found in participants’ knowledge and willingness to promote music therapy as a career option based on the presence of music therapy degree programs. Exposure seemed to be a key factor in music therapy knowledge and promotion; thus, music therapists need to ensure accurate dissemination of music therapy-related information in both pre-collegiate and college settings. Increasing the visibility of the field has the potential to expand interest and potentially attract young musicians well suited for a career in music therapy.

scholarly journals Student music stimuli composition in a scaffolded course-based undergraduate research experience

2020 ◽  
Vol 1 (1) ◽  
pp. 1-32
Author(s):  
Abbey L. Dvorak ◽  
Eugenia Hernandez-Ruiz ◽  
Halle Nick ◽  
Ruowen Qi ◽  
Celeste Alderete ◽  
...  
Keyword(s):  
Music Education ◽  
Music Therapy ◽  
Undergraduate Research ◽  
Lessons Learned ◽  
Teaching Model ◽  
Research Experience ◽  
Education Students ◽  
Research Experiences ◽  
Graduate Assistants ◽  
Undergraduate Research Experiences

Course-based undergraduate research experiences (CURE) allow students opportunities to develop research skills. In a scaffolded CURE, music therapy and music education students composed, evaluated, and selected the music stimuli used in a music and mindfulness study with non-musicians at Site 1 and musicians at Site 2. The purposes of this paper are to (a) describe the process of student music stimuli composition and evaluation for use in a course-based undergraduate research experience and (b) identify benefits, challenges, and lessons learned from the viewpoints of students, graduate assistants, and faculty who participated in the multi-site study. Eight students, two graduate assistants, and two faculty provide an overview of the CURE teaching model and assignments, and share first-person accounts of their experiences participating in this CURE.  

Emotional Competence Within the Stress Coping Strategies of Music Education Students

2021 ◽  
pp. 002242942110614
Author(s):  
Michelle S. McConkey ◽  
Christa R. Kuebel
Keyword(s):  
Music Education ◽  
Coping Strategies ◽  
Life Stress ◽  
Emotional Competence ◽  
Stress Coping ◽  
Education Majors ◽  
Education Students ◽  
Emotional Competency ◽  
Stress Coping Strategies ◽  
Music Education Majors

Researchers have identified high levels of stress among music education students, but we know very little about how students manage this stress and how emotional competence skills might be utilized within stress coping mechanisms for this population. Through this qualitative study, we sought to understand the stress coping strategies of eight music education majors through the lens of emotional competence as outlined by Saarni. We identified several sources of participants’ stress: general life stress, schedule, performance expectations, and coursework. Student coping strategies included awareness of stress, an attitude of pushing through, self-care, and seeking support. Through coding and utilization of the theoretical framework, we concluded that all eight of Saarni’s emotional competence skills were evident in the data as a whole, but not for each individual participant. Minimal evidence was found for half of the skills and for some students they were nonexistent, thus indicating a need for growth in emotional competency. Gaining an understanding of how music education majors cope with their stress could be a key step toward understanding how to better support students throughout their degree programs and as they transition into the field of music education.

Music Education in Training Early Childhood Education Teachers in the Context of Jerome Bruner’s System of Representations. Its Purpose and Teaching Methodology Modification for Remote Work

2020 ◽  
Vol 15 ◽  
pp. 263-277
Author(s):  
Tomasz Dolski
Keyword(s):  
Early Childhood ◽  
Early Childhood Education ◽  
Music Education ◽  
Developmental Psychology ◽  
Teaching Methodology ◽  
Remote Work ◽  
Education Students ◽  
Proper Understanding ◽  
Childhood Education ◽  
Practical Nature

The article consists of two parts. The first presents the implications for training early childhood music education teachers which arise from the theory of developmental psychology concerning Jerome Bruner’s system of representations. The author strives to point out that their proper understanding appears to be essential to building a good teaching foundation for working with early childhood education students. With reference to the theory in question, the second part of the article discusses a modification of selected methods of conducting music education at the indicated stage of education in relation to the challenges connected with the necessity to work remotely. The author discusses examples of methodology in detail and suggests modifications. The aim of such treatment of the matter is to demonstrate that it is possible to retain the practical nature of educational efforts in spite of the unfavourable conditions that stem from the need to be isolated and work online.

Relationships Among Instructor, Peer, and Self-Evaluations of Undergraduate Music Education Majors' Micro-Teaching Experiences

2008 ◽  
Vol 56 (1) ◽  
pp. 82-91 ◽  
Author(s):  
Jessica Napoles
Keyword(s):  
Music Education ◽  
Education Majors ◽  
Education Students ◽  
Teaching Experiences ◽  
Peer Ratings ◽  
Music Education Majors

The author investigates relationships between instructor, peer, and self-evaluations. Undergraduate music education students each taught three micro-teaching segments. Immediately after teaching, they filled out an evaluation for themselves indicating four things they did well, one suggestion for improvement, and an effectiveness score from 1 to 10. All students in the class also completed this task, as did the instructor. Ratings were compared and correlated, and comments were analyzed to determine whether self-comments were the same as peer comments, instructor comments, both, or none. One week after the fact, students were asked to recall every comment that had been made after their teaching. Results indicate that (a) peer ratings were consistently the lowest, (b) self-comments made immediately after teaching were most similar to peer comments or comments made by neither instructor nor peers, and (c) most comments recalled 1 week later were those made by peers or by both instructor and peers.

scholarly journals Music Teacher Dispositions: Self-Appraisals and Values of University Music Students

2018 ◽  
Vol 66 (1) ◽  
pp. 111-125 ◽  
Author(s):  
Robert H. Woody ◽  
Danni Gilbert ◽  
Lynda A. Laird
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Teacher ◽  
Teacher Dispositions ◽  
Music Students ◽  
Music Majors ◽  
Education Majors ◽  
Music Teaching ◽  
Education Students ◽  
Music Education Majors

For music teachers to be most effective, they must possess the dispositions that best facilitate their students’ learning. In this article, we present and discuss the findings of a study in which we sought to explore music majors’ self-appraisals in and the extent to which they value the disposition areas of reflectivity, empathic caring, musical comprehensiveness, and musical learnability orientation. Evidence from a survey of 110 music majors suggested that music education students possess and value the dispositions of reflectivity, musical comprehensiveness, and musical learnability orientation more highly after they have matured through their college careers. Additionally, based on their responses to music teaching scenarios, it appears that senior music education majors possess greater empathic caring than do their freshman counterparts.

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